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Lot 140
The Record of the International Exhibition 1862, a leather and cloth bound volume, published by William Mackenzie, Glasgow, Edinburgh and London, M. MAETERLINCK; Hours of Gladness, illustrated by E.J. Detmold, published 1912 and a single volume inscribed "Modern Masters of Etching, SIR D.Y. CAMERON, published 1925, number 7 (3). CONDITION REPORT: We can confirm that there are 17 numbered and 10 un-numbered plates in Record of the International Exhibition.
Lot 103
Pablo Picasso (1881-1973) Deux Femmes Nues Dans un Arbre, 1931, Etching on Arches vellum paper, ""Pablo Picasso (1881-1973) Deux Femmes Nues Dans un Arbre, 1931, Etching on Arches vellum paper, Signed and numbered 1/100 in blue ink lower margin. Plate dimensions: h: 14.8 x w: 11.7 in. Sheet dimensions: h: 24.8 x w: 19 in. Starting Price: $8000
Lot 905
British Army 1847 Infantry Pattern Victorian Officer’s sword. A good example retailed through Maynard & Harris of London. Single edged unfullered, slightly curved blade decorated with a VR entwined cypher surmounted by Crown. Gilt metal hilt with crowned VR cypher, shagreen grip and copper twist wire binding. Housed in steel scabbard fitted with two loose rings. Etching remains clear. Gilt worn to base metal some service wear GC.
Lot 906
Victorian General Officer’s 1831 pattern Mameluke hilted sword A good example by Robert Mole & Sons Birmingham. The blade is etched with Crowned VR Cypher, General Officer’s device and floral decoration. Gilt cross guard with floral decoration with General Officer’s device to the centre. Two piece Ivorine grips with two floral head gilt studs (one absent). Housed in a brass scabbard, fitted with two loose rings. The etching to the blade is clear and clean. Overall GC ... Accompanied by gold bullion and crimson silk lined sword knot.
Lot 907
William IV Coldstream Guards Officer’s Sword. A scarce regimental example of the 1822 pattern Officer’s Sword. The narrow single edged piped back blade with an etched panel depicting the Regimental Garter Star and a WIVR entwined crowned cypher. The hilt of regulation pattern, the guard incorporating a Crowned WIVR cypher, the shagreen grip with twist wire binding. Housed in brass scabbard. The etching to the blade is clean and clear. The sword has been professionally restored to a high standard, the guard regilded. GC.
Lot 909
Victorian Coldstream Guards Levee Pattern Officer’s Sword by Wilkinson. A good and scarce regimental pattern. The blade etched with a Crowned VR cypher and bears Regimental Battle Honours the last being for the Crimea. To the forte cutlers details of Wilkinson and to the back of the blade the number 17356 (1871). The hilt with steel guard incorporating the Garter, the grip with shagreen cover and twist wire binding. Housed in correct narrow plated scabbard. GC etching clear clean condition.
Lot 490
Tennyson Petrina Edmond Hughina Green, (British, 20th Century), Through the Looking Glass - a self-portrait of the artist inscribed to the reverse "P Tennyson Green" and with title, oil on canvas, 50 x 40cm (20 x 16in). P Tennyson Green entered the Slade School in London in the early years of the First World War. She was a New Zealander of independent means and excelled in oils, watercolour and etching. She travelled widely in Britain and abroad, and her work was shown in London and the provinces and even as far afield as Canada, New Zealand and Austria by, for example, the Cambridge Drawing Society, the Royal Academy, New English Art Club, and Society of Graphic Artists. Tennyson Green provided eight Cambridge scenes, of which five are still unpublished, at the Victoria and Albert Museum, for a wartime project to record the country`s heritage
Lot 116
*Callot (Jacques). Siege de la Citadelle de St. Martin dans L’Isle de Re, n.d., late 19th century, large uncoloured etching on six sheets conjoined, overall size 1180 x 1355mm, with separate key plate, both framed and glazed. In 1627 an English armada under the command of George Villiers, The Duke of Buckingham attacked the Isle de Re in order to help relieve the siege of La Rochelle. After a three month campaign the Duke was forced to withdraw in defeat. This large and impressive etching celebrates this French victory. (2).
