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Click here to subscribeMichael Foreman (1938), limited edition wood etching and aquatint on copper on Arches paper, An Egyptian Landscape, signed and numbered in pencil, Ed. 190/500. The copper plates were hand pulled on 270 gsm Arches paper. Since graduating from the Royal College of Art, Michael Foreman has illustrated over 170 books and twice won the Kate Greenaway Medal
JOHN CHARLES ROBINSON (1824-1913). Stormy coastal landscape, signed in pencil lower right, etching on paper, framed and glazed, 19 x 30 cm, together with P. HARRIS. 'The Malverns from Croome D'Abitot', signed in pencil lower right, artists proof etching on paper, framed and glazed, 32 x 23 cm, HERBERT WHATLEY. 'The Cat Band', signed in print, print on paper, framed and glazed, 10 x 17 cm, and indistinctly signed horse racing scene, signed in pencil lower right, woodcut on paper, framed and glazed 5 x 7 cm (5)
Peter Lely, 1618 – 1680, Kreis desPortrait des James Cecil, 5. Earl of Salisbury (1691 – 1728)Öl auf Leinwand. Doubliert.126 x 101 cm.Links unten betitelt „The Earls of Salisbury“.In vergoldetem Prunkrahmen.Im Zentrum der in einem Innenraum an einem steinernen Podest mit Wappenrelief stehende James Cecil. Er trägt antikisierende Kleidung mit goldenen Sandalen, an der Hüftseite einen Degen sowie einen blauen langen Umhang mit Goldrand. Auf dem Podest ist zudem ein mit Federn besetzter Helm abgelegt. Der Dargestellte hat ein zartes Inkarnat, gerötete Wangen und schaut bei würdevoller Haltung mit seinen dunklen Augen aus dem Bild heraus. Nach rechts fällt der Blick ins Freie auf einen Springbrunnen vor einer Brüstung unter blauem Himmel. James Cecil ist wohl hier als vier- oder fünfjähriger Junge dargestellt, zu einem Zeitpunkt, als er beim Tod seines Vaters dessen Adelstitel als Earl of Salisbury, Viscount Cranborne und Baron Cecil erbte. Anmerkung 1:Es existiert eine fast identische, jedoch seitenverkehrte Mezzotintoradierung des Dargestellten von John Smith (1652-1743), die auf 1695 oder 1696 datiert wird. (1300451) (18)Peter Lely, 1618 – 1680, circle ofPORTRAIT OF JAMES CECIL, 5TH EARL OF SALISBURY (1691 – 1728)Oil on canvas. Relined.126 x 101 cm.Titled “The Earl of Salisbury“ lower left.Notes:There is an almost identical but inverted mezzotint etching of the depicted by John Smith (1652-1743), dating to 1695 or 1696.
