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Lot 139A
Early-Victorian scrapbook featuring 48 pages of etchings, engravings and lithographs (topographical, portrait, allegorical), to include a pencil portrait and two small watercolours of birds, beginning with a loosely-inserted 'Flowers' litho inscribed to Ellen F. Sharpe from her affectionate aunt Maria, 1839, the whole held within later covers. Together with a later scrapbook, partially-filled with amateur watercolours/sketches, 1880s to 1910s, featuring a loosely-inserted etching from Mr & Mrs H. Bailey, Handsworth Wood, Xmas 1924 (2)
Lot 139
Late-Georgian scrapbook of prints, predominantly late-18th century but with earlier material, to include an engraved portrait of Carlos Coloma by Paulus Pontius after Anthony van Dyck, c.1630-1645 (other examples in British Museum); Rural Beauty or Vauxhall Garden, illustrated sheet music or ballad, engraved by George Bickham Jnr, c.1740 (example in V&A); engraved portrait of Anna Maria van Schurman, 1640; Blindman's Buff, droll engraving, Laurie & Whittle, 1794; A Taste in High Life, etching & engraving after William Hogarth; Elegia Quinta, stipple engraving by Thomas Kirk after Richard Westall, J. & J. Boydell, 1797; miniature etching of Thomas Fairfax, 3rd Baron Fairfax, engraved by Thomas Worlidge, 1755 (example in BM); engraved portrait of Countess of Clarendon by Goldar after Kneller (example in NPG); Taking Water for Vauxhall, printed for Robert Sayer, 1790 (example in Yale); engraved portrait of Christopher Columbus by Bartolome Vazquez, 1791 (example in BM); engraving of putti with fish by Pieter van Avont after Wenceslaus Hollar, c.1644-1652 (example in BM); etching of family with baby by Thomas Rowlandson, 1787; Nap in the Country, etching by Rowlandson, 1785 (example in Met); The Satyr and the Peasant, etching by Christian Wilhelm Ernst Dietrich, 1764 (example in Met); The Gigg with a view of Epsom Downs, engraving, Robert Sayer 1792; A Fleet Wedding, engraving by John June, 1747; various portraits including James Whitney (highwayman), Christopher Wright (Gunpowder Plot), Mary Davis (grew horns), Elizabeth Woodcock (found buried in snow), Joseph Capper (eccentric inmate at Horns pub, Kennington), Dicky Dickinson (Governor of Scarborough Spaw), Mrs [Letitia Ann] Sage ('the first female aerial traveller'), Henry Blacker ('The Irish Giant'), John Hatfield ('The Famous Seducer'), and numerous other portraits, fashion plates, stipple engravings by Bartolozzi or similar, natural history plates, and various smaller clippings, well-filled with approximately 180 pictures, plus 25 loose prints, including a stipple-engraved portrait of George Washington by Ridley, 1800, Daniel Dancer (miser), John Elwes (miser), a small mezzotint droll of a fashionable young woman by Sayer, and others. Contemporary polished calf, rebacked with the original spine laid down and a later morocco title label lettered in giltProvenance: From the collection of Stanley Austin, author of The History of Engraving, [1908], thence by descent
Lot 572
Dodgson (Charles Lutwidge, "Lewis Carroll"). Alice's Adventures in Wonderland, London: The Folio Society, 2016, 11 mounted colour plates by Charles van Sandwyk, colour and black and white illustrations, top edge gilt, original vellum-backed pictorial boards, blocked in red, gold and silver, spine titled in 22-carat gold, prospectus loosely inserted, tissue wrapper, contained in publisher's clamshell cloth box, 4toQty: (1)Footnote: Sesquicentenary limited edition 228/1000, with an original copperplate etching, signed and numbered by the artist mounted at front. A lavish production with fine illustrations by Charles van Sandwyk.
Lot 693
* Soper (Eileen Alice, 1905-1990). Skipping, etching on wove paper, depicting a girl skipping, her friend is holding one end of the rope and the other is tied to a fence, 13 x 18.3cm (5 1/8 x 7 2/8ins), mounted, framed and glazed (32.5 x 42.5cm), Chris Beetles gallery label to versoQty: (1)Footnote: Exhibited: Chris Beetles. The Illustrators, The British Art of Illustration 1800-2005, 833. Provenance: The Estate of George and Eileen Soper. Illustrated in The Catalogue Raisonne of the Etchings of George and Eileen Soper published by Chris Beetles, 1995, no 14.
