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Lot 818
•JOHN BRUNSDON (1933-2014) EDALE Colour etching, signed, titled and inscribed Artist Proof XXIV/XXV Image 45 x 60cm; with three more signed and titled etchings by Brunsdon, comprising `Glaciated Valley`, numbered 140/150, 22 x 30cm.; `Laugharne` and Manorbier Castle`, each of these two inscribed Artist proof and numbered 11/15 and 13/15, 8.5 x 22.5cm. (4) Provenance: (last two) London, The New Academy Gallery ++ Each in good condition but `Manorbier Castle` with damp/foxing in outer margins and `Glaciated Valley` with very pale foxing lower right margin
Lot 813
•DAME LAURA KNIGHT, DBE, RA, RWS (1877-1970) DRESSING ROOM, No.1; A CROWD (Bolling & Withington 3, 4) Two aquatints with etching, 1923, each signed in pencil, from the published editions of 55 impressions, framed as one (back to back) 14.5 x 19.5cm. and 9.5 x 12cm. ++ Good impressions; the former with slight mount burn
Lot 844
NORMAN ALFRED WILLIAM LINDSAY (Australian, 1879-1969) FANFROLICO, c.1924 Signed, watercolour and pencil 64.5 x 59cm Provenance: London, The Leicester Galleries, 1926, no.48 (label on backboard), bt. by J. W. Dearden Esq. The asking prices was 300 guineas. * We are very grateful to Helen Glad, the artist's granddaughter, for her observations about this picture. Ms Glad notes the energy and optimism to be found in Lindsay's work of the 1920s, probably the artist's response to the devastation of the Great War. This watercolour is similar to a 1924 etching entitled The Happy Barge. Before the 1920s, Lindsay was primarily recognized as a black and white artist and so his mastery of the difficult medium of watercolour was extraordinary. His multi-figured compositions with such complex washes were notably distinguished. The title, Fanfrolico, refers to the private press set up by Norman and his son Jack at the time: it specialised in poetry, mythology and anything which captured the imagination. The press specialised in lavishly produced volumes of exceptional quality. ++ Some fading; slight foxing
Lot 368
AFTER HENRY WILKINSON "Setters", study of two dogs flushing birds, limited edition coloured etching No'd. 59/150, signed in pencil, 27.5 cm x 36 cm, together with two others by the same hand "Spaniel with Teal", No'd. 44/150, 27 cm x 36 cm and "Black Labrador with Pheasant", No'd. 120/150, 27.5 cm x 36 cm
Lot 369
AFTER HENRY WILKINSON "Guns at Pegs", study of driven shooting, limited edition coloured etching No'd. 59/150, signed in pencil, 27 cm x 35 cm, together with three others by the same hand "Labrador and Guns on Peg", No'd. 99/100, 27.5 cm x 38 cm, "Huntsman on horseback with hounds", No'd. 36/150, 27.5 cm x 36 cm and "Pheasants breaking cover", No'd. 31/150, 27.5 cm x 32 cm
Lot 196
ARR * Gross (Anthony, 1905-1984). Chateau Correze, copper etching on thick Arches wove paper, printed by the artist's daughter, Mary West, at the artist's studio, circa 1984, published by Merivale Editions, in an edition of 500, numbered in pencil 329/500, small crease/indent to image, plate size 152 x 228 mm (6 x 9 ins), sheet size 210 x 295 mm (8.25 x 11.6 ins), contained in original thin card folder with printed title to upper coverQty: (1)
Lot 201
ARR * Pasmore (Victor, 1908-1998). World in Space and Time I, 1992, etching and aquatint in colours on wove paper, printed by Vigna Antoniniana, Rome, and published by 2 RC Edizioni d'Arte, Rome (with their blindstamps) in an edition of 90 impressions, numbered, signed with monogram, and dated '92 in pencil lower right, and numbered 8/90 in pencil to lower left, plate size 49 x 144.5cm (191/4 x 56 7/8 ins), sheet size 64.5 x 192cm (25 3/8 x 75 1/2 ins), framed and glazed (75 x 198 cm)Qty: (1)
Lot 204
ARR * Trevelyan (Julian, 1910-1988). Westminster Abbey, 1964, etching and aquatint and soft-ground in colours, on crisbrook paper, printed in an edition of 75 impressions, published by Editions Alecto, signed, titled and numbered 23/75 in pencil, closed tear to left blank margin, just touching plate mark, and another closed tear right blank margin (not touching plate mark), plate size 35 x 48cm (133/4 x 183/4 ins)Qty: (1)NOTESTurner, Julian Trevelyan Prints (2010), 163.
