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Lot 1112
James Gillray (1757-1815) The Introduction of the Pope to the Convocation at Oxford by the Cardinal Broad-Bottom satiring Grenville's aspirations to the chancellorship of Oxford University, seen here to be cheered on by the devil while the pope holds up his robes, under which crouches Napoleon Black and white etching (trimmed and laid down) together with a further black and white print ''Veduta di una Parte di Lung Arno, e del Ponte a S. Trinita prefa dal Palazzo del Sig. March Ruberto Capponi'' Zocchi after Franceschini and another black and white signed print after Dendy Sadler, 28cm by 38.5cm, 27.5cm by 40cm, 36.5cm by 48cm, respectively (3)
Lot 1135
Percy John Delf Smith (1882-1948) ''The Three Withens'' Signed and inscribed from the Bronte Set, a black and white etching, together with four further etchings from the same series including ''The Threshold of Wuthering Heights'', ''Wuthering Heights'', ''The Passing Storm'' and ''The Path to Wuthering Heights'' , 25cm by 20cm and various other sizes (5) Sold together with various paperwork relating to the Mitchell Hill Gallery, Wetherby dated 21/10/81 and additional accompanying information and letters relating to the lot.
Lot 1132
Paul Gangolf (1879-1939) German ''The Bones are All inside (Rotten- Row London 1931)'' Signed in pencil, numbered 21/25, a black and white etching, together with a group of further mostly signed etchings and prints by the same hand including ''I am Zoo'', ''Sortie des Recheurs'' , ''La Corniche, Marseille'', Giraffes in a Crate, and other figurative and animalistic renditions, a small pencil sketch depicting a gentleman head and shoulders, signed and inscribed ''a' de Burnaby'', three pencil signed etchings (J.D. Lucas ?) depicting sitting cats, cats preening and washing and two geese at rest, all unframed, mostly attached along top edges to backing sheets,12.5cm by 16cm (a collection)
Lot 1123
William Strang RA (1859-1921) Country figures in a pastoral landscape, signed in pencil, black and white etching; together with two further etchings by Marius A.A.J.Bauer, depicting Continental views; a further example by J Hamilton Mackensie, depicting the Grand Canal, Venice; and further woodblock, signed in pencil by O.F.Openshaw, 14.5cm by 19.5cm, 5cm by 13cm, 24.5cm by 30cm, 18cm by 15cm respectively (5)
Lot 589
DAVID HOCKNEY (born 1937); a signed limited edition black and white etching, 'Peter at Odins', 2/80, 41.5 x 33.75cm, framed and glazed. (D)Provenance: Purchased from The Alice Simsar Gallery, 1987. CONDITION REPORT: There are two yellow/brown rectangular stains where 'tabs' have been used to stick the image down, there are traces of dead insects beneath the glass. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 603
NORMAN ACKROYD CBE RA (born 1938); a black and white artist's proof etching 'Wasdale Screes', signed, titled and dated '81, 10.5 x 12cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.ukMinor marks to top right, traces of graphite to edge of picture, one very small stain to lower left, spots/foxing to mount.
Lot 496
JOHN COWARD "Landscape with stone walls in foreground, dwellings to the background", oil on board, signed and dated 1983 lower left plus two watercolours in the same hand, AFTER PROFESSOR HUXLEY, chromolithograph from "Vanity Fair 1871 middle of the day" no'd 19, together with TAYLOR "Christ with Crown and Thorns", black and white etching, signed and dated '72 to the mount, together with CARLA PAUL "Moulin Rouge", and another "Parisian Street Scene", oil on paper, both indistinctly signed and PRU SAPP "The Birthday Present", still life study of flowers in a vase, oil on board, signed bottom right and JAMES BUCKNILL "London Park Street Scene of figures viewing a sign", watercolour, signed bottom right, etc
Lot 49
Middle East.- After Emile-Jean-Horace Vernet (1789-1863) Voyage au Désert, mixed-method engraving and etching, by Rollet, a good impression on thick wove paper with full margins, platemark 610 x 710 mm, sheet 755 x 1020 mm. (29 3/4 x 40 1/4 in), some spotting and browning, mainly to margins, with minor damp-stains to lower corners in margins, well outside the image, and with handling crease to upper left corner with minor tear, only in margin and well outside the image, unframed, three blind-stamps alongside lettered title, published by Gambart & Junin, London, 1846.
