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Lot 1253
ANTOINE JOSEPH PERNETY "Des Herrn Pernety Handlexikon der Bildenden Künste" 1764 worinnen alles, was beym Zeichnen, Malen, Bildhauen, Kupferstechen, Stein- Metall- und Formenschneiden, Aetzen und Gießen, üblich ist, erkläret wird. Nebst einer practischen Abhandlung von den verschiedenen Arten zu malen / Aus dem Französischen übersetzt, HxB: 20/13 cm. Altersspuren, berieben und bestoßen.| ANTOINE JOSEPH PERNETY "Des Herrn Pernety Handlexikon der Bildenden Künste" 1764In which everything that is usual in drawing, painting, sculpting, engraving, cutting stone, metal and moulds, etching and casting is explained. Together with a practical treatise on the different ways of painting / Translated from the French, HxW: 20/13 cm. Signs of age, rubbed and bumped.
Lot 1807
FUCHS, ERNST (1930-2015), "Venus auf der Insel des Todes", Aquatintaradierung/BFK Rives (mit Wasserzeichen), u.re. mit Bleistift von Hand signiert, u.li. mit Bleistift num. 168/250, HxB: Platte ca. 58,5x44,5 cm, Blatt ca. 83x63 cm, Außenmaße Rahmen ca. 87x67 cm. Altersspuren. Mit verglastem Rahmen.| FUCHS, ERNST (1930-2015), "Venus on the island of death", Aquatint etching/BFK Rives (with watermark), l.r. signed by hand in pencil, u.li. with pencil no. 168/250, HxW: plate approx. 58.5x44.5 cm, leaf approx. 83x63 cm, outer dimensions of frame approx. 87x67 cm. signs of age. With glazed frame.
Lot 1806
JANSSEN, HORST (1929-1995), "Ich will fliegen", Aquatintaradierung/chamoisfarbenes Papier, u.re. mit Bleistift von Hand monogrammiert und datiert 'JH 73', u.li. mit Bleistift num. 16/30, HxB: Platte ca. 29,5x15 cm, Blatt ca. 50x33 cm, Außenmaße Rahmen ca. 51x34 cm. Altersspuren. Mit verglastem Rahmen.| JANSSEN, HORST (1929-1995), "I want to fly", aquatint etching/chamois-colored paper, monogrammed and dated 'JH 73' by hand in pencil, lower left. with pencil no. 16/30, HxW: plate approx. 29.5x15 cm, sheet approx. 50x33 cm, outer dimensions of frame approx. 51x34 cm. signs of age. With glazed frame.
![Signed coloured Etching by M Haranz Depicts eerie street scene. Signed in pencil. [Frame 44x50cm]](https://cdn.globalauctionplatform.com/985114cd-f087-4e0b-8bf7-af2700bbf500/8ae28abd-bcf6-419e-be7e-af2b00b11ae2/468x382.jpg)
Lot 228
THREE PRINTS, comprising THIRZA COTZEN (South African, b. 1953) limited edition (7/50) etching with colour - Room of My Own VII, titled, signed and dated 76, 35 x 25cm; JOHN HENCHER, lithograph - Do All Your Work..., signed in pencil, 28 x 78cm; and another abstract screenprint by another hand, signed & dated with initials 'SM93', 41 x 41cm (3)
Lot 117
Mila Fürstová (born 1975)'Sky Full of Stars' Artwork From Coldplay's 'Ghost Stories' Album, 2014one-off hand-printed etching on paper, signed and inscribed For Mike, titled Test Print and dated 2014 in black ink by the artist, on raised mount, framed and glazed artwork diameter 48.5cm (19in).Footnotes:Provenance:Gifted to the vendor by the artist.The band co-wrote and co-produced the song with Avicii. Upon its release, 'A Sky Full of Stars' charted inside the top 10 in over 16 countries including Australia, Canada, Ireland, Japan, Mexico, New Zealand, the UK and USA.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 67
Jamie Reid (born 1947)Learn from the past, Live in the present, Look to the future (Blue), 2011unique work, with inkjet base print on 310 gsm Hahnemuhle 'German Etching' paper with acrylic screen print additions and mixed media on board, signed in pencil by the artist 111.5 x 82 x 2cm (43.9 x 32.3 x 0.8in).This lot is subject to the following lot symbols: † AR† VAT at the prevailing rate on Hammer Price and Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 37
Britton (John) The History and Description with Graphic Illustrations of Cassiobury Park, Hertfordshire: the Seat of the Earl of Essex, first edition, one of 170 copies, this one of 150 on small paper, presentation copy inscribed "To Allan Cunningham Esq. from the Author as a mark of esteem July 24 38" on slip mounted on front pastedown, list of subscribers, 2 engraved portraits of the author on one sheet (not called for in list of plates) and 20 engraved plates & plans, some aquatint, some soft-ground etching, 4 after Turner and 5 after Pugin, 8 wood-engraved vignettes of estate cottages to title and as head- & tail-pieces, title lightly foxed, plates with light foxing and marginal water-staining, bookplates of John Cheape and ?C.Mallord W.Turner, original cloth, rubbed and water-stained, rebacked in cloth, [cf.Abbey, Scenery 412, large paper copy], folio, Chiswick Press for the Author, 1837.⁂ Neither the list of plates nor Abbey call for the 2 portraits of Britton but Abbey also lists mezzotint portraits of George Earl of Essex and George Viscount Malden & Lady Eliz. Capel. These were presumably only issued with the large paper copies.Allan Cunningham (1784-1842), Scottish poet and author.
