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Lot 386
Rembrandt Harmensz Van Rijn (Dutch 1606-1669) Framed original etching 'Bust of an Old Bearded Man' 12cm x 10.5cm Provenance: No 260 in the Bartsch Catalogue, Second State, T&R Annan & Sons, Glasgow CONDITION REPORT:There is some foxing to the paper; the picture could have been cut down as some point but it has good provenance. The framed etching is behind glass, the edges sit proud of the backing board, with a slight curve to some areas - it hasn't been mounted flat to corners. The overall etching surface is good, however there is a large brown foxing mark central/lower. Please see additional images. NOTE:Note: The etching is behind glass, sealed in its original frame with T&R Annan & Sons, Label. The etching came from a very prominent deceased estate.
Lot 391
Pictures and Prints (15) and group of FDCs including: Roses, a Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, The Laughing Cavalier by Frans Hals painting as a textured print in a gold colour frame, glazed and ready to hang. 35cm x 42cm, Artist initial EL. 37cm x 47cm, "Cherries" Limited edition printed etching, 1 of 12 signed by artist Simon Poppy 1995. Simon attended St Martins School of Art and Goldsmiths University London. His art practice is in etching, painting and lithography; exploring space and light in nature and architecture, 47cm x 47cm, Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, Attractive colour pastel portrait of a lady in a pink shawl, nicely framed in wooden frame and ready to hang, modern. Artist initial PC 09. 45cm x 53cm, Antique Etching by William Monk depicting the grand entrance and gates of a stately home, 1901 Monk. On thick card 15" x 11 3/4". Some foxing and toning, small tear at the top, Pencil and watercolour study of an overturned wicker basket and apples. Framed and glazed. Signed by the artist, 41cm x 50.5cm etc. Also First Day of Issue Covers. 1993 The Definitive Portrait (1), 1997 (8) and 1998 (8) from the collection of Baroness Betty Boothroyd typed addresses to "The Rt Hon Betty Boothroyd MP Speaker of the House of Commons, London, SW1A 0AA" (17) Proceeds to the Maternity Bereavement Suite Charity at QE Hospital Kings Lynn. Buyer Collects.
Lot 30
KÄTHE KOLLWITZ (1867-1945)Stehende Mutter, ihr Büblein fütternd, 1931 signed in pencil by the artist and the printer, further inscribed 'für Otto und Wally Nagel von Alex v. d. Becke, 9/11/45'etching with aquatintSheet 30.8 x 29.8cm (12 1/8 x 11 3/4in).This work is from the edition of circa 50, printed by Otto Felsing, published by Alex von der Becke, Berlin, 1932Footnotes:LiteratureA. Klipstein, The Graphic Work of Käthe Kollwitz, New York, 1955 (no. 247.IVb).A. von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Kornfeld, 2002 (no. 242).ProvenanceAlex von der Becke Collection.Otto & Wally Nagel Collection (a gift from the above in 1945).William Weston Gallery, London (with their gallery label verso).For further information on this lot please visit Bonhams.com
Lot 64
KÄTHE KOLLWITZ (1867-1945)Mutter mit Kind auf dem Arm, 1910 signed and dedicated 'Fur Herr Dr.Aberbach' in penciletchingPlate 19.5 x 13.1cm (76 3/4 x 51 9/16in).Printed by Otto Felsing, published by Emil Richter, BerlinFootnotes:LiteratureA. Klipstein, The Graphic Work of Käthe Kollwitz, New York, 1955 (no. 110.IV).A. von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Kornfeld, 2002 (no. 114).For further information on this lot please visit Bonhams.com
Lot 8
MAX SLEVOGT (1868-1932)Geiger Andreas Weissgerber, 1929 signed in pencil, an artist's proofetching Sheet 56 x 41.5 cm (22 1/16 x 16 5/16in).Footnotes:ProvenanceIsmar Littmann Collection (acquired directly from the artist).Acquired from the above by the present owner.For further information on this lot please visit Bonhams.com
Lot 9
KÄTHE KOLLWITZ (1867-1945)Frau mit übereinandergelegten Händen, 1898 signed in penciletching and aquatintSheet 60 x 43.5cm (23 5/8 x 17 1/8in).This work is one of only a few known proofs before the edition of 50 published by Emil Richter, Dresden Footnotes:LiteratureA. Klipstein, The Graphic Work of Käthe Kollwitz, New York, 1955 (no. 41.IIIa/VI).A. von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Kornfeld, 2002 (no. 43.IVb/VII).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 178
