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Lot 1104
Lionel Ellis, NS, ARCA (B.1903) Still life of a jug, pomegranate and pears, signed, oil on canvas, together with a small collection of other drawings, paintings and prints to include a study of a cat, a ploughing scene, a view of ''Highgate from Upper Holloway'', market scene signed and inscribed R besse verso, etching by Armand Coussens, engraving after Guido Reni, etc (qty)
Lot 167
Rijn (Rembrandt van, 1606-1669) Old Man with Beard, Fur Cap, and Velvet Cloak, etching with drypoint, a slightly worn impression of New Hollstein's second state (of three), but before later rework, on cream laid paper without watermark, platemark 145 x 130 mm (5 3/4 x 5 1/8 in), sheet 150 x 134 mm (5 7/8 x 5 1/4 in), minor browning to sheet with some faint damp-stain in the upper centre and upper right quadrant, faint handling creases, unframed, [circa 1631]Literature:Hind 92; New Hollstein 92
Lot 168
Rijn (Rembrandt van, 1606-1669) The Descent from the Cross: Second Plate, etching and engraving, a later impression of New Hollstein's sixth state (of eight) before the addition of Lamoureux's address in the lower right corner and further re-work, on laid paper without watermark, platemark 535 x 412 mm (21 x 16 1/4 in), sheet 595 x 465 mm (23 1/2 x 18 1/4 in), central vertical and horizontal folds, some splitting to folds and associated creases, numerous marginal nicks and tears, some damp-stains and surface dirt, several small perforations within image, unframed, [circa 1633, but later] Literature:Hind 103; New Hollstein 119 vi/viii
Lot 169
Rijn (Rembrandt van, 1606-1669) The Return of the Prodigal Son, etching, a good impression of New Hollstein's first state (of three), the lightly etched landscape in the background printing clearly, on laid paper with large armorial watermark, platemark 158 x 136 mm (6 1/4 x 5 1/4 in), sheet 166 x 142 mm (6 1/2 x 5 5/8 in), minor spotting and browning, one or two small areas of scraping verso, not affecting recto, numbered '70' in pencil in the lower margin, unframed, [1636]Provenance:Ex-collection of John Murray, antiques dealer and friend of Percy Webster (clockmaker), active circa 1900;Then by descent;Private collection, Hertfordshire, UKLiterature:Hind 147; NH 159 i/iii
Lot 170
Old and modern master prints.- Hamerton (Philip Gilbert) Etching & Etchers, third edition, extra-illustrated with over 40 prints, title printed in red and black with engraved vignette after Rembrandt, 48 etched or photogravure plates as published, and with over 40 additional original etchings, engravings and heliogravures, original roan-backed boards, 4to, Macmillan, 1880⁂ Additional prints of note include: Rembrandt van Rijn (1606-1669), Jakob Thomasz Haringh (The Young Haring), a later impression of the reduced plate [1655]; a lithographic facsimile after Albrecht Dürer's The Nativity, from Life of the Virgin; Adriaen van Ostade's, The Painter in His Studio, [1667, but likely a later impression]; Nicholas Berchem's Animalia, the set of six, with two additional etchings by Berchem; two Italian landscape etchings by Jan Both; Charles Meryon's Nouvelle-Zélande, Greniers Indigènes et Habitations à Akaroa (Presqu'île de Banks, 1845), 1860; David Wilkie's The Lost Receipt, and Reading the Will; James Abbott McNeill Whistler's Landscape with Horses, and Billingsate; and Samuel Palmer's Sunset, and The Sepulchre.
Lot 172
Bookseller's trade card.- Bickham the Elder (George, 1683-1758) Trompe-l'œil medley print with portraits, letters, and playing cards, large format trade card, etching and engraving on laid paper with Pro Patria watermark, sheet 320 x 240 mm (12 1/2 x 9 1/2 in), trimmed within the platemark, handling creases and old folds visible, several small tears to extremities, some minor losses, browning and surface dirt, particularly to upper edge, unframed, published by Henry Overton I, [circa 1705 or slightly later]⁂ Scarce. The British Museum hold another impression from this plate with Henry Overton's publication details replaced with those of the publisher Cluer Dicey (c. 1713-1775); the present impression appears to be the earlier of the two.
