* Various Artists. Gambler, London: Building One, 1990, catalogue for an exhibition featuring Damien Hirst, Dan Bonsall, Dominic Denis, Steve di Benedetto, Angus Fairhurst, Tim Head, and Michael Scott, colour plates and black and white illustrations throughout, from an edition of 500, 26pp, original stiff black card wrappers with printed title in pink to front cover, some light wear, slim 4to (29.9 x 21.4 cm)QTY: (1)NOTE:Gambler was the second of two highly influential warehouse shows led by Damien Hirst and curated by Carl Freedman and Billee Sellman. The show was held at 'Building One', a former factory in Bermondsey, South London.The show included Hirst's first major animal installation 'A Thousand Years', which consisted of a large glass box containing maggots and flies feeding off a rotting cow's head.
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* French School. Young man kneeling by the water's edge with a jug, circa 1740's, black chalk on laid paper, with a Pro Patria watermark of a crowned circle with lion spear and seven darts and the words Pro Patria eiusque Libertate, and 'Vryheyt' (similar to Heawood 3148 or 3149, circa 1740-1750), some light surface soiling, light diagonal crease across the image, sheet size 198 x 292 mm (7 3/4 x 11 1/2 ins), 20th century wood frame, glazedQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.Reminiscent of figure studies in chalk by Nicolas Lancret.
* Attributed to Francois Perrier, le Bourgignon (1590-1650). A Cavalry Skirmish, pen, black ink, light grey-blue and pale red-brown wash on laid paper (the central portion on a separate sheet of irregularly shaped paper overlaid to the large sheet), collector's mark of Joseph van Haecken to lower left corner (Lugt 2516), old inscription to verso in brown ink 'no 14 May 9 84 157' and 'd/w', and another probably 19th century inscription in pencil 'Bourgignone Origl', sheet size 200 x 323 mm (7 7/8 x 12 3/4 ins), hinge-mounted on later cream backing paper, with pencil inscription to lower right 'Francois Perrier, generant de Bourguignon'QTY: (1)NOTE:Provenance: Joseph van Haecken (1699-1749), also known in England as Joseph Hawkins, a history painter from Anvers who settled in England when he was twenty years old. Van Haecken's collection of drawings passed to his brother Alexander and was sold in London by Langford on the 17th of January 1758, and the following three evenings: The genuine and entire collection of prints and drawings bound and unbound of Mr. Alexander Vanhaecken, and eminent Drapery Painter, lately deceas'd.; Koller, Zurich, 13 November 1898, lot 6213; Private Collection, Switzerland; Koller, Zurich, 22 March 2024, lot 3422.
* Swanevelt (Herman van, 1603-1655). Wooded riverside landscape with figures, hillside dwelling, against a mountainous backdrop, from the series Hill Landscapes, state ii of iv, etching on laid paper, with close-trimmed margins, lower right corner torn with slight image loss and repaired, short closed tear to right edge, lined to verso, plate size 177 x 275 mm (7 x 10 3/4 ins), sheet size 178 x 279 mm (7 x 11 ins), together with:Cunego (Giuseppe, 1760-1781). A pair of Italianate landscapes with figures after Francesco Antonio de Capo (fl. 1775-1800), etching on wove, close-trimmed, lined to verso, light dust-soiling, sheet size 133 x 279 mm (5 1/4 x 11 ins) and 133 x 287 mm (5 1/4 x 11 1/4 ins), Rosa (Salvator, 1615-1673). St. Albert, the Companion of St William (suffering self-imposed penance), circa 1661, etching on laid paper, central horizontal fold, light dust-soiling and minor spotting, plate size 340 x 228 mm (13 1/2 x 9 ins), sheet size 428 x 314 mm (16 3/4 x 12 3/8 ins), Ribera (Jusepe de, 1591-1652). The Martyrdom of St. Bartholomew, 1624, etching on laid paper, dust-soiling, ink splashed and marks, trimmed to image and tipped onto backing paper, sheet size 317 x 238 mm (12 1/2 x 9 3/8 ins), Pfenninger (Heinrich, 1759-1815). Self-portrait in profile, etching on laid, plate size 232 x 190 mm (9 1/8 x 7 1/2 ins), sheet size 256 x 213 mm (10 x 8 3/8 ins), plus other etchings and engravings including three etchings on wove after Jacques Callot depicting battle scenes and street scene with walking wounded, each trimmed to image and lined to verso, approximately 85 x 185 mm, four small engraved Augustin Zenger (18th century), several engraved portraits by Houbraken and George Vertue, portrait of John Locke, 1738, etc.QTY: (35)
AR* Hamilton (Richard, 1922-2011). Orange Order, 1991, Cibachrome in colours with hand-colouring in Humbrol enamel, on photo paper mounted on card, as issued, signed and numbered 6/100 in pencil on the mount (aside from 10 artist's proofs), the full sheet, printed information to mount verso, image size 17 x 17 cm (6 3/4 x 6 3/4 ins), loosely laid (as issued) into a hardbound copy of the exhibition catalogue for Richard Hamilton held at the Anthony d'Offay Gallery, London from 20 June to 10 August 1991, 87pp, illustrated throughout in colour, navy blue cloth, light surface marks, cloth spine snagged at centre with some loss, lacking slipcase, 4to QTY: (1)NOTE:Lullin 175.
