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Lot 41
Peter Schuyff (Dutch, born 1958)Untitled 1987 signed and dated LXXXVII-XCIII on the reverseacrylic and pencil on canvas190.5 by 190.5 cm.75 by 75 in.Footnotes:This work is registered in the Peter Schuyff Studio, Amsterdam.ProvenanceKunstgalerij De Vuyst, LokerenAcquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 7
Howard Hodgkin (1932-2017)For Edward 1984 debossed with the artist's initials and dated 1984acrylic and gouache on card laid on cardboard in found frame20 by 27.2 cm.7 7/8 by 10 11/16 in.Footnotes:A frontispiece cut from the exhibition catalogue Howard Hodgkin: Forty Paintings, 1973-1984, Whitechapel Gallery, London 1985, with a dedication written by the artist in pencil, 'For Edward Love from Howard 1985', was found inside the frame of the picture, which was discovered posthumously. This work will be included in the forthcoming catalogue raisonné being compiled by The Estate of Howard Hodgkin.ProvenancePrivate Collection, UKAcquired from the above by the present owner circa 1995A work that was only recently re-discovered and is completely fresh to market after having remained almost entirely unseen since the artist gifted the painting to its namesake in 1985, For Edward is a veritable lost treasure, which will be included in the forthcoming catalogue raisonné compiled by the artist's estate. It is amongst those rare paintings that embody the spirit of an artist at his zenith – negotiating scale, composition and colour with outstanding tact. With paintings residing in museums internationally, including the Museum of Modern Art, New York, the Museu de Arte Contemporanea de Sao Paulo, Brazil, and the Centro de Arte Moderna, Lisbon, this represents an opportunity to acquire a work of exceptional quality with unique provenance, by one of the most prominent and celebrated painters of the post-war period. Upon encountering Howard Hodgkin's paintings, the transcendent quality and extensive appeal of his style is palpable and evident. Mastering an orchestral sweep and dapple of the brush, Hodgkin's paintings are harmonic in their affect, and none quite so precisely composed as in the present work, For Edward, from 1984 – the same year Hodgkin stepped up to the international stage exhibiting in the British Pavilion at the Venice Biennale, before he would go on to win the Turner Prize in 1985. Hodgkin's virtuosic brushwork is exquisite and hypnotizing, and the present work is a truly compelling and succinct example of the artist's talent as it translates into his expressive mark. Emerging from the Bath Academy of Art at Corsham in 1954 under the pupilage of William Scott, Hodgkin was an influence unto himself. Early inspiration came in The New American Painting exhibition of Abstract Expressionist artists at the Tate Gallery in 1959, and the significance of Rothko's planes of colour is never far. Yet he shunned the flatness of American Modernism, pushing the painting out of its frame and creating abstract depths of field that translate as windows onto a vivid and luscious landscape. As his close friend, the acclaimed writer Julian Barnes once wrote: 'H.H.'s paintings are not narratives. Mostly, they are memories. But it is not a case of emotion recollected in tranquility. Rather, it is emotion recollected in intensity. In that sense his pictures are operatic' (Julian Barnes, Keeping an Eye Open, London: Jonathan Cape, 2015, 260). Produced in a hugely important year for Hodgkin, For Edward is exemplary of the later period of his career that the artist was entering in the mid-1980s. As hasty as the paintings appear, he was in fact renowned for the meticulous and slow nature of his work, with many paintings taking years to complete. In For Edward, the refined brushwork and teeming chromatic scales of green and orange are a delight to behold at such an elegant scale, and wonderfully speak to the Hodgkin's lifelong appreciation for Indian art and culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 18
Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 51
John William Waterhouse, RA, RI (British, 1849-1917)Female head study for a nymph in Hylas and the Nymphs charcoal and pencil38.8 x 21.6cm (15 1/4 x 8 1/2in)(sheet)with a study for the figure in Destiny on the reverse.Footnotes:ProvenanceThe artist's widow, Mrs Esther Waterhouse, by whom sold Christie's, 23 July 1926, 'The Remaining works of the Late J.W. Waterhouse, Esq., R.A.', part of lot 8 (with 20 other drawings).Private collection, UK.This sheet is a compelling reminder of how closely interconnected John William Waterhouse's projects were during the mid to late 1890s. On one side is a powerfully realized head, most likely a preparatory study for one of his masterpieces, Hylas and the Nymphs (1896), and specifically for the alluring nymphs at centre who rise from the water to tempt the ancient hero. Waterhouse surely knew how crucial the girls' expressions and poses would be to maximizing his composition's dramatic impact, so he seems to have worked particularly hard on perfecting their heads and