Lot 37
* Castiglione (Giovanni Benedetto, 1609-1664). Man with beard and moustache wearing a turban, from the series Large Heads in Oriental Headdress, etching on laid paper, trimmed just inside the plate mark, extreme upper left corner torn (without loss), sheet size 180 x 150 mm (7.1 x 5.9 ins), window-mounted, together with: Young man sounding a trumpet, wearing a flat cap (from the series Small Studies of Heads in Oriental Headdress), etching on thin laid paper, trimmed just inside the plate mark, sheet size 102 x 77 mm (4 1/8 x 3 ins), laid down on old card, with ink inscription to verso 'Les petites tetes d'hommes coiffées à l'Orientale, BXX1, J.Kay, Lond 1826', with card mount, plus: Desplaces (Louis, 1682-1739). To The Memory of Sir Isaac Newton, circa 1741, etching by Desplaces, from a drawing by D.M. Fratta after Pittoni and Baleriani, depicting an allegorical tomb of Isaac Newton, with figures engaged in astronomical calculations, and observing a beam of light refracted into a mirror, trimmed to plate mark, 64 x 40 cm (25 1/4 x 15 3/4 ins), some marks and marginal creases, with short closed tear towards head of left margin, without loss, and three others: Hans Burgkmair, The Triumph of Maximilian I, 1516-18, woodcut on laid paper, from the series of 236 plates, watermark of a spread eagle within a circle (probably later 16th century), with old inscription in brown ink to upper right giving the title of the work, sheet size 382 x 367 mm (15 x 141/2 ins), and Jakob Schmutzer (1733-1811), portrait of Wenzel Anton Count Kaunitz, 1786, etching and engraving on laid paper, after Johann Baptist Hagenauer, trimmed to plate margins, and with some light overall toning, a few marks and margins reinforced with archival tape to verso, 45.5 x 44.5 cm (18 x 171/2 ins)Qty: (5)NOTESBartsch 51; Bellini (1982), 44 & 51 for the first two works
Lot 40
* De Vos (Martin, 1532-1603). Mulier Inclinata (plate 9 from Icones Illustrium Feminarum Novi Testamenti), circa 1590-1612, etching on laid paper, published by Phillipe Galle, together with other Old Master prints, various: Albrecht Aldegrever, The Testimony of Daniel, and The Stoning of the Elders, 1555, two engravings from the set of four plates illustrating the story of Susanna (Hollstein 32-33), & Lot with his Daughters, 1555, engraving from the set of four plates illustrating the story of Lot, Abraham Bloemaert, a chiaroscuro woodcut, Giovanni Andrea Sirani (1610-1670), Apollo and Marsyas (Bartsch 2), engraving, and a grey wash drawing by Mathieu Antoine Xhrouet, La Fontaine de la Sauvenière, pen and black and grey inks with grey wash, titled and signed ‘La Fontaine de la Sauveniere ‘xhrouuet fecit’Qty: (7)
Lot 44
* Gillot (Claude, 1673-1722). Witches' Sabbath, etching on laid paper, with indistinct watermark, pale overall toning, close-trimmed to plate margins, old paper restrengthening to verso of upper margin, sheet size 250 x 345 mm (97/8 x 131/2 ins)Qty: (1)NOTESBernard Populus, Claude Gillot, Catalogue de l'oeuvre gravé (1930), 10. A Witches' sabbath at night, with a necromancer seated on a rock holding an open book, with an owl above, while naked male and female figures dance in a circle to the right to a tune played by a goat violinist, and various witches, sorcerers, strange animals and monsters to the left, from the series entitled Les Sabbats (The Sabbaths). Gillot is best known as the inventor of the fête champêtre genre, and was the teacher of Antoine Watteau.
