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Click here to subscribe*Salvador Dalí (Spanish, 1904-1989) 'BUTTERFLIES OF ANTI-MATTER' Etching and lithograph printed in colours, 1974, signed and inscribed E/A in pencil, an artist's proof aside from the edition of 585, from the suite 'La Conquête du Cosmos I', printed by Bellini, published by Jean Lavigne, Paris, on BFK Rives wove paper, with full margins plate 75 x 55.5cm *Artist's Resale Right may apply to this lot.
R Gore (20th century British School) - A finely detailed ink illustration of figures harvesting apples, pen and ink on paper, signed and dated 83, 57 x 42 cm, together with Graham Clarke (20th century British), Buzzer - Signed coloured limited edition etching 300/300, 16.5 x 21 cm, both framed (2)
Sir Geoffrey Kneller (18th century school) - Half length portrait of James, Earl of Berkeley, black and white engraving, by I Fiber, dated 1731, 38 x 28cm approx visible sheet size, a late 19th century sepia photograph of Charles John Travess, huntsman to the Cotswold Hunt, a mid-18th century black and white engraving of the Gloucester Cross after George Vertue, an 18th century map of Gloucestershire by Richard Blome, 34 x 29.5cm approx visible sheet size, also together with a late 19th century continental coloured etching of a town square at night, signed F Marriott, 50 x 55cm, all framed (5)
* Dodd (Francis H., 1874-1949). Belvedere Road, Lambeth, London, 1913, etching and drypoint on pale cream handmade paper, signed in pencil, a strong dark impression, plate size 16.1 x 25.2 cm (6.3 x 10 ins), sheet size 20.5 x 28 cm (8 x 11 ins), together with Rushbury (Henry George, 1889-1968). Horse Guard's, Whitehall, drypoint etching on pale cream Van Gelder Zonen paper, signed in pencil, plate size 22 x 27.5 cm (8.7 x 10.75 ins), with margins, plus other various etchings: Frederick Richards, Bond Street, Boodles to St. James's Palace, & The Battle of Waterloo Bridge - 'The Truce' - 1925, Robert Goff, 'Metropole' - Brighton - Kenneth Steel, Elvet Bridge, Durham, 2 small landscape etchings by Seymour Haden, all signed in pencil, plus Theodore Roussell, The Street, Chelsea Embankment, 1888-89, unsigned etching on pale cream laid paper (Qty: 10)NOTESSchwabe 91 (for the Dodd etching).
* Holmes (Kenneth, 1906-1994). Shot Tower, Old Waterloo Bridge, dry point etching, printed with plate tone, signed in pencil, plate size 23.8 x 37.7cm (9.3 x 13.25ins), framed, together with the original copper plate for this work, mounted on board, plus Amstel Bridge, Amsterdam, dry point etching, printed with plate tone, signed in pencil, plate size11.5 x 32.8cm (4.5 x 12.9ins), with good margins, framed and glazed, and 2 other original etched copper plates, including at least one by Kenneth Holmes, depicting a busy market town circa 1920s, both mounted on green baize-covered board (Qty: 5)
* Nixon (Job, 1891-1938). Repair Yard, Marseilles, etching with drypoint on handmade Millbourn wove, signed and numbered 6/60 in pencil, titled in pencil to lower left sheet edge, image size 25 x 33.2 cm (9.75 x 13 ins), sheet size incuding signature 30.5 x 41 cm (12 x 16 ins), together with Manning (W. Westley) , Larici, Shelley's last home, uncoloured aquatint on wove, signed and marked 3rd state, image size 30 x 37.5 cm (12 x 14.75 ins), sheet size including signature 36 x 44.2 cm (14.25 x 17.5 ins), plus other various etchings, mostly signed, including Eugene Bejot (Le Quai St. Louis a l'Hermitage, Nantes), James Priddey (Whitby Harbour), James P. Power (Market scene before a Continental town hall), Sydney Lee, Norman Ackroyd (Derwentwater - Constellation, 1986), T.J. Greenwood, Anthony Dyson, William Monk (Ponte Vecchio, Florence), Percival Gaskell, etc. (Qty: 29)
ARR * Drury, Paul, 1903-1987 September, 1928, etching on wove paper (with partial watermark to upper edge), signed and dated Paul Drury ' fec. et imp. 28, and additionally inscribed by the artist in pencil to lower margin 'Personal print 6/6. Turkey Mill. (Walker 25) Plate destroyed', a fine, rich impression, plate size 102 x 130mm (4 x 5.1ins), sheet size 17 x 23 cm (6.75 x 9 ins), hinge-mounted Garton 24. (Qty: 1)NOTESIt appears that, despite the inscription by the artist on this print, the plate for this work was not destroyed, as a second edition of 100 impressions was issued by Garton & Cook in 1987.
