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Lot 294
Phil Greenwood, Pool Light, coloured etching, signed, edition of 250, 42 x 48cm; Anne Rooke, cafe chairs, colour print, numbered 20/25 and signed, dated 1957; three 20th century impressionistic watercolour landscapes, possibly Holy Land views; a mother and child monochrome brush drawing; and a floral pastel
Lot 332
Valerie Thornton (British 1931-1991), Helleborus, signed and dated 81 (lower right), numbered 35/75, etching and aquatint, 45 x 33cm; together with L'Estany, signed and dated 90 (lower right), numbered 18/90, etching and aquatint, unframed, 66 x 50cm, and a framed Valerie Thornton exhibition poster (3)Condition report: Helleborus - Not examined out of the frame. Possibly some slight undulation of the surface. The left hand margin with five flies and one fibre trapped beneath glass, and a further fly in top margin. Otherwise appears in overall good condition.
Lot 549
Pat Cooke (British 1935-2000), The Market Stall, signed and dated 'Patricia Gerard Cooke / 1959' (lower right), mixed media, 16.5 x 22cm; and Francis Dodd, Portrait of Arthur Lionel Smith, signed in pencil in the margin 'Francis Dodd' (lower right) and inscribed in the plate 'A.L.S' (top left), 'Dodd / 1915' (top right), drypoint etching, 29 x 21cm (2)
Lot 553
Graham Barry Clilverd (1883-1959), Four architectural etchings to include - The interior of Canterbury Cathedral, signed (lower right), etching on paper, 33 x 21cm; Market place, signed (lower right), etching on paper, 23 x 17cm; A Gothic interior, signed (lower right), etching on paper, 29 x 20cm; Religious building, signed (lower right) numbered '4/75' (lower left), etching on paper, 21 x 22cm. (4)
Lot 559
Graham Barry Clilverd (1883-1959) - Three etchings of Italy - The bridge of sighs, Venice, signed (lower right), etching on paper, 29 x 21cm; On The Ponte Vecchio, Florence, signed (lower right), etching on paper, 20 x 25cm; Ponte Santa Trinita with a view of the Ponte Vecchio, Florence, signed (lower right), etching on paper, 20 x 27cm (3)
Lot 607
A collection of eleven children's illustrations; to include, Henry Justice Ford, Beowolf, etching on paper, 26 x 16cm; Man in a kilt seated with accompanying text, watercolour and pencil on paper, 20 x 17cm, 37 x 53 (framed); football drawings with children and a lion, watercolour and pen on paper, 25 x 20, 42 x 56cm(framed); a shoe with accompanying text, signed 'JOE' (lower right), watercolour and pencil on paper, 15 x 23cm, 32 x 61cm; Peter Wright, three owls hooting, with accompanying text, pen and watercolour on paper, 11 x 22cm, 45 x 38cm (Framed); Nick Owen, waking up, watercolour on paper with accompanying text, 23 x 9cm, 45 x 50cm (framed) and five others. eleven in the lot (11)
Lot 610
A collection of prints and watercolours; to include, a mill and a ruined gatehouse, watercolour on paper, 25.5 x 36cm & 24.5 x 36cmm. A pair (2); George Hayter (1792-1871), Southampton river from Weston Grove, titled and dated '1832' (across the bottom), pencil on paper, 11.5 x 24cm; Norris Fowler Willatt (1859-1924), A Surry Heath, signed 'N. Fowler Willatt' (lower right), gouache on paper, 36 x 52cm; Circle of George Hayter (1792-1871), an Assyrian scene, signed or inscribed and dated 'G Hayter 19/1/29' (lower right), pen ink and pencil on paper, 21 x 25cm; Charles Brooke Bird (1856-1916), Norman arches, etching on paper, signed 'Charles Bird' (lower left), 37 x 26cm pl.; After Claude Lorraine, Plate 24 The Beauties of Claude, mezzotint on paper, 23 x 28cm pl.; John Tallis & co, The Great Exhibition, coloured etching on paper, 118 x 26cm; Mabel Catherine Robinson, Shakespeare's bust in the parish church at Stratford on Avon, signed 'M.C. Robinson (lower right), coloured etching on paper, 29 x 21cm (8)
Lot 4
