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Click here to subscribe* McBey (James, 1883-1959). The Shower, 1912, etching and drypoint on pale cream laid paper, from the published edition of 40 proofs, signed and numbered XV in ink to lower margin, pale mount stain, plate size 181 x 314 mm (7 x 12.3 ins), sheet size 237 x 366 mm (9.3 x 14.4 ins), framed and glazed, with old gallery label for Graven Image, Celia E. Bailey to versoQty: (1)NOTESHardie, Etchings and Dry Points from 1902 to 1924 by James McBey, 118.
* Menpes (Mortimer, 1855-1938). Studies of George Meredith, circa 1900, etching on laid paper, plate size 23 x 27 cm (9.1 x 10.7 ins), with margins, framed and glazed, with Michael P arkin Fine Art Ltd label to versoQty: (1)NOTESExhibited: Artist and Writers, Michael Parkin Fine Art, October-November 1976, catalogue number 30.
* Palmer (Samuel, 1805-1881). The Homeward Star, 1880-83, etching on pale cream laid paper, the third state (of 4), with lettering removed, printed by F.L. Griggs, with Dover's House Press stamp to lower margin, mount stained, plate size 131 x 187 mm (5.2 x 7.4 ins), sheet size 217 x 250 mm (8.5 x 9.8 ins), framed and glazedQty: (1)NOTESLister E14 iii/iv. The third state, printed in 1924 in an edition of only 20 impressions.
* Sickert (Walter Richard, 1860-1942). Femme de Lettres, 1911-12, etching on cream laid paper, the 7th state (of 7), as published by Carfax & Co in 1915, very pale mount stain, plate size 150 x 180 mm (5.9 x 7 ins), sheet size 222 x 307 mm (8.75 x 12.1 ins), framed and glazed, with Leicester Galleries label to verso for the exhibition Etchings by W.R. Sickert and Engravings, Etchings & Lithographs by 19th & 20th Century Masters, December, 1967, to versoQty: (1)NOTESBromberg 149 vii/vii.
* Knight (Laura, 1877-1970). Carting Corn, etching and drypoint on pale cream laid paper, from the published edition of 100 impressions for the Print Collectors' Club issued in 1943, with monogram PC within the plate to lower left corner, signed and titled in pencil, plate size 200 x 315 mm (7.9 x 12.4 ins), sheet size 267 x 407 mm (10.5 x 16 ins)Qty: (1)
ARR * Tanner (Robin (1904-1988). December: Elegy for the English Elm, etching on wove paper, depicting an ancient chapel with bell tower, set in a valley surrounded by large skeletal trees, with an old iron plough in the foreground, the scene lit by a crescent moon, proof copy, signed in pencil to lower margin 'Robin Tanner fec. et imp. 1979' and further inscribed by the artist in pencil '"December": This impression (on Wm. Morris's "Apple" paper, made for him by Joseph Batchelor of Little Chard, Kent) was printed for Gordon Cooke at Kington Langley, Wiltshire in January 1979 R.T.', plate size 29.5 x 24.1 cm (11.75 x 9.5 ins), sheet size 42.5 x 33 cm (16.75 x 13 ins), mountedQty: (1)NOTESGarton 39, ii/ii, for the published edition of 25 impressions issued by Garton & Cooke in 1984. This impression printed by the artist for Gordon Cooke in 1979.
ARR * Tanner (Robin, 1904-1988). The Clapper Bridge, 1972, etching on wove paper, depicting a clapper bridge over the River Leach, with St. Andrew's Church in the background, signed in pencil to lower margin, plate size 17.7 x 24.6 cm (7 x 9.75 ins), framed and glazedQty: (1)NOTESGarton 27 iii/iii. A proof printed before the edition of 12 impressions only published by Garton & Cooke in 1972.
