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Lot 524
LEONARD RUSSELL SQUIRRELL (1893-1979) 'Edinburgh from Calton Hill' View of the city with the Dugald Stewart Monument in the foreground, signed in pencil to the margin, etching, the image 23cm x 35cm; together with another signed etching by the same artist 'Loch Leven and Glencoe, Highlands' signed in pencil to the margin, signed and dated 1937 in plate (2)
Lot 985
Full title: Roger Raveel (1921-2013): 'De spanning van de rust in het dorp', etching in colours, ed. 5/30, (1975)Description: Work : ca. 31,8 x 24,8 cm Frame : 68,7 x 52,6 cm Literature: - Octave Scheire, Roger Raveel: Het grafisch oeuvre - Prenten en multiples, Ludion, Gent, 2013, nr. 54, p. 77.
Lot 475
Roderic O'Conor (1860 - 1940)ÿ "Bull by Moonlight" oils on canvas, 36 1/2" x 28 3/4" (93cms x 73cms) in ornate contemporary gilt frame. (1) Note:ÿÿ ÿIn the early 1890?s, while living in Brittany, Roderic O?Conor delighted in painting night scenes, seeking to capture the emotional qualities of landscapes illuminated by moonlight or firelight. His etching Pleine Lune Sur La C“te (1893) depicts a full moon over a rocky coastline, while his canvas Moonlit Breton Landscape dates from the end of that decade. One of his favourite places to paint was the Laita River near Le Pouldu, a favourite also of his contemporaries, including Paul Serusier. In this powerful image of a bull in a moonlit field, O?Conor moved away from his earlier technique of striped brushstrokes, instead weaving together different strands of art, from the early nineteenth-century Romanticism of James Arthur O?Connor, through Symbolism, to the immediacy of Les Nabis and Post-Impressionism. At its heart however, this is a Romantic painting, redolent of the troubled emotional response of an artist when confronted with the implacable power of nature. In Bull by Moonlight, theÿ composition is dominated by the dark silhouette of the animal, beneath a cloudy sky, with the moon casting a cold white light on the landscape below. O?Conor was certainly familiar with depicting nature, having attended Karel Verlat?s Natuur course in Antwerp, and he was also immersing himself in the Post-Impressionist movement, which he encountered in Brittany during the 1890?s, when he became friendly with Paul Gauguin and other artists. Gauguin used O?Conor?s studio in Paris, even asking the Irish artist to join him in the South of France, an invitation which?to the abiding disappointment of art historians in Ireland?O?Conor declined. Born in Co. Roscommon in 1860, when he was just four years old, Roderic O?Conor?s family moved to Blackrock in Co. Dublin. He was educated at Ampleforth before enrolling at the Metropolitan School of Art in Dublin. He was a contemporary of Nathaniel Hill, with whom he shared lodgings in Pembroke Road. After further studies at the RHA schools, in 1883 O?Conor enrolled at the Academie Royale des Beaux Arts in Antwerp, where Hill and Walter Osborne were also students. The professor at the Academie was the realist painter Charles Verlat. A year later O?Conor was back in Dublin, submitting paintings to the 1885 Royal Hibernian Academy exhibition. His early style, learned from Verlat, was characterized by bright colours, a plein-air technique, and spontaneous but controlled brushwork. However O?Conor?s response to Verlat?s teachings was more progressive than that of his fellow Irish students, who remained rooted in an academic realist style. In 1886, O?Conor moved to Paris to study under Carolus-Duran, before spending time at Grez sur Loing. In 1903 he participated in the inaugural Salon d?Automne, and he continued exhibiting there until 1935. For the rest of his life, until his death in 1940, O?Conor remained in France, living for the most part in Nueil-sur-Layon, Maine-et-Loire, with his wife Renee Honta. A retrospective exhibition of his work, held at the Barbican Centre in 1985, afterwards travelled to the National Gallery of Ireland and the Ulster Museum. O?Conor?s work can be found in the collections of both these museums, as well as the Hugh Lane Gallery. He was the subject of two biographies in 1992, one by Paula Murphy in the Lives of Irish Artists series, and a second, more extensive publication, by Jonathan Benington. "Bull by Moonlight" was included in Julian Campbell?s 1984 Irish Impressionists exhibition (Cat No. 106) at the National Gallery of Ireland. See also Jonathan Benington ?From Realism to Expressionism: the Early Career of Roderic O?Conor? in Apollo April 1985, p 257. Dr.ÿPeterÿMurrayÿ2021
Lot 2
Baugean (Jean Jérôme). Recueil de petites marines, 1817, 4 parts only of 5 (100 out of 150 etchings) lacking all of part 5 and plates 26, 38, 65, 66, 67, 69, 70, 71, 73, 74, 76, 78, 79, 81, 82, 84, 85, 88, 89, 90 from the prior four, spotting, some with damp-staining affecting the etching, offsetting, later quarter morocco, corners bumped, boards rubbed, oblong 4toQty: (1)
Lot 473