Uzo Egonu (Nigerian, 1931-1996)Still Life signed and dated 'Uzo Egonu 80' (lower left)oil on linen144.5 x 107cm (56 7/8 x 42 1/8in).Footnotes:ProvenanceA private collection, UK.Born in 1931, Uzo Egonu left Nigeria at the age of 13 to complete his schooling in England where he then studied fine art and design at the Camberwell School of Arts and Crafts, London between 1949 and 1952. Unlike many of his Nigerian contemporaries similarly educated in Britain, Egonu chose to remain in London where, apart from a year spent in Paris in 1953, he lived and worked for the rest of his life. Still Life (1980) was painted at the height of Egonu's mature period when he had adapted his practice to accommodate changes in his visual perception. Following the critical success of his paintings in Britain in the 1950s and 60s, Egonu embarked upon a decade of printmaking. By 1979, his sight had been severely damaged by toxic fumes emitted from the oxidisation of materials employed in the etching process. His vision was so severely compromised that he had to mix colours from memory and used a rolled black tube to focus his sightline in order to assess the arrangement of elements in a painting. He consequently termed this period of artmaking 'Painting in Darkness' (Egonu quoted in O. Oguibe, 1995: p. 40).Despite the pragmatic challenges faced by the artist, works from this period are rich in colour. Egonu produced a number of still life paintings in the early 1980s with dynamic compositions that evidence a continuation of his experiment with line, form, and perspective. As in the present work, the domestic objects typically employed as the subject of the still life are rendered unfamiliar as they are abstracted beyond recognition. Two rounded forms are connected by grey lines which carry the eye across the canvas, while the depth of field is flattened so that subject and background are expressed as unified tessellated geometric forms. Passages of solid colour are juxtaposed with lively patterns, transforming the everyday scene into a formalist expression of pictorial elements. Egonu's treatment of the still life genre evokes Western modes of modernist abstraction encountered by the artist in London. Crucially, however, this body of work also references the Igbo textile design familiar to the artist from his childhood in Nigeria. This dual referential framework demonstrates the artist's ambition to move beyond the confines of a European modernism, finding African cultures to be 'as rich and engaging [a source] as any other' (Egonu quoted in O. Oguibe, 1995: p. 61). Drawing upon the aesthetics of the Cubist movement, Nigerian ornamentation, and 1960s British Pop Art, the present work rejects naturalism to express Egonu's unique artistic vision. His aptitude for printmaking is reflected in the graphic simplification of form which echoes a series of screenprints created contemporaneously to Still Life in the early 1980s. The prints feature female figures undertaking a range of household activities including reading and darning fabric, illustrating the artist's investigation of domestic themes in this period. The juxtaposition of West-African inspired patterns with geometric fields of solid colour in both his painterly and printmaking practices encapsulate the artist's bold approach to representation in this period. Egonu achieved critical acclaim during his lifetime. His work has been included in several landmark exhibitions including The Other Story at the Hayward Gallery in 1989 which explored the work of black artists living and working in twentieth-century Britain. Today, his work is held in important public institutions including the V&A and the Tate Collection, both in London.BibliographyOlu Oguibe, Uzo Egonu: An African Artist in the West (London, 1995).For further information on this lot please visit Bonhams.com
Lot 73
RÉMY VUIBERT (France, 1607? - 1652)."Penitent Magdalene".Oil on canvas. Antique re-colouring.Measurements: 47 x 37 cm.With her hand on her chest and genuflecting, the young and blonde Mary Magdalene bows a crucifix that can hardly be appreciated in the image due to the darkness that emanates from the cave and contrasts with the luminosity of the pearly skin of the young woman and her violet iridescent mantle. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed Jesus' feet with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution, hence the later legend of her penance in the desert. While Eastern Christianity honours Mary Magdalene especially for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had been a prostitute. