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Lot 75
Sheila OLINER (1934)Etching Together with five small works from Rose's cottage This very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
Lot 140
δ Arpad Szenes (1897-1985)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 277 x 128mm (10 3/4 x 5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 60
δ Giacomo Manzù (1908-1991)Ommagio a MichelangeloEtching, 1975, signed and numbered from the edition of 200, on wove paper, printed by Calcografia Nazionale, Rome, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 139
δ Vladimir Vélickovic (b.1935)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 247 x 194mm (9 3/4 x 7 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 58
δ Fritz Wotruba (1907-1975)Ommagio a MichelangeloEtching, 1975, signed by the artist's wife Lucie Wotruba and numbered from the edition of 200 in pencil, on wove paper, printed by Edition Tusch, Wien, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 56
δ Jean Ipoustéguy (1920-2006)Ommagio a MichelangeloEtching, 1975, signed and numbered from the edition of 200, on wove paper, printed by Lacourière et Frélaut , Paris, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 138
Jorge Camacho (b.1934)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 255 x 192mm (10 x 7 1/2in) (unframed)
Lot 120
NO RESERVE δ Joachim Grommek (b.1957)MillimeterpapierEtching printed in colours, 1994, signed and numbered from the edition of 50 in pencil, on Somerset White Satin paper, with full margins, 390 x 290mm (15 3/4 x 11 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 12
NO RESERVE δ Clive Burton (b.1947)"Ysabel's Table Dance" (By Charlie Mingus)Etching with aquatint printed in blues, 1987, signed, dated, titled and numbered from the edition of 48 in pencil, on cream wove paper, published by the Royal College of Art, London, the full sheet, 305 x 305mm (12 x 12in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 136
δ Robert Couturier (1905-2008)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 255 x 196mm (10 x 7 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 14
NO RESERVE δ John Hewitt Big Race WinnerEtching with aquatint, 1987, signed, dated, titled and numbered from the edition of 48 in pencil, on cream wove paper, published by the Royal College of Art, London, the full sheet, 306 x 306mm (12 x 12in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 62
δ Emilio Greco (1913-1995)Ommagio a MichelangeloEtching printed on a coloured ground, 1975, signed and numbered from the edition of 200 in pencil, on wove paper, printed by Schneider, Berlin, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 19
NO RESERVE δ John Hewitt (b.1955)RaftEtching, 1996, signed, dated and numbered from the edition of 100 in pencil, on wove paper, published by the Royal College of Art, London, the full sheet printed to the edges, sheet 575 x 758mm (22 5/8 x 29 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 141
δ Elle Krystufek (b.1970)It's EnoughEtching, 1995, signed, dated and numbered from the edition of 50 in pencil, on Hahnemuhle paper, from the Stutz Mappe portfolio, sheet 500 x 400mm (19 5/8 x 15 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 167
NO RESERVE δ Stefan Hirsig (b.1966)Fahrenkamp's RasterEtching, 1995, signed, dated and numbered from the edition of 50 in pencil, on Rives paper, from the Stutz Mappe portfolio, sheet 510 x 380mm (20 x 15in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 104
Jim Dine (b.1935)Kali The book, 1999, comprising 15 etchings with aquatint, with title, text and justification pages, this copy signed on the title page and numbered from the edition of 30 in pencil on the justification, published by Enitharmon Press, London, all bound (as issued) within the original blue cloth covered boards with matching slipcase, together with a separate untitled etching, on wove, signed, dated and numbered from the edition of 30 in pencil, the full sheet loose as issued within a separate wallet, overall 245 x 187mm (9 5/8 x 7 3/8in) (vol) (16)
Lot 166
NO RESERVE δ Walter KranzDie Schwestern VeronalEtching printed in colours, 1995, signed, dated and numbered from the edition of 50 in pencil, on Hahnemuhle paper, from the Stutz Mappe portfolio, with full margins, sheet 400 x 480mm (15 3/4 x 17 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 20
NO RESERVE δ Freya Payne (b.1968)BruiseScreenprint, lithograph and etching printed in colours, 1996, signed, titled and numbered from the edition of 100 in pencil, on wove paper, published by the Royal College of Art, London, with full margins, sheet 758 x 575mm (29 3/4 x 22 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 3591
