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Lot 114
Mezzotints.- A mixed group of fifteen 18th and 19th century prints, including a moonlit river scene after Van der Neer, a sailing scene after Van de Velde, an uncommon portrait of Claude Lorrain by Josiah Boydell, and Bowles and Carver's 'The Lottery Contrast' after Dighton, and three John Martin Paradise Lost scenes from the 8vo suite, amongst others, mezzotints with etching, on various laid and wove papers, between 85 x 115 mm. (3 1/4 x 4 1/2 in) and 340 x 235 mm. (13 1/2 x 9 1/4 in), the majority neatly presented on 19th century album leaves with wash and ink borders, some trimmed within images, occasional surface dirt and browning, all unframed, (15).
Lot 158
REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Circumcision in the stable, etching, 1654, 9.5 x 14.2cm Notes: Bartsch 47; Hinterding & Rutgers (New Hollstein) 280, second state of five. Provenance: With John Baskett, 173 New Bond St. London. The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A fine impression of the earliest state that survives in any numbers (24 are listed by Hinterding & Rutgers, including this one; the first state is only known in two impressions). This impression is cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.16). The third state, still contemporary (though impressions were also printed after Rembrandt's lifetime), is relatively common (46 are listed), and the fourth and fifth states are posthumous reworks.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale. They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period. This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire. The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots
Lot 159
REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Ringball player ('Het Klosbaantje'), etching, 1654, 9.4 x 13.9cm, on paper with countermark of double-wired letters D M (not recorded by Hinterding), the sheet 10.2 x 14.8cm. Notes: Bartsch 125; Hinterding & Rutgers (New Hollstein) 282, first state of two. Provenance: Naudet, Marchand d'Estampes au Louvre (Lugt 1937), ink inscription verso (very faded). With John Baskett, 173 New Bond Street, London The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A very good impression, probably contemporary (the second state is not). With margins and in good condition. This impression is also cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.1). Although the print used to be called 'The Golf Player' (from 'kolef'), the man in the foreground is sitting out his turn from the ringball alley in the background, where one man is playing while two others are probably laying bets. The sport was called 'Klossen' (it is still played today but called 'Beugelen'), the Dutch and Flemish word 'klos' being a ball for bowling, and the origin of the mediaeval French and English names of the game, Cloishe or Closh. There is a famous engraving of Louis XIV playing an early form of billiards with his courtiers, with an iron hoop to aim the balls through, rather than pockets, and with a cue with a scooped end, a refined version of the one seen in the etching; so billiards evolved, in fact, as a table-top adaptation of ringball.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale. They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period. This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire. The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots
![* Graham Clarke [b.1941]- Notte Todaye:- coloured etching signed, inscribed and numbered 279/400 59 x 72cm, within an arched](https://cdn.globalauctionplatform.com/90de10c0-9a0a-4a2a-960d-a86500b18d76/584a625a-136a-4070-a482-2b43eec10a3f/468x382.jpg)
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71174 item(s)/page