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Lot 602
Viola Paterson (1899-1901), block print on fabric, Seahorses, 26cm x 24cm, mounted, glazed and framed. Paterson trained at the Slade under Henry Tonks and in Paris under Andre Lhote before becoming a renowned printmaker. Examples of her prints are in the collections of The V & A and the British Museum
Lot 297
Private Press.- Wynne (Ellis) Gweledigatheu y Bardd Cwsc: Visions of the Sleeping Bard, translated by T. Gwynn Jones, one of 175 copies, text in Welsh and English, wood-engraved frontispiece by Blair Hughes-Stanton, original red morocco-backed patterned cloth, spine ruled in gilt, very minor scuffing to extremities, uncut, with a 4pp. publisher's extract and advertisement loosely inserted (browned), Newtown, Gregynog Press, 1940 § Ellis (Havelock) Chapman, one of 75 specially-bound copies, browning to end papers, original russet morocco, spine with title and a ladder of horizontal rules in gilt, some minor marking, t.e.g., others uncut, Nonesuch Press, 1934 § Cocteau (Jean) Tempest of Stars, Selected Poems, translated by Jeremy Reed with drawings by David Austen, edition "C", one of 15 copies signed by the translator and illustrator and with a signed original etching, from a total edition of 87, text bifolia and 26 offset colour lithographs, all loose as issued in original drop-back box, paper labels to cover and spine, Enitharmon Press, 1992 § H.P.M. Harold Patrick McGrath. one of 100 signed by McGrath and Robinson, an original etching by Alan Robinson (portrait frontispiece), portrait print of McGrath by Ned Gray in pocket at rear, illustrations by many, original paper-covered boards with mounted paper labels, Easthampton (MA), Cheloniidae Press, 1991; and 7 others, including Golden Cockerel, Stanbrook Abbey, Roycroft, Incline, and others, v.s. (11)
Lot 32
Levant.- Album of original photographs of construction work in the desert, 28 vintage silver print photographs, each c.155 x 105 mm. (6 1/4 x 4 1/4 in.), mounted in the album, captioned and dated in pencil, scattered faint spotting, original cloth with cord ties, a little rubbed, oblong 8vo, 1938-39.⁂ The album includes images of Haifa, the Jordanian desert, al-Mafraq and Wadi Sirrah.
Lot 69
Space.- John Glenn in orbit, Mercury-Atlas 6, February 20, 1962; vintage gelatin silver print on fibre-based paper, NASA S-62-307, NASA stamp and caption on verso, Age of Space cropping marks on verso, 255 x 205 mm (10 x 8 in.)⁂ A portrait of John Glenn, the first American to orbit the Earth, glancing out of porthole as he re-entered the atmosphere, taken by an automatic sequence motion picture camera onboard Friendship 7 capsule
Lot 70
Space.- Earth full disk, ATS I, December 11, 1966; vintage gelatin silver print on fibre-based paper, IPS wire photo with caption printed in the margin, 255 x 203 mm (10 x 8 in)⁂ This photograph, taken by spin-scan cloud-cover camera, is the first full disk image of Earth ever taken from geostationary orbit
Lot 443
Three Admiral Horatio Lord Nelson 1806 funeral prints comprising "The Magnificent Funeral Car" coloured print, published Laurie & Whittle, approx 180 x 240 mm together with 2 R Ackermann coloured prints "This Shallop Which Brought the Body of the Ever to be Lamented Lord Nelson from Greenwich to Whitehall Stairs...", approx 200 x 340mm plus "Nelson's Coffin", approx 360 x 220 mm, all items framed and glazed (3)
Lot 141
PACKET: Small lot Oscar Wilde interest comprising George Hunter Fell autograph letter card signed dated June 15 1893 "The Cottage, Goring is Let for One Year to Mr Oscar Wilde..." plus a photograph of Oscar Wilde circa 1884 approx 140 x 95 mm in old strut-back leather frame plus a photographic postcard of Mr Justice Wills circa 1904, the Judge who sentenced Oscar Wilde, a flier for the book "Salome", published 1904, a flier for the stage production of "Salome" 1905, and a black and white print by Aubrey Beardsley (6)
Lot 436
§ Ghosts of Gone BirdsA suite of eighteen signed and numbered prints by contemporary artistspublished by A Jealous Print Portfolio in aid of BirdLife International, artist's proofunframed and in original presentation solander box53 x 43cm The present lot, a suite of eighteen prints each depicting an extinct bird species, was published to accompany the 2011 exhibition, Ghosts of Gone Birds, and includes works by some of the UK’s leading contemporary artists including, Pure Evil, Jamie Hewlett, Charming Baker, Ralph Steadman, and Sir Peter Blake. Working in collaboration with the BirdLife Preventing Extinctions Programme, the exhibition aimed to both memorialise the sadly lost species and to raise awareness of the current conservation crisis.