* Callot (Jacques, 1592-1635). The Old Woman with the Cats, from the series The Beggars (Les Gueux), circa 1622-23, etching on laid paper, depicting a woman dressed in rags sitting by a bucket of coals, a cat sitting in her lap, another by her feet, first state, with wide margins, some light marks and partial light toning, plate size 139 x 88 mm (5 3/8 x 3 7/16 ins), sheet size 175 x 126 mm (6 7/8 x 4 15/16 ins), window-mounted, framed and glazed (32.5 x 26.5 cm), together withGloriosisimae Virginis Dei Parae Elogium, etching on laid paper, depicting a cartouche surrounded by putti and scenes from the life of Mary, the second state (of 3), old ownership inscription in brown ink to verso 'G. Storck a Milano 1799. Inv No 1812.', sheet size 98 x 74 mm (3 7/8 x 2 7/8 ins), plusTeniers (David, 1610-1690). Pilgrim with Folded Hands, etching on laid paper, trimmed to or just inside plate mark, 96 x 64 mm (3 3/4 x 2 1/2 ins), window-mounted (30.5 x 20 cm) QTY: (3)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.Lieure 503, i (Callot, Old Woman with the Cats) and Lieure 509, ii/iii (Gloriosisimae).
AR*Buckland Wright (John, 1897-1954). Camber Sands, 1953, wood engraving on wove paper, one of 30 editioned impressions, signed in pencil bottom right, titled bottom left 'Camber Sands', block size 17.7 x 25.2 cm (10 x 7 ins), sheet size 25.2 x 38.2 cm (9 4/5 x 15 ins), light time toning and handling, unframedQTY: (1)
* French School. Still Life on a Mossy Bank, later 19th century, oil on canvas, indistinctly signed lower left '...tine Thuret'(?), a basket of various flowers including primula, gladioli, campanula, rose, and lily sit at the foot of a tree, with grapes and a melon beside, with butterflies and other insects nearby, canvas relined and minimally cropped, some light wear, canvas size 68.5 x 97 cm (27 x 38 1/4 ins), framed (82 x 111 cm)QTY: (1)
AR * Gibbings (Robert, 1889-1958). The Retreat from Serbia, 1916, woodcut printed in colours, on wove paper, signed and dated to lower right blank margin in pencil, some light spotting, image size 17.8 x 17.8 cm (7 x 7 ins), sheet size 23.7 x 21.1 cmQTY: (1)NOTE:This woodcut was used as the frontispiece to The Wood Engravings of Robert Gibbings, edited by Patience Empson."The Retreat from Serbia is based on a remarkable photograph taken by a war correspondent, published in 'The Illustrated London News' on 15 January 1916. The Serbian commander-in-chief, Marshall Putnik, was heading the retreat from the Germans through Albania. His soldiers carried him in a sedan chair over the Bridge of the Visiers, which crossed a river, the White Drin. The artist's eye was caught by the stark but beautiful lines of the stonework of the sixteenth-century Ottoman bridge. Its distinctive parabola form, without any parapet, was characteristic of many bridges adapted from Roman architecture by Ottoman military engineers throughout the Turkish Empire. A subject matter for his early prints, Gibbings often used the silhouetted forms of architecture, as they were peculiarly suited to the hard-edged patterns rendered by the woodcut block. The subtle colouring enhances the melancholy nature of the subject." Margaret Timmers, ed., Impressions of the Twentieth Century: Fine Art Prints from the V&A Collections (London: V&A Publications, 2001).
* Hennell (Thomas Barclay, 1903-1945). Estuary View, probably Rathcoursey, County Cork, ink and grey wash on laid paper, signed in pencil to lower right margin ‘T.Hennell’, mount aperture 22.5cm x 30.5cm (8.7 x 12 ins), full sheet 24cm x 31.2cm (9.4 x 12.5 ins.), occasional light spots, original ebonised frame, glazed.QTY: (1)NOTE:Provenance: Private Collection, Kent, UK.
* Kolbe (Carl Wilhelm, 1757-1835). Wooded Landscape with Waterfall, etching on partially watermarked wove paper, depicting two oak trees on a grassy hill, two cows standing by a river, a shepherd and his dog resting, some light marks to sheet edges, including one short closed tear repaired to right hand margin not affecting image, trimmed to plate margins, sheet size 39.8 x 32.3 cm (15 5/8 x 12 5/8 ins), framed and glazed (60 x 49 cm) QTY: (1)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.