* Freeman (Samuel & Stadler J. C.). The Four Seasons, Spring, Summer, Autumn & Winter, T. Palser, 1816, the four seasons after Adam Buck, each season represented by a pretty young girl, the figures in stipple, the background in soft ground etching, contemporary hand-colouring, each approximately 345 x 240 mm, uniformly mounted, framed and glazed, together with Roberts (Piercy & Stadler J. C.). Olivia Primrose, William Holland, June 20th 1800, aquatint engraving after Adam Buck, printed in colours and finished by hand, 410 x 320 mm, mounted, framed and glazedQty: (5)
Lot 475
* Gillray (James). Farmer Giles & his Wife shewing off their daughter Betty to their Neighbours on her return from School, H. Humphrey, 1809, etching with contemporary hand colouring, trimmed to neatline, some marginal chipping and fraying with slight loss, some staining, old central fold, 315 x 460 mm, together with A Cockney & his Wife going to Wycombe..., H. Humphrey, 1805, etching with contemporary hand colouring, thread margins, slight staining an spotting, one small hole affecting the image, 260 x 370 mm, with 4 uncoloured 'Miller & Blackwood' Edinburgh edition of Gillray caricatures, some spotting, creasing and dust soiling, one with repaired closed tears affecting the image, each approximately 215 x 250 mmQty: (6)
Lot 508
* Seymour (Robert, pseud. Shortshanks). Shaving by Steam, E. King, circa 1825, etching with contemporary hand-colouring, long explanation below the image describing the 'automated' procedure, the slight mount staining, 245 x 350 mm, mountedQty: (1)NOTESA satirical print lampooning the fascination with 'automation'. It shows a dandy, using a monocle, who ogles the ladies in the next room who are having their hair styled. Another, sitting on a chair, reads a newspaper, 'Herald'. The 'Patent Shavograph' operates from right to left upon the customers who sit on a circular bench, each with his head held firm in a wedge cut from a circular disk. The razor has just sliced off the nose of a military officer who stands gesticulating wildly, whilst attempting to stop the blood flowing from his wound. His understandably dismayed neighbour rises from his seat with a look of horror on his face, whilst another shouts 'Stop! Stop!' Four men on the left, waiting their turn for the razor to reach them, are blissfully unaware of the accident. One has his head pressed into position by a rod held by a fashionably dressed man who is also working a lever that presumably controls the whole contraption.
Lot 84
Guichard (Kenneth M.). British Etchers 1850-1940, London: Robin Garton, 1977, 3 original etchings by Robin Tanner (Wren and Primroses, Full Moon; & The Old Road), each signed in pencil, monochrome illustrations, errata slip present, top edge gilt, original quarter blue morocco gilt, large 4to (33 x 26 cm), together with: Dodgson (Campbell), A Complete Catalogue of the Etchings and Dry-Points of Edmund Blampied R.E., London: Halton & Truscott Smith, 1926, original signed etching as frontispiece, monochrome plates, top edge gilt, original cloth, extremities slightly scuffed, 4to (28.5 x 22 cm), limited edition 220/350Qty: (2)
Lot 578
Percy Kelly (1918-1993), a limited edition etching Cockermouth, 33/75. 20 cm x 29 cm, framed, signed. ARR (see illustration). CONDITION REPORT: The etching is in first class condition with no issues. It is very well mounted and framed and could be hung in its current condition without the need for any work.
Lot 371
TINUS DE JONGH (SOUTH AFRICAN, 1885-1942)Cape Town, Docks and Table Mountaininscribed and titled in pencil 'Original etching by Tinus De Jongh' (in lower margin)colour etching20 x 25.5cmCondition reportUnder glass. Acidic mount.Some very small spots of foxing and a few other very small minor spots in places.A little possible discolouration to the margins.
Lot 1392
Italian School, 1873 ? Caricature of a Gentleman, with inscription Sketched by Sig. Monti Sept 1873, pen, brush and brown ink, 18 x 14cm and a caricature of, probably, the auctioneer James Christie, 'Ticking the Fancy!', hand coloured etching [1799], published by A Beugo 1801 (2) Drawing ? old re-touched hole on leg. Caricature ? exposure stained. Both long undisturbed in the present frames
Lot 1433
Count de Lisle after L G - Louis XVIII King of France, hand coloured etching, published by E Pisarello 1812, mounted to image, 17 x 10.5cm, two other contemporary humorous prints, including The Fire-Work Macaroni, a 19th c sheet music cover and a small painting of a river scene (5) Various faults, the prints generally browned. Music cover in good condition. Painting dirty
Lot 1231
Henry Wilkinson, Limited Edition hand coloured etching, No. 127 of 250, figure fishing, signed in pencil by the artist, gilt framed, 10ins x 14ins, together with a larger gilt framed coloured print titled ' Trout Fishing ', 27ins x 18ins and a Limited Edition print, No. 38 of 850, fish in water, signed by the artist A.B. Hayman, 16ins x 11ins, framed
Lot 599
Frederick Charles Cooper (1810-1880), five watercolours; Mosul from the Eastern Bank of the Tigris,Inscribed ‘Plate 2, to be placed opposite of p.80 of manuscript. Volume I’, overall 27 x 42cm.Village along the Tigris, 22 x 32cm.‘Sheik Adi’ 25 x 35cm‘Encampment near the Bellid Songar? March 28th 1850’20 x 35.5cm.‘Astonishment of Kurds at an opera glass’, 11 x 16.5cm.All unframed, with an Henry Farge etching
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71174 item(s)/page