ARR * Tanner (Robin, 1904-1988). Wiltshire Roadmaker, 1928, etching on wove paper, depicting a labourer and his tools, seated beside a wooden signpost before an ancient barn, signed in pencil to lower margin below image, plate size 10 x 14.8 cm (4 x 5.75 ins), sheet size 23 x 28 cm (9 x 11 ins), mountedQty: (1)NOTESGarton 6, iv/iv. From the edition of 12 impressions only published by Garton & Cooke in 1984.
* Strang (William, 1859-1921). 'The Citadel', etching with drypoint on cream wove paper, signed in pencil, plate size x 354 mm (10 x 13.9 ins), with margins, window-mounted, together with : Legros (Alphonse, 1837-1911). La Vallée, etching with drypoint on pale cream laid paper, from the only state printed in an edition of 74 impressions, signed in pencil, plate size 102 x 225 mm (4 x 8.8 ins) with margins, plus other various etchings, including Douglas Ion Smart (1879-1970), Thames Barges, etching on off-white wove paper, a first proof, signed in pencil, plate size 125 x 175 mm (4.95 x 6.95 ins), with margins, framed and glazed, woodcuts by T. Sturge Moore and Charles Shannon, Alfred Rethel (1816-1859), Ein Todtentanz aus dem Jahr 1848 (A Dance of Death for the Year 1848), complete set of six wood engravings (Leipzig, Georg Wigand, 1849), etcQty: (22)
* Walcot (William, 1874-1943). The Caravan, 1928, etching with drypoint and aquatint on cream wove paper, signed and numbered 37/75 in pencil, plate size 17.7 x 22.7 cm (7 x 9 ins), sheet size 27.5 x 36.7 cm (10.75 x 14.5 ins), mounted, together with: Kom Ombo, 1928, etching with drypoint and aquatint on cream wove paper, signed in pencil, a proof aside from the published edition of 75, this impression marked 'hp. 6', plate size 16 x 20.5 cm (6.25 x 8 ins), sheet size 26.7 x 39.8 cm (10.5 x 15.75 ins), mounted, The House of Sallust, 1920, etching with drypoint and aquatint on cream wove paper, signed in pencil, single fox spot, limited edition 250 UK and 50 US copies, plate size 15 x 20 cm (6 x 7.75 ins) with margins, mounted, framed and glazedQty: (3)
* Walcot (William, 1874-1943). Arc San Carlo, Naples, 1921, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, plate size 17.7 x 16.7 cm (7 x 6.5 ins) with margins, mounted, framed and glazed, together with: St. Peter's, Rome, 1919, etching on cream wove paper, signed in pencil, some pale toning, small mark to lower left corner, plate size 15.1 x 17.4 cm (6 x 6.75 ins) with margins, mounted, framed and glazed, 42nd Street, New York, etching with drypoint on cream wove paper, signed in pencil, toned, plate size 13.3 x 18.5 cm (5.25 x 7.25 ins) with margins, mounted, framed and glazed, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins), plus 3 framed and glazed reproductions of etchings by WalcotQty: (7)
* Walcot (William, 1874-1943). C ornhill and the Royal Exchange, London, circa 1933-35, etching with drypoint on cream wove paper, signed in pencil, plate size 17.7 x 19.8 cm (7 x 7.75 ins) with margins, mounted, framed and glazed, together with: Trafalgar Square, London, 1924, etching with drypoint and aquatint on cream wove paper, signed in pencil, some pale toning, plate size 9 x 18.2 cm (3.5 x 7 ins) with margins, mounted, framed and glazed, Fleet Street, 1931, etching on cream wove paper, signed in pencil, toned, 3 cm closed tear in lower blank margin, plate size 16 x 22.5 cm (6.25 x 9 ins), sheet size 23.4 x 29.1 cm (9.25 x 11.5 ins), mounted, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (4)
