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Lot 3025
Peter Laszlo Peri (1899-1967) ''His Dream Woman'' Signed and dated 1947, etching and aquatint, together with a further surrealist etching by Richard Matouschek (1920-1976), 22cm by 20cm and 30.5cm by 22.5cm respectively (2) (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 3048
Frank Auerbach (b.1931) British/German ''Joe Tilson, from Six Etchings of Heads'' Signed and dated (19)80, artist's proof, inscribed and dedicated ''to Barbara, love from Frank'', etching, published by Marlborough Graphics, with the blindstamp for Palm Tree Studios, 38.5cm by 33.5cm Provenance: Marlborough Gallery, London Sold together with a copy of ''Frank Auerbach Etchings & Drypoints 1954-2006'', The Fitzwilliam Museum Cambridge in association with Marlborough Graphics, London, see p.9 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration
Lot 288
*EUAN UGLOW (1932-2000) 'Pig's Head' monogrammed and dated 1959 in pencil to the margin, etching, the image 10cm x 7.5cm Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art
Lot 332
*AFTER PABLO PICASSO (1881-1973) 'Dora Maar' from Toesca's 'Six Contes Fantasques' numbered 197/225 in pencil lower left, drypoint etching, signed within the plate (number and signature possibly spurious), the image 32.5cm x 25cmProvenance: Bearing label verso for The Redfern Gallery, dated January 17th 1959, although the work is titled 'Profil de jeune fille'
Lot 357
*GRAHAM SUTHERLAND (1903-1980) 'Hanger Hill', signed in pencil to the margin, monogrammed and dated 1929 in plate lower right, with printed dedication to Frederick Landseer Griggs, further titled, signed and inscribed "To F.L. Griggs A.R.A. With kind regards Graham Sutherland, 27.1.30" in pencil under the mount, etching, the image 14.75cm x 13cmProvenance: Kerrison Preston Esq. and by descent
Lot 443
Full title: After Lucas van Leyden (1494 - 1533), etching on paper, 16th C.: The Virgin and Child with two angelsDescription: Dim.: 16 x 10,5 cmCondition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 459
Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's headsDescription: Dim.: 15,5 x 7,5 cmÊ On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê Expert: Cabinet Rene Millet.Ê Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)- A Belgian private collection.- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 1417
A Frankenthal faux-bois saucer dated 1776, painted in trompe l'oeil with a black etching of figures on a bridge, against a naturalistic wood ground, blue crowned CT monogram, and a Vienna style saucer with a border of vases and foliate scrolls around a puce ground, blue shield mark, 14.1cm. (2)
Lot 419
William Somervell (British 1860-1934 Kendal businessman and MP for Keighley, West Riding of Yorkshire and father of Theodore Howard Somervell) watercolour of a sawmill with laden horse-drawn cart and figures, 38 x 27.5, together with an etching of scaffolding beneath a vaulted ceiling by the same artist, 37 x 25cm
Lot 142
* Dighton (Robert, 1752-1814). Eight caricatures, circa 1810, eight hand-coloured etched caricatures, occasional staining, each approximately 270 x 200 mm, together with Gillray (James). Progress of the Toilet - The Stays - Plate 1 [and] Progress of the Toilet - The Wig - Plate 2, H. Humphrey 1810 [but later H. G. Bohn edition of 1849], two hand-coloured etched caricatures, each approximately 285 x 220 mm, each with a partial uncoloured caricature printed on the verso, with Brigade Major - Weymouth 1797, H. Humphrey, 1797 [but later H. G. Bohn edition of 1849], hand-coloured etched caricature, 370 x 265 mm, with a partial uncoloured caricature printed on the verso, plus Heath (William, pseud Paul Pry). The Man wot Drives the Sovereign, T. McLean, 1829, etching with contemporary hand colouring, slight spotting, narrow margins, 345 x 235 mm, and Lisle (Joe). I'd be a Butterfly Born in a Bower, S. Gans, 1830, aquatint with contemporary hand-colouring, some staining and spotting but largely confined to the margins, occasional marginal closed tears, 310 x 240 mm, with Cruikshank (Isaac). A Cursory Peep at Great Tom of Lincoln, Allen & Co. March 11th 1797, hand-coloured etching after Woodward, very slight spotting, 250 x 185 mmQty: (14)NOTESThe Dighton caricatures consist of: Lieut. Genl. Macdonald, The Father of the Corporation of Oxford Omnibus Carus, A View of Norfolk, A Noble Duke taken on the Steyne at Brighton, The Principal Arch of Lambeth Palace, A View taken from Chatham Row Bath, A View from Baxter's Livery Stables Cambridge and an untitled caricature of two military officers.
Lot 222
George Soper RA (British 1870-1942) A Farmer and His Dog, 1919, signed in pencil lower right, etching, second state, measurements 13.5 x 18.5 cm (PL), frame 51.5 x 38.5 cm, together with a further etching titled Harrowing, 1919 by the same hand (2)Illustrated in Beetles, C., 1995, The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper, Plate 148A and 149Provenance: consigned from a significant private collection of wildlife art
Lot 229
George Soper RA (British 1870-1942) Woodgatherers, signed pencil lower right, etching, measurements 20 x 26 cm (PL), frame 42 x 52.5 cm, together with Southdown Shepherd, 1921, etching, by the same hand (2)Illustrated in Beetles, C., 1995, The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper, Plate 244 and 249
Lot 228
George Soper RA (British 1870-1942) A Devon Shoeing Smith, 1918, etching, measurements 17.5 x 12.5 cm (PL), frame 34 x 28.5 cm, together with The Coal Wharf, Topsham, 1919, signed pencil bottom right, etching, measurements 13.5 x 27 cm (PL), frame 34.5 x 45.5 cm (2)Illustrated in Beetles, C., 1992, The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper, Plate 109 and 104Provenance: consigned from a significant private collection of wildlife art, labels verso for Graham Bentley watercolours and drawings, note verso- purchased at Chester Fair 2005 and 2011
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