Dutton, Allen A. -- Surrealistic collage. 1970s. Vintage gelatin silver print. 19 x 23,2 cm. Mounted to card, with photographer's stamp and annotated in ink on the verso.Born in 1922 in Kingman, Arizona, Allen Dutton studied painting and sculpture at the Art Center School in Los Angeles. He held a variety of teaching posts in public schools in Arizona, before joining the art department at Phoenix College in 1960, where he taught photography and later served as head of the department until 1982. Between 1963-1964, he studied with Minor White and has acknowledged this time to be one of the greatest influences in his photographic development. His work is in the collections of the Museum of Modern Art, Bibliothéque Nationale in Paris and the Corcoran Gallery in Washington DC. – Light crease in upper left corner of photo, crease in upper right corner of mount, otherwise in very good condition.
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Feininger, Andreas -- "Rockefeller Center, New York". 1942. Vintage large-format gelatin silver print. 47 x 40 cm. Titled by the photographer on label, affixed in lower left, flush-mounted to board, annotated Please return to Andreas Feininger c/o LIFE PHOTO LAB, 5th floor 9 Rockefeller Plaza, NYC. and signed by the photographer in ink, Life Picture Service stamp and with 2 exhibition labels on mount verso, framed under museum glass in gilded wooden frame with glass backing.Andreas Feininger's photography in New York is distinguished by his expert handling of light and composition, skillfully capturing the city's urban landscape with a sense of dynamism and allure. His photographs frequently highlight the interaction between architecture, shadows, and human activity, providing a distinct and visually captivating view of the city's lively atmosphere. The two exhibition labels on the verso of the mount confirm that this photograph was featured in two exhibitions during the 1940s, and it stands out as an exceptionally well-crafted print, further enhanced by its rarity in this larger vintage format. – A fine tonal print in very good condition.Provenance: Collection Prof. Hans Kollhoff, Berlin
![[*] Film Photography -- Photographer unknown. Portrait of Marlene Dietrich for "Dishonored". 1931. Vintage ferrotyped gelatin](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/4e68c880-bd05-40c1-ac94-b0b600b6e053/468x382.jpg)
[*] Film Photography -- Photographer unknown. Portrait of Marlene Dietrich for "Dishonored". 1931. Vintage ferrotyped gelatin silver print. 25,8 x 20 cm. Negative number in lower right; annotated in pencil on the verso.In the 1931 film "Dishonored," Marlene Dietrich delivered a captivating and sophisticated performance as a Viennese prostitute turned Austrian spy during World War I. Her portrayal showcased her alluring and complex character, solidifying her status as an iconic actress of classic Hollywood cinema. – Some handling/crease marks, crease in lower right, a few light surface scratches, slightly soiled, otherwise in good condition.
Bergemann, Sibylle -- Model. 1990s. Vintage polaroid photo. 9 x 11 cm. Sibylle Bergemann rose to prominence as a significant figure in the field of East German photography, demonstrating a remarkable ability to capture the lives of everyday citizens during the Berlin Wall era. Her unique talent resided in her skill to evoke deep emotions and craft compelling stories within her photographs, effortlessly blending artistic expression with the authenticity of documentary photography. Bergemann's Polaroid snapshots possess a distinctive charm, expertly encapsulating the spontaneity of transient moments. – Some light surface scratches, more visible at an angle, otherwise in very good condition.
Bergemann, Sibylle -- DOME (Dominique Hollenstein). 1990s. Vintage gelatin silver print. 14,7 x 19 cm (17,7 x 24 cm). Signed and titled by the photographer in ink on verso. This photograph shows Dominique Hollenstein, a German artist and model who emerged as an icon within the East German underground scene, making her a recurring subject in the portfolios of photographers like Sibylle Bergemann, Arno Fischer, Sven Marquardt, and Robert Paris. – Some light creases and scuff marks, otherwise in very good condition.