Paul Gauguin, 1848 Paris – 1903 Atuona auf Hiva Oa, Französisch-PolynesienDolch mit Scheide in BronzeGesamtlänge: 34,5 cm. Dolch ohne Scheide: 30,5 cm.Feine figürliche Radierung und Signatur „P. Go“.Aufgelegt auf Acryl-Sockelung.Beigegeben zwei Expertisen: eine von Douglas Cooper, Monte Carlo, 29. März 1985, sowie eine von Cl. Raimond Lépine, Paris, 14 Januar. Gauguin schuf das Modell zu diesem Dolch nach Vorbildern des Kunsthandwerks der polynesischen Kultur. Das Interesse an der Schaffung eines solchen Gegenstandes erklärt sich nicht zuletzt dadurch, dass Gauguin zeitlebens ein passionierter Fechter war. Der Griff plastisch gestaltet mit erkennbaren Fabelwesen. Die zweischneidige Klinge in Eisen. Die Scheide röhrenförmig, entsprechend eines Bambusrohres, leicht geschweift, daran feine figurative Ätzungen sowie die Signatur „P. Go“.Anmerkung:Douglas Cooper verweist in seiner Expertise auf die Kurzsignatur, die Gaugin auch auf seinen Gemälden erstmalig ab 1888 für einen Zeitraum von fünf oder sechs Jahren verwendete, eine Datierung der Form zwischen 1887 und Ende 1889 liegt deshalb nahe.Literatur:Gaston Varenne, Les bois grave‘s et sculpte‘s de Paul Gauguin, in: La Renaissance de l‘art français et des industries de luxe, Nr. 12, Dezember 1927, mit Text und Abbildung des Objektes, in Kopie beigegeben. (1330651) (1) (11)Paul Gauguin,1848 Paris – 1903 Atuona at Hiva OA, French PolynesiaDAGGER WITH BRONZE SCABBARD Total length: 34.5 cm. Dagger excl. scabbard: 30.5 cm.Fine figural etching and signature “P. Go”.Placed on acrylic base. Accompanied by two expert’s reports, one by Douglas Cooper, Monte Carlo, 29 March 1985, the other by Cl. Raimond Lépine, Paris, 14 January. Gauguin created the model for this dagger based on Polynesian crafts. The handle is designed three-dimensionally with recognizable mythical creatures and a double-edged iron blade. The scabbard is tubular, like a bamboo cane, slightly curved, with fine figurative etchings and the signature "P. Go". Notes: In his report Douglas Cooper refers to the short signature that Gauguin also used on his paintings for the first time from 1888 for a period of 5 or 6 years, so a dating between 1887 and the end of 1889 seems likely.Literature:Publication Direction Henry Lapauze, La Renaissance de l’art français, December 1927, with text by Gaston Yarenne, and illustration of the object (copy enclosed).
Wilhelm Friedrich Kuhnert (German, 1865-1926)In the Jungle - Tigers signed 'Wilh. Kuhnert' (lower left)oil on panel37 x 62.5cm (14 9/16 x 24 5/8in).Footnotes:ProvenanceWith The Fine Art Society, London, May 1911, no. 34.Anon. sale, Sotheby's, New York, 2 December 2005, lot 155.Private collection, UK (acquired from the above sale).Unlike many of his contemporaries, Wilhelm Kuhnert often worked directly from nature taking hours to track down his subjects and then sketching the animals in the wild rather than in zoos. He is best known for his striking pictures of lions and tigers, captured in their natural environment, and portrayed in all their majesty. After graduating from Berlin University of the Arts in 1887, Kuhnert travelled widely to Scandinavia, Egypt, East Africa and India. Kuhnert was an outstanding draughtsman and a prodigiously talented artist, equally at ease with a minutely detailed etching as he was working on his oils. His work is characterised by a blend of rapid execution combined with anatomical accuracy - reputedly he never used an eraser on a single drawing or made any corrections to any of his 137 etching plates.The present lot shows Kuhnert at his absolute best. The tigers are likely those observed whilst on his travels in India, and he has chosen to show them at a moment of rest. Here we can clearly see his distinctive blending of speed and detail, with the focal tiger being highly finished, with beautifully rendered fur, whilst the other tiger and the background have been achieved with greater immediacy. This creates an effect similar to that of a glance and pushes focus on to the central tiger.For further information on this lot please visit Bonhams.com