* Walcot (William, 1874-1943). Durham Cathedral, etching on cream wove paper, signed in pencil, some light spotting, plate size 16.8 x 20.2 cm (6.5 x 8 ins), sheet size 25.7 x 31.3 cm (10 x 11.25 ins), mounted, together with: WWI Warship and Submarine on the Firth of Forth, etching on cream wove paper, signed in pencil, one or two pale fox spots, plate size 9 x 12 cm (3.5 x 4.75 ins) with margins, mounted, framed and glazed, The Portico, Newcastle Central Station, 1922, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, toned, plate size 9.5 x 14.7 cm (3.75 x 5.75 ins), with margins, mounted, framed and glazed Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (4)
* Walcot (William, 1874-1943). Houses of Parliament and Westminster Bridge, London, etching with aquatint on cream wove paper, signed in pencil, plate size 16 x 30 cm (6.25 x 11.75 ins) with margins, mounted, framed and glazed, together with: Chelsea Old Church, London, 1924, etching with drypoint on cream wove paper, signed in pencil, limited edition of 100 for the Print Collectors’ Club (plus 7 proofs) with monogram upper left corner, plate size 9.4 x 14.8 cm (3.75 x 5.75 ins), sheet size 9.25 x 12.5 ins), Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, slightly creased to lower blank margin, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (3)
* Walcot, (William, 1874-1943), Kom Ombo. 1928, etching and drypoint on wove paper, signed and numbered 25/75 in pencil, plate size 160 x 205 mm (6.3 x 8 ins), sheet size 270 x 395 mm (10.6 x 15.5 ins), mounted, together with: The Caravan , 1928, drypoint etching with aquatint, on wove paper, from the edition of 75, published by the Fine Art Society, signed, and numbered 25/75 in pencil, plate size 177 x 230 mm (7 x 9 ins), sheet size 275 x 385 mm (10.75 x 15.2 ins), mountedQty: (2)
ARR * Clarke (Graham, 1941-). Quite Cricket, aquatint printed in colours on thick handmade paper, with circular Graham Clarke blindstamp to lower left corner, and with oval blindstamp of Alex Gerrard Fine Art Ltd. to lower right corner, published in an edition of 400 impressions, signed, titled and numbered 268/400 in pencil, plate size 345 x 540 mm (13.5 x 21.25 ins), sheet size 440 x 640 mm (17.3 x 25.2 ins), framed and glazed, together with: Left Right oops!, hand-coloured etching with aquatint, published by Alex Gerrard Fine Art Ltd. in an edition of 250 impressions, signed, titled and numbered 119/250 in pencil, oval blindstamp of Alex Gerrard Fine Art Ltd. to lower left corner, circular Graham Clarke blindstamp to lower right corner, plate size 340 x 537 mm (13.5 x 21.2 ins), sheet size 435 x 630 mm (17.1 x 24.8 ins), framed and glazedQty: (2)
* Corneille (Pierre, 1922-2010). Femme et Chat, 1977, colour etching and aquatint, from the published edition of 100 impressions published by Edition Suede, with publisher's blindstamp to lower left corner, signed, dated, and numbered 70/100 in pencil, sheet size 64 x 49.5 cm (25.2 x 19.5 ins), framed and glazedQty: (1)
* Lloyd (Reginald J., 1926-). Sunrise with crocuses and snowdrops, 1996, etching on thick wove paper, with pencil signature, date, and 'proof' to lower margin below image, image size 14.8 x 20.1 cm (5.75 x 8 ins), sheet size 25.9 x 39 cm (10.25 x 15.25 ins), together with 8 other etchings by R.J. Lloyd, comprising 4 Girl and Screen series (artist's proofs, except one 2/20 copies), 3 identical of a ram, and one of a kingfisher, all artist's proofs, all signed, together with Greg (Barbara, 1900-1983) . Landscape with sheep, woodcut on japanese tissue, showing sheep under spreading trees, signed in pencil to lower margin, image size 10 x 16.4 cm (4 x 6.5 ins), sheet size 15 x 27.2 cm (6 x 10.75 ins)Qty: (10)
