Frank Brangwyn (1867-1956). Sisteron. Etching. Unsigned. 15 x 12cm. Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
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Anders Zorn (Swedish 1860-1920). The Waltz. Lithograph after the original etching. With printed signature lower right. Sheet size 28 x 21.5cm. Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
John Strickland Goodall (British, 1908-1996), domestic interior scene for the Radio Times, engraving, framed and glazed, bearing labels to reverse of frame, 10 x 8cm, with etching in colours depicting an eighteenth-century domestic scene with woman and a dog, framed and glazed, 9 x 6.5cm. (2)Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
Samuel Palmer (1805-1881). Autographed letter (S. Palmer) Furze Hill, Mead Vale, Red Hill, July 7th, 1879. Addressed to Dear Sir and is a response to a request for an etching for a forthcoming work but I am obliged, for no short time, to exchange the needle for the brush…this gives me more annoyance than it ought, for we must not, like spoiled children, expect to have everything our own way.. Sheet 23 x 18cm, folded in half. Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.
Ben Nicholson O.M. (British, 1894-1982)Involved Still Life signed and dated 'Nicholson/1968/-70' (lower right)pencil and wash over a printed base43.5 x 37.6 cm. (17 1/8 x 14 3/4 in.)Footnotes:ProvenanceWith Galerie Schlégl, Zurich, where acquired by the present ownerPrivate Collection, South AfricaThe pared-back simplicity yet ultimate sophistication and balance of Ben Nicholson's work is his supreme achievement. In the present work, where pencil and wash are layered over a printed base, the eye is led through and over a multiplicity of undulating lines, which weave together, intermingle and then depart again, swinging out and over the margins of the plate mark. For a 'still life', the composition is remarkably dynamic and encourages the viewer's gaze to rove around the image, never settling, always finding new rhythms to follow. Still life was a recurrent subject for Nicholson, one he returned to time and time again, and Involved Still Life is an example of the most refined realisation of his constant study of this subject, a synthesis of form and abstraction. The title is subtle yet says so much: it calls the viewer in to the subject, and we feel the movement that he has captured. Using the simple motif of two vessels, Nicholson nevertheless manages to create a composition which plays with space and creates an incredible depth.Cubism was an important influence for Nicholson and the multiplicity of lines that he has used here gives a sense of this all-over, all-at-once viewing. The use of several perspectives has the effect of recalling the experience and memory of the object, not just its image. As Nicholson commented: 'Cubism once discovered could not be undiscovered, and so far from being that 'passing phase' so longed for by reactionaries it (and all that its discovery implied) has been absorbed into human experience as we know it today' (Ben Nicholson, quoted in Ben Nicholson: A Retrospective Exhibition, exh. cat., Tate Gallery, London, 1955, n.p.). The result is a method of drawing which rises above the purely representational and becomes experiential.The base for the present work is an example of the etching 2 Sculptural Forms (1967) from the Twelve Etchings suite, a copy of which is in the Tate's collection.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
![[ZOPPIO (MELCHIORE)]La montagna circea torneamento nel passaggio della Sereniss. Duchessa Donna Margherita Aldobrandina sposa](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/f5ac75a7-047e-4fc9-8cbb-aeae010f3286/468x382.jpg)
[ZOPPIO (MELCHIORE)]La montagna circea torneamento nel passaggio della Sereniss. Duchessa Donna Margherita Aldobrandina sposa del Sereniss. Ranuccio Farnese Duca di Parma, e Piacenza, FIRST EDITION, title within 2-line fillet border, text leaves within 1-line border, one folding woodcut plate, the central stage cut out as issued allowing for three woodcuts mounted on sheets tipped on to the verso to change the scenes, etching of a rhinoceros on N2v, title with some losses to upper margin and lower-fore-edge (repaired with 4 letters of text and small area of line border supplied in neat ink facsimile), twentieth century blue pasteboards [Cicognara 1407], small 4to (195 x 142mm.), Bologna, heirs of Giovanni Rossi, 1600Footnotes:RARE FESTIVAL BOOK, ILLUSTRATED WITH A PLATE WITH MOVEABLE PARTS, commemorating the entry into Bologna of Margherita Aldobrandini (1588-1646), niece of Pope Clement VIII, shortly after her marriage to Ranuccio I Farnese, Duke of Parma and Piacenza. The large woodcut depicts the set of a play performed for the occasion, the central panel cut out to allow the reader to change the scenery, using one of the three smaller woodcuts tipped to the verso of the sheet.This 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
