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Lot 28
Signed, titled and dated 1990 in pencil, etching, together with Tracey Emin, One Thousand Drawings, hardback book with dust cover, published by Rizzoli, New York.sheet size 20cm x 25cm (7.75in x 9.75in)Qty: 2Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with no obvious faults to report. The painting is framed and glazed.
Lot 46
Signed, titled and dated '07 in pencil in the margin, numbered 2/12, etching with aquatint.plate size 79.5cm x 82cm (31.25in x 32.25in) sheet size 104cm x 104cm (41in x 41in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.
Lot 57
1974, signed and titled in pencil in the margin, signed proof copy aside from the edition of 50, with 'Goldmark Gallery' label verso, etching.plate size 20cm x 23.5cm (7.75in x 9.25in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition. There are some minor spots of foxing across both the plate and margins. The print is framed and glazed.
Lot 58
Signed and numbered 10/195 in pencil in the margin, from The Twelve Tribes of Israel suite (M&L. 618-630a), published 1973 by Trans World Art, Fribourg, with 'Goldmark Gallery' label on verso, on Arches, hand-coloured drypoint etching.plate size 36.5cm x 50.5cm (14.5in x 19.75in)Condition report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.
Lot 59
Signed and numbered 29/66 in pencil, etching and aquatint printed in colours, 1977, titled on 'Goldmark Gallery' label verso, on wove, published by Marlborough Fine Art Ltd, London and 2RC Editrice, Rome, printed at Stamperia 2RC, Rome, with margins.plate size 40cm x 31cm (15.75in x 12.25in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with strong colours. There are a few minor spots of foxing in the margins. The print is framed and glazed.
Lot 64
Signed and dated '09 in pencil in the margin, etching.plate size 10cm x 14.5cm (4in x 5.75in), sheet size 15.5cm x 20.5cm (6in x 8in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with no obvious faults to report. The print is ornately framed and glazed. The frame has a minor knock on the left-hand edge.
Lot 81
Cruikshank (Isaac) The faith of treaties exemplified or John Bull's last effort to oblige his false friends, satire on the diplomatic situation in 1794, etching with original hand-colouring, on laid paper without watermark, sheet 255 x 400 mm (10 x 15 3/4 in), hinged into mount, some nicks and tears, handling creases, surface dirt and browning, unframed, [BM Satires 8477], 1794; together with Which way shall I turn me How shall I Decide, a satire on Charles James Fox, who is shown sitting on the ground contemplating suicide, and with John Phillips' Les ruses de guerre; or, the general outgeneralled, [BM satires 15409], various sizes, unframed, 1793-1827 (3)
Lot 82
House of Commons.- Gillray (James) The Dagger Scene:__or__The Plot discover'd, satire showing Burke on the right having just thrown down the dagger, looking towards Pitt, Dundas, with Sheridan in the background, etching with hand-colouring on wove paper without watermark, sheet 375 x 300 mm (14 3/4 x 11 3/4 in), careful repaired tear in the upper left corner, sheet trimmed and inset into paper mount, ink inscriptions identifying characters along the lower edge, unframed, Hannah Humphrey, 1792Literature:BM Satires 8147
Lot 83
Gillray (James) Blindmans-buff_or_too many for John Bull, satire showing John Bull blindfolded while being robbed and bullied by the powers of Europe who are urged on by Pitt, etching with original hand-colouring, on wove paper without watermark, sheet 260 x 360 mm (10 1/4 x 14 1/4 in), small margins (approx. 3-5 mm), inset at edges into paper mount, some minor browning and surface dirt, faint crease to upper right corner, unframed, Hannah Humphrey, 1795Literature:BM Satires 8658
Lot 84
Gillray (James) Supplementary-Militia, turning-out for Twenty Days Amusement, satire on Pitt's proposal, made on 18 October 1796 (among other defence measures), for a supplementary militia, etching with original hand-colouring on wove paper, sheet 245 x 345 mm (9 3/4 x 13 3/4 in), trimmed to edges, mounted on old brown paper album leaf, handling creases and spotting, unframed, Hannah Humphrey, 1796Literature:BM Satires 8840
Lot 85
Gillray (James) The Military Caricaturist, satire with figure in officer's uniform, presumed to be mocking the amateur satirist, General Davies, as retribution for having slighted Gillray, etching with original hand-colouring, platemark 340 x 245 mm (13 3/8 x 9 1/2 in), sheet 380 x 280 mm (15 x 11 in), lower left corner with loss, just affecting within the plate, other marginal nicks, tears and surface dirt, unframed, Hannah Humphrey, 1799Provenance:W. Rottay [brown ink inscription verso]Literature:BM Satires 9442
Lot 86
Napoleon.- Gillray (James) Exit Libertè a la Francois!-or- Buonaparte closing the Farce of Egalitè, at St cloud near Paris Novr 10th 1799, satire showing Bonaparte directing the Grenadiers who, at the point of the bayonet, are ejecting the Council of Five Hundred from the Orangery, etching with original hand-colouring, on wove paper, sheet 245 x 350 mm (9 5/8 x 13 3/4 in), trimmed within the platemark, some browning and discolouration in the upper section of image, unframed, Hannah Humphrey, 1799Literature:BM Satires 9426
