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Lot 1
ARCHIPENKO, ALEXANDER1887 Kiew - 1964 New YorkTitel: Zwei Figuren. Datierung: 1949. Technik: Tusche auf leichtem KartonMaße: 57,5 x 35,5cm.Bezeichnung: Signiert und bezeichnet unterhalb der Darstellung links: Archipenko N.Y. Bezeichnet verso: No 5, By Archipenko, New York 1949, Drawing in Indian Ink (Tusche-Zeichnung), 73. Provenienz:- Privatsammlung HessenLiteratur:- Archipenko, Alexander: Archipenko - Fifty Creative Years 1908-1958, New York 1960, Abb.-Nr. 251 (hier mit abweichender Datierung: 1950). Erläuterungen zum KatalogAlexander Archipenko USA Kubismus Bauhaus Moderne Kunst Unikate 1940er Figur / Figuren Papierarbeit Tusche Frau ARCHIPENKO, ALEXANDER1887 Kiev - 1964 New YorkTitel: Zwei Figuren. Date: 1949. Technique: India ink. thin cardMeasurement: 57,5 x 35,5cm.Notation: Signed and inscribed below the depiction left: Archipenko N.Y. Inscribed verso: No 5, By Archipenko, New York 1949, Drawing in Indian Ink (Tusche-Zeichnung), 73. Provenance:- Private collection Hesse Literature:- Archipenko, Alexander: Archipenko - Fifty Creative Years 1908-1958, New York 1960, ill.-no. 251 (here with different date: 1950). Explanations to the Catalogue
Lot 39
KIRCHNER, ERNST LUDWIG1880 Aschaffenburg - 1938 Frauenkirch/DavosTitel: Straßenszene am Abend. Datierung: Um 1914. Technik: Braune und schwarze Tusche über Grafitzeichnung auf Skizzenbuchblatt. Darstellungsmaß: 20,5 x 16cm. Bezeichnung: Nachlassstempel des Künstlers. Rahmen/Sockel: Modellrahmen. Provenienz: - Galerie Nierendorf, Berlin- Wolfgang Wittrock Kunsthandel, Berlin- Sammlung Prof. Dr. Thomas Olbricht, EssenAusstellungen:- Brücke-Museum, Berlin 1972, Nr. 22- Galerie Aurel Scheibler, Berlin 2013Literatur:- Das Kunstblatt, Sonderheft E. L. Kirchner, hrsg. von Paul Westheim, Potsdam 1923, Heft 3, S. 65-79- Magdalena M. Moeller: Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, München 1993, Abb. Nr. 25- Gerd Presler: Ernst Ludwig Kirchner. Die Skizzenbücher, "Ekstase des ersten Sehens", Karlsruhe/Davos 1996, S. 231Dieses Blatt mit Rotschnitt und abgerundeten Ecken entnahm der Künstler 1913 seinem Skizzenbuch mit der Nummer 37. Kirchner hat bald danach die Bleistiftzeichnung mit brauner uind schwarzer Tusche überarbeitet und weitergeführt. So entstand ein eigenständiges, von seinem Entstehungsort im Skizzenbuch unabhängiges Werk, das nach Kirchners Tod 1938 bei der Katalogisierung seines Nachlasses im Kunstmuseum Basel als Einzelstück einen Nachlassstempel und eine Nachlassnummer erhielt. Die Straßenszenen, die Kirchner zwischen 1912 und 1914 schuf, zählen heute zu den Höhepunkten seines Schaffens. Magdalena M. Moeller schrieb: "Mit seinen "Straßenszenen" ist Kirchner der erste deutsche Maler des modernen Lebens." Dieses Blatt nimmt - das mag der Grund sein für Kirchners Weiterbearbeitung - den nervösen, hektischen Rhythmus der Metropole auf in den hart gesetzten Tuschfederschraffuren des Mittelgrundes. Im Kontrast dazu füllen die mit einem Tuschpinsel aufgetragenen Flächen den Hintergrund.Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Unterstützung. Erläuterungen zum KatalogErnst Ludwig Kirchner Deutschland Expressionismus Die Brücke Moderne Kunst Unikate 1910er Straßenszene Papierarbeit Mischtechnik Figur / Figuren KIRCHNER, ERNST LUDWIG1880 Aschaffenburg - 1938 Frauenkirch/DavosTitle: Straßenszene am Abend. Date: Ca. 1914. Technique: Brown and black India Ink on graphite drawing on Sketchpad sheet. Depiction Size: 20,5 x 16cm. Notation: Estate stamp of the artist. Frame/Pedestal: Craftman's frame. Provenance: - Galerie Nierendorf, Berlin- Wolfgang Wittrock art dealer, Berlin- Collection Prof. Dr. Thomas Olbricht, EssenExhibition:- Brücke-Museum, Berlin 1972, number 22- Galerie Aurel Scheibler, Berlin 2013Literature:- Das Kunstblatt, Sonderheft E. L. Kirchner, published by Paul Westheim, Potsdam 1923, Issue 3, p. 65-79- Magdalena M. Moeller: Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, Munich 1993, ill. number 25- Gerd Presler: Ernst Ludwig Kirchner. Die Skizzenbücher, "Ekstase des ersten Sehens", Karlsruhe/Davos 1996, p. 231The artist took this sheet with red edges and rounded corners 1913 from his sketch book with the number 37. Kirchner soon thereafter worked over the pencil drawing with brown and black India ink and followed on. A stand alone work, independent from its sketchbook creation, was thus created. After Kirchner's death in 1938 it received, as a unique piece, an estate stamp and estate number, after cataloguing of his estate at Kunstmuseum Basel.We thank Prof. Dr. Dr. Gerd Presler for the kind support. Explanations to the Catalogue
Lot 505
BOURGEOIS, LOUISE1911 Paris - 2010 New YorkTitel: The Good Mother. Untertitel: 6-teilige Serie. Datierung: 2007. Technik: Jeweils: Pinkfarbene Tuschpinselzeichnung auf leichtem Karton. Maße: 24 x 20cm. Bezeichnung: Monogrammiert unten rechts: LB. Verso zweifach nummeriert von fremder Hand von 1 bis 6 sowie BOUR-14061.01 bis 06. Rahmen/Sockel: Einzeln gerahmt (Kastenrahmen). Zu dem Werk liegt ein Zertifikat der Galerie Karsten Greve, Köln, vom 14. April 2010 in Kopie vor. Provenienz: - Galerie Karsten Greve, Köln (Aufkleber)Louise Bourgeois setzt sich in ihrem einzigartigen Oeuvre mit dem weiblichen Körper auseinander und dabei häufig mit dem Thema Mutterschaft. Das Motiv der Spinne taucht in diesem Zusammenhang als Symbol der beschützenden Mutter in ihrem Werk auf. Denn einer Spinne gleich, verwebte die Mutter der Künstlerin, eine gelernte Weberin, Fäden zu Teppichen. Auch Bourgeois half in der Werkstatt der Eltern bei der Restaurierung von Tapisserien. Die junge Louise zeichnete Vorlagen für fehlende Teppichstücke und fand so früh zur Zeichnung als darstellendes Mittel. Neben ihren bahnbrechenden Installationen und Skulpturen entstanden daher immer auch feine Zeichnungen. Der Webfaden könnte metaphorisch also auch für eine Linie stehen. Bourgeois' Verhältnis zum Vater war geprägt vom Ringen um Anerkennung und von Ablehnung, da er ihre Mutter im eigenen Haus betrog. Zur Mutter wiederum verband sie eine innige Beziehung. Die Künstlerin umsorgte und pflegte die kränkliche Frau.Auf dem hier vorgestellten 6-teiligen Werk gelingt es der Künstlerin in wenigen Pinselstrichen das Verhältnis von Mutter und Kind in all seiner Emotionalität und Komplexität darzustellen. Brüste und Bauch definieren dabei den weiblich-gerundeten Körper einer Mutter. Die Brüste stehen für Nahrung und Wärme, der Bauch als Quelle des Lebens für den Schutzraum. In einigen der Zeichnungen hält die Mutterfigur die Arme über das Kind ausgebreitet und bietet ihm so ebenfalls Schutz, einem Dach gleich, unter welchem der Sprössling Zuflucht findet. Das Kind ist dabei stets der Mutter zugewandt oder ist direkt mit ihr verbunden. In einigen