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Lot 56
Bob Dylan (b.1941) The Asia Series (Hunan Province, Opium, Shanghai & The Bridge)The set of four digital pigment prints in colours, 2021, each signed in pencil. numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, with their accompanying certificates of authenticity, on 350gsm Hahnemühle Museum Etching wove paper, with full margins, each sheet 762 x 672mm (30 x 26 1/2in)
Lot 4
An exceptional engraved armorial Nuremberg goblet, circa 1670-90The deep round funnel bowl finely decorated with a riverside landscape scene depicting the myth of Actaeon changed into a Stag, the young hunter standing beside the river wearing Roman costume, a pair of antlers sprouting from his head, brandishing a spear in his right hand and with his left arm raised, his two hounds at his feet, the goddess Diana standing in the water before him, covering her modesty and pointing at Acteon with her left hand, three nymphs around her and a fourth nymph reclining nude beneath a tree beside them, the water picked out in diamond-point, all beneath a radiant sun, the reverse with a crowned coat of arms with a chevron between three roses, flanked by tied palm fronds, beneath a banner inscribed 'CASTIS OMNIA CASTA' (To the pure everything is pure), set on a distinctive tall multi-knopped stem with a hollow knop flanked by trios of mereses, above a hollow baluster section terminating in further mereses, the spreading circular foot with a foliate garland and neatly folded at the footrim edge, 23cm highFootnotes:The scene on this goblet recounts the myth of Diana and Actaeon, described by Ovid in Book III of his 'Metamorphoses'. Actaeon stumbles across the nude Huntress bathing with her nymphs in a woodland glade. Enraged by the intrusion, Diana transforms him into a stag, after which he flees and is devoured by his own hounds. The young hunter is shown here only partially transformed, with horns but a human head and body. The scene is after an original etching by Antonio Tempesta (Italian, 1555–1630) published as Plate 25, 'Dianae aspectu Actaeon in ceruum', in 'Metamorphoseon' by the Dutch cartographer Wilhelmus Ianssonius (Willem Janszoon Blaeu) in Amsterdam in 1606. The motto above the unidentified coat of arms is a biblical quote from the Latin Vulgate to Titus, 1:15. The myth was a favourite during the Renaissance, with Actaeon surprising Diana being the most popular scene. A Nuremburg engraved tumbler with another version of the scene was sold by Phillips on 9 June 1999, lot 11.The present goblet has a number of remarkable similarities to an example in the glass collection at the Veste Coburg, illustrated by Erich Meyer-Heissig, Der Nürnberger Glasschnit des 17. Jahrhunderts (1963), p.100, no.229, which depicts a comparable scene of Actaeon and Diana bathing, but in which Actaeon has already been transformed into a stag. The way in which the figures, hounds and foliage of the trees have been engraved, together with the distinctive ripples on the surface of the water in diamond-point, are all reminiscent of the present lot and the same hand must certainly be responsible. Unfortunately, the master engraver responsible is unknown, but the style and quality is reminiscent of pieces by contemporary masters including Hermann Schwinger and Johann Wolfgang Schmidt.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 700
Ken Longcake, two acrylics and a triptych etching/aquatint, acrylic one "Venetian" 33 cm x 33 cm, framed, signed with initials, acrylic two "Rocks and Trees" 35 cm x 35 cm, framed, signed and dated 2005, the etching triptych "Evolution of Landscape-Time" single print no edition, mount size 49 cm x 42 cm.
Lot 738
Frederick (Fred Lawson (1888-1968), a pen and ink drawing, depicting possibly a ruined castle wall and trees, signed and dated 1962. 22 x 23 cm, framed and mounted, together with an etching depicting Lady Hill, 19 x 19 cm, framed and mounted. CONDITION REPORT: The lady Hill picture has foxing throughout the entire image. There is also a ripple and a section of staining on the right-hand side leading from the bottom two thirds of the way up. On the ruined castle picture the paper is quite brown and shows some light foxing particularly around the central tree and then further down through the lower left-hand side of the picture.
