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Lot 182
Sir Howard Hodgkin CH CBE, British 1932-2017,Green Room, 1986;lift-ground etching and aquatint from two copper plates printed in green and red, with hand colouring in veronese green and green egg tempera on BFK Rives wove paper (240 gsm), signed with initials, dated and numbered 98/100 in pencil, printed and hand coloured by Jack Shirreff at the 107 Workshop, Wiltshire, published by Bernard Jacobson Ltd, London, sheet: 50.5 x 61 cm, (framed)(ARR)Provenance: Saatchi & Saatchi London
Lot 186
Sir Howard Hodgkin CH CBE,British 1932-2017,Strictly Personal, 2001; lift-ground etching and aquatint from two copper plates, with carborundum from one plastic plate, printed in ultramarine, cobalt and turquoise blue, red, vermillion and pink, and pale red/violet (mixed),hand colouring in scarlet and green acrylic on 100% cotton Somerset (280 gsm) wove, signed, inscribed 'MMI' and numbered 18/55 in pencil, printed and hand-coloured by Jack Shirreff,published by Alan Cristea Gallery, London, 2001, sheet: 30 x 34.3 cm, (framed)(ARR)
Lot 203
David Hockney OM CH RA, British b. 1937- On It May Stay His Eye (from 'The Blue Guitar' series), 1976/77; etching, softground etching, and aquatint (printed from 2 copper plates) on wove paper, signed and numbered '104/200' in pencil, printed at Petersburg Studios, published by Petersburg Press, London, image: 34.5 x 42.3 cm, (framed) (ARR)
Lot 218
Colin Self, British b.1941-Norwegian Woman, 2008; Girl with Long Hair, 2008; Untitled, 2008; Dead Bird For Craigie, 2009; (i) drypoint on copper plate on Fabriano Tiepolo paper, signed, dated and numbered '35/50' in pencil, plate: 9.4 x 7.7 cm, (ii) softground etching on copper plate on Lana Lanaquarelle paper, signed, dated and numbered '17/22' in pencil, plate: 17.1 x 11.5 cm, (iii) softground etching on wove, signed, dated and numbered '19/22' in pencil, plate: 23.4 x 12.9 cm, (iv) drypoint on copper plate on Somerset Satin paper, signed, dated and numbered '24/30' in pencil, plate: 13.4 x 16.3 cm, (unframed)(ARR)(4)
Lot 25
Edwin Edwards, British 1823-1879,Between the Poplars, Sunbury, (Fantin in the foreground), 1861;etching on wove paper, signed and dated 61 within the plate, inscribed in pencil verso, sheet: 16 x 25 cm, Note: together with thirteen further etchings by the same artist, the first seven of which are of views along the Thames, as follows: Sunbury, 1861; Lilly Falls, Sunbury, 1861; Sunbury Back Water; The Weir, Sunbury, 1861; Under the Willows, Maple Durham, 1861; Three Willows, Maple Durham Weir on the Thames, 1861; Tow Path, Sunbury, 1861; Upper Pool from Cherry Garden Pier, 1869; Hampton Court Palace from the Garden, 1862; Poplars at Twickenham with Charles Leland, July 13 70; Oxford, 1866; Gravesend; Willow, 1864; various sizes, all inscribed and dated in pencil on the reverse or on the recto, four signed and dated, two signed with monogram and three inscribed, all within the plate, (14) (unframed) Note: originally a lawyer with a passion for music and the arts, Edwards was inspired to become an artist on meeting Henri Fantin-Latour in Paris. Fantin introduced him to James McNeil Whistler and Alphonse Legros, the latter teaching him to etch in the winter of 1860. The following year, he installed a press at his home at Sunbury-on-Thames and in August the four friends were joined by Francis Seymour Haden for a sketching trip on the river. The results included Edwards’s etching Molesley Lock (Whistler on the Gate) and Whistler’s The Thames (Sketching no. 1). Whistler came to hold Edwards’s work in high regard, writing in a letter of May, 1863, ‘I really cannot help writing just to tell you how intensly (sic) pleased I am with your work in the Academy. Your etchings and your painting I think most highly of… The etchings are exquisite….’ Throughout the 1860/70s the house at Sunbury became the venue for musical soirees and the gatherings of a lively group of Anglo/French painters, with Edwards meeting Monet when the latter came to London to avoid the Franco-Prussian war. During this time Edwards’s wife, Ruth, became an accomplished printer and it is probable that she printed and titled the present group.
Lot 380
Bob Dylan, American b. 1941-Man On A Bridge, 2012; giclée print in colours on 350gsm Hahnemühle Museum Etching wove, signed and numbered 133/295 in pencil, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 70 x 56 cm, (framed) Note: together with COA issued by Washington Green Fine Art.
