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Click here to subscribeSamuel Palmer (1805-1881)'The Vine', 1852etching, fourth state of foursheet 59.2 x 43cm, plate 30 x 21.5cmLiterature: Raymond Lister, 'Catalogue Raisonné of the Works of Samuel Palmer', Cambridge, 1988, p.241. no. E5 iv/IV.Condition report: Dots of foxing emerging, please refer to illustrations for more detail. Unexamined out of glazed frame, overall well-presented and ready to hang.
Herbert Thomas Dicksee RE (1862-1942)‘Solitude’, a lion drinking by the side of a waterholeoriginal etching on vellum, signed artist proof, edition of 100, after his own watercolour, published by Frost & Reed 1895 image 38 x 59.7cm Provenance: Purchased from the artist’s grandson;The Bryan Steele CollectionExhibited: As exhibited at the Royal Academy, 1895, number 1289.Condition report: A few very small light indents in lower left corner margin. Approximately three light creases in lower margin. A light horizontal line indented across the top margin, within the plate mark, although this is probably from the printing process. A few very small dots of dark foxing. The vellum is possibly a little timestained. Otherwise in good condition. Not seen outside of glazed frame.
Herbert Thomas Dicksee RE (1862-1942)Three-quarter portrait of a lion’s headoriginal etching on paper, signed artist proof, rare (not published) image 15 x 14.1cmProvenance: Purchased from the artist’s grandson/widow;The Bryan Steele Collection.Condition report: A couple of tiny specks of foxing in the lower margin and a faint smudge of dirt. A speck of dirt in the right margin. No other obvious flaws. Not seen outside of glazed frame.
Herbert Thomas Dicksee RE (1862-1942)‘Lion Drinking’, lion crouching by the side of a lakeoriginal etching on paper, signed artist proof c.1890, as exhibited Royal Academy 1891, number 1581 image 17.8 x 25cm;‘The Challenge’, a lion standing on the side of a large lakeoriginal etching on paper, signed artist proof c.1892 image 15.8 x 24.2cm;‘Marauders’, Lion and lioness crouching behind rocks, about to attackoriginal etching on paper, signed artist proof published by The Fine Art Society, London 1890, as exhibited Royal Academy 1894, number 1361image 16.2 x 25.3cm (3)Provenance: The Bryan Steele Collection.Artist's proofs of 'The Challenge' are rare because the publishers of ‘The Portfolio’ annual were only obliged to supply a few to this artist/etcher for his signature and retention (unsigned prints were incorporated in ‘The Portfolio’ to emphasise the quality of the art annual.Condition report: ‘Lion drinking’ – A brown stain under the printed signature, lower right. A pale diagonal line in top right corner, and some light dirt. Some specks of dark foxing. A light wave in left half of the sheet. Not seen outside of glazed frame. ‘The Challenge’ – Some tiny flecks of ink loss in top left quarter of the print. A few light brown spots of foxing in the top right corner of the margin. A light crease in the lefthand margin. Otherwise in good condition. Not seen outside of glazed frame. ‘Marauders’ – a little time-staining to the paper. A couple of light spots of foxing in the top margin and a few very light creases in the lower margin. Otherwise in good condition. Not seen outside of glazed frame.
Herbert Thomas Dicksee RE (1862-1942) ‘Hope’, two Cairn terriers, one seated the other lying down, both waiting patientlyoriginal etching on paper, signed artist proof, edition of 325, published by Frost & Reed 1929, with blind stamps plate 28.5 x 41.7cmProvenance: The Bryan Steele Collection.
Herbert Thomas Dicksee RE (1862-1942)‘The Death of General Gordon, Khartoum, January 26th 1885’ (after the painting by George W Joy exhibited at the Royal Academy 1894)original etching on vellum, signed artist proof (also co-signed by George W Joy), edition of 300, published by Frost & Reed 1897, remarque of Gordon’s sword resting on his Bible (bottom margin), as exhibited at the Royal Academy 1896, number 1445image 44 x 32.1cm;‘Hercules wrestling with Death for the body of Alcestis’ (after the painting by Sir Frederic Leighton PRA)original etching on vellum, signed artist proof, small number published by Burlington Gallery, London 1885 (originally intended to be a book illustration - project abandoned), as exhibited at The Fine Art Society, London, July 1901, number 33image 41.2 x 32.2cm, in matching frames (2)Provenance: Purchased from the artist's daughter’s art dealer;The Bryan Steele Collection.