Lot 46
After Guercino (Giovanni Francesco Barbieri, detto Il Guercino, 1591-1666). Racolta di alcuni disegni del Barberi da Cento, detto Il Guercino, Rome: Giovanni Generoso Salomoni, 1764, letterpress title with vignette by Ottaviani after Guercino, additional full-page etched title by G.B. Piranesi incorporating Saint Joseph resting, after Guercino (from the collection of the famous sculptor and restorer of antiquities Bartolomeo Cavaceppi), and with dedication to Thomas Jenkins of the Academy of Saint Luke, and 30 fine etchings printed in black and sanguine on 29 sheets, including 13 by Bartolozzi, 6 by Nevay, 5 by Ottaviani, 3 by Piranesi, 2 by Piroli, one by Giovanni Battista Buratto, and one very large etching by Aureliano Milani on three sheets, all printed on fine heavy laid paper (several watermarks, including a fleur-de-lys within double-rule circle, another fleur-de-lys within single-rule circle and letters M V below), wide blank margins, untrimmed, contemporary plain buff paper wrappers, some soiling and minor marks to wrappers, large oblong folio (external dimensions 580 x 790 mm, with the single leaves measuring 580 x 445 mm, and the largest, partly folded, sheet 625 x 745 mm)Qty: (1)NOTESHind, Piranesi (1922) page 86; Focillon 983-986; Wilton-Ely 1015-1018. A magnificent series of plates in excellent original condition, principally after the works of Guercino, but including a number of additional works by or after other artists including Caravaggio, Sebastiano Ricci, Antonio Balestra and Aureliano Milani. The publication appears to have been originally planned by Piranesi when he purchased twelve etchings after Guercino from (and by) the eminent printmaker Francesco Bartolozzi in 1764, who left Italy that year for a career in London. Piranesi added further plates, including several of his own. At least one of the original drawings by Guercino after which these plates were designed came from Piranesi's own collection. The inclusion of Piranesi's etched title in addition to the printed titlepage suggests that the Raccolta was sold at Piranesi's address in the Strada Felice. The letterpress title page with the imprint of Salomoni and vignette by Ottaviani seems to have been used to present various groups of plates, but usually always including the Piranesi title and the very large folding plate by Aureliano Milani, here un-conjoined on three large sheets. Aside from the printed title, and the additional etched title by Piranesi, this album contains 20 mostly full-page etchings after Guercino (12 by Bartolozzi, 2 by Giacomo Nevay on one leaf, 4 by Giovanni Ottaviani including two on one leaf, and 2 by Piranesi), one single-page etching by Piranesi after Pier Leoni Ghezzi, 4 etched studies of heads on one page by Nevay, a single-page etching by Piroli after Caravaggio (The Entombment of Christ), three double-size etchings by Bartolozzi after Sebastiano Ricci (Camillus rescuing Rome from Brennus), Piroli after Guercino (Vénus desolée pour la mort d'Adonis), and Giovanni Battista Buratto after Antonio Balestra (Apotheosis of Saint Ignatius of Loyola), and one very large etching of Christ Carrying the Cross by Aureliano Milani on three sheets.