Samuel Palmer (British, 1805-1881) Opening the Fold, or Early Morning, from Virgil's Ecloques (Lister 13)A 'Trio' impression published by the Cotswold Gallery in 1926initialled in pencil by Frank Short, F. L. Griggs and Martin Hardie 'FS FLG MH' (lower left)etching on antique laid paper12 x 17.5cm (image)In 1924, F L Griggs contacted Samuel Palmer's son, A. H. Palmer, who supplied him with eight of his father's uncancelled plates for printing. In consultation with Frank Short, Professor of Engraving at the Royal College of Art and Martin Hardie, Keeper of Prints & Drawings at the Victoria & Albert Museum, he oversaw the printing of editions of 50 to 75 impressions from five of the plates. Each impression had an engraved triangle together with the Trio's (as A.H. Palmer called them) pencil initials in the lower margin. These were published by the Cotswold Gallery, London, to coincide with Hardie's ground-breaking exhibition Drawings, Etchings and Woodcuts by Samuel Palmer and Other Disciples of Blake at the Victoria & Albert Museum in 1926.33.5 x 37.5cm (framed) Not examined out of frame.
RAIDERS OF THE LOST ARK - Ralph McQuarrie-Etched "The Ark of the Covenant" Bible Page Copper EtchingA copper etching of a Bible page depicting "The Ark of the Covenant" etched by Ralph McQuarrie for Steven Spielberg's action-adventure film Raiders of the Lost Ark. Indiana Jones (Harrison Ford) and Brody (Denholm Elliott) used a Bible page to demonstrate the immense power of the Ark of the Covenant.This copper plate was personally etched by McQuarrie and used by him to print the famous Bible page illustration depicting the Ark of the Covenant with faux latin text on the bottom. According to McQuarrie in The Art of Ralph McQuarrie: Archives, the figures in the etching were based on Industrial Light & Magic (ILM) crew members, and took multiple designs to render correctly. The final etching was then printed onto rice paper, which was in turn colored and mounted into the Bible prop.The plate is numbered "10B743" with McQuarrie's initials etched - in reverse, for printing purposes - in the bottom left corner. It exhibits some discoloration from exposure and oxidation. Dimensions: 14" x 9.5" x 0.5" (35.75 cm x 24.25 cm x 1.5 cm) Estimate: $20,000 - 30,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
ROBIN HOOD PRINCE OF THIEVES - Azeem's (Morgan Freeman) Scimitar SwordAzeem's (Morgan Freeman) scimitar sword from Kevin Reynolds historical adventure Robin Hood: Prince of Thieves. Azeem carried his scimitar throughout the film while aiding his friend, Robin Hood (Kevin Costner), as they fought the villainous Sheriff of Nottingham (Alan Rickman).Made primarily of metal, this scimitar features a long curved blade with simple decorative etching. Both sides of the blade are textured with stage blood by production, indicating that this sword was used in combat sequences. The blade connects to the hilt with a rounded, studded guard. The hilt is wrapped in leather strips and connects to the pommel, which production modified to have one side shaved down, making it easier and more comfortable to handle. Included is a curved brown leather sheath with metal accents. It exhibits paint chipping through the blade, some breaks on the grip's leather strips and rust and discoloration on the sheath's metal accents. Dimensions: 41" x 10" x 4.5" (104.25 cm x 25.5 cm x 11.5 cm) Estimate: $5,000 - 7,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
BLADE RUNNER - Set of Five Tyrell Pyramid Pattern Etching MastersA set of five Tyrell Pyramid pattern etching masters from Ridley Scott's sci-fi classic Blade Runner. Rick Deckard (Harrison Ford) visited Eldon Tyrell's (Joe Turkel) pyramid, where his corporation produced humanoid replicants.Designed by Douglas Trumbull, the Pyramid was visualized with ornately patterned model miniatures created by chief model maker Mark Stetson's Entertainment Effects Group (EEG). This lot consists of three pairs of clear plastic sheets with printed black designs, one singular plastic sheet with printed black designs, and one illustration board with adhered multi-color designs. Two masters are labeled "Stetson Visual Services," an offshoot of EEG, and one is hand-marked "Photo Pair #7." Adhesive elements exhibit yellowing and several adhered details are missing or exhibit looseness due to age.The lot should be handled with caution. Dimensions (each): 24.25" x 12" (61.5 cm x 30.5 cm) Estimate: $6,000 - 8,000This lot will be auctioned on Wednesday, June 22nd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Thursday, June 23rd; or Friday, June 24th.
