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Lot 790
Anthony Imre Alexander Gross CBE RA (1905–1984) - 'Paysage du Lot', etching, signed in the plate, signed and titled in pencil, numbered 100/200, unframed but mounted, 24.5cm x 34.5cm, also two other etchings by the same hand depicting figures in a French landscape, dated 1932 and one other titled 'Toulouse'. (3)
Lot 367
After Isaac Robert Cruikshank (1789-1856) - 'Dandies Dressing', hand-coloured etching, pub. 1818 by Thomas Tegg, Cheapside, (25.5 x 35.5 cm). Hogarth frame ( 28 x 38.25 cm).* Condition: Not examined out of frame. Stain top right corner, moderate toning throughout, heavier toning to lower margin. Some spotting. Slightly faded. Near vertical crease just to left of centre, heavier to lower half of sheet.
Lot 404
Charles Chaplin (1907-1987) - 'Forest Glade', monochrome etching; titled, signed 'Chas Chaplin' and dated 1963 in the margin (19.5 x 27 cm). Verso - artist's name and address, title and price, and in another hand 'Purchased at Royal Academy Summer Exhibition 1963'. (Frame 41 x 53.5 cm)Cockling to sheet. Acidic mount. No spotting, mount burn or toning. Water stain to mount.
Lot 5070
Albert Speer - Stich von A. Schuricht 1944 sowie zwei Versicherungsscheine "Schopenhauer Strasse, Berlin", 1937 Ein Stich von Arthur Schuricht "Professor A. Speer", handschriftlich datiert "13.03.1944", Maße Blatt ca. 27 x 20 cm. Dazu zwei Versicherungsscheine der Basler Versicherungs-Gesellschaft, Direktion für das Deutsche Reich, Berlin. Ein Feuer-Schein Nr. 84232 für Herrn Prof. Albert Speer, Schlachtensee, Schopenhauer Strasse 31, Berlin, ausgestellt am 04.11.1937, mehrseitig. Dazu ein weiterer V-Schein "Hausrat, Brand-Einbruch usw. Nr. 007759", gleiche Anschrift und Ausstellungsdatum, mehrseitig.Provenienz: Aus Familienbesitz. Albert Speer- an etching by A. Schuricht 1944 and two insurance certificates "Schopenhauer Strasse, Berlin", 1937 Albert Speer- an etching by A. Schuricht 1944 and two insurance certificates "Schopenhauer Strasse, Berlin", 1937Ein Stich von Arthur Schuricht "Professor A. Speer", handschriftlich datiert "13.03.1944", Maße Blatt ca. 27 x 20 cm. Dazu zwei Versicherungsscheine der Basler Versicherungs-Gesellschaft, Direktion für das Deutsche Reich, Berlin. Ein Feuer-Schein Nr. 84232 für Herrn Prof. Albert Speer, Schlachtensee, Schopenhauer Strasse 31, Berlin, ausgestellt am 04.11.1937, mehrseitig. Dazu ein weiterer V-Schein "Hausrat, Brand-Einbruch usw. Nr. 007759", gleiche Anschrift und Ausstellungsdatum, mehrseitig.Provenance: Aus Familienbesitz.Condition: II
Lot 506
Mmlle Rhodon after Delacroix'Tigre Couche', etching printed by Salmon, Paris, 13 x 16.5cm; four further etchings/lithographs; and two cartes de visite, one with Delacroix standing and one seated (7) From the estate of the late Dr Simon Lee, formerly Associate Professor of the History of Art, Reading University
Lot 62
Adriaen van Ostade (1610-1685)The Two Gossips (Bartsch 40, Hollstein 40 iii/v), etching c.1648-54, partial watermark, 10 x 9cm; and one further - Peasant with his hand in his cloak, 8.5 x 5cm, unframed (2) Prov. The GossipsEx. Colln. E.V. Rouir (L. 2156a)Dr HerwexAndre-Jean Hachette (L. 132)Prov: With Elizabeth Harvey-Lee
Lot 25
Elyse Ashe Lord (1900-1971)'Kingfisher', etching with hand-colouring, signed in pencil and numbered 70/75 to the margin, 30 x 31cm; and one further by the same hand 'Reading', 28 x 25cm (2) Kingfisher – scattered areas of very light foxing. One or two light surface marks. Mount grubby and frame in state of disrepair with no glass.Reading – one or two light surface dots. Mount slightly grubby with thunderflies. Otherwise generally good.