Lot 385
Bob Dylan, American b.1941-Drawn Blank Series: the complete set of six comprising Bell Tower in Stockholm, Iron Railing, Corner flat, Trailer, Carbondale motel and Backstage dressing room, 2013;each giclée print in colours on Hahnemühle 350gsm Museum Etching paper, all editioned 295/295 and signed by the artist in pencil, printed by GTZ Fine art editions, New York, published by Washington Green in association with Black Buffalo artworks, each print sheet: 70 x 56 cm, (unframed) (6) Note: together with grey card folio case. This lot comes with a complete set of COAs issued by Washington Green fine art.
Lot 386
Bob Dylan, American b.1941- Man on a Bridge, 2008 (grey portfolio); set of four giclée prints in colours on 350gsm Hahnemühle Museum Etching wove, each signed and numbered 212/295 in pencil, each printed by GTZ Fine Art Editions, New York, each published by Washington Green Fine Art in association with Black Buffalo Artworks, each sheet: 70 x 56 cm, (unframed) (4)Note: each print together with Certificate of Authenticity issued by Washington Green Fine Art.
Lot 389
Bob Dylan,American b.1941-Sunday Afternoon, 2008;giclée print in colours on 350gsm Hahnemühle Museum Etching wove, signed and numbered from the edition of 295 in pencil,printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 70 x 56 cm,(framed) Note: this work is accompanied by a Certificate of Authenticity, published by Washington Green Fine Art.Provenance: Castle Galleries.
Lot 392
Bob Dylan,American b.1941-Woman In Red Lion Pub, 2008 (grey portfolio);set of four giclée prints in colours on 350gsm Hahnemühle Museum Etching wove,each signed and numbered 212/295 in pencil,each printed by GTZ Fine Art Editions, New York,each published by Washington Green Fine Art in association with Black Buffalo Artworks,each sheet: 70 x 56 cm,(unframed)(4)Note: each print together with a Certificate of Authenticity issued by Washington Green Fine Art.
Lot 60
Pablo Picasso, Spanish 1881-1973, Deux Femmes au Miroir (from Sable Mouvant), 1965etching with aquatint and drypoint on wove, from the unsigned edition of 255, printed at Crommelynck Studio, Paris, published by Louis Broder, Paris, 1966, plate: 38.3 x 27.7 cm, (framed)(ARR)Provenance: with a William Weston Gallery label on the reverse.
Lot 82
Eduardo Chillida, Spanish 1924-2002,Adoracion book with one 'Hand' etching;The book compiled by Jose - Miguel Ullan, Marguerite Duras and Eduardo Chillida, published in Paris in 1977, was a limited edition of 125 copies, it contains 38 printed pages of text plus an etching of a hand by Chillida and embossing to a design by Chillida on the front, the whole in a black fabric slip case, (ARR)
Lot 403
Julian Trevelyan RA (1910-1988), Kensington Gardens (AP)artists proof, etching with aquatint, signed and titled, 1969-1970, framed, 44x55cmThis is part of Trevelyan’s ‘London Parks’ suite. This work is illustrated in 'Julian Trevelyan - Catalogue Raisonne of Prints' page 177 cat. no. 231
Lot 348
Richard Smith (1931-2016)Two of a Kind VIb (red x on lavender at angle)Etching printed in colours, 1978, signed and dated in pencil, Numbered from the edition 47 of 80, Published by Bernard Jacobson Gallery, London, on folded Arches paper with paperclips, the full sheet printed to the edges, sheet 70.5 x 69.9 cms***Artists resale rights may apply to this lot***
Lot 368
Leon Kossoff (British, 1926-2019)The Booking Hall Etching, 1982, on wove, signed, titled and dated in pencil, Numbered edition 58 of 100, Printed by Studio Prints, London, with their blindstamp, with full margins, 41 x 35.5cm***Artists resale rights may apply to this lot*** CONDITION REPORT: Overall condition is good, lighter in colour than appears on line
Lot 452
NAPOLEONIC WAR INTEREST: A selection of hand coloured aquatints on paper, to include illustrations from Orme (Edward) (Ed), HISTORIC, MILITARY, AND NAVAL ANECDOTES OF PERSONAL VALOUR, BRAVERY, AND PARTICULAR INCIDENTS WHICH OCURRED TO THE ARMIES OF GREAT BRITAIN AND HER ALLIES, IN THE LAST LONG-CONTESTED WAR, TERMINATING WITH THE BATTLE OF WATERLOO, London 1819, in matching frames, the largest 39cm x 47cm overall, with a French hand coloured etching on paper, 'Clemence De Napoleon Envers Mr. De St. Simon', 14.5cm x 17.5cm, framed and glazed (at fault) (11)
Lot 453
After James Gillray (English, 1756-1815),'How to Ride with Elegance thro’ the Streets',Hand-coloured etching on paper,Published April 8th 1800 by H. Humphrey,35cm x 29cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection. The print surface appears to be in good condition, showing no obvious damage. The colours are relatively bright but are likely to have faded somewhat over time. The paper shows age-related darkening and the odd speckle and scuff. The printed area shows a visible plate mark.