* Attributed to John Hamilton Mortimer (1740-1779). Seated female attending reclining male beside table with jug and bowl, sepia pen and ink sketch on laid paper depicting reclining male and attending female, with detail portrait study of his face to right hand of sketch, small hole to lower left corner, light dust-soiling and scattered spotting, lined to verso on wash-mount backing paper with 'Mortimer del.' in brown ink lower right, image sheet size 66 x 125 mm (2 1/2 x 4 7/8 ins), mount size 105 x 165 mm (4 1/8 x 6 1/2 ins)QTY: (1)
* Mackley (George, 1900-1983). Rock House, wood engraving on thin japan paper, from the published edition of fifty impressions, signed, titled and numbered 5/50 in pencil, some light creases and minor marks to blank margins, image size 12.5 x 15 cm (5 x 6 ins), sheet size 20.5 x 23.5 cm (8 x 9 1/4 ins)QTY: (1)
* Wadsworth (Edward, 1889-1949). Modern Woodcutters 4, London: Herbert Furst, The Little Art Rooms, April 1921, 12 (of 14) black and white woodcut plates (printed from the original blocks), each with printed title caption to lower margin, scattered spotting, bookplate of Charles Lambert Rutherston to inside front wrapper, original printed orange paper wrappers, somewhat worn, with fraying and some loss to spine, some light soiling and marks, slim 4to (26 x 19 cm)QTY: (1)NOTE:The two missing plates are 'Tugs' and 'Still Life'.
* Martin (Frank, 1921-2005). Study of Ann Sothern, watercolour, signed in ink bottom right and titled bottom central (Harriette Lake, after 1933, Ann Southern) mount aperture 39.5cm x 28.5cm (15.5" x 11.25"), some very light time toning revealed by mounting, framed and glazedQTY: (1)NOTE:Ann Sothern (1909-2001) was an American Hollywood actress.
AR * Piper (John, 1903-1992). St Nicholas, Liverpool: smoke-black dockland church, 1964, colour lithograph on Barcham Green Crisbrook paper, printed by Curwen Studio and published by Marlborough Fine Art, London, signed and numbered 42/70 in pencil, plate 15 from the portfolio 'A Retrospective of Churches', light mount staining to blank sheet edges, image size approx. 62 x 45 cm (24 1/2 x 17 3/4 ins), sheet size 80.6 x 59 cm (31 3/4 x 23 1/4 ins), framed and glazed (88.5 x 64 cm)QTY: (1)NOTE:Levinson 136.
* Buckland Wright (John, 1897-1954). Bather 1934, wood engraving on wove paper, one of 30 editioned impressions, signed in pencil bottom right, titled bottom left 'Bather 1934', block size 7.6 x 7.6 cm (3 x 3 ins), sheet size 15 x 14.5 cm (6 x 5 3/4 ins), light time toning and two marks to border, unframed, together with a wood engraving of a celestial maiden, printed on Japon, attributed to the same artist, block measuring 4 x 4.5 cm (1 3/5 x 1 3/4 ins), sheet size 12 x 12 cm (4 3/4 x 4 3/4 ins), unframedQTY: (2)
* Anderson (Stanley, 1884-1966). Avignon, from the Rhône, 1926, etching with drypoint on wove paper, a fine impression, signed in pencil, from the edition of 75 artist's proofs, titled 'Avignon, from the Rhône. Edition 75 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, P. & D. Colnaghi label to frame verso, evenly toned, plate size 22.2 x 39.8 cm (8 3/4 x 15 3/4 ins), sheet size 29.7 x 50.1 cm (11 3/4 x 19 3/4 ins), framed and glazed (42.5 x 60 cm), plus Le Marché, Falaise 1926, etching with drypoint on Millbourn wove paper, signed in pencil, from the edition of 60 artist's proofs, titled 'Le Marché, Falaise. Edition, 60 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, light mount staining, plate size 19.1 x 26.7 cm (7 1/2 x 10 1/2 ins), sheet size 28.1 x 42.6 cm (11 x 16 3/4 ins), hinge-mounted, and La Lieutenance, Honfleur, 1926, etching with drypoint on Whatman watermarked wove paper, a rich impression, signed in ink, from the edition of 60 artist's proofs, titled 'La Lieutenance. Honfleur. Edition. 60 proofs.' by the artist in pen to lower blank margin, with margins, tipped-on to backing board at the upper sheet corners verso, plate size 19.9 x 37.8 cm (7 3/4 x 15 ins), sheet size 27.9 x 45.1 cm (11 x 17 3/4 ins), hinge-mounted, together with two further drypoint etchings 'Les Arcades, Dieppe' and 'Place St Gervais, Falaise', each signed by the artist, mountedQTY: (5)NOTE:Meyrick & Heuser 173; 172; 171; 180; 170.