der Darstellungen scheint es sogar freudig neben der Mutter emporzuspringen. Die Farbe Pink taucht die Szenerien darüber hinaus in ein warmes Ambiente und unterstreicht die durch Zuneigung, aber auch Abhängigkeit geprägte Verbindung.Das Werk entstand 2007, drei Jahre vor dem Tod der Künstlerin, als sie im hohen Alter von 96 Jahren das Mutter-Kind-Verhältnis noch einmal reflektierte. Der Titel "The Good Mother" zeigt wie positiv und prägend die Beziehung der Künstlerin zu ihrer Mutter war und wie sie selbst diese Rolle gegenüber ihren beiden Söhnen auszufüllen versuchte. Erläuterungen zum KatalogLouise Bourgeois Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Tusche Mutter und Kind BOURGEOIS, LOUISE1911 Paris - 2010 New YorkTitle: The Good Mother. Subtitle: 6-part series. Date: 2007. Technique: Each: pink India ink brush drawing on thin card. Measurement: 24 x 20cm. Notation: Monogrammed lower right: LB. Verso numbered twice by a hand other than that of the artist from 1 to 6 as well as BOUR-14061.01 to 06. Frame/Pedestal: Framed individually (cabinet frame). For this work a certificate from Galerie Karsten Greve, Cologne, dated 14 April 2010 is available.Provenance: - Galerie Karsten Greve, Cologne (label). Explanations to the Catalogue
Lot 85
WOLS (ALFRED OTTO WOLFGANG SCHULZE)1913 Berlin - 1951 ParisTitel: "La Foule". Datierung: 1943. Technik: Aquarell über Tuschfederzeichnung und Deckweiß auf Velin. Maße: 18,5 x 13cm. Bezeichnung: Signiert unten rechts: WOLS. Von Grety Wols bezeichnet, betitelt und datiert verso: No 1020 "La Foule" (13 x 18) 1943 (faite á Dieulefit (Drôme). Rahmen/Sockel: Rahmen. Zu diesem Werk liegt eine Expertise von Dr. Ewald Rathke, Frankfurt a.M., vom 13. September 1998 in Kopie vor. Wir danken Herrn Dr. Ewald Rathke für die freundliche wissenschaftliche Unterstützung.Provenienz:- Betty Barman, Brüssel- Harry Torczyner, New York- Sammlung Prof. Dr. Thomas Olbricht, EssenAusstellungen:- Musée d'Ixelles, 1961- Kunsthaus Zürich, 1990- Kunstsammlung Nordrhein-Westfalen, Düsseldorf 1990Literatur:- Ausst.-Kat.: L'Ecole de Paris dans les collections belges, Musée d'Ixelles 1961, Kat.-Nr. 157Obwohl zu Lebzeiten beinahe unentdeckt, ist Wols während seiner kurzen Schaffenszeit von nur knapp zwei Jahrzehnten einer der bedeutendsten Wegbereiter der expressiven Abstraktion nach 1945 in Europa und ein wichtiger Vertreter von Tachismus und Informel. Inspirationen für seine poetischen wie explosiven Werke findet er bei den Surrealisten und Bauhaus-Meistern. Bekannt ist der Künstler vor allem durch seine Aquarelle und Grafiken, denen er sich ab 1939 insbesondere widmet. Zunächst gestaltet er mittels feiner Linien und spinnenhaften Kratzspuren wie von selbst gewachsene, fantastische Fabelwesen und surrealistische Traumgespinste, die der Dingwelt noch verbunden sind. Dann beginnt er, die geschlossenen Gegenstandsformen zu öffnen und zunehmend aufzulösen. Im Vorantreiben der Autonomisierung der Linie von einem bestimmten Motiv gelangt er schließlich zu völlig abstrakten und ambivalenten Formen. Dabei integriert er ganz bewusst den Zufall als Gestaltungsmittel in seine Kompositionen, um Gedanken, Improvisationen und psychische Regungen im Bild festzuhalten. Aus dieser Spontaneität heraus schafft Wols mehrdeutige, (alp)traumhafte Vexierbilder, die zu immer neuen Assoziationen anregen - auch zur Realität. So können etwa Steine