LAWRENCE JOSSET (BRITISH, 1910-1995) (7)Companionssigned in pencil 'Lawrence Josset' (in lower margin)etching8 x 11cmtogether with six other etchings, including Victor Ambrus, Blacksmith, 9 x 14.5cm; David Wicks, The Dragonfly, 12.5 x 13.5cm; Roger Withington, Hill Farm, 10 x 10cm; an etching of Norwich Cathedral, 23 x 17cm; an etching of Bruges, 9 x 14cml and an etching of a window in colours, 15.5 x 13cm(7)
signed and inscribed 'Trial Proof' in pencil and embossed with the Artist's Proof Studio chopmark in the marginaquatint etchingsheet size: 67 by 86cm; 81,5 by 99,5cm including framing While discussing his lifelong association with printmaking at a conference held in Cape Town in 2003, William Kentridge related a nostalgic account about a print of a cat from his childhood. This was a print gifted to him by renowned artist, Cecil Skotnes. Kentridge detailed how this print hung on his wall, and in many ways, the moustache-like whiskers and cat-like eyes looked to him like a self-portrait of Skotnes. This ignited a spark and interest in the way an animal or object could take on human qualities, and anthropomorphism is a theme seen throughout Kentridge’s extensive and prolific oeuvre. Cats, in particular, are an important and recurring motif in Kentridge’s work, and metal cats even stand guard at the artist’s front gate and above his studio door. Kentridge maintains that this recognisable and meaningful symbol is indebted to that gifted Skotnes cat. Lot 528, titled Another Cat, is an energetic and dynamic work, where subtle postural nuances, such as the arch in the cat’s back, make the work come alive with a taught yet playful feline energy. Berman states, “The origin of this powerful image is derived from an etching plate begun with Malcolm Christian at Caversham Press over 15 years ago and reminiscent of the famous “Scribble Cat” published by David Krut Studio in 2010. The Kentridge studio found the plate stored away on a shelf, with a single state proof. Interested in breathing it back to life, Kentridge suggested it be continued as a collaboration with APS [Artist Proof Studio]. In response to seeing the trial proof of two plates printed in two different densities of etching ink, Kentridge has added two more layers to each plate; one with energetic drypoint lines and the second with his painterly wash strokes characteristic of the more experimental use of coffee lift. The resulting image embodies both the creative energy of the artist and poised tension of a cat.” (Berman 2020).- A.C Berman, K. 2020. Notes on another cat, Creative Feel [O]: https://creativefeel.co.za/2020/02/notes-on-another-cat/ Accessed 7 May 2022Williamson, S. 2003. Artthrob [O]: https://artthrob.co.za/03sept/diary.html Accessed 7 May 2022
Six works of art to include: M. Katz - Fishermen and Restaurant Interior, pen and watercolour on paper, signed lower right, 21 x 30 cm each; Marcel Jacque, 'L'Eglise de Barbizon et La Maison da Theodore Rousseau, 1949' hand-coloured engraving, pencil signed and annotated, 20 x 26 cm; 'Evening Poppies', pastel on paper, indistinctly signed lower right, 28.5 x 21.5 cm; Etching on paper of two trees and fisherman, pencil signed lower right, 21 x 27 cm; and C. Morgan, 'Gloucester Old Spot Sow with Piglets' needlepoint, 50.5 x 32 cm, all framed and glazed (6)