Attributed to Henry Brocas Snr. (c1760 - 1837) “Watermill, thought to be the O’Sullivan Flax Mill at Blarney,” c. 1810, watercolour on paper, 66cms x 47cms (26” x 18 ½”). Dating from the early nineteenth century, this watercolour painting of a mill by a river can be confidently attributed to Henry Brocas the Elder. The location of the building (not given on the watercolour), has been identified by Alison Muir, researcher on the history of Irish mills, as likely the five-storey mill that once stood in the village of Blarney, beside the River Martin. Owned by James B. O’Sullivan, this flax mill flourished for several decades. However, today little or nothing remains of the buildings depicted by Brocas, as O’Sullivan’s mill was demolished to make way for the Blarney Woollen Mills. The watercolour is therefore an important document relating to Ireland’s industrial archaeology. The location is idyllic, and the artist clearly intended to represent how nature has been improved through the addition of these buildings and industrial works. Although best known for his portraits, mainly of actors, politicians and lawyers, Brocas also depicted landscapes in watercolour, using a rapid technique of representing leaves and trees that relates to the present work. In this painting, he depicts a range of industrial and domestic buildings, set in a woodland landscape beside a bridge. In the foreground, a party consisting of a man, woman and child, walk along a curving riverside path, viewing the mill and its surroundings. Rising five storeys, the mill is an impressive building, with the top of the waterwheel visible just behind the five arched bridge. It is protected by a high wall, extending along the riverbank. Brocas has enlivened the scene by adding in the figure of a man fishing by the bridge, and three men, also fishing, in a boat. Beside the mill are two bird houses, or dove cots, raised high on poles. Beyond the bridge is a three-storey house, seen from the rear. Another domestic house is visible on the left, a two-storey building with outbuildings attached. On the brow of the hill, behind the mill, is a ruin. At the time this watercolour was painted, there was an early eighteenth-century wing of Blarney Castle falling into ruin. Only a circular tower survives today, some distance from the castle. The windows on this eighteenth century wing correspond to Brocas’s view. On the extreme right in the watercolour is a series of low buildings. Including at least five artists, over two generations the Brocas' were influential in Dublin’s art world. Henry Brocas Snr was born in Dublin in 1762, the fifth son of Robert Brocas and his wife Bridget (neé Taylor) Largely self taught as an artist, in the 1790’s he lived in the Grafton Street area of Dublin, before settling around 1825 in Henry Street. In 1800 he was appointed to teach landscape and decorative painting at the Dublin Society’s Drawing Schools, a post which he kept until his death in 1837. Brocas set an example to students at the School by making sketching tours to beauty spots around Dublin, and sketching scenes from life, rather than working exclusively in the studio. His four sons were pupils at the Dublin Society and also became professional artists, giving the family a long association with the Schools. The family was also associated with the Society of Irish Artists, with the third son, William, serving as President. William was also a member of the RHA, elected in 1860. Brocas’s other three sons were James Henry Brocas, born c 1790, Samuel Frederick, born in 1792, and Henry Jnr, who was born six years later. Samuel Frederick Brocas is best known for his views of Dublin, while James Henry Brocas was a landscape, portrait and equestrian painter: his landscapes and paintings of horses and cattle were shown at exhibitions in Dublin between 1801 and 1816. John Henry studied at the Dublin Society's Drawing Schools, winning awards in 1802 and the year following, as well as a medal for etching. He moved to Cork around 1834. The youngest son Henry Brocas Junior (1798-1873) succeeded his father at the Dublin Society’s Schools, where he taught for around two decades. A detailed account of the Brocas family is given in Patricia Butler, The Brocas Collection, (NLI, Dublin, 1997).
