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Lot 346
Two commemorative glass goblets, early 20th century, with floral cut bases, twin handled, one commemorating the life of Earl Kitchener KG (1880-1916) gilt etching reads 'His work was done ere we could thank him', approx 20 cms the other etched George V and Queen Mary crowned 1911 approx 21 cms h (af) together with a boxed Birks sterling silver and cut-glass salt and peppers. (3)
Lot 381
Miscellaneous etchings, prints and pictures; including part of a special edition of the Illustrated London News depicting The Transvaal War 1899-1900, a copy of Life International magazine dd December 8, 1958, a page from The Illustrated London News, April 23, 1910 (611) depicting the Sacred Relics on a White Elephant of paper and bamboo - bones of Buddha on the road to Mandalay; a copy of Le Sourire dd 5 January, 1961, seven fashion sketches and a copy of "La Vie Parisienne" dd May and June 1914, a selection of etchings including The Rialto Bridge, Venice, Execution of a Chinese Criminal, Sketches on the Loire from the drawings of J.M.W. Turner, Sketches in Egypt - Luxor, amongst others, coloured etchings include Les Grandes Manoeuvres en Indo-Chine, Une Soiree Dansante, dans la Grande Sa;;e des Réunions du Petit Journal, Graves Événements dans le Sud-Oranais, three copies of L'Illustre Soleil du Dimanche dd 1898, a copy of Figaro Illustre , etching of a young woman from a drawing by Hans Holbein, in an oval mount, three coloured prints depicting river scenes and a small oil painting of a riverside scene. (af)
Lot 64
Augustus Frederick 1799 letter to his equerry in Liverpool, this lot comprises an entire letter in general fine condition from Augustus Frederick 6th son fo George III, appointed Duke of Sussex in 1801, to his equerry William Hillary. Fascinating content including complaints about his wife's treatment and the King "standing for Liverpool" references to campaigns in Italy and a "Knights Lady" gambling in Palermo. Typed transcript included together with copy etching of the prince when Duke of Sussex.
Lot 4
δ Stanley William Hayter (1901-1988)Swimming Bird (Black and Moorehead 328)Etching with aquatint printed in colours, 1969, signed, titled, dated and numbered from the edition of 50 in pencil, on B.F.K Rives paper, printed by Hector Saunier, with margins, sheet 512 x 616mm (20 1/8 x 24 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 29
δ Salvador Dali (1904-1989)Le Torse (Torso) (M&L 362f; Field 68-6-M)Etching printed in colours with hand-watercolour, 1969, signed and number from the edition of 145 in pencil, on Japanese paper with embossed signature, as included in "La Venus aux Fourrures" portfolio, printed and published by Graphic Europa Anstalt, the full sheet, 380 x 280mm (15 x 11in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 30
δ Salvador Dali (1904-1989)Vigour of Youth (M&L 930f; Field 79-1-A)Etching and photolithograph printed in colours, 1977, signed and numbered from the edition of G125 in pencil, on watermarked Arches wove paper, as included in 'The Cycles of Life', published by Duall Graphics for DALART, Torrents, the full sheet, 381 x 558mm (15 x 22in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 27
δ Salvador Dali (1904-1989)Hippofemme (from Femmes et Chevaux) (Field 73-4B; M&L 586-a)Etching with engraving printed in colours, 1973, signed, and inscribed 'E.A' in pencil, an artist's proof aside of the edition of 175, on BFK Rives paper, printed by Ateliers Rigal, Paris, with full margins, sheet 447 x 310mm (17 5/8 x 12 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 31
δ Salvador Dali (1904-1989)Femme au clown (Field 69-1E; M&L 302k)Etching with hand colouring in watercolour and gold, 1968/1969, signed and numbered from the edition of 145 in pencil, on Japan paper, printed by Graphik Europa, Anstalt, published by Robbe, Paris, with the Dali watermark, with full margins, sheet 384 x 283mm (15 1/8 x 11 1/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 20
δ Pierre Alechinksy (b.1927)UntitledEtching with collage additions printed in colours, 1973, signed and inscribed from the edition of 25 in pencil, an artist's proof aside from the edition of 99 in pencil, on Japon paper, from the portfolio Krach, published by Yves Rivière, Paris, with full margins, sheet 565 x 765mm (22 1/4 x 30in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 28
δ Salvador Dali (1904-1989)La Botte Violette (The Violet Boot) (M&L 359f) (Field 68-6)Etching printed in colours with hand-watercolour, 1969, signed and number from the edition of 145 in pencil, on Japanese paper with embossed signature, as included in "La Venus aux Fourrures" portfolio, printed and published by Graphic Europa Anstalt, the full sheet, 380 x 280mm (15 x 11in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 1