Lot 5
Samuel & Nathaniel BuckSouth West Prospect of the City of Chester, hand-coloured etching, 24.5 x 71.5cm; and another, the North West Prospect of the University of Cambridge (2) Chester: Time stained and has slipped slightly within mount. A few minor spots of foxing.Cambridge: Heavily stained and foxed throughout.
Lot 30
Thomas William Daniell'Raje Gaut, The Principal Road up to Rotas Ghur, Bahar', plate no. V, etching with aquatint in colours, published by Robert Bowyer at the Historic Gallery, Pall Mall, 48.5 x 65cm; and one further similar - 'An Ancient Hindoo Temple in the Fort of Rotas, Bahar', plate no. XI (2) Both: Very minor discolouration to lower margins. Some very minor pale and tiny spots of foxing.
Lot 31
Thomas William Daniell'S.W. View of the Fakeers Rock in the River Ganges, near Sultanganj', plate no. IX, etching with aquatint in colours, published by Thomas Daniell; and one further similar - 'The Armenian Bridge, near St Thomas's Mount, Madras', plate no. X (2) 1st: Time stained / discoloration, with band of paler discoloration to margins from a previous mount. Foxing spot to the title tablet. Scattered small dark spots.2nd: Dark brown scuff type mark to the sky near upper margin. Possible margins obscured by mount. Some repaired tears to right side, lower right margin appears trimmed. Scattered small dark spots.
Lot 507
Frederick Villot after Delacroix'Cavalier', etching, 16 x 12cm; another - two figures at a square piano, 24 x 18cm; together with assorted further prints and lithographs to include portraits of the artist (X5) etc From the estate of the late Dr Simon Lee, formerly Associate Professor of the History of Art, Reading University
Lot 2
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE WEST OF IRELAND - 1928 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 12cm x 14.5cm (4.75in x 5.75in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 9
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ANAIS; YOLANDE (FLORENCE LAYZELL, MRS HENRY RUSHBURY); HEAD OF A GIRL - 1944 Etching, signed in pencil to marginYOLANDE, Etching, signed in plate, signed in pencil to marginHEAD OF A GIRL, Lithograph, signed with initials in print, signed and dated in pencil Dimensions:plate sizes 14cm x 11cm (5.5in x 4.25in); 11.5cm x 8.5cm (4.5in x 3.5in) 29.5cm x 22cm (11.5in x 8.75in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 13
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) MEDITATION Signed lower left, conté and charcoal Dimensions:32.5cm x 26cm (12.75in x 10.25in) Provenance:Provenance: Private British collection Note: Exhibited: Sheffield City Art Galleries, 'A Dream of Fair Women,' 13 December - 1 February 1987, cat. no. 55. Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 8
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) UNA - 1929 Etching, signed in pencil to margin Dimensions:plate size 22cm x 16cm (8.75in x 6.25in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 21
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) YOUNG WOMANHOOD - 1931 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23cm x 17.5cm (9in x 7in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 1
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) CYPRIANO - 1927 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 16cm x 9.25cm (6.25in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 25
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: THE BLACK CLOAK (MRS PAUL MELLON) - 1943; PHEMIE; AGLAIA Etching, signed and dated in plate, signed in pencil to marginPHEMIE, Etching, signed in plate, signed in pencil to marginAGLAIA, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 25cm x 20cm (10in x 8in); 10cm x 7.5cm (4in x 3in); 12.5cm x 9cm (5in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 20
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) PORTRAIT OF JAMES MCBEY - 1931 Etching, signed, dated and inscribed in plate, signed in pencil to margin Dimensions:plate size 27cm x 19cm (10.5in x 7.5in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 24
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE BLACK SILK DRESS - 1927 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 22cm x 15.5cm (8.75in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 3
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE MIRROR Etching, signed in plate, signed in pencil to margin Dimensions:plate size 14.25cm x 10cm (5.5in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 11