* British School. The Vermillion Towers, Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 15.1 x 9.9 cm (6 x 4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘113 / British circa 1835-40 / The Vermillion Towers - Granada / Watercolours', some light toning to edge of sheet, mounted, framed and glazed (31.5 x 26.5 cm), together with Bridges of Ronda, Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 13.1 x 9.4 cm (5 x 3 3/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘108 / British circa 1835-40 / Bridges of Ronda - Granada / Watercolours', mounted, framed and glazed (31.5 x 26.5 cm), plus Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 9.4 x 13.6 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘ 135 / British circa 1835-40 / Granada / Watercolours', light toning to top of sheet, mounted, framed and glazed (27 x 31 cm), QTY: (3)
* Pan Tianshou (1897-1971). Fish, woodblock print on laid paper, signed and numbered '12/20' in pencil to lower right, red stamp and Chinese characters below image, sheet edged with light blue fabric, image size approx. 19.5 x 32 cm (7 3/4 x 12 1/2 ins), sheet size 34 x 45 cm, unmounted, together with Zou Changyi, 邹昌义 (1944-2023). Dong Village, 1992, woodcut print on laid paper, a monochrome image of a Chinese Dong village at the foot of stylised rolling hills, with a Drum Tower to the right, lower margin contains Chinese characters and Arabic numerals in pencil, including title 'Dong Village', edition '12/30', 'China Chongqing Sichuan Academy of Fine Arts', artist's signature in pencil and red stamp, and date '1992', image size 52.5 x 51 cm (20 3/4 x 20 ins), framed and glazed (72 x 68 cm)QTY: (2)NOTE:Pan Tianshou was a Chinese painter, art educator and art theorist, who was one of the most important traditional Chinese painters of the 20th century. Zou Changyi studied painting at the Sichuan Academy of Fine Arts. He returned to the Sichuan Academy as an Associate Professor, before becoming a Master Tutor and Director of the Woodblock Studio. His work is held in institutions in China and across the rest of the world, including Shanghai Oriental Art Museum, Chongqing Art Museum, Jeonbuk Museum of Art in South Korea and the British Museum.
* Manner of George Romney (1734–1802). Portrait of a young woman in regency dress, brown ink and watercolour on light brown wove paper, bearing the signature of Geo. Romney and dated 1790 to lower left corner, contemporary ink inscription 'Portrait sketch of Mrs Thunock'(?) to verso, margins with paper residue to verso, sheet size 320 x 210 mm (12 1/2 x 8 1/4 ins) QTY: (1)
AR * Piper (John, 1903-1992). Death in Venice: side panel right, 1973, screenprint in colours on Grand Vélin Arches paper, printed by Kelpra Studios, published by Marlborough Fine Art, London, signed and inscribed A/P in pencil, from the portfolio 'Death in Venice', with Kelpra stamp 'K' and '8167' to sheet verso (as issued), the full sheet (printed without margins as issued), verso of sheet with light overall toning, sheet size 77.6 x 68 cm (30 1/2 x 26 3/4 ins), framed and glazed (cm)QTY: (1)NOTE:Levinson 233.
* Austin (Robert Sargent, 1895-1973). Woman's Head (artist's wife), 1925, black chalk with fleks of brown chalk, signed and dated in brown to lower right, RSA studio stamp to lower margin, 3.29 in pencil to lower margin, sheet size 39 x 30.5 cm (15 1/4 x 12 ins), number '14' in pencil to verso, mounted, (44 x 41 cm), together withMother's Child No.1, red, black and brown chalk on laid paper, with 'INGRES' watermark, signed to lower right, studio stamp to lower margin, with title and '2.7' in pencil, some light general toning, a small pin hole to each corner, sheet size 53 x 38 cm (20 7/8 x 15 ins), '18' in pencil to verso, mounted (60 x 44.5 cm), plusSeated Child, 27 June 1933, black and brown chalk with ink on laid paper, with 'Charles I' watermark, signed and dated in pencil to lower right, '15' in pencil to lower margin, sheet size 46.5 x 33 cm (18 1/4 x 13 ins), mounted (63 x 50 cm), and 9 other drawings, mainly figure studies in pencil, charcoal and ink, 2 signed, dated and stamped, largest 45.5 x 57 cm (17 3/4 x 22 1/2 ins)QTY: (13)NOTE:Robert Sargent Austin was born in Leicester, England on May 23, 1895. A student of printmaking at the end of the "etching revival," Austin studied at the Leicester Municiple School of Art (1909 - 1913), and then at the Royal College of Art in London preceeding and after World War I. There he studied engraving under Sir Frank Short, and was awarded the Rome Scholarship to study engraving in Italy in 1922. While there, he met and married writer Ada May Harrison. The couple returned to England in 1926 and Austin began teaching at the Royal College.During World War II Austin enlisted as a war artist, recording the efforts of women in the Royal Air Force and nursing services. Upon his return, he taught at the Royal College of Art, and worked as an advisor on the design of banknotes to the Bank of England.In 1927 he was elected a Fellow of the Royal Society of Painter-Etchers and Engravers, he was elected a full member of the Royal Watercolour Society in 1934, and later also served as president, from 1957 to 1973. He was elelcted an Associate of the Royal Academy in 1939 and to the full membership in 1949.
