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Lot 601
* TOM MACKENZIE (SCOTTISH 1947 - 2018), BLACK CUILLIN RIDGE coloured etching on paper, signed and titled image size 45cm x 60cm, overall size 71cm x 88cm Mounted, framed and under glass. Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.
Lot 623
* RICHARD "TURNERAMON" TURNER ARCA (BRITISH 1930 - 2013), UNTITLED oil on canvas overall size 91cm x 121cm Unframed. Note: Richard Turner was noted post-modernist artist born in Derby England and was educated at Bemrose Grammar School. In 1960, he enrolled at the Derby College of Art where he won the J. Andrew Lloyd scholarship for Landscape, enabling him to study at the Royal College of Art in London, from 1963. There, he was tutored by Carol Weight and Sir Peter Blake. He graduated in 1966 with an Associate of the Royal College of Art Degree, as well as prizes in Life Drawing, Life Painting, and Landscape Painting. His work was much admired by his contemporaries and his tutors. For the next two years, Turner was a lecturer at the Guildford School of Art; working on environmental installation projects with Australian artist Tony Underhill. He was introduced to etching by Peter Olley and Norman Ackroyd. In 1968, he was employed as an epigraphic artist and photographer by the Oriental Institute of the University of Chicago. For five years, he was based at Chicago House in Luxor, Egypt making facsimile drawings of the reliefs on the walls of the Temple of Khonsu, Karnak and Medenet Habu, adjacent to the Valley of the Queens. In 1973, Turner returned to England, lecturing at Salisbury College of Art for three years, before being re-employed in Egypt by the University of Chicago, for a further four years. During this time he made full-scale tracings of all columns in the Great Hypostyle Hall of Luxor Temple. In 1980 he moved to the USA; built a split-level chalet-style house in Big Bear, California, and ran his own gallery, named Minnelusa Gallery, on the shores of Big Bear Lake. He also worked as a graphic designer with Treasure Chest Advertising, based in Los Angeles. Four years later, Turner returned to the United Kingdom, and briefly lived in Edinburgh before moving south for five years. He returned to Scotland in 1989, and ran a successful "art holiday" home business from Park House in Kirkcudbright, as well as lecturing part-time in various colleges and schools. In 1993, Turner met HM The Queen and Prince Philip, at the opening of Tolbooth Art Centre in Kirkcudbright. Prince Philip commented on Turner's work saying it looked "refreshingly different". Turner exhibited widely throughout his career including multiple solo shows in London, Manchester, San Francisco, Palm Springs, San Bernardino, Los Angeles, Paris, Cairo, Luxor, Kirkcudbright and around the UK.
![John Cawse. The Grand Consul of the Great Nation [Napoleon] Perusing John Bulls Dispatches!!!, S. Jones, Jan 30, 1800, hand-c](https://cdn.globalauctionplatform.com/ba38c421-5d27-40fd-908a-ad9500a9b808/722df627-7e83-4915-be27-ad9500be62c9/468x382.jpg)
Lot 142
F J Aldridge, 1850-1933, ships in choppy seas, signed watercolour, 15 x 25cm, together with C N Woolnoth, Bay of Fleet near Gatehouse, signed watercolour, 11 x 18cm, Arthur Spencer, St Paul's Cathedral, signed etching, various pictures and prints, to include a watercolour of a house, 30 x 37cm (8)
Lot 295
Henri Goetz (1909-1989) - Espace d'Outremer, colour etching, 1/25, signed in pencil and numbered I/XXV to lower margin, visible sheet dimensions 37 x 51cmCondition report: Framed, mounted and glazed.Margin is slightly discoloured and casting a shadow at immediate extremity of print.Colours slightly faded.
Lot 332
Circa 1900 French School - L'Escrimeuse, etching printed in colours, as an oval, indistinctly signed in pencil lower right, visible sheet dimensions, 63 x 47cmCondition report: Framed and glazed.Foxing to paper throughout.Otherwise paper is good, flat and complete.Image colours slightly faded.