Lot 819
Hockney (David). Hockney's Alphabet, signed limited edition, London: Faber & Faber, 1991, signed by artist & illustrator to limitation page, 27 illustrations by Hockney, original publisher's yellow buckram, base of spine marked, original slipcase, 4to, together with: Garland (Alex). The Coma, signed by author & artist, London: Faber & Faber, 2004, no.58 of 300 copies, numerous black & white illustrations, signed to colophon, original publisher's paper boards, original slipcase, folio, with: Grass (Gunter). Drawings and Words 1954-1977, London: Secker & Warburg, 1983, no. B.45 with original Sign in the Sky etching, numerous illustrations, original publisher's cloth, dust jacket, original slipcase, slightly bumped to extremities, folio and one otherQty: (4)Footnote: Signed by both Hockney & Spender.
Lot 78
Breweriana/Political Interest: After Gillray (James) 'The Triumph of Quassia', hand coloured political cartoon etching, published by Hannah Humphrey, June 10th 1806. Framed and glazed. Overall: 53cm x 40.5cm. Quassia was a South American plant that was promoted as a superior and tax-free substance for brewing beer instead of hops, and the present satire shows major brewers in a celebratory procession.An example of this cartoon is held at the British Museum: https://www.britishmuseum.org/collection/object/P_1868-0808-7464
Lot 140
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Leizarán", 1987.Etching and aquatint on Rives paper, copy 24/50.Publisher: Theo Gallery, Madrid. Hatz Workshop.Work published in "Eduardo Chillida: Opus III". Verlag 1996, pg.100-101. num. 87018.Provenance: Elvira Gonzalez Gallery, Madrid.Signed and numbered in pencil.Measurements: 95 x 67 cm.(plate); 99 x 64 cm.(paper)."Leizarán", dedicated to the homonymous valley, has been one of Chillida's most acclaimed engravings, having even been ceded its use (by the Andoain City Council) as the logo of the Leitzaran bisitarien etxea Center, in 2008. Chillida started drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Lot 142
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Inguru IV", 1968.Etching on Arches paper, copy 18/20.Signed and numbered by hand.Provenance. Helga de Alvear Gallery, Madrid.Work published in "Eduardo Chillida Opus I" Koelen. Verlag, pg 125. reg. 68003.Measurements: 90 x 64 cm.(paper); 43 x 59 cm. (stain)Chillida begins in the drawing in the Circle of Fine Arts of Madrid, and little by little his interest for the sculpture is growing. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Lot 152
* Ballooning. Fores (S. W. publisher), The Enterprizing Lunardi's Grand Air Balloon, September 23rd 1784, uncoloured etching, inset portrait of Lunardi, twelve-point key plate, some staining and spotting, 350 x 225 mm, mounted, framed and glazedQty: (1)Footnote: Rare. Italian aeronaut Vicenzo Lunardi made his test flight on September 15th 1784, taking off from the grounds of the Honorable Artillery Company in Moorfields. It came to earth in Ware in Hertfordshire, some 24 miles from London after three hours in the air. Widely regarded as the first balloon flight to take place in England.