δ Julian Trevelyan (1910-1988)Spinnakers (Turner 247)Etching, aquatint and soft-ground printed in colours, 1972, signed, titled and numbered from the edition of 65 in pencil, on T H Saunders wove paper, printed by Studio Prints, Ltd, published by Leslie Waddington Prints, London, with full margins, sheet 735 x 582mm (29 x 23in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 21
δ Zoran Antonio Music (1909-2005)UntitledEtching, 1959, signed, dated and numbered from the edition of 95 in pencil, on B.F.K Rives paper, with full margins, sheet 505 x 652mm (19 7/8 x 25 6/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 495
Late 16th century AD. A Western European war hammer (reiterhammer) made of two pieces, the iron shaft and the head; the head made as a single solid iron bar, shaped like a squared hammer from one side and a pointed curved spike from the other side; the head showing a strong quadrangular outline, fixed to the shaft with an upper insertion hole and then rivetted, with the help of an auxiliary iron cap; the spike is a 'raven beak' shape of pointed section, while the hammer is flat at the top; the shaft is circular and ends, in the lower part, with a short handle between two and three circular grooves. See Thordeman, B.,Armour from the Battle of Wisby, Malmö, 1939 (2001); Wilkinson, H., Antique Arms and Armour, London, 1972; Edge D., Miles Paddock J., Arms and Armour of the Medieval Knight, London, 1988; our war hammer is of the type used by European cavalry in the 16th century, represented in the iconography (battle of San Romano, painting by Paolo Uccello of 1455 AD; portrait of Maurice of Saxony made in 1578 AD by Lucas Cranach the Younger) and correspondent with various specimens, such as the one exhibited in the Deutsches Historisches Museum in Berlin. 903 grams, 58cm (22 3/4").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.This war hammer is of the type used by European cavalry in the 16th century, represented in iconography (battle of San Romano, painting by Paolo Uccello of 1455 AD; portrait of Maurice of Saxony made in 1578 AD by Lucas Cranach the Younger) and showing parallels with similar examples in the Deutsches Historisches Museum in Berlin. Reiterhammers of this type are called ‘raven’s beak’ (bec de courbin) in the sources; the shaft was originally a wooden shank reinforced by metal shafts with one-handed handle, but in the later models, like our specimen, the astile could be entirely in metal, thinner than the wooden one, with guard and knob to better ensure the grip on the handle for a user wearing a glove. The war hammer was developed to counter the protection offered by plate armour, which made simple cutting weapons useless. In a military context dominated by the figure of the knight in plate armour, the sword lost its status as a weapon par excellence. The evolution of this offensive weapon ran in parallel with that of complete armour. When the latter developed ridges to limit the damage from thrusting hits, the war hammer gained prominence as a penetrating weapon. Weapons capable of concentrating a considerable force on a narrow target, a joint or a precise point of the armour proved to be more effective in the fray. As much as the mace of arms and the archer’s axe, the war-hammer became a decisive melee weapon for the knight. The weapon, descended from the East-Roman akouphion, began to be used by armoured knights in the 14th century, due to the need to better the axe and the mace of arms with a piece of equipment capable of inflicting injuries through armour. It reached its full development only at the end of the 15th century, but its wide use in the 16th century is widely documented by archaeological artefacts and iconography, like the one representing the battle of Dreux, in an engraving of 1588 AD, one of the first clashes of the Wars of Religion in France, where knights are visible fighting on horseback with such weapons in their hands. The war hammer was often visible in tournaments, and, much like sword hilts, war hammers became richly decorated with etching and gilding, often appearing to be works of art. However, they never lost their primary function as dangerous weapons (Edge-Miles Paddock, 1988, p.149"). With the seventeenth century and the establishment of portable firearms (pistol and petronel) as weapons of the new heavy cavalry (Cuirassiers and Reiters) the war hammer disappeared from western battlefields. In Eastern Europe, its variants, such as the Polish nazdiak, remained in use among cavalry forces until the 18th century, when it finally fell into disuse along with the axe and mace, starting from the Napoleonic Wars, when the model of the horseman armed only with sabre and pistol became dominant.Fine condition.
