Frank Vernon Martin (1921 - 2005)"Ann Pennington", a playful study of the 1920s starlet looking cheekily towards the viewer, drypoint etching, signed by artist in graphite, 32/40, in double card mount and contemporary ebonised frame under glass, 56 cm x 74 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
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Julian Trevelyan (British 1910-1988) Blue Oxen (1959) signed, titled and numbered '28/50' in pencil etching and aquatint plate 38 x 49 cm, framed and glazed 67 x 81 cmProvenance: With Bohun Gallery, Henley-on-Thames. Private collection, UK.Overall in fairly good condition. Sheet is slightly undulating in mount. There is some light mount staining visible to margins. Under glass and unexamined out of frame.
Barry Owen Jones (British 1934-2018), 'Castle Cornet at Night', etching, signed inscribed and numbered in pencil by the artist, plate size 21 x 44cm, along with 'Passe Percee' a coastal view, plate size 8.5 x 17.5cm also by Barry Owen Jones, and 'Old Guernsey Farmhouse', etching in colours, inscribed and indistinctly signed with initials, plate size 27 x 18.5cm (3).
John Brunsdon (British 1933-2014), 'Edale', etching in colour, signed, inscribed and numbered 271/350 by the artist in pencil, plate size 45 x 60cm, along with 'Dappled Horse in a Sunny Field', by Arthur Hackney (British 1925-2010), engraving, signed inscribed and numbered 28/50, plate size 30.5 x 29cm (2).
Robert Jacobsen (Danish, 1912-1993). Etching titled "Entre L'Arbre et le Mot" depicting an abstract composition of black, blue, and orange. With a poem of the same name by Jean Laude (French, 1922-1983). From "Paroles Peintes I" Paris: Editions O. Lazar-Vernet, 1962.(Print) Height: 15 1/4 in x width: 11 1/2 in.Condition: There are no rips, tears, losses, or restorations. Light wear along the edges. Some acidic burn along the interior of the poem where the print was nested. Not framed.
Salvador Dali (Spanish, 1904-1989). Etching on paper titled "St. George and the Dragon," 1947. Pencil signed and dated along the lower right margin. Ink stamped "Print Club of Cleveland" along the verso of the sheet. From an edition of 250 + 10 proofs. With a label from The Salvador Dali Society affixed to the verso of the frame.Reference: Field 15.Sight; height: 20 1/4 in x width: 13 in. Framed; height: 29 1/2 in x width: 22 1/4 in x depth: 2 1/2 in.Condition: The sheet is toned. There are no major tears, losses, or signs of restoration. Undulation to the sheet. Two minute areas of graphite transfer along the lower left margin, possibly original to the artistic process. Housed under a mat. Framed under plexiglass; light wear to the frame.
Signature of 18th President Ulysses S. Grant framed with an etching portrait of the President. The etching with "B.W. Smith N.Y." in print below bust. The ink signature on a sheet of paper with the heading "Head-Quarters Armies of the United States...186."(Signature, sight) height: 2 in x width: 4 in. (Etching, sight) height: 4 in x width: 3 1/2 in. (Framed) height: 9 1/2 in x width: 6 1/4 in x depth: 1/2 in.Condition: Thee are no visible tears, creases, losses, or repairs. Both sheets are housed under an acidic mat. Mat burn and toning to both. Framed under glass; light wear to the frame. Not inspected out of frame.
Joan Miro (Spanish (Catalan), 1893-1983). Etching with aquatint in colors on Arches paper titled "Georges Duthuit," 1976. Pencil signed along the lower right; numbered 18 H.C. / 75 along the lower left. This is an hors commerce impression aside from the standard edition of 100, published by Flammarion, Paris.Sight; height: 15 in x width: 22 in. Framed; height: 22 1/2 in x width: 31 in x depth: 1 1/2 in.Condition: The colors are bold and bright. The sheet is slightly toned. Light wear along the deckled edges, likely original to the artistic process. Four pieces of residual framer's tape affixed to the verso along the upper edge.
HERBERT DICKSEE (BRITISH, 1862-1942) AFTER SIMON HARMON VEDDER (1866-1937)The Flight into Egypt signed 'Herbert Dicksee' (lower right margin) etching 47 x 72cm (unframed) Provenance Herbert Dicksee; Thence by descent to his grand-daughter Pamela Service; Sale, Bellmans, Billingshurst, 28th March 2024, lot 1360, where acquired by the present owner; Private collection, UK
REMBRANDT VAN RIJN (DUTCH, 1606-1669)Old Man Seen from Behind (Bartsch 143) etching 7 x 4.5cm Provenance Private collection, UKCondition reportno margin to sheet, tiny loss to lower left corner and all edges uneven; slight staining to sheet, upper left and right; framed and under glass, unexamined out of frame.
Imperial German 1st Garde Feldart Regiment Officer's sabre, sword. Good scarce example, the 80.7 cm slightly curved blade with etched decoration, the obverse with the regimental Title '1. Garde Feldart Regt.'. The reverse with an etched pannel depicting Horse Artillery mounted. The hilt with single silver plated bar guard. Housed in original black painted metal scabbard. Minor age wear, etching remains clear. Payment by Bank Transfer ONLY
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) THE NIGHT CROW (ROSENTHAL 110) - 1994 Etching and aquatint, A/P, aside from the edition of 20, signed and editioned in pencil to margin, published by Curwen Press, with their blindstamp the sheet 38.5cm x 29cm (15.25in x 11.5in), unframed Gift of the Artist to Colette Morey de Morand; and thence by descent to the current owner
PABLO PICASSO (SPANISH 1881-1973) MÈRE ET ENFANTS (B.737) - 1961 Etching with aquatint on Arches laid paper, un-numbered impression aside from the edition of 50, signed in pencil to margin, published by Galerie Louise Leiris the plate 25.4cm x 30.5cm (10in x 12in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 535; Private Collection, U.K.