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh.The date of Vuibert's birth remains hypothetical. If today the idea of a birth in 1600 seems to have been abandoned, one can think of a birth around 1606 in Troyes, according to Pierre-Jean Mariette's Abecedary, or even a later date, even suggesting, in an extreme case, the date of 1615. The 1620s was a formative period for him, about which little is known. He could have frequented a Trojan or Parisian workshop, like that of Georges Lallemant2. He was a pupil of Simon Vouet in Rome, perhaps between 1624 and 1627, although today these dates seem unlikely3. Most probably he would have entered Simon Vouet's studio in 1632, where he would have met Dufresnoy and Mignard, and would have stayed in Rome from 1635 with the latter. He arrived in Rome in 1635, where he met Nicolas Poussin. He then executed several engravings based on works by Raphael. He left 18 etchings executed in 1635, including four compositions for the ceiling of the signature chamber in the Vatican (The Judgement of Solomon, Adam and Eve, Apollo and Marsias, and The Providence that Governs, and Providence Governing the World) as well as 14 allegorical figures from the decorations of Constantine's salon (Prudentia, Innocentia, Moderatio, Evangelium, Fortitudo, Sapientia, Aeternitas, Aeclesia, Charitas, Paupertas, Comitas, Iustitia, Fides and Pax)4. He also copied Le martyre de Saint André de Dominiquin, in line with Poussin's aspirations, and left an etching executed in 1640 from a drawing made in Rome5. He is also attributed with a series on The Story of Diana, which was probably based on works by Dominiquin, depicting Latona and her children, Diana and Actaeon, Diana and Endymion, Pan and Diana, and the Sacrifice of Iphigenia6. He also studied the work of Guido Reni, from whom he recorded The Archangel Michael slaying the Devil in 1636, and perhaps copied compositions by Zampieri. Around 1636-1637, he painted a Judgement of Solomon, acquired by the Marquis of Giustiniani and later engraved by Agricola under the name of Poussin. Vuibert appears as an eminently classical painter, a follower of Poussin's style and a characteristic painter of Parisian Atticism. Few works by his hand have survived, except for the Scenes from the Life of the Virgin on the ceiling of the nuns' choir in the convent of the Visitation in Moulins.
Lot 20
Dame Laura Knight, RA, RWS (British, 1877-1970)Portrait of Leighton Lucassigned, dated and inscribed 'To my dear Mr Lucas/from/Laura Knight/July 1920' (lower right) charcoal 36.2 x 24.5cm (14 1/4 x 9 5/8in).Footnotes:Leighton Lucas was an English composer, born into a Canadian musical family. His father, Clarence Lucas, was a musical director and composer. He began his career as a ballet conductor and then progressed into orchestral music composition. Leighton had four siblings, including Van Norman and Claribel (depicted in lots .. and .. of this sale) who also had careers in music. Dame Laura Knight met the Lucas family in the 1920s and gifted several etching portraits to the family.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
Lot 852
British 1821 Pattern Light Cavalry Officers Sword, regulation pattern sword with swept bar hilt, grip with wire binding. Housed in steel scabbard with two hanging rings. Plated plain slightly curved blade with fuller to the back edge. All original etching has been removed. Exterior fittings painted gold at some time. Blade 90cms, overall 107cms. Accompanied by a reproduction 1854 pattern infantry officers sword complete with scabbard. (2 items)
Lot 856
Extremely Rare British Made (Firmin & Sons) Confederate States of America Dolphin Head Naval Officers Dress Sword, the sword with deep brass dish guard with relief of the confederate naval insignia of anchor over crossed cannons in oval cartouche, cotton plants and tobacco leaves relief through the knuckle bow leading to the sea serpent / dolphin head pommel and back strap designed to look like scales. Fish skin covered grip with the original wire binding. The slightly curved steel blade is finely etched with foliage and the 2nd pattern confederate flag with anchor behind. Other side of the blade has etched foliage, cotton plants and tobacco leaves, centre with the insignia of the confederate navy. Blade forte with makers details, “FIRMIN & SONS 153 STRAND & 13 Conduct St LONDON”. The blade 76 ½ cms in length. Some surface staining. Evidence of polishing to the hilt but generally good example. No scabbard. Provenance: This sword was originally purchased in a market in Preston (Lancashire, North West, England) in 1938 and was kept