upper bodies via numerous drawings like this.On the reverse we find the same face sketched more faintly (and upside down), and more strikingly a nude girl standing while drinking from (or presenting?) a shallow cup. The latter is almost certainly an early imagining of the 1900 painting Destiny, in which a maiden clad in Renaissance-era clothing (but a more modern hairstyle) raises her cup in valediction to departing galleons. These motifs' intermingling underscores not only the fact that Waterhouse saw such sheets as practical working tools to turn over and re-use, but also his ongoing association of women with liquids, especially water. A chronological survey of his preparatory drawings makes it difficult to tell where he stopped composing one narrative (such as Hylas and the Nymphs) and began developing the next. This drawing of a head epitomizes that continuum: the gaze and angle evoke one of Hylas's timeless nymphs, while her upswept hairstyle appears in Destiny, which was specifically intended to benefit widows and orphans of the (painfully modern) Boer War.We are grateful to Peter Trippi for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 28
David Roberts, RA (British, 1796-1864)Sidmouth inscribed and dated 'Sidmouth June 20th 1845' (lower right); bears inscription 'Sidmouth from Salcombe Hill/D Roberts' (on the reverse)pencil and watercolour heightened with bodycolour on two joined sheets27.7 x 58.1cm (10 7/8 x 22 7/8in).Footnotes:Provenance(possibly) Gifted by the artist to his daughter and son-in-law, Christine and Henry Sanford Bicknell.(possibly) Henry Sanford Bicknell sale, Christie's, London, 7 April 1881, lot 92 [no size], bought by Permain.The Fine Art Society, Ltd., London, September 1952.J. B. Priestley Collection, UK.Private collection, UK. LiteratureDiary of Christine Bicknell, 1842-55 (National Library of Scotland, Edinburgh, acc. 7663).Helen Guiterman and Briony Llewellyn, David Roberts, London and Oxford, 1986, p. 103.PublishedLithograph by Robert Carrick published by John Harvey, Sidmouth, c.1845, as Sidmouth. From Salcombe Hill. Edinburgh-born David Roberts lived in London from 1822 but travelled extensively in Britain and abroad throughout his life. Many of his sketches, notably those of Spain and the Near East, became well known through engraved or lithographed reproductions. Among the latter are three views of Sidmouth, lithographed by Robert Carrick after drawings by Roberts and first published by the local 'Printer, Bookbinder and Librarian' John Harvey of Sidmouth, then republished in London.Sidmouth, on the south-west coast of England in Devon, lies at the mouth of the River Sid between two commanding cliffs, Peak Hill and Salcombe Hill. It developed as a fashionable resort and 'sea bathing' health spa in the early 19th century. Although it never became as popular as Brighton (which was closer to London and connected by train thirty years earlier), Sidmouth has similar elegant Regency buildings, many of which were available to rent. Roberts visited Sidmouth in June 1845 to stay with his daughter and son-in-law, Christine and Henry Sanford Bicknell, who were on a six-week holiday with their young children. 'I have no doubt the Attic will do famously,' he wrote to Henry on 27 May, 'so tell Christen [sic] not to put herself out of the way.' Henry must have mentioned the publishing proposal for views of Sidmouth, as Roberts added: 'My respects to the worthy Publisher, and if the subject is a good one tell him if he is a good fellow – I will do it for love but not all the houses' (Letter from Roberts to Henry Sanford Bicknell, 27 May 1845, private collection).After arriving on 12 June, Roberts found himself 'quite fascinated with the place,' according to Christine's diary note. On the following day Roberts made a sketch of Sidmouth looking eastwards 'from the verandah of Beacon Place, Peak Hill' (Yale Center for British Art, New Haven). This is likely the house where they were staying, as on similar holiday in 1848, when Roberts again visited, the family rented Beacon Cottage (probably the house now known as The Beacon). Carrick made an almost exact lithographic copy of Roberts's drawing. A similar view looking westwards along the beachfront (whereabouts unknown) was lithographed by Carrick and published by Harvey as Sidmouth. Western View. To get a more extensive view westwards and encompass 'the houses' that publisher Harvey appears to have requested, Roberts climbed up Salcombe Hill a week later and made the present lot. Christine and Henry accompanied him, and Christine also drew or painted. 'My Father made a beautiful sk[etch],' she noted in her diary on 20 June, '& H[enr]y read to us.' Whereas the other two lithographed views were contained on a single sketchbook page, Roberts here used a double-page spread: the join at the sketchbook seam is clearly visible (off-centre, as the right-hand page has been trimmed). This view extends from the English Channel across the town and inland, taking in the beach and Esplanade, with Chit Rocks jutting into the sea. Peak Hill is in the centre distance; behind are the highland of Otterton, and the eroded cliff stacks Big Picket Rock and Little Picket Rock. Along the central Esplanade are 'comfortable lodging houses, with every accommodation for large and small families,' as described in a mid-19th-century guidebook published by Harvey. 