NO RESERVE Kazandjian (Jean, French artist of Armenian descent working in Paris and Los Angeles, b. 1938) Getaway, aquatint with etching on two plates printing on one sheet of Arches wove paper, signed and inscribed in pencil, numbered from an edition of 50, platemark 445 x 510 mm (17 1/2 x 20 1/8 in), sheet 620 x 740 mm (24 1/4 x 29 1/8 in), minor creases to extremities, unframed, printed by Atelier de la Main d'Or, published by Galerie Furstenberg, Paris, 1980; together with La Guerrière, drypoint on Rives paper, signed, dated, and numbered in pencil, from an edition of 50, platemark 70 x 95 mm (2 3/4 x 7 5/8 in), sheet 370 x 280 mm (14 1/2 x 11 in), unframed, printed by Atelier de la Main d'Or, Paris, published by the artist, 1980; and Arctic Star Irius, a colour lithograph by Graham Rust, from an edition of 350, unframed (3) Provenance:Galerie Furstenberg, Paris;Where purchased by the present owner
Botany.- Weinmann (Johann Wilhelm) Four plates from Phytanthoza Iconographia (or Duidelyke Vertoning...), including 'Banana', pl. no. 227, 'Faba major, Féve', pl. no. 500, 'Musa, Banana, Pican', pl. no. 737, and 'Cereus minimus serpens Americanus', pl. no. 354, etching and mezzotint printed in colours and finished by hand on laid paper, the first three mentioned with sheets approx. 525 x 460 mm (20 3/4 x 18 1/8 in), the last mentioned sheet 460 x 370 mm (18 1/8 x 14 1/2 in), central folds as issued, other handling creases, minor spotting and surface dirt, all unframed, [c. 1736-1748] (4)
NO RESERVE Castiglione (Giovanni Benedetto, 1609-1664) Satyr reclining before a large vase, etching, a good impression on laid paper without watermark, sheet 116 x 216 mm. (4 5/8 x 8 1/2 in), trimmed on or just within the platemark, inset at edges onto paper support, minor surface dirt, unframed, [Bartsch 18; Bellini 12], [circa 1645-1648] § Angolo del Moro (Battista, 1514-1573) The infant Moses rescued from the Nile, after Andrea Meldolla, called Schiavone, etching on laid paper with watermark of crossbow within a circle, 255 x 185 mm. (10 x 7 1/4 in), trimmed just within the image, inset at edges onto paper mount, [B. 1], [mid to late 16th century]; together with five others, including Gian Jacopo Caraglio's Hercules killing the Centaur Nessus, after Rosso Fiorentino from the suite 'The Battles of Hercules', Oliviero Gatti's God the Father creating Adam, after Pordenone, from the suite 'Four Old Testament scenes after Pordenone', Gatti's The Virgin and Child, half-length, after Lorenzo Garbieri, an anonymous 16th century reverse copy after Camillo Procaccini's The rest on the flight into Egypt, and Francesco Curti's Virgin and Child, after Guercino, engravings and etchings, on various papers, all unframed, late 16th and 17th century] (7).
NO RESERVE Rome.- Ottaviani (Giovanni) Prospetto della facciata del palazzo d'abbitazione in Roma à Piazza Colonna del emo..., the palazzo of Francisco de Solis, cardinal and archbishop of Seville, etching and engraving on laid paper with large watermark of decorative cartouche with paschal lamb, platemark 475 x 690 mm (18 3/4 x 27 1/8 in), sheet 675 x 800 mm (26 1/2 x 31 1/2 in), central vertical fold, numerous marginal nicks and tears, one running into platemark in the lower right quadrant, some repairs to loss, handling creases and surface dirt, [circa 1769].
