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Lot 937
Martin Hardie (1875-1952)/The Calvary, Concarneau, 1920/artist's proof etching, 20.25cm x 29.25cml CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 939
Rembrandt van Rijn (1606-1669)/Christ and the Woman of Samaria Among Ruins/etching, 12cm x 10.5cm/see illustration CONDITION REPORT: Quite heavy foxing throughout. Not examined out of frame. Label verso reads Bartsch 71, Hind 122, Second state, pasted to a mount and the margins have been cut
Lot 941
Lawrence Josset (1910-1995)/Christmas Foliage/signed in pencil/wood engraving, 18.5cm x 12.5cm and/Manner of Eduardo Paolozzi/Abstract Composition/etching, plate size 9cm x 6.75cm/Provenance: both items were purchased from the Collection of Lawrence Lee. A label to back of the abstract states this was purchased by Lee at the Royal Academy in the 1990s CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 189
WINIFRED AUSTEN - An original etching of hunter in canoe with dogCONDITION REPORTSignature as per imageCondition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
Lot 134
Harry Thubron (1915-1985) 'Salamanca', lithograph, pencil signed in the margin, dated '78 and numbered 57/70, 46 x 39cm (im), 103 x 74cm (sh); and John Henn (20th century) - 'Orange Roses', etching with aquatint in colours, pencil signed in the margin, titled and numbered 12/75, 45 x 29cm (2)
Lot 122
‡ CHARLES FREDERICK TUNNICLIFFE OBE RA rare etching - titled to margin 'The Herdwick Ram', dated 1930 with printed monogram, signed in pencilDimensions: 20 x 24cmsProvenance:private collection Cardiff, consigned via our Cardiff office, by descent from vendor's father Will Evans of Llangefni, Ynys Mon, a long-standing friend of the artist and Winifred Tunnicliffe through T G WalkerCondition Report:title possibly overwritten, possibly by artist, small tear bottom left corner, not faded, later framed and glazed
Lot 450
WILLIAM WESTON YOUNG hand-coloured etching 'The Gnoll' circa 1835, together with a limited edition (6/1500) 1974 reprint of Young's 'Guide to the Scenery of Glyn Neath' published by Nidian, Trewen and bound by George Tremewan & Sons, SwanseaProvenance:private collection mid-Wales, consigned via our Cardiff officeCondition Report:book in good condition, etching is framed and glazed, unknown red mark to right
Lot 280
Seven framed and glazed prints and engravings:a pair in their original Hogarth frames, 'Hodges Legacy or the Parsons best Friend' and 'Sly Hodge or the Way he Cheated the Parson';'I'll Go to Law';'Coming Home';'The End' after JF Herring; 'Leicester Square from Leicester Place';an etching study of a wagon, indistinctly signed or titled in pencil.
Lot 171
Property from the Collection of Sir Robert Witt CBE FSA (1872-1952)(lots 145, 171, 188, 189, 195)ÉTIENNE DE LA VALLÉE POUSSIN (ROUEN 1735-1802 PARIS)Two putti and a swanpen and ink with wash on paper103 x 144 mm Together with a related etching by Jacques Callot, Cupid riding a swan, printed from the larger plate, The entry of Henri de Lorraine, Marquis de Moy 1627 (Lieure 1927 / Jacques Callot (586.I)).(2)*For a condition report and high-resolution images of this lot, please contact the Paintings Department at paintings@chiswickauctions.co.uk
![VALENTIN LEFEBRE (BRUSSELS 1637-1677 VENICE)The abduction of Europa (after Titian), [1682]etching210 x 300 mm Together with f](https://cdn.globalauctionplatform.com/c3a09b51-5b39-4b04-8d49-aec500b179b2/a429a712-100f-4d9d-b0fc-aec8011cdf9b/468x382.jpg)
Lot 208
VALENTIN LEFEBRE (BRUSSELS 1637-1677 VENICE)The abduction of Europa (after Titian), [1682]etching210 x 300 mm Together with five other prints: title plate from Athanasius Kircher's Mundus Subterraneus, etching, trimmed, 210 x 295mm, 1664; Raymond Lafage, Bacchanale, etching, c.1680; Francesco Zucchi and Nicola Grassi, Saints, etching and engraving, 170x240mm, After Rembrandt, Faust in his study, etching, 171 x 131mm, a 19th-century impression mounted on a card on the reverse of the previous print; After Dürer, St. Hubert, a photogravure. (6)*For a condition report and high-resolution images of this lot, please contact the Paintings Department at paintings@chiswickauctions.co.uk
Lot 220
BERNARDO BELLOTTO (VENICE 1722-1780 WARSAW)Two views of Pirna: Pirna from the South with the Obertor (circa 1753-63) and The Castle of Sonnenstein overlooking Pirna (circa 1753-63)etching, unframed412 x 529 mm, 422 x 554 mm(2)LITERATURE: De Vesme 24, 27; Succi 24, 27; Kozakiewicz 210, 224CONDITION REPORT:The first on laid paper, with indistinct watermark, a good impression with strong contrasts of Kozakiewicz's first state of two. The second on stiff wove paper, a later impression.
Lot 223
No reserveWILLIAM BLAKE (LONDON 1757-1827)The Fall of Rosamond (after Thomas Stothard), 1783etching and stipple engraving on paper, unframedimage: d. 306 mm *For a condition report and high-resolution images of this lot, please contact the Paintings Department at paintings@chiswickauctions.co.uk
Lot 349
H. Pyall after Thomas StothardOne of the Birman gilt war boats captured by Captn. Chads, R.N., in his successful expedition against Tanthabeen Stockade,[an etching with aquatint, pl. IV from 'Rangoon Views, And Combined Operations In The Birdman Empire', 1825-6, published by T. Clay, London]25 x 36cm (image)George Marples (1869-1939) Two ducks in flight, etching, signed in pencil, 20 x 26cm (2)
Lot 1
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ST. MARTIN'S BRIDGE, TOLEDO EtchingDimensions:the sheet 46cm x 57cm (18.25in x 22.5in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
Lot 10
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) SUTHERLAND LANDSCAPE Etching, and another, 'Untitled (Landscape)', etchingDimensions:the sheet 42cm x 50.5cm (16.5in x 19.75in) unframed; the sheet 35cm x 50.5cm (13.75in x 19.75in)Note: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
Lot 12
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) THE HARROW EtchingDimensions:the sheet 35cm x 50.5cm (13.75in x 19.75in)Note: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
Lot 3
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ST. MONAN'S Etching, signed in plate, and another, 'Welsh Village', etchingDimensions:each sheet 34.5cm x 50.5cm (13.5in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
Lot 4
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ESSEX BARN Etching, and another, 'Gothic Barn', etchingDimensions:each sheet 35cm x 50.5cm (13.75in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
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71082 item(s)/page