* Anselmi (Giorgio, 1723-1797). The Adoration of the Shepherds, black chalk on light grey laid paper with arched top, signed in brown ink lower right Giorgio Anselmi Veronese, with collector's mark of a floriated capital C (Lugt 474) to lower right corner of C. P. J. - P. de Bourgevin Vialart de Saint-Morys (1743-1795), sheet size 38 x 20.2 cm (15 x 8 ins), framer's dark brown circular seal to frame verso, framed and glazed (54.4 x 36 cm)QTY: (1)NOTE:Provenance: Charles Paul Jean Baptiste de Bourgevin Vialart de Moligny, Comte de Saint-Morys (1743-1795), collector of old master drawings, and amateur printmaker. At the start of the French Revolution in 1790 he left France and his goods, lands and collections were seized, including all his drawings which were subsequently integrated into the Louvre between 1796 and 1797. Saint-Morys died in 1795 in the disastrous Battle of Quiberon which aimed to ignite a royalist insurrection in western France in support of Louis XVI. His second collection of drawings, formed in London between 1790 and 1795 was sold at auction by his son the Comte de Carrière in London in 1797, the works being stamped to the corner with a capital C (Lugt 474); Private Collection, Switzerland; Koller, Old Master Drawings, Friday, 22 September 2023, lot 3413.
* Furnival (John, 1933-2020). Time Is Money, 1971, offset lithograph on wove paper, signed in pencil, the full sheet, old pin holes to four corners, sheet size 50.5 x 38 cm (20 x 15 ins), and The Definitive Penultimate, offset lithograph on wove paper, signed in pencil, the full sheet, some dust soiling and light spotting, sheet size 38 x 50.5 cm (15 x 20 ins), together with six further prints by the same artist, Corridors of Flower Power (1967), Manhattan a.k.a. Aliquotality (1973), Eyeful Tower (c.1966), Night and Day, Real I Sing (1974) and Attention Please QTY: (8)
* Miers (John, 1756-1821). Portrait of John Foxcroft, circa 1785, oval head and shoulders silhouette portrait, painted in black on plaster, profile to right, somewhat scratched, verso with original artist's label “Perfect Likenesses in miniature profile, taken by J.Miers, LEEDS, and reduced on a plan entirely new ...", mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, frame verso with clear plastic cover taped at edges, and 20th century ink manuscript label detailing the sitter, overall size 15 x 12.5 cm, together with English School, Portrait of Eliza Talbot (c.1768-1855), circa 1790, oval head and shoulders portrait miniature, watercolour on paper, few light foxing spots, very slightly cockled, verso with later pencil annotation '...Eliza Talbot afterwards Mrs Lister Kaye', mount aperture 85 x 68 m (3 3/8 x 2 5/8 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, verso with mordern card covering, overall size 15 x 12.25 cm, plus another oval head and shoulders silhouette portrait, early 19th century, painted in black, grey and blue on paper, of a fashionable lady in a bonnet, profile to right, mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), verso with partly illegible pencil annotation 'Polly Bertroot'?, period framed and glazed (as above), overall size 15 x 12 cmQTY: (3)NOTE:Provenance: The Robertson-Glasgow family of Hinton Charterhouse, by descent. These items have all remained within the same family from the time they were produced, some 242 years.John Foxcroft, born in 1757, was the son of Edward Foxcroft, and brother to Eliza and Frances.Eliza (born Elizabeth) Talbot was the daughter of Colonel Richard Talbot, and his wife Margaret (nee O'Reilly), 1st Baroness Talbot of Malahide, Dublin. Eliza first married George Waters Mellifont in 1796, and then in 1844 she married Ellis Cunliffe-Lister-Kaye (his third wife).
* Attributed to Antoine Coypel (1661-1722). Reclining Male Figure, black, red and white chalk on light grey laid paper, depicting a long haired man reclining, one hand outstretched, mounted onto later laid backing paper with ruled borders in black and light brown ink, sheet size 145 x 175 mm (5 3/4 x 6 7/8 ins), framed and glazed (31.5 x 34 cm), old printed label of P. & D. Colnaghi & Co. Ltd to verso, with pencil attribution to Antoine CoypelQTY: (1)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.The present work compares with drawings by Coypel in the Ashmolean Museum, Oxford, in particular The Figure Blowing a Trumpet ( WA1944.12), as well as a similar Study of a Man's Back.
* Attributed to Hans Sebald Beham (1500-1550). Profile Head of a Man with Ram's Horns, pen and black ink on laid paper, some marks and light paper abrasions to sheet edges, laid onto later wove paper, sheet size 36 x 27 mm (1 3/8 x 1 1/16 ins), hinge-mounted, framed and glazed (23.5 x 23 cm) QTY: (1)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. Attributed to Hans Sebald Beham by John Rowlands.
