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Lot 571
***Tracey Emin (born 1963) - Limited edition etching - "The Golden Mile", No. 246 of edition of 300, 11.25ins x 14.75ins, 16.5ins x 19.75ins overall, signed in pencil and dated 2012 to lower right, unframed, together with two Turner Contemporary Tracey Emin "She lay down deep beneath the sea" exhibition invitations
Lot 235
Victor Pasmore RA (British 1908-1998): 'Square Development' (Bowness Lambertini G51), artist's etching with aquatint inscribed P/P and monogrammed in pencil 48cm x 58cmDDS - Artist's resale rights may apply to this lot Condition Report Some very small/negligible fox marks in the border, otherwise excellent conditionClick here for further images, condition, auction times & delivery costs
![Clayton, John Cowthorpe Oak. [Bradford:] Privately printed, [nd, but presumed 1899]. 8vo, 22 lithographed text pages, one pri](https://cdn.globalauctionplatform.com/28629d45-ecb0-4187-8b9b-aa3100cc0976/160fd02e-521b-493b-9138-aa5e0103a314/468x382.jpg)
Lot 166
Clayton, John Cowthorpe Oak. [Bradford:] Privately printed, [nd, but presumed 1899]. 8vo, 22 lithographed text pages, one printed table of measurements and 32 photographs mounted double-sided on card in a folding case. With a framed and glazed etching of the Oak, signed in the plate J.G. Strutt, 1824. A facsimile copy of Clayton's manuscript account of the Oak, dated 1899, with occasional MSS corrections of references to photographs. The account appears to be that later published in the Transactions and Proceedings of the Botanical Society of Edinburgh for 1903 (pp. 396-414, with only 7 of the photographs here). Cowthorpe, near Harrogate, was famous for its huge spreading oak, of which Dr Hunter in his edition of Evelyn's Silva said 'Compared to this, all other trees are children of the Forest.' The oak had been recorded as decaying in 1822, but did not finally die until 1950. We have been able to trace copies of this example in the British Library and at Leeds University and there appears to have been a forerunner to this published in 1893 and held at the Natural History Museum. Cat. Lib. Linn. Soc. London, 1925, p. 168. Rubbing and bumping to case, text creased at edges, but generally clean, photos variously fading, mountings dusty and bumped at edges, but a very good example of a seemingly rare item.
Lot 107
CYRIL BOUDA 1901 - 1984: KOKOŘÍN 1943 Oil on paperboard 13,5 x 34,5 cm Signed bottom right: "C. Bouda" A scenic landscape of a valley with Kokořín Castle in the background on the right demonstrates Bouda’s fundamental relationship to the graphic arts. When looking at this rather small, panorama-format painting the eye is attracted to the gently drawn fields and paths and the trees running alongside them.Cyril Bouda was important not only for his extensive oeuvre of paintings and prints, but also for his work as an art instructor. In 1923 he underwent training under František Kysela at the School of Applied Arts in Prague, transferring to Prague’s Academy of Fine Arts to graduate as a student of Max Švabinský. He was a professor at Charles University’s Faculty of Education in 1946–1972, where he initially taught fine graphic art (drypoint, color etching, lithography) and painting. Throughout his life he illustratedbooks, especially fairy tales, Czech legends, humorous and historical novels [including František Langer’s Pražské legendy (Legends of Prague), Václav Cibula’s Staré povìsti pražské (Old Legends of Prague), and Kocourkov]. His illustrations have also been used in animated films (e.g., Hrnečku, vař!, 1953). A master of many different printmaking techniques, including wood and copper engraving, etching, and especially lithography, Bouda also designed Czechoslovak postage stamps and created stained glass designs (in the northern nave of St. Vitus Cathedral by the Hilbert treasury and at St. Wenceslas Chapel in Mcely).
