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Lot 107
CYRIL BOUDA 1901 - 1984: KOKOŘÍN 1943 Oil on paperboard 13,5 x 34,5 cm Signed bottom right: "C. Bouda" A scenic landscape of a valley with Kokořín Castle in the background on the right demonstrates Bouda’s fundamental relationship to the graphic arts. When looking at this rather small, panorama-format painting the eye is attracted to the gently drawn fields and paths and the trees running alongside them.Cyril Bouda was important not only for his extensive oeuvre of paintings and prints, but also for his work as an art instructor. In 1923 he underwent training under František Kysela at the School of Applied Arts in Prague, transferring to Prague’s Academy of Fine Arts to graduate as a student of Max Švabinský. He was a professor at Charles University’s Faculty of Education in 1946–1972, where he initially taught fine graphic art (drypoint, color etching, lithography) and painting. Throughout his life he illustratedbooks, especially fairy tales, Czech legends, humorous and historical novels [including František Langer’s Pražské legendy (Legends of Prague), Václav Cibula’s Staré povìsti pražské (Old Legends of Prague), and Kocourkov]. His illustrations have also been used in animated films (e.g., Hrnečku, vař!, 1953). A master of many different printmaking techniques, including wood and copper engraving, etching, and especially lithography, Bouda also designed Czechoslovak postage stamps and created stained glass designs (in the northern nave of St. Vitus Cathedral by the Hilbert treasury and at St. Wenceslas Chapel in Mcely).
Lot 15
VINCENC MORSTADT 1802 - 1875: THREE VISTAS OF PRAGUE Cca 1830 Colored etching on paper 35 x 53 cm 1. Prague Castle District (Hradèany)2. New Town, Vyšehrad, Smíchov3. LetnáThis collection of three vedute were made by Vincenc Morstadt, an acclaimed Bohemian painter and illustrator who was primarily known as a landscape and veduta artist and for his numerous prints and albums. Morstadt's work is based in the traditions of drawing-based vedute of cities in the Empire style, with primary characteristics including objectivity, descriptiveness, restraint, minute detail and a faithful recording of the image. His prints, which display his perfect mastery of technique and skill, became highly popular among publishers and buyers; hardly an album appeared that did not feature his name.Originally from a German family, Vincenc Morstadt came to Prague when he was eleven to study at Charles University’s Faculty of Law. As a graduate he worked at the Regional Court in Loket (Elbogen) in 1834-1850; this is the source of his oldest prints of the landscape around Loket, Carlsbadand the surrounding area, including the Svatoš rock formations (Hans-Heiling-Felsen) on the Ohøe (Eger) River. He continued his legal career at the courts in Trutnov (Trautenau) and Hradec Králové (Königgrätz). He lived out the rest of his life in Prague, where a plaque is dedicated to him on Tomášská Street in Prague’s Lesser Quarter. He maintained contacts with František Palacký, Václav Vladivoj Tomek and other leading figures in the Czech National Revival and continued to make sketches in the streets of Prague until shortly before his death.Morstadt depicted the major buildings, streets and public spaces of important Bohemian cities and towns, filling them with genre figures of burghers, craftsmen and tradesmen. Most of his works were made during his legal career; originally pencil drawings, he usually had them transferred to etchings and colorized by printmakers or lithographers. These prints were then assembled into albums.
Lot 40
VOJTĚCH PREISSIG 1873 - 1944: UNTITLED After 1910 Pen and ink on paper In cutout 110 x 100 mm Signed lower left: "PV"; label on back from the Waldes Gallery, no. 1424 After returning from a study residence in Paris in 1905, Vojtìch Preissig worked independently and established the Bohemian Prints edition. In 1909 he published his own book, Barevný lept a barevná rytina (Color Etching and Color Engraving). But when his print workshop went out of business, he left Prague in 1910 and travelled to the United States, where his most important stopovers included The Art Students League of New York (1912) and the Teachers College of Columbia University. It was in the United States where he first saw linocut and other special printmaking techniques. In 1916–1918 he worked as a printmaker in Boston, heading up the School of Printing and Grafic Arts at the Wentworth Institute. This drawing, originally an ex libris, likely dates from his time in the United States.Provenance: art collector, patron and industrialist Jindøich Waldes, who supported Preissig through his financial difficulties.
Lot 41
VOJTĚCH PREISSIG 1873 - 1944: MEDITATION (ON THE BALCONY) 1899-1900 Etching on paper 230 x 180 mm Signed lower right: "V. Preissig" The majority of Preissig's oeuvre is focused on printmaking, which he studied and developed while he resided in Paris. After travelling to France in 1897 thanks to the support of his parents, he initially worked under Alphonse Mucha and continued in the study of printmaking techniques under E. Delaune. Highly talented, Preissig rapidly found his way on the Paris scene and mastered his own perfect style of decorative printsin which he could quickly free himself from the influence of Alphonse Mucha. This work portrays a young woman sitting by a rose bush one summer night, the infinite starry sky arching over her head, and is a beautiful example of Preissig’s Secessionist-Lyrical view of the world.
