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Lot 1727
Pen and ink sketch, ‘Portrait de Maria Dalbaicin’, indistinctly signed and dated ‘94, Details verso regarding Pablo Picasso, 37 x 54cm; Barry Ebner (Contemporary) etching, Nude female, embossed blind stamp for B.a.D. San Diego, limited edition 3/7 signed in pencil, whole leaf 19.5cm x 11cm and Tessa Christie (b.1941) abstract oil on board, ‘Conflict’, 57 x 58cm
Lot 843
OLIVER HALL (1869-1957) 'A BORDER CASTLE', a drypoint etching depicting Scottish coastal landscape with castle, signed with monogram in the plate, signed and titled in pencil to lower margin, approximate paper size 23.5cm x 28.5cm, Condition Report: print is in good overall condition dirty marks to the mount (PROVENANCE: The Arnold Fellows Collection)
Lot 5
Maggi Hambling CBE (b.1945)Wave VI (Black and White)Signed (to margin lower right)Etching and aquatint29 x 53.8cm (sheet) Horatio's garden will receive 100% of the hammer price on this lot. Born in Sudbury, Suffolk in 1945, British painter and sculptor Maggi Hambling CBE first studied locally at Cedric Morris’ and Lett Haines’ East Anglian School of Painting and Drawing, before going to the Ipswich (1962-64), Camberwell (1964-67) and Slade (1967-69) Schools of Art. In 1980 she was appointed as the first contemporary artist in residence at the National Gallery and in 1995 awarded (jointly with Patrick Caulfield) the Jerwood Prize for Painting. Hambling has had numerous solo museum exhibitions since 1980, and besides those at the National Gallery (1981 & 2014) and the National Portrait Gallery (1983 & 2009), others have included, Serpentine Gallery (1987), Yale Center for British Art, New Haven, USA (1991), Yorkshire Sculpture Park (1997), The Lowry, Salford (2009), Walker Art Gallery, Liverpool (2009), Fitzwilliam Museum, Cambridge (2010), The Hermitage, St. Petersburg, Russia (2013), Somerset House (2015), The British Museum, London (2016) and recently, two important retrospectives at both CAFA Art Museum, Beijing and Guangdong Museum of Art, Guangzhou, China (2019). Public sculpture includes A conversation with Oscar Wilde, in Adelaide Street, London, (1998), Scallop, a sculpture to celebrate the composer Benjamin Britten, in Aldeburgh Beach, Suffolk (2003) and, most recently, A Sculpture for Mary Wollstonecraft, unveiled Newington Green, London (2020).
Lot 1
Sophie Ryder (b.1963)Ladyhare with DogSigned (to margin)Etching with aquatint83.5 x 63.5cmUnframedHoratio's Garden will receive 100% of the hammer price on this lot. Sophie Ryder was born in London, England, in 1963. Sophie studied Combined Arts at the Royal Academy of Arts 1981-84, where, while obtaining her diploma in painting, she was encouraged by Sir Hugh Casson, the then director of the Royal Academy, to develop her sculpture.​ Ryder's world is one of mystical creatures, animals and hybrid beings made from sawdust, wet plaster, old machine parts and toys, weld joins and angle grinders, wire, torn scraps of paper and charcoal sticks. Sophie famously developed the Lady Hare as a counterpart to Ancient Greek mythology's Minotaur. Working 'big' is a very significant feature of Sophie's work, and she enjoys rising to the constructional and creative challenges which flows from this aspiration.
Lot 1811
DALI, SALVADOR (1904-1989), "L'Académie de Paris", 1971, Radierung/chamoisfarbenes Papier, u.re. mit Bleistift von Hand signiert, u.li. mit Bleistift num. E 29/350, HxB: Platte ca. 42,5x59 cm, Passepartoutausschnitt ca. 51x65 cm, Außenmaße Rahmen ca. 75x88 cm. Gebräunt, part. Lichtrand. Im Passepartout hinter Glas gerahmt. LITERATUR: Michler/Löpsinger, Salvador Dali, Das druckgraphische Werk, Prestel 1995, WVZ-Nr. 514.| DALI, SALVADOR (1904-1989), "L'Académie de Paris", 1971, Etching/chamois-colored paper, bottom right signed by hand in pencil, lower left with pencil number. E 29/350, HxW: plate approx. 42.5x59 cm, passepartout cutout approx. 51x65 cm, external dimensions of frame approx. 75x88 cm. Tanned, part. light edge. Framed in a passe-partout behind glass. LITERATURE: Michler/Löpsinger, Salvador Dali, Das druckgraphische Werk, Prestel 1995, WVZ-Nr. 514.