Lot 188
HM King Charles III (b.1948) Highgrove House, limited edition lithograph printed in colours, 1999, signed, dated and numbered 28 from the edition of 100 in pencil, printed on St Cuthbert's Mill wove paper at the Curwen Chilford Prints Ltd., with certificate of authenticity, matted and gilt framed and in the original dark blue and gilt leather presentation box, the sheet 16 5/8 x 19½in. (42.25 x 49.6cm.).* Condition: Print: Excellent condition, with no faults. Has always been kept in the case.Case: Good condition, with some surface scratches and tiny indents and marks to the leather.
Lot 349
Sir William Russell Flint, RA (Scottish, 1880-1969) 'Waves', signed limited edition colour print, pub. Frost & Reed, c.1969, from an edition of 850, signed in pencil lower right, blind stamped, gilt framed and matted, 18¾ x 24½in. (47.6 x 62.25cm.).* Condition: Good condition, with strong colours. Acidic mount, with very, very faint mount burn.
Lot 367
Sir William Russell Flint, RA (Scottish, 1880-1969) 'Carmelita', limited edition colour print, signed in pencil, pub. 1961, from an edition of 1000, blind stamped, 10 3/8 x 12¼in. (26.3 x 31.1cm.), well framed and matted.* Condition: Slight toning to sheet and light mount burn. Acidic mount.
Lot 391
Utagawa Hiroshige (Japanese, 1797-1858) three woodblock prints, including Tama River in Musashi Province, from the series 'Thirty-six Views of Mount Fuji'; 'The mouth of the Nakagawa River' from the series 'One Hundred Famous Views of Edo'; and one other, 13 x 8¾in. (33 x 22.2cm.); together with a woodblock of a kabuki actor, 13 5/8 x 9¼in. (34.5 x 23.5cm.), all framed and glazed. (4)* Condition: All with acidic mounts.- Tama River: Some fading. Two small patches of toning to paper. A few light spots, two insect holes to sky.- Nakagawa River: Some time staining. Colours very slightly faded. Rubbed patch to paper just below inscribed label upper right.- Temple: Glass cracked. Good condition - reds slightly faded.- Actor: Strong colours. Worn patch to colour upper left corner (possibly print error).