Nine framed works to include: Anna Pugh (b.1938), 'Bonsai Beach' (1985), coloured etching on paper, signed and dated bottom right, 50 x 40 cm, framed and glazed; watercolour of five cherubs on paper (early 20th Century); two David Fry prints, two printed illustrations on paper, two 19th century fashion illustration prints and one Chap Crombie print: 34 x 35.5 cm, all glazed and framed (9)
Five paintings, one etching and a print to include: David Crane, 'Briarside', signed and dated '92'' acrylic on canvas, 41 x 31 cm; Molly Lemon, 'Swaledale', 2019, wood engraving on paper (2/25), with certificate of authenticity, 21 x 16 cm; and four acrylic on canvas paintings of chickens, indistinctly signed, and one print of chickens, various sizes (7)
After Arthur Rackham, Three Chromolithographic Book Plates ' The fairies set around on mushrooms and at first they are well behaved ', ' And now they never meet in grove or green ' and ' I am that merry wanderer of the night ', 18cm x 12cm together with Michael Barrett Signed Limited Edition Etching ' We'll always have Paris ' no. 41/100, 30cm x 28cm, all framed and glazed
Melvyn Petterson (b.1947) Signed Limited Edition Drypoint Etching titled ' Hainton Track Snow ', no. 21/50 together with Jordi Vall Escriu (b. 1928) Coloured Lithographic Print of Still Life Flowers on a Window Sill, signed and limited edition no. 101/200, 65cm x 47cm and a Madame Lily Bollinger Print
ZAO WOU KI (1920-2013)Canto Pisan, 1972Original etching and aquatint in colors on Arches paper numbered lower left and signed in pencil lower right right Accompanied by the text of Ezra Pound Published by Pierre Belfond Printed by Atelier Bellini, ParisEdition of 150 copies32.4 × 26 cm (image); 50 × 33 cm (sheet)Bibliography: Zao Wou-Ki, catalog raisonné, the Graphic Work 1937-1995, Jorgen Agerup reproduced as no. 222 page 131
JOAN MIRO (Spanish, 1893-1983) Les Hirondelles, 1973 Etching and aquatint in colors on Arches wove paper numbered and signed in pencil lower left Dry stamp Edition Larcos Edition of 75 copies 43 × 68,7 cm (image) 63 × 90 cm (sheet)Bibliography: "Miro Graveur Tome II 1961-1973" established by Jacques Dupin, published by Daniel Lelong in 1991, listed under n° 605, page 23
A British 1827 pattern Rifle Officers sword, having an 83cm curved blade with single fuller, etched with a crowned VR cypher with bugle and Rifles to the opposing side, marked to the forte Herbert? & Co London, having a steel hilt with crowned bugle cypher with copper bound fish skin grip, housed in a steel mounted leather scabbard, 97cm.Scabbard missing upper section with break above the steel mount at the base and split along the sticthed seam. Maker/retailers mark to the forte very worn, blade good, slightly rounded at the tip but etching good, hilt good with no movement.
MARY CASSATT (FRENCH 1844-1926) THE MANICURE Etching and Drypoint, 21 x 14.5cm (8.25 x 5.75") Breeskin 199. Mary Cassatt: A Catalogue Raisonne of the Graphic work by Adelyn Dohme Breeskin Condition Report:On close inspection there are a number of small/very small foxing marks over the image and a few similar over the margins. The paper is slightly wavy in manner.
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