Lot 202
Walker (William, 1791-1867) and Samuel William Reynolds (1773-1835). The Reform Bill Receiving the King's Assent by Royal Commission, 7 June 1832, after Reynold's painting, mezzotint, etching and engraving, on cream wove paper, incised 'Proof' in the lettered title, title and image printed on two separate plates, total platemark 860 x 618 mm. (33 3/4 x 24 1/4 in), sheet 950 x 640 mm. (37 1/2 x 25 1/4 in), some spotting and browning, minor nicks and tears to extremities, not affecting image, minor handling creases, one small damp-stain in upper left corner, published by Walker, 1936; together with the 'Key to Mr. Walker's Engraving of the Passing of the Reform Bill', identifying all the peers and members of the House of Commons included in the painting and mezzotint, etching and engraving, on ivory wove paper, platemark 320 x 502 mm. (12 1/2 x 19 3/4 in), sheet 345 x 510 mm. (13 1/2 x 20 in), minor spotting and surface dirt, both unframed, published by Walker, 1836, (2).
Lot 48
Middle East.- After Emile-Jean-Horace Vernet (1789-1863) Arabes Dans Leur Camp, mixed-method engraving and etching, by Jean-Pierre-Marie Jazet (1788-1871), a good impression, on thick cream wove paper, with full margins, platemark 520 x 635 mm. (20 1/2 x 25 in), sheet 680 x 935 mm. (26 3/4 x 36 3/4 in), spotting and browning, mainly to margins, some surface dirt, unframed, published by Goupil & Vibert, Paris, and Anaglyphic Company, London, 1844.
Lot 196
Rembrandt van Rijn (1606-1669) Three Oriental Figures (Jacob and Laban?), etching with drypoint, 1641, on laid paper, without watermark, second, final state, trimmed within the plate mark, small tear in lower margin and right hand edge at centre, light surface dirt and discolouration where tipped onto support at upper corners, unframed, sheet 140 x 111 mm. (5 1/2 x 4 3/8 in). Literature: Bartsch 118; Hind 183; New Hollstein 118 ii/ii
Lot 197
Ward (William, 1766-1826) Christ in the Garden, after Correggio, plate 26 from the series 'Gems of Art', lettered state, mezzotint and etching, a rich velvet-like impression, on wove paper without watermark, plate mark 215 x 215 mm. (8 1/2 x 8 1/2 in), sheet 445 x 310 mm. (17 1/2 x 12 1/4 in), minor surface dirt and spotting, unframed, published by Cooke, 1825; together with Ward's Daniel in the Lion's Den, after Rubens, mezzotint, on thick cream laid paper, without watermark, trimmed to image, sheet 480 x 610 mm. (18 7/8 x 24 in), some nicks and tears and curling to lower edge, several light handling creases, published by Thomas Simpson, circa 1789 § Turner (Charles, 1774-1857) Rembrandt's Mill, and Maecenas' Villa, Tivoli, two works, the first after Rembrandt, the latter Richard Wilson, both from 'Gems of Art', mezzotints, on wove paper, one with Whatman watermark and dated '1820', each plate mark approx. 175 x 200 mm. (6 7/8 x 7 7/8 in), both with wide margins, minor spotting and browning, 1823 § Reynolds I (Samuel William, 1773-1835) Georgius Quartus, portrait of George IV after a bust by Sir Francis Chantrey, mezzotint and etching, plate mark 230 x 150 mm. (9 x 5 7/8 in), sheet 435 x 290 mm. (17 1/8 x 11 1/2 in), some spotting and surface dirt, 1825; together with David Lucas's etching and mezzotint after Constable's 'Spring', and John Young's mezzotint after Zoffany's 'Flower Girl', all unframed, (7).