Local Interest - Caricatures, Derby Election, April, 1859, Published by Bemrose & Sons, composed of 13 full-page lithographs of political satires and cartoons, original wrappers, oblong 4to; Isaac Cruikshank (1764-1811), by and after, A Flight Across the Herring Pool, showing William Pitt the Younger and Henry Dundas, 1st Viscount Melville, by the shore of the Irish Channel encouraging the flight of Irish MPs across the sea, Pub: by S.W. Fores, 50 Piccadilly, [London], June 20th 1800 [...], monochrome etching, 26cm x 41cm; William Heath (1795-1840), by and after, Don't You Remember the 5th of November, Pub by T McLean, 26 Haymarket [...], [London, n.d.., 1800], monochrome etching, 30.5cm x 42.5cm, [3]
Lot 3662
Binding - Burton (John Hill, D.C.L., LL.D.), The Book-Hunter etc., A New Edition with a Memoir of the Author, numbered limited edition 87/1000, William Blackwood and Sons, Edinburgh and London 1882, pp: [vi], x, civ, 427, [i], portrait frontispiece etching of the author by William Brassey Hole RSA (1846 - 1917), further full-page lithographic plate of a library, woodcut borders, vignettes, head and tail pieces and initials, full contemporary red crushed morocco gilt, by Zaehnsdorf, stamped, the covers with a triple-fillet and flowerhead bosses to angles, the spine with six compartments tooled with Pliny's doves in scrolling foliate compartments, titled in the second and dated in the seventh compartments with gilt-lettered green morocco labels, further gilt scroll cross dentelles, marbled endpapers, top edge gilt, contemporaneous ink MS gift inscription to front free endpaper dated 1889, thick 8vo
Lot 7
ENGRAVING AFTER FILIPPO MORGHEN - 'ALL' ECCELLENTISS. COLLEGIO REALE DI MEDICINA DI EDINBURGH', together with a soft etching of a woodland scene by Jos. Farington 1790 and an engraving by J. Mason after T. Smith - 'A View in Newstead Park belonging to the Rt. Hon. The Lord Byron', laid down (3)
Lot 406
‡ENOCH FAIRHURST. (1874-1948)The Cordwainer, lithograph,pencil signed, inscribed and numbered 37/50 in the lower marginPl. 13 1/4 x 11 in; and a signed etching by C. Batoul depicting an engraver at work; two (2) The artist lived in Bolton for most of his life. He was elected a member of Manchester Academy and of the RMS in 1932
Lot 175
Williams (Charles). The Female Agent, published Walker, March 1809, etching with contemporary hand colouring with eighteen lines of verse below the caricature, small margins, 330 x 230 mm, mounted, together with Williams (Charles). Mother Carey's Chickens.These birds have lately been seen hovering above the Horse Guards, circa 1808, etching with contemporary hand colouring, slight marginal fraying, 250 x 385 mm (Qty: 2)Both caricatures show Mrs. Mary Ann Clarke, the one time mistress of Frederick The Duke of York. The scandal revolved around the alleged involvement of the Duke of York, the king's second son and commander-in-chief of the army, in the sale of army commissions by his former mistress with the implication that this had taken place with the Duke's tacit approval. . Mrs Clarke had been dropped by the Duke in 1805 but her silence had been purchased with an annual pension paid by the Duke - out of the civil list - but he stopped the allowance in 1808. In an act of revenge Mrs. Clarke freely admitted to having trafficked in military appointments in return for money, and arguing that the Duke had been complicit in these transactions. An attempt by Gwyllym Wardle - a radical M.P. - to lauch an inquest into the case and ultimately to bring down the Duke failed but the case became increasing complex when it was revealed that Mrs. Clarke had been paid £10,000 and given an annuity of £400 by the government in return for the Duke of York’s love letters and the destruction of her prepared memoirs. In a final act of revenge Clarke managed to persuade an upholsterer, Francis Wright, to sue her chief prosecutor, Wardle, for non-payment of a bill for furniture for her new London house. The case came before Kings bench on 3rd July 1809,and it emerged for the first time that Wardle had probably bought Mrs. Clarke’s hostile testimony against the duke with a promise to pay for the furnishing of her house. The jury found for Mrs Clarke and Wardle was ordered to pay £1,095 for the furniture and £1,194 in legal costs. The public scandal led to Wardle's downfall and he eventually had to flee to the continent to escape his creditors.