* Spencer Noel (1900-1986). Charing Cross, London, Le Pont Marie Paris, & Four Arches, Moseley, 3 etchings each printed with light plate tone, each signed and titled in pencil by the artists, plate size 18.3 x 23cm (7.2 x 9ins) or similar, matching frames, glazed, together with 3 other etchings, various, including: Geoffrey H. Wedgewood, Piazza Campo de'Fiori, Rome, 1926, signed dated and titled in pencil, Fred Richards, Venice, etching with dry point, signed and titled, Ernest M. Dinkes, Caudebec sur Seine, 1927, signed, dated, titled and inscribed to Kenneth Holmes in pencil by the artist, all framed and glazed (Qty: 6)
* Brustolon (Giovanni Battista, 1712-1796). Canalis majoris caput qua Venetias ingreditur, [1766], etching with engraving on laid paper, from the series of 12 views entitled Feste Ducali, o r Solennita Dogali, published by Ludovico Furlanetto, with title and publisher's imprint below, numbered 4 to right hand corner of the plate, some light spotting, mainly to margins, plate size 32 x 46 cm (12.5 x 18.2 ins), sheet size 47 x 60 cm (18.5 x 23.5 ins), together with an etched landscape published by Pierre Drevet (1664-1738), after S.B., framed and glazed (Qty: 2)NOTESA view of the Grand Canal with Santa Maria della Salute to the left after Canaletto, from the second series of views by Brustolon, published by Furlanetto 3 years after his first series of 12 engravings titled Prospectuum Aedium urbis Venetiarum.
* Strang (William, 1859-1921). Thomas Hardy, etching on pale cream wove paper, signed in pencil, plate size 137 x 90 mm (5.4 x 3.5 ins), with margins, together with Soper (George, 1870-1942). Runaway Horses, 1925, & The Plough Team, two drypoint etchings on cream wove and laid paper respectively, both signed in pencil, plate size 20 x 32.5 cm (8 x 11.75 ins), with margins, the second print with similar dimensions, plus other various British etchings, including Ernest Herbet Whydale (The Night Fair, & Quarry Landscape), Arthur Knighton-Hammond, Landscape with Ravine, Middleton Todd, Young Woman at a Window, and others, including Frank Short, R.A. Le Bas, Norah Vivian (colour woodcut), Winifred Austen (Goldcrest), George Edward Collins, Charles Holroyd, Albany E. Howard, J.B. Mesham, Freda Marston, E. Willis Paige, Seymour Haden, C.J. Bauer, etc., most signed in pencil, various sizes (Qty: 77)NB: There is no work by Frank Short included in this lot
* Seehaus (Paul Adolf, 1891-1919). Rotating Lighthouse (Rotierender Leuchtturum), circa 1913, etching and drypoint on cream wove japan paper, artist's estate signature in pencil 'Nachlass Seehaus G.S.-D.' by Gertrud Simka-Drascher, closed tear to right blank margin, repaired to verso with adhesive tape (discoloured), a few other minor marks to margins, plate size 5 1/16 x 5 1/8" (12.9 x 13 cm), sheet size 12 5/16 x 17 7/16" (31.2 x 44.3 cm) (Qty: 1)NOTESProvenance: Estate of Eduard Rosenbaum (1887-1979), diplomat at the Versailles Treaty negotiations, economist, Syndic of the Hamburg Chamber of Commerce and director of its library. Expelled from his post by the Nazi regime in 1933 he emigrated to London where he was appointed Librarian and Head of Acquisitions at the London School of Economics. Board Member of the Leo Baeck Institute, London. Rave/Söhn 26. A proof aside from the numbered edition of 25 impressions.