Lot 454
After James Gillray (British, 1757-1815),'Give me the sweet delight of Love -a Catch',Hand-coloured etching on laid paper,Published August 1st 1781 by H. Humphrey, 22cm x 27cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection. The paper shows age-related darkening and the odd small fox mark. The central area of the sheet is a shade or two darker than the top and bottom edges. The colours are relatively bright but are likely to have faded somewhat over time.
Lot 456
After James Gillray (British, 1757-1815),'The Funeral Procession of Broad-Bottom',Hand-coloured etching on paper,Published April 6th 1807 by H. Humphrey,24cm x 62.5cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection. The paper shows age-related darkening, the odd small stain and speckle, and has previously been folded down the centre, leaving a vertical crease. There is a small area of wear to the upper edge approximately 10cm to the left of the central crease. The colours are relatively bright but are likely to have faded somewhat over time. There is a visible plate mark to the top edge and evidence of this continuing under the mount to the sides and bottom.
Lot 457
After James Gillray (British, 1756-1815),'Enchantments Lately Seen upon the Mountains of Wales, -or- Shon-ap-Morgan's Reconcilement to the Fairy Princess',Hand-coloured etching on paper,Published June 30th 1796 by H. Humphrey,24.5cm x 35.5cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection. The paper shows age-related darkening and the odd small stain and speckle, including a 1cm stain to the upper centre. There are slightly lighter areas in the bottom left and right corners. The colours are relatively bright but are likely to have faded somewhat over time. There is a pencil inscription reading 'Wales x' to the lower right corner.
Lot 465
William P. Vannet (Scottish, 1917-1984),'Mending Nets, Arbroath',Etching on paper,Signed in pencil to lower margin,Royal Scottish Academy 1969 exhibition label verso,24.5cm x 32cm,Framed and glazed CONDITION REPORT:The etching is framed under glass and has not been removed for inspection. The printed surface appears to be in good condition showing no obvious damage, and no significant fading. It is possible that the paper may have darkened somewhat over time. The mount aperture appears to be quite crudely cut, and shows a 20cm long stain along the bottom edge, with further small stains in various areas. The glass is dirty and would benefit from cleaning.
Lot 506
William Lionel Wyllie (1851-1931), Portsmouth fishing boats, drypoint etching, signed in pencil by the artist, 24.5cm x 29.5cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 507
William Lionel Wyllie (1851-1931), Boulogne fishing boats, drypoint etching, signed by the artist, 21.5cm x 29cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 508
William Lionel Wyllie (1851-1931), HMS Victory at Portsmouth, drypoint etching, signed in pencil by the artist, with David Messum gallery label verso, 10.5cm x 34.5cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 509
William Lionel Wyllie (1851-1931), Sheringham Crabbers, drypoint etching, signed in pencil by the artist, 20cm x 24.5cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 111
William Hogarth, FRSA, British 1697-1764- Credulity, Superstition, & Fanaticism; etching on paper, 43.5 x 33.4 cm., together with 26 further etchings by Hogarth, including: Plates 2, 4, 5, & 6 from 'The Harlot's Progress'; Plates 6 & 7 from 'The Rake's Progress'; Plates 1-4 and 7-12 from 'Industry and Idleness'; two sets of Plates 1 & 2 from 'The Times'; Plate 1 from 'The Analysis of Beauty'; 'The Stage-Coach, or the Country Inn Yard'; 'Martin Folkes, Esq.'; 'The Company of Undertakers'; 'Scholars at a Lecture'; and 'The Committee', or Plate 10 of 'Samuel Butler's Hudibras'; one etching by Hogarth and Charles Mosley entitled 'O the Roast Beef of Old England'; 11 etchings by Thomas Cook after Hogarth, including: Plates 1, 2, 4, 7, 8, 10, 11, & 12 from 'Samuel Butler's Hudibras'; 'Bambridge on Trial for Murder by a Committee of the House of Commons'; 'Sancho at the Feast Starved by his Physician'; 'The Reward of Cruelty', or Plate 4 of 'The Four Stages of Cruelty'; two etchings by Joseph Haynes after Hogarth entitled 'Debates on Palmistry' and 'The Stay-Maker'; and a set of six etchings of trade-cards and theatre tickets formerly attributed to Hogarth printed on one sheet., 47 etchings on 33 sheets (47). Provenance: Private Collection, UK.