![[*] Christel, Detlef -- Palast der Republik, Berlin. 1980s. Vintage ferrotyped gelatin silver print. 29 x 39 cm. Photographer](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/96733bf2-96ae-4b9d-808b-b0b600b705bc/468x382.jpg)
[*] Christel, Detlef -- Palast der Republik, Berlin. 1980s. Vintage ferrotyped gelatin silver print. 29 x 39 cm. Photographer's stamp on verso.The Palast der Republik in Berlin, built between 1973 and 1976, was a notable structure that functioned as both the headquarters of the East German parliament and a hub for cultural activities. It boasted a unique copper-toned exterior and accommodated theaters, art galleries, dining establishments, and various entertainment amenities. – Some surface pitting, light fold mark upper left, otherwise in very good condition.Provenance: From the estate of the photographer.
Fischer, Arno -- "West-Berlin, Kurfürstendamm". 1956. Vintage gelatin silver print. 18,7 x 28,8 cm. Signed, titled and dated by the photographer in pencil on the verso.Corners bumped and with small creases, a few light handling marks, otherwise in good condition.Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalog). Ostfildern 2009, ill. p. 36.
Marquardt, Sven -- Fashion. 1986. Vintage gelatin silver print. 20,8 x 30 cm. Signed and dated by the photographer in pencil in lower margin; dedicated, signed and dated by the photographer in green ink on verso.Some light creases, a few indentation spots and paint traces on recto, corners slightly bumped.
![[*] Sewcz, Hans-Martin -- Rostock. 1971. 4 gelatin silver prints mounted on board. Each circa 19,2 x 29,4 cm (72,2 x 87,2 cm)](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/d6ecc1f6-0a8b-41f8-86ae-b0b600b72f95/468x382.jpg)
[*] Sewcz, Hans-Martin -- Rostock. 1971. 4 gelatin silver prints mounted on board. Each circa 19,2 x 29,4 cm (72,2 x 87,2 cm). Each print signed, titled, numbered and dated, with the photographer's stamp on verso; signed, titled and dated in pencil on mount. Hans Martin Sewcz is a multifaceted German artist known for his work in photography and conceptual art. His creative pursuits span a diverse array of styles, ranging from documentary to subjective photography. Moreover, since the 1990s, he has successfully ventured into installation and video art. A notable aspect of Sewcz's artistic journey is his exploration of "everyday culture" during the era of the German Democratic Republic (GDR). – Some very light scuff marks, otherwise in excellent condition.
Häusser, Robert -- "Nescafé". 1956. Vintage ferrotyped gelatin silver print. 15,5 x 23 cm. Mounted to board, signed, titled and dated by the photographer in pencil below the image on the mount; photographer's stamp and titled and dated by the photographer in pencil on mount verso.Throughout his career, Robert Häusser consistently exhibited an extraordinary talent for encapsulating the quintessence of his subjects, whether they were people, landscapes, or still life. His photography is marked by a pervasive sense of timelessness, achieved through a meticulous dedication to detail and a keen eye for composition. Häusser's ability to transcend temporal boundaries and convey the enduring beauty of his subjects is a hallmark of his remarkable body of work. – Light surface pitting visible at an angle, upper edge slightly bumped, otherwise a rich dark print in very good condition.Lit.: Robert Häusser. Photographische Bilder. Werkübersicht der Jahre 1941 - 1987 (exhibition catalog). Stuttgart 1988, ill. plate 216.
Hoepffner, Marta -- "Räumliche Strukturen II". 1979. Chromogenic print on Kodak paper. 21,5 x 21,2 cm. Tipped in edges to card, signed, titled by the photographer in pencil below the image on the mount; titled and dated by the photographer in pencil and photographer's label on mount verso.Marta Hoepffner was an artist known for her innovative "Farbinterferenzbilder" series, created in the mid-1960s, which featured geometric forms and a harmonious interplay of pastel and vibrant colors. Her work demonstrates a unique fusion of art and science, captivating viewers with its dynamic optical effects. – Slight buckling from glue on verso in upper right corner, a few light scuff marks, otherwise in very good condition.Lit.: Eva Scheid (ed.). Lichtbilder - Bilder des Lichts. Marta Hoepffner. Fotokünstlerin und Pädagogin. Hofheim am Taunus 1997, see pp. 50-67.Brigitte Behrens/Ulrika Jäger. "Lichtbilder - Bilder des Lichts. Marta Hoepffner und Ihm Schoffers" in: Die Frauenfeder No 2, Drumlin Verlag, Weingarten 1986, p. 135-175.