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: IN THE WOODS; THE THREE SISTERS; NOEMIE Etching, signed in plate, signed in pencil to marginTHE THREE SISTERS, Etching, signed in plate, signed in pencil to marginNOEMIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 12.5cm x 15cm (5in x 6in); 10cm x 12.5cm (4in x 5in); 18cm x 10.5cm (7.25in x 4.25in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 4
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) VIBA - 1929 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 21.5cm x 17cm (8.5in x 6.75in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 7
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: FABIAN (THE IDEAL HEAD); CASPER - 1933; FABIAN; CLYTIE Etching, signed in plate, signed in pencil to marginCASPER, Etching, signed with initials in plate, signed in pencil to marginCLYTIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 19.75cm x 14.5cm (7.75in x 5.75in), 17cm x 12.5cm (6.75in x 5in), 12cm x 10cm (4.75in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 26
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: THE DANCER - 1925; BY THE WINDOW; A MOUNTAIN MAN Etching, signed and dated in plate, signed in pencil to marginBY THE WINDOW, Etching, signed in plate, signed in pencil to marginA MOUNTAIN MAN, Woodcut, signed with monogram in print, signed in pencil to margin Dimensions:plate sizes 24cm x 14cm (9.5in x 5.5in); 14cm x 10cm (5.5in x 4in); 12.5cm x 10cm (5in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 16
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: DEUX LANDAISES (EVENING) - 1923; XENIA; THE TWO MELISANDES - 1927 Etching, signed in plate, signed in pencil to marginXENIA, Etching, signed in plate, signed in pencil to marginTHE TWO MELISANDES, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 20cm x 15cm (7.75in x 6in); 20cm x 15.5cm (8in x 6in); 15.5cm x 8.5cm (6in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 10
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) DORETTE - 1932 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23.25cm x 18.5in (9.25in x 7.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 6
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: LA BASQUAISE; GENEVIEVE; BY THE BIDASSOA Etching, signed in plate, signed in pencil to marginGENEVIEVE, Etching, signed in plate, signed in pencil to marginBY THE BIDASSOA, Etching, signed in pencil to margin Dimensions:plate sizes 11cm x 9cm (4.25in x 3.5in); 20.5cm x 15cm (8in x 6in); 20cm x 14cm (7.75in x 5.5in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 15
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ALMINA -1924; LE CASAQUIN DE LAINE; THE BLACK SILK DRESS Etching, signed in pencil to marginLE CASAQUIN DE LAINE, Etching, signed twice in plate, signed in pencil to marginTHE BLACK SILK DRESS, Lithograph, signed and dated in plate with printer's stamps to margin, signed in pencil to margin Dimensions:plate sizes 18cm x 13.5cm (7in x 5.25in); 20cm x 14.5cm (8in x 5.75in); 23cm x 16cm (9in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 23
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) OLIVER ST. JOHN GOGARTY Etching, signed in plate, signed in pencil to margin Dimensions:plate size 17.75cm x 14cm (7in x 5.5in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 229
* Wyllie (William Lionel, 1851-1931). Sugar Boats, Greenwich Reach, etching with drypoint on thick cream wove paper, signed in pencil to lower left, plate size 325 x 125 mm (13 x 5 ins), sheet size 190 x 380 mm (7 1/2 x 15 ins), hinge-mounted, together with Barges on the Thames before Southwark Bridge, etching with drypoint, on wove paper, printed with plate tone, a clear and vivid impression, signed lower left, wide margins, plate size 123 x 325 mm (4.9 x 12.75 ins), sheet size 195 x 355 mm (7 1/2 x 14 ins), hinge-mountedQTY: (2)
Lot 262
AR * Pasmore (Victor, 1908-1998). Untitled (from IAA Portfolio), printed at Burleighfield House, Loudwater, published by the United Kingdom National Committee for the International Association of Art, etching with aquatint, limited edition '42/75', monogrammed in pencil to lower right and dated '75', plate size 25.2 x 37.5 cm (9 7/8 x 14 3/4 ins), framed and glazed (51.5 x 71.5 cm)QTY: (1)NOTE:Pasmore was a British artist who pioneered the development of abstract art in Britain in the 1940s and 1950s.
