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Lot 286
Concorde Memorabilia - British Airways and Air France leaflets, duty free pamphlets, baggage tags, menus, book, a Corgi model Concorde, mug, jigsaws, original Royal Doulton salt and pepper pots, pocket travel set, British Airways Highlife magazine 1995 in document wallet with others; John Young, by and after, Salute to The Queen, limited edition print, 479/850, signed in pencil, 50cm x 72cm, framed; qty
Lot 132
Sarah Jane Szikora (b.1971) - Peekaboo/Three O'Clock Thrill - two signed limited edition prints numbered and signed in pencil to lower margin 210/850 and 212/850 respectively 30cm x 32cm and 34cm x 27cm respectively, in glazed frames; and Eric Auld - Aberdeen 1 - a signed artist's proof, titled in pencil to lower margin 35cm x 56.5cm in glazed frame; and Murray Zanoni - a signed limited edition print for British Telecom depicting The Tower in a London Skyline 41cm x 29cm no. 428/500 boxed with label verso in a glazed frame Location:
Lot 318
A late 18th/19th century Italian oil painting on board of a man dancing with a bear while a boy plays music on a wind instrument and a monkey in a red jacket sits upon the back of another bear, with buildings beyond, 38cm x 31.5cm dated inscription in pencil verso; along with a 19th century sepia sketch of an Italian scene with ships and buildings, unsigned 16.5cm x 26.5cm mounted in a glazed frame, together with Roland Hilder (1905-1993) Weald of Kent, coloured lithograph with Oast houses, signed and numbered 24/175, 17cm x 30cm in glazed frame, watercolour city river landscape 18cm x 27cm in glazed frame, and a framed collage French print 31cm x 42cm Location:
Lot 158
§ ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) FIRST PERSON HABUERIM, 2011 Signed and dated in pencil lower left, oil and felt tip on paperDimensions:16cm x 13cm (6.25in x 5in)Provenance:Exhibited: Gimpel Fils, LondonNote: Note: Few British artists of the 20th century are quite as intriguing as Alan Davie. Low key and independent, Davie operated outwith the art world ‘scene’ until his death in 2014 which means that, despite his popularity amongst critics and collectors, he isn’t the household name he perhaps deserves to be. Hopefully this is set to alter; it is with happy serendipity that this sale coincides with a major exhibition of his work at Dovecot Studios, Edinburgh, celebrating the centenary of his birth.He met and was admired by the great collector Peggy Guggenheim in Venice in the late 1940s and was close to members of the American Abstract Expressionist movement including Jackson Pollock.Taking reference points from a vast area of art history - Celtic, Buddhist, African, Hindi and Modernist to name but a few - he created a language of emblems and symbols with the aim of capturing the 'mysterious and spiritual forces normally beyond our comprehension.' Davie’s esotericism and eccentricity earned him the reputation as something of a “shaman”, a fitting title for an artist who sought to live his entire life as an exploration of the magic that underpins art, music and philosophy.The artist has had retrospectives at the Barbican, London, Tate St Ives and Tate Britain. He was appointed CBE in 1972 and elected a senior Royal Academician in 2012.
Lot 202
§ JOHN HOYLAND R.A. (BRITISH 1934-2011) TWO SCREENPRINTS: 'THUPELO SEAL' AND 'KINGS SEAL' - 1993 Two screenprints with woodblock, 46/90, each signed, titled, dated and numbered in pencil to margin, published by Advanced Graphics, London, with their blindstampDimensions:each sheet 112cm x 84.5cm (44in x 33.25in), unframed
Lot 213
§ STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) CHILDREN OF NIOBE - 1954 Lithograph, 58/250, signed, titled, dated and numbered in pencil to marginDimensions:the sheet 65cm x 50cm (25.5in x 19.75in), unframedNote: Note: Stanley William Hayter is considered one of the most significant printmakers of the 20th century, with associations to the period’s key artistic movements, Surrealism and Abstract Expressionism.Although born into an artistic family, Hayter originally studied chemistry and geology in London, before being posted to Iran while employed by an oil company. While stationed there he contracted malaria and fell seriously ill. He was sent home to recuperate and during this time the company arranged to hold a small exhibition of his work at their London headquarters, showcasing pieces he had made while abroad. The exhibition was a big success, with the majority of works sold, and it is thought it was this that encouraged him to pursue a career as an artist more seriously. The next year, he moved to Paris to undertake further artistic study at Académie Julian and started working in printmaking. In 1927 he opened a printmaking studio, that became known as Atelier 17, with the aim of creating an environment to celebrate, promote and evolve printmaking through collaboration and experimentation rather than strict techniques and hierarchies. It was a great success, ultimately attracting key artistic figures of the time including Picasso, Giacometti, Miro and Chagall.Meanwhile, Hayter continued to evolve and innovate his own techniques, particularly ‘simultaneous colour printing’ or ‘viscosity printing,’ the layering of varying viscosities of oil-based inks, using rags, stencils and rollers, onto a single plate. This allowed Hayter to print multiple layers of colour and texture in a single pulling. He was able to be gestural and fluid, and to work with improvisation rather than undertaking a more traditionally rigorous approach. When war spread across Europe, Hayter moved the successful studio out of Paris to New York. His reputation preceded him and he attracted significant American artists such as Calder, Pollock and Rothko to collaborate. His fluid and spontaneous approach gained a lot of traction and began to spread through artistic teaching in America. Constantly innovating through all different periods of his life, Hayter collaborated with artists to make prints that were sold to raise funds for the republican cause in the Spanish Civil War and then as part of the Second World War effort, he collaborated with British artist and historian Roland Penrose to set up a commercial camouflage business, the Industrial Camouflage Research Unit.Voraciously prolific, it is thought that Hayter made around 460 prints in his lifetime, working in Paris from 1950 up until his death in 1988. He was widely honoured in his lifetime, being awarded a CBE in the U.K. and the Légion d'honneur in France and since his death the atelier has continued, now under the name Atelier Contrepoint. We are delighted to be offering a small selection of Hayter’s work in print from the early 1950s, a period of lyrical action in his work, which showcase the vibrancy and versatility of the medium in his creative hands.