Hoyningen-Huene, George -- "Horst Torso, Paris". 1931/printed later. Rotogravure mounted on board. 21 x 23 cm (34,2 x 36,8 cm). Dated, titled and annotated by another hand in pencil on mount verso. George Hoyningen-Huene, a pioneering fashion photographer known for his innovative approach blending art, sculpture, and classicism, left an indelible mark on mid-20th-century fashion photography. In this portrait of fellow fashion photographer Horst P. Horst, Hoyningen-Huene highlights elegance, aesthetics, and avant-garde sensibilities, employing classical allusions and dramatic lighting to craft sculptural depth and three-dimensional impact. – Some very light scuff marks more visible in raking light, otherwise in near excellent condition. Lit.: William A. Ewing. The Photographic Art of Hoyningen-Huene. London 1986, ill. pl. 58.
Landauer, Lou -- Photogram of oat grass. 1942. Vintage gelatin silver print. 24 x 18 cm. Photographer's estate stamp on the verso.Born in 1897 in Cologne, Lou Levi married Georg Landauer, a prominent Zionist politician, in 1923 after attending the Commercial Academy in Cologne. Her passion for photography led her to the Staatliche Fotoschule in Munich in 1928/29. She continued her photographic studies in Berlin, at the Lette Verein, and in 1934, she immigrated to Palestine with her husband and parents. Lou Landauer worked as a press photographer for the Jüdische Rundschau, still published in Berlin at the time, and later as a photography teacher at the Bezalel Hechadash, the new arts and crafts school in Jerusalem. In 1949, she relocated to the USA, where she pursued a career as an advertising photographer and experimented with the Carbro process before transitioning to an assistant librarian position at the Leo Baeck Institute in New York. – Some light handling marks, corners slightly bumped, light spot in upper right, otherwise in very good condition. Provenance: From a descendant of the photographer
List, Herbert -- Jean Cocteau, Paris. 1948. Vintage gelatin silver print on Agfa-Brovira paper. 23 x 28,5 cm. Photographer's/copyright stamps and annotated in ink/pencil on the verso.Herbert List's portraits of Jean Cocteau, the acclaimed French writer, artist, and filmmaker, are a testament to List's ability to capture the essence of his subjects, conveying the multifaceted persona of Cocteau through evocative and thought-provoking imagery. – Light buckling, small liquid surface spot in upper left, minimal surface scuffing more visible in raking light, light crease mark in lower right corner, corners slightly bumped, otherwise a rich, dark print in very good condition.Lit.: Max Scheler/Matthias Harder (eds.). Herbert List. The Monograph. Munich 2000, ill. p. 205 (image from the same sitting).Provenance: Uta and Wilfried Wiegand Collection
Larisch-Moennich, Count Franz von -- "Tropische Wolkenpracht". Circa 1910. Vintage platinum print flush-mounted to cardboard. 31,5 x 41,5 cm (40 x 50 cm). Signed, titled and annotated by the photographer in ink on mount verso; annotated by another hand in pencil on verso. Franz Count of Larisch-Moennich's captivating seascapes originated from his extensive journeys across the Atlantic, Indian, and Pacific oceans from 1909 to 1914, during which he meticulously studied the ocean's dynamics. Count Larisch embraced substantial challenges, navigating even the most turbulent waters and engineering a specialized waterproof housing for his camera to shield it from the relentless waves. These resulting photographs, like this tranquil tropical ocean vista, captivated not only the artistic community but also marine experts, intriguing them with his unique perspective on the sea's movement. – Some very light scuff marks and small spots in upper sky area, a few stains and foxing on verso of mount, otherwise a fine tonal print in very good condition.