Lot 464
attributed to Katsushika Hokusai (Japanese, 1760-1849) two sheets of preparatory drawings, ink on paper, one with two studies of an emaciated elderly man, one kneeling being bathed by a child, the other carrying a wooden bucket and towel, plus two studies of elegant ladies, 12 5/8 x 8¾in. (32 x 22.2cm.); the other with a variety of studies including two seated elderly men, a peacock, ducks and other birds, an angry child holding a rock, two labourers and others, 10¼ x 14 5/8in. (26 x 37.1cm.), both stamped in red katakana at the bottom corner with the collector's seal of Henri Vever, framed and glazed. (2)* These are believed to be two of a large series of drawings made by Hokusai for an unpublished book, c.1829, which had formerly been in the possession of the Parisian jeweller and collector of Japanese 19th century art, Henri Vever., whose collection was auctioned in Paris in 1948. A large group of over 100 of these drawings was rediscovered in a private collection in France in 2019 and acquired by the British Museum through a grant by the Art Fund.These drawings were executed at an important moment in Hokusai's career, in a period when he had suffered personal and financial strife and had previously been thought to have been relatively inactive in his artistic pursuits. It immediately preceded a renewed burst of creativity, which led to the famed print series 'Thirty-Six Views of Mt Fuji' (c.1831-1833).* Condition: Light toning to both sheets. Evidence of very light, occasional spotting and slight cockling,light creasing to the first, smaller sheet. The larger sheet with several, small insect holes towards the margins. Both sheets have been matted and framed to a very high standard by Galerie du Monde, Hong Kong.
Lot 814
After Francis Flora (Fanny) Palmer (British, 1812-1886) & James Merritt Ives (American, 1824-1895) 'Low Water in the Mississippi', colour lithograph with hand colouring on wove paper, published by Currier and Ives, New York, 1868, 20¼ x 28¼in. (51.5 x 71.75cm.), bird's eye maple frame.* Provenance:Purchased from the The Old Print Shop, Inc New York in 1976 for $1,750* Condition: Good condition, strong colours. Acidic mount. Small handling crease lower left. no other faults noted. Not examined out of frame.
Lot 1071
Charles Frederick Buckley (British, 1812-1869) The Great Exhibition, Crystal Palace, London, 1851pencil, grey ink and watercolour with gum arabic, heightened with touches of bodycolour, indistinctly signed lower right, modern English hollow frame with shot ornament10 x 21 ¾in. (25.4 x 55.2cm.)* Provenance: M Newman, Duke Street, St James's, London gallery label. Purchased Christie's 18th November 2004, lot 123** Notes: This is the original watercolour after which George Baxter made his famous print of the Great Exhibition of 1851. The print was released on 5th May 1851 only five days after the Exhibition was opened by Queen Victoria on 1st May 1851, therefore Buckley must have executed this watercolour before the actual opening day. The watercolour differs in many ways from Baxter's print; some figures have been removed or replaced and notably the Union Jack in the watercolour was not included in the print. It was sold on Baxter's own stall at the Great Exhibition and for the print itself he was awarded an Honourable Mention. The view is taken from the south-east and shows the south side and east end of the Crystal Place situated in Hyde Park in London. The competition to design the building for the exhibition took place in 1850 however none of the entries were deemed satisfactory. Subsequently a design submitted by Joseph Paxton was amended by contractors and finally accepted by the commissioners. The building was 1,848 feet long and 408 feet wide and covered an area of nineteen acres. Six million people came to the exhibition which showcased the work of 17,000 exhibitors.One of the exhibitors was George Baxter himself, whose stall sold the print of this subject during the first few days of the Exhibition, for which he was awarded an 'Honourable Mention'. In 1854, Baxter produced nine prints entitled 'Gems of the Great Exhibition' including the present view.* Condition: Has not been examined out of the frame. Acidic mount, but no mount burn visible. Some toning visible across the sheet to the sky. A little very light spotting to sky in places. Colours remain very strong. Remnants of possible signature lower right is illegible. Two or three small spots of professional retouching suspected to paint at lower margin at corners, and also a couple to the side margins. These have been professionally executed
Lot 1088
French School (early 20th century) The angry cyclistpen and ink, unsigned, modern wooden frame8½ x 11¼in. (21.5 x 28.5cm.); together with a print of a Edmund Blampied etching, 'Tonnere de Brest!', pub. Modern Masters of Etching, c.1926. (2)* Condition: - Pen & ink: Time stained, tear at lower margin. Acidic mount.- Blampied: Time stained and a little spotting.
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314766 item(s)/page