Lot 195
*Childs (G., late 18th/early 19th century). “Clifton”, after Samuel Jackson, hand coloured litho. published by O.C. Lane, 21.5 x 31cm (8.5 x 12in), together with another similar print titled “St. Vincents Rocks & Part of Clifton & The Hotwells”, the pair framed in matching period gilt frames with verre eglomise, plus. Hassell (John, 1767-1825). To the most Noble the Marquis of Worcester, this View of the City of Bristol is humbly Inscribed, aquatint etching, published T. Jones & J. Hassell, 1795, 27 x 34cm (10.5 x 13.in), and Baynes (Thomas Mann, 1794-1854). Piercefield Mansion and Park, Chepstow, lithograph after G. Eyre Brooks, printed by Day & Haghe, 18 x 32cm (7 x 12.5in), and a similar litho. by Baynes after Brooks titled “View from the Wynd Cliff”, 18 x 32cm (7 x 12.5in), and another similar sized lithograph depicting the Oxbow bend on the Wye at Piercefield Park, all framed & glazed (6).
Lot 209
*London. St. Paul’s from Festival Gardens, by Henry James Denham, (1893-?), watercolour, showing the River Thames with tugboat and dome of St. Paul’s Cathedral beyond, signed lower left, approx. 31.5 x 41cms (12.5 x 16ins), framed and glazed, with Wapping Group of Artists paper label to backboard, together with A View of St. Pauls Cathedral, London, by O. Summers, 1948, watercolour, signed and dated lower left, approx. 54 x 44cm (21.25 x 17.25ins), framed & glazed, plus Horse Guards Parade, by Frederick Farrell, (1882-1935), etching, signed in pencil and blindstamp to lower margin, plate size 25 x 35cm (10 x 14ins), framed and glazed (3).
Lot 227
Topographical engravings. T. Simpson & J.P. Thompson, pub. View in Glamorganshire, 1801, sepia aquatint, 12 x 17cm (4.75 x 6.75in), together with Hassell (John), View on the River Wye, pub. Thomas McLean, 1818, hand coloured aquatint after William Payne, 24 x 29cm (9.5 x 11.5in), and Ogborne (J.), View near Mount Edgecombe, pub. T.Simpson, 1798, hand coloured stipple engraving after William Payne, 19 x 23cm (7.5 x 9in), plus a group of four small aquatint views on one sheet after William Payne comprising Pembroke, Penzance, Monmouth and Cowes, plus other prints including William Daniell aquatints of Scotland, a signed etching of Tewkesbury by E. Willis Paige, etc., mostly framed & glazed (21).