Lot 19
Sir Terry Frost RA, British 1915-2003 - Untitled, 1988; collage and etching on paper, signed and dated lower right 'Frost 88', 36.2 x 26.5 cm: together with 2 other works by the same artist of the same medium and size (3) (ARR)Provenance: The Collection of Mollie and Graham Dark, purchased directly from the artist Literature: Lewis, David, 'Terry Frost. A personal narrative by David Lewis', Scholar Press, 1994, illus. p.12 (1st work, according to the owner's archive) Note: Frost was one of the most important artist associated with British Modernism and St. Ives, working and exhibiting alongside Peter Lanyon, Roger Hilton and Barbara Hepworth.
Lot 35
Erna Hoppe Kinross, German/British 1875-1964 - Portrait of the Artist, 1908; oil on panel, signed lower left 'E. Hoppe Kinross', also signed upper left 'E. Hoppe', 21.5 x 27 cm: together with a pastel on board by the same artist of baby Rupert and an etching of the same subject, 28.5 x 24.2 cm and smaller (3) (ARR) Provenance: the Family of the Artists Grace English and Erna Hoppe-Kinross
Lot 213
AMENDMENT: this work is resin and wire not concrete and wire as previously catalogued Peter Laszlo Peri, Hungarian/British 1899–1967 - Three figures; resin and wire, H26.5 x W27.5 x D43 cm: together with an etching on paper by the same artist, 27.5 x 42.6 cm (2) (ARR) Note: made for the artist's second wife, who he met at Camden tube station. Émigré artist Peri came to London in 1933 and soon became part of the community of artists such as John Heartfield, exhibiting at the AIA from 1934. He received several important public commissions across the UK, including for The Festival of Britain, 1951, London County Council and Exeter University. His early constructive work was exhibited at the Der Sturm Gallery in the 1920s alongside László Moholy-Nagy. His works are now in major museums worldwide including the Museum of Modern Art, New York, Centre Pompidou, Paris and the Tate.
Lot 1069
Leonard Baskin, American 1922–2000 - Large Iris; hand-coloured etching on paper, signed on backing card lower right 'Baskin' and annotated lower left 'touched proof', 20 x 15 cm Provenance: Midtown Payson Galleries, New York, BASP0041 (according to the label attached to the reverse of the frame); Pyms Gallery, London
Lot 1040
Jean-Emile Laboureur, French 1877-1943 - Les aquarellistes, 1922; etching on paper, signed lower left 'labourer', numbered lower right '7/42', signed with initial and dated in the plate 'L 1922', image size 9.3 x 13.2 cm Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery
Lot 1024
Augustus John OM RA, British 1878-1961 -Young woman musing; etching, signed lower right 'John', also signed in the plate 'John', 8.1 x 7.7 cm (ARR) Provenance:Pyms Gallery, London (label attached to the reverse) Note: plate no.28, impression no.1/25 (according to the label attached to the reverse)
Lot 1068
Leonard Baskin, American 1922–2000 - Head; ink on letter-headed paper, 28 x 21.5 cm: together with an etching on paper by the same artist, 'Bird' (unframed) (2) Provenance: Pyms Gallery, London Note: the work is on heaeded paper for The Hillyer Art Gallery, Smith College Department of Art, Northampton where the artist taught from 1953-74.
Lot 1065
Leonard Baskin, American 1922–2000 - Eakins; etching on paper, signed lower right 'Baskin', titled and numbered lower left 'Eakins - artist's proof' and dedicated lower centre 'for Betty & Joe', image size 45.3 x 33.5 cm Provenance: Pyms Gallery, London Note: the work depicts Thomas Eakins (1844-1916), widely regarded as one of the most important American artists of the 19th and 20th centuries. An edition of this work is in the collection of the Metropolitan Museum of Art, New York.
