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Lot 1058
After Daniel King (17th Century)"The North Prospect of the Cathedral Church of Durham""The South Front of the Cathedral Church of Durham"Etching, 19.5cm by 30cm; together with engravings and prints of Yorkshire, Northumberland, Isle of Mull and Isle of Skye, including W. Finden after G. Balmer "Robin Hood's Bay", Fountains Abbey Historical Floor Plan and "The Rookery" (Qty)
Lot 689
Sheffield Artists - Original Contemporary Works - Clare Hughes (Contemporary Sheffield Artist) 'Mere-Land and Water', signed, acrylic on paper, 23cm x 27cm; another, The Force That Through The Green Fuse, signed in pencil, Artists proof, multi plate etching, 30cm x 42cm; Anthea Armitage (Contemporary) Lichen, Verdigris Study signed, watercoloiur with multi-medium, 17cm x 43cm; Jancis Vaughan, Relic I-IV stone, collagraph print, 36cm x 49cm; Olivia Bliss, Scottish Mountain Range, signed in pencil, multi-medium, 34cm x 75cm, etc qty (8)
![Full title: Henri Matisse (1869-1954): 'La Notre-Dame', etching, [1937]Description:Work: 34 x 25,5 cm Paper: 44 x 36 cm Frame](https://cdn.globalauctionplatform.com/e06938b3-bea1-4720-b866-b04e011618d4/3e1d31c9-f258-46c6-b8aa-b06000dbb679/468x382.jpg)
Lot 1040
Full title: Henri Matisse (1869-1954): 'La Notre-Dame', etching, [1937]Description:Work: 34 x 25,5 cm Paper: 44 x 36 cm Frame: 71,5 x 63 cm Etching from 'PARIS 1937', a luxe book edition with texts about Paris and 62 etchings in black and white by a large number of leading French artists, printed by P. Daragnes in a limited edition of 500 numbered copies and Published by La Ville de Paris.
Lot 1168
Full title: Valerius De Saedeleer (1867-1942) and Jean De Cooman (1893-1949): An animated winter landscape, etching, ed. 23/50, dated 1934Description:Work: 59 x 50,5 cm Paper: 61 x 54,5 cm Frame: 81 x 75,5 cmWork: 45,5 x 39,5 cm Paper: 50,5 x 45,5 cm Frame: 65 x 59,5 cm Added: Valerius De Saedeleer (1867-1942) and Roger Hebbelinck (1912-1987): A winter landscape, etching, ed. 298/350. Printed by Dietrich and Cie, Editeurs - Bruxelles.
Lot 311
Title: Albert Baertsoen (1866-1922): Evening on the dune, Mariakerke-aan-Zee, oil on canvas, ca. 1892Description:Work: 145,5 x 208,5 cm Frame: 152,5 x 217 cm Albert Baertsoen (1866-1922) and James Ensor (1860-1949) were close acquaintances. Baertsoen spent the summers in his spacious 'Villa des Hirondelles' on the seawall and he fully participated in society life in the seaside town. The personal contacts between Ensor and Baertsoen date from 1887 or perhaps earlier, because in 1887 Baertsoen was presented by Ensor with a copy of his etchings 'Le Christ apaisant la tempête' and 'Le verger', the latter with the dedication 'A mon ami Baertsoen, James Ensor 87', which suggests earlier contacts. Later Ensor also gave him a copy of 'Barques echouees'. Both artists were intensely involved with graphics at that time. The slightly older Ensor was probably a stimulating example for Baertsoen, and in any case a source of inspiration. Baertsoen's powerful and virtuoso painted seascapes from that period bear traces of Ensor's art, and he certainly also took a good look at his important etching 'Grande vue de Mariakerke' from 1887, the similarities with this canvas 'Avond op het duin' clearly indicate this. In 1889-1890 Baertsoen would make the church of Mariakerke twice the subject of an etching. One of them was published in 1890 under the title 'Village de Mariakerke' in the third album of the 'Societe des aquafortistes belges' (Brussels, 1890). In this 'Avond op het duin, Mariakerke-aan-Zee', drenched in soft light, Baertsoen shows the dune village at the moment when the evening sun illuminates the gables and the tower of Onze-Lieve-Vrouw-ter-Duinenkerk and the dunes are covered by shadows. When around 1894 the entire site was threatened with demolition as a result of the expansion of Ostend, James Ensor and Albert Baertsoen successfully took on the defense of the dune church. It was restored and later protected as a monument. We would like to thank Prof. dr. Rene Vermeir for this description and additional information (link). Provenance: - Ex-collection Albert Ceuterick, Ghent. - Ex-collection Thermae Palace, Ostende. - Ex-collection De Pesseroey, Deurle. - Private collection, Belgium. Ref.: - The painting has been exhibited at various locations: The Hague (1892), Ghent (1892), Namur (1892), Berlin (1893), Paris (1894), Ghent (1925), Ghent (1972), Vinkem (1984), Hondschoote-Vinkem (2004) and Ghent (2022). - Rene Vermeir, Catalogue raisonne Albert Baertsoen, P.1892/11 (link).