Man Ray -- Rayographs. 1924/1928. 2 gelatin silver prints, printed 1980s. 27,8 x 20,8 cm (30,6 x 23,8 cm). Both prints annotated in pencil on verso, one print annotated Man Ray in pencil and with the photographer's studio stamp and one with A.D.A.G.P. Paris stamp, both with Tirage original réalisé par Pierre Gassmann stamp and Foto von einem Fotogramm stamp on the verso . Man Ray's rayographs involved placing objects directly onto photosensitive paper and exposing them to light, resulting in ethereal and often abstract compositions. This technique allowed him to explore the interplay of light and shadow, shape and form, in a way that challenged conventional photography. Offered here are two photographs of Man Ray's photograms made by Pierre Gassmann. The original prints of these works are in the collection of the Museum of Modern Art in New York. – Minimal buckling along edges of prints, a few handling marks, otherwise in excellent condition.
Munkácsi, Martin -- Horseback riding at Wannsee. 1930s. 2 vintage ferrotyped gelatin silver prints on doubleweight paper. Each circa 24,5 x 30 cm. Each with photographer´s stamp on verso. Martin Munkácsi, born in Hungary in 1896, stands as a pioneering figure in the realms of fashion and sports photography. His groundbreaking work reshaped the world of fashion photography by liberating models from the confines of the studio, capturing their dynamic grace in outdoor settings. – Some creases, scratches and handling marks, one print with retouched lines in upper sky area and slight mirroring visible in dark areas, more visible at an angle, one with light rust stain in upper left, otherwise in good condition.
Neusüss, Floris M. -- Flower photogram. 2007. Cibachrome print. 30,2 x 25,2 cm. Signed, dated and titled by the photographer in black marker on the verso.In addition to his remarkable body photograms, Neusüss left a lasting impression with his creative flower photograms, in which he placed flowers directly on photosensitive paper, exposing them to light to craft visually striking and abstract compositions. – In excellent condition.
![[*] Reidt, Hedda -- Hands with ring. Circa 1925. Vintage gelatin silver print mounted to board (lifting off of mount). 12 x 1](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/39437e5a-0fb9-4bb3-9f2a-b0b600ba7891/468x382.jpg)
[*] Reidt, Hedda -- Hands with ring. Circa 1925. Vintage gelatin silver print mounted to board (lifting off of mount). 12 x 17 cm (29 x 21 cm). Signed by the photographer in pencil below image, lower right on mount; photographer's stamp on print verso. Hedda Reidt trained in photography in Munich from 1917 to 1919, studying alongside future cinematographer Willy Zielke and fellow photographer Lotte Jacobi. During her development as a photographer she transitioned from Pictorialism to embracing the New Objectivity style. By 1928, she had established herself as an independent photographer, and her assignments included product photography for diverse clients, such as designers, educational institutions, and the Deutsche Werkstätten. Her material-focused photographs garnered recognition and were featured in prominent photography exhibitions. – Upper left corner slightly bumped, some light mirroring in edges, only visible in raling light, otherwise in very good condition.
Ronkholz, Tata -- "Duisburg-Neudorf, Kammstrasse 131" from the 'Trinkhallen' series. 1978. Vintage ferrotyped gelatin silver print on Agfa paper. 30,5 x 40,4 cm. Number notation 65 by the photographer in pencil on the verso.Some surface scuff marks/rubbing, light surface scratch in upper right near edge, otherwise in very good condition.
![[*] Sander, August -- Individual studio portraits. Circa 1902-1909. 3 vintage gelatin silver prints mounted to original studi](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/03ede701-32da-4ec0-b57a-b0b600ba92f0/468x382.jpg)
[*] Sander, August -- Individual studio portraits. Circa 1902-1909. 3 vintage gelatin silver prints mounted to original studio board. Between 9,7 x 6,5 cm and 20,2 x 9,6 cm. Photographer's studio logo on recto and verso of mount. August Sander is celebrated for his pioneering approach to portrait photography, capturing the diverse faces of German society in the early 20th century through his monumental project "People of the 20th Century." Offered here are three early portraits from the photographer's studio in Linz. – Edges of mounts slightly rubbed, some light foxing and surface scuff marks, otherwise in good condition.
