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Lot 354
GAIL KELLY,QUIET SHORES,coloured etching on paper, signed, titled and numbered 29/100,overall size 29cm x 29cm,mounted, framed and under glass, along with a Scottish school, Still Life Of FLowers In A Green Vase, pastel on paper, signed Hargreaves, overall size 75cm x 55cm, mounted, framed and under glass, Vivian Manthel-French, Still Life With Flowers, watercolour on paper, signed and dated '97, overall size 61cm x 52cm, mounted and unframed and Dorothy F Sweet, A Glimpse Of Windermere, watercolour on paper, signed and titled, 25cm x 35cm, mounted, framed and under glass (4)
Lot 212
§ STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) LE COUPLE - 1952 Color engraving, soft-ground etching and scorper, 2/2, signed, numbered and inscribed 'son japan' in pencilDimensions:the sheet 56.5cm x 41.5cm (22.25in x 16.25in)Note: Note: Stanley William Hayter is considered one of the most significant printmakers of the 20th century, with associations to the period’s key artistic movements, Surrealism and Abstract Expressionism.Although born into an artistic family, Hayter originally studied chemistry and geology in London, before being posted to Iran while employed by an oil company. While stationed there he contracted malaria and fell seriously ill. He was sent home to recuperate and during this time the company arranged to hold a small exhibition of his work at their London headquarters, showcasing pieces he had made while abroad. The exhibition was a big success, with the majority of works sold, and it is thought it was this that encouraged him to pursue a career as an artist more seriously. The next year, he moved to Paris to undertake further artistic study at Académie Julian and started working in printmaking. In 1927 he opened a printmaking studio, that became known as Atelier 17, with the aim of creating an environment to celebrate, promote and evolve printmaking through collaboration and experimentation rather than strict techniques and hierarchies. It was a great success, ultimately attracting key artistic figures of the time including Picasso, Giacometti, Miro and Chagall.Meanwhile, Hayter continued to evolve and innovate his own techniques, particularly ‘simultaneous colour printing’ or ‘viscosity printing,’ the layering of varying viscosities of oil-based inks, using rags, stencils and rollers, onto a single plate. This allowed Hayter to print multiple layers of colour and texture in a single pulling. He was able to be gestural and fluid, and to work with improvisation rather than undertaking a more traditionally rigorous approach. When war spread across Europe, Hayter moved the successful studio out of Paris to New York. His reputation preceded him and he attracted significant American artists such as Calder, Pollock and Rothko to collaborate. His fluid and spontaneous approach gained a lot of traction and began to spread through artistic teaching in America. Constantly innovating through all different periods of his life, Hayter collaborated with artists to make prints that were sold to raise funds for the republican cause in the Spanish Civil War and then as part of the Second World War effort, he collaborated with British artist and historian Roland Penrose to set up a commercial camouflage business, the Industrial Camouflage Research Unit.Voraciously prolific, it is thought that Hayter made around 460 prints in his lifetime, working in Paris from 1950 up until his death in 1988. He was widely honoured in his lifetime, being awarded a CBE in the U.K. and the Légion d'honneur in France and since his death the atelier has continued, now under the name Atelier Contrepoint. We are delighted to be offering a small selection of Hayter’s work in print from the early 1950s, a period of lyrical action in his work, which showcase the vibrancy and versatility of the medium in his creative hands.
Lot 214
§ STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) PEGASE - 1951 Engraving and soft ground etching with color stencils, 8/50, signed, dated and numbered in pencil to marginDimensions:the sheet 31.5cm x 44cm (12.5in x 17.25in)Note: Note: Stanley William Hayter is considered one of the most significant printmakers of the 20th century, with associations to the period’s key artistic movements, Surrealism and Abstract Expressionism.Although born into an artistic family, Hayter originally studied chemistry and geology in London, before being posted to Iran while employed by an oil company. While stationed there he contracted malaria and fell seriously ill. He was sent home to recuperate and during this time the company arranged to hold a small exhibition of his work at their London headquarters, showcasing pieces he had made while abroad. The exhibition was a big success, with the majority of works sold, and it is thought it was this that encouraged him to pursue a career as an artist more seriously. The next year, he moved to Paris to undertake further artistic study at Académie Julian and started working in printmaking. In 1927 he opened a printmaking studio, that became known as Atelier 17, with the aim of creating an environment to celebrate, promote and evolve printmaking through collaboration and experimentation rather than strict techniques and hierarchies. It was a great success, ultimately attracting key artistic figures of the time including Picasso, Giacometti, Miro and Chagall.Meanwhile, Hayter continued to evolve and innovate his own techniques, particularly ‘simultaneous colour printing’ or ‘viscosity printing,’ the layering of varying viscosities of oil-based inks, using rags, stencils and rollers, onto a single plate. This allowed Hayter to print multiple layers of colour and texture in a single pulling. He was able to be gestural and fluid, and to work with improvisation rather than undertaking a more traditionally rigorous approach.When war spread across Europe, Hayter moved the successful studio out of Paris to New York. His reputation preceded him and he attracted significant American artists such as Calder, Pollock and Rothko to collaborate. His fluid and spontaneous approach gained a lot of traction and began to spread through artistic teaching in America. Constantly innovating through all different periods of his life, Hayter collaborated with artists to make prints that were sold to raise funds for the republican cause in the Spanish Civil War and then as part of the Second World War effort, he collaborated with British artist and historian Roland Penrose to set up a commercial camouflage business, the Industrial Camouflage Research Unit.Voraciously prolific, it is thought that Hayter made around 460 prints in his lifetime, working in Paris from 1950 up until his death in 1988. He was widely honoured in his lifetime, being awarded a CBE in the U.K. and the Légion d'honneur in France and since his death the atelier has continued, now under the name Atelier Contrepoint. We are delighted to be offering a small selection of Hayter’s work in print from the early 1950s, a period of lyrical action in his work, which showcase the vibrancy and versatility of the medium in his creative hands.
