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Lot 280
Two pieces: 1. William Barnes (British, 1916-c.1990) Wells Cathedral from Market Cross watercolour, signed lower right 11¾ x 17½ in (29.8 x 44.5 cm), painted frame (47.5 x 62 cm) 2. Edward Sharland (1884-1967) 'King's College Chapel, Cambridge' coloured etching, signed and inscribed, 16¾ x 9¼ in (42.5 x 23.5 cm), plain ebonised frame.
Lot 542
George Soper RE (1870-1942) "The Quarry Team" (1920) Signed in pencil, black and white etching, together with two further signed etchings by the same artist "Autumn Ploughing" (1921) and "Timber Hauling Number 2", 19.5cm by 31cm, 18cm by 29.5cm and 19.5cm by 29.5cm respectively (3) a) The Quarry Team: Slight undulations, and low level creases throughout - see images in raking light. A couple of small lumps - faults in paper? Light timestaining/darkening of paper throughout, particularly at edges. A couple of foxing spots.b) Autumn Ploughing: Picture plane is pretty even. Timestaining and mottled brown patching particularly to the left side. Brown foxing spots throughout.c) Timber Hauling: Small bumpy undulations throughout - see images in raking light. Slight darkeing of paper with strong brown timestaining where in contact with mount. A few small brown spots around the nose of the 3rd horse from left.
Lot 580
William Lionel Wyllie RA RBA (1851-1931)"The Battle of Trafalgar"Signed in pencil, a black and white etching, together with two further signed etchings by the same hand of a similar subject matter, 19cm by 40cm, 17.5cm by 38cm and 17.5cm by 37cm respectively (3) (all unframed)1) Very slight undulations visible in raking light. One tiny pinprick indent with tiny brown mark top right corner. Possibly very slight darkening of paper and a few dark marks on the outer edge of the paper under mount bottom left corner. 2) Paper pretty flat and even. Tiny brown spot to the top right corner and one to the outer edge of the paper under the mount. Possibly very slight darkening of paper. 3). Very slight undualtions visible in raking light. One tiny brown spot to centre left sky, and a few dark marks at the edges of the sheet. Possibly very slight darkening of paper, particularly to top left corner under mount.
Lot 541
George Soper RE (1870-1942) Loading the cart in Winter Signed in pencil, black and white etching, together with two further black and white etchings by the same hand depicting a team of horses ploughing, 19.5cm by 32cm, 23cm by 34.5cm and 14cm by 24cm respectively (3) a) Pair Harrowing: Very slight undulations to the paper visible in raking light. Paper mottled yellowish throughout, particularly in the sky and around the horse. One lighter greyish patch in sky - possibly restoriation? A couple f darker brown spots.b)Loading Cart in Winter: Slightly bumpy paper/finescale undulations - see image in raking light. One small lump to the left of the post. Slight timestaining/darkening of paper, one yellow accretion in foreground.c) Cart being Pulled from Mud: Slight small scale undualtions to right and bottom edge and verticle 'wrinkling' to the centre of the sky - see image in raking light. One tight crease centre to edge - 1 inch long. Slight rubbing of paper in the foreground below the lead horse. Slight timestaining/darkening of paper particularly at the edges.
Lot 530
Arthur John Trevor Briscoe RE (1873-1943) "The Shadow of the Mainsail" Signed in pencil, black and white etching, together with a further signed black and white etching by George Soper "Landing Fish, St Ives", 16cm by 29.5cm and 18.5cm by 27cm respectively (2) a) The Shadow of the Mainsail: Undulations across image runing top to bottom. Yellow/brown timestaining around edges strongest where in contact wiht mount, slight darkening of paper throughout.b) Landing Fish, St Ives: Slighty bumpy/uneven picture plane. Slight darkening of paper with brown timestaining at the mount. A few minor foxing spots.
Lot 414
Attributed to Ludovico or Lodovico Carracci (Bologna, 1555-1619) - Study of Madonna with Child - A sepia etching or aquatint on paper of Madonna with child. Digned ' L. Carracci ' in pencil to bottom right. Label to back reading: Lod. Carracci delt. Mounted, unframed. The aquaforte measuring approx. 21.5cm x 15.5cm.