scheinbar lebendig werden, Augen aus üppigen Pflanzen blicken, Würmer menschliche Formen annehmen oder Tiere sich aus Wurzelwerk bilden. Erläuterungen zum KatalogWOLS (Alfred Otto Wolfgang Schulze) Deutschland Nouvelle École de Paris Tachismus Nachkriegskunst Unikate 1940er Abstrakt Papierarbeit Mischtechnik Figur / Figuren WOLS (ALFRED OTTO WOLFGANG SCHULZE)1913 Berlin - 1951 ParisTitle: "La Foule". Date: 1943. Technique: Watercolour over India ink pen drawing and opaque white on vellum. Measurement: 18,5 x 13cm. Notation: Signed lower right: WOLS. Inscribed, titled and dated by Grety Wols verso: No 1020 "La Foule" (13 x 18) 1943 (faite á Dieulefit (Drôme). Frame/Pedestal: Framed. A certificate by Dr. Ewald Rathke, Frankfurt a.M., dated 13 September 1998 of this work is available as a copy. We thank Dr. Ewald Rathke for his kind scientific support.Provenance:- Betty Barman, Brussels- Harry Torczyner, New York- Collection Prof. Dr. Thomas Olbricht, EssenExhibitions:- Musée d'Ixelles, 1961- Kunsthaus Zurich, 1990- Kunstsammlung North Rhine-Westphalia, Düsseldorf 1990Literature:- Exhib. cat.: L'Ecole de Paris dans les collections belges, Musée d'Ixelles 1961, cat.no. 157. Explanations to the Catalogue
Lot 110
Titled "Beach Cliffs", watercolor, signed lower right. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 14 1/2 x 16 1/2 in. Sight size: 7 x 9 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Lot 125
Opera House of Central City, Colorado, charcoal on paper, signed lower right. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 20 1/2 x 16 in. Sight size: 13 x 9 in. Please note that all sales are final. No refunds will be given under any circumstances.
Lot 126
Titled "Long's Peak", watercolor, signed lower left. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 16 x 19 in. Sight size: 9 x 13 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Lot 127
Watercolor sketch of windswept trees in mountainous landscape, signed lower right and dated 1940. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 15 1/2 x 13 in. Sight size: 8 x 6 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Lot 349
(See English version below)Ernst Ludwig Kirchner (Aschaffenburg 1880 – 1938 Davos). „Ballspielende Akte“. Um 1932Kreide auf Papier. 44 × 36 cm ( 17 ⅜ × 14 ⅛ in.). Unten rechts unleserlich mit Bleistift beschriftet. Rückseitig unten links mit Tuschfeder beschriftet: KSMT.Die Zeichnung ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern, dokumentiert. [3029] Provenienz: Christian Laely, Davos/Paris (sog. Sammlung Frau und Herr Dr. Gervais, Zürich; 1938) / Privatsammlung, Frankfurt a. M. (erworben 1973 in der Kunsthandlung Karl Vonderbank, Frankfurt a. M., seitdem in Familienbesitz)Wir berechnen auf den Hammerpreis 30% Aufgeld.Ernst Ludwig Kirchner (Aschaffenburg 1880 – 1938 Davos). ”Ballspielende Akte”. Circa 1932Chalk on paper. 44 × 36 cm ( 17 ⅜ × 14 ⅛ in.). Lower right illegibly inscribed in pencil. On the reverse lower left inscribed with pen and India ink: KSMT.The drawing is documented in the Ernst Ludwig Kirchner archive, Wichtrach/Bern. [3029] Provenance: Christian Laely, Davos/Paris (so-called collection woman and Herr Dr. Gervais, Zurich; 1938) / Private Collection, Frankfurt a. M. (acquired 1973 at the art dealership Karl Vonderbank, Frankfurt a. M., thence by descent to the present owner)We charge 30% premium on the hammerprice.
