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Lot 281
Bernard Howell Leach, C.H., C.B.E. (British, 1887-1979):'Self-Scrutiny', self portrait study, etching, signed & dated 1914 within the plate, numbered 21/25 in pencil to margin, impression size H 15 x W 8.5 cm. Provenance: Presented as a gift to the present vendor when working at The New Craftsman Gallery, St Ives, by Mary 'Boots' Redgrave, a legendary figure of the Cornwall art scene who founded the gallery alongside Janet Leach, the artist's wife.
Lot 469
A small early 20th century chromolithograph after Sir Edward Burne Jones depicting King Cophetua and beggar maid, a Harrington Bird drypoint etching of a horse race dated '97 within the print and signed in pencil to the border, a drypoint etching by Edna Arthur of the Bridge in Totnes, signed and titled to the border, also dated 1950 and a 19th century engraving after Overbeck of Madonna and Child with young John the Baptist and Agnus Dei, 58 x 42cm, framed and glazed (4).
Lot 756
10th (Prince of Wales’s Own) Hussars Officer’s sword. A good scarce pre Crimea War 1821 Light Cavalry example of regimental pattern by Wilkinson of London. The blade is etched with a Crowned VR Cypher over a Roman numeral X within a title “Royal Hussars”. The reverse is etched with the regimental device and “Peninsula” and “Waterloo” honours; it also bears the family crest of the Earl of Kintore Lord Keith and Falconer. Three bar open guard, the grip with twist wire binding. Housed in original polished steel scabbard with two loose rings. Blade in clean condition, etching clear. Minor wear to guard and scabbard. GC. The sword is attributed to Major the Hon Charles James Keith-Falconer , Cornet with the regiment 15th February 1850. He fought in the Crimea and after his military career he held the office of Commissioner of Inland Revenue between 1874 and 1889.
Lot 758
14th (King’s) Hussars Victorian Officer’s Mameluke hilted sword. A rare Levee pattern sword. Curved unfullered blade with etched decoration depicting a regimental device surmounted by a crown. Above, this scrolling floral decoration, below the Regimental title. To the obverse a crowned entwined VR Cypher and further scrolling floral etching. Fine gilt cross guard bearing embossed decoration of regimental pattern. Two piece ivorine grip, with a pair of gilt pateri to each side. The sword is housed in its original polished steel scabbard fitted with two gilt loose rings. The sword has been completely professionally restored to exhibition / parade standard. Etching to the blade clear.
Lot 765
British 1821 Light Cavalry Pattern Patent Hilt Sword by Wilkinson of London Circa 1853. A good and early example of the Wilkinson Patent Hilt sword, this example has no order number to the back edge of the blade, which would indicate pre 1854 manufacture. The straight 36 inch blade, with etched decoration of a Crowned VR Cypher and the original owners initials “RB” to an etched panel. The forte with the cutler’s details of “Henry Wilkinson Pall Mall London”. The regulation hilt with three bar open guard and solid chequered grip with twist wire binding. Housed in with steel scabbard. The overall condition good etching clear.
Lot 784
Victorian Welsh 6th Denbighshire Rifle Volunteers Officer’s Sword. A good and rare example of the Light Infantry regulation pattern. The slightly curved single edged blade is etched with a crowned VR cypher and title “6th Denbigh Rifle Vols”. Also etched wit the original owners name of “ARTHUR W ADAMS” To the forte the retailer’s details of Hobson of London. The hilt with shagreen grip and open guard with Light Infantry bugle. Housed in metal scabbard fitted with two loose rings. Etching to the blade clear.
Lot 793
Highland Regiment Officer’s Broadsword by Wilkinson. A good Elizabeth II period example of the Scottish Highland 1831 pattern sword. The straight doubled edged blade with central fuller is etched with panels of thistles. To the forte the Wilkinson’s logo and crest and the blade is numbered “96647”. Full nickel plated basket guard with pierced heart panel design enclosing a shagreen grip with twist wire binding. Retaining full buff leather and scarlet faced lining, also crimson tassels. Housed in metal scabbard. The blade remains in very good condition, etching clear, but PLEASE NOTE the very tip of blade is absent. The basket and scabbard plating dulled.