Lot 2085
CC TOM STONE; oil on canvas 'Derwent Water', signed and inscribed verso, 29.5 x 20cm, together with a pencil signed etching by John Yarwood depicting a humpback bridge and figures in a river scene, signed lower right, 27 x 11cm, framed and glazed (2). (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 2114
ROLAND LANGMAID (1897-1956); two pencil signed dri-point etchings 'Westminster' and 'Tower Bridge', average size 23 x 16.5cm, the pencil signed etching by Dorothy F Sweet, 'The Tower of London', 18 x 26cm (3). (D)Additional InformationEach example is mounted but not framed. The images are fine, the mounts with minimal wear, staining, scuffs and misshaping.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 11
LEON DANCHIN (1887-1939). French school, study of a grouse in flight, signed in pencil lower left, limited edition coloured etching on paper 76 / 500, framed and glazed 36 x 58 cm, together with 'After' Samuel Prout (1783-1852). Numerous figures in a cathedral interior, unsigned, coloured lithograph on paper, framed and glazed, 39 x 27 cm,(2) together with ELIZABETH JARDINE. A modernist study titled 'Asleep' see verso, signed and dated 1994 verso, mixed media on canvas board, framed and glazed, 11 x 8 cm, together with AFTER DON BRECKON (XX). Rainy street scene with trams, cars and figures, signed in print lower right, print on canvas, framed, 49 x 74 cm
Lot 3091
Vera Hickmott (20th Century). Celtic Cross. Intaglio Etching (1985). Titled, signed and dated. 43 x 31cm. Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Lot 3092
Michael Hutchings (British, 1918-2020). Masked River Etching, 1970, signed, titled and dated lower margin. 56 x 42cm. Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Lot 5
AFTER SIR THOMAS LAWRENCE (5)Portrait of Elizabeth Farren, later Countess of Derbyengraving49 x 32cmtogether with an engraving of Penelope Booth, by by Samuel Cousins after Sir Joshua Reynolds, 34 x 28cm; an engraving of a girl by Samuel Cousins, 28 x 22cm; an etching of a hunting dog seizing a duck by J. B. Guelard after J. B. Oudry, 25 x 20cm; and a reproduction colour print of Diana of the Uplands after C. W. Furse, 24 x 18cm (unframed)(5)Property sold to benefit a charitable trust
Lot 51
A Victorian officer's dress sword, manufactured by J. B. Johnston, the tapering blade etched with foliate design, with Queen Victoria cypher, with brass hilt mounted with the coat of arms of the City of London, with a wooden grip, the pommel in the shape of a crown, with a brass mounted black leather scabbard, 93cm longCondition report: The etching rubbed down in places. With patination to the brass. Scratches and marks to the mounts and scabbard.
Lot 227A
Children's Books, including: Mickey Mouse annual, Dean & Sons N/D, original pictorial boards, 189 pages; 4 x Modern Masters of Etching Series, pop up book and others, plus two Alice Through the Looking Glass and Alice in WonderlandCondition report: Not collated, most of the children's books tired with scuffed boards, small tears, marks, stians, loose bindings, the 4 x Modern Masters of Etching in good condition.
Lot 230
LEWIS & CLAYTON LTD (Producers of Titanium Fine Art) limited edition print - 'The Strawberry Girl', 65 x 50cms overall, harvesting scene print of similar size, titanium etching of 'Llyn Tegid or Bala Lake', a vintage Lewis & Clayton Ltd titanium etching of a horse, a COULSON print, a vintage Worcestershire map together with a pair of bamboo framed tapestries on silk featuring exotic bird and floral scenes, 46 x 46cms overall ETC
Lot 1657
Nelson Dawson (1859-1941) group of unframed etchings and a typed list of works by the artistTyped lists1. 1 to 22 Lithograph and drypoint etchings of places2. 23 to 41 - drypoint etchings of places3. Bitten etchings - London River and Medway 1 to 14.4. Photogravures - London River 1 to 7...Prints;1. The (HMS) Stork, Training ship at Hammersmith, 20.5 x 16.5cm.2. Liner at sea with tugs, signed in pencil, 25 x 35cm.3. colour - Dutch fisherfolk unloading their catch, 24 x 31cm.4. colour - headland at night, signed and inscribed No.5 R.P (reserved proof), 24 x 34cm.5. colour - Belgian market scene, 35 x 25cm.6. etching - Liner on calm sea 'Sunrise after a foggy night', signed, 23.5 x 30cm. (light mould damage top left).7. 'Venice, Campo Santa Maria', signed, 26 x 17.5cm.8. 'The Fish Market, Venice', signed and numbered 21, 17.5 x 26cm.9. The Venesia Bella at home', signed and dated 1915, 19 x 24cm. (foxed).10. 'The Column of S.Marco', signed, dated 1915, 21 x 16cm.11. 'The Gesuarti, Venice', signed, dated 1915, 20.5 x 16cm.4.
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