Lot 353
(See English version below)Erich Heckel (Döbeln 1883 – 1970 Radolfzell am Bodensee). „Nähende“ (Siddi Heckel). 1922Rohrfeder in Tusche auf Papier. 53,7 × 44,2 cm ( 21 ⅛ × 17 ⅜ in.). Unten links mit Bleistift betitelt: Nähende. Unten rechts signiert und datiert: Erich Heckel 1922.Die Zeichnung ist registriert im Archiv der Erich-Heckel-Stiftung, Hemmenhofen. [3380] Gerahmt. Wir berechnen auf den Hammerpreis 30% Aufgeld.Erich Heckel (Döbeln 1883 – 1970 Radolfzell on Lake Constance). ”Nähende” (Siddi Heckel). 1922Reed pen in India ink on paper. 53,7 × 44,2 cm ( 21 ⅛ × 17 ⅜ in.). Titled in pencil lower left: Nähende. Signed and dated lower right: Erich Heckel 1922.The drawing is recorded in the archive of the Erich-Heckel-Stiftung, Hemmenhofen. [3380] Framed. We charge 30% premium on the hammerprice.
Lot 435
(See English version below)Jean Cocteau (Maisons-Lafitte 1889 – 1963 Milly-la-Fôret). „Autour des Chevaliers de la Table Ronde“. 1937Tuschpinsel und Bleistift auf Papier, ausgeschnitten. 46,3 × 31 cm ( 18 ¼ × 12 ¼ in.). In der Darstellung signiert, gewidmet, bezeichnet und datiert: Souvenir de Jean Cocteau à Iovka Hadji Paris mai 1937.Mit einer Expertise von Annie Guedras, Paris, vom 28. November 1995. Die Zeichnung ist unter der Nummer 3032 D in ihrem Archiv registriert. [3395] Gerahmt. Wir berechnen auf den Hammerpreis 30% Aufgeld.Jean Cocteau (Maisons-Lafitte 1889 – 1963 Milly-la-Fôret). ”Autour des Chevaliers de la Table Ronde”. 1937Brush and India ink and pencil on paper, cut out. 46,3 × 31 cm ( 18 ¼ × 12 ¼ in.). Signed, dedicated, inscribed and dated within the image: Souvenir de Jean Cocteau à Iovka Hadji Paris May 1937.Accompanied by a certificate by Annie Guedras, Paris, dated 28 November 1995. The drawing is registered in her archive as number 3032 D. [3395] Framed. We charge 30% premium on the hammerprice.
Lot 478
(See English version below)Asger Jorn (Vejrum 1914 – 1973 Aarhus). Ohne Titel. Um 1950/51Tuschpinsel und -feder auf Papier. 40 × 49,7 cm ( 15 ¾ × 19 ⅝ in.). Unten mittig signiert: Jorn.Die Zeichnung ist registriert im Archiv des Museum Jorn, Silkeborg. [3366] Gerahmt. Provenienz: Ehemals Robert Dahlmann-Olsen, KopenhagenWir berechnen auf den Hammerpreis 30% Aufgeld.Asger Jorn (Vejrum 1914 – 1973 Aarhus). Untitled. Circa 1950/51Brush and pen and India ink on paper. 40 × 49,7 cm ( 15 ¾ × 19 ⅝ in.). Signed in the lower centre: Jorn.The drawing is recorded in the archive of the Museum Jorn, Silkeborg. [3366] Framed. Provenance: Formerly Robert Dahlmann-Olsen, CopenhagenWe charge 30% premium on the hammerprice.