Lot 215
Walter Greaves, British 1846-1930- Snow in Battersea; etching on paper, signed and dated 'W Greaves / 1877' (in plate lower left), 12.2 x 23.6 cm. Provenance: Mr and Mrs A. Thornton, January 1984.; With Michael Parkin Fine Art, London, no.153.; Private Collection, UK. Please refer to department for condition report
Lot 224
James Abbott McNeill Whistler, American 1834-1903- Ponte del Piovan; 1879-1880, etching printed in brownish-black ink on paper, 22.2 x 14.9 cm., signed with the artist's butterfly and inscribed 'imp' in pencil on the tab (lower left), sixth (final) state from 'Twenty-Six Etchings'. A fine richly inked impression. Kennedy 209, Glasgow 220. Provenance: Collection of Stanley Field.; The Art Institute of Chicago.; with Thomas Agnew & Sons, London [no.45736]. Note: Whistler went to Venice in September of 1879 and sojourned there for over a year, returning to London in November of 1880.Trimmed to or just within the plate mark with a tab for the pencil monogram. Please refer to department for condition report
Lot 258
Mortimer Luddington Menpes, RI, RBA, RE, Australian / British 1855-1938- The young mother, 1911; pencil, watercolour and bodycolour heightened with white on paper, signed 'M.L. Menpes.' (upper right), 22 x 15.3 cm. Provenance: Private Collection, UK. Note: Menpes was an Australian-born British artist who worked in part as an illustrator, and who was known especially for his drawings and etchings. He studied under James Abbott McNeill Whistler (1834-1903), whose influence is evident in his embrace of the medium of etching, indeed with Menpes himself serving as a central figure in the etching revival of the late 19th and early 20th centuries. Menpes’s output is defined by his small-scale, highly observational drawings, of which the present work is a particularly charming example. This work demonstrates the artist’s sensitive approach, using a plain background to focus the entirety of the viewer’s attention on the two figures.Please refer to department for condition report
Lot 29
Salvator Rosa,Italian 1615-1673-Study of a standing man;black chalk, pen and brown ink and wash on laid paper, 14 x 7.7 cm.Provenance: John Isaacs.; Peter Palumbo.; Sale, Sotheby's, London, 12 March 1963, lot 139B.; Anon. sale, Sotheby's, London, 13 December 1973, lot 38.; with Thomas Agnew & Sons, London, 1974 [no.38365].; Private Collection, UK, since 1975.; By descent.Exhibited: London, Thomas Agnew & Sons, 'Master Drawings and Prints', March-April 1974, no.4.Literature: M. Mahoney, ‘The Drawings of Salvator Rosa’, New York and London, 1977, no.46.4 (illustrated), 'A man turned to the left resting his right arm on a high block and holding a staff in his left hand'.Note: The present drawing relates to Rosa's preliminary studies for his set of 62 etchings of genre and military subjects entitled 'Figurine' - a group of 62 etchings of soldiers, peasants and other figures, depicted either individually or in groups of two, three or more - on which he was working from 1656 to 1657. It has been suggested that, apart from helping to spread Rosa’s fame, these 'Figurine' etchings may also have served to rebut claims, made by the artist’s critics, that he was merely a landscape painter without the ability to depict figures. As Richard Wallace has noted, ‘Rosa was very touchy about his reputation as a figure painter...With the Figurine he undoubtedly meant to show everyone, including his detractors...that he could master the human figure in an almost infinite variety of poses and expressive states.’ Often acquired as a complete set of prints and bound into albums, Rosa’s 'Figurine' etchings remained popular with collectors well into the 18th century.This study was probably drawn from life on the same scale as the etchings in preparation for Bartsch 43. In the finished etching the soldier wears a helmet and leans on his lance which he carries in his right hand. The essential pose of the body remains the same. Rosa’s individual studies for the ‘Figurine’ are characteristic of his graphic style in general. They are all drawn with swift pen strokes and feather-light touches of wash and they all display the same economy of line from which they derive their spontaneity and vigour. Rosa’s inspiration for the ‘Figurine’ stems from the etched work of Jacques Callot (1592-1635) and Stefano della Bella (1610-1664). The figures, many of whom are soldiers, are frequently turned away from the spectator, as in this drawing, as if secretly brooding some plot or conspiracy. As Dr Mahoney pointed out in the Hayward Gallery’s 1973 ‘Salvator Rosa Exhibition Catalogue’, the ‘Figurine’ gave Rosa the opportunity ‘to express several of his most important artistic attitudes, his most obsessive desire to be known as a master of the human figure in all of its aspects… and his wish to display his originality of invention, his ‘capriccio’’.Please refer to department for condition report
Lot 82
Giovanni Battista Piranesi, Italian 1720-1778- The Sawhorse, plate XII from "Carceri d'Invenzione"; etching with engraving on laid paper, without watermark, the sheet 44.6 x 58.8 cm. Provenance: The estate of the late designer Anthony Powell. Literature: Focillon 35; Hind 12; Robison 38. Note: see https://www.royalacademy.org.uk/art-artists/work-of-art/the-sawhorse.With wide margins and the usual central vertical fold. A tear in the sheet lower right.
Lot 598
20thC School. Caen St Etienne, etching print, 30cm x 21cm, J. W. (20thC) Cottage on a summer's day, watercolour, Alan Oliver watercolour, other similar pictures, prints, frames, Tony Wistin Concentration Graphite portrait, various others by local artists, David Bell print, Trevor Dakin shopping print, David C. Bell limited edition print and another H Prospector, London. (a quantity)
Lot 228
* Aldin (Cecil Charles Windsor, 1870 - 1935). A Most Popular Gentleman (Spaniel), etching, signed in pencil by the artist to the lower right, limited edition 31/100, two small 'white spots', one affecting the image and one in the upper right margin, 265 x 210 mm, mounted, framed and glazedQTY: (1)
![* Piranesi (Giovanni Battista, 1720-1778). Colonna Antonina, First Paris edition [1800 -07], uncoloured etching on laid of th](https://cdn.globalauctionplatform.com/2387bab2-4269-4067-987a-af3a01109e57/1e1d1392-0e32-45eb-bb90-af4000b0f370/468x382.jpg)
![* Piranesi (Giovanni Battista, 1720-1778). Veduta del Palazzo Odescalchi, First Paris edition [1800 - 07], uncoloured etching](https://cdn.globalauctionplatform.com/2387bab2-4269-4067-987a-af3a01109e57/bfb9063d-9fab-4874-a2be-af4000b0f41a/468x382.jpg)
Lot 276
* Piranesi. (Giovanni Battista 1720-1778). Veduta della Facciata di dietro della Basilica di S. Maria Maggiore, First Paris edition [1800- 07], uncoloured etching on laid, originally published in the ' Vedute di Roma', large margins, slight creasing, some dust soiling to the margins, 410 x 615 mmQTY: (1)NOTE:Hind 10, state 3.