Lot 795
Edwardian Gordon Highlanders Attributed Officer’s Broadsword by Wilkinson. A scarce regimental example of the Scottish Highland 1831 pattern sword. The straight doubled edged blade with central fuller is etched with Crowned EVIIR cypher, Regimental device and title. Also panels of thistles and original owners initials “R.O.B.C”. To the forte the Wilkinson’s logo and crest and the blade is numbered “41617” (1907). Full nickel plated basket guard with pierced heart panel design enclosing a shagreen grip with twist wire binding. Retaining full buff leather and scarlet faced lining, also crimson tassels. Housed in metal scabbard. The blade remains in good condition, etching clear, but PLEASE NOTE the pommel is absent and the basket and grip are loose. The basket and scabbard plating dulled.Attributed to Ronald Ogilvy Blair-Cunynghame who was commissioned into the 2nd Bn 11th December 1907. He landed in France with his Regiment with the rank of Captain and Died of Wounds on the 5th May 1915.
Lot 309
Damien Hirst (British b.1965), 'All Around The World', 2002, unique, hand finished coloured etching with acrylic, crayon, printers inks and pencil on 350gsm Hahnemuhle paper, from the 202 Portfolio 'In a spin: the Action of the World on Things, Volume I', signed and titled in pencil front, published by Paragon Press; sheet: 88 x 70cm ARR
Lot 310
Damien Hirst (British b.1965), 'I Saw Half The Moon', 2002, unique, hand finished coloured etching with acrylic, crayon, printers inks and pencil on 350gsm Hahnemuhle paper, from the 202 Portfolio 'In a spin: the Action of the World on Things, Volume I', signed and titled in pencil front, published by Paragon Press; sheet: 88 x 70cm ARR
Lot 343
Andrew Clement Verster (South African 1937-) PORTFOLIO OF ELEVEN ETCHINGS portfolio of eleven etchings from drawings made in notebooks between june and october 1985, edition limited to 25 copies; each print signed, dated 86, inscribed with pencil in the margin and impressed with the caversham press chopmark, this set numbered 2/25 etching each sheet size: 35 by 24,5cm Although predominantly known as a painter and writer, Johannesburg-born Andrew Verster has produced a charming set of eleven etchings informed by a past stay at Cite Internationale des Arts, Paris. Cite Internationale des Arts is an acclaimed artist-in-residence program established in 1965, which attracts practicing artists from all over the world. Verster participated in a total of five residencies at the Parisian studios between 1985 and 1995, with the first being awarded by the South African National Association for Visual Arts (SANAVA)1. This portfolio consists of scenes of the artist’s friends and their belongings, as well as portraits of well-known artists and writers, such as Pablo Picasso and Oscar Wilde. The prints feature monochrome linework that denotes a simplistic elegance, reminiscent of Henri Matisse. The works are printed on ivory Fabriano Rosapina paper, and published by Caversham Press in Howick, KwaZulu Natal. Verster’s work has appeared in multiple exhibitions across the world, including London, Hong Kong and Germany. He has also been awarded two retrospectives at the Durban Art Gallery, cementing his position as a key figure in the South African art scene2. 1 Cite Internationale des Artes, correspondence, April 30, 2019. 2 Kwazulu Natal Society of Arts, “Andrew Versterâ€- LD
Lot 462
Sue (Susan Mary) Williamson (South African 1941-) MIRIAM MAKEBA, from A FEW SOUTH AFRICANS signed, dated and editioned 23/35 in pencil in the margin photoetching, silkscreen and collage on paper sheet size: 80 by 61cm Sue Williamson is a renowned figure in the South African and international art scene, and has exhibited in multiple institutions, biennales and solo shows across the world. Her work, spanning across many media, has most recently been featured at the Zeitz MOCAA, Cape Town, The National Museum for Women in the Arts, USA, and the Kochi Biennale, India1. ‘A Few South Africans’ (1983-88) is a series which the artist notes, “attempted to make visible the history of women involved in the struggle for freedom [against apartheid]... The work asks questions about civic (and representational) duty and memorialisation.†Wiliamson continues, “An important part of the history of this series is that they were printed as postcards, in order to make the images widely accessible to the general public.