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Lot 222
A mixed lot comprising:Carly Coomer - a signed pair in pen and wash, 'Leaping Hare' and 'Running Stag' (frame sizes 27cm x 33.5cm);Tiny Nijman S.W.A. - an etching, 'Train Crossing Bridge' (1 of 50) (14cm x 19cm);after Norman Ives and Jean-Michel Folon - two stamped Melinex foils from the ICI 'Reflections' series (each 24.5 square cm and boxed together);a circa 1825 map engraving, 'Gloucestershire', published by Pigot & Co, 17 Basing Street, London.
Lot 58
‡ EDGAR HOLLOWAY limited edition (27/50) etching - entitled 'Self Portrait No. 25: Goodbye to all that!', etching after a 1947 drawing, signed fully in pencil Dimensions: 21 x 17cmsProvenance:private collection Ceredigion, consigned via our Cardiff officeCondition Report:framed and glazed, no problems
Lot 7
‡ DAVID CARPANINI limited edition (28/30) monochrome etching - three figures standing on a pavement casting long shadows, entitled 'Tomorrow's Dust', signed Dimensions: 28 x 17cmsProvenance:private collection Carmarthenshire, consigned via our Carmarthen officeCondition Report:framed and glazed
Lot 1087
Hilary Paynter (b.1943)"Tynemouth Priory"Limited edition print, signed and numbered 33/50; Clare Turner, "Brown Hare", etching, Maria Caisley, "Strong Woman", limited edition linocut, signed and numbered IV/X, 21.5cm by 26.5cm, 22cm by 17cm and 74.5cm by 55cm respectively, together with a watercolour still life, signed Marina Kuznetsova? and dated 2004, another contemporary watercolour of flowers in a mug, two pen and ink works by Gordon Close, an abstract watercolour and a print after Margaret Russell, "Watching the Heron at Kew", various sizes (9)
Lot 272
Kunstnachlass, 10 Arbeiten von: Jean Michel Basquiat, Elvyra Katalina Kriaučiūnaitė (Lithuania), Bruce Onobrakpeya (Nigeria), Dieter Olaf Klama, Johannes Heisig, Günther Huniat, meist in Galerierahmungen, daher für Selbstabholer - kein Versand !!Jean Michel Basquiat, 1960 - New York - 1988, "Puzzle", Giclee-Druck auf Lwd.,56 x 195 cm -- Elvyra Katalina Kriaučiūnaitė, 1942 Buenos Aires - lebt und arbeitet in Vilnius, bedeutende litauische Grafikerin, 2 Blatt aquarellierte Prägedrucke (sign. & numm. Unikate je 2/15) -- Bruce Onobrakpeya, 1932 Agbarha-Otor in Bendel State, aufgewachsen im Nigerdelta, ab 1957 Kunststudium in Zaria, bedeutender nigerianischer Maler und Bildhauer, "Fligth to Egypt III", "deep etching", sign. u. dat. 1982 (He has exhibited at the Tate Modern in London, the National Museum of African Art of the Smithsonian Institution in Washington, D.C. and at The National Gallery of Modern Art, Lagos. His works can be found at the Virtual Museum of Modern Nigerian Art) -- Dieter Olaf Klama, 1935 Hindenburg - 2021 Waal, deutscher Grafiker und Maler, Ein Frauenakt wird bemalt, große sign. Farblithographie 6/100, in Galerierahmung -- Johannes Heisig, *1953 Leipzig, deutscher Maler, Zeichner und Grafiker in der sozialkritischen Tradition des Realismus, "Was`n los", sign. Lithographie, 154/200, in Galerierahmung -- Rolf Kilian, *1963 Marburg, dtsch. Maler & Graphiker, 1983-84 Studium an der Freien Kunstschule Stuttgart, 1984-90 Studium an der Staatlichen Akademie der Bildenden Künste Stuttgart bei Peter Grau, Horst Bachmayer und Rudolf Haegele, 1994 Gründung der Künstlergruppe maximal, Abstrakt, 2 sign. Farboffsets in Galerierahmen -- Günther Huniat, *1939 in Thammühl, deutscher Maler und Grafiker, "Dein Körper, eine Landschaft - Eva", sign. Farblithographie, 2/25, in Galerienrahmung, dazu Unleserl. von 1991, abstrakte Landschaft in Gelb/Silber, übermalte Farblithographie (Unikat 1/5), im Metallrahmen
Lot 303
Franz Otto Robert Kasimir (Austrian/American, 1914-2002). Etching depicting the Yale University quad in New Haven, Connecticut. Pencil signed along the lower margin. Robert Kasimir was the son of Tanna and Luigi Kasimir.Sight; height: 16 in x width: 10 3/4 in. Framed; height: 22 in x width: 16 in.
Lot 304
Adrian Wiszniewski (Scottish, b. 1958). Group of two etchings on paper. One etching in pink titled "Tightrope" depicting a man balancing precariously on a rope. One untitled etching in blue depicting a man holding a scroll and cane standing next to a tree in a landscape. Both pencil signed along the lower right and numbered 1/25 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 9 3/4 in x width: 7 3/4 in. Framed; height: 17 1/2 in x width: 15 1/2 in.