Lot 1121
Willi Kissmer (1951-2018) ''Der Morgen'' Signed and numbered 29/199, etching, together with three further signed nude etchings by the same hand, 36cm by 49cm and various other sizes (4) (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 1228
Percy Robertson ARE (1868-1934) ''St Michael's Mount'' signed and inscribed in pencil, etching, together with four further etchings including ''The Houses of Parliament'', ''The Lighthouses'', scene of Whitby and Boatyard, 21cm by 35.5cm, 25.5cm by 32cm, 19.5cm by 24.5cm ,26cm by 35.5cm and 23.5cm by 32.5cm (5)
Lot 1228A
Percy Robertson ARE (1868-1934) ''Trafalgar Square, Gordon Memorial'', signed and inscribed, etching, together with four further signed etchings and one unsigned etching by the same hand, entitled; St. Paul's Cathedral, ''Strath Tay'', ''Grand Canal - Venice'', ''Edinburgh'' and ''Cowgatehead, Edinburgh'', 29cm by 23cm, 27cm by 33.5cm, 34cm by 28cm, 28cm by 25.5cm, 32cm by 25.5cm & 29.5cm by 23cm respectively (sh) together with Political caricatures 1906 by Sir F Carruthers Gould (7)
Lot 50
Eduard Wiiralt (Estonian, 1898-1954) Lamav Tiger (Reclining Tiger) 1937 signedEduard Wiiralt (Estonian, 1898-1954) Lamav Tiger (Reclining Tiger) 1937 (1950), soft ground etching, signed lower right 'E Wiiralt', numbered XLVII/LX lower left, etching 31 x 40cm (12 x 16in), in period frame , etching in fine condition
Lot 1
Ackroyd (Norman) Snow at Coniston; Jackson's Pond VI, two works, etching with aquatint, both signed in pencil, inscribed and numbered from editions of 100 and 110, respectively, each platemark approx. 175 x 130 mm (6 7/8 x 5 1/4 in), hinged into mounts, unframed, 1985 to 1995; together with four other etchings by various hands, including Hans Martin Ruwoldt, Constantin Schmutin, and Bryan Ingham, various sizes, all unframed, 20th century (6)Provenance:From the collection of the late Mr. Laurence Lee
Lot 120
δ Tanner (Robin) Wren and Primroses, only state as published in 'British Etchers 1850-1940' by Guichard and Garton, 1977, etching, on cream wove paper, signed in pencil, platemark 95 x 110 mm (3 3/4 x 4 1/2 in), good margins, hinged into mount, unframed, 1935 [but this impression 1977]; together with 'Wiltshire Roadmaker', etching, signed with stamped initials, platemark 100 x 150 mm (3 7/8 x 5 7/8 in), good margins, hinged into mount, unframed, [1928 but printed c. 1974] (2)Literature:Garton 19; 6Provenance:From the collection of the late Mr. Laurence Leeδ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 122
δ Tanner (Robin) December: Elegy for the English Elm, etching, an excellent well inked proof impression on cream wove paper, signed in pencil to lower margin 'Robin Tanner fec. et imp. 1979', platemark 295 x 240 mm (11 1/2 x 9 1/2 in), wide margins, under glass, hinged into mount with some faint acidic sun exposure lines from mount, well outside the platemark, framed, 1979Provenance:From the collection of the late Mr. Laurence Lee Literature:cf. Garton 39, ii/ii, for the published edition of 25 impressions issued by Garton & Cooke in 1984. This impression printed by the artist in 1979δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 123
δ Tanner (Robin) September, etching with plate tone, a good clear impression on cream wove paper, signed in pencil to lower margin 'Robin Tanner 1983', platemark 195 x 280 mm (7 3/4 x 11 in), good margins, under glass, framed, 1983Provenance:From the collection of the late Mr. Laurence Lee Literature:Garton 43δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 124
δ Tanner (Robin) March, etching, a good clear impression of the final state (of 3), on cream wove paper, signed in pencil to lower margin 'Robin Tanner 1983', platemark 250 x 194 mm (9 3/4 x 7 5/8 in), under glass, framed, 1983Provenance:From the collection of the late Mr. Laurence Lee Literature:Garton 42δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 125
NO RESERVE Taylor (Charles William) Marsh Homes, Essex, etching with plate tone, signed in pencil, numbered from an edition of 55, platemark 230 x 175 mm (9 x 6 7/8 in), under glass, an excellent clear impression, surface dirt, framed, mid-20th century; together with 10 further prints by various artists, including John Howard's etching 'Woods, Pennance Point, Cornwall', and others by K. Vernon, Valerie Baines, and others, various sizes, all framed, 20th century (11)Provenance:From the collection of the late Mr. Laurence Lee
Lot 129
Walcot (William) The Banqueting House, Whitehall, etching with drypoint, a good impression with plate tone on cream wove paper, signed in pencil, platemark 205 x 280 mm (8 x 11 in), under glass, some even toning to sheet, framed, [early to mid-20th century]; together with 5 further etchings by the same hand, including two impressions of 'Temple of Esna', two impressions of 'The Caravan', and an untitled historical etching of figures in front of a temple, various sizes, all hinged into mounts, unframed, [circa 1920s] (6)Provenance:[Banqueting House] The Fine Art Society, LondonFrom the collection of the late Mr. Laurence Lee
Lot 138