NO RESERVE Cunego (Domenico) Scena di vita romana, after Jacques Sablet (1749-1803), mezzotint with etching on laid paper with 'P Miliani' watermark, platemark 475 x 580 mm (18 3/4 x 22 3/4 in), sheet 530 x 740 mm (20 7/8 x 29 1/4 in), large printer's crease running from the lower edge well into image, scattered spotting and light surface dirt, binding stitch-marks to extremity of left-hand margin, minor handling creases, unframed, Rome, [Pietro Paolo Montagnani?], 1790
NO RESERVE Michelangelo.- Cunego (Domenico) Seven works after frescos in the vault and ceiling of the Sistine Chapel, including a schematic outline engraving of the Last Judgement, and others of the Creation of Adam, Creation of Eve, etc., etching and engravings on thick laid paper, sheet sizes between 350 x 510 mm (13 3/4 x 20 in) and 550 x 790 mm (21 3/4 31 1/8 in), all with full margins and deckled edges, some marginal surface dirt and stains, occasional spotting and light browning, unframed, [circa 1793]; together with five prints by Giovanni Francesco Venturini after Polidoro da Caravaggio, with figures reproduced from the façade of the Palazzo Milesi in the via della Maschera d'Oro, etching with engravings on laid paper, various sizes, unframed, [circa 1695 but later] (12)
Property from a Central European Collection A RARE ETCHED PARTISAN OF THE GUARD OF THE ELECTOR FRIEDRICH AUGUST I OF SAXONY, ~THE STRONG~, CIRCA 1694-97 with central blade of flattened-diamond section, broad base formed of a pair of flat notched flukes, etched at the base with a pattern of scrolling foliage on each side and surmounted on the respective faces with the crowned electoral arms and the initials CFA for Friedrich August Churfürst, moulded collar, faceted socket and a pair of long straps, on a wooden haft painted with an inventory number 60.5cm; 23 7/8in head Provenance The Saxon Electoral Armoury, Dresden Sold in this room, 26th June 2007, lot 218 Friedrich August I ruled as Elector of Saxony (1694-1733) and twice as King August II of Poland (1697-1704 and 1709-1733). Similar partisans are preserved in the Wartburg (inv.no. 461) and the Wallace Collection (inv. Nos. A1002 & A1003). Another partisan from this group with the same notable style of etching is preserved in the Museum für Deutsche Geschichte, Berlin. See Müller and Kölling1981, p.311 no. 395.
1897 Pattern Indian Officer’s Sword 32 1/4 inch, dumb bell blade with foliage etching and crowned GRI cypher. The forte with maker “Flights Ltd, London, Camberley, Aldershot & Woolwich”. Steel, foliage pierced guard with crowned GRI cypher. Checkered, plated backstrap. Shagreen covered grip with twist wire binding. Leather sword knot. Contained in its leather field scabbard.
Late 19th Century American Society of Odd Fellows Sword 28 inch, double edged, narrow blade. Scroll etching with named panel “Alex Smith”. All with gilt background. Gilt brass, S shape and shield crossguard. Gilt brass world and coronet pommel. Leather grip with twist wire binding. Contained in its plated steel scabbard with gilt brass scroll and panel mounts.
Royal Artillery Officer’s Sword 23 1/2 inch, broken blade. Narrow fuller. Floral etching with crowned GRV cypher over a field gun. Forte with retailer “R F Mosley & Co Limited Sheffield”. White metal, 3 bar hilt (bent). White metal, checkered back strap. Shagreen covered grip with twist wire binding.
* Scent Bottle. A Victorian cameo glass scent bottle by Thomas Webb and Sons c.1880, in the form of a swan's head, the beautiful blue and white gass bottle carved with feathers, the eyes and beak all finely delineated, with a replacement silver cap by J.H.W. Birmingham 1902, 23.5 cm longQty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. Thomas Webb & Sons was founded in 1837 by Thomas Webb (1804-1869) near Stourbridge, West Midlands. The name T. Webb & Co was adopted in 1842 and later became Thomas Webb and Sons. They specialised in glass making being originally known as the "Crystal King of England" and were particularly noted for their high quality Cameo glass which is created by a process of etching and carving through a layer of opaque white glass, leaving a white relief design on a darker coloured glass body.