Lot 1108
Turi Wekner, Austrian b.1948 - Untitled, 1989; graphite on paper, signed, indistinctly titled, dated and dedicated along lower edge 'Turi 89 For Alan', 14.5 x 21 cm: together with an etching by the same artist, signed and dated lower right, 7.6 x 16.4 cm (2) (ARR) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery
Lot 1029
Sir William Orpen KBE RA RHA, Irish 1878-1931 - Scene from the Arabian Nights, possibly 'Nouridden and the Fair'; ink and pencil on paper, signed lower right in pencil 'Orpen', 24 x 28 cm Provenance: Sotheby's, London, 16th May 2002; Pyms Gallery, London, stock no.H782 and purchased from the above (label attached to the reverse) Exhibited: Imperial War Museum, London, 'William Orpen: Politics, Sex and Death', 21st January-2nd May 2005, no.77 Note: This charming example showcases Orpen’s mastery of form. The tales of the 'One Thousand and One Nights' gained mass popularity during the Victorian era and inspired this series of illustrations c.1899. This particular work pays homage to Rembrandt’s etching 'Nude Woman seated on a Mound' c.1631, which was exhibited in the British Museum around this time.Irish born Sir William Orpen was one of the most important artists working in early 20th century Britain and his work made while an Official War Artist in WWI are now considered amongst the most powerful paintings depicting war ever made. Orpen’s work was synonymous with the endeavours and achievements of Mary and Alan Hobart at Pyms Gallery, as they were instrumental in bringing about a reappraisal of his work in the late 20th century. Due to various feuds with Augustus John and Wyndham Lewis amongst others, Orpen's reputation has been tarnished following his death and was rarely exhibited or written about. From their 1982 ‘The Irish Revival’, the Hobarts exhibited important Irish modern artists at their gallery in London, bringing these figures back to prominence. Orpen’s work was central to their private collection and was featured heavily in the exhibition ‘Championing Irish Art: The Mary and Alan Hobart Collection’ at the Irish Museum of Modern Art in 2023.
Lot 28
A striking Mortlake tapestry17th century, probably based on the etchings of Salvator Rosa (Italian, 1615-1673)Woven in wools and silks, designed with a scene from the life of Diogenes, probably 'Diogenes Beside his Barrel' the Mortlake shield to lower edge on the right hand side, the inscription to the top edge translated to 'Let him who wants this house bury me,' the animalistic figure of the eccentric philosopher Diogenes to the right hand side and the standing bearded male standing to the left in front of a hill-top citadel, the whole enclosed by elaborate acanthus leaf and cabochon border, on brown ground,268cm x 181cmFootnotes:For a similar example see Christies, Lot 27, 15 December 2017.The philosopher Diogenes of Sinope (412/403-324-321 BC) was considered one of the founding fathers of cynicism. Known for his eccentric lifestyle, Diogenes became synonymous with principles of individualistic freedom and self sufficiency. The 'Diogenes' tapestries were woven at Mortlake towards the end of the 17th century. While other surviving examples, most notably the Dyrham tapestries, do not have the maker's mark of the red cross on the white shield, the present lot does include this. We can definitely date the tapestries to post 1662 when Salvator Rosa's etching were first published. The earliest record of the tapestries date from 1683 when a set of the 'Dioguines hangings' were bought for Charles II. Numerous sets and partial sets of 'Diogenes' tapestries survive including, within the National Trust's collections, two tapestries at Dyrham Park, Gloucestershire (454596-7), a single panel of 'Plato's Academy' in the Chapel at Chirk Castle, Wrexham (no. 1171322), and a fragment, mentioned above, from 'Diogenes Discarding his Cup' at Llanerchaeron, Ceredigion (no. 548684).This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 22
Chambers (Sir William, 1723-1796) Design for decoration and furniture of the hall at The Hyde, Ingatestone, Essex, pen and greyish-black ink, grey wash, annotated in pencil and brown ink, with additional elements added in pencil, on laid paper with partial watermark of Strasbourg lily, sheet 273 x 380 mm (10 3/4 x 14 7/8 in), slightly rough edges, minor nicks to extremities, some browning and surface dirt, unframed, [circa 1760]; together with Chamber's bookplate, and a portrait of Chambers in soft-ground etching by a young William Daniell after George Dance, 1793, framed (3)Provenance: Collection of John and Eileen HarrisLiterature:Harris, John, Sir William Chambers: Architect to George III, 1996, pp. 135-136, illus. fig. 191cf. Harris, John, Sir William Chambers: Knight of the Polar Star, 1970Exhibited:Sir William Chambers: architect to George III, 1996-7, Courtauld Gallery, London and National Museum, Stockholm, no. 151*** Fine drawing showing the 'elevation of an end of the hall', with colour notes and materials intended to be used, such as 'portland stone' and 'Dead White'. Additional pencil sketches have been added in over the pen and ink, suggesting further elements to embellish the original design. Chambers started work on the great hall at The Hyde in 1761, where he fashioned out 5 rooms that partially housed the collection of antiquities collected by Thomas-Brand Hollis, now held in the Fitzwilliam Museum, Cambridge. Sir William Chambers RA was a Swedish-Scottish architect, based in London. Among his best-known works are Somerset House, and the pagoda at Kew. Chambers was a founder member of the Royal Academy. Said to have been the major rival of Adam in British Neoclassicism. Chambers was more international in outlook (his knighthood being originally a Swedish honour) and was influenced by continental when designing for British clients. A second visit to Paris in 1774 confirmed the French cast to his sober and conservative refined blend of Neoclassicism and Palladian conventions.