Thiemann, Elsa -- Design for wallpaper.1930-31. 4 unique vintage gelatin silver prints, finely hand-colored, mounted as a collage. 48 x 31,8 cm. Mounted to board; photographer's estate stamp and number 863 in red crayon and annoated in pencil on mount verso.This unique photo collage is the only known color work by Elsa Thiemann. – Some photos lifting off mount, some light soiling, a few creases, otherwise in good condition.Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.Provenance: From the estate of the photographerErrata/Addenda:The four gelatin silver prints are finely hand-colored and not on color photo paper as stated in printed catalogue.
Ueda, Shoji -- Selected images. Circa 1947-60/printed 1970s. 5 gelatin silver press prints (3 on RC paper). Each circa 16 x 16 cm (25,3 x 20 cm). Each signed by the photographer in crayon and annotated in another hand on the verso.The Japanese photographer Shoji Ueda has a distinctive and poetic approach to photography. From Tottori, Japan, he frequently used the local sand dunes as his canvas, rendering their surreal beauty and turning them into otherworldly landscapes. His minimalist compositions, often featuring solitary figures or everyday objects against the vast sandscapes, evoke a sense of quiet contemplation, inviting viewers to appreciate the harmonious blend of nature and human presence. This set inlcudes "Sand Dunes", "Landscape with Women", "Kogitsune Tanjō (Appearance of a Fox Cub)" and others. – Some light traces of use, otherwise in good condition.
Umbo -- Dance images. 1936. 8 vintage ferrotyped gelatin silver prints. Each circa 12 x 8,7 cm. Each with PHOTO UMBO Berlin-Grunewald Niersteiner Str. 6 stamp and annotated in pencil on the verso.Otto Umbehr, known as UMBO, played a significant role in avant-garde and modernist photography during the early 20th century. His exceptional photographs of dancers exemplify his innovative approach to this art form, portraying the grace, energy, and fluidity of dance in a manner that surpasses conventional representations. UMBO's images of dancers are characterized by dynamic compositions and a compelling use of light and shadow, imparting a palpable sense of motion and vitality to each frame. One of these photos features the dancer Gret Palucca. – Traces of previous mounting on the verso, several light handling marks, some silver mirroring in dark areas, otherwise in good condition.
Wendlandt, Kurt -- "Aus dem 'Ossian'-Zyklus: Siehe der Mond erscheint, die Felsen stehen grau" (Lichtgraphik - Fotogramm, Solarisation). 1975. Unique large-format vintage gelatin silver print on photo canvas. 35,5 x 48 cm. Mounted to grey board (56,5 x 70 cm), signed, titled and dated by the photographer in pencil below the image on the mount; titled and dated by the photographer in pencil on mount verso.Kurt Wendlandt, a versatile artist in painting, printmaking, photography, writing, and illustration, emerged as a highly creative figure in postwar West Germany. After studying at the State Academy of the Arts from 1937 to 1943 and briefly pausing his artistic work due to a war injury, he resumed his creative journey after World War II. In 1958, he began experimenting with transparent materials, leading to his first Lichtgraphiken, and his close friendship with Heinz Hajek-Halke positioned them at the forefront of Berlin's avant-garde "Lichtgraphik" movement during the 1960s. Despite limited commercial recognition, Wendlandt's light graphics and other works are now housed in numerous museums and collections. – In excellent condition.Provenance: The estate of Kurt Wendlandt.