Lot 160
Sporting Art.- Lewis (Charles G., 1808-1880) Hunters at Grass; Macaw, Love Birds, Terrier and Spaniel Puppies belonging to Her Majesty; The "Cat's Paw", three works after Sir Edwin Landseer (1803-1873), the first mentioned a proof impression before title, the third mentioned an unlettered proof impression, stipple-engravings with etching, on thick wove paper, all with full margins, platemarks various sizes, each sheet approx. 760 x 1080 mm. (30 x 42 1/2 in), or the reverse, some spotting, browning, and surface dirt, some damp-stains to margins, minor nicks and tears to extremities, circa 1843-1846; together with two other large mixed-method engravings, including Gibbon's Terrier after Landseer, and a lithograph of 'The Queen in Windsor Forest', after Landseer, various sizes, all unframed, 19th century, (5).
Lot 47
Middle East.- After Emile-Jean-Horace Vernet (1789-1863) La Poste au Desert; L'Arabe en Prière, two works, mixed-method engraving and etching, by Alexandre Vincent Sixdeniers (1795-1846), both on cream wove paper, with full margins, each platemark approx. 675 x 530 mm. (26 3/4 x 20 7/8 in), each sheet 985 x 700 mm. (38 7/8 x 27 1/2 in), spotting and browning, mainly to margins, with some surface dirt and minor handling creases to corners, one or two minor nicks, unframed, published by E. Gambert & Junin, London, 1843; together with two large tinted lithographs after Vernet by Julien, entitled 'Étude Aux Deux Crayons No. 1' and 'No. 2', from the series 'La Smala', on cream wove paper, with full margins, each sheet approx. 895 x 625 mm. (35 1/4 x 24 1/2 in), some spotting and surface dirt, unframed, published by E. Gambert & Junin, London, [circa 1840-50], (4).
Lot 91
Lake District.- Westall (William, 1781-1850) Four panoramic views of lakes in Cumbria, including 'Coniston Lake, from Bank Ground', 'Keswick Lake, from Friar's Cragg. Evening', Lake Windermere, from Low Wood Inn', and Buttermere Lake, from the Northside', etching and aquatints, on cream wove paper, without watermarks, various sizes, between 215 x 480 mm. (8 1/2 x 18 7/8), and 215 x 610 mm. (8 1/2 x 24 in), spotting and browning, some minor damp-stains, nicks and tears to extremities, one or two running into the plates, unframed, [Not in Abbey], published by Ackermann, circa 1835-1839; together with a good group of approximately 60 British topographical prints, many of Derby, including one large wood-engraving by Williams of the Great Exhibtion, from the The Illustarated London News, and a delicately hand-coloured lithograph of 'Precious Stones or Gems' exhibited in 1851, engravings, lithographs, various sizes, largest 420 x 550 mm. (16 1/2 x 21 3/4 in), occasional spotting and browning, nicks and tears, handling creases, all unframed, [18th and 19th century], (approx. 65).
Lot 316
§ Valerie Thornton (British, 1931-1991) The Entry into Jerusalem oil on board, in a distressed white frame 74 x 100cm (29 x 39in) Other Notes: Valerie Thornton was attracted to the work of Winifed Nicholson after receiving one of her paintings as a 21st birthday present. She then began her lifelong love affair with architecture, after visiting a photographic exhibition featuring details of church buildings and became interested in the work of English Romantics such as Stanley Spencer and Graham Sutherland. Equally influential was Stanley Hayter’s film about the revolutionary etching work being done at his Atelier 17 workshop in Paris, which led her to undertake an eight-month residency with Hayter in Paris (1954). Upon her return to England she immediately purchased her first etching press. After a six-week grand tour of Italy in 1955, studying and drawing, she succeeded Howard Hodgkin as Assistant Art Teacher at Charterhouse School. She also began her long association with Cedric Morris' and Arthur Lett-Haines’ East Anglian School of Painting and Drawing at Benton End, Hadleigh. There she met Rosemary Rutherford, the stained glass artist whom she later accompanied on many subsequent trips to Paris. In 1956 she was invited by Michael Chase to exhibit in his ‘New Editions’ original print exhibitions at the Zwemmer Gallery with Edward Bawden, John Piper, Julian Trevelyan, Merlyn Evans and Bernard Cheese. This was followed by publication of her prints by Paul Cornwall-Jones of Editions Alecto. Under glass and condition appears fine.