Lot 82
RAINHOLD JUSTICH 1885: SUMMER DAY 1931 Etching on paper 25,5 x 28 cm Signed lower right: "Justich R.", label on frame below: "R. JUSTICH". Label on rear: "OPUS: Justich V.R. ak. mal./ Letní den/ olej/ 1931" This beautiful, meticulously executed painting, portraying a group of young women bathing, is a fine example from the artwork of Rainhold Justich. In this painting exuding a joyful summer atmosphere, the painter captures a moment showing young women having a picnic and playing with dogs, with women bathing in the background.After attending the School of Applied Arts, Justich underwent further training at the Academy of Fine Arts in Prague (1902), where he studied in the special department headed by professor Vojtìch Hynais. He primarily painted portraits, nudes and figurative subjects in a modern interpretation of the impression of movement and color.
Lot 188
NO RESERVE Birds.- Barlow (Manner of Francis, 1626-1702) Study of wild birds, red chalk with pen and brown ink, on laid paper with a late 17th early 18th century etching and engraving verso, published by Nicolas Guerard, sheet 172 x 225 mm. (6 7/8 x 8 7/8 in), surface dirt and light browning, unframed, [probably late 17th early 18th century]⁂ The present composition borrows several different birds from various Barlow prints, all of which featured in the artist's 'Multae et diversae avium species' publication from circa 1650-1655.
Lot 280
‡Colin Self (b.1941)Power & Beauty No. 2; Prelude to 1000 Objects No. 1Two, the first signed, titled and numbered 19/75, the second signed, titled, numbered 20/60 and dated 25/8/71 versoThe first screenprint and second etching with aquatint EA1052 and 1040, both unframed69 x 105cm and 54 x 68.5cm (sheet sizes) (2)Provenance:Private collection
Lot 315
An Early 19th Century Moroccan Jambiya, the 23cm curved steel blade double edge for the last 12.5cm, the ricasso etched with a warrior on horseback, the silver covered hilt and scabbard worked with flowerheads and scrolling tendrils, with maroon suspension cord and tassels, 40cm. Blade with black patching and faint etching, a little jiggly at the hilt. Some loss of silver to hilt and decoration differs from scabbard, although seems a good fit.
Lot 470
A group of pictures and prints to include a bookplate engraving of Monk's Rock, Tenby and St Michael's Mount, Cornwall, a drypoint etching of Amiens, monogrammed and dated 1918, a vintage Art Deco picture frame and photograph, a Japanese-inspired picture frame in fruitwood with incised carved and gilded decoration and a pastel portrait of a WWII soldier with pipe, indistinctly signed lower-left, height 44cm (7).
Lot 67
Fine bindingsHamerton P.G. 'Etching and Etchers' ills., Roberts Brothers, Boston 1888, plates, the front board isdecorated with a design in black and gold taken from JW Turner 'Little Devil's Bridge' and the decorations on the back strip are taken from an etching by M. Bracquemond 'Vanneaux et Sarcelles'Pouchet F.A. 'The Universe...' Blackie & son Limited n. d. Thirteenth Edition, col frontis with tissue guard loose, col plates and others, black and white ills throughout text, red pictorial cloth with gilt art nouveau design to front board and back stripMorris, Rev F O"A History of British Butterflies", 3rd edition, Bell & Daldy 1870, colour plates with tissue guards, marbled ep, rebound with gilt pictorial boards and backstrip
Lot 304
Leon Danchin (1887-1938) coloured etching, 'English Setter Watching a Duck', signed in margin, 58 cm x 41 cm; together with Robert Kennedy Abbett (1926-2015) limited edition lithograph, 'The Pups', signed and numbered in pencil to margin, no. 92/850, 41.5 cm x 63 cm; and John Trickett limited edition print, 'Black Labrador', signed in pencil to margin, no. 71/850, each framed and glazed (3)
Lot 329
George Soper (1870-1942) drypoint etching, 'Timber Hauling, Devon I', signed in pencil to margin, 15 cm x 27.5 cm, framed and glazed; Literature: 'The Catalogue Raisonne of the Etchings of George and Eileen Soper' (London: Chris Beetles Ltd, 1995), no. 174; together with Circle of George Soper (1870-1942) drypoint etching, 'Runaway Cart', 35 cm x 22.5 cm, framed and glazed (2)
Lot 330
George Soper (1870-1942) drypoint etching, 'Harrowing, 1919', signed in pencil to margin, 14 cm x 24 cm, framed and glazed; Literature: 'The Catalogue Raisonne of the Etchings of George and Eileen Soper' (London: Chris Beetles Ltd, 1995), no. 149; together with Circle of George Soper (1870-1942) drypoint etching, 'Outside a Barn', 25 cm x 32 cm, framed and glazed (2)
Lot 894
PAINTINGS AND PRINTS ETC, to include 'Horse Running Through Yellow' by Henrietta Corbett, signed and dated (20)02, framed and glazed, approximate size 15cm x 25cm, a watercolour by Paul Purday of flowers before a country village, framed, John Snelling watercolour of boats on a lake, framed, R.Wortley watercolour of a water mill, framed still life study of fruit, indistinctly signed, over painted print of ballet dancers, a Richard Fozard etching and five Frank Brangwyn prints (12)
Lot 448
An autographed etching featuring John McEnroe playing tennis, by Sarah Godsill, circa 1979the etching featuring John McEnroe playing tennis against himself, signed lover margin by the artist and in pencil by John McEnroe, Limited Edition 2 of 10, in a perspex mount, 34.5 x 27.8 cmJohn McEnroe was presented with one of the etchings after his victory in the 1979 Stella Artois CHampionship at the Queens Club.
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71174 item(s)/page