Lot 195
* Prints, Engravings & Watercolours. A mixed collection of 20 prints, mostly 19th century, engravings and lithographs, including an uncoloured lithograph of Oxford High Street after Delamotte, 2 colour lithographs of cricketers after Chevalier-Taylor, 2 aquatints with contemporary hand colouring of the London Custom House on the Thames and the interior of the Long Room inside the Custom House, both originally published in 'The Microcosm', an aquatint of Eton College by Bluck and a lithograph after David Roberts of the interior of a church, together with an English School monotone watercolour of an Italian Landscape, possibly of the Rocca di Papa, a signed etching by Albany Howard, plus other engravings, watercolours and prints, various sizes and condition, all framed and glazedQty: (20)
Lot 200
* Sporting Prints. Paton (Frank), Royal and Ancient (St. Andrews 1798), Leggatt Bros. 1894, uncoloured etching surrounded by eight vignettes, signed in pencil by the artist to the lower left, dust-soiled, 200 x 250 mm, together with another seven Paton etchings, comprising 'The Pleasures of Hope', 'The Ordeal of Fire', Recollections of a Record Reign', 'A Deep Dream of Peace', 'British Interests', 'Coming Events cast their Shadow Before' [and] 'D'ye Ken John Peel with his Coat so Gay', with Steeple Chasing, 1837, Unattributed set, plates 1 - 4, 1837, etchings with contemporary hand colouring, each approximately 175 x 185 mm, plus Alken (Henry). Plates 1 - 6 from 'Specimens of Riding near London', published Thos. McLean, 1821, 6 soft-ground etchings with contemporary hand colouring, some marginal dust and finger soiling, each approximately 190 x 240 mm, and Clark (J.). Stag Hounds, Pointers [and] Fox Hounds, T. McLean, 1820, 3 aquatints after H. Alken, all with contemporary hand-colouring, each approximately 240 x 340 mm, originally published in 'The National Sports of Great Britain', with another 35 uncoloured wood engravings of natural history subjects, originally published in The Illustrated London News, each approximately 240 x 340 mmQty: (56)
Lot 42
Dartington Printmakers (publishers). A Printmakers' Flora, 1996, title printed in yellow & black, additional half-title, dedication and index, thirty original prints by twenty artists in various mediums including lithographs, linocuts, wood engraving, etching, collagraph and card intaglio, each on uncut hand made paper, signed by all twenty artists at the rear, publishers blue silk with blind-stamped title to the upper board, bound under the direction of Mary Bartlett of the Dartington Bindery, oblong folio, contained in publisher's cloth book box with printed card label to spineQty: (1)Footnote: Five years in the making this large and luxurious book focuses on British Wild Flowers. The edition consisted of thirty-seven with one additional Artists' Proof copy. Twenty-three of these were given to the participants, one was purchased by the V & A, and one by the Dartington Hall Trust. The remaining twelve were offered for sale. Supplied with the original promotional material, newsletters and bookmark. As far as we are aware, only one copy has ever appeared on the open market and that was in these rooms in 2012.
Lot 10
560x700mm Framed. Drypoint Etching. ARTIST STATEMENT: This artwork is a response to the GCSE course theme Identity.I created a set of dry pointed etchings to capture the pure beauty of the iconic Guernsey coastline. The dark and mysterious tones of the rocks were the mains focus, and I wanted to show how they were so solitary in the vast, wide-open sea. These etchings are of the rocky outcrops of Port Soif and the jagged flats of Moulin Huet, which are places of enjoyment for me. Rolled into this though is the dark and depressing emotions of the Lockdown period, represented by the ominous, lingering clouds in the skies. ABOUT THE ARTIST: This piece is Shortlisted in the 2021 Sovereign Art Foundation Students Prize in Guernsey. Owen is currently a student at Elizabeth College.
Lot 11
820x590mm Framed. Etching with mixed media. ARTIST STATEMENT: I created these prints as a method of looking at myself from an alternative perspective. I etched the prints and then experimented through introducing different mediums to build up the image. The cumulation of all these images echo my identity and unique personality. ABOUT THE ARTIST: This piece is Shortlisted in the 2021 Sovereign Art Foundation Students Prize in Guernsey. Caitlin created this piece aged 16 while studying at Blanchelande College.
Lot 8
360x270mm Framed Etching. IMPORTANT CONDITION OF SALE FOR THIS LOT: This piece forms part of the artist's A Level portfolio and must be retained by the school until October 2022. The purchaser of this piece will be given an identically framed replica which will be exchanged for the original once this is available. The replica will be produced following the sale of the piece, and may take up to 14 days. ARTIST STATEMENT: I created this self-portrait in order to try and communicate the overwhelming feelings of anxiety. I linked this feeling to the physical reality of drowning in order to try and convey the way in which it is all consuming; but also in order to represent the more physical aspects, such as loss of breath. The print is meant to try and represent the desperate feeling of trying to 'stay afloat' in day to day life when your mind feels as though it is flooding. ABOUT THE ARTIST: This piece is Shortlisted in the 2021 Sovereign Art Foundation Students Prize in Guernsey. Rosy created this piece aged 17 while a student at Ladies College, studying Art at Elizabeth College Art Department. She was also Shortlisted in 2020.