* Coornhert (Dirk Volkertsz, 1522-1590). The Parable of the Great Banquet: The Second Excuse, 1558-59, copper engraving after Maarten van Heemskerck, on laid paper (with indistinct watermark), published by Hieronymus Cock, small wormhole to centre of the image, minor waterstain to lower centre, a good impression, trimmed to platemark, sheet size 20.4 x 24.8 cm (8 x 9.75 ins) window-mounted, together with Sadeler (Jan, or Johannes Sadeler, 1550–1600). The Descendants of Lamech (from the series The Story of the First Men), 1583, engraving on fine laid paper, after Maarten de Vos, the second state (of two) with plate number 9 added to lower margin of the image, trimmed outside the platemark, laid down on archival paper, sheet size 21.3 x 26.8 cm (8.4 x 10.5 ins), light soiling, window-mounted, plus an etching by Daniel Hopfer (circa 1470-1536), Reliquary with a Pieta, the second state (Bartsch 17, ii), sheet size 24.3 x 16.7 cm (9.6 x 6.6 ins), window-mounted, and other Old Master prints, various, including 2 large etched landscapes by Herman van Swanevelt, 2 small landscapes by S. Le Clerc, Georg Pencz (circa 1500-1550), Virginia, circa 1546/47 (Bartsch 84, Hollstein 125), with margins unevenly trimmed touching the image, 2 battle scenes by Stefano della Bella, a mezzotint by Christian Rugendas after G. P. Rugendas dated 1696, a woodcut of Christ Purifying the Temple, from Speculum Passionis, 1507 by Hans Schaufelein (printed text to verso), etc., some mounted (Qty: 16)NOTESProvenance: Estate of Michael Jaffe (1923-1997). Hollstein 345 Coornhert) and 25 (Sadeler)
* Leoni (Ottavio, circa 1578-1630). Portrait of Galileo Galilei, 1624, copper engraving on laid paper, trimmed to plate margins, 14 x 10.9 cm (5.5 x 4.3 ins), together with Hogarth (William, 1697-1773). [View of Ranby´s House], publish´d as the Act directs by Jane Hogarth at the Golden-Head Leicester Fields 1st May 1781, etching and engraving, the second state of two, discolouration from old mounting glue to upper outer corners, trimmed to margins, sheet size 10.1 x 15.2 cm (4 x 6 ins), plus six copper engravings from the series Balli di Sfessania by Jacques Callot (1592-1635), all later issues in reverse on laid paper, without captions below the image and with plate number to top right corner, with wide margins, sheet size 10.5 x 17 cm (4.2 x 6.7 ins) (Qty: 8)
* Richards (Frederick Charles, 1887-1932). Durham, pencil on wove sketchbook paper, signed with initials lower right, and titled lower left, together with Bristol Harbour, circa 1920s, etching on wove paper, signed in pencil, and inscribed to 'E.M. Wilson', with margins, window-mounted (Qty: 2)
* Baumer (Lewis, 1870-1963). 'The Apple', 1924, drypoint etching on pale cream japan paper, signed and titled in pencil, plate size 20 x 16.1 cm (7.9 x 6.4 ins), framed and glazed, together with Soper (George, 1870-1942). The Hay Cart, 1921, drypoint etching on pale cream paper, signed in pencil lower right, plate size 19.8 x 28.7 cm (7.8 x 11.3 ins), with margins, framed and glazed, plus Rushbury (Herny George, 1889-1968). St. Martin's in the Fields, 1944, drypoint etching, printed with plate tone, signed in pencil, plate size 29 x 26.5 cm (11.4 x 10.2 ins), framed and glazed, and 3 others: Auguste Brouet (1872-1941), Procession of Circus Performers, etching, with remarques, signed and numbered 12/100, with publisher's blindstamps, plate size 23.5 x 41 cm (9.25 x 16 ins), with margins; William Douglas Macleod (1892-1963), On the Canal, Venice, etching, signed in pencil, plate size 31.5 x 20.5 cm (12.5 x 8.2 ins), framed and glazed (glass cracked); and an early 20th century pencil study on paper of a young oriental girl, indistinctly signed lower right, laid down on card, sheet size 18.5 x 13.8 cm (7.3 x 5.5 ins), framed and glazed (Qty: 6)NOTESBaumer's The Apple was included in his exhibition at the Fine Art Society in May 1924 (Punch and Other Drawings and Etchings), and illustrated in The Lady's Pictorial for May 19, 1924.