* Cabinet. A fine early 19th century Italian cabinet, the rosewood veneered cabinet of rectangular form, inlaid with ivory panels engraved or etched depicting scenes from classical mythology, with brass corner straps and large carrying handles, the hinged fall with original key enclosing, a central architectural cabinet door with a drawer above and below flanked by a pair of drawers and a deeper drawer below with a dummy drawer front, the interior of the fall inset with engraved ivory panels with line inlay formation, 39cm high x 92cm wide x 35.5cm deep, on a later 19th century ebonised and inlaid stand, with glass covered single drawer with brass lock stamped 'V.R. Patent, Brooks' s Double Lever Lock', on square tapered supports united by a stretcher, 79cm high x 102cm wide x 43cm deepQty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. The lot is sold with an original copy of The Antique Dealer and Collectors' Guide dated December 1946 in which an article features the cabinet with an illustration, Jack Webb writes to the editor asking for more information about the cabinet. A typed letter from the editor together with black and white photographs is also included. The article suggests that "this very attractive example is typical of the portable cabinets made during the late 18th and early 19th centuries, when panels of etched ivory were inlaid in backgrounds of ebony, tortoiseshell, or one of the fashionable Oriental woods which were just reaching European cabinet makers. The etched pictorial scenes, if read in sequence, will usually associate themselves with a story of classical mythology, but historical subjects were also portrayed", and that the "style and form indicate that this cabinet was made between 1805 and 1820. If the lines of the etching are tinted brown by the use of silver nitrate as the etching medium, this is further indication that the work belongs to the early 1800's, when the silver nitrate method of etching ivory was in full favour. Formerly the lines were black, the etching medium having been sulphuric acid."
Late 19th/early 20th Century Cornish SchoolMother and child walking on the foreshoreWatercolourIndistinctly signed 14cm x 27.5cmTogether with another work by the same handView across to St. Michael's Mount at low tideWatercolour19.5cm x 26cmandAfter Joseph FARINGTON RA'South-East View of St. Michael's Mount'Coloured etching 18.5cm x 36cm(3)
After Henry William BUNBURY (1750-1811)'No.2. Symptoms of Starting', 'No.3. Symptoms of Kicking', 'No.4. Symptoms of Tumbling' Three 18th century monochrome etchings from the 'Hints to bad Horsemen' series Largest 26.5 x 31cmTogether with one other monochrome etching after Bunbury'Eques Cantab'24 x 29cm(4)
Cased London Colt Percussion Revolver, serial number 8346, 5 inch, octagonal rifled barrel, the barrel with two line address 'Address Col Colt London'. Barrel with English proof stamps, under barrel loading lever, five shot cylinder with stagecoach hold up scene etching, walnut slab grips matching serial numbers '8436', contained in its polished mahogany case with internal red velvet fitted compartments containing steel 'Colts Patent' ball and conical bullet mould, copper and brass powder flask by James Dixon & Sons Sheffield, the box with an internal Colt's pistol, the box 29cm wide
Pencil drawing design Lancashire Fusiliers regimental badge, lithograph print after Sir David Bone 'Taking the wounded on board the Western Australia', etching edition Portsmouth Harbour, after Muirhead Bone signed print and another, coloured lithograph Raymond Wood portrait of Lt-Gen Sir John Asser and pencil drawing study of exploding shell 1917, Captain Keith Henderson.