Lot 416
PAUL ANDRÉ BASSET (1785-1819) AND OTHER ENGLISH AND FRENCH PUBLISHERS/PRINTERS AFTER AUGUSTE BLANCHARD (1792-1849) AND OTHER ARTISTS L~AMATEUR ANGLAIS A PARIS hand coloured etching and eleven other similar contemporary early 19th c satirical prints^ all hand coloured^ c37 x 24cm and smaller (12) ++All but one in similar gilt frames^ the other in maple frame ready to hang and highly decorative. Several prints with a few spots of treated foxing and minor creases but acceptable
Lot 403
Auguste Boulard (1852-1927), after Sir Lawrence Alma-Tadema`A Difference of Opinion`etching, signed by both artist and engraver, published 1897 by Arthur Tooth & Sonsunframed, 34 x 20 cm (13 1/4 x 8 in)together with `Hero awaiting the Return of Leander`, signed photogravure in colours, and `Roses, Love`s Delight`, unsigned, both unframed (3)
Lot 42
Roderic O`Conor (1860-1940)LA MAISON DU PENDU AU POULDU, BEACH WITH CLIFFS AND A YACHT, 1893 and DEUX FEMMES DE PROFIL DANS UN PAYSAGE (SET OF 3)etching; (2); lithograph; (1)the first, stamped within the image lower right; inscribed [1/30 / Tirage 81] in pencil in the margin lower right; the second, signed and dated in the plate; the third signed in the plate lower leftLandscaPortraite5.5 by 9in., 13.75 by 22.5cm.Deux Femmes de Profil dans un Paysage: Purchased by Mervyn & Pat Solomon, 1984La Maison du Pendu au Pouldu: Musée de Pont-Aven, 1984, catalogue no. 78 (another edition) (illustrated p.53)Deux Femmes de Profil dans un Paysage: L`École de Pont-Aven dans les Collections publiques et privées de Bretagne, Musée Des Beaux-Arts, Quimper, Rennes, Nantes, 1978-1979, catalogue no. 74 (illustrated); Musée de Pont-Aven, 1984, catalogue no. 84 (illustrated p.53); `Roderic O`Conor 1860-1940`, Barbican Art Gallery, London, Ulster Museum, Belfast, National Gallery of Ireland and Whitworth Art Gallery, Manchester, from September 1985 to May 1986 (all other editions)La Maison du Pendu au Pouldu:Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 102 (illustrated p.113); Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue no. 419, illustrated p.56Deux Femmes de Profil dans un Paysage:Jaworska, W., kregu Gauguina malarze szkoly Pont-Aven, Warsaw, 1969; English translation, Gauguin and the Pont-Aven School, Boston, 1972, p.224 (illustrated); Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 114 (illustrated p.113)The lithograph within this lot is one of only two examples known in this medium. It is thought to have been printed in 1898. Dimensions of Beach with Cliffs and a Yacht, 1893 and Deux Femmes de Profil dans un Paysage, 9.75 by 15.25 and 7.50 by 6.75ins., respectively.An edition of Deux Femmes de Profil dans un Paysage can be found in the collection of Musée Des Beaux-Arts, Quimper.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Lot 44
Roderic O`Conor (1860-1940)HOUSE ABOVE THE CLIFF, SUNLIGHT THROUGH THE CLOUDS and LE VERGER, c.1893 (SET OF 3)etching; (1) etching and drypoint; (2)the first with Barbican Art Gallery exhibition label on reverse; the second signed and dated in the plate lower right; inscribed [2/30/ Tirage 81] in pencil in the margin lower right; third signed in the plate lower leftLandscaPortraite10.5 by 13.25in., 26.25 by 33.125cm.(First) possibly, Hôtel Drouat Salle I, Paul Renard;The Collection of Mervyn & Pat Solomon(First) Pont Aven 1984 (another edition); London, 1985 (another edition)(Second) `L`estampe en Bretagne`, Musée des Beaux-Arts, Nantes, 1974, catalogue no. 145; Quimper, 1978, no. 72); Pont-Aven, 1984, no. 71; London, 1989, no. 0.7; Paris, 1989, no. 134 (other editions)Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue nos. 441 and 430, respectively (both illustrated p.55); Johnston Roy, Roderic O`Conor, catalogue de l`oeuvre grave, Musée de Pont-Aven, 1999, no. 15 (illustrated)Le Verger was conceived in 1893. The original plate for the present work was sold at Hôtel Drouot, 17 November 1975 (lot 172, no. 4). From that plate later re-strikes were made in 1981 by Paul Prouté S.A. in an edition of 100. Dimensions of second title: 10.50 by 13.25in.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Lot 851
John Bellany (b.1942) (ARR) `The Old Man of the Sea` Etching and pen, signed pencil, 36 x 58cm Footnote: An impression is in the Tate Gallery Collection, a limited edition of the series has been issued by the National Gallery of Scotland to coincide with the Bellany retrospective priced at £6,000 for 14 prints. The series was inspired by Ernest Hemingway Novel
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