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Lot 103
A Louis Icart dry point etching and aquatint, Joy of Life, signed in pencil, artist's blindstamp, badly foxed See illustration Condition report Report59.5 x 40 cm (visible image)Report by GHThis picture is framed. The image seems to be a little faded but mainly suffers from all over spotting and foxing See illustrations
Lot 214
Tom Maxwell (20th century) - River scenes with figures and buildings, signed artist's proofs, black and white etchings, each 7" x 12.5" (a pair); together with another etching by Henry G. Walker, an ancient gateway, three prints of heraldic coats of arms, inscribed and numbered, folios 3, 4, and 5 and a caricature entitled 'The Four Truths of the Kings Troop Royal Horse Artillery' with two photographs related to the regiment (9)
Lot 530
ROBERT SARGENT AUSTIN Hackney Carriages Etching Signed in the plate Plate size 15.5 x 19.5cm Together with one other etching inscribed to John Platt Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.
Lot 529
ROBERT SARGENT AUSTIN Salus Infirmorum Etching A gift to John G Platt from the artist Plate size 22 x 18.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.
Lot 528
JOHN E NICHOLLS The Sideshow Etching Signed Dated '25, inscribed and dedicated ''To Johnny from Nick'' Plate size 10 x 7.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.
Lot 525
JOHN G PLATT The Archway Etching Signed and inscribed Plate size 16.5 x 20.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.
Lot 909
Charles Cattermole 1832 - 1900 Pencil Signed by The Artist - Scarce Remarque Proof Etching of ' The Last Days of Whalley Abbey ' Abbot Paslew Being Led to Execution, March 10th 1537. Published by Luke. J. Walmstery, May 8th 1886. Mounted and Framed Behind Glass. Etching Size Only - 17 x 23 Inches. Labels to Obverse / Gallery.
Lot 401
JAMES JACQUES JOSEPH TISSOT (1836-1902)La Hamac (Wentworth 46)etching with drypoint, on wovepaperwith a printed signature and date (lower left margin)with margins (discoloured)Pl.10.9 x 7.2in (27.8 x 8in)The model depicted is said to be Kathleen Newton (1854-1882)Pl. 10.9 x 7.2in (27.8 x 8in)
Lot 406
Claire Alison Gavronsky (South African 1957-) RUN WITH THE HARE AND HUNT WITH THE HOUNDS softground etching, signed, dated 2011, inscribed with the title and numbered Workshop Proof II/II in pencil in the margin, impressed with the Tim's Print Studio chopmark sheet size: 46,5 by 61,5cm, unframed
Lot 22
Anon A COLLECTION OF CONTINENTAL SMALL SWORDS ♦ A late 1700s small sword with replacement horn handgrip and rusted triangular blade, blade length: 68cm ♦ Spanish Toledo-style replica sword with brass hilt guard and wire-bound handgrip which is loose, blade with a little rust, blade length: 81cm, blade point blunted ♦ Small sword in the style of those carried by diplomats with wire-bound handgrip and brass pommel in the shape of a visored plumed helmet, blade with etching, rust and discolouration to blade, blade length: 83cm ♦ Small sword similar to the 1796 British infantry officer's sword in design, blade etched, with rust marks and discolouration, blade length: 85cm, brass fittings to hilt and one side hinged. (4)
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