Lot 87
Gillray (James) Every Rogue is a Coward, etching with original hand-colouring on wove paper without watermark, sheet 270 x 380 mm (10 3/4 x 15 in), loss to each of the corners, just touching the platemark, other minor surface dirt, unframed, [BM Satires 9768], Hannah Humphrey, 1801; together with two Rowlandson's, Veneration and Desire, both caricatures from 'Le Brun Travested [sic], or Caricatures of the Passions', [cf. BM Satires 9628-9632], and three uncoloured etchings by George Cruikshank after Crowgill, Indigestion, Jealousy, and The Blue Devils, all unframed, circa 1800-1835 (6)
Lot 88
Gillray (James, 1756-1815) The Bulstrode Siren, showing the The Duke of Portland and Mrs. Billington together on a settee, etching with roulette work and original hand-colouring on thin wove paper, 340 x 245 mm. (13 3/8 x 9 3/4 in), under glass, trimmed to image and lacking title in the upper margin, tipped onto an album leaf with ink inscriptions below identifying the characters, some minor cockling, surface dirt and browning, framed, Hannah Humphrey, 1803.Literature: BM Satires 10168
Lot 89
Botany.- Thornton (Dr Robert John, circa 1765-1832) The Dragon Arum, from 'The Temple of Flora', a very good impression of the first state (of three), etching with mezzotint printed in colour, finished by hand, on J Whatman wove paper with very faint watermark, watermark date not visible, platemark 475 x 350 mm (18 3/4 x 13 3/4 in), sheet 580 x 465, faint signs of damp-staining and browning, unframed, 1801Literature:Dunthorne, p. 250
Lot 93
Please note: the description of this lot has changedNapoleonic satire.- Holland (William, publisher) The Corsican Dissected, etching with original hand-colouring, on Whatman wove paper watermarked '1803', platemark 355 x 250 mm (14 x 9 3/4 in), sheet 420 x 275 mm (16 1/2 x 10 3/4 in), some minor cockling and surface dirt, unframed, [not in BM Satires], 1803; together with 4 others, including George Cruikshank's Boney's threatened Invasion brought to bear_or taking a View of the English coast from ye Poop of the Bellerophon, [BM 12610], and The Modern Hannibal, alias the King of Rome, Swearing Eternal Enmity to England, Isaac Cruikshank's Olympic Games or John Bull introducing his new ambassador to the grand consul, [BM 10016], laid onto card, and Charles William's Britannia correcting an unruly boy, [BM 10012], etchings with hand-colouring, various sizes, all unframed, 1803-1815 (5)
Lot 190
* ANGELA LEMAIRE (BRITISH CONTEMPORARY) TWO ACTORS BEFORE WINDOW linocut print, signed, titled, dated '77 and numbered 1/5 in pencil 31cm x 23cm Mounted, framed and under glass. Note: Angela Lemaire was born in Buckinghamshire and went to the Lyçée Français de Londres and Wispers School in Sussex, then to PLC Pymble in Sydney Australia. She returned to Britain in 1962 and went to Chelsea School of Art, London (1963) and Camberwell School of Arts and Crafts (1964-67, Dip. AD.), where she was taught relief printmaking by Michael Rothenstein. After this she went to Morley College, Lambeth, where she continued etching. The wood-engraver Frank Martin, who taught at Camberwell, gave her a box of wood-engraving tools which had belonged to a colleague of his who had died. With these tools she taught herself wood-engraving; it hadn’t been taught at art-school. She was by then already friends with the wood-engraver and letterer Michael Renton and had watched him at work. She decided she would work principally as a printmaker and with text and image. Angela lives and works in the Scottish Borders and has exhibited widely including numerous solo shows at prestigious galleries around the UK and beyond.
Lot 160
Pictures and prints - The Rev. Joseph Wilkinson 1764-1831, Elegant Travellers in the Lake District, pencil, pen and watercolour, 19 x 26.5cm, framed; an 18th century engraving of Chatsworth House 'engraved for The Modern Universal British Traveller', framed; another 'Tom And Jerry In Trouble After A Spree.' English Dandies, Tom And Jerry, Before A Judge. Etching By George Cruikshank for Pierce Egan's 'Life In London,' 182, framed; etc. (7)
Lot 107
‡ Ann Christopher RA (b.1947) Drawing no. 20 Signed and dated 1981 Pencil 37.8 x 60.6cm Together with Ann Christopher, Hill Line, Signed and numbered 8/35 in pencil to margin, and further signed and dated 1987 in the plate, Etching and aquatint, 42 x 74cm (sheet) (2) Provenance: Both gifted by the artist to Dame Elisabeth Frink and Alexander Csaky; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet Ann Christopher's talent was spotted by Elisabeth Frink at an early age, and the two became life-long friends. Christopher's partner Ken Cook worked with Frink, casting many of her small sculptures over 30 years. We are grateful to Ann Christopher for her assistance cataloguing these works.