Lot 214
§ STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) PEGASE - 1951 Engraving and soft ground etching with color stencils, 8/50, signed, dated and numbered in pencil to marginDimensions:the sheet 31.5cm x 44cm (12.5in x 17.25in)Note: Note: Stanley William Hayter is considered one of the most significant printmakers of the 20th century, with associations to the period’s key artistic movements, Surrealism and Abstract Expressionism.Although born into an artistic family, Hayter originally studied chemistry and geology in London, before being posted to Iran while employed by an oil company. While stationed there he contracted malaria and fell seriously ill. He was sent home to recuperate and during this time the company arranged to hold a small exhibition of his work at their London headquarters, showcasing pieces he had made while abroad. The exhibition was a big success, with the majority of works sold, and it is thought it was this that encouraged him to pursue a career as an artist more seriously. The next year, he moved to Paris to undertake further artistic study at Académie Julian and started working in printmaking. In 1927 he opened a printmaking studio, that became known as Atelier 17, with the aim of creating an environment to celebrate, promote and evolve printmaking through collaboration and experimentation rather than strict techniques and hierarchies. It was a great success, ultimately attracting key artistic figures of the time including Picasso, Giacometti, Miro and Chagall.Meanwhile, Hayter continued to evolve and innovate his own techniques, particularly ‘simultaneous colour printing’ or ‘viscosity printing,’ the layering of varying viscosities of oil-based inks, using rags, stencils and rollers, onto a single plate. This allowed Hayter to print multiple layers of colour and texture in a single pulling. He was able to be gestural and fluid, and to work with improvisation rather than undertaking a more traditionally rigorous approach.When war spread across Europe, Hayter moved the successful studio out of Paris to New York. His reputation preceded him and he attracted significant American artists such as Calder, Pollock and Rothko to collaborate. His fluid and spontaneous approach gained a lot of traction and began to spread through artistic teaching in America. Constantly innovating through all different periods of his life, Hayter collaborated with artists to make prints that were sold to raise funds for the republican cause in the Spanish Civil War and then as part of the Second World War effort, he collaborated with British artist and historian Roland Penrose to set up a commercial camouflage business, the Industrial Camouflage Research Unit.Voraciously prolific, it is thought that Hayter made around 460 prints in his lifetime, working in Paris from 1950 up until his death in 1988. He was widely honoured in his lifetime, being awarded a CBE in the U.K. and the Légion d'honneur in France and since his death the atelier has continued, now under the name Atelier Contrepoint. We are delighted to be offering a small selection of Hayter’s work in print from the early 1950s, a period of lyrical action in his work, which showcase the vibrancy and versatility of the medium in his creative hands.