* Durer (Albrecht, 1471-1528). The Abduction on a Unicorn, 1516, etching on laid paper, a good, dark Meder c impression with the rust marks in the plate, with city gate watermark (Meder 263, similar to Briquet 15940, dateable to the 1550's), plate size 310 x 213 mm (12 1/4 x 8 3/8 ins), with 1mm or 2mm outer margins, generally in good condition, verso with some old light waterstains, remains of paper hinges to top margin verso, late 19th/early 20th century backing card inscribed with details of the print in pencil QTY: (1)NOTE:Bartsch 72; Meder 67; Schoch, Mende, & Scherbaum 83.
* Attributed to Domenichino (Domenico Zampieri, 1581-1641). Falling Putto, red chalk on laid paper, laid down on a sheet of 18th century laid backing paper (watermarked), with pencil triple rule outer border, inscribed in brown ink in an 18th century hand 'Domenichino' lower right, and 'Carlo' lower left, some surface marks and light soiling, minor loss to extreme upper left corner, and scratch towards lower left margin, with minimal loss, sheet size 246 x 201 mm (9.7 x 7.9 ins), backing sheet 31 x 26.5 cm (12.2 x 10.5 ins)QTY: (1)NOTE:Provenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.The early inscription 'Carlo' on the backing paper may refer to Carlo Maratta (1625-1713) as a previous owner of this drawing. Fellow artist Maratta famously owned a substantial collection of Domenichino's drawings, purchased from that artist's pupil Francesco Raspantini. In turn, Maratta sold part of his collection, mainly drawings and cartoons, to Giovanni Francesco Albani, later Pope Clement XI, who tried to prevent their sale abroad. They were eventually acquired from Alessandro Albani by King George III of England and reside today in the collection at Windsor Castle.
* Persian Miniature. Two noblemen reclining, late 17th or early 18th century, pen and ink on laid paper, depicting two young noblemen reclining with food and drink, the drawing heightened with gold, the background with stencilled gold floral motifs within an ornamental gold border, the image overall sprinkled with gold, captioned in Persian in the image, overall light discolouration and old creases, with an additional near contemporary decorative paper border (of gilt-decorated black within pink and blue borders) laid down, image size 66 x 111 mm (2 5/8 x 4 3/8 ins), sheet size 139 x 211 mm (5 1/2 x 8 1/4 ins), window mounted (mount aperture 80 x 125 mm), framed and glazed (22 x 27 cm)QTY: (1)NOTE:Provenance: Sidney J. A. and Stella Churchill (1862-1921): Ruth Plant (daughter): Juliet Petty of Bristol (granddaughter).Sidney Churchill was a well-travelled British diplomat who also became a connoisseur of art. He joined the Indian Civil Service in 1880, when just 18, working in the Persian Telegraph Department, and later became British Consul in Persia (1886-1894), before moving to various other countries in the diplomatic service.The Persian caption to the drawing could possibly translate as Excellent Meh Reza.
* Follower of Peter Paul Rubens (1577-1640). Mother and Child, 17th or 18th century, red and white chalk on laid paper, with old (probably 18th century) inscription 'No. 7741', and collector's mark in pencil to lower right corner, apparently a drawn copy or version of the printed mark of the Hermitage Museum, St. Petersburg (Lugt 2061), some light spotting and marginal toning, sheet size 195 x 115 mm (7 3/4 x 4 1/2 ins), later frame, glazedQTY: (1)NOTE:Provenance: The collector's mark at lower right bears comparison to the black printed stamp of the Hermitage Museum, St. Petersburg (Lugt 2061), a stamp which was placed on the Russian collection of drawings and prints during the reign of Emperor Paul I (1796-1801); Collection of Philip Allen, Bedford, UK.Another Madonna and Child in red chalk, given to Peter Paul Rubens, measuring 24.4 x 13.4 cm was offered by Phillips, London, Old Master Drawings, Thursday, July 6th, 2000, lot 126 (estimate £120,000-£150,000).
* Thomassin (Philippe, 1562-1622). The Battle of the Lapiths, after Bernadino Passeri (1540-1596), Rome, 1617-1619, fine large circular engraving by Thomassin after Passeri on laid paper, incorporating a circle of centaurs and lapiths fighting with cudgels over women, with an outer border of putti, mermen, and serpents, at the centre of the engraving a circular device with a crab on whose carapace is engraved the Vitelli coat of arms, with a circular border in which is engraved: ‘ILLVSTRISSIMO D· IOANNI VITELLIO PATRONO VIRT· AMAT’, and a second circular border bearing the words: BERNARDINVS PASSARVS INVEN · PHIL · THOMASSINVS FEC · ET EXCVD · CVM PRIVIL · SVMMI PONTIFICIS ET SVPERIOR LICENTIA · ROMAE, scattered light toning (generally in good condition), 57 cm (22 1/2 ins) diameterQTY: (1)NOTE:Provenance: Sidney John Alexander Churchill (1862-1921), thence by descent.A design for a shield for Giovanni Vitello, showing the battle of the Lapiths and Centaurs. The mythical Battle of the lapiths and centaurs features in several prominent works of Greek architecture, including the temple of Apollo at Bessae and on the Parthenon in Athens. The tale begins with the marriage of Hippodamia to Pirithious, king of the Lapiths, and the centaur guests at their wedding. The centaurs became drunk and attempted to kidnap and rape the bride and other women at the wedding. The Lapiths eventually triumphed over the centaurs, in most accounts due to the intercession of Apollo.According to Bruwaert's catalogue, La vie et les Å“uvres de Philippe Thomassin graveur Troyen 1562-1622 (Troyes and Paris, 1914-15), number 415 is a ‘Bouclier des Lapithes, diamètre 280, d’après Bern. Passaro, Phil Thomassinus fec. et exc., dédié à Jean Vitelli par Thomassin.’ The date is given as 1620. Bruwaert notes (p.68) that in the period after 1617, ‘A Cassian dal Pozzo, secrétaire du cardinal Barberin, Philippe offre une Galathée fort légèrement vêtue. Un Triomphe du Printemps, dans la même note, peut être de la composition même de Thomassin. Un Combat de Lapithes, en form de bouclier, doit dater de ce temps.’
