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Lot 234
JOSEPH WEBB (ENGLISH, 1908-1962) 'The Sompting-Steyning Road', etching on copper, first state, limited edition 11/50, titled by hand lower left, signed and dated 1938 lower right, with hand-written quote from Francis Thompson lower left, 13.5cm x 12cm, mounted to paper, the mount with a Christmas gift inscription, presumably from the artist, unframed.
Lot 29
James Arthur O'Connor (1792 - 1841) A Clearing in a Forest with Figures on a Path by a Stream Oil on canvas, 72.5 x 93.5cm (28½ x 36¾") Signed and dated 1825One of the largest and most impressive works by the artist to come to market in recent decades – and prior to its rediscovery in a French private collection unknown to scholars and collectors alike – this is a truly magnificent example of Irish landscape art, unusual both in the grandeur of its conception and the bravura handling of paint in its execution. Impressive in scale, the landscape is at the same time a masterpiece of detail, palette and texture. It is perhaps best described as symphonic in the complex richness of its multi-layered surface but somehow the disparate elements coalesce into a harmonious and pleasing whole.The mid-1820s was a period of both consolidation and on-going experimentation in O’Connor’s landscape art. He had arrived back in London by early 1822 and soon met with success with his pictures exhibited at the Royal Academy and the British Institution. A sketchbook of 1822 (National Gallery of Ireland) shows his travels around the south of England in search of subject matter while in 1824 he experimented with etching. O’Connor was an artist in constant need of inspiration from the physical world. He expressed this eloquently in relation to the Irish landscape that he loved so well: ‘I am about [to go] to the wild and beautiful scenery of my native country to refresh my memory, and get some studies to help me in future exertion of my profession – I know I will be benefited by a sight of the grand....scenery that I will meet with in Ireland and hope to show it on canvas’.Through the early ‘20s he continued to paint Wicklow landscapes. In 1825 in a work in the Victoria and Albert Museum, London, he revisited the Westport subject matter with which he had engaged in the previous decade and here again memories of Ireland are clear, if less topographically specific with the rocky stream inevitably reminding of his beloved Dargle River. This is one of a series of generally serene compositions showing travellers on a path by a wood including another landscape of 1825 (Gorry Gallery, 2023) and a work of the following year in Nottingham Castle Museum. However, it surpasses all other works of the 1820s in the intricate complexity of its pattern making as various paths penetrate the picture plane. The play of light and shade as the eye is drawn by human activity into the forest – and back again – is only matched by the subtlety variegated palette as autumn imparts golden richness of tone to the verdure. James Arthur O’Connor, was born in 1792 at 15 Aston’s Quay, Dublin, the son of an engraver and print seller. He first exhibited with the Society of Artists in 1809 when he showed The Card Players. This subject piece was to be something of a false start as his interests thereafter were to lie almost exclusively in landscape, and specifically the Irish scenery which he loved. The artist was, however, to spend a large part of his career in England, also making several extended tours of the continent. Together with Francis Danby and George Petrie, he travelled to London in 1813, but returned the following year to care for his orphaned sisters. His first great series of topographical landscapes was of Westport, executed for the Marquis of Sligo in 1818/19 (private collection). To the same years can be dated the impressive series of Ballinrobe house and demesne (NGI). Although he met with some initial success at home (winning a premium of twenty five guineas from the Royal Irish Institute), in, or about, 1821 O’Connor returned to London and, over the following years, he exhibited landscapes at the Royal Academy, the British Institution and the Society of British Artists, of which he was elected a member.In 1825, the year he painted this large work, O’Connor moved to Hampstead where his friend Danby, as well as John Constable, were neighbours and the following year he spent at least six months in Brussels where, it seems, he painted a rather atypical view, The Field of Waterloo (private collection). While his correspondence shows that he was acutely aware of the innovations in landscape painting of both Constable and Turner, it is also tempting to hypothesize continental influences. Indeed, O’Connor made several trips to Europe, meeting with some success in Paris, where he was apparently patronized by King Louis Phillipe. Indeed, given the longstanding French provenance of this notably distinguished work it is likely that it was one of the works that O’Connor brought with him to the continent in the 1820s as a calling card to showcase his art. Certainly it can be viewed as a summation of the different strands within his art up to this point and the proud, even programmatic nature of the signature argues for the significance that O’Connor afforded to the painting. However, from about 1833 failing eyesight and general ill health curtailed O’Connor’s career, although he was greatly helped by a generous commission from Sir Charles Coote of Ballyfin, which was paid for in advance. O’Connor died in poverty in London in 1841. His fellow artists, led by his compatriot the President of the Royal Academy Sir Martin Archer Shee, organized a subscription for his widow.O’Connor’s obituary in the Dublin Monthly Magazine for Apr his character and art. ‘O’Connor was a man of simple, quiet, unsophisticated feelings, alive to the simple charms of nature, and awake to her slightest impulses. He was impressed by her sublimity and grandeur and artificially cultivated scenery was not to his taste’. O’Connor is one of the most capable and interesting of all Irish landscape painters, and comes close to matching the achievements of the eighteenth-century school: as one of his earliest biographers put it, ‘he was a poet with the brush, and exquisitely reproduced the impressions inspired by the more romantic and solemn aspects of nature’. It is pleasing that this, one of his lost masterpieces, has finally been identified and indeed has been repatriated to Ireland after its long sojourn in France.