Lot 687
Leda May (20th century British) - Still life with pears, pastel on paper, signed and inscribed verso Leda May, Bally Delob, County Cork, 29 x 20cm, a signed limited edition black and white etching of a basket of fruit, with initials MEU, 9 x 11cm, a Japanese coloured woodblock print of a mountain range, 24 x 37cm approx., two coloured prints after Frances Marsh - Still Life and Christoph; Chernobyl Expanses II, mixed media abstract on paper, signed with initials and dated 95, inscribed verso Boris Ivanov, 23 x 35cm, various sizes, all framed (8)
Lot 455
Édouard Manet (French 1832-1883) LE CHAT ET LES FLEURS signed in the plate etching and aquatint sheet size: 32,2 by 21,4cm MANET ‘LES CHATS ET LES FLEURS’ Edouard Manet is considered a significant forerunner of the Impressionist movement. After travelling to Germany, Italy, and the Netherlands between 1853 and 1856, he opened a studio and began producing work inspired by the artists he discovered on his travels. These included the Dutch painter Frans Hals and Spanish artists Diego Velazquez and Francisco de Goya.1 Unsurprisingly, Le Chat et les Fleurs deliberately suggests of one of Manet’s favourite masters, Goya, evidenced in the strong line style, gloomy tones, and stippled aquatint background. Although predominantly known as a painter, Manet produced a series of illustrations of cats for Jules Champfleury’s book entitled Les Chats. Le Chat et les Fleurs (Cat and Flowers) echoes the cat and flower imagery in Manet’s Olympia, one of his most well-known paintings. Champfleury’s book represents some of Manet’s finest illustrative work which was then reproduced posthumously using the original plates in three strikes, after which the plates were destroyed to make reproduction impossible.2Le Chat et les Fleurs is one of Manet’s finest prints, the sharp lines contrasting with a dappled and tonally accurate background. The side profile of the cat in the foreground allows the viewer to differentiate between the finer details of the work. - T.W.1. "Edouard Manet as an Illustrator." Philadelphia Museum of Art Bulletin 62, no. 293 (1967): 223-35. Accessed January 10, 2020. doi:10.2307/3795194. 1. Harris, Jean C. "Prints by Manet." Bulletin of the Detroit Institute of Arts 49, no. 3/4 (1970): 47-62. Accessed January 10, 2020. www.jstor.org/stable/41504479.
Lot 84
A quantity of assorted 19th and 20th century pictures, prints and etchings, including a colour lithograph by Fred Uhlman; a pen and ink illustration by Claude Shepperson, a watercolour signed Francel; A pencil and watercolour of fighting cocks by Juan Benito; An etching by Eugene Delacroix; An etching of Liberty; An etching of Kookaburras by Sidney Long, all unframed, various sizes. (qty) C2
Lot 199
A group of 20th century pictures and prints, including a signed print by Pietro Annigoni, a colour etching of St Mawes by Glynn Thomas, etchings of Mt John Dummelow and Catherine Cookson by Christopher Robinson, a charcoal portrait sketch signed J. Courtney, an etching by Jane Dowling and others, a pencil drawing of David Lloyd George, all unframed (Folio). CAB
Lot 78
NO RESERVE Gillray (James, 1756-1815) John Bull bother'd or The geese alarming the Capitol, William Pitt spies flocks of Sans-Culottes, Scots and Irish rising up and coming for England, while an anxious John Bull with a broken bayonet and the "Rights of Man" in his pocket, sees only a few geese in the distance, etching and aquatint printed in brown ink on cream wove paper without a watermark, platemark 315 x 395 mm. (12 1/2 x 15 1/2 in), sheet 370 x 525 mm. (14 1/2 x 20 3/4 in), minor surface dirt and handling creases, one small tear in the lower margin, well outside the image, unframed, published by Hannah Humphrey, 1792.Literature:BM Satires 8141
Lot 81
NO RESERVE Gillray (James, 1756-1815) Dilettanti-theatricals: -or- a peep at the Green Room. -vide Pic-Nic orgies, etching and aquatint printed in dark-brown ink on wove paper with indistinct watermark of initials, platemark 310 x 485 mm. (12 1/4 x 19 1/8 in), minor nicks and tears to extremities, some surface dirt, unframed, published by Hannah Humphrey,1803.Literature:BM Satires 10169
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71174 item(s)/page