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Click here to subscribeLeTabournet dans l'atelier. 1964. Etching. Cm 19,80 x 25,50. E.A. 1/2. Edition and signature lower in pencil.BFK Rivers filigree lower right. Sheet size: 28x22,5 cm. Printer: Atelier Lacouriére-Félaut, Paris. Publisher: Le Soleil noir, Paris. Bibliografia: Eberhardt W. Kornfeld, Alberto Giacometti, Catalogue raisonné des estampes, Volume II, p.698/699, n.418 (Lust 183). Frame present
Cretto nero A. 1971. Etching and aquatint. Cm 96,40 x 67,00. 54/90. Edition and signature at the bottom in pencil. Printer: 2RC, Rome; Bibliography: B. Corà "Alberto Burri. General Catalog. Graphic work 1949 - 1994" Città di Castello, Palazzo Albizzini Foundation Collection Burri, 2015, pp.78, 80, n.21b ill. coloured.
Ethiopia.- Salt (Henry), After. The Vale of Calaat, etching and aquatint with hand-colouring by Havell, on thick wove paper without watermark, platemark 480 x 650 mm. (18 7/8 x 25 1/2 in), sheet 535 x 705 mm. (21 x 27 3/4 in), marginal repairs, surface dirt and finger-soiling, some minor damp-stains, unframed, 1809.
Artist's proof, signed, dated and inscribed in pencil (in the margin), and inscribed 'For Denis and Jane, Terry, 1971', no edition, possibly only 6 proofs pulled, etching (Dimensions: 26cm x 21cm (10.25in x 8.25in))(26cm x 21cm (10.25in x 8.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
A pair of oils on miniature, signed Simms, indistinctly, depicting timber framed thatched cottages, gilt frames, three signed limited edition prints, by KW Burton, depicting Queens College, Cambridge, Kings Parade, Cambridge and Bridge of Sighs, Cambridge together with a 19th Century etching depicting stone, all mounted and framed (6)
δ Stanley William Hayter (1901-1988)Sorcier (Black & Moorehead 209)Engraving, drypoint, soft-ground etching and scorper printed in black, 1953, signed, dated and numbered from the edition of 5, an artist's proof aside from the edition of 50, on Lauriat paper, with full margins, sheet 720 x 570mm (25 1/8 x 22 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
NO RESERVE δ Salvador Dali (1904-1989)The Sick Stag (from La Fontaine's Bestiary Dalinized) (Field 74-1-F; M&L 659)Etching with pochoir in colours, 1974, signed and numbered from the edition of 120 in pencil in roman numerals, on Richard de Bas paper, printed by Ateliers Rigal, published by Mouret, Paris, with full margins, sheet 785 x 590mm (31 x 23 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Freud with a Snail Head (Field 74-8G; M&L 672d)Etching with extensive handcolouring, 1974, signed, inscribed 'F' and numbered in Roman numerals for the edition of 35 in pencil, on Japan nacré paper, with the Dali blindstamp, printed by Ateliers Rigal, published by Trans World Art, with their inkstamp and the copyright stamp of the artists verso, sheet 652 x 500mm (25 5/8 x 19 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Portrait of La Fontaine (from La Fontaine's Bestiary Dalinized) (Field 74-1-A; M&L 653)Etching with drypoint, 1974, signed and numbered from the edition of 120 in pencil in roman numerals, on Richard de Bas paper, printed by Ateliers Rigal, published by Mouret, Paris, with full margins, sheet 785 x 590mm (31 x 23 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Hans Bellmer (1902-1975)A plate, from Alain Jouffroy, Les Anagrammes du Corps Etching, 1973, signed and numbered from the edition of 100 in pencil, on Arches paper, published by Editions George Visat, Paris, sheet 500 x 374mm (19 5/8 x 14 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
After Anthony E Howard black & white etching 'Richmond Yorkshire 1922' signed in pencil on mount 25 x 35 cm framed & glazed & After Kenneth Steel black & white etching 'Elvet Bridge Durham' signed in pencil on mount 20 x 22 cm framed & glazed & Pair of mahogany rectangular toilet mirrors 60cm w X 2
‡RICHARD BAWDEN RWS NEAC RE (b.1936)'Dead Oaks'etching in colours,signed, inscribed in pencil as title, and numbered 2/75 in lower marginPl. 19 x 15 1/4 inThe artist was the son of Edward Bawden. He initially studied at Chelsea and St. Martin's School of Art. Later he became a student at the Royal College of Art. His versatile output has also included murals, mosaics, stained glass windows and posters, most notably for the London Underground. His work is in a number of public collections including the Victoria and Albert Museum, The Tate Gallery and London Transport. David Buckman noted that 'Bawden's work combined excellent draughtmanship, a true sense of colour and an eye for the unusual'.