Lot 215
§ STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) WARRIORS - 1953 Color engraving, soft-ground etching and scorper, 165/200, signed, dated, titled and numbered in pencil to marginDimensions:the sheet 57cm x 42.5cm (22.5in x 16.75in)Note: Note: Stanley William Hayter is considered one of the most significant printmakers of the 20th century, with associations to the period’s key artistic movements, Surrealism and Abstract Expressionism.Although born into an artistic family, Hayter originally studied chemistry and geology in London, before being posted to Iran while employed by an oil company. While stationed there he contracted malaria and fell seriously ill. He was sent home to recuperate and during this time the company arranged to hold a small exhibition of his work at their London headquarters, showcasing pieces he had made while abroad. The exhibition was a big success, with the majority of works sold, and it is thought it was this that encouraged him to pursue a career as an artist more seriously. The next year, he moved to Paris to undertake further artistic study at Académie Julian and started working in printmaking. In 1927 he opened a printmaking studio, that became known as Atelier 17, with the aim of creating an environment to celebrate, promote and evolve printmaking through collaboration and experimentation rather than strict techniques and hierarchies. It was a great success, ultimately attracting key artistic figures of the time including Picasso, Giacometti, Miro and Chagall.Meanwhile, Hayter continued to evolve and innovate his own techniques, particularly ‘simultaneous colour printing’ or ‘viscosity printing,’ the layering of varying viscosities of oil-based inks, using rags, stencils and rollers, onto a single plate. This allowed Hayter to print multiple layers of colour and texture in a single pulling. He was able to be gestural and fluid, and to work with improvisation rather than undertaking a more traditionally rigorous approach. When war spread across Europe, Hayter moved the successful studio out of Paris to New York. His reputation preceded him and he attracted significant American artists such as Calder, Pollock and Rothko to collaborate. His fluid and spontaneous approach gained a lot of traction and began to spread through artistic teaching in America. Constantly innovating through all different periods of his life, Hayter collaborated with artists to make prints that were sold to raise funds for the republican cause in the Spanish Civil War and then as part of the Second World War effort, he collaborated with British artist and historian Roland Penrose to set up a commercial camouflage business, the Industrial Camouflage Research Unit.Voraciously prolific, it is thought that Hayter made around 460 prints in his lifetime, working in Paris from 1950 up until his death in 1988. He was widely honoured in his lifetime, being awarded a CBE in the U.K. and the Légion d'honneur in France and since his death the atelier has continued, now under the name Atelier Contrepoint. We are delighted to be offering a small selection of Hayter’s work in print from the early 1950s, a period of lyrical action in his work, which showcase the vibrancy and versatility of the medium in his creative hands.
Lot 242
§ VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) SANS TITULO - 1972 Etching with aquatint, 264/400, signed with initials and numbered in pencil, published by 2RC Workshop, Rome, with their blindstamp, produced as the jacket for the artist's catalogue raisonné by Bowness and LambertiniDimensions:the sheet 33cm x 62cm (13in x 24.5in), unframed
Lot 282
§ SALVADOR DALI (SPANISH 1904-1989) FEMME-FLEURS AU PIANO, FROM HIPPIES - 1970 Etching with hand-colouring on japan paper, LXIII/C, signed and numbered in pencil to margin, with artist's signature blindstamp, published by P. Argillet, printed by Atelier Robbe, ParisDimensions:plate size 39.5cm x 31.5cm (15.5in x 12.5in)
Lot 285
§ DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH 1931-2021) JAPANESE GARDEN II - 2005 Etching, Printer's Proof, aside from the ed. of 50, signed and editioned in pencil to margin, published by the Glasgow Print StudioDimensions:plate size 37.5cm x 54cm (14.75in x 21.25in)
Lot 304
§ SIR TERRY FROST R.A. (BRITISH 1915-2003) LORCA SUN (KEMP 130) - 1991 Etching with lithography, 3/25, signed, dated and editioned in pencil to margin, printed by Hugh Stoneman and Alan Cox at the Print Centre, London, published by the artist, NewlynDimensions:plate size 56cm x 37.5cm (22in x 14.75in)
Lot 269
Five topographical prints comprising 'The SouthWest Prospect of Birmingham in the County of Warwick', with further information below, 28.5 x 79cm, 'A Perspective View of Venice', 29 x 43cm, a coloured etching inscribed 'Peter's Church', also inscribed in pencil to the margin 'Church Lane' and indistinctly signed, 33 x 21cm, an etching of a bridge and a cathedral, signed in pencil to the margin David Law, 23 x 32cm and a contemporary coloured signed limited edition print by John R. Oakenden, signed lower right, numbered and titled '9/550 Lower Heswall' to the lower left margin, 30 x 42cm, all framed (5).