Lot 1814
ANTES, HORST (geb. 1936), "ohne Titel", Kopffüßler, Radierung/Bütten, u.re. mit Bleistift von Hand signiert, u.li. mit Bleistift num. 23/60, HxB: Platte ca. 25x19,5 cm, Blatt ca. 53x39,5 cm, Außenmaße Rahmen ca. 57x43 cm. Leichte Alters- und Knickspuren, wenige minim. Flecken. Mit verglastem Rahmen. VERSO Etikett Kunsthaus Schaller, Stuttgart.| ANTES, HORST (born 1936), "untitled", cephalopod, etching/handmade paper, bottom right signed by hand in pencil, lower left. with pencil number. 23/60, HxW: plate approx. 25x19.5 cm, sheet approx. 53x39.5 cm, external dimensions of frame approx. 57x43 cm. Slight signs of age and creases, a few minimal. Stains. With glazed frame. VERSO label Kunsthaus Schaller, Stuttgart.
Lot 218
†Piero Fornasetti (Italian 1913-1988) 'Adam' and 'Eve' Coaster Sets, circa 1965 comprising 16 coasters, printed manufacturer's marks (to reverse of each coaster), porcelain, in original boxes Dimensions:Adam Coasters: 10.5cm diameter (4 1/8in diameter); Eve Coasters: 9.8cm diameter (3 7/8in diameter) Note: Piero Fornasetti: Designer of Dreams Our work is without limits, full time. There is no schedule, day or night. I translate my dreams into reality, whatever I do. Piero FornasettiPiero Fornasetti’s oeuvre stands as a testament to his lifetime obsession with art and design. Unrelenting in his pursuit of ornate decoration, irony and illusion, Fornasetti created a unique dream-like world blending classical and exotic imagery to create a globally recognised style that has withstood the test of time.From the very beginning of his career, Fornasetti’s purpose and direction was always clear to him, as he recalled in 1987: ‘I was born a painter. I began at the age of ten. Nobody in the workshops where I went could teach me. I learned from books, lithography and etching, all this before the founding of specialised schools.’The roots of Fornasetti’s designs are firmly placed in the past. Over his lifetime he collected an extensive library of engravings which fuelled his imagination with Classical and Renaissance imagery. These images became the basis of all Fornasetti’s work and whilst his designs were never taken from any particular print, he recreated their likeness through the meticulous use of lines and dots. Fornasetti was an excellent draughtsman and printer and evolved the concept of the engraving aesthetic through playful use of scale and composition. Within the sale this is demonstrated with the Adam and Eve coasters (Lot 218) where Fornasetti portrays this well-known story across 16 different coasters. By taking the image away from a more traditional context, Fornasetti introduces his style to a whole new audience and by breaking down the image into individual parts he encourages the viewer to use their imagination to complete the picture.Further influences came from Surrealist Metaphysical paintings by Alberto Savinio and Giorgio de Chirico, as well as artists like Pablo Picasso and Jean Cocteau. Fornasetti embraced the playful ideas of Surrealism, injecting a sense of humour and irony into his work. He was also fascinated by the correlation between architecture and furniture in that both have façades and doors which open to reveal interior spaces.In the 1950s Fornasetti embarked on a collaboration with Gio Ponti which was to bring the two men international recognition. Both were devoted to ideas of over-decoration and set about designing pieces which conjured illusions to hide the functionality of the object. By adapting 17th- and 18th-century prints to the exact dimensions of bureau desks Fornasetti transformed each one into a piece of monumental Italian architecture completely disguising their original purpose. Perhaps it is not surprising that Ponti’s belief in his long-time collaborator’s ability was so great that he proclaimed he had the ability to ‘make an object speak’.Fornasetti’s chair backs of Ionic and Corinthian capitals are perhaps the most well-known examples of his use of classical architecture. Two original examples from 1950s, together