‡SIR FRANK BRANGWYN RA RWS RBA (1867-1956)Breaking up the 'Hannibal'original etching, pencil signedPl. 19 1/2 x 24 1/2 in From the only edition of 70 signed proofsLiterature: Gaunt 36This is one of Brangwyn's earliest large scale etchings. Etched on zinc after a preparatory sketch. HMS Hannibal a wooden screw-ship of the line was built in 1854, powered by 450 horse-power engines. The scene shows the massive hulk of the old wooden Hannibal lying in Castle's breaking-yard at Charlton, Woolwich The artist and writer Walter Shaw Sparrow wrote in 1919 of Brangwyn's depiction of 'Hannibal' comparing it to Turner's Fighting Temeraire, noting however that the 'Hannibal was brought too close to my eyes, occupying so much of a large plate that I cannot see her poetry because I see much of her bulk'. By contrast the Temeraire was 'surrounded by a great seascape and visiting sunset'...As a big study full of apt concentration, Brangwyn's 'Hannibal' is very good; but yet...it seems to me that he ought to have achieved more because his emotion was all of a piece with Turner's'
‡GERALD LESLIE BROCKHURST RE (1890-1978) L'Eventail (The Fan) 1921etching on laid papersigned in pencil, from an edition of 76, with full margins, Pl. 6 1/4 x 4 1/2 in; sold with a further etching by the artist titled 'Seule, 1923' (reference William Dolan Fletcher no. 36); two (2)Provenance: J. R. Bettinson, Esq; thence by descent L'Eventail is based on the 1916 painting of the same title. The model depicted is Anais Brockhurst. Dressed in an elaborated patterned gown and holding a fan she stands in a sumptuous interior setting, accented by the mirrors's ornate frame.Gerard Leslie Brockhurst spent his early painting career in Ireland. He didn't begin etching in earnest until after the finish of the First World War, eventually achieving success as a print maker and society portraitist. In 1921 he was one of the founder members of The Society of Graphic Art.
‡ROWLAND LANGMAID RSMA (1897-1956)St. Ives Harbour, Cornwall; Newlyn Harbour looking towards St. Michael's Mountdrypoint etchings, pencil signedPl. 6 1/2 x 11 3/4 in, two; together with a further signed etching by the artist titled 'An Old Two Decker', three (3) Langmaid studied under William Lionel Wyllie. Later as a young seaman serving on HMS Agamemnon he made official sketches of the landings at Dardanelles. After WWI he studied at the Royal Academy Schools and the Royal College of Art. As well as an artist he was a highly accomplished engraver, collaborating with Wyllie on the series 'Seafights of the Great War 1914-1918'. In WWII he worked as a war artist in Alexandria.
BERGEHM (XVII). Dutch school, mountainous track with dog, sheep, donkeys and drover, unsigned, etching on paper, framed and glazed, 28 x 37 cm, together with R.H. CAWTHORNE. 'The Cross Chester', signed in pencil lower right, etching on paper, framed and glazed, 19 x 22 cm, SIR ERNEST GEORGE (1838-1922). 'Bruges', signed with initials in lower plate, lower right, etching on paper, framed and glazed, 15 x 21 cm and COLIN LOCKYEAR. Wooded river landscape, signed in pencil lower right, limited edition etching and aquatint on paper, no. 37, framed and glazed, 12 x 18 cm (4)
J LEWIS SAINT artist's proof coloured lithographs, a pair, titled 'Claverley near Bridgnorth', 38 x 27cms and 'Chaddesley Corbett, Worcestershire', 27.5 x 36.5cms, both signed in pencil with proof stamps and HENRY G WALKER, signed coloured etching titled 'Shelley's Cottage, Lynmouth', 27 x 22cms
A LATE19TH OR EARLY 20TH CENTURY RHINOCEROS HORN HILTED MOROCCAN JAMBIYA, 23cm sharply curved double edged blade etched with oak leaves, to one side and marked AGADI (Agadir), characteristic white metal mounted hilt embossed with scrolling foliage, contained in its white metal mounted scabbard decorated to match, the etching to the blade is of typical Imperial German style, together with two further Moroccan Jambiya. From an established West Country Collection. (3)
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