AR* Buckland Wright (John, 1897-1954). Dancer II, 1953, etching on wove paper, one of 40 editioned impressions, signed in pencil bottom right, titled bottom left 'Dancer II', with personal inscription 'for Frank' (Frank Martin), plate size 21.5 x 18.7 cm (8 2/5 x 7 3/10 ins), sheet size 33 x 27 cm (13 x 10 7/10 ins), light time toning to extreme borders, unframedQTY: (1)
* Tanner (Robin, 1904-1988). February, 1974, etching on thick wove paper, second (of two) states, from the sole edition of 25 signed proofs, printed by the artist and published by Garton & Cooke in 1984, signed 'Robin Tanner fec. et imp', titled 'Etching: February', with an additional inscription by the artist 'This impression was printed for Marjorie Green at the Old Chapel Field Press, Kingston Langley, Wiltshire', the full sheet, some light toning to sheet, plate size 26 x 16.1 cm (10 1/4 x 6 1/2 ins), sheet size 44 x 31.7 cm, together with Wren and Primrose, 1935, etching on thick cream wove paper, an impression from the original plate by Jeremy Blighton and Anthony Dyson for Merivale Editions, London, from the unnumbered edition of 122, the full sheet, plate size 9.3 x 11.3 cm (3 5/8 x 4 1/2 ins), sheet size 37.6 x 45.3 cmQTY: (2)NOTE:Garton 32 & 19.
* Buckland Wright (John, 1897-1954). La Visiteuse du soir, 1953, etching on wove paper, signed in pencil bottom right, titled bottom left 'La Visiteuse du soir', with personal inscription 'for Frank' (Frank Martin), plate size 15 x 10.2 cm (5 4/5 x 4 ins), sheet size 24 x 16.8 cm (9 1/2 x 6 3/5), light time toning to extreme borders, unframed, together with Psyche and Cebrus, 1937, etching on mould paper, signed with initials in the plate, titled in pencil bottom left and date bottom right, plate size 12.8 x 8.8 cm (5 x 3 2/5 ins), sheet size 33 x 25.5 cm (13 x 10 ins), studio stamp verso, mountedQTY: (2)
Erasure - A collection of Limited Edition 30th Anniversary 180gsm LPs, to include Erasure (self titled), Wonderland, Wild!, I Say I Say I Say, Chorus, The Innocents, Circus, Cowboy, Loveboat, Other People's Songs, Nightbird, Union Street and Light at the End of the World, all in protective sleeves. (13) PLEASE VIEW CONDITION REPORT
1980s Rock/Punk Rock - A collection of LPs and 12 inch singles, including Scorpions - Blackout, SHVL 823, (autographed), and Lovedrive, SHSP 4097, The Stranglers - Self Titled, UAK 30222, The Raven, UAG30262, The Collection, 1977-1982LBG 30353, Feline, CB 231, Aural Sculpture, EPC 26220, No More Heroes, UAG 30200, and Skin Deep, TA 4738, Motorhead - Another Perfect Day, BRON 546, Skids - Days In Europa, OVED 42, Kate Bush - Hounds Of Love KAB1, OMD - Morality & Architecture, Talking Heads - Remain In Light, SRK 6095, Rain Parade - Crashing Dream, ILPS 9805, Echo & The Bunnymen - Porcupine, KODE 6, and Ocean Rain, KIDE 8 and Van Halen - Women and Children First, WB56 793. (17) PLEASE VIEW CONDITION REPORT
Velvet Underground - Two signed records, White Light/White Heat signed by Lou Reed and Moe Tucker and Animal Justice signed John Cale. NB - Remaining items from the Late Estate of Dee McLouglin - tour manager. The entire collection sold in these rooms in February 2024. PLEASE VIEW CONDITION REPORT
Isamu Noguchi (Japanese/American, 1904-1988) for Vitra, coffee table, glass top, walnut stand, etched signature to glass for 'Isamu Noguchi Vitra Design Museum', 41cm high x 128cm wide x 91.5cm deep Condition Report: some light domestic wear to base, consistent with age and domestic use, some white marks noted, general marking from use to glass which is removable by cleaning. Scratch approximately 10cm long to top. client almost certainly bought this from new from Vitra.