Lot 307
Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). 18th century posthumous etching on paper titled "Adoration of the Shepherds with Lamp," depicting the shepherds gathered around the Virgin Mary and infant Jesus. Signed in the plate along the lower center.Sight; height: 4 in x width: 5 1/4 in. Framed; height; 17 1/2 in x width: 18 1/2 in.
Lot 308
Pierre Auguste Renoir (French, 1841-1919). Color etching on paper titled "Gabrielle et Jean," depicting a woman playing with a child. The woman is Gabrielle Renard (French, 1879-1959), a faithful household servant to the Renoirs, and the child is the artist's son, Jean, who would later go on to be a successful cinematographer.Sight; height: 9 x width: 7 1/2 in. Framed; height: 28 1/4 in x width: 24 in.
Lot 335
Henry "Henno" Michael O’Connor (American, 1891-1975). Ashcan school watercolor on artist's paper depicting a stirring WWII battle scene showing the horrors of war and the individual’s heroic reckoning with certain death and the ‘never-back-down’ mentality of American spirit, ca 1940s.Lot Essay:Henry Michael O’Connor was born in Brookline, Massachusetts on March 5, 1891. Early references allude to O’Connor’s skill as a boxer, a favorite sport and source of revenue for his education. He studied at the Massachusetts Normal Art School in Boston and the Boston Museum of Fine Arts School under teachers such as Joseph Pennell, Joseph de Camp, and Frank Benson. O’Connor also assisted Abbot Thayer in Dublin, New Hampshire for two years who then encouraged the young artist to go abroad. In Europe, he studied at the Académie Julian in Paris and practiced etching at the Kensington School in London.Early in his career, O’Connor seems to have been influenced by the Ashcan School of Realists in New York, although he remained active in Boston. The working people and sites of Salem Street in Boston’s North End was a favorite early subject of which he made mostly drawings. His fluid and precise linear quality is evident in several of the early drawings dating from 1914 to1919, which depict working class scenes from Charlestown, Gloucester, and Rockport in addition to Boston. Urban monuments and architecture became more frequent subjects in subsequent works. Some Boston landmarks depicted by O’Connor include Faneuil Hall, State Street, the Massachusetts State House, Harvard, Paul Revere’s House and Trinity Church.Two lithographs dated 1918 provide the first evidence of O’Connor’s activity in New York, although the main body of his New York work begins in the 1920’s. Shortly after the First World War ended, O’Connor opened a studio in the city and soon met Regina Summer, a New York City designer, whom he married in 1924. Due to frequent visits, he was still listed as a Cambridge resident into the 1930’s while he lived and worked in New York City. One of his New York etchings, “Looking from New Jersey to New York†was similarly portrayed by Joseph Pennell and Martin Lewis. O’Connor is also known to have spent time working in Paris in the early 1920’s. Four Parisian etchings appeared at the National Academy of Design in New York City in the 1927 Annual Exhibition.Much of O’Connor’s graphic work reflects his frequent travels. Some of his known trips include Gloucester (MA), Rockport (MA), Philadelphia, Chicago, Memphis, Indianapolis, Paris, London, Nuremberg, Dresden, Rotterdam, Venice, Florence, Siena, and several Canadian cities.As shown in countless prints and drawings, O’Connor was also an avid marine enthusiast. He shared this interest with friend and author Jim Connolly and provided illustrations for two of his volumes, “The Book of Gloucester Fishermen†(New York: The John Day Company, 1927) and “Navy Men†(New York: The John Day Company, 1939). He also designed the cover for the November 1938 issue of ASIA, published by the American Asiatic Foundation. His affiliation with the naval community as a petty officer earned him a portrait painting commission for six naval officers in NACAL. A portrait of Admiral Charles Wellborn Jr. may be located at the United States Naval College in Norfolk, Virginia.Other O’Connor sitters include Franklin Delano Roosevelt, Governor Charles Hurley, Dr. William O’Hanlon (reportedly located at the Margaret Hague Hospital in Jersey City, New Jersey) the Honorable Joseph Tallent, and James Roosevelt. The Roosevelt picture was reported to be somewhere in Boston, Massachusetts, though it is not clear whether this refers to the James or Franklin D. Roosevelt portraitHenry O’Connor died suddenly on February 25, 1975. Funeral services were held in Cambridge Massachusetts, and he may have been buried at the site of the Lakewood Cemetery Association.Sight; height: 23 in x width: 17 1/2 in. Framed; height: 32 1/4 in x width: 26 1/4 in.
Lot 409
Robert M. Ellis (American, 1922-2014). Aquatint and etching monoprint on paper titled "Cristobal Valley No. 10 (Ghost)," depicting a birds-eye-view of a southwestern landscape, 1981. Signed along the lower right quadrant; titled along the lower left quadrant.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 24 1/2 in x width: 24 in. Framed; height: 29 1/4 in x width: 29 in.
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).
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