Lot 277
* Piranesi. (Giovanni Battista 1720-1778). Veduta della Gran Curia Innocenziana edificata sulle rovine dell' Anfireatro di Statilio Tauro, che formano l'odierno Monte Citorio..., First Paris edition [1800 - 07], uncoloured etching on laid, large margins, slight dust and finger soiling to the margins, 400 x 620 mmQTY: (1)NOTE:Hind 23, state 2.
Lot 478
Sir Alfred East RA (1849 - 1913) - "Storm in the Cotswolds", No. 48 in the 'Etchings of Sir Alfred East at The Leicester Galleries, London, 1914, monogrammed within the plate, copper-plate etching, 34cm x 39cm, mounted and framed; another two, "Shepherd in a Clearing" and "Stow in the World", each monogrammed within the plate, posthumous strikes from the 1914 exhibition, (3) Provenance: Previously with Savage Fine Art, their labels to verso. A clean impression. The lower-left margin with an old crease. The margins of the plate toned. The others good. Slight wear to frames.
Lot 100
After Francis Calcraft Turner (.1782-1846)'Battue Shooting', an etching with aquatint c.1840, engraved by G.A. Turner, mounted framedwithin mount 45 x 56.5 cm., overall 66.2 x 78.2 cmCondition:Overall fair condition commensurate with age. Small nick to sky. Some marks overall toning to margins
Lot 308
§ AUGUSTUS EDWIN JOHN (WELSH 1878-1961) QUINCY 2 - 1919 Etching, ed. 50, signed in pencil to margin, and two further etchings by the same hand, 'Old Arthy - 1902' etching, ed. 25, signed in pencil to margin, signed in plate, and 'Stephen Granger -1906,' etching, signed in pencil, signed in plate Dimensions:plate size 12.5cm x 10cm (5in x 4in); 20cm x 13.5cm (8in x 5.25in); 14cm x 12.5cm (5.5in x 5in)Provenance:Provenance: Collection of the late Sir Richard Shepherd, MP
Lot 27
This example with narrow single edged fullered, slightly curved blade decorated with a VR entwined cypher surmounted by crown. Gilt metal hilt with crowned VR cypher, shagreen grip and twist wire binding. Housed in original correct narrow steel scabbard fitted with two loose rings. Etching faint to parts.
Lot 45
British 1796 Pattern Infantry Officer’s Sword. 32 1/4 inch, single edged blade with large fuller. Traces of crowned GR cypher and foliage etching. Gilt brass, double shell guard with folding rear section. Gilt brass, D shape knuckle bow, floral quillon and urn pommel. Silvered wire bound grip. Edge repairs and pitting to blade.
Lot 54
Rare 21st Regiment Royal Scots Fusiliers Special Pattern 1822 -68 Sword32 1/4 inch, single edged, pipe back, quill point blade. Faint traces of etching. Gilt brass, 3 bar guard with thistle edged scroll "Royal Scots Fusiliers" and lower motto scroll. Central thistle flaming grenade with "21". Gilt brass, thistle decorated pommel and backstrap. Shagreen covered grip with twist wire binding. Contained in its brass scabbard with two loose hanging rings.
Lot 62
Victorian British Infantry Officer's Sword. A regulation pattern example. Hilt with crowned VR cypher guard enclosing a shagreen, twist wire bound grip. Complete with scabbard. PLEASE NOTE the sword with age wear, the blade and guard has been cleaned no etching remains, leather to scabbard missing, wood scabbard split.
Lot 65
Early 20th Century Fighting Sword And Spare Blade31 1/4 inch, single edged, narrow, slightly curved blade. Wide fuller. Gilt brass crossguard and stirrup knuckle bow. Lion mask pommel and backstrap. Shagreen covered grip with wire binding. Together with an early 20th century sword blade. 24 1/2 inch, single edged, narrow blade with wide fuller. Traces of floral etching with stand of arms.
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