δ White (Ethelbert) The Farm Nettle Hollow, etching and drypoint with plate tone, on laid paper, signed in pencil and inscribed with title, from an unknown edition size, platemark 140 x 175 mm (5 1/2 x 6 3/4 in), sheet 230 x 240 mm (9 x 9 1/2 in), minor surface dirt, hinged into mount, unframed, [circa 1920s]; together with 'Haymakers', unsigned but by the same hand, etching and drypoint, platemark 255 x 325 mm (10 x 12 3/4 in), good margins, hinged into mount, unframed, [early to mid-20th century] (2) Provenance:From the collection of the late Mr. Laurence Lee δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 14
Briscoe (Arthur) Gravesend Reach, etching, on antique laid paper without watermark, an excellent trial proof impression with delicate brownish-black plate tone, printed aside from the edition of 75, signed in pencil, pencil inscriptions within margin, platemark 168 x 250 mm (6 1/2 x 9 3/4 in), sheet 245 x 295 mm (9 5/8 x 11 1/2 in), hinged into mount, minor handling creases, very faint spotting and surface dirt, unframed, [1927]Provenance:From the collection of the late Mr. Laurence LeeLiterature:Laver 102; Hurst 194
Lot 17
Drury (Paul) Portrait of Mrs Douglas James, whose father was constructional engineer to the Eddystone Lighthouse, etching with drypoint, on cream wove paper, signed in pencil, 205 x 205 mm (8 x 8 1/8 in), good margins, unframed, 1936; together with a good group of six landscapes by various hands, including David Strang, Harold Sayer, Sydney Lee, George Tute, John Farleigh, and another, etchings and wood-engravings, various sizes, all hinged into mounts, unframed, 20th century (7)Provenance:From the collection of the late Mr. Laurence Lee
Lot 33
NO RESERVE δ Gross (Anthony) Monsieur Bernède's Vineyard No. 2, etching with drypoint, a good impression with light plate tone on cream wove paper, signed in pencil, inscribed and numbered from an edition of 75, platemark 260 x 320 mm (10 1/4 x 12 1/2 in), under glass, framed, [1978].Provenance:From the collection of the late Mr. Laurence Lee Literature:Herdman 7802δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 34
Guichard (Kenneth M.) British Etchers 1850-1940, with 3 original signed etchings by Robin Tanner, tissue guards, occasional light spotting, original morocco-backed cloth, t.e.g., slight fading to upper cover, 1977 § Engen (R.) & others. British Printmakers 1855-1955: A century of printmaking from the Etching Revival to St.Ives, Devizes, 1992 § Meyrick (Robert) The Etchings and Engravings of Edgar Holloway: A Catalogue Raisonné, number 26 of 100 special copies signed by the artist and with an original etching, with Supplement, Christmas cards and several A.Ls.s. from the artist or his wife to Laurence Lee loosely inserted, Aldershot, 1996 § Rushbury (Julia) Henry Rushbury Prints: A Catalogue Raisonné, 2010 § Garton (Robin) The Catalogue Raisonné of the Prints of Paul Drury 1903-1987, 1992 § Robin Tanner: The Etchings, limited edition, 1988, plates and illustrations, all but the first original cloth or boards with dsut-jackets, the third also with slip-case; and 10 others on modern etchers and etchings, 4to & 8vo (16)
Lot 36
NO RESERVE Hamanishi (Katsunori) Position VI, mezzotint with etching printed in colours, signed in pencil, inscribed, dated and numbered from an edition of 50, platemark 180 x 135 mm (7 x 5 1/4 in), sheet 330 x 245 mm (13 x 9 3/4 in), unframed, 2000; together with a good group of 18 prints printed in colour, including work by Peter Reddick, Owen Jones, Giorgio Ferrari, H.W. Freeth, Sophie Jensen, Benet Johansen, Helen Hanson, and N. Stortenbecker, various sizes, all hinged into mounts, unframed, mainly late 20th century (19)Provenance:From the collection of the late Mr. Laurence Lee
Lot 53
NO RESERVE δ London.- Josset (Lawrence) Calendarium Londinense or the London Almanack..., 16 issues for the years 1971-1986, comprising 16 single sheets each printed to one side only, with etched image by Josset to upper half and calendar to lower half, six signed in pencil, 4 dedicated in pencil 'To Laurence Lee', each sheet approx. 405 x 290 mm (16 x 11 1/2 in), '1975' with etching from another sheet affixed to calendar with some associated glue-stains and abrasion, otherwise minor handling creases, unframed, published by Stevens & Brown, 1971-1986 (16)Provenance:From the collection of the late Mr. Laurence Lee δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 76
NO RESERVE Nolde (Emil) Schiffe im Hafen, Flensburg, published unsigned in 'Zeitschrift fur bildende Kunst', etching with drypoint, on cream wove paper, second state (of three), platemark 150 x 185 mm (5 7/8 x 7 1/2 in), under glass, minor toning, framed, 1907; together with 6 further etchings by various hands, including Alexander Eckener, 'May', Douglas Kirk, and two others, various sizes, all unrfamed, late 20th century (7)Provenance:[Nolde] Craddock & Barnard, LondonFrom the collection of the late Mr. Laurence LeeLiterature:[Nolde] Schiefler-Mosel 74 ii/iii
Lot 80
NO RESERVE Palmer Robins (William) Passing Storm, Ely, etching and aquatint on cream wove paper, signed in pencil and inscribed, platemark 295 x 400 mm (11 1/2 x 15 3/4 in), hinged into mount, unframed, [mid-20th century]; together with another landscape etching signed by Robins, and 5 others by various hands, including Wilfred Fairclough, Raymond Cowen, W. Renison, and Malcolm Osbourne, various sizes, all unframed, 20th century (7)Provenance:From the collection of the late Mr. Laurence Lee
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71174 item(s)/page