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Lot 749
after John Gould FRS (British, 1804-1881) and Elizabeth Gould (British, 1804-1841), 'Buceros Cavatus' (Concave Hornbill), from 'A Century of Birds from the Himalaya Mountains', 1830-32, colour lithograph, 20 x 13½in. (50.75 x 34.25cm.). * Condition: Light browning to paper at very edge at joint with mount. A few scattered minor fox marks. Some small handling creases to lower right corner. In a mid-20th century limed wood frame.
Lot 765A
after Charles Johnson Payne 'Snaffles' (British, 1884-1967), four signed colour lithographs laid onto pictorial mounts, comprising 'A Wet Nalla', 'The Forward Heat?', 'Getting Cantankerous' and 'Got yer you old badmash!', all signed in pencil and with artist's bits blind stamp, 16½ x 24¾in. (42 x 63cm.). (4) * Condition: All in poor to fair condition, in pre-war Boots frames, with insect dust beneath glass.- The Forward Heat: glass missing, fading to the print and some wear to the paper surface the the margins of the lithograph. Also damage to surface of the card on the mount at two points (possibly insect damage) and a small cut to the mount at bottom centre. A little foxing. - A Wet Nalla:Some foxing across the mount and insect damage to the printed image to bottom left of mount. Three small patches of damage to surface of lithograph.- Got yer...: 2 x 2in. piece missing from top right corner of mount. Some foxing across mount, fair overall.- Getting Cantankerous: Lithograph faded. Foxing across mount. Fair overall.
Lot 2257
* JOHN BYRNE RSA, BOY WITH MOTH unique hand coloured lithograph, signed, titled and numbered 2/30 48cm x 62cm Mounted, framed and under glass Note: Illustration of a boy holding a striped banner, with a moth on his chest, printed in black ink. Part of the edition was also hand coloured, which was the artist's original intention for the whole edition. The print is signed as 'Patrick', the persona the artist first adopted in 1967. Having been greatly interested in the work of primitive painters for a number of years, Byrne sent some of his own paintings to a London gallery with a letter stating that they had been created by his father, Patrick, who had received no formal art training. Although he did not maintain the deception for long, he nonetheless signed many of paintings this way in the 1960s and 1970s. Here he returns to the persona as well as to the format of a large, bulky figure that fills the picture frame and holds a banner.Printed and published by Glasgow Print Studio in 1994.
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