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) WENDY'S SONG (ROSENTHAL 93) - 1992 Etching and aquatint, Proof, signed, editioned and inscribed 'Colette and James . . . A Very Happy Xmas. . . love' in pencil to margin the sheet 41cm x 35cm (16.25in x 13.75in) Gift of the Artist to Colette Morey de Morand; and thence by descent to the current owner
HENRY MOORE O.M., C.H. (BRITISH 1898-1986) THE ARTIST'S HAND IV - 1979 Etching, 6/50, signed and numbered in pencil to margin, with the printed portfolio details verso, printed by James Collyer and John Crossley, London, published by Raymond Spencer Company Ltd the image 22cm x 16.5cm (8.75in x 6.5in)
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) FAIRY TALE IV (ROSENTHAL 255) Etching and aquatint, 23/35, signed, numbered and inscribed ‘Happy Christmas’ in pencil to margin the sheet 33cm x 28.3cm (13in x 11in), unframed Gift of the Artist to Colette Morey de Morand; and thence by descent to the current owner
Jan Lievens (Dutch, 1607-1674) Jacob Anointing the Stonesigned in the plate with intials to the stoneetching, circa 1625-6second state (of two) with publisher's name (Frans van den Wyngaerde)20 x 16cmLiterature:Hollstein 4Not laid down. On laid paper. The sheet attached along the top edge. A horizontal crease running across the centre. Some smaller creases and cockling to the paper in the top left quadrant. A small tear along the left margin and another minor nick to the top left corner. Few spots in the top left quadrant and a spot near the bottom centre edge. Not examined out of frame.
Rembrandt Harmensz. van Rijn (Dutch, 1606-1669) The Raising of Lazarus: Small Platesigned in the plate 'Rembrandt f.' and dated 1642 (lower left)etching with drypointthe first state (of two), a fine impression with delicate lines of Lazarus' forehead still visible15 x 11.5cmLiterature:Bartsch, Hollstein 72; Hind 198; New Hollstein 206Provenance:Monogram verso (Lugt 2420) of Thomas Thane (1782-1846);Stamped initials verso (Lugt 1375) of Henry Studdy Theobald (b. 1847),Probably one of his sales, Christie's, London, April 1910 or HG Gutekunst, Stuttgart, May 1910;Acquired in 1911 by the father of Jeremy Pemberton of Grantchester and thence by descent,Gifted by Jeremey Pemberton in 2003 to The Right Reverend Peter Walker (1919-2010), Bishop of Ely (1977-1989)The Raising of Lazarus was a particularly significant subject for Rembrandt. He first painted the scene, from the New Testament, in around 1630, early in his career when he was still in Leiden. It was the culmination of his artistic development at that point and likely inspired by the friendly rivalry with his collaborator Jan Lievens (see Lot 222), who also produced a painting of the miracle. Rembrandt retained his own version (now in the Los Angeles County Museum of Art) for most of his life until his bankruptcy sale of 1656.Rembrandt made two etchings of the same theme. The first, the 'Large Plate', was created around the same time as the painting and similarly shows a young artist experimenting overtly with the dramatic effects of chiaroscuro.The present etching, the 'Small Plate', was made a decade later and displays a more intimate and delicate rendering of the subject. Indeed, Christ himself is depicted as a serene healer, rather than the theatrical enchanter of the earlier works. The image is an altogether more personal and introspective interpretation of the subject by a mature artist now in full command of his technique.
Attributed to Giovanni Battista Cipriani RA (Italian, 1727-1785) Portrait of Frederica Augusta Schaub, Mrs William Lock, with her children William Lock the Younger and Charles Lockoil on canvas35.5 x 30.5cmProvenance:Presumably by descent through the sitter's granddaughter, Elizabeth Blake (née Lock), Lady Wallscourt (1806-1877),The Collection of Lord Wallscourt (according to a label on the reverse);With Sabin Galleries London (as Giovanni Battista Cipriani)Frederica Augusta Schaub (1750-1832) was the daughter of the celebrated 18th century diplomat Sir Luke Schaub. In 1767 she married William Lock (1732-1810), a noted art collector and patron who, before his marriage, had travelled with Richard Wilson from Venice to Rome and later employed Giovanni Battista Cipriani, George Barrett, Sawrey Gilpin and Benedetto Pastorini to decorate interiors at Norbury Park which he purchased in 1774.Indeed, the Locks were artistically very well connected and were both later painted by Sir Thomas Lawrence. It is likely that this intimate portrait was executed by a painter closely linked with the family, such as Wilson or Cipriani, who based the work on earlier Italian models of the Madonna and Child with the Infant St John the Baptist; an etching by Cipriani of that subject (see Philadelphia Museum of Art, 1985-52-14400) is close in composition to the present picture.The two children depicted are William Lock the Younger (1767-1847), who would himself become a successful artist, a pupil and friend of Fuseli, and Charles Lock (1770-1804), later the British consul-general in Naples during the Neapolitan Revolution of 1799. Both sons were also subsequently painted by Lawrence.
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