Lot 240
AR * Brockhurst (Gerald Leslie, 1890-1978). Nadia, 1921, etching on laid paper, from the published edition of 55 proofs, signed in pencil, with full margins, additionally inscribed in pencil in a different hand 'Nadia, prf'd state, S.9929', outer blank margins with some handling marks (probably by the printer or artist), laid down (margins adhered) to later card, sheet size 204 x 168 mm (8 x 6 5/8 ins), window mounted, framed and glazed (40.5 x 33.5 cm), verso with printed label of P. & D. Colnaghi & Co. Ltd, London, with added manuscript details of the workQTY: (1)NOTE:Wright 26, x/x.
Lot 274
* Lloyd (Reginald J., 1926-2020). Screen Series, Etching 4 & Etching 10, 1996, etchings, both signed and dated 1996 lower right, numbered 6/20 lower left, titled on verso in ink, 15 x 19 cm (6 x 7 3/4 ins), both with studio stamp to verso, framed and glazed (40 x 44 cm), together withSun Valley, 1996, aquatint, artist proof, signed and dated lower right, 11 x 12.5 cm (4 3/8 x 4 7/8 ins), framed and glazed (38 x 29 cm) QTY: (3)NOTE:Sun Valley exhibited at Burton Art Gallery, Bideford, Devon, 1996, no. 144.
Lot 270
AR * Moore (Henry, 1898-1987). Seated Woman, 1979, etching with aquatint on handmade cream wove paper, printed by Michael Rand, published by Raymond Spencer for the Henry Moore Foundation, in an edition of fifty impressions, signed and numbered in pencil 44/50, plate size 225 x 165 mm (8 7/8 x 6 1/2 ins), sheet size 425 x 320 mm (16 3/4 x 12 1/2 ins), corner-mounted to backing cardQTY: (1)NOTE:Cramer 520.
Lot 14
* Lasinio (Conte Carlo, 1759-1838). The Rod of Aaron and the Brazen Serpent, after Benozzo Gozzoli (1420-1497), hand coloured etching with gouache and watercolour on thick paper, laid onto board, 'La Verga D'Aronne, e il Serpente di Bronzo / La Verge D'Aaron, et le Serpent D'Airain' in gold lettering to lower margin, sheet size 54.3 x 85.7 cm (20 3/8 x 33 3/4 ins), mounted (67.6 x 101.6 cm)QTY: (1)NOTE:This engraving is from Pitture a Fresco del Campo Santo di Pisa..., published in Florence in 1812, plate number 21.
Lot 264
AR * Dali (Salvador, 1904-1989). Le Cosmonaute from The Hippies Suite, 1969-70, hand coloured etching on Arches paper, limited edition '79/145' in pencil to lower left, signed in pencil to lower right, embossed signature on paper, some overall toning, sheet size 64 x 44.3 cm (25 1/8 x 17 3/8 ins)QTY: (1)NOTE:Michele & Lopsinger 380b.
Lot 242
AR * Brockhurst (Gerald Leslie, 1890-1978). By the Window, 1922, etching on laid paper, from the published edition of 76 proofs, signed in pencil, with full margins, additionally inscribed in pencil in a different hand 'By the Window S.11126', outer blank margins with some handling marks (probably by the printer or artist), single pale foxing spot to right blank margin, laid down (margins adhered) to later card, sheet size 204 x 169 mm (8 x 6 5/8 ins), window mounted, framed and glazed (40.5 x 32.5 cm), verso with printed label of P. & D. Colnaghi & Co. Ltd, London, with added manuscript details of the workQTY: (1)NOTE:Wright 31, ix/ix.
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