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Lot 1
* Georges Braque (French, 1882-1963)'Parole Peintes'etching and aquatint in colours, 1962, signed 'G Braque' in pencil l.r., artist's proof37.5 x 27cmProvenance: With the Redfern Gallery, 4 May 1967 (incorrectly titled).The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition Report55.5x45
Lot 115
* Pablo Picasso (Spanish, 1881-1973)Head of a woman in half-profile, from the suite 'Vingt Poèmes Luis de Góngora y Argote' etching, 1948, from an edition of 23537 x 26.5cmProvenance: With Goldmark Gallery.Condition ReportFramed size: 59 x 47.5cm.Not viewed out of glazed frame, appears to be in good condition. Well-presented.
Lot 16
* Roland J Green (1890-1972)'Montagues Harrier';Hen Harriertwo, both signed 'Roland Green', watercolour31.5 x 46.5cm and 24.5 x 17.5cm;together with an etching of snipe by the artist17.5 x 27.5cm (3) Condition Report Largest framed size: 53 x 68.5cm Not viewed out of glazed frames, both watercolours with a bit of mount staining, please see images, otherwise generally appear to be good condition. Some light time staining and mount staining to the etching, some rippling to the sheet.
Lot 227
* Julian Trevelyan (1910-1988)'Stone Cuttings', 1970etching and aquatint in colours, signed 'Julian Trevelyan' in pencil l.r., inscribed with title and numbered 46/5057.5 x 75cmCondition ReportFramed size: 60 x 78cm. Not viewed out of glazed frame, a few imperfections to the white areas of the print, some darker lines, although these are not distracting, some time staining, some specks of foxing emerging and a tear top right margin, some rippling to sheet.
Lot 3
* John Piper CH (1903-1992)'Little Cressingham, Norfolk', Levinson 365etching and aquatint in colours, signed 'John Piper' in pencil l.r. and numbered 'X/X', one of 10 artist's proofs, aside from the edition of 100, printed by Kelpra Studio 1983, on Vélin Arches 300gsm50 x 65cmThe residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportFramed size: 74 x 88cm. Not viewed out of glazed frame, appears to be in good condition.
Lot 366
* Mark Harris (contemporary)'Double Bill'etching in colours, signed and dated 'Mh 99' in pencil l.r., inscribed with title and numbered 1/15plate 49 x 74cmProvenance: With Jill George Gallery.Condition ReportFramed size: 65 x 85cm.Unexamined out of the glazed frame. Loosely mounted to backboard, seems to have slipped slightly to the left inside the frame, otherwise appears to be in good condition.
Lot 57
Sir William Orpen (Irish, 1878-1931)'George Russell 'AE''etching, proof, inscribed in pencilplate 11.5 x 8cmCondition ReportFramed size: 34 x 27.5cmUnexamined out of glazed frame, not mounted, a slight wave to the sheet, some staining along top edge, otherwise generally appears to be in good condition.
Lot 68
* Elyse Ashe Lord (1900-1971)Still life of flowers in a vasetwo, etching and aquatint in colours, both signed 'Elyse Ashe Lord' in pencil, one inscribed 'K o ssu' the other numbered 53/75 plate mark 37 x 29cm and 36 x 25cm, framed as a pair (2)Condition ReportNot viewed out of glazed frames.Yellow vase - overall discolourd paper, a few light spots of staining.Black vase - staining seen in print and also margin.
Lot 7
* John Piper CH (1903-1992)'Hales Norfolk' (Levinson 412)etching and aquatint in colours, signed 'John Piper' in pencil l.r. and inscribed 'AP', one of 15 artist's proofs aside from the edition of 70, printed by Kelpra Studio, 1989, on Vélin Arches 300gsm43 x 61.5cmThe residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportFramed size: 67 x 84.5cm. Not viewed out of glazed frame, appears to be in good condition.
Lot 8
* John Brunsdon (1933-2014)'West Bay'etching in colours, signed 'John Brunsdon', inscribed with title and numbered 4/10063 x 47cmThe residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportFramed size: 86 x 67.5cm. Not seen out of glazed frame, a scratch to surface of print please see illustration, some mount staining, generally a bold and striking image.
