WATERLOO INTEREST: 'The Field of Battle, Waterloo, as it appeared, July 24th, 1815', A panoramic view showing the battlefield, looking towards La Belle Alliance (2) and Hougoumont (3) from the east, etching and aquatint, 14cm x 60cm; This view, taken just over a month after the battle, shows the uneven nature of the ground, which allowed for Wellington to shield his infantry from French artillery fire. The site was a draw for tourists almost immediately after the battle. An example of this print is in the Royal Collection, probably acquired by King George IV when Prince Regent
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Herbert Dicksee Pencil Signed Etching 'The Old Garden' circa 1921, published by Frost & Reed of London. Lebel verso: 'An original etching by Herbert Dicksee, RE, an Artist's signed proof impression upon Japanese vellum. Price £8-8-0 net. Edition strictly limited'. Framed and Glazed Size 28'' x 21''.
CIRCLE OF JAMES ABBOT MCNEIL WHISTLER (1834-1903) A moustachoed man with monocle, pen and ink sketch on watermarked laid paper, possibly a design for etching and with some printing instructions, bears butterfly monogram, 29 x 18cm; together with a copy of the Daily Mail Newspaper for Thursday April 6th, 1933, both unframed (2)
JEAN-FRANCOIS JANINET AFTER JEAN BAPTISTE CLESINGER 'Marie-Antoinette d'Autriche, Reine de France et de Navarre, etching in colours, also with hand tinting, 19 x 14.5cm; and companion, a pair, each in decorative gilt frame with fleur-de-lys decoration to the borders and surmounted by the coat of arms of the sitter and floral swags, 34 x 25cm overall (2) With Goupil & Cie
RUSSIAN SCHOOL (21ST CENTURY) St Basil's Cathedral, Red Square, Moscow, signed with initials and dated '08, inscribed in cyrillic to label verso, watercolour, 14.5 x 20cm; a Russian etching of the same subject; two watercolours by Alfredo Sacco; and two coloured prints after Ashley Jackson, each signed in pencil to the margin (6)
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)
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)
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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)
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.
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