Julian Chichester, 'Klee', chest with three drawers , wood and lacquered vellum, teal blue colourway, 80cm high x 110cm wide x 50cm deep Condition Report: †The chest has overall light domestic wear and scratching, with two heavier circular scratches that appear to have been restored badly. There is a sticky residue to the surface of the wood, Would benefit from some professional attention.
Rachel Bishop (British, b.1969) for Moorcroft, Florian Yacht vase (shape 100/9.5) issued to celebrate the 1897 - 1997 centenary of Moorcroft, numbered edition with this being number 895. Pattern is in shades of blue depicting yachts and waves with 1897 and 1997 on the flags. Factory impressed and paint marks to base together with J Moorcroft signature, year cypher for 1997 with copy right c96. Bears silver line mark to base indicating second. Height 23.5cm. Condition Report: Some manufacturing imperfections, light crazing on base.
Wemyss Ware " Sleeping Pig ", impressed marks, signed B. Adams, marked Exon 730, 17cm lengthCondition Report: Craquelure to the glazed surface. Small glaze fault to the front hooves. Under UV light there is some florescence on the snout and the glass surface is rubbed/distressed. Otherwise good condition.
Quentin Bell (British 1910-1996) for the Fulham Pottery, a pottery vase, moulded with a double portrait bust of a man and woman, initialled QB, and signed to base, 30.5cm highCondition Report: Under fluorescent light one can see areas of over painting, possibly oil, and there appear to be paint losses. These areas are noticeable over both faces and there appears to be an un-eveness in the contours of the face. The body of the vessel appears to be fully vitrified and does not appear to have been cracked or repaired. Potentially this is a mixed media piece or someone has at some point enriched the surface with oil paint. Viewing is highly recommended before bidding.
Philip Gibson (British, Contemporary) for Moorcroft, Ingleswood designed plate (shape 783/10). Factory impressed and paint marks to base, with year cypher indicating 2003. Bears silver line mark to base indicating second. Diameter 26cm. Condition Report: Some crazing to back of plate in light section. Some paint smudges/bleeding seen as part of the original condition of plate.
Charles-Édouard Jeanneret, known as Le Corbusier, (Swiss, 1887-1965), Pierre Jeanneret (Swiss, 1896-1967), Charlotte Perriand (French, 1903-1999) for Cassina, Three seat Fauteuil Grand Confort sofa, brown leather and finish, with retail labels, 62cm high x 233cm wide x 69cm deepCondition Report: This sofa was bought from new from Cassina.It still retains its retail labels.There is very light domestic wear to the leather, in line with careful use and domestic use.Some domestic wear to the metal frame, in line with use and age.
Johannes Andersen for Christian Linneberg Mobelfabrik, set of six dining chairs, rosewood, with upholstered seats, 77.5cm high x 49cm wide x 42xm deep, together with a rosewood extending dining table with two end leaves, 72cm high x 216.5cm extended x 79.7cm deep (7)CITIES REGISTRATION NO. 24GBA105SIGPECondition Report: light fading to the wood work, seats re-upholsteredtable has general fading to the top, domestic wear and scratching, leaves have better colour, one leave has a noticeable loss to polish on leaf.
Rachel Bishop (British, b.1969) for Moorcroft slender jug/ewer (shape JU3) in the Lamia design, pattern features water lilies, bulrushes and dragonflies on graduating cream to green ground. Factory impressed and paint marks to base with year cypher indicating 1999. Height 24cm.Together with a bulbous vase (shape 7/5) in the Rough Hawk's Beard design by Rachel Bishop. This vase was a special occasions event piece during the centenary celebrations in 1997, accompanying John Moorcroft visits. Factory impressed and paint marks to base with year cypher indicating 1997. Bears silver line mark to base indicating second. Height c14cm. (2)Condition Report: Rough Hawk's Beard some crazing visible on design of vase, more on light sections of the pattern
Attributed to Dominique (Andre Domin, French 1883-1962 / Marcel Genevriere, French 1885-1967) an Art Deco satinwood secretaire bookcase, the top section with three apertures, above fall flap with white vellum facade, drawers and writing surfaces to the interior, above two cupboard doors enclosing shelves and compartments, on plinth base, 157cm high x 116cm wide x 41cm deepCondition Report: Overall this is in good condition. There are some slight dents/chips/dings to the varnish, notably to edges and high points. Nothing serious but noticeable. There is light domestic wear to the interior. General light wear overall.
J&M Classics: A pair of boxed J & M Classics 1:43 vehicles, to include: 12.70 Saloon 1938 Grey / Light Grey Number 53; and TA21 Drophead (1953) Light Blue (Closed Hood) Number 19. Original boxes, general wear expected with age. Condition is very good, boxes have some shelf wear. Please assess photographs. (2)
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