Lot 15
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941),THE DEPARTUREcoloured etching on paper, titled label versoimage size 49cm x 62cm, overall size 55cm x 69cm Mounted, framed and under glass. Handwritten label verso.Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
Lot 18
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941),ELEGY TO CAPTAIN FERGUSON, FROM A NIGHT OF ISLANDS, 1991colour etching on paper from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' image size 75cm x 53cm, overall size 90cm x 68cm Mounted, framed and under glass.Label verso: Louise Pickering Fine Art, 58 Clapham Common, London.Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
Lot 68
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),THE QUEEN OF THE NIGHTthree plate etching in colours on paper, signed, titled and numbered 66/200image size 74cm x 60cm, sheet size 101cm x 85cm, overall size 113cm x 97cm Famed and under glass. Note: This exceptional etching was commissioned as one of six by the Royal Academy of Arts (London) and Merivale Editions to celebrate the bi-centenary of the death of Wolfgang Amadeus Mozart (1991). The six invited prominent Academicians responded very differently to the commission and produced a limited edition of 200 signed prints of their image. John Bellany and Eduardo Paolozzi both produced images relating to Queen of the Night from Mozart's opera The Magic Flute. Tom Phillips and Elizabeth Blackadder created images reflecting personal responses to the life and music of the composer. Peter Blake was inspired by the picture of Mozart as child genius and combined the portrait with extracts from manuscripts, documents and other images. David Tindle created an empty, cold music room with a ghostly mirror conceived as a monument to Mozart. "The Queen of the Night" is one of the largest of Bellany's signed limited editions and is marginally larger than the "Bellany Sextet" etchings, one of which currently holds the auction record for a single Bellany print of £1500 (hammer).
Lot 152
PHIL GREENWOOD (ENGLISH, B.1943) - LILLIES Etching with aquatint Signed and numbered 214/250 lower right 41cm x 47cm; with frame 71cm x 76cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 6550
William Roxby Beverley (British 1811-1889): 'Offloading the Catch near Dover', pencil drawing from sketchbook c.1865; English School (early 19th century): River Landscape with Distant Town, watercolour wash and pencil c.1830 together with an etching of York, early lithograph after George Morland and a signed print of an Oxford College max 30cm x 48cm (5)
Lot 1037
A.Grigor (20th Century)"Laurentic leaving Alexandra Wharf" Signed, etching together with further works by the same hand, inclusing "Launch of the "Oronsay", Clyde Bank" , "Pembroke Ferry" etc various sizes, including one unframed work and two small works framed as one (7) within five frames
Lot 224
A Meissen outside-decorated figure of a sleeping lady, late 19th centuryAfter the 18th century model by M.V. Acier, asleep on a chair, her arm resting on a tall table beside her, her shoes next to her feet, wearing a white dress with pink flowers, blue apron and yellow shawl, 19cm high, crossed swords mark in underglaze-blue with two incised cancellation marks, incised model number E58, impressed numerals and painter's number (minor chips)Footnotes:Possibly after 'La philosophie endormie' by Jean-Baptiste Greuze, etching by Jean-Michel Moreau, le jeune.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 115
** δ Salvador Dalí (1904-1989)Saint Martin (Field 65-4; M&L 133d)Etching with aquatint printed in colours, 1965, signed in pencil, an artist's proof aside from the edition of 175, printed by Atelier Rigal, Paris, published by Werbungs- und Commerz Union Anstalt, Vaduz, on Arches paper, with full margins, sheet 666 x 520mm (26 1/4 x 20 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Lot 20
Rembrandt van Rijn (1606-1669)Death Appearing to a Wedded Couple from an Open GraveEtching and drypoint, 1639, a delicate and excellent impression of the only state of this rare print, with wiping marks and fine drypoint strokes visible, on fine laid paper with traces of a partial watermark [probably the top part of the crown from a Strasburg Lily, often found on early impressions of this etching], sheet 107 x 77 mm (4 1/4 x 3 in), trimmed to or just within the platemark, approximately 1-2 mm of loss to image at left edge (unframed)Literature:Bartsch 109; New Hollstein 174 i/i ⁂ Rare. We are aware of only 13 other impressions of this print having been offered on the open market in the last 35 years. Inspired by the "Dance of Death" series of woodcuts by Hans Holbein the Younger, whose artwork Rembrandt was known to collect, the present etching possibly shows the artist's wife, Saskia, as the model holding the flower that represents the brevity of human life.