Lot 165
Gillray (James). Inspecting a Volunteer Corps in Hyde Park, Published H. Humphrey,1803, etching with contemporary hand colouring of Charles Earl of Harrington, good margins, 260 x 200 mm, together with Heroes Recruiting at Kelsey's - vide St. James on the 4th June, published James Miller, Edinburgh, [1824 - 1827], etching with contemporary hand colouring and supplied with two pages of contemporary descriptive text, large margins, 280 x 200 mm (Qty: 2)
Lot 461
Knickbocker (Diedrich) . A Humourous History of New York, from the beginning of the World , to the end of the Dutch Dynasty;..., new edition, 1820, printed for W.Wright, black & white engraved frontispiece, some spotting throughout, contemporary gilt decorated full calf, boards & spine slightly rubbed, hinges cracked, 8vo, together with Cromek (R.H.) , Reilques of Robert Burns;..., 1808, printed for J. McCreery, contemporary inscription to head of the title page, some light spotting, contemporary tree calf, boards & spines rubbed to head & foot, lacking spine labels, 8vo, and Wyman & Sons [publisher] , Royal Album of Arts and Industry of Great Britain, 1887, colour portrait frontispiece, numerous black & white illustrations, all edges gilt, minor marginal toning, original gilt decorated red morocco, boards & spine rubbed, large 4to, plus other mostly 19th century literature, history & reference, including Etching Club, circa 1840, 40 monochrome etchings, original decorative binding, The Rural Cyclopedia ,..., 4 volumes, by John M. Wilson, 1847, all leather bindings, many gilt decorated, some odd volumes, condition is generally good/very good, 8vo/folio. (Qty: 6 shelves)Approximately 110 volumes.
Lot 162
Cruikshank (George). The Battle of Vittoria, published T. Tegg, July 7th. 1813, etching with contemporary hand colouring, 240 x 350 mm, together with Heath (William). At home again, Abroad [and] At home, published Thomas McLean, circa 1830, three etched images on one sheet, all with bright contemporary hand colouring, 260 x 370 mm, with Cruikshank (Isaac). He would be a soldier, or the History of John Bull's Warlike Expedition, [published S. W. Fores, 1793], etching with contemporary hand colouring showing a sequential series of seven figures, some staining and soiling, trimmed to plate mark with loss of publication line, 285 x 385 mm (Qty: 3)
![Rowlandson (Thomas). The Contrast, 1792, British Liberty [and] French Liberty, Which is Best, 1792, uncoloured etching of two](https://cdn.globalauctionplatform.com/49399c7a-b2e2-43e7-95f3-aa8800c3db64/cb61faa5-bcac-4b2e-b60c-aa880137fc07/468x382.jpg)
Lot 172
Rowlandson (Thomas). The Contrast, 1792, British Liberty [and] French Liberty, Which is Best, 1792, uncoloured etching of two allegorical medallions, occasional marginal closed tears, one with slight loss, 265 x 375 mm, together with Volunteer Wit or not enough for a Prime, published Thomas Woodward, circa 1808, etching with contemporary hand colouring, occasional marginal closed tears, 240 x 345 mm, mounted (Qty: 2)
Lot 174
West (Temple, attrib.). John Bull teazed by an Ear-Wig!!!, published Wm. Holland, 1813, etching with contemporary hand colouring, 340 x 235 mm, mounted, framed and glazed, together with Holland (William, publisher). John Bull clipping the Corsican's Wings!!, 1803, etching with contemporary hand colouring, 345 x 240 mm, mounted, framed and glazed (Qty: 2)
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71174 item(s)/page