Ben Nicholson (British, 1894-1982)Still Life with Grey (Lafranca 83) Etching and aquatint printed with tone, 1967, on wove, signed, dated and numbered 18/50 in pencil, published by Marlborough Fine Arts, London, with the Lafranca blindstamp, with full margins, 350 x 338mm (13 3/4 x 13 1/4in)(PL)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Man Ray (American, 1890-1976)Letter A (L'A); Magie de L'image Etching and aquatint printed in colours, 1971, on Arches, signed and numbered 75/100 in pencil, with full margins, 505 x 605mm (19 7/8 x 23 7/8in)(SH); together with 'Magie de L'image', etching and aquatint printed in colours, 1971, on Arches, signed and numbered 18/100 in pencil, with full margins, 665 x 505mm (26 1/4 x 19 7/8in)(SH)(unframed)(2)For further information on this lot please visit Bonhams.com
Man Ray (American, 1890-1976)Monocopter; Kiki (Anselmino 7; 19) Etching and aquatint printed in colours, 1971, on Arches, signed and numbered 26/100 in pencil, with full margins, 660 x 503mm (26 x 19 7/8in)(SH); together with 'Kiki', etching and aquatint printed in colours, 1971, on Arches, signed and numbered 21/100 in pencil, with full margins, 657 x 502mm (25 7/8 x 19 3/4in)(SH)(unframed)(2)For further information on this lot please visit Bonhams.com
After René Magritte (Belgian, 1898-1967)Untitled (Pear and Rose), from 'Les Moyens d'Existence (Livelihood)' (Kaplan/Baum 20) Etching and aquatint printed in colours, 1968, on Japan nacré, inscribed 'P/150' in pencil, a proof aside from the total edition of 450, printed and published by Georges Visat, Paris, with the Atelier René Magritte blindstamp, the full sheet, 278 x 226mm (11 x 8 7/8in)(SH)For further information on this lot please visit Bonhams.com
Ben Nicholson (British, 1894-1982)Half Mug, Half Jug (Lafranca 96) Etching printed with tone, 1967, on wove, signed, dated and numbered 18/50 in pencil, published by Marlborough Fine Art, London, with the Lafranca blindstamp, with full margins, 250 x 185mm (9 7/8 x 7 1/4in)(PL)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sol LeWitt (American, 1928-2007)Plate Six, from 'Pyramids' (Krakow 1987.03) Etching and aquatint printed in colours, 1987, on wove, signed and inscribed 'A.P. 9/10' in pencil, one of ten artist's proofs aside from the numbered edition of 19, published by Parasol Press, Ltd., New York, with full margins, 590 x 900mm (23 1/4 x 35 1/2in)(SH)For further information on this lot please visit Bonhams.com
Sam Francis (American, 1923-1994)Salmon (Lembark I.9; SFE-4B) Etching and aquatint printed in colours, 1973, on wove, signed and inscribed 'AP 8/11' in pencil, one of eleven artist's proofs aside from the numbered edition of 45, printed by Stamperia 2RC, Rome, published by 2RC Edizioni d'Arte, Rome, with their blindstamp, with full margins, 635 x 890mm (25 x 35in)(SH)(unframed)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
Jim Dine (American, born 1935)Blue Haircut (W.C. 151) Etching with offset lithograph printed in colours, 1972-3, on J. Green mould-made, signed, dated and numbered 75/75 in pencil, printed by Maurice Payne, London, published by Petersburg Press, London, with full margins, 850 x 693mm (33 1/2 x 27 1/4in)(SH)(unframed)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
Jim Dine (American, born 1935)Red Raven III (Carpenter 147) Woodcut and soft-ground etching printed in black and blue, 2000, on wove, signed, dated and numbered 4/10 in pencil, printed by Julia D'Amario and Ruth Lingen, Pace Editions, Inc., New York, 787 x 864mm (31 x 34in)(SH)For further information on this lot please visit Bonhams.com
Jim Dine (American, born 1935)Souvenir (W.C. 170) Etching, 1974, on handmade Richard de Bas Auvergne, signed, dated and numbered 46/75 in pencil, printed by Alan Uglow and Winston Roeth, published by Petersburg Press, New York, with full margins, 600 x 450mm (23 5/8 x 17 3/4in)(PL)(unframed)For further information on this lot please visit Bonhams.com
Ben Nicholson (British, 1894-1982)Complex of Goblets (Lafranca 98) Etching printed with tone, 1968, on wove, signed, dated and numbered 10/50 in pencil, published by Marlborough Fine Art, London, with the Lafranca blindstamp, with full margins, 215 x 187mm (8 1/2 x 7 3/8in)(PL)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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