An interesting portfolio of 18th and 19th century Old Master prints and engravings, including Giuseppe Maria Mitelli (1634-1718), after Paolo Veronese (1528-1588), The Martyrdom of St. Sebastian, Bologna? 1666], etching, 34.5cm x 51cm; Captain William Baillie (1723-1810): after Gerrit Dou, A Sleeping Woman Being Provoked by Two Men with Tobacco Pipes, [1774], mezzotint, 34.5cm x 25.5cm, cropped with loss of lettering and publication details, &, after Jan van Wyck(1652-1702), James Scott, Duke of Monmouth and Buccleuch, [1774], mezzotint, 35cm x 42cm, cropped with loss of all lettering and publication details, (2); William Dickinson, by, Catherine the Great, Empress of Russia, [London 1773], mezzotint, 41cm x 32.5cm, cropped with loss of all lettering and publication details; Simon François Ravenet (1706- c. 1764), after Richard Dalton (1715-1791), Servus cultellum acuens et auscultans, [London 1745], etching and engraving, 33cm x 37.5cm, cropped with some loss of lettering and publication details; others, including further Old Masters, anatomical studies, portraits, architecture, antiquities; etc., [collection]
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WILLIAM LEE HANKEY WRS WI WOI RE NS (1869-1952); a signed dry point etching, 'Consolation', bears blind stamp with Wendy J Levy label verso, 16.4 x 21cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Raymond Pettibon (American B.1957) We are drawn . . . , 1992 Signed, numbered 62/80 and dated '92 in pencil to margin, etching and aquatint (Dimensions: 64.5cm x 39.5cm (25.5in x 19.5in))(64.5cm x 39.5cm (25.5in x 19.5in))Footnote: Provenance: Galerie Krinzinger , Vienna. From a private collection of Contemporary Art & Photography. This artwork is sold with accompanying certificate from the gallery.
§ Eliza Kopec (Dutch Contemporary) Infante Margaret's Difficult Choice Mixed print (etching, aquatint, woodcut), 1993, 6/20, signed, numbered, titled and dated in pencil to margin (Dimensions: 82cm x 52cm (32.25in x 20.5in) and another, a signed etching and aquatint by Leyender Kuss (2))(82cm x 52cm (32.25in x 20.5in) and another, a signed etching and aquatint by Leyender Kuss (2))Footnote: Provenance: ING Art Collection From a private collection of Contemporary Art & Photography.
§ Henry Moore O.M., C.H (British 1898-1986) MOTHER AND CHILD XVII, FROM MOTHER AND CHILD Etching and aquatint with roulette, 52/65, signed in plate, signed, numbered and inscribed 'Pl XVII' in pencil to margin (Dimensions: 51cm x 43cm (20in x 16.75in), full sheet)(51cm x 43cm (20in x 16.75in), full sheet)
§ Kerstin Heymann (German Contemporary) Against All Odds Etching and aquatint, 3/10, signed, dated '99 and inscribed in pencil to margin (Dimensions: 77cm x 96cm (30.25in x 37.75in))(77cm x 96cm (30.25in x 37.75in))Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
Seiko Kawachi (Japanese B.1948) Untitled Etching and aquatint, 1980, 24/30, signed, dated, inscribed and numbered in pencil to margin (Dimensions: 66cm x 96cm (26in x 37.75in), full sheet)(66cm x 96cm (26in x 37.75in), full sheet)Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
§ Dominic Willsdon (British Contemporary) I miss the light northern rain, i miss the seasons Etching and aquatint, 4th state, signed and inscribed 14.1.92 in pencil to margin (Dimensions: 81cm x 60.5cm (31.75in x 23.75in))(81cm x 60.5cm (31.75in x 23.75in))Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
A late 18th century infantry officer’s spadroon of the 23rd Regiment, straight, fullered blade 32’, with faint traces of etching and retaining a little original blueing for one third length, gilt hilt with cross guard, quillon and sideloop, into slightly swollen knucklebow with small ring at the top, flattened octagonal section pommel cap and lined, slightly swollen ivory grip with gilt central band and oval engraved with the Prince of Wales’s Feathers and XXIII, in its leather (worn) scabbard with brass mounts and 2 rings, the locket engraved ‘R Clarke & Son, 62 Cheapside’. Good Condition, the hilt retaining approximately 85% original gilt. Plate 19
Louis Whirter (1873-1932), etching, L33 - Sept 23rd 1916, signed in pencil, 47 x 51cm.The burnt-out hull of Zeppelin L33 in a field near Brentford, Essex. Having bombed Bromley & Bow, East London, it was attacked by a squadron of night fighters that caused enough damage for the commander, Kapitan-Leutnant Alois Bocker, to make a forced landing rather than attempt the return across the North Sea. Landing at Little Wigborough, 6 miles from Colchester, with no fatalities, the crew set fire to the hull, then surrendered to a single special constable! It is said that these were the only armed German personnel to set foot in England during the war. Enough remained of the zeppelin to help British engineers design the R33 airship.
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