'The amphitheatre of ocean and mountain scenery, presented from this long and beautiful walk, where the pure and fresh breezes sweeping over the sea are inhaled, is . . . a favourite promenade of fashionable parties.' Some of the Regency buildings have copper-roofed balconies. 'The York, Bedford and Marine Hotels, together with a Library, Billiard, Reading, and Concert Rooms,' were situated in this part of the town, as well as 'shops of almost every description' and the London Hotel, in which were the Assembly Rooms.On the far right of the drawing is the distinctive tower of St Giles and St Nicholas church, which would be almost all that remained of the building when it was much altered and extended in 1859-60. Peak Hill behind is dotted with some of the 'mansions, villas and cottages' that 'form an attractive part of Sidmouth', according to the Victorian guidebook. Many were 'let as lodging houses ready furnished, with coach-houses, stables, &c.,' forming 'delightful abodes for small and genteel families' like the Bicknells.Harvey sold, printed and published many prints of Sidmouth and books relating to the area. Henry Sanford Bicknell may have been a customer and Harvey would have leapt at the opportunity of inviting Roberts to make images that were certain to be popular souvenirs. In addition to their publication in Sidmouth, the lithographs by Carrick after Roberts's drawings were hand-tinted and published by Harvey in London, in partnership with D. Bogue of Fleet Street. Smaller uncoloured versions were also published by Day & Haghe.We are grateful to Krystyna Matyjaszkiewicz for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 162
New Zealand.- Stanley (Norman L.) Journal... from Dunedin, New Zealand, to London, manuscript, 15pp. excluding blanks, in pen and pencil, a further 11pp. school exercises, some dampstaining affecting margins, a few marks, original marbled wrappers, torn with loss, folio, October 1885; and 10 watercolours mostly of views in New Zealand, v.s., v.d. (11 pieces).⁂ Paremata. "We crossed a railway bridge & walked along the beach to the place where the English & the natives fought & saw where the maori chiefs were buried."
Lot 211
Blackmore (R.D.) Perlycross. A Tale of the Western Hills, 3 vol., first edition, one or two pencil annotations, occasional spotting, original blue cloth, a little rubbed and cocked, corners bumped, small stains to upper cover of vol.1, [Sadleir 230; Wolff 539], 1894; Dariel, a Romance of Surrey, first edition, plates by Chris Hammond, spotting to title, with the author's cut signature mounted on front pastedown, original cloth, slightly rubbed, corners bumped, [Sadleir 224; Wolff 531], Edinburgh & London, 1897, 8vo (4)
Lot 75
NO RESERVE Natural History.- Mangin (Arthur) The Mysteries of the Ocean, first English edition, illustrations, some full-page, occasional spotting, original red cloth, gilt, rubbed, bumping to corners and spine extremities, 1868 § Saunders (Howard) An Illustrated Manual of British Birds, illustrations, occasional pencil annotations, bookplate, contemporary half-morocco, a little rubbed, 1899; and 5 others, natural history, 8vo (7)
Lot 2045
Edwardian 9ct gold seed pearl, star and swirl design brooch retailed by F. Appleby Retford boxed, four 9ct and 15ct gold stone set stick pins, 9ct gold propelling pencil and a 9ct gold brooch, all stamped, tested or hallmarked - Condition Report Brooches approx 3.5gm (back pins not gold), stick pins approx 4.1gm,
Lot 105
λ John Ward (British 1917-2007)Girl touching toesPencil and inkSigned and dated 1984 lower right17 x 24cm (6½ x 9¼ in.)Provenance:From the collection of Tom CoatesCondition Report: Executed over traces of preliminary pencil sketch. Some discoloration to the mounted edges. Otherwise, in generally good condition. Under glass and unexamined out of frame.Condition Report Disclaimer
Lot 109
λ Diana Armfield (British b. 1920) Gesuati on the Zattere, Venice Pencil Signed with initials lower left 21 x 13cm (8¼ x 5 in.) Provenance: From the collection of Tom CoatesTogether with an etching of The Band on San Marco Piazza, initialled in pencil and numbered 3/30, plate: 15 x 10cm. (2)
Lot 15