Windstosser, Ludwig -- Ball bearing. 1950s. Vintage ferrotyped gelatin silver print on Agfa paper. 19,5 x 29,5 cm. Photographer's and SAAR stamp and number in pencil on the verso.Ludwig Windstosser's work is a testament to his passion for capturing the beauty and essence of architectural forms and the built environment. He meticulously documented architectural details, landscapes, and everyday scenes, with a profound appreciation for the aesthetic qualities of structures and their relationship to their surroundings. His photographs are characterized by a keen sense of composition and attention to detail, offering viewers a visually compelling journey through the architectural wonders of Germany and beyond. – Corners bumped, some creases in upper right corner, a few light handling marks/creases, a few retouched spots, otherwise in very good condition.
Wolf, Reinhart -- Guilin, China. 1984. Vintage chromogenic print. 24 x 30 cm. Titled and signed by the photographer in gold ink in lower margin.The German photographer Reinhart Wolf is celebrated for his remarkable contributions to fashion and portrait photography. His portfolio radiated elegance, meticulous attention to detail, and a unique sense of style, establishing him as a highly sought-after photographer within the fashion and entertainment realms. He not only crafted iconic portraits of celebrities, models, and artists but also ventured into the realm of landscape and architectural photography, leaving an enduring mark on the world of photography with his versatile and influential body of work, including his notable creations in China. – A few light handling marks, small pinhole in upper margin, otherwise in good condition.
Two Handmade Traditional British Barrister’s Wigs / Perukes, 100% Horsehair, Judge Wig for Formal Use in Court and Costume Lawyer Wig, High Quality, excellent condition, colour: Light Blonde and grey, together with an oval metal box enamelled in black ground and gilt lines, inscribed inside the lid 'EDE & RAVENSCROFT LAW WIG & ROBE MAKERS, 93/4 CHANCERY LANE, LONDON' and on the lid 'JUDGE ST. EVANGELIDES', the box measuring H9cm, W26cm, D18cm, mid century. (3)
George Romney (Beckside 1734-1802 Kendal)A three-panelled screen: Classical figures dancing oil on canvas, laid on card184 x 60.6cm (72 7/16 x 23 7/8in). each; 184 x 182.2cm. (72 1/2 x 71 3/4in.) overallFootnotes:ProvenanceAntichità Triboldi, Brescia, 1994, where purchased by the present owner's late motherThat a painted screen decorated with dancing females was part of Romney's estate has long been familiar to students of the artist. Lot 90 in Romney's posthumous sale at Christie's on 27 April 1807 was: Five leaves for a Screen, Dancing Nymphs; bought by 'Long' – probably Romney's friend the surgeon William Long – for 5 guineas.The screen was presumably returned by Long's heirs to Romney's, since it next appeared in the sale at Christie's in April 1894 of the effects of Miss Elizabeth Romney, the artist's grand-daughter. Here it was titled: A Five-Leaf Screen, painted with 'The Singers go before, the Minstrels follow after, in the midst are the damsels playing with the timbrels,' one panel painted by the artist's son, Rev. John Romney. The buyer was Miss Romney's nephew, Lawrence Romney, who dealt in the works of his great-grandfather in the early years of the 20th century. Beyond the surmise that he removed the panel painted by John Romney, his contribution to the screen's history is uncertain. Unprepossessing photographs of two of the leaves appeared in Ronald Sutherland Gower's monograph on Romney of 1904, and the screen re-surfaced, with four leaves only, in 2018, in the estate of the Romney scholar Patricia Jaffé. It is now at Abbot Hall Art Gallery in Kendal.The present screen is a version of sobering exactitude of three of the leaves of the Kendal screen. The circumstances of its making are unknown; it is not mentioned in any Romney literature, it has not appeared in any known sale, and its provenance goes no further back than to an antique shop in Brescia, Italy, where it was bought by the last owners in 1994. The presence of only three leaves could be thought very promising, as implying that it was produced before a fourth leaf was added to the Kendal screen by Romney himself (as may conceivably have happened). That this was the first screen, and the Abbot Hall one came second, seems perfectly possible.As has been shown in an