with a Renaissance inspired ‘Boomerang’ chair, are presented in this sale (lots 219, 220, and 221). Musical instruments were a favourite motif for Renaissance artists and Fornasetti immersed himself in this tradition. He was especially intrigued by their shape and the sound images that they evoked.Around this time the principles of Modernist design were starting to gain popularity. Ornamentation and representation of historical and natural references had fallen out of fashion in favour of a simplistic function- led approach. Unfortunately for Fornasetti these were the very things that he had dedicated his life to creating and subsequently with time his designs started to lose their appeal. However, he was resolute in his approach, arguing that an artist who compromised their beliefs in order to be successful was no longer an artist. He stated:‘He is a person who wants to have success. If he conforms to fashion, he will arrive late because by now everyone has already conformed. Therefore, perhaps the idea is not to conform but to be original. For example, I am suggesting the idea of creating fashion items that never go out of fashion.’England was central to the rediscovery of Fornasetti in the 1980s when two designers Guiliana Medda and Lilianne Fawcett opened their shop Themes and Variations in London. Selling a wide selection of Fornasetti objects they encouraged a revival of 1950s fashions. In 1991 the Victoria & Albert Museum held a comprehensive retrospective of Fornasetti’s work supported by his son Barnabus. This led to a resurgence of interest in and the popularity of the artist which has lasted ever since. It is thus fitting that when he died in 1988, the card announcing Fornasetti’s death simply said: ‘My fantasy is always with you’.
Lot 227
§ Sandra Blow R.A. (British 1925-2006) Upward Movement, 2006 (Basford 47) signed in pencil (lower right), etching and aquatint on Hahnemtühle paper, printed by Richard Kimmerling, published by the Strand GalleryDimensions:37cm x 37cm (14 1/2in x 14 1/2in)Note: This is a rare signed example of Upward Movement, as an edition of 20 were to be signed but Blow passed away before she was able to do so. It was originally commissioned by the Strand Gallery for a planned black and white exhibition of her work in 2007.
Lot 286
§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) Captain Hook and the Lost Boy, 1992 (Rosenthal 80) signed and numbered 31/50 in pencil (in the margin), coloured etching and aquatint on paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough GraphicsDimensions:sheet 61.5cm x 50.8cm (24 1/4in x 20in)
Lot 44
§ Gerald Leslie Brockhurst (British 1890-1978) La Tresse, 1926 (Fletcher 56) signed in pencil (in the margin lower right), and inscribed in pencil (in the margin to the lower right edge), etching on paperDimensions:plate 21.2cm x 18.7cm (8 3/8in x 7 1/4in); sheet 36cm x 24.6cm (14 1/4in x 9 3/4in), unframed
Lot 254
§ †Bob Law (British 1934-2004) Kiss and Crosses, 2000 complete set of eight, comprising Double Cross; Cross for Me - Kiss for You; Kiss for Me - Cross for You; Double Kisses; A Cross to Bare; Cross and Broken Double Cross; Double Double Crosses; Two Crosses, each signed and numbered PP1 in pencil (in the margin), published by artHester in 2003, printed by Stoneman Graphics, in an edition of 30 with 5 Artist's Proofs, together with silkscreened box and title pageDimensions:each etching 28.5cm x 37.5cm (11 1/4in x 14 3/4in)Provenance:LiteratureAnna Lovatt, Jo Melvin et al., Bob Law - A Retrospective, Ridinghouse, London, 2009, p. 214-5, illustrated in colour
Lot 289
§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) The Baker's Wife I, 1989 (Rosenthal 31) signed and numbered 19/75 in pencil (in the margin), etching and aquatint on Somerset paper, printed by Paul Coldwell at Culford Press, London, published by Marlborough GraphicsDimensions:sheet 33.5cm x 26.3cm (13 1/8in x 10 3/8in)Note: This print was used to illustrate a programme for The Baker's Wife, a play produced in London in 1989.
