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Lot 2302
Original vintage travel advertising poster published by London Transport and illustrated by the prolific artist Dame Laura Knight. This is a version before text with destination was applied to the poster. It advertises travel to Richmond Park, a convenient and popular retreat for Londoners. Until medieval times London was surrounded by great oak forests. Richmond Park formed part of that forest and is home to oaks that are over 800 years old. Knight uses the oak, a traditional symbol of national identity, to mark to the great park's past, present and future. The twisted dead wood of an ancient oak stands to left, a mature tree at its optimum size dominates the foreground and tiny sapling grows in the centre. In 1949, the poster and original artwork appeared in Art for All, an exhibition of London Transport posters at the V&A. It was among the most valuable on show and in the top three for reproduction sales. This copy is a 'before text' version. Printed by The Dangerfield Printing Company Ltd., London. Dame Laura Knight, (née Johnson), DBE RA RWS (4 August 1877 – 7 July 1970) was an English artist who worked in oils, watercolours, etching, engraving and drypoint. Knight was a painter in the figurative, realist tradition and who embraced English Impressionism. In her long career, Knight was among the most successful and popular painters in Britain. Her success in the male-dominated British art establishment paved the way for greater status and recognition for women artists. In 1929 she was created a Dame, and in 1936 became the first woman elected to full membership of the Royal Academy since its foundation in 1768. Her large retrospective exhibition at the Royal Academy in 1965 was the first for a woman. Knight was known for painting amidst the world of the theatre and ballet in London, and for being a war artist during the Second World War. She was also greatly interested in, and inspired by, marginalised communities and individuals, including Gypsies and circus performers.Year of printing: 1938, country of printing: UK, designer: Laura Knight, dimensions (cm): 101.5x63.5. Good condition, slight foxing, faint fold and cracks, small tears and creases in margins.
Lot 133
Appleby, William Crawford - Etching - Gateway to KES, New Street - 36.5cm x 22cmWilliam Crawford Appleby (1889-?) Etching of the gate to King Edward School, New Street, Birmingham designed by Charles Barry and Augustus Pugin, constructed 1833-1837. The school was demolished in 1936 to make way for the present King Edward House. Signed W C Appleby on the stonework at lower right, and signed in pencil below.
Lot 182
A quantity of assorted engravings and prints, including a hand coloured engraving of Malta; an etching of the interior of Winchester Cathedral; an architects prospect of The Faulkner Clock Tower, St George's Circus, London, sepia watercolour; and others including views of Gibraltar and Malta.(qty)
Lot 139
A Russian Parcel-Gilt Silver Wager-Cup, by Pavel Fedorovich Sasikov, St Petersburg, 1862, Assay Master Edward Brandenburg, formed as a female figure in traditional Russian costume and wearing a kokoshnik , the bodice tightened at the waist and with flowing dress finely chased and engraved with foliage and flowers on a matted ground, holding aloft two grotesque-capped brackets which support the pivoting cup, with a copy of a letter from Garrard relating to the present cup and quoting Geoffrey Munn, 26.5cm high, 18oz 10dwt (2) . Fully marked on the back of the skirt. The cup with part marks underneath. The marks are clear, though with some wear to those on the cup. In generally good condition with fine etching on the skirt and good quality casting. The pivoting cup does not sit level, though there is no obvious bruise to the arms.
Lot 1
Natura morta con vasetto e tre bottiglie. 1946. Etching on japan paper. Cm 13,30 x 17,30. P.d.a. Edition, signature and year lower in pencil. Signature lower centre in plate. Plate size: 24.8x17,3 cm. Publisher: Edizioni del Milione (print at the back). Glue and paper traces at the back in the upper margin.
Lot 2
Il ponte sul Savena a Bologna. 1912. Etching on zinc. Cm 22,10 x 16,40. 9/50. Sheet size: 24.9x34.5. Signature and date in pencil on the lower right margin: Morandi 1912, edition lower left: 9/50. On the reverse: stamp Galleria del Milione, Milan, with n. 5822. Provenance: Giancarlo Pasi Collection, Ravenna. Bibliography: Lamberto Vitali, n. 1; Michele Cordaro, Morandi etchings. General Catalog, Electa Editions, Milan, 1991, p. 3, n. 1912 1. Second state out of three, edition of 50 numbered copies. Frame present
Lot 3
LeTabournet dans l'atelier. 1964. Etching. Cm 19,80 x 25,50. E.A. 1/2. Edition and signature lower in pencil.BFK Rivers filigree lower right. Sheet size: 28x22,5 cm. Printer: Atelier Lacouriére-Félaut, Paris. Publisher: Le Soleil noir, Paris. Bibliografia: Eberhardt W. Kornfeld, Alberto Giacometti, Catalogue raisonné des estampes, Volume II, p.698/699, n.418 (Lust 183). Frame present
Lot 6
Cretto nero A. 1971. Etching and aquatint. Cm 96,40 x 67,00. 54/90. Edition and signature at the bottom in pencil. Printer: 2RC, Rome; Bibliography: B. Corà "Alberto Burri. General Catalog. Graphic work 1949 - 1994" Città di Castello, Palazzo Albizzini Foundation Collection Burri, 2015, pp.78, 80, n.21b ill. coloured.
Lot 106
Ethiopia.- Salt (Henry), After. The Vale of Calaat, etching and aquatint with hand-colouring by Havell, on thick wove paper without watermark, platemark 480 x 650 mm. (18 7/8 x 25 1/2 in), sheet 535 x 705 mm. (21 x 27 3/4 in), marginal repairs, surface dirt and finger-soiling, some minor damp-stains, unframed, 1809.
Lot 227
Artist's proof, signed, dated and inscribed in pencil (in the margin), and inscribed 'For Denis and Jane, Terry, 1971', no edition, possibly only 6 proofs pulled, etching (Dimensions: 26cm x 21cm (10.25in x 8.25in))(26cm x 21cm (10.25in x 8.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
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71174 item(s)/page