* Menpes (Mortimer Luddington , 1855-1938). Indian Street Scene with Food Stall, etching on laid paper, with watermark Menpes in capitals, signed in pencil, pale mount stain, plate size 23 x 27 cm (9 x 10.6 ins), sheet size 27.8 x 37.7 cm (11 x 14.8 ins), together with 14 other various etchings, including Frederick Richards, The Wailing Wall, Jerusalem, Jerusalem and Mount of Olives, & Jerusalem from the Jaffa Gate, A Market - Cairo, The Ferry, Mahmondrel Canal, Egypt, & In Cairo, Lionel Lindsay, Little Square, Segovia, Louis Rosenberg, St. Malo, Malcolm Osborne, Cahors Cathedral, etc., all signed, and mostly titled in pencil (Qty: 15)
* Kleinman, Mary, 1928-2001. Charlie Chaplin, monotone etching on wove, lower margin signed and with limitation 2/15, plate size 25 x 20cm (9.75 x 8ins), sheet size 38 x 28cm (15 x 11ins), framed and glazed, together with Freeth (Peter, 1938-) , A Glimpse of 'The Tempest', etching on wove, lower margin captioned, signed and with limitation 8/20, plate size 24.5 x 37.3cm (9.75 x 14.5ins), sheet size 44.5 x 55.5cm (17.5 x 21.75ins), framed and glazed, and Little Dance Macabre, artist's proof etching on wove, lower margin captioned and signed, plate size 11.2 x 15cm (4.5 x 6ins), sheet size 28 x 30cm (11 x 11.75ins), framed and glazed, plus six other similar etchings by various artists including Elizabeth Robinson, Clare Bruce, Ann Dowker and John Roberts etc., all framed and glazed (Qty: 9)
* Holmes (Kenneth, 1906-1994). Pig Ring, dry point etching on pale cream wove paper, signed in pencil, plate size 19.5 x 23.5cm (7.6 x 9.25ins), with margins, framed and glazed together with Bridge at Berne, dry point etching on pale cream wove paper, signed in pencil, plate size 20.6 x 30.5cm (8.1 x 12ins), framed and glazed (Qty: 2)
* Wyllie (William Lionel, 1851-1931). Pool of London & St Pauls, drypoint etching, signed in pencil to margin lower left, plate size 10 x 35 cm (4 x 13.75 ins), together with another by the same artist, Pool of London, drypoint etching, signed in pencil to margin lower left, 12.5 cm x 30 cm (5 x 11.75 ins), both framed and glazed with Robert Dunthorne , The Rembrandt Gallery to verso (Qty: 2)
Fred Cuming RA (b.1930)+A limited edition etching entitled 'Night Studio with Self Portrait', numbered 1/45, signed and titled to lower margin, 49cm x 37cm, framed and glazedOriginally purchased in 2015 from the Rye Art Societywww.fredcuming.comThis lot is part of a single owner collection of 20th and 21st century artwork owned by the late Tony Allen. Many of the artists featured are Sussex based and local to Hastings and Rye where Tony himself studied and exhibited. Tony was a keen patron and his extensive collection will be offered for sale over a number of forthcoming auctions+ Possibly subject to Artist Re-Sale rights (Droit de suite) - For further information go to to www.artistscollectingsociety.org CONDITION REPORT: If you require further images of this lot or a condition report please contact us with your request as condition reports have not been included in the description
Modern British school - Merganser, etching and aquatint, indistinctly signed and titled in pencil to the lower margin, artists proof, visible sheet dimensions 24.5 x 31cm; one other by the artist of Newhaven Harbour, etching and aquatint, signed, titled, numbered 8/25, and dated '93 to the lower margin, visible sheet dimensions 20 x 19.5cm; Frans Wesselman - Still life with radish, etching, signed, titled and numbered 31/100 in pencil to the lower margin, 16 x 20.5cm; and Maggie Wiglas - A Puffin, colour print, signed and dated ' 95 in pencil lower right, 18 x 16cm (4)
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![* Brustolon (Giovanni Battista, 1712-1796). Canalis majoris caput qua Venetias ingreditur, [1766], etching with engraving on](https://cdn.globalauctionplatform.com/c63196c6-290a-4918-92fb-aae10104027c/a1ffdf6b-9e08-4743-9543-aae30118f863/468x382.jpg)