Lot 7
Winstanley (Henry, 1644-1703) The Prospect of the dwelling house of Hen: Winstanley Gent: att Littlebury in the County of Essex, forty Miles distant from London, on the Road to Cambridge, etching on laid paper, pencil inscriptions in lower margin, on laid paper without watermark, image approx. 245 x 390 mm (9 5/8 x 15 1/4 in), under glass, faint tape stains to the upper edge, minor toning, framed, [circa 1670-1690]Provenance:Collection of John and Eileen HarrisLiterature:cf. Taylor, Christopher, The House and Garden of Henry Winstanley, Littlebury, Landscape History, 2014, vol. 35, issue 2, 39-52.*** Henry Winstanley was an English painter, engineer, and merchant who constructed the first Eddystone Lighthouse after losing two of his ships on the Eddystone rocks. Winstanley developed an interest in engraving after a grand tour of Europe between 1669 and 1674, where he was impressed by Continental architecture and the engravings in which it was portrayed; it is said he studied with Wenceslaus Hollar upon his return.Winstanley was well known in Essex for his fascination with mechanical and hydraulic gadgets. The present etching shows the house he had built for himself at Littlebury, which he filled with whimsical mechanisms of his design and construction, and the "Essex House of Wonders" became a local landmark that was popular with visitors. One contemporary account of a visit to the house explained, after "being taken into one particular room of his house, and there observing an old slipper carelessly lying in the middle of the floor, if, as was natural, you gave it a kick with your foot, up started a figure before you; if you sat down in a chair, a couple of arms would immediately clasp you in, so as to render it impossible to disentangle yourself till your attendant set you at liberty; and if you sat down within a certain arbour by the side of the canal, you were forthwith sent out afloat to the middle of the canal from whence it was impossible to escape …".
Lot 71
Piranesi (Francesco, 1758-1810), Follower of. Roman bronze Bisellium stool, found at Pompeii and kept in the Museo Archeologico, Naples, etching with full hand-colouring in watercolour and bodycolour, sheet 510 x 680 mm (20 x 26 3/4 in), under glass, some spotting and surface dirt, framed, [circa 1800 or later]Provenance:Collection of John and Eileen Harris
Lot 65
Piranesi (Giovanni Battista, 1720-1788) Dedication cartouche to Robert Adam (1728-1792), from 'Campus Martius Antiquae Urbis', upper left section only, from the large folding map Ichnographia, etching and engraving, 370 x 490 mm (14 1/2 x 19 1/4 in), under glass, some old folds and handling creases, minor splitting, surface dirt, framed, 1762Provenance:Collection of John and Eileen Harris
Lot 544
Queen Mary’s Dolls’ House replica, an Avon Miniatures replica of the Queen Mary’s Cauldon Potteries wash set in blue —¾in. (2cm.) height of jug; and a E.M. Wilson print of an etching ‘Low Tide at Margate Harbour’ and ‘From the engraving made for Queen Mary’s Dolls’ House’ printed on the reverse, framed with The Singing Tree, New Kings Road price label for £15
Lot 241
OASIS - BE HERE NOW LP (UK ORIGINAL - 'MIKES-THE EXCHANGE' - CRE LP 219). A beautiful original UK LP pressing of Oasis' third studio album Be Here Now (CRE LP 219, 1997 UK pressing on Creation Records. A-4-1-1/ B-3-1-1/ C-3-1-1/ D-3-1-1 matrix. All sides have MIKE'S-THE EXCHANGE etching. Labels are bright and clean. This version has the two printed card inner sleves, both in Ex+ condition, no splits of tears. The records are superb Ex+ condition. The gatefold sleeve is also in superb Ex+ condition. A brilliant example. Also complete with the original HMV I Was There certificate (number 11506) that was only given out to people who purchased the LP on the day of release (21/08/97).
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