Lot 349
§ John Brunsdon, ARCA (British, 1933-2014) Harvest, signed lower right "John Brunsdon" and numbered 62/100, 57 x 79 cm; Cliff Walk, signed lower right "John Brunsdon" and numbered 52/100, 79 x 57cm (31 x 22.5in); Yorkshire Dales, signed lower right "John Brunsdon" and numbered 6/100, 57 x 79cm (22.5 x 31in); Pass near Cader Idris, signed lower right "John Brunsdon" and numbered 7/100, 80 x 58cm (31.5 x 23in); and Sharpenhoe Clappers, signed lower right "John Brunsdon" and numbered 68/100, 56 x 79cm (22 x 31in) etching with aquatint printed in colours (6) - five unframed Five unframed. Quite dirty. Discoloured cream edges. "Harvest" is framed
Lot 324
§ Pablo Picasso (Spanish, 1881-1973) Le Repos du Sculpteur devant le petit Torse, 1933; plate 53 from La Suite Vollard (B. 162; Ba. 315 Bd), from the edition of 250 published by A. Vollard, Paris, 1939 signed lower right in pencil "Picasso" etching on Montval laid paper watermarked "Vollard", unframed 34 x 45cm (13 x 18in) Provenance: Purchased by the vendor's late grandfather at Casa d'Arte Bragaglia, Rome, in 1952
Lot 317
§ Valerie Thornton (British, 1931-1991) Bodiam Castle, Sussex, signed lower right "Valerie Thornton '77", numbered 97/250, etching, 47 x 60cm; and Winchester College Chapel, signed lower right "Valerie Thornton" and numbered 54/100, etching, 47 x 57cm (2) Provenance: Christie's Contemporary Art, London Winchester - paper a bit crinkled, edges slightly discoloured.
Lot 323
§ Pablo Picasso (Spanish, 1881-1973) Le Repos du Sculpteur IV, 1933; plate 65 from La Suite Vollard (B. 174; Ba. 327), from the edition of 250 published by A. Vollard, Paris, 1939 signed lower right in pencil "Picasso" etching on Montval laid paper watermarked "Picasso", unframed 34 x 45cm (13 x 18in) Provenance: Purchased by the vendor's late grandfather at Casa d'Arte Bragaglia, Rome, in 1952 Other Notes: The present etching together with the following two lots come from the celebrated Vollard Suite of a hundred etchings produced by Picasso between 1933 and 1937. The theme of the Sculptor's Studio permeates this series and captures Picasso's engagement with classical sculpture at a time when he was working at his new studio at the Château de Boisgeloup, outside Paris. Inspired by his model and muse, Marie-Thérèse Walter, with whom Picasso had a passionate affair at this time, the features of the female protagonists in this series bear striking resemblance to those of his lover.
Lot 325
§ Pablo Picasso (Spanish, 1881-1973) Modèle contemplant un Groupe sculpté, 1933; plate 66 from La Suite Vollard (B. 175; Ba. 328 Bd), from the edition of 250 published by A. Vollard, Paris, 1939 signed lower right in pencil "Picasso" etching on Montval laid paper watermarked "Picasso", unframed 34 x 45cm (13 x 18in) Provenance: Purchased by the vendor's late grandfather at Casa d'Arte Bragaglia, Rome, in 1952.
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71174 item(s)/page