Lot 173
Bookseller's trade card.- Slater (Thomas, active circa 1670-1710) Trompe-l'œil medley print with portraits, letters, landscapes, and cards, large format trade card, etching and engraving on laid paper with large Strasbourg Lily watermark with initials 'LVG' underneath [datable to circa 1770-1790], sheet 412 x 268 mm (16 1/4 x 10 1/2 in), trimmed within the platemark, inset at edges onto paper mount, handling creases and old folds visible, nicks and tears to extremities, some browning and surface dirt, particularly to right edge, unframed, [circa 1707, but a later 18th century impression]⁂ Scarce. A highly decorative oversized trade card. The British Museum hold another impression from this plate with several additions, which in this impression are burnished out; notably two playing cards and a portrait of the Duke of Marlborough with Henry Overton's publication details below, which are here replaced with those of Thomas Slater.
Lot 178
Game.- Daumont (Jean Francois, publisher) and Jean Baptiste Crepy. Le Nouveau Jeu de la Marine, game board with numbered pictorial compartments from 1 to 63, arranged in a spiral, each bearing a nautical term, arranged around a central panel in which are detailed the rules and a British ship, further maritime vignettes, compass roses and windheads in the corners, etching and engraving with early hand-colouring, sheet 485 x 720 mm (19 x 28 1/4 in), under glass, central and vertical old folds, surface dirt and some browning, handling creases, framed, [late 18th century].
Lot 336
Eldred Lea (British c.1806-?): Male and Female Nude Studies from Life, pencil drawing unsigned 7cm x 9cm, After Charles Hamilton Smith (British 1776-1859): 'Wedgetailed Eagle', hand-coloured engraving pub G.B. Whittaker, London 1827, three further ornithological hand-coloured engravings, and an etching of a townscape unsigned, max 12cm x 17cm (6) - Condition Report
Lot 360
Collection of York interest pictures: two watercolours of the Shambles, pair etchings 'Bootham Bar' and 'Stonegate' signed Richard W Barker, another coloured etching 'The Shambles' signed Donald Gray, 'Micklegate Bar', print after Leonard Russell Squirrell signed in pencil, and two prints after Ernest William Haslehust, max 32cm x 22cm (8) - Condition Report
Lot 94
An English Silver-Mounted Hanger Early 18th Century, Indistinct Britannia Standard Hallmarks And Maker's MarkSimilar to the last, the blade retaining traces of later etching on one side at the forte, hilt comprising lobed rear quillon cast and chased with a helmeted male profile bust on each side against a punched ground, knuckle-guard decorated en suite and with foliate terminal hooked into the pommel, the latter cushion-shaped and embossed and chased with foliate borders, and natural buckhorn grip with embossed basal ferrule, in its black leather scabbard (some loss of surface) with linear engraved locket and chape, the former with frog-button 44.6 cm. bladeFor further information on this lot please visit Bonhams.com
Lot 1344
The Battle of Blenheim 1704: an 18th century hand coloured etching, 'The Glory of the Confederate Armes, Illustrated in a Blasonry Description of 128 Ensigns and 35 Standards, taken from the French and Bavarians, in the Famous battle of Blenheim....... ', central text flanked by the coloured depictions of captured enemy colours, a view of the battle with the Duke of Marlborough mounted to the foreground, framed and glazed, 48 x 63 cm; together with three other framed prints, military subjects. [4]
Lot 114
•□ ERICH WOLFSFELD, A.R.E. (1885-1956) A NORTH AFRICAN, POSSIBLY A BASKET WEAVERtitled l.l. numbered u.l. 23 oil on paper 54.0 x 36.0 cm / 21 1/4 x 14 in unframed, glazedWolfsfeld's trips to Turkey and Morocco - made while he was Professor of Painting & Etching at the Berlin Academy - resulted in a number of sketches such as these, where |the figure stands successfully in oil isolated against a blank background| (1). He established a process whereby |he would carry with him rolls of treated paper and painted many such scenes on the spot, as well as using sketches and photographs to work up later in the studio| (2).Bibliography: (1) Erich Wolfsfeld 1885-1956 - Elizabeth Furness - Introduction to exhibition catalogue for the Belgrave Gallery - March 1977 - London (2) Erich Wolfsfeld; Lotte Laserstein; Gottfried Meyer - Introduction to the exhibition catalogue for Agnew~s, in association with Caroline Stroude - December 1990 - London
Lot 154
• JOHN PIPER, C.H. (1903-1992) SUNFLOWERS & HOSTAS, 1986signed and dated l.r.: John Piper/20/21/9/86 Waddington Galleries label on backboard watercolour and gouache with chalk and Indian ink 60.0 x 76.0 cm / 23 1/2 x 30 inProvenance: Waddington Galleries, London Hollywood Fine Art, Sussex Private Collection, U.K. The present work was reproduced in 1989 as an etching with aquatint in an edition of 75, titled Sunflowers, 1989 (Levinson 420).
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