article by Olivia Ghosh (Transactions of the Romney Society vol. 24 [2019]), the figures are derived from volume 1 of the famous neo-classical primer Le Antichità di Ercolano Esposte, published in 1757. As painted by Romney, the rather immature classical figures betoken a young man's keenness to graft his work on to a new, exciting artistic fashion, and he must have made the first of the screens, whichever it was, shortly after his arrival in London in the spring of 1762.The inferential evidence offered by the present screen is bewildering. The mounting of the canvases on to card rather than panel, the Italianate framing, and the manuscript note on the reverse stating that the dancers are 'portraits of Lady Hamilton' (correcting 'Lady Romney' – who she?) combine to suggest the possibility of a connection with Lady Hamilton's life in Italy. On this view, if the card backing was to make the canvases light to transport, and they were only framed at their destination, could it be that Romney made the screen as a wedding present – a reminder of the old days in his studio – for Lady Hamilton, which she took to Naples?The text of the manuscript label mentioned above reads: Screen by George Romney 4-fold belonging to John Orbes [Orde] Romney of Whitestock Hall Ulverston, Cumberland represents Lady Romney [corrected later to Hamilton] in 4 different positions. John Orde Romney (1851- 1924) Lawrence Romney's brother, Elizabeth Romney's nephew, was the titular owner of Whitestock from 1875 until he sold the estate around 1904, and this label, presumably a memorandum about the other version, must date from within that period.We are grateful to Alex Kidson for kindly writing this catalogue note.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Michael Chase (1915-2001)Suffolk Landscape, 1983signed and dated (to label on the reverse)watercolour44 x 56cm. The paper is not perfectly flat, and has taken on a slightly wavy effect. Small tear bottom right corner. Little specks of black throughout and light surface dirt. A dab of un-associated blue paint lower right corner. Paper may have been in damp conditions once. See photos.
Jack Smith (1928-2011)Inside Outside, Light + Object Sensation, 1980signed, titled, and dated (to reverse)oil on board with relief91x 91cm. Exhibited:Fischer Fine Art, London, Jack Smith: Recent Paintings, 1981, no. 25. A mark to the black and very few scattered faint line marks, one of these near top edge. Covered with glass. Good condition. See photos.
Theodore Mendez (1934-1997)Abstract, August 1971signed and dated in pencil (lower)oil on paper34 x 27cm. Charcoal looking smudge marks to the paper surrounding the art work. Faint sun/light stain beneath the image. Right corner of paper appears to have been folded over as evident crease mark. Coloured image appears good other than few little specks of surface dirt as well as few specks of paint loss.
Claud Lovat Fraser (1890-1921)The Beggar's Opera, 1920for the Lyric Theatre, Hammersmithlithograph77 x 51cm. With folding lines and reinforcement paper to the back. Left edge grubby. Top centre shows evidence of tape and the sticky substance from that has left a stain. Light surface dust and all sides and corners discoloured. Tears along the lines where once folded.See photos.
Julian Trevelyan (1910-1988)Thames Regattafrom the series School Printslithograph printed at the Baynard Press48 x 75cm, unframed. Backed onto a fabric. Fabric rim has light, speckled foxing dots.There are six marks around the rim of the print, some of these are punctured/torn and also they're from a sticky/glue residue.The paper lightly faded and more discoloured around the edges. The edges of the print with slight crease marks.Print itself appears good.
George Pemba (1912-2001)Three Men Enjoying Lunch, 1967signed and dated (lower right)oil on board36 x 51cm, unframed. Provenance:Gifted by the artist. The vendor's father was head of Social Anthropology at Rhodes University in Grahamstown, South Africa.An unframed picture. The two bottom corners scuffed and bent. Light surface dirt and a small dot/mark to the blue sky.
Bernard Meninsky (1891-1950)Track through the Woodssigned in pencil (lower left)watercolour35 x 57cm. Paper is browned/discoloured. Light surface dirt to white rim. Semi circular tear to centre area about the size of a pound coin. Crease about 3-4cms. Speckled foxing and dots. Blemishes to paper in the sky area.See photos.