Lot 335
Title: Albert Baertsoen (1866-1922): The Speelmansrei in Bruges, study IV, oil on canvas, early 20th C.Description:89 x 51,5 cm This painting is a well-developed study for the large canvas 'De Speelmansrei in Brugge, septemberlucht' ('Le Quai des Menetriers à Bruges, ciel de septembre'), which Albert Baertsoen presented to the public in 1905. Shortly afterwards it was acquired by the current Groeninge Museum in Bruges, where it is still located. At a young age, Baertsoen was fascinated by Bruges, the faded medieval trading metropolis. He saw with regret how the old, patinated cities in Flanders had to give way to modernity, but in Bruges he still found the authentic past. In cityscapes such as these, Baertsoen expressed the elusive sadness he experienced at the end and transition. Art critics soon picked up on this characteristic feature of his art and increasingly associated it with the theme of la ville morte, a concept he was able to popularize at the end of the 19th century together with the successful author Georges Rodenbach. The Speelmansrei in Bruges is one of Baertsoen's works with a strong symbolic slant. The reflections in the rippleless canal water naturally invite reflections on appearance and reality. The unique framing with a high horizon also emphasizes the water surface. A few years after the death of Albert Baertsoen, this study was donated by his son Jean A. Baertsoen to the Ghent lawyer Albert Ceuterick. He was one of the directors of the textile company Baertsoen and Buysse and was very close to the Baertsoen family. Shortly before his death in 1922, Albert Baertsoen had appointed him as executor of his will. Ceuterick mentions this work in a letter dated January 26, 1930 and kept in the Ghent university library, addressed to the Ghent art critic Frederic de Smet. In it he talks about the oeuvre of his late friend Baertsoen, and he notes, among other things, that he (Ceuterick) "... possede en outre une esquisse, tres poussee, d'un quai à Bruges, non signee ni datee. Cette oeuvre m'a ete offer par Madame Baertsoen, mere, et M. Jean Baertsoen, en ma qualite d'executeur testamentaire". Based on this study, Albert Baertsoen made an etching that bears the number E.1905/03 in the catalogue raisonne of his oeuvre (link). With a certificate from Jean A. Baertsoen, son of the artist (January 1927). We would like to thank Prof. dr. Rene Vermeir for this description and additional information (link). Provenance: - Ex-collection Albert Ceuterick, Ghent. Ref.: - Rene Vermeir, Catalogue raisonne Albert Baertsoen, P.1905/08 (link).
Lot 649
A boxed Xezo Legionnaire cartridge/ converter Fountain pen and ballpoint pen set. Limited Edition fountain pen 335/500 and ballpoint 168/2020. Paying tribute to modern French history, this Xezo model is named after legionnaires, members of the French Foreign Legion. Elements of this series’ design was inspired by the standards of Roman legions and the famous motto “SPQR”, or “Senatus Populusque Romanus”, meaning “The Senate and People of Rome”. Each pen is made of solid brass. The octagonal surface of each pen has “diamond cut” engraving and fine hand etching on 4 sides. The surface of each pen is layered with .999 pure platinum and 18k gold-plated fittings. In as new condition with booklet and converter
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