Lot 410
John Bellany C.B.E., R.A., H.R.S.A., L.L.D.(Lon) (British, 1942-2013)Raised beach self portrait numbered 36/45 (lower left) and signed 'John Bellany' (lower right)etching45.5 x 39.3cm (17 15/16 x 15 1/2in).unframedFootnotes:One of the series of prints known as the Addenbrokes series after the hospital in Cambridge where Bellany underwent a major operation.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 416
Barbara Rae C.B.E., R.A., R.S.A. (British, born 1943)Desert Stone edition 3/60, inscribed and signed in penciletching38 x 42 cm. (14 15/16 x 16 9/16 in.)Footnotes:ProvenanceGlasgow Print StudioCollection of Janet BeatThis 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 430
MCBEY (JAMES)SALAMAN (MALCOM C.) The Etchings of James McBey, NUMBER 97 OF 100 COPIES SIGNED BY THE ARTIST, with an original signed etching of Venice, plates, publisher's vellum-backed red pictorial cloth, gilt, t.e.g., others uncut, slipcase worn and stained, 4to, Halton & Truscott Smith, 1929This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 37
Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) Rural view with a horse Signed in pencil in the margin, etching.plate size 14.5cm x 15cm (5.75in x 6in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some minor spots of foxing across the paper. The print is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 38
Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Durham" Signed in pencil in the margin, etching.plate size 23.5cm x 28.5cm (9.25in x 11.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned lightly across the sheet and there are some minor spots of foxing across the paper. There are some stains and minor spots of foxing on the mountboard. The print is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 39
Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) Venetian canal scene with gondolas Signed and marked artist's proof in pencil in the margin, etching.plate size 20cm x 17.5cm (7.75in x 6.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned lightly across the sheet and there are some minor spots of foxing across the paper. There are some water stains and minor spots of foxing on the mountboard. The print is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 40
Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Haddon Hall, Derbyshire" Unsigned, etching.plate size 23cm x 28cm (9in x 11in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. There is a small crease to the paper in the lower left-hand margin and one or two minor spots of foxing across the paper. There is extensive foxing across the mountboard. The print is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 41
Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Tewkesbury Abbey" Signed in pencil in the margin, etching.plate size 25cm x 20cm (9.75in x 7.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned lightly across the sheet and there are some minor spots of foxing across the paper. There are some water stains and minor spots of foxing on the mountboard. The print is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 42
Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Santa Maria della Salute, Venice" Signed and marked artist's proof in pencil in the margin, etching.plate size 20cm x 25cm (8in x 9.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned lightly across the sheet and there are some minor spots of foxing across the paper. There are some water stains and minor spots of foxing on the mountboard. The print is framed but not glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 45
Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "The Shed" Signed in pencil in the margin, etching and another pond scene by the artist, together with a signed wood engraving by Edward Stamp (British 1939-), "Sumer Ash", signed, titled and dated 1977 in pencil in the margin, numbered 10/25.various plate sizes 19.5cm x 25cm (7.75in x 9.75in) and 12.5cm x 9cm (5in x 3.5in)Qty: 3The prints are in good, original condition. The paper has browned lightly across both the prints by Knighton-Hammond and there are some minor spots of foxing across all the prints. There are some water stains and minor spots of foxing on the mountboards. The prints are all framed and glazed. The original frames have some minor scuffs and knocks commensurate with age.