Lot 1104
The important Harry R Attwood Brooklands and pre WWII racing archive. Harry Attwood was part of the Attwood racing drivers and garage proprietor dynasty from the West Midlands. He was also the father of Richard (Dickie) Attwood, Grand Prix competitor and winner of the 1970 24 Hours of Le Mans race, driving the Porsche 917. Harry’s archive comprises his pre WWII BRDC member’s badge, which would have adorned his Supercharged MG, official Brooklands race cards, telegraphs of good wishes at Brooklands, British Racing Driver’s Club correspondence, insurance waiver, entry brochure with regulations for the 1933 Tourist Trophy Meeting, Ards, numerous press cuttings, an original pen and ink drawing by Roth, of The London Evening News featuring a portrait of Harry and an MGA Roadster (framed), another similar of MG interest (framed), and a silver trophy cup with the ACE Motor Club Coventry enamel insignia, awarded to Harry for the Copsall Speed Trials, July 9th 1927
Lot 4068
A mid-Victorian lady's drawing-room friendship album, the property of and compiled by/& for Jenny Townsend [? of Attleborough House] from 2nd September 1862, gilt-illuminated and hand-scrivened vellum title-page: Album, within a Gothic architectural frame, eclectically illustrated and inscribed with a herbarium page with a pressed and dried marine botanical specimen, two b/w photographs of Attleborough From breakfast room and View from Hall door onto the garden with seated figures, photographic prints of European topography, well-executed watercolours and pencil drawings of still lives of flowers, portraits, topography, and typical genre subjects, a few earlier engravings, original verse, prose, and sentiments in ink MS, corresponding selections from literature, some sincere wishes of Townsend relations and friends, some stiff card leaves elaborately embossed as frames and enclosing tipped-in original art work (some in miniature) and parlour games & related ephemera, the majority of leaves colour paper, etc., contemporary blue roan gilt (rubbed), all-edges gilt, foliate endpapers, 4to, (1); another, probably the same owner as the last, partially-filled, including 3 herbarium leaves of dried and preserved botanical specimens, etc., finely bound in green morocco, each cover embossed with a scrolling foliate frame and enclosing gilt-blocked anthemions, within gilt dogtooth and fillet borders, gilt-lettered spine, all-edges gilt, foliate, endpapers, 4to, (1); another similar, Lilly Borton, 1853, with tipped-in printed and cut-card Christmas and greetings cards, contemporary leather, elaborately tolled in blind and gilt, 4to, (1), [3]
Lot 978
Tom Dodson Original Artwork by the Lancashire Artist to include a pen and ink cartoon drawing, titled 'That's Life', dated 1977, verso another cartoon, 'Dog Owners', unframed, 7 inches (17.5cms) x 10 inches (25cms), together with a home made card. 'Have a Break Bill', hand coloured, unusual miniature painted on a razor blade; verso 'To Pat, Tom' (3)
Lot 50
William Heath Robinson (1872 - 1944), pen, ink and watercolour illustration. "DOES DEW RISE OR FALL? A HOMELY INVESTIGATION". Pen and ink and heightened in watercolour signed and entitled. 40 cm x 31 cmThe reverse inscribed with signature, address, notes and stamp, most likely from the commissioning publisher. Footnote: Provenance: Direct from the estate of Nancy Fouts (1945-2019)See the Dawsons website article for further informationCondition report: some water damage to the top section of the drawing.*** Please look at the additional uploaded images to illustrate the condition of this lot ***
Lot 976
AFTER JAMES FRASER ENGRAVED BY HAVELL, A view of the opposite or Sulkhea side, 39 x 52cm, JOHN MCTERNAN Rosslyn Chapel and castle, pen and ink drawing, 49 x 63cm, Templar Knight photograph, and two others (5) The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request
Lot 181B
Postcards - embroidered silk postcards, ( 2) Christmas cards by William Luks, fold out Christmas card 'Cottage Life' Japanese ivory (?) card with ink drawing/screen print , ( 7.5 x 11 cms) postcard of 'The Ideal House from the Daily Mail Ideal Home , Olympia..', postcard set of Herald's College London ( x 2) and assorted topographical postcards , 2 Albums
Lot 758