â€2 This lot features a portrait of Mariam Makeba. The Johannesburg songstress was banned from South Africa in 1960 and her passport withdrawn when she provided the United Nations with evidence against the oppression occurring in South Africa3. Annie Salinga, whose portrait by Williamson is featured in an additional lot, is accompanied by a poster-size autobiographical text. The statement frames Salinga as a staunch activist who vowed never to use an apartheid-issued identity pass (or ‘dompas’) which would dictate where she could live and work. The central portrait is a photo-etching, alongside other techniques such as aquatint and hardground. Some of the imagery on the printed frames is derived from African textiles with additional smaller images added. 1 Goodman Gallery, “Sue Williamson.†2 Goodman Gallery, “Sue Williamson (A Few South Africans artist statement).†3 Sue-Williamson.com, “Miriam Makeba – A Few South Africans.- LD
Lot 486
William Kentridge (South African 1955-) WOMAN IN SWIMSUIT from DOMESTIC SCENES series signed, dated '79 and editioned AP soft ground etching sheet size: 25 by 20cm This particular work is an artist proof from William Kentridge’s Domestic Scenes series (1979 - 80), which was based on two collaborative theatre productions of which the artist was part, namely ‘Security’ (1979) and ‘Dikhitsheneng’ (1980)1. The latter translates to, “in the kitchensâ€, from which Kentridge has conceptualised scenes featuring rotund, caricature-like domestic workers, placing the etchings on the border of satire. The images draw sharp attention to these domestic contact zones during the apartheid era. This specific print, Women in Swimsuit, depicts a figure performing a handstand, which may be interpreted as an allegory for the performative tricks that domestic workers did, and were requested to do, for their masters. Domestic Scenes (1979 - 80) is one of Kentridge’s earlier print series, which has been printed by the artist himself. The series of approximately 40 images was created at the etching press at Johannesburg Art Foundation. Although, Kentridge admits that he did not complete printing the entire edition as he claims, “…to do thirty prints also seemed like an act of hubris.â€21 Art in Print, “William Kentridge: Drawing Has its Own Memory.â€2 William Kentridge, William Kentridge Prints (Johannesburg: David Krut Publishing, 2006), 26 – 29. - LD
Lot 504
Rembrandt van Rijn (Dutch 1606-1669) A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK signed and dated 1639 in the plate; inscribed with the collector's initial in pencil in the margin etching, second state of two sheet size: 9,8 by 5,9cm This lot features a delicate Rembrandt etching, depicting an older man who appears to be on a journey. He dons a tall fur-like hat, baggy clothes, and a worn down walking stick upon which he leans his weight. His left shoe is broken, exposing his foot. Rembrandt van Rijn remains one of the most celebrated artists of the Dutch Golden Age (c. 17th Century), known for mastering the arts of draughtsmanship, print-making, and painting. The artist’s oeuvre consists of a diverse amount of subject matter and thematic depictions. -LD
Lot 320
Female Nude and Nude with Butterfly, two woodblock prints unsigned, Nudes with Butterfly, photograph, ink and scratching out unsigned, Cat, lithograph signed Sayer and one other etching max 27cm x 18cm (5) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 956
FRANK HENRY MASON (1875-1965) British, Marine etching, signed, framed and glazed, together with After WILFRED WILLIAMS BAIL (1853-1917) British, six Thames Scene etchings in two frames, together with original receipts for £75 and £53 from Robert Perera Fine Art and George Kidner, dated 1994 and 1996 respectively
Lot 146
An early 20th century oil lamp, having etched frilled glass shade above a glass font, on faux marble pedestal and brass platform base. Some small chips to base of shade.Scratching and rubbing to the etching on the shade.Reservoir is very grubby and requires cleaning.Brass quite dented above reservoir.Minor dents to the base.
Lot 393
AFTER TIM BULMER "The Prognosis!", limited edition coloured etching of Doctor at the foot of a bed, No'd. 168/200, signed lower right, bears artist's information label verso, together with AFTER TIM BULMER "Hypocratic Oaf!", limited edition coloured etching, No'd. 139/200, signed lower right, bears artist's information label verso and AFTER JOHN GILLO "Autumn Reflections", lithographic print of a shoreline with buildings and trees in the background, signed lower right, together with ten further prints
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