by a collector since then until October 1990 when the sword was sold / traded with another collector, the late Jerry Withers, who in turn had kept the sword until his passing in December 2020. The sword, along with other items from Withers collection has been consigned to C&T Auctioneers and Valuers Ltd. Paperwork relating to the transaction for the sword is included with the lot. The Confederate "Dolphin Head" Naval Officer's Sword was based upon the English Pattern 1827 Lion's Head Naval Officer's Sword, and retained the solid guard with folding counter guard of the English sword pattern, but introduced new decorative motifs including the sea serpent pommel cap with scaled backstrap, as well as the Confederate naval blade and guard designs. The design of the sword has been attributed to George T. Sinclair of the Confederate Navy. The swords are encountered with two different retailer markings. The first were made by Robert Mole of Birmingham and bear the marks of Courtney & Tennent of Charleston, SC. The other variation is the Firmin retailer marked sword, whose maker (or makers) are not currently known. Both versions of the swords from the two retailers exhibit two variations in the blade etching, with the primary difference being in the presentation of the Confederate national flag. The two known Courtney & Tennent variations use the Confederate 1st National Flag with three wide horizontal stripes and a square canton. One version depicts 11 stars in a circle within the canton, the other version leaves the canton blank. The two previously known variations of the Firmin blade etching depict a 1st National Flag as well, but with a 13-star St. Andrews cross in the canton, with the difference in the etching being that one variation is frosted, while the other one is deeply etched without frosting. The 2nd National Flag was not adopted until May 1 of 1863, and it is generally believed that the production of the Dolphin Head swords did not commence until the end of 1862 or very early in 1863. At that time, the 1st National Flag was still in use. The appearance of a 2nd National Flag on this blade suggests that this sword was a later production item, likely not produced until the very end of 1863 or even during 1864. The Dolphin Head is one of the rarest American swords you could hope to find, with many serious advance collections not having an example.
Lot 183
Hunt (William Holman, 1827-1910). The Abundance of Egypt, 1857, etching on chine appliqué, published in Etchings for the Art-Union of London by the Etching Club, numbered 20 to centre of lower margin, and with the artist's name scratch-lettered lower left, plate size 155 x 122 mm (6.1 x 4.8 ins), sheet size 36.7 x 27 cm (14.45 x 10.6 ins), framed and glazedQty: (1)Footnote: Hartnoll 14; Bronkhurst 2006, Appendix, B2.
Lot 190
Brangwyn (Frank, 1865-1956). Old Houses on the Tiber, 1908, etching and drypoint on cream paper, printed with plate tone, signed in pencil to lower margin, plate size 15 x 21.7 cm (6 x 8.5 ins), sheet size 280 x 355 mm (11 x 14 ins), together with:Castel Sant'Angelo, Rome, circa 1908, etching and drypoint on cream paper, signed in pencil to lower margin, plate size 180 x 138 mm (7.1 x 5.4 ins), sheet size 355 x 280 mm (14 x 11 ins), matching frames, glazedQty: (2)
Lot 191
Palmer (Samuel, 1805-1881). The Sleeping Shepherd, 1857, etching on chine appliqué, with artist's name printed lower left, and numbered 5 centre of lower blank margin, as published in Etchings for the Art Union of London by the Etching Club, 1857, image size 9.5 x 7.8 cm (3 3/4 x 3 ins), plate size 123 x 102 mm (4.9 x 4.1 ins), sheet size 146 x 120 mm (5 3/4 x 4 3/4 ins), a few marks and light mount staining, framed and glazedQty: (1)Footnote: Lister 6, iv/iv.
Lot 192
Cameron (David Young, 1865-1945). Ben Lomond, 1923, etching with drypoint, printed with plate tone, on fine japan tissue, signed in pencil, plate size 263 x 414 mm (10 3/8 x 16 1/4 ins), sheet size 300 x 445 mm (11 5/8 x 17 1/2 ins), framed and glazedQty: (1)Footnote: Rinder 468.One of the Cameron's largest and finest Scottish landscapes, described by Rinder as “Cameron’s supreme landscape achievement as etcher” (D.Y. Cameron, An Illustrated Catalogue of his Etchings and Dry-Points, 1887-1932, Glasgow, 1932, p.xx).
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