English School (18th century), "Baron Nelson of the Nile and Burnham Thorpe in the County of Norfolk", hand coloured aquatint and etching, published by John Fairburn 1798, 37 x 25cm, together with "The Noble Admiral Lord Nelson fell in the arms of victory by the wound in his left breast...", hand coloured engraving published by P Gally, 1805, 25 x 35cm; after Burke "Baron Nelson of the Nile", stipple engraving published by John Brydon, 1800, 32 x 25cm and one further engraving (4) Provenance: Lyon & Turnbull, The Le Quesne Collection 09&10/07/08 Lot 279
* Szczecin/Poland . De Hooghe ( Romeyn ), Verovering van Stettin , Amsterdam, circa 1677, uncoloured etching of the siege of Szczecin, short split at base of central fold, very slight staining, 430 x 535 mmQty: (1)NOTESA large and scare image of the siege of Szczecin. The siege was an important part of the Scanian War, 1675 - 1679, troops from Brandenburg under Frederick William "the Great Elector" captured Stettin (nowadays Szczecin) in 1677,
Fitzgerald (Edward) . Rubaiyat of Omar Khayyam, The Astronomer-Poet of Persia, illustrated by Niroot Puttapipat, Folio Society, 2009, original monochrome etching numbered & signed by the illustrator, numerous colour illustrations, top edge gilt, publishers original quarter vellum to gilt decorated boards in book box, large 8vo, limited edition 448/1000Qty: (1)
* American War of Independence. Noddle-Island or How are we decieved, by Matthew Darly (1720-1778). May 12, 1776, uncoloured etching on laid paper, with partial watermark of the Dutch paper manufacturer Lubertus van Gerrevink, with margins to three sides (close-trimmed to lower margin), a few light handling marks (generally in good condition), plate size 25 x 17.8 cm (9.75 x 7 ins), sheet size 26.8 x 20.7 cm (10.5 x 8.2 ins)Qty: (1)NOTESBM Satires 5335. A satire on the evacuation of Boston by British forces on March 17th, 1776 under the command of General Sir William Howe, after Washington's placement of fortifications and cannons on Dorchester Heights, overlooking the city. 11,000 British troops and 1,000 Loyalists sailed from Boston on March 17th, heading for the safety of Halifax, Nova Scotia. The image plays on the fashion for women's elaborately decorated hairpieces, here so large that it can accommodate scenes of the entrenchments around Boston, including two flags of the British army decorated with an ass and a fool's cap and bells.
Louis Icart (1888-1950)My ModelEtching and drypoint, 1933, printed in colours, with hand-colouring, on wove paper, signed in pencil, with the artist's blindstamp55.2 x 43.8cm (21 3/4 x 17 1/4in).Footnotes:Provenance: Sotheby's New York, 20th Century Decorative Works of Art, 8 March 1991, Lot 329This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Louis Icart (French, 1888-1950)Joan of Arc (Jeanne d'Arc)Etching with drypoint, 1929, printed in colours, with hand-colouring, on wove paper, with printed vignettes in the lower margin, signed in pencil69.5 x 55cm (27 3/8 x 21 5/8in).Footnotes:Provenance: Sotheby's, New York, 20th century Decorative Arts, 15-16 June 1990, Lot 132This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Louis Icart (French, 1888-1950)Mardi Gras (a la Fête)Etching with drypoint and hand-colouring, 1936, on wove paper, signed in pencil, with the blindstamp of the artist, with margins47 x 46.5cm (18 1/2 x 18 5/16in).unframedFootnotes:Provenance: Christie's (East) New York, Contemporary Glass & Ceramics, Art Nouveau, 18 March 1991, Lot 364This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Louis Icart (French, 1888-1950)On the Grass (Sur l'herbe)Etching and drypoint, 1925, printed in colours, with hand-colouring, with the artist's blindstamp; together with another etching with aquatint and hand-colouring, Basket of Apples, 1924, on wove paper, each signed in pencil (2)26.5 x 40cm (10 7/16 x 15 3/4in).Footnotes:Provenance: Sotheby's, London, Applied Arts, 19 October 1990, Lot 203Phillips, New York, 20th Century Furniture and Related Decorative Arts, 25 November 1986, Lot 52This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Anders Zorn (1860-1920)Beserk (Bärsärk)Etching, 1914, the final, fourth state, together with two others, Elin, 1914, the third state of five, 19.6 x 29.7cm, Summer, 1907, a unique state, each signed in pencil, all on laid paper, 17.8 x 12cm (1 unframed) (3)25 x 17.8cm (9 13/16 x 7in).Ref. A261, A260, A211Footnotes:Provenance: Beijers Stockholm, Beijers Grafik, 20 March 1991, lot 486Beijers Stockholm, Beijers Grafik och Bokauktion, 14-15 December 1990, lot 726ASotheby's New York, 18th and 19th Century Contemporary Prints, 21 February 1991, lot 399This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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