Lot 3317
Bedeutender Bidenhänder der Trabantengarde des Salzburger Fürsterzbischofes Markus Sittikus, um 1612 Zweischneidige geflammte Klinge mit abgeflachtem Mittelgrat. Im oberen Drittel beidseitige Zierätzung mit dem persönlichen Wappen des Fürsterzbischofs, darüber ungedeutete Schmiedemarke. Lange Fehlschärfe mit originaler Belederung, die zwei seitlichen Parierhaken jeweils gemarkt mit "Z.H." (Zeughaus), dem königlich bayerischen Wappen und der Jahreszahl 1849. Original geschwärzte Parierstange mit beidseitig doppelten Parierringen und Fingerbügeln. Beidseitig fein gravierter Rankendekor. Gestufte lederbezogene Hilze mit eiserner Zierbenagelung und Resten von Fransenaufputz. Geschwärzter, doppelt konischer Knauf. Länge 177 cm.Markus Sittikus von Hohenems (1574 - 1619) war von 1612 bis 1619 Fürsterzbischof des Erzstifts Salzburg. Die zu seinem Amtsantritt für seine Garde geschaffenen Bidenhänder sind vom Typus sehr unterschiedlich, weisen aber alle die identische Wappenätzung auf. Es wird daher heute davon ausgegangen, dass es sich um ältere, bereits im Salzburger Inventar vorhandene Schwerter handelt, die 1612 der Trabantengarde zugewiesen wurden.Die Inventarstempel auf den Parierhaken stammen von der Inventarisierung der Bestände des Zeughauses der Stadt München im Jahr 1849. Salzburg war 1810-16 von bayerischen Trupen unter Napoleon besetzt. Zu dieser Zeit wurde ein großer Teil der dortigen Zeughausbestände nach München überführt, wo er bis heute aufbewahrt wird. A distinguished two-handed sword from the trabant guard of Prince-Archbishop Markus Sittikus, Salzburg, circa 1612 A distinguished two-handed sword from the trabant guard of Prince-Archbishop Markus Sittikus, Salzburg, circa 1612The double-edged blade of flattened hexagonal section, with undulating edges. Decorative etching with the Prince-Archbishop's personal coat of arms on both sides of the upper third, above which an unidentified smith's mark. The long ricasso with the original leather cover, the two lateral guards both stamped "Z.H." (Zeughaus or armoury), the Royal Bavarian coat of arms and the year 1849. Original blackened quillons with large, double guard rings and finger rests on both sides. Both sides embellished with finely etched tendrils. Stepped, leather-covered grip with ornamental iron studs and remnants of decorative fringe. Blackened, double tapered pommel. Length 177 cm.Markus Sittikus von Hohenems (1574 - 1619) was Prince-Archbishop of the Archbishopric of Salzburg from 1612 to 1619. The two-handed swords that were designed for his guard to mark his inauguration are very different types but all etched with the identical coat of arms. It is therefore believed today that they were older swords that were already part of the Salzburg inventory when they were assigned to his trabant guard in 1612.The inventory stamps on the guards can be traced to the holdings of the armoury of the city of Munich in 1849. Salzburg was occupied by Bavarian troops under Napoleon from 1810 to 1816. At this time, a large part of the local arsenal stock was transferred to Munich, where it remains to this day.Condition: II +
Lot 1293
CHARLES FREDERICK TUNNICLIFFE (BRITISH, 1901-1979) (2)The New Rick signed and numbered in pencil 'C. F. Tunnicliffe 42/75' (in lower margin) etching 20 x 26cm together with another etching by the same hand, Carting Hay, signed and numbered in pencil 'C. F. Tunnicliffe 31/75' (in lower margin), 17.5 x 22.5cm (2) ARRCondition reportThe New Rick - The sheet is sound and the medium surface in good condition throughout. Framed and under glass, unexamined out of frame.Carting Hay - The sheet is sound; a few scattered spots of foxing in the sky, otherwise sound. Framed and under glass, unexamined out of frame.
Lot 206
* Gabbuggiani (Balthasar). Bases antiqui operis è candido marmore elegantissimè scilptae quae in Basilicâ proecipuâ sive Aulâ Regiâ Domûs Tiberiance in Palatio..., 1724, uncoloured etching of an architectural capital, occasional marginal closed tears, old folds, but not affecting the printed image, 460 x 590 mmQTY: (1)
Lot 238
* Van Heemskerck (Maarten). Seven allegorical engravings of Processions, from the series 'Circulus Vicissitudines rerum Humanorum' (The Vicissitudes of Human Life...,), Omnibus amissis post mille Pericula rebus..., Sustinet Impositum veluti virtute Camelus..., Invidia Bellimater occupant rhedam..., Auriga Mundi tempus..., Impia facta Fratrum macra Invidia..., David magnanimus fortem virtute Leonem..., [and] En pietate virum insignem virtute decorum Clemente Stephan?..., Coornhert, originally published in 1564 but these examples circa 1601, hand-coloured engravings with etching on laid after H. Cock, large margins, each approximately 210 x 255 mm, together with Halma (Francois). Naumachiae, Id Est Navalis Pugnae, Lucus Onuphrii Panvinii, Veronensis..., Rome 1699, uncoloured engraving, old folds, some water staining, 335 x 445 mmQTY: (8)NOTE:Maerten van Heemskerck or Marten Jacobsz Heemskerk van Veen was a Dutch portrait and religious painter, who spent most of his career in Haarlem. He was a pupil of Jan van Scorel and adopted his teacher's Italian-influenced style. He spent the years 1532–6 in Italy. He produced many designs which were subsequently engraved and is especially known for his depictions of the Wonders of the World. The second item depicts the re-enactment of a naval battle at the Colosseum, showing numerous ships and galleys engaged in mock combat. A 'Naumachiae' was a simulated naval engagement, often representing a classical Greek battle which inaugurated large festivals and tournaments at the Colosseum. This engraving was published in Francois Halma's De Aaloudheden van Rome. . ., an illustrated work on the ecclesiastical history of Rome. It was first published in 1699, but there is also a 1704 edition which has the page number 435 removed from the upper right corner.
Lot 31
Sébastian Leclerc, after Charles Lebrun – ‘Défaite de l'armée espagnole près de Bruges sous la Condivite de Marsin, Parles Trouppes Du Roy Louis XIV en Lannée 1667’, etching with engraving, sheet size 41.5cm x 58cm, together with twenty-three 18th century engravings and two 19th century lithographs.
Lot 21
Johann Theodor De Bry – ‘Regis & Reginae prodembulatio recreandi XXXIX animi gratia’ (Native American Chief Saturiwa), etching with engraving on laid paper, plate 39 from ‘Brevis Narratio eorum quae in florida Americae provi[n]cia Gallis acciderunt’, published circa 1591, sheet size 33cm x 24cm.
Lot 85
Margaret Dorothy Barker – ‘Woman in Garden’, early 20th century lithograph, signed in pencil recto, Liss Fine Art gallery labels verso, 18.5cm x 17cm, within an ebonized wood frame, together with an etching by Robert Sargent Austin, ‘Woman Giving Alms’ and a lithograph by William Rothenstein, ‘’Rodin in his Studio’.
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71174 item(s)/page