Lot 15
VINCENC MORSTADT 1802 - 1875: THREE VISTAS OF PRAGUE Cca 1830 Colored etching on paper 35 x 53 cm 1. Prague Castle District (Hradèany)2. New Town, Vyšehrad, Smíchov3. LetnáThis collection of three vedute were made by Vincenc Morstadt, an acclaimed Bohemian painter and illustrator who was primarily known as a landscape and veduta artist and for his numerous prints and albums. Morstadt's work is based in the traditions of drawing-based vedute of cities in the Empire style, with primary characteristics including objectivity, descriptiveness, restraint, minute detail and a faithful recording of the image. His prints, which display his perfect mastery of technique and skill, became highly popular among publishers and buyers; hardly an album appeared that did not feature his name.Originally from a German family, Vincenc Morstadt came to Prague when he was eleven to study at Charles University’s Faculty of Law. As a graduate he worked at the Regional Court in Loket (Elbogen) in 1834-1850; this is the source of his oldest prints of the landscape around Loket, Carlsbadand the surrounding area, including the Svatoš rock formations (Hans-Heiling-Felsen) on the Ohøe (Eger) River. He continued his legal career at the courts in Trutnov (Trautenau) and Hradec Králové (Königgrätz). He lived out the rest of his life in Prague, where a plaque is dedicated to him on Tomášská Street in Prague’s Lesser Quarter. He maintained contacts with František Palacký, Václav Vladivoj Tomek and other leading figures in the Czech National Revival and continued to make sketches in the streets of Prague until shortly before his death.Morstadt depicted the major buildings, streets and public spaces of important Bohemian cities and towns, filling them with genre figures of burghers, craftsmen and tradesmen. Most of his works were made during his legal career; originally pencil drawings, he usually had them transferred to etchings and colorized by printmakers or lithographers. These prints were then assembled into albums.
Lot 40
VOJTĚCH PREISSIG 1873 - 1944: UNTITLED After 1910 Pen and ink on paper In cutout 110 x 100 mm Signed lower left: "PV"; label on back from the Waldes Gallery, no. 1424 After returning from a study residence in Paris in 1905, Vojtìch Preissig worked independently and established the Bohemian Prints edition. In 1909 he published his own book, Barevný lept a barevná rytina (Color Etching and Color Engraving). But when his print workshop went out of business, he left Prague in 1910 and travelled to the United States, where his most important stopovers included The Art Students League of New York (1912) and the Teachers College of Columbia University. It was in the United States where he first saw linocut and other special printmaking techniques. In 1916–1918 he worked as a printmaker in Boston, heading up the School of Printing and Grafic Arts at the Wentworth Institute. This drawing, originally an ex libris, likely dates from his time in the United States.Provenance: art collector, patron and industrialist Jindøich Waldes, who supported Preissig through his financial difficulties.
Lot 41
VOJTĚCH PREISSIG 1873 - 1944: MEDITATION (ON THE BALCONY) 1899-1900 Etching on paper 230 x 180 mm Signed lower right: "V. Preissig" The majority of Preissig's oeuvre is focused on printmaking, which he studied and developed while he resided in Paris. After travelling to France in 1897 thanks to the support of his parents, he initially worked under Alphonse Mucha and continued in the study of printmaking techniques under E. Delaune. Highly talented, Preissig rapidly found his way on the Paris scene and mastered his own perfect style of decorative printsin which he could quickly free himself from the influence of Alphonse Mucha. This work portrays a young woman sitting by a rose bush one summer night, the infinite starry sky arching over her head, and is a beautiful example of Preissig’s Secessionist-Lyrical view of the world.
Lot 82
RAINHOLD JUSTICH 1885: SUMMER DAY 1931 Etching on paper 25,5 x 28 cm Signed lower right: "Justich R.", label on frame below: "R. JUSTICH". Label on rear: "OPUS: Justich V.R. ak. mal./ Letní den/ olej/ 1931" This beautiful, meticulously executed painting, portraying a group of young women bathing, is a fine example from the artwork of Rainhold Justich. In this painting exuding a joyful summer atmosphere, the painter captures a moment showing young women having a picnic and playing with dogs, with women bathing in the background.After attending the School of Applied Arts, Justich underwent further training at the Academy of Fine Arts in Prague (1902), where he studied in the special department headed by professor Vojtìch Hynais. He primarily painted portraits, nudes and figurative subjects in a modern interpretation of the impression of movement and color.
Lot 188
NO RESERVE Birds.- Barlow (Manner of Francis, 1626-1702) Study of wild birds, red chalk with pen and brown ink, on laid paper with a late 17th early 18th century etching and engraving verso, published by Nicolas Guerard, sheet 172 x 225 mm. (6 7/8 x 8 7/8 in), surface dirt and light browning, unframed, [probably late 17th early 18th century]⁂ The present composition borrows several different birds from various Barlow prints, all of which featured in the artist's 'Multae et diversae avium species' publication from circa 1650-1655.
Lot 280
‡Colin Self (b.1941)Power & Beauty No. 2; Prelude to 1000 Objects No. 1Two, the first signed, titled and numbered 19/75, the second signed, titled, numbered 20/60 and dated 25/8/71 versoThe first screenprint and second etching with aquatint EA1052 and 1040, both unframed69 x 105cm and 54 x 68.5cm (sheet sizes) (2)Provenance:Private collection
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