Lot 87
Roderic O'Conor (1860 - 1940) Landscape with Breton Cottage Etching, 130 x 270mm (5 x 10½") Signed 'R O'Conor' and dated (18)'93Original plate sold Drouot, Paris 17th Nov. 1975, this restrike by Paul Proute, c.1981 in an edition of 100 with title Paysage a la Chaumiere Brettonne.Provenance: With Galerie Proute, Paris.Literature: Roderic O’Conor Catalogue de L’Oeuvre Grave - The Prints of Roderic O’Conor 1870 - 1940, Roy Johnston, Musée De Pont-Aven, pp.21 - 22J. Benington, Roderic O’Conor, cat. no. 420, p.235
Lot 641
Pietro Fabris (Italian, circa 1740-1792)Interior of Crater of Vesuvius with spectators, from the Campi Phlegraei, plate IX etching with handcolouring on laid paper21.3 x 39.2cm (8 3/8 x 15 7/16in).Footnotes:Fabris was commissioned by Britain's envoy to the Spanish court of Naples, Sir William Hamilton, to draw the surroundings and eruptions of Mount Vesuvius during the late eighteenth century. Vesuvius was a key site of interest for many Grand Tourists, seen as an essential element of the Napoli leg of the trip, despite its clear dangers. The fifty four illustrated plates formed the Campi Phlegraei: observations on the two Sicilies which was published in 1776.For further information on this lot please visit Bonhams.com
Lot 223
Three pictures comprising an etching of the Houses of Parliament signed in pencil by D.M. Clark - 13x18cm, glazed and framed: 26x36cm, an Asian watercolour with a bird on a branch - 30x20cm, glazed and framed 42x32cm and an oil on canvas of a portrait of a lady marked with initials 'ZT' - 32x26cm, framed:41x34cm, mid 20th century. (3)
Lot 44
Ben Nicholson O.M. (British, 1894-1982)Patmos Monastery, from Greek and Turkish Forms (Lewison 73) Etching, 1967, on wove paper, signed and dated in pencil, inscribed 'BN copy BOX artist's copy 5' in pencil verso, an artist's proof aside from the numbered edition of 50, printed by Atelier Lafranca, Lugano, with their blindstamp, co-published by Ganymed Original Editions, Ltd., and Marlborough Fine Art, London, with full margins, framedPlate 347 x 453mm (13 5/8 x 17 7/8in)Sheet 467 x 590mm (18 3/5 x 23 1/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 18
John Piper C.H. (British, 1903-1992)Dahlias and Ferns (Levinson 391) Etching in colours, 1987, on Arches wove paper, signed and numbered 6/100 in pencil (there were also ten artist's proofs), printed by Kelpra Studio, with their blindstamp, published by CCA Galleries, London, with full margins, framedPlate 407 x 550mm (16 x 21 3/4in)Sheet 585 x 710mm (23 x 28in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 22
John Piper C.H. (British, 1903-1992)Late Summer Flowers (Levinson 419) Etching and aquatint in colours, 1989, on wove paper, signed and numbered 51/70 in pencil (there were also 15 artist's proofs), printed by Kelpra Studio, with their blindstamp, published by Marlborough Fine Art, London, with full margins, framedPlate 410 x 545mm (16 1/8 x 21 1/2in)Sheet 585 x 708mm (22 x 27 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 7
Rembrandt Harmensz van Rijn (1606-1669)The Descent from the Cross by Torchlight (Bartsch 83; New Hollstein 286) Etching and drypoint, 1654, on laid paper, New Hollstein's third state (of four), with small margins, framedPlate 210 x 162mm (8 1/4 x 6 3/8in)Sheet 214 x 165mm (8 1/2 x 6 1/2in)For further information on this lot please visit Bonhams.com
Lot 147
Damien Hirst (British, born 1965)Quene 1-AM Etching in colours, 2004, on wove paper, signed, dated, dedicated 'for Bradley I even love your foreskin ♡ XXX' and erroneously numbered 82/1004 in pencil (this is an edition of 100 with 20 artist's proofs), printed and published by Other Criteria, London, framed Plate 763 x 763mm (30 x 30in)Sheet 1151 x 1125mm (45 1/4 x 44 1/4in)Footnotes:ProvenanceGifted by the artist to the present owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 38
Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child XV, from Mother and Child (Cramer 685) Etching with aquatint and roulette in colours, 1983, on Arches wove paper, signed and inscribed 'PL XV 3/65' in pencil, printed by James Collyer and John Crossley, London, with their blindstamp, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, with full marginsPlate 208 x 295mm (8 1/4 x 11 5/8in)Sheet 437 x 515mm (17 1/4 x 20 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 39
Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child XIX, from Mother and Child (Cramer 689) Etching, 1983, on Arches wove paper, signed and inscribed 'PL XIX 3/65' in pencil (there were also two proofs), printed by James Collyer and John Crossley, London, with their blindstamp, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, with full marginsPlate 298 x 419mm (11 3/4 x 16 1/2in)Sheet 515 x 615mm (20 1/4 x 24 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 37
Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child V, from Mother and Child (Cramer 675) Etching with aquatint and roulette in colours, 1983, on Arches wove paper, signed and inscribed 'PL V 3/65' in pencil, printed by James Collyer and John Crossley, London, with their blindstamp, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, with full marginsPlate 280 x 213mm (11 x 8 3/8in)Sheet 515 x 448mm (20 3/8 x 17 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 69
Henri Matisse (French, 1869-1954)D. Galanis, 'Paysan' (Duthuit 70) Etching, 1915-16, on chine collé applied onto wove paper, signed and numbered 6/15 in black ink (there were also three proofs), with the artist's ink stamp verso, the full sheet, framedPlate 141 x 100mm (5 1/2 x 3 7/8in)Sheet 321 x 247mm (12 5/8 x 9 3/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 54
Patrick Heron (British, 1920-1999)Plate 10, from Brushworks Etching in colours, 1998-99, on Arches wove paper, estate-stamped with the artist's signature, numbered from the edition of 38 and signed by the artist's daughters Katherine and Susanna Heron in pencil verso, published by Charles Booth-Clibborn under his imprint at the Paragon Press, London, with full margins, framedPlate 438 x 580mm (17 1/4 x 22 3/4in)Sheet 670 x 795mm (26 3/8 x 31 3/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 82
Pablo Picasso (French, 1880-1972)Clin d'Å“il au Bain Turc Femmes Faisant La sieste au Soleil, from Series 347 (Bloch 1769; Baer 1786) Etching, 1968, on Rives BFK wove paper, signed and inscribed 'Épreuve d'artiste' in pencil, one of 17 artist's proofs aside from the numbered edition of 50, published by Galerie Louise Leiris, Paris, 1969, with full margins, framedPlate 280 x 389mm (11 x 15 3/8in)Sheet 452 x 542mm (17 3/4 x 21 3/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 157
Dame Paula Rego R.A. (British, 1935-2022)Peter in the Bird's Nest (Rosenthal 99) Etching and aquatint in colours, 1992, on Somerset wove paper, signed and numbered 25/25 in pencil (there were also 14 artist's proofs), printed by Paul Coldwell at Culford Press, with their blindstamp, co-published by Marlborough Graphics and the artist, London, with full margins, framedPlate 251 x 125mm (9 7/8 x 5in)Sheet 493 x 328mm (19 3/4 x 12 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 70
Henri Matisse (French, 1869-1954)Circé, from Ulysses (Duthuit 237) Etching, 1935, on wove paper, signed, titled and numbered 31/150 in pencil (there were also ten artist's proofs), published by The Limited Editions Club, New York, with full margins, framedPlate 283 x 218mm (11 1/8 x 8 1/2in)Sheet 418 x 320mm (16 1/2 x 12 5/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 49
Julian Trevelyan R.A. (British, 1910-1988)Chiswick (Low Tide) (Turner 87) Etching and aquatint in colours, 1957, on handmade Crisbrook wove paper, signed, titled and numbered 8/30 in pencil, printed by Richard Fozard, London, with full marginsPlate 490 x 375mm (19 1/4 x 14 3/4in)Sheet 781 x 561mm (30 3/4 x 22 3/8in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 118
Man Ray (American, 1890-1976)L'Aventure (Anselmino 36) Etching and aquatint in colours, 1972, on Arches wove paper, signed and numbered 44/90 in pencil, printed by Jaques David, Paris, published by Richard Binder Editeur, Brussels, with full marginsPlate 308 x 415mm (12 1/8 x 16 3/8in)Sheet 502 x 660mm (19 3/4 x 26in)For further information on this lot please visit Bonhams.com
Lot 8
Rembrandt Harmensz van Rijn (Dutch, 1606-1669)Reclining Female Nude (La negresse couché) (New Hollstein 308; Bartsch 205) Etching and drypoint, 1658, on heavy laid paper, New Hollstein's final sixth state, with small margins, framedPlate 81 x 158mm (3 1/8 x 6 1/4in)Sheet 90 x 166mm (3 5/8 x 6 1/2in)For further information on this lot please visit Bonhams.com
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71174 item(s)/page