Lot 289
A small mixed lot of pictures and prints including a miniature silhouette in ebonised framed, a further silhouette inscribed below 'Horatio Nelson' and signed in pencil 'JG', in ebonised frame, a small Victorian rosewood frame containing six wax seal stamps, a framed pot lid 'The Time' (af), a small map for the road from 'Carlisle to Rarwick in the North and East Riding of Yorkshire', 19 x 12cm, an etching of Napoleon Bonaparte, indistinctly signed to the margin, a small print of a harbour scene, indistinctly signed and dated 1853, an early 19th century print of George III by Rosenberg & Son, a print of HMS Britannia entering Portsmouth 1835, a print titled 'The End of An Era', depicting HMS London leaving the Grand Harbour in Malta, all framed and glazed, also a half boat block mounted on a plinth, bearing plaque 'Falmouth Working Boat 1890' (12).
Lot 520
A quantity of early 20th century and later maritime related ephemera, to include sheet music 'Ship Ahoy (All the Nice Girls Love a Sailor)' sung by Miss Hetty King, prints of 'Our Fighting Navy', typed letters and receipt bills for the United States Naval Institute, a print of the Battle of Aboukir 1801, various bands for the warship 'Arethusa', black and white prints of various ships, a photograph of early 20th century Naval family, newspaper cuttings, also a group of thirteen card calendar fronts from Thos. & JAS. Harrison Line of Liverpool, including one duplicate example, also an early 20th century drypoint etching of a scene on the Solent, Queen Victoria's royal yacht sailing toward the Isle of Wight, c1900, signed in the margin lower right, 39 x 26cm, framed and glazed and fourteen Naval related Original Acts of Parliament, dating from 1802 to 1850, which covers 'His Majesty's Royal Marines: The Speedy Payment of Naval Victualling and Transport Bills', 'Concerning the Capture of British Ships', 'Concerning Enemy Goods Seized as Prizes' and 'Concerning Officers of the Customs and Superintendent of Quarantine', 'The Royal Naval Asylum', etc. CONDITION REPORT: There is a lot of foxing and discolouration to the mount of the print and to the etching itself. The Acts of Parliament all appear to be in good condition.
Lot 900
MICHAEL FAIRCLOUGH (SCOTTISH B.1940) ORKNEY, HOY SOUND Mixed media on paper, signed lower right, 13 x 17cm Title inscribed verso Together with another etching titled, The Last Apple Campden, signed 'ARD', and another print, City of London, by John Bryce (3) Condition Report:Available upon request
Lot 272
â–´ Frank Martin (1921-2005) Portrait of Montgomery Clift, 1971 dry point etching on copper, signed 'Frank Martin' in pencil l.r., inscribed 'Montgomery Clift' and numbered 8/15plate 7.5 x 25cmCondition ReportFramed size: 43 x 53cmNot examined out of the glazed frame. Some mount staining to edges of print, otherwise appears to be fine, some marks to the underside of glass/mount.
Lot 7
Chris Orr MBE RA (b.1943)Etching and aquatint"House of Commons", signed, titled and dated 1986, numbered 47/100 within margin, framed and glazed, 37cm x 56cm retains the original purchase receipt from the Royal Academy of Arts Summer Exhibition 1987 with a signed personalised letter thanking the purchaser, dated June 16th 1987
Lot 978
*Lucy Dawson (1867-1954) three pastel and pencil studies of terriers, two initialled, together with a dry point etching by Morgan Dennis, each in glazed frame (4)Dog head 22 x 17.5cm, overall framed size 36.5cm x 32.5cm. Bitch and puppy 18.5 x 29cm, overall framed size 33.5cm x 42.5cm. Other dog 18 x 17cm, overall framed size 31.5 x 29cm. Etching 17 x 21cm, overall framed size 33 x 35.5cm.
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71174 item(s)/page