Herbert Thomas Dicksee RE (1862-1942)The Argos Hill Postmill, near Heathfield, Sussex 1930original etching on paper, signed artist proof, ‘HD 1930’ within image l.r., not published, detailing includes a barn plus the fantail that was later blown off in a gale image 34.5 x 38.1cmNote: One of only 50 postmills remaining in England. Currently being preserved and restored;'The Edge of the Wood’original etching on ‘FJ Head & Co’ watermarked paper, unsigned printer’s proof, ‘HD 1927’ in image l.r., the signed artist proof edition was of 60, published by Frost & Reed 1927, no other state image 43 x 30.5cm, in matching frames (2) Provenance: From the artist's daughter's art dealer (Argos Hill Postmill only);The Bryan Steele Collection.Condition report: In generally good order, a little slight time staining. Unexamined out of frame.
Herbert Thomas Dicksee RE (1862-1942)‘Parting Ways’, early morning rural scene of a young farm labourer with horses going off to work for the dayoriginal etching on vellum, signed artist proof, edition of 300, published by Frost & Reed 1906image 46.4 x 69.8cm;‘The Road to the Village’, a young woman driving cows and calves along a village roadoriginal etching on vellum, signed artist's proof, edition of 300, published by Frost & Reed 1909, with blind stamp, as exhibited at the Royal Academy 1910, number 1335 image 31.3 x 49.2cm (2) Provenance: The Bryan Steele Collection.Condition report: ‘Parting ways’ – Cockling throughout, which is particularly severe in the margins. There are some light creases in the margins also. A line of black dirt in the righthand margin. A little time-staining to the vellum. Not seen outside of glazed frame. ‘The Road to the Village’ – A little light cockling to the margins. A little rubbing to the roof of one of the cottages near the right edge. Not seen outside of glazed frame.
* TOM MACKENZIE (SCOTTISH 1947 - 2018), BLACK CUILLIN RIDGE coloured etching on paper, signed and titled image size 45cm x 60cm, overall size 71cm x 88cm Mounted, framed and under glass. Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.
* RICHARD "TURNERAMON" TURNER ARCA (BRITISH 1930 - 2013), UNTITLED oil on canvas overall size 91cm x 121cm Unframed. Note: Richard Turner was noted post-modernist artist born in Derby England and was educated at Bemrose Grammar School. In 1960, he enrolled at the Derby College of Art where he won the J. Andrew Lloyd scholarship for Landscape, enabling him to study at the Royal College of Art in London, from 1963. There, he was tutored by Carol Weight and Sir Peter Blake. He graduated in 1966 with an Associate of the Royal College of Art Degree, as well as prizes in Life Drawing, Life Painting, and Landscape Painting. His work was much admired by his contemporaries and his tutors. For the next two years, Turner was a lecturer at the Guildford School of Art; working on environmental installation projects with Australian artist Tony Underhill. He was introduced to etching by Peter Olley and Norman Ackroyd. In 1968, he was employed as an epigraphic artist and photographer by the Oriental Institute of the University of Chicago. For five years, he was based at Chicago House in Luxor, Egypt making facsimile drawings of the reliefs on the walls of the Temple of Khonsu, Karnak and Medenet Habu, adjacent to the Valley of the Queens. In 1973, Turner returned to England, lecturing at Salisbury College of Art for three years, before being re-employed in Egypt by the University of Chicago, for a further four years. During this time he made full-scale tracings of all columns in the Great Hypostyle Hall of Luxor Temple. In 1980 he moved to the USA; built a split-level chalet-style house in Big Bear, California, and ran his own gallery, named Minnelusa Gallery, on the shores of Big Bear Lake. He also worked as a graphic designer with Treasure Chest Advertising, based in Los Angeles. Four years later, Turner returned to the United Kingdom, and briefly lived in Edinburgh before moving south for five years. He returned to Scotland in 1989, and ran a successful "art holiday" home business from Park House in Kirkcudbright, as well as lecturing part-time in various colleges and schools. In 1993, Turner met HM The Queen and Prince Philip, at the opening of Tolbooth Art Centre in Kirkcudbright. Prince Philip commented on Turner's work saying it looked "refreshingly different". Turner exhibited widely throughout his career including multiple solo shows in London, Manchester, San Francisco, Palm Springs, San Bernardino, Los Angeles, Paris, Cairo, Luxor, Kirkcudbright and around the UK.