Lot 96
δ Norman Ackroyd (b. 1938)Derwent Evening and Moonlight EtchingEtching with aquatint, 1989, signed, titled, dated, and numbered from the edition of 90, on wove paper, with full margins, image 157 x 138mm (6 1/8 x 5 3/8in); Moonlight Etching, etching with aquatint, 1973, signed, titled, dated, and inscribed 'Artists proof' in pencil, on wove paper, with full margins, image 188 x 163mm (7 3/8 x 6 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 138
δ David Hockney (b.1937)Made in April (M.C.A. Tokyo 188)Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, as included in the portfolio The Blue Guitar, published by Petersburg Press, London and New York, on wove paper, with full margins, image 425 x 345mm (16 3/4 x 13 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 100
δ Frank Auerbach (b.1931)Ruth (Hartley 31)Etching with aquatint with engraving, 2006, signed, titled and dated in pencil, numbered from the edition of 40, printed by Mark Balakjian, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 630 x 501mm (24 ¾ x 19 ¾ in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 58
δ Julian Trevelyan (1910-1988)Cretan Witches (Turner 156)Etching with aquatint printed in colours, 1964, signed and titled in pencil, numbered from the edition of 30, on wove paper, with full margins, 476 x 351mm (18 3/4 x 13 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 18
Christopher Richard Wynne Nevinson (1889-1946)A Flooded Trench on the YserPen and ink on laid paper, 1914-15, signed in ink lower right, sheet 154 x 190mm (6 x 7 ½ in)Provenance:Private collection UK.The present work is a preparatory study for the oil painting Flooded Trench on the Yser of 1915 and for the later etching of 1916. This method of working a promising study up from a preparatory ink drawing to a final oil was usual for Nevinson. The work depicts the aftermath of the Belgian Government's decision to open the dikes to the North Sea in late October 1914, the torrent of water flooded a twenty mile stretch of land north of Ypres from Nieuport to Dixmude. The action was taken to try to slow the rapid progression of the German advance toward Ypres and Dunkirk and it was moderately successful. Nevinson was in the area in November 1914 whilst working with the Friends' Ambulance Unit, and it's likely that he saw the scene depicted early in November, as by January 1915 he had returned to the UK due to his chronic rheumatism. There are a number of slight differences between the present work and the two later versions, the first and most obvious is the absence of the Hokusai-esque rain that cuts through the composition of both later works. Nevinson was a great admirer of Hokusai and it's likely that this element was not included in this present work as Nevinson wanted to look at examples of woodcuts featuring similar rain effects back in London, most likely Hokusai's Sudden Shower over Shin-ÅŒhashi bridge and Atake. Another area of interest are the four small shell explosions in the horizon line which are missing from both the oil and the later etching, they are in the later works changed to barbed wire fence posts.We are very grateful to Dr. Jonathan Black, author of C.R.W. Nevinson The Complete Prints, for his assistance in the cataloguing of this work.
Lot 79
δ Stanley William Hayter (1901-1988)Scrap Book (Black & Moorhead 421)Engraving with scorper and soft ground etching printed in colours, 1981, signed, titled, dated '82' and numbered from the edition of 100 in pencil, printed by Hector Saunier, published by Editions Poligrafa S.A., Barcelona, on BFK Rives wove paper, with full margins, image 597 x 493mm (23 1/2 x 19 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 93
δ Victor Pasmore (1908-1988)UntitledEtching with aquatint, circa 1991-92, initialled in pencil, numbered from the edition of 50, London, on wove paper, with full margins, sheet 275 x 228mm (10 7/8 x 9in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 49
δ Anthony Gross (1905-1984)Sortie d'Usine No. 5 (Herdman 3016; Reynolds 74)Etching, 1930, signed, titled, and numbered from the edition of 75 in pencil, published by London Graphic Art Associates, London, on wove paper, with wide margins (reduced slightly on the left and right sheet edges), image 212 x 303mm (8 1/4 x 11 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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