Lot 510
JAMES WARD RA after ALEXANDER NASMYTH - 'The Spottiswoode Ox', mezzotint on wove paper (plate size 17¾ x 23¾in; 45 x 60.5cm). Numerous repairs and margins reduced, also 'Woburn Sheep Shearing' after GEORGE GARRARD ARA, stipple engraving and etching, Publ. by G Garrard, London 1811 (plate size 17¾ x 29¼in;45.5 x 74.5cm). Some foxing in the sky (2)
Lot 45
Jacob Hendrik Pierneef (South African, 1886-1957)Four South African Views (i-iv): (i) Study of a Treesigned and dated in pencil 'J.H. Pierneef impr./ 1920' (lower margin); Johan Coetzee label affixed to the reverseetching on paperimage size: 19.5 x 28cm (7 11/16 x 11in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(ii) Okahandjaberg, South West Africasigned, dated, titled, numbered and inscribed in pencil 'J.H. Pierneef. impr. Proefdruk no I./ Okahandjaberg. SW.A./ aan Marita Pierneef./ 1930.' (lower margin)etching on paperimage size: 20.5 x 27cm (8 1/16 x 10 5/8in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(iii) Street in Tulbagh, Capesigned, dated and titled in pencil 'JHPierneef impr. Street in Tulbagh. CP./ 1938.' (lower margin)linocutimage size: 29 x 35.3cm (11 7/16 x 13 7/8in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(iv) Vissershawe, Hermanussigned, dated and inscribed in pencil 'J.H. Pierneef impr. Hermanus./ Druk. 1944.' (lower margin)linocutimage size: 19.5 x 25.5cm (7 11/16 x 10 1/16in)sheet size: 21.3 x 27cm (8 3/8 x 10 5/8in).(framed)(4)Footnotes:ProvenanceThe collection of the artist's family;Thence by descent to the artist's grandson Exhibited(ii) Okahandjaberg, South-West AfricaJohannesburg, Standard Bank Gallery, A Space for Landscape: The work of JH Pierneef, 8 July - 12 September 2015, pp. 16 & 131 (another edition illustrated and exhibited; etching plate illustrated, p. 139)(iii) Street in Tulbagh, CapeDurban, Durban Art Gallery, The Complete Woodcuts of Pierneef, 1970, no. 10 or no. 14 (iv) Vissershawe, HermanusJohannesburg, Johannesburg Kunsgalery, Rykstentoonstelling: Empire Exhibition, 1970, no. 83, p. 11 (another print exhibited)Durban, Durban Art Gallery, The Complete Woodcuts of Pierneef, 1970, no. 10 or no. 33 (another print exhibited)Literature(i) Study of a Tree (Boomstudie)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 6 (illustrated)(ii) Okahandjaberg, South-West AfricaJ.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 6 (another print illustrated; titled 'Mountain at Okahandja, South-West Africa')P.G. Nel, JH Pierneef: His life and his work (Cape Town & Johannesberg, 1990), p. 115 (illustrated; titled 'Okahandjaberg, Suidwes-Afrika')Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 8 (illustrated)(iii) Street in Tulbagh, CapeJ.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 29 (another print illustrated)F.E.G. Nilant, Die Hout- en Linosneë van J.H. Pierneef (Cape Town & Rotterdam, 1974), no. 8, p. 38 (titled in Afrikaans 'Straat in Tulbagh'; earlier print illustrated)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 59 (illustrated)(iv) Vissershawe, HermanusA.C. Bouman, Painters of South Africa (Cape Town & Pretoria, 1944), p. 25 (another print illustrated, p. 24)J.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 30 (another print illustrated)A.J. Werth, Kuns uit die Staatsargief, cat., Pretoria Art Museum, 1971, no. 68 (another print listed)F.E.G. Nilant, Die Hout- en Linosneë van J.H. Pierneef (Cape Town & Rotterdam, 1974), no. 5, p. 34 (earlier print illustrated)Hans Fransen, Three Centuries of South African Art: Fine Art, Architecture, Applied Arts (Johannesberg & Cape Town, 1982), p. 348 (another print illustrated, no. 4; titled 'The old harbour, Hermanus')Esmé Berman, Art & Artists of South Africa: An illustrated biographical dictionary and historical survey of painters, sculptors & graphic artists since 1875, enlarged edition (Cape Town & Rotterdam, 1983), p. 330 (another print illustrated)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 8 (illustrated)Pierneef was first introduced to printmaking techniques in 1903 when he