Lot 215
§ STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) WARRIORS - 1953 Color engraving, soft-ground etching and scorper, 165/200, signed, dated, titled and numbered in pencil to marginDimensions:the sheet 57cm x 42.5cm (22.5in x 16.75in)Note: Note: Stanley William Hayter is considered one of the most significant printmakers of the 20th century, with associations to the period’s key artistic movements, Surrealism and Abstract Expressionism.Although born into an artistic family, Hayter originally studied chemistry and geology in London, before being posted to Iran while employed by an oil company. While stationed there he contracted malaria and fell seriously ill. He was sent home to recuperate and during this time the company arranged to hold a small exhibition of his work at their London headquarters, showcasing pieces he had made while abroad. The exhibition was a big success, with the majority of works sold, and it is thought it was this that encouraged him to pursue a career as an artist more seriously. The next year, he moved to Paris to undertake further artistic study at Académie Julian and started working in printmaking. In 1927 he opened a printmaking studio, that became known as Atelier 17, with the aim of creating an environment to celebrate, promote and evolve printmaking through collaboration and experimentation rather than strict techniques and hierarchies. It was a great success, ultimately attracting key artistic figures of the time including Picasso, Giacometti, Miro and Chagall.Meanwhile, Hayter continued to evolve and innovate his own techniques, particularly ‘simultaneous colour printing’ or ‘viscosity printing,’ the layering of varying viscosities of oil-based inks, using rags, stencils and rollers, onto a single plate. This allowed Hayter to print multiple layers of colour and texture in a single pulling. He was able to be gestural and fluid, and to work with improvisation rather than undertaking a more traditionally rigorous approach. When war spread across Europe, Hayter moved the successful studio out of Paris to New York. His reputation preceded him and he attracted significant American artists such as Calder, Pollock and Rothko to collaborate. His fluid and spontaneous approach gained a lot of traction and began to spread through artistic teaching in America. Constantly innovating through all different periods of his life, Hayter collaborated with artists to make prints that were sold to raise funds for the republican cause in the Spanish Civil War and then as part of the Second World War effort, he collaborated with British artist and historian Roland Penrose to set up a commercial camouflage business, the Industrial Camouflage Research Unit.Voraciously prolific, it is thought that Hayter made around 460 prints in his lifetime, working in Paris from 1950 up until his death in 1988. He was widely honoured in his lifetime, being awarded a CBE in the U.K. and the Légion d'honneur in France and since his death the atelier has continued, now under the name Atelier Contrepoint. We are delighted to be offering a small selection of Hayter’s work in print from the early 1950s, a period of lyrical action in his work, which showcase the vibrancy and versatility of the medium in his creative hands.
Lot 242
§ VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) SANS TITULO - 1972 Etching with aquatint, 264/400, signed with initials and numbered in pencil, published by 2RC Workshop, Rome, with their blindstamp, produced as the jacket for the artist's catalogue raisonné by Bowness and LambertiniDimensions:the sheet 33cm x 62cm (13in x 24.5in), unframed
Lot 252
§ GEORGES BRAQUE (FRENCH 1882-1963) CINQ POÉSIES EN HOMMAGE Á GEORGES BRAQUE - 1958 (VALLIER 131) Lithograph on japon nacré paper, XVI/XXV, aside from the regular edition of 106, signed and numbered in pencil to marginDimensions:20cm x 55cm (8in x 21.5in)Provenance:Provenance: Sotheby's, London, Old Master, Modern & Contemporary Prints, 20 September 2007, Lot 104;The Private Collection of Mark Gillette.
Lot 269
§ ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) UNTITLED (DESIGN FOR CANONGATE) Lithograph, 39/100, signed and numbered in pencil to marginDimensions:the sheet 50cm x 40cm (19.75in x 15.75in)Note: Note: This print was one of a series commissioned by Canongate publishers to be used as book cover designs for their Scottish Classics series in 2001. This image by Watt was the cover for ‘Selected Stories’ by Muriel Spark.
Lot 275
§ PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) CRYING (JANE EYRE SERIES) - 2001 Lithograph, aside from the edition of 35 +14 AP's, signed in pencil, printed by The Curwen Studio, Cambridge, published by the artist and Marlborough Graphics, LondonDimensions:the sheet 59.5cm x 43.5cm (23.5in x 17.25in), unframed
Lot 276
§ STEPHEN CONROY (SCOTTISH 1964-) LOOKING OVER LEFT SHOULDER - 2002 Lithograph, 1/2, signed and numbered in pencil to margin, printed by the Curwen Studio, Chilford, published by the Curwen Press, Chilford, with their blindstampDimensions:the sheet 55.5cm x 38cm (21.75in x 15in), unframedNote: Note: The original pencil study was sold in these rooms in April 2022, Lot 56.
Lot 280
§ DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH 1931-2021) POPPY STUDY - 2011 Screenprint, P/P, aside from the edition of 80, signed and editioned in pencil, published by Glasow Print Studio, with their blindstampDimensions:59cm x 47.5cm (23.25in x 18.75in)
Lot 282
§ SALVADOR DALI (SPANISH 1904-1989) FEMME-FLEURS AU PIANO, FROM HIPPIES - 1970 Etching with hand-colouring on japan paper, LXIII/C, signed and numbered in pencil to margin, with artist's signature blindstamp, published by P. Argillet, printed by Atelier Robbe, ParisDimensions:plate size 39.5cm x 31.5cm (15.5in x 12.5in)
Lot 285
§ DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH 1931-2021) JAPANESE GARDEN II - 2005 Etching, Printer's Proof, aside from the ed. of 50, signed and editioned in pencil to margin, published by the Glasgow Print StudioDimensions:plate size 37.5cm x 54cm (14.75in x 21.25in)
Lot 298
§ EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SECRETS OF THE INTERNAL COMBUSTION ENGINE FROM MOONSTRIPS EMPIRE NEWS - 1967 Screenprint, Artist's Proof, signed and inscribed in pencil, published by Editions Alecto, London, printed by Kelpra Studios, LondonDimensions:37.5cm x 25cm (14.75in x 10in)
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296952 item(s)/page