Lot 121
James Gillray, British 1757-1815- Pacific Overtures, - or - a Flight from St Cloud's - "over the Water to Charley" - a new Dramatic Peace now Rehearsing; etching with hand-colouring, signed 'Js Gillray fect' (within the plate, lower left), published 5 April 1806 by Hannah Humphrey, St. James's Street, 29.8 x 38.8 cm. Provenance: Private Collection, UK. Note: The present work was created in 1806, in the first few years of the Napoleonic Wars which ravaged through Europe from 1804 to 1815. Here, King George III (1738-1820) has stepped onto the stage from his royal box, on the left. He focuses his glass on the figure of Napoleon (1769-1821), who stands on a cloud, and points to his long list of 'Terms of Peace', held up by his chief diplomat, Talleyrand (1754-1838). At the bottom of the composition, in place of the orchestra, are the new Ministry, who are, significantly, all playing from different music sheets, and, therefore, discordantly. BM 1851,0901.1194.
Lot 123
James Gillray, British 1757-1815- The King of Brobdingnag, and Gulliver; hand-coloured etching and aquatint, published July 1st 1803 by James Gilderoy, Dublin, and S.W. Fores, Piccadilly, 33.5 x 26.7 cm. (unframed). Provenance: Private Collection, UK. Note: The British Museum describes how 'George III, half length, stands in profile to the left, a holding a tiny Napoleon on the palm of his right hand, and inspecting him through a spy-glass. He says: "My little friend Grildrig, you have made a most admirable \ "panegyric upon Yourself and Country, but from what I can \ "gather from your own relation & the answers I have with \ "much pains wringed & extorted from you, I cannot but con- \ "-clude you to be one of the most pernicious, little - odious \ "-reptiles, that nature ever suffer'd to crawl upon the surface of the Earth."'
Lot 124
James Gillray, British 1757-1815- PATRIOTS deciding a Point of Honor! - or - an exact Representation of the celebrated Recontre which took place at Combe Wood on May 2nd 1807 - between Little-PAUL the Taylor, & Sir Francis Goose; hand-coloured etching, signed 'Js Gillray inv & fec' (lower left, within the plate), published 4 May 1807 by H. Humphrey, 27 x 38 cm. (mounted / unframed). Provenance: Private Collection, UK.
Lot 129
After Edward Bird, RA, British 1772-1819- Chevy Chase; pencil, pen and black ink and grey wash on paper, 26.3 x 39.9 cm. Provenance: The Property of the Late Reverend John Watson. Note: The present work is taken after Bird's 'Chevy Chase', offered by Bonhams Skinner on 17 November 2022, and may well have been copied from an etching by John Young (c.1765-1825), produced in 1814. A preliminary study of the work, entitled 'The Day after the Battle of Chevy Chase', which varies slightly from the composition of the present work, is in the collection of Wolverhampton Art Gallery [OP85]. This composition depicts the aftermath of the Battle of Chevy Chase which occurred in 1388 and was made famous in 'The Ballad of Chevy Chase'. The encounter arose between the families of Henry Percy (English) and the Earl of Douglas (Scottish) whose lands were on the Anglo-Scottish border and who had a heated dispute over boundaries and hunting grounds. The Douglas family won the battle, although their leader was fatally wounded.
Lot 232
Alphonse Legros, French / British 1837-1911- Portrait of a bearded man, bust-length, unfinished; oil on canvas, signed and dated '[?] Legros / 1872' (lower left), 53.2 x 43.1 cm., (unframed). Provenance: The Property of the Late Reverend John Watson. Note: Legros studied under Horace Lecoq de Boisbaudran (1802-1897), and went on to develop a highly distinctive style, combining an archaic manner of composition and treatment of space with a Realist approach which was heavily informed by the work of Gustave Courbet (1819-1877). He was skilled as a portraitist, both in oils and print, with his sensitive studies effectively capturing the presence and character of his sitters. Legros was a particularly prominent printmaker, and is often cited as one of the leading figures in the British etching revival of the late 19th century. He taught etching at the South Kensington School of Art, before becoming Slade Professor at University College London, succeeding Edward Poynter (1836-1919) in the role. Over the course of his career he established friendships with James McNeill Whistler (1834-1903) and Henri Fantin-Latour (1836-1904), with whom he formed the Société des Trois to confirm their mutual support.
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