F J Aldridge, 1850-1933, ships in choppy seas, signed watercolour, 15 x 25cm, together with C N Woolnoth, Bay of Fleet near Gatehouse, signed watercolour, 11 x 18cm, Arthur Spencer, St Paul's Cathedral, signed etching, various pictures and prints, to include a watercolour of a house, 30 x 37cm (8)
Henri Goetz (1909-1989) - Espace d'Outremer, colour etching, 1/25, signed in pencil and numbered I/XXV to lower margin, visible sheet dimensions 37 x 51cmCondition report: Framed, mounted and glazed.Margin is slightly discoloured and casting a shadow at immediate extremity of print.Colours slightly faded.
Circa 1900 French School - L'Escrimeuse, etching printed in colours, as an oval, indistinctly signed in pencil lower right, visible sheet dimensions, 63 x 47cmCondition report: Framed and glazed.Foxing to paper throughout.Otherwise paper is good, flat and complete.Image colours slightly faded.
Willi Kissmer (1951-2018) ''Der Morgen'' Signed and numbered 29/199, etching, together with three further signed nude etchings by the same hand, 36cm by 49cm and various other sizes (4) (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Percy Robertson ARE (1868-1934) ''St Michael's Mount'' signed and inscribed in pencil, etching, together with four further etchings including ''The Houses of Parliament'', ''The Lighthouses'', scene of Whitby and Boatyard, 21cm by 35.5cm, 25.5cm by 32cm, 19.5cm by 24.5cm ,26cm by 35.5cm and 23.5cm by 32.5cm (5)
Percy Robertson ARE (1868-1934) ''Trafalgar Square, Gordon Memorial'', signed and inscribed, etching, together with four further signed etchings and one unsigned etching by the same hand, entitled; St. Paul's Cathedral, ''Strath Tay'', ''Grand Canal - Venice'', ''Edinburgh'' and ''Cowgatehead, Edinburgh'', 29cm by 23cm, 27cm by 33.5cm, 34cm by 28cm, 28cm by 25.5cm, 32cm by 25.5cm & 29.5cm by 23cm respectively (sh) together with Political caricatures 1906 by Sir F Carruthers Gould (7)
Eduard Wiiralt (Estonian, 1898-1954) Lamav Tiger (Reclining Tiger) 1937 signedEduard Wiiralt (Estonian, 1898-1954) Lamav Tiger (Reclining Tiger) 1937 (1950), soft ground etching, signed lower right 'E Wiiralt', numbered XLVII/LX lower left, etching 31 x 40cm (12 x 16in), in period frame , etching in fine condition
Ackroyd (Norman) Snow at Coniston; Jackson's Pond VI, two works, etching with aquatint, both signed in pencil, inscribed and numbered from editions of 100 and 110, respectively, each platemark approx. 175 x 130 mm (6 7/8 x 5 1/4 in), hinged into mounts, unframed, 1985 to 1995; together with four other etchings by various hands, including Hans Martin Ruwoldt, Constantin Schmutin, and Bryan Ingham, various sizes, all unframed, 20th century (6)Provenance:From the collection of the late Mr. Laurence Lee
δ Tanner (Robin) Wren and Primroses, only state as published in 'British Etchers 1850-1940' by Guichard and Garton, 1977, etching, on cream wove paper, signed in pencil, platemark 95 x 110 mm (3 3/4 x 4 1/2 in), good margins, hinged into mount, unframed, 1935 [but this impression 1977]; together with 'Wiltshire Roadmaker', etching, signed with stamped initials, platemark 100 x 150 mm (3 7/8 x 5 7/8 in), good margins, hinged into mount, unframed, [1928 but printed c. 1974] (2)Literature:Garton 19; 6Provenance:From the collection of the late Mr. Laurence Leeδ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Tanner (Robin) December: Elegy for the English Elm, etching, an excellent well inked proof impression on cream wove paper, signed in pencil to lower margin 'Robin Tanner fec. et imp. 1979', platemark 295 x 240 mm (11 1/2 x 9 1/2 in), wide margins, under glass, hinged into mount with some faint acidic sun exposure lines from mount, well outside the platemark, framed, 1979Provenance:From the collection of the late Mr. Laurence Lee Literature:cf. Garton 39, ii/ii, for the published edition of 25 impressions issued by Garton & Cooke in 1984. This impression printed by the artist in 1979δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Tanner (Robin) September, etching with plate tone, a good clear impression on cream wove paper, signed in pencil to lower margin 'Robin Tanner 1983', platemark 195 x 280 mm (7 3/4 x 11 in), good margins, under glass, framed, 1983Provenance:From the collection of the late Mr. Laurence Lee Literature:Garton 43δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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