Lot 285
§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) Tiger Lily on Marooners' Rock, 1992 (Rosenthal 87) signed and numbered 34/50 in pencil (in the margin), coloured etching and aquatint on paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics Dimensions:sheet 62cm x 50cm (24 3/8in x 19 5/8in)
Lot 46
§ Gerald Leslie Brockhurst (British 1890-1978) Adolescence (Kathleen Nancy Woodward), 1932 (Fletcher 75) signed in pencil (in the margin lower right), from the unnumbered edition of 90, etching on wove paper Dimensions:plate 26.5cm x 37cm (10 1/2in x 14 3/4in); sheet 33.6cm x 45.6cm (131/4in x 17 7/8in), unframed Note: Adolescence is the most famous and virtuoso image of Brockhurst’s career and is widely considered a masterpiece of twentieth-century printmaking.Having shown early promise and commitment to his studies, Brockhurst enrolled at Birmingham School of Art aged just twelve years old. He later entered the Royal Academy Schools in London in 1907. Brockhurst’s trajectory to success was set early on, as in both schools he was awarded many of their highest accolades. After travel in France and Italy before the outbreak of World War One, followed by a five-year period spent living in Ireland, Brockhurst eventually re-settled in the English capital. Over the course of the 1920s he made his name in artistic circles, foremost as an outstanding printmaker at this point in time, while his reputation as a painter of extraordinary skill would come to fruition a decade later.Adolescence is rightly regarded as a significant artistic achievement. In 1924, Hugh Stokes encapsulated the artist’s technique as follows: ‘What…[Brockhurst]…is gradually attaining… is a soft and velvety richness of quality in which line disappears, although the form is based upon line.’ It is a startling process which results in a remarkable level of finesse. Brockhurst’s ability to convey such an extraordinary variety of texture and tone in Adolescence make it a prized work among collectors, as too does its period elegance and subtle sensuality.As with many of history’s great artworks, the backstory can add as much appeal for collectors as can the aesthetics of the image itself. Adolescence is one such example of this. Brockhurst had attracted scandal (with the added benefit of renown) due to his affair with Kathleen Woodward, a 16-year-old life model for whom he subsequently left his wife and former muse Anaïs Folin. In the manner of his friend Augustus John, Brockhurst re-christened Kathleen ‘Dorette’, and she came to feature in many of his most successful and notable portraits. In Adolescence, Dorette is depicted seated nude on her bed, assessing herself in a dressing-table mirror, lost in her interior world. It is an idealisation of young womanhood, a subject that preoccupied much of Brockhurst’s career, but it is also a study of nascent sexuality. It remains Brockhurst’s most overtly sensual image.
Lot 288
§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) Sewing on the Shadow III, 1992 (Rosenthal 96) signed and numbered 2/25 in pencil (in the margin), coloured etching and aquatint on Somerset paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics Dimensions:sheet 61.8cm x 50.5cm (24 3/8in x 19 7/8in)
Lot 100
A vintage mid 20th century Knights Templar commanders sword, by C.E.Ward Co New London. Gilt on white metal cross guard, pommel, and langet, the latter with red infilled enamel detail. Black japanned grip with inset white metal cross. 70cm blade, with etching to both sides, featuring crusades scenes, religious symbolism, and a memento mori skull. Makers mark etched to the ricasso. Complete with gilt on white metal scabbard, with 3 suspension rings, and moulded decorative bands along the length, some with red enamel infills. Some of the scabbard bands are marked ‘54’. Notes: the gold wash to the hilt and scabbard would indicate that the sword belonged to a commander. Total length in scabbard approximately 91.5cm. Condition: generally very good and solid. Some very minor service wear to the high points of the gilt finish, revealing the white base metal below. Minor red enamel losses in a couple of places, but overall these are not detrimental. Blade is clean and bright, with clear etching,
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71082 item(s)/page