was taught the basic principles of etching while studying at the Rotterdam Academy. However, printmaking did not become a core component of his artistic practice until seven years later when he received informal tutelage in etching and linocut techniques from the Irish artist George Salisbury Smithard (1873-1919). In 1911, at Smithard's request, Pierneef submitted two etchings to the first exhibition organised by the Guild of South African Artists in Johannesburg. Two years later, he sold his first linocuts.Pierneef was intimately involved in all aspects of the printmaking process. In addition to creating the etching plates and lino blocks, he undertook the physical labour of printing each individual work. He consequently signs his graphic works 'J.H. Pierneef impr.' ('impr.', from imprimere meaning 'to print') to signify his direct role in the creation of each print. These were made on demand, rather than in numbered editions. Therefore, typically only a small number of prints were produced from each master block. This printing method highlights the careful control that Pierneef retained over his graphic works which allowed him to keep creative oversight at each step of the production process. The present group of four works represents the diversity of Pierneef's printmaking activities. Study of a Tree (1920) and Okahandjaberg, South West Africa (1925, printed 1930) illustrate the softer, romantic language of his fine line etchings. Notably, the latter work is numbered as the first print made from the etching plate and is dedicated to Pierneef's daughter, Marita Pierneef-Bailey. In contrast to the detailed perspective offered in these etchings, the linocuts Street in Tulbagh, Cape (1931, printed 1938) and Vissershawe, Hermanus (1931, printed 1944) exemplify the bold, graphic style that he achieved through the relief print method. Vissershawe was a particularly popular work, and a print of the Hermanus harbour scene was included in the Empire Exhibition organised by the South African government at the Johannesburg Art Gallery in 1936. Here, the work was shown alongside pieces by other prominent South African artists including Maggie Laubser (1886-1973), Hugo Naudé (1869-1941), Irma Stern (1894-1966), and Maud Sumner (1902-1985).Pierneef's engagement with printmaking is closely interrelated to his approach to painting. In both mediums, he cultivates an attentiveness to line and tonal contrast. The consistency in his approach to both mediums is demonstrated in his use of the prints Okahandjaberg and Vissershawe as models for his acclaimed station panel paintings for the newly built Johannesburg train station, commissioned in 1929. The translation of these subjects from print to paint demonstrates the integral interrelationships between these two key aspects of the artist's practice.For further information on this lot please visit Bonhams.com
Lot 167
Charles Sykes (1875-1950)The Exotic Dancers, etching, numbered 1/10 and inscribed with initials in pencil to the margin, 15.5 x 12cm; and three further similar (4)Lots 160-169, a collection of pictures by Charles Sykes (1875-1950), sculptor, artist and designer of the Spirit of Ecstasy mascot for Rolls Royce motor vehicles.The works were acquired by a friend of the Sykes family in 1972 who in turn sold them to our current vendor/collector (now deceased). They represent views the artist produced for himself rather then in a commercial capacity.
Lot 168
Charles Sykes (1875-1950)The Parasol, etching, numbered 1/10 and inscribed with initials in pencil to the margin, 18 x 9.5cm; and four further similar (5)Lots 160-169, a collection of pictures by Charles Sykes (1875-1950), sculptor, artist and designer of the Spirit of Ecstasy mascot for Rolls Royce motor vehicles.The works were acquired by a friend of the Sykes family in 1972 who in turn sold them to our current vendor/collector (now deceased). They represent views the artist produced for himself rather then in a commercial capacity.
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