Manner of Joan Eardley (1921-1963)Seeded Grasses and Daisies IIinscribed and titled (to reverse)mixed media29.5 x 39.5cm. Provenance:Given to the current vendor by the artist Leslie Goodwin (1929-2002), circa 1970. Good condition however light surface dust to mount. Possibly one small splash mark of other un-associated paint to right. Signature not evident on front of picture.
Barbara Hepworth (1903-1975)Two Marble Forms (Mykonos), 1969printers blindstamp (lower left)lithograph published by the Curwen Press81 x 59cm. Few specks of foxing to border and very outer edge. Edges of paper slightly discoloured. Border has very, very light surface dirt/age staining. Signs of handling to work as there is small crease to centre left edge. Protected by glass and without very close inspection appears in good condition.The best high-res images on the website with a zoom function for detail:Lot 2 - Barbara Hepworth (1903-1975) Two Marble Forms (mallams.co.uk)
Julio Le Parc (b.1928)Sevie 15 No. 1 Collage1/120, signed, inscribed, and numbered in pencil (in the margin)screenprint21 x 18cm. A dotted mark or speck to the browning paper, centre top edge. A couple of lines through the image although difficult to spot unless in a certain light. On close inspection one can see scuffs and minor or light dirt between the colours. The condition report photos show this.
Alan Davie (1920-2014)Celtic Dreamboat III, 196536/75, signed, dated, and numbered in pencil (in the margin)lithograph58 x 80cm. The pale outer border with light surface dirt. The beige too with light marks. The left corner with quite large fold line and another smaller corner fold. Reverse has supporting paper to edges. See photos.
John Piper (1903-1992)Santa Maria Della Salutelithographfrom the Santa Maria Della Salute suite, with a poem by John Sparrowthe poem page signed by Piper and Sparrow and numbered 77published by Rampant Lion Press, Cambridge54 x 35cm (the lithograph). (2) The artwork appears to be in good condition however the paper is just slightly wavy beneath the glaze. A slight mark to the centre white circle although we think this is part of the picture. Images of Santa Maria Della Salute now uploaded to website. Not framed and with few specks of foxing and light surface dirt/dust predominantly around the edges.
David Hockney (b.1937)New Work with a Camera, 1984for Andre Emmerich Gallery, New Yorksigned in ink (lower right)off-set lithograph99 x 63cm, unframed. Fading or sun staining to pink outer edges. Three corners slightly scuffed. Dotted black mark to right edge. Left corner a bigger crease, about 20-30cms. White line mark near the word 'Emmerich'. Light surface dirt to pink colour and other faint handling marks. The composition with man and camera is a good condition.Light finger marks top left corner.See new condition report photos.
David Hockney (b.1937)El Gran Teatro de David Hockney, 1984for Museu Rufino Tamayosigned in crayonoff-set lithograph90 x 60cm, unframed. This one has a glossy finish to it. To the right is a long crinkled vertical line running about three quarters of the way along. No tears but crinkled top right corner. Surface scratches visible in good light. Outer edges slightly browned and this most evident from the reverse. Pencil inscriptions '418' and 'S' to reverse.One area of the black bit has a slightly raised feel. Minor, minor dots/marks to cream area, about three or four. See new condition report photos.
Robert Pansart (1909-1973)Still Life with Tree Beyondstudio stamp (to reverse)gouache52 x 79cm. Obvious fold line through the centre, rim of paper discoloured and marked. Paper is crinkled and not laid flat. Many other marks, dots, blemishes, scratches to picture. Light surface dirt. Abrasions and scuffs.Paper ripples and may once have been in damp conditions.See high-res images.
Sheila Robinson (1925-1988)Felsted18/100, signed, dated, titled, and numbered in pencil (in the margin)lithograph42 x 61cm. A swirling indent about 4cms above red letter box near gate entrance. A light crease top left corner and another light crease under top right sign. Paper slightly browned and discoloured most evidently to the cream rim. A tiny amount of dots to rim / a bit of foxing. Glaze in need of a clean. See photos.
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