Lot 47
Rembrandt van Rijn (1606-1669)The Presentation in the Temple: Oblong Plate (Simeon's Hymn of Praise)Etching and drypoint, circa 1639, a good but later impression of New Hollstein's fifth state (of five), on laid paper without watermark, platemark 215 x 292 mm (8 1/2 x 11 1/2 in), sheet 225 x 301 mm (8 7/8 x 12 in) (unframed)Literature:Bartsch 49; New Hollstein 184 v/v
Lot 53
Cornelis Ploos van Amstel (1726-1798) Woman Leaning over a Lower Door, after Nicolaes Maes (formerly attributed to Rembrandt van Rijn)Etching and roulette printed in brown and grey inks with touches of hand-colouring by the artist, circa 1765, with the artist's coat of arms printed verso, on laid paper without watermark, sheet 153 x 147 mm (6 x 5 3/4 in), trimmed to borderline of image, minor nicks to edges (unframed)Provenance:Kunsthalle Bremen, der Kunstverein in Bremen [Lugt 292]Dr. H. H. Meier Jr. (1845-1905) [Lugt 1806]
Lot 93
δ Marc Chagall (1887-1985)Jacob Weeping for Joseph (see Cramer 30)Etching with extensive handcolouring in watercolour, 1958, initialled in pencil, numbered from the edition of 100, as included in the hand-coloured bible, published by Tériade, Paris, on Arches paper, with full margins, sheet 530 x 390mm (21 x 15 ½in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 118
δ Salvador Dalí (1904-1989)Le Jugement de Paris, from Hommage à Albrect Durer (Field 71-8-F; see M&L 485)Etching with pochoir in colours, 1971, signed in pencil, an artist's proof aside from the edition of 270, published by Vison Nouvelle, Paris, on BFK Rives paper, wit margins, sheet 733 x 558mm (28 7/8 x 22in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 48
Rembrandt van Rijn (1606-1669)The Landscape with the CowEtching, circa 1650, but a later impression of New Hollstein's final state (of 5), on cream laid paper without watermark, platemark 105 x 130 mm (4 1/8 x 5 1/8 in), sheet 112 x 137 mm (4 1/2 x 5 3/8 in), some scattered faint water damage (unframed)Literature:Bartsch 237; New Hollstein 251 v/v
Lot 238
δ Ben Nicholson (1892-1982)Moonshine (Lafranca 31)Etching, 1965, signed and dated in pencil, numbered from the edition of 50, printed and published by Lafranca, Lugano, with their blindstamp, on wove paper with full margins, sheet 320 x 380mm (12 ½ x 15in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 29
Rembrandt van Rijn (1606-1669)Three Heads of Women, One AsleepEtching, 1637, but a later impression of New Hollstein's third state (of three) on thick cream laid paper without watermark, platemark 142 x 95 mm (5 5/8 x 3 3/4 in), sheet 150 x 105 mm (5 7/8 x 4 1/8 in) (unframed)Literature:Bartsch 368; New Hollstein 161 iii/iii
Lot 36
Rembrandt van Rijn (1606-1669)Pharisees in the Temple (Jews in the Synagogue)Etching and drypoint, 1648, but a later impression of New Hollstein's final state (of nine), on cream laid paper without watermark, platemark 72 x 131 mm (2 7/8 x 5 1/4 in), sheet 80 x 140 mm (3 1/8 x 5 1/2 in), minor browning and water damage (unframed)Literature:Bartsch 126; New Hollstein 242 ix/ix
Lot 27
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria among RuinsEtching, circa 1634, a heavily inked black impression of New Hollstein's third state (of five), on laid paper without watermark, trimmed to or just within the image, sheet 120 x 107 mm (4 3/4 x 4 1/4 in), some spotting, faint vertical crease, minor surface dirt (unframed) Literature:Bartsch 71; New Hollstein 127 iii/v
Lot 18
Rembrandt van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching and drypoint, 1652, an excellent impression of New Hollstein's third state (of six), still printing with drypoint burr in the canopy, the signature and elsewhere, on laid paper without watermark, platemark 180 x 215 mm (7 1/8 x 8 1/2 in), sheet 183 x 220 mm (7 1/4 x 8 5/8 in), narrow margins, minor spotting and surface dirt (unframed)Literature:Bartsch 94; New Hollstein 312 iii/vi
Lot 23
Rembrandt van Rijn (1606-1669)The Angel Appearing to the ShepherdsEtching, engraving and drypoint, 1634, a good but later impression of New Hollstein's final state (of six), on laid paper with out watermark, platemark 263 x 220 mm (10 1/4 x 8 1/2 in), sheet 275 x 228 mm (10 1/2 x 8 7/8 in) (unframed)Literature:Bartsch 44; New Hollstein 125 vi/vi
Lot 24
Rembrandt van Rijn (1606-1669)Christ Driving the Money Changers from the TempleEtching with drypoint, 1635, a good but later impression of New Hollstein's fourth state (of four), on laid paper without watermark, platemark 135 x 168 mm (5 1/4 x 6 1/2 in), sheet 148 x 180 mm (5 3/4 x 7 1/8 in), some faint water damage and minor toning (unframed)Literature:Bartsch 69; New Hollstein 139 iv/iv
Lot 8
Girolamo Francesco Mazzola, called Parmigianino (1503-1540)JudithEtching, circa 1520-1540, a delicate slightly worn impression of the final state (of three), on laid paper without watermark, sheet 150 x 90 mm (5 7/8 x 3 1/2 in), trimmed to or just within the platemark, some touches of brush and ink, signs of careful restoration verso, surface dirt and browning (unframed)Literature:Bartsch 6; Gnann 14Provenance:Jean Cantacuzène (Bucharest, 1863-1934) [L. 4030][Together with] Guido Reni's (1575-1642), The Holy Family seated beneath a colonnade with St Joseph reading, etching, an excellent impression, circa 1590-1610, [Bartsch 9]; and Giovanni Andrea Sirani's (1610-1670), Apollo flaying Marsyas who is tied to a tree, etching, circa 1630-1670, [Bartsch 2] (all unframed) (3)
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71174 item(s)/page