λ John Shinnors (Irish b. 1950) Rising Kite, Clare Island Cycle Oil on canvas Signed lower right, titled verso 143.5 x 284.5cm (56¼ x 112 in.)Painted in 1998.Provenance: Corporate collection, UKTo view a video of this lot, click here. Born in Limerick in 1950, Shinnors spent time in the early 1970s studying at the Limerick School of Art under influential local artist, Jack Donovan. Combining juxtaposed abstract shapes with familiar motifs such as lighthouses, cattle, sheep, scarecrows and kites, the present work is a seminal example of Shinnor's bold expressive style. He is known for his three-tone colour schemes executed on a large scale and his use of contrast with light and dark pigments lend both balance and a sense of pattern to his work. He has cited Rembrandt and Vermeer as central to his understanding of the interplay between light and shade. Shinnors developed his mature abstract style in the early 1990s moving away from a more realist approach of earlier years. The emblematic kite has since become a recurring theme in his painting and, as the artist himself explained, one that was central to his artistic development: '...I was in Kilkee, out on George's Head. It was a miserable day, with a grey mist over everything. Looking down, there was a tiny white figure moving against the rock, and I saw a flash of yellow in the sky. It was a child playing with a kite, and something clicked. It had all the elements - the human presence, air, sky and sea, a kind of dynamic interaction, and me, an interpreter, which is what I count myself as now...' (Shinnors in conversation with Aidan Dunne, John Shinnors, Gandon Editions, Kinsale, 2002, p.18). The present work, painted in 1998, on the mountainous Clare Island off the coast of County Mayo, returns once again to the powerful image of the kite - in its monumental form, the kite whilst always recognisable, becomes one with the harmonious juxtaposition of shapes and forms that complete the composition. Shinnors has exhibited widely across Ireland, represented by Taylor Galleries in Dublin. His work is held by numerous public and private collections such as the Arts Council of Ireland, Ulster Museum, Belfast, Limerick City Art Gallery and the National Self Portrait Collection. He has also been involved in supporting the visual arts in Ireland with the Shinnors Scholarship for an MA in Curatorial Studies in partnership with LIT, LSAD and Limerick City Gallery of Art and the Shinnors Drawing Award at LCGA. Condition Report: In overall very good original condition. Some (original) traces of pencil in the upper right corner. A few scattered brown spots of surface staining predominately to the area of white paint, lower centre. Unframed as originally intended. Some minor scuffs to the outside edges of the canvas. Some very slight craquelure to the grey paint at the centre of the right hand edge and again to the area of dark blue paint along the left hand edge. Please refer to the department for detailed images of these areas.Condition Report Disclaimer
Lot 152
λ David Jones (Welsh 1895-1974)Two horsesEtchingSigned and dated 26 in pencil, numbered 13/20Plate:12 x 15cm (4½ x 5¾ in.)Provenance:From the Collection of the late Ian Mylles, East SussexCondition Report: Some discoloration to the sheet, a small spot of foxing to the lower left quadrant and two small areas of faint staining upper centre. Under glass and unexamined out of frame.Condition Report Disclaimer
Lot 198
Olivia Scholnick (South African 1927-2013) Jerusalem, View from the Mishkenot Crayon and pencil Signed and dated 83 lower right 21 x 28cm (8¼ x 11 in.)Provenance: Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.
Lot 262
λ Rebecca Salter (British b.1955)Four Divisions IIIWoodcut, 1995 Signed in pencil verso 38.1 x 48.3cm (15 x 19 in.)Provenance:Jill George Gallery, LondonPrivate Collection, Mr Alan Angas Thorman (acquired from the above in 1996)Condition Report: Executed on hand made paper. There is some discoloration and associated patchy bleaching to the sheet in the margins, predominately to the right hand margin. Please see extra images for details. Some slight undulation to the sheet where mounted. Under glass and unexamined out of frame.Condition Report Disclaimer
Lot 276
λ Salvador Dali (Spanish 1904-1989)The Blasphemers (Inferno 14 from Divine Comedy)Woodcut, circa 1960Signed in pencil, from the total edition of 4765Image: 24.5 x 18.5cm (9½ x 7¼ in.)Condition Report: In good clean condition. Framed under glass and unexamined out of frame.Condition Report Disclaimer
Lot 278
λ Henri Matisse (French 1869-1954) Tete de jeune fille aux sourcils rectangulaires (Duthuit 222) Etching, 1930 Signed in pencil and numbered 8/25 12.5 x 10cm (4¾ x 3¾ in.)Provenance: Sale, Sotheby's London, 27 March 2007, lot 92 The Collection of Jo Wood (acquired from the above) Condition Report: Sheet has slipped in its mount. Light handling creases to the framing edges. Otherwise the work appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
Lot 48
λ Laurence Stephen Lowry (British 1887-1976)The ContraptionColour print, 1975 Signed in pencil, from the edition of 750, with the Fine Art Trade Guild blind stamp31.5 x 30cm (12¼ x 11¾ in.)Condition Report: There is some minor discolouration to the sheet at mounted edges, otherwise in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer
Lot 465
Local interest, Nigel Purchase, two local views, South and North Street, Chichester, 'To Mervyn James Cutten Archivist to the Corporation of St Pancras' and To the Citizens of Chichester and Chartres', limited edition colour prints 43 / 500 and 45 / 500, numbered and signed in pencil, 53cm by 65cm, one unframed
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