1977 British Lions to New Zealand rugby football original signed oversized postcard,original oversized postcard depicting Lake Te Anau, South Island, New Zealand, uniformly signed in blue and black ink to the plain side of the postcard by the 1977 British Lions including Phil Bennett, John Bevan, Gordon Brown, Mike Gibson, Andy Irvine, Elgan Rees, Derek Quinnell, Ian McGeechan, J.J Williams, Bill Beaumont, Fran Cotton, Moss Keane, Tony Neary, Jeff Squire, Peter Wheeler, Bobby Windsor et al., 14 by 22cm., some very minor foxing, otherwise in good clean conditionIn 1977 the British Lions rugby union team toured New Zealand. The Lions played 26 matches, including four internationals against the 'All Blacks'. They lost the series against the 'All Blacks' by three matches to one. The Lions tourists left London on the 10th of May 1977 and returned on the 19th of August. Of their 26 matches on tour, they won 21 and lost 5. Although the Lions lost the test series against the ‘All Blacks’ they were level 1–1 after the second international and came close to drawing the series; they led 9–6 going into injury time in the fourth test only to concede a match-winning try scored by Lawrie Knight. The touring party as originally announced contained 17 players from Wales (including the as-yet uncapped Elgan Rees and Brynmor Williams), 5 from England, 5 from Scotland and 3 from Ireland. Geoff Wheel had to withdraw on medical advice before the touring party left and was replaced by Moss Keane. Roger Uttley aggravated a back injury at the get-together prior to leaving and was subsequently replaced by Jeff Squire. Bill Beaumont, Charlie Faulkner and Alun Lewis joined the tour party later in New Zealand as replacements.
Lot 1362
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 344 with Keith Hackett, featuring original drawing of Jurgen Klopp, as published in the Guardian newspaper of 16th October 2015, pencil and ink four-section panel, signed by the artist and former referee Keith Hackett, 29 by 42cm., with some ink and pencil stains
Lot 1363
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 301 with Keith Hackett, featuring original drawing of Diego Costa, as published in the Guardian newspaper of 2nd October 2014, pencil and ink four-section panel, signed by the artist and former referee Keith Hackett, 29 by 42cm., with some ink and pencil stains
Lot 1365
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 347 with Keith Hackett, featuring original drawing of Jamie Vardy,as published in the Guardian newspaper of 6th November 2015, pencil and ink four-section panel, signed by the artist and former referee Keith Hackett, 29 by 42cm., with some ink and pencil stains
Lot 1368
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 360 with Keith Hackett, featuring original drawing of Pep Guardiola, as published in the Guardian newspaper of 12th February 2016, pencil and ink four-section panel, signed by the artist and former referee Keith Hackett, 29 by 42cm., some ink and pencil stains
Lot 1371
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 74, featuring original drawing of Steven Gerrard, as seen in the Paul Trevillion ‘Master of Movement’ exhibition at the Strand Gallery, London in June 2014, pencil and ink three-section panel, signed by the artist, mounted and framed, 35 by 60cm. overall
Lot 1382
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 104, featuring original drawing of Sir Alex Ferguson, as published in the Guardian newspaper of 12th March 2010, pencil and ink three-section panel, signed by the artist and former referee Keith Hackett, 29 by 42cm., some ink and pencil stains
Lot 1386
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 64, featuring original drawing of Luka Modric, as appeared on the ‘You Are The Ref’ page of the York City & District Referees’ Association website, pencil and ink three-section panel, signed by the artist and former referee Keith Hackett, 29 by 42cm., some ink and pencil stains
Lot 1390
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 110, featuring original drawing of Lionel Messi, as published in the Guardian newspaper of 23rd April 2010, pencil and ink three-section panel on artist's board, signed by the artist and former referee Keith Hackett, 29 by 42cm., some ink and pencil stains
Lot 1392
Paul Trevillion (British, b.1934), YOU ARE THE REF - LAWS OF FOOTBALL NO. 289, featuring original drawing of Gareth Bale, as published in the Guardian newspaper of 22nd May 2014, pencil and ink four-section panel, signed by the artist, mounted and framed, 35 by 61cm. overall, frame bears some marks/dents
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9737 item(s)/page