Lot 115
‡ Lin Jammet (1958-2017) Fighters Signed, dated 98 and numbered 9/30 in pencil, with blindstamp Etching with dry-point and aquatint, printed at Greshams 49.5 x 32.6cm (plate); 68.5 x 49cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet From a series of seven etchings.
Lot 118
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) Hades and Persephone (Wiseman 147) Signed and inscribed A/P VII in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint in brown on Velin Arches paper, part of the Children of the Gods series, 1988 56 x 37.5cm (plate); 72.5 x 55cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet 'Children of the Gods' were a series of 10 etchings with aquatint printed with Nigel Oxley, Kelpra studio. They followed on from the drawings she made to illustrate 'Children of the Gods: Myths and Legends of Ancient Greece' (Kenneth McLeish, Longman, 1983).
Lot 119
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) Ganymede (Wiseman 146) Signed and numbered 21/70 in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint in brown on Velin Arches paper, part of the Children of the Gods series, 1988 56 x 38.8.cm (plate); 72.5 x 55cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet 'Children of the Gods' were a series of 10 etchings with aquatint printed with Nigel Oxley, Kelpra studio. They followed on from the drawings she made to illustrate 'Children of the Gods: Myths and Legends of Ancient Greece' (Kenneth McLeish, Longman, 1983).
Lot 120
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) Jason and the Golden Fleece (Wiseman 151) Signed and inscribed A/P IX in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint in brown on Velin Arches paper, part of the Children of the Gods series, 1988 53.5 x 37.2cm (plate); 73 x 55cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet 'Children of the Gods' were a series of 10 etchings with aquatint printed with Nigel Oxley, Kelpra studio. They followed on from the drawings she made to illustrate 'Children of the Gods: Myths and Legends of Ancient Greece' (Kenneth McLeish, Longman, 1983).
Lot 121
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) Hermes (Wiseman 145) Signed and numbered 70/70 in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint on brown paper, part of the Children of the Gods series, 1988 56 x 37.5cm (plate); 72.5 x 55cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet 'Children of the Gods' were a series of 10 etchings with aquatint printed with Nigel Oxley, Kelpra studio. They followed on from the drawings she made to illustrate 'Children of the Gods: Myths and Legends of Ancient Greece' (Kenneth McLeish, Longman, 1983).
Lot 122
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) Hades and Persephone (Wiseman 153) Signed and numbered A/P VIII in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint on brown Velin Arches paper, part of the Children of the Gods series, 1988 53 x 37cm (plate); 73 x 55cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet 'Children of the Gods' were a series of 10 etchings with aquatint printed with Nigel Oxley, Kelpra studio. They followed on from the drawings she made to illustrate 'Children of the Gods: Myths and Legends of Ancient Greece' (Kenneth McLeish, Longman, 1983).
Lot 123
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) Anthony and Cleopatra (Wiseman 128) Signed in pencil, inscribed and numbered A/P, 15/15, and with Waddington Graphics blindstamp Etching in colours on Velin Arches paper by Kelpra Studio, 1982, published by the Royal Shakespeare Company 75 x 56.7cm (plate); 87.5 x 66.5cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet The two actors depicted are Helen Mirren and Michael Gambon.
Lot 124
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) The Franklin's Tale (Wiseman 74) Etching with aquatint in black drawn on copper, on J Barcham Green paper, part of The Cantebury Tales II series of 19 etchings, 1972, published by Leslie Waddington Prints Ltd, with White Ink blindstamp 49.7 x 34.5cm (plate); 79.5 x 58cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet
Lot 125
‡ Dame Elisabeth Frink CH, DBE, RA (1930-1993) The Squire's Tale (Wiseman 73) Titled in pencil to verso Etching with aquatint in black drawn on copper, on J Barcham Green paper, part of The Cantebury Tales II series of 19 etchings, 1972, published by Leslie Waddington Prints Ltd, with White Ink blindstamp 49.7 x 34.5cm (plate); 79.5 x 57.5cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet
Lot 74
‡ Julian Trevelyan RA (1910-1988) Self portrait with cat; Two cats Two, the former signed and inscribed Lis & Alex from Julian & Mary with love in pencil to the margin, the latter signed and inscribed Alex & Lis from Julian & Mary with love in pencil to margin The former aquatint and coloured etching, the latter coloured etching 12.2 x 9.8cm; 9.8 x 14.2cm (plates) (2) Provenance: Each Dame Elisabeth Frink and Alexander Csaky (Frink estate stamps to both backing boards); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet Mary Fedden and Julian Trevelyan were close friends of Elisabeth Frink. They often visited Lis and her second husband Ted Pool when they lived at Corbès in the Cévennes. Later they would stay at Woolland with Lis and Alex.
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71174 item(s)/page