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Click here to subscribeSir Geoff Hurst signed 20x14 colourised montage print pictured scoring his hat trick in the 1966 World Cup Final. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
West Ham Legends and 1966 World Cup Winners Sir Geoff Hurst and Martin Peters signed 20x14 colourised print pictured with the legendary Bobby Moore. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Horse Racing Jockey Lester Piggott Signed Limited Edition 152/600 Colour 35x24 Inch Print Titled 8 Derby Winners. Signed in pencil. Fantastic Print, Well Sought After. Minor Creases to Bottom Right of Print. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Football Bobby Robson signed 24x17 big blue tube colour limited edition print 118/500 pictured during his playing days with West Brom. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Football Manchester United 1968 European Cup Winners multi signed 16x12 multi signed montage print limited edition signatures include David Sadler, Nobby Stiles, John Aston, Tony Dunne and Alex Stepney. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
World Cup Winners George and Ben Cohen signed 23x16 limited edition montage print 149/500. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
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
12 x British and World Banknotes, comprising: 4 x Bank of England £5 Series B, signed L.K. O'Brien, denomination in blue on rev., prefixes A29, B81, B86 and C32, Pick 371, graffiti, fold marks and minor edge tears, otherwise VG; 4 x Bank of England £1 Series D, signed Somerset, prefixes DX27, DX36 and DX83, AVF; 2 x Bank of England 10 shillings Series C, Poor to near Fine; National Commercial Bank of Scotland £1 1959, signed David Alexander, VG; and Thailand 50 santang of 10 baht 1946, obv. new value in black over print in three corners, Pick 62, stained with fold marks and edge tears, otherwise VG.
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:
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:
J Matthews: early 19th century study of a horse and a loose box, "Simonian", 24 1/2" x 29 1/2", in gilt strip frame, and a colour print, 17th century Dutch landscape, in strip frameCondition:Horse picture has some paint flecks mainly on the right and bottom section of picture. no other visible issues.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) BATHSHEBA, 1998 Signed and dated lower right, inscribed with title stretcher verso, oil on canvasDimensions:76.5cm x 102cm (30in x 40in)Provenance:Exhibited: Royal Scottish Academy Annual Exhibition, 2012Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) THE FLEA SHALL NOT DINE AGAIN, 2004 Signed and dated lower left, signed and inscribed and dated stretcher verso, oil on canvasDimensions:100cm x 74cm (39.25in x 2n)Provenance:Exhibited: Royal Scottish Academy Annual Exhibition, 2014Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) GOOD MORNING, MISS TRAVERS, 1993 Signed and dated lower left, oil on canvasDimensions:51cm x 51cm (20in x 20in)Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) COLDINGHAM, 1984 Signed lower left, signed and dated stretcher verso, oil on canvasDimensions:76cm x 76cm (30in x 30in)Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) WOOD SCRAPS - 1981 Signed lower right and titled lower left, collage with printed elementsDimensions:101cm x 75.5cm (39.75in x 29.75in)Provenance:Provenance: Willie Rodger Art TrustNote: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) IN MY FATHER'S HOUSE, 2000 Signed and inscribed with title and dated lower right, collaged linocut printed elements on a white groundDimensions:136cm x 100cm (53.5in x 39.5in)Provenance:Exhibited: Royal Scottish Academy Festival Exhibition, 2000Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) 'THE ROUND HILL' - COLDINGHAM SANDS, BERWICKSHIRE - 1973 Woodcut and linocut, 2/25, signed, dated, titled and numbered in pencilDimensions:60cm x 105cm (23.5in x 41.25in)Provenance:Provenance: Willie Rodger Art TrustNote: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED (CELEBRATION) - 1989 Screenprint, stamped 'K.G.', printed by Kip Gresham at the Curwen Studio, Chilford, published by the Curwen Press, ChilfordDimensions:the sheet 38.5cm x 29cm (15.25in x 11.5in), unframedProvenance:Provenance: This print commemorates the opening of the new Curwen Chilford Studio at Cambridge on 14th December 1989. According to Kemp (2010), the unsigned edition was printed as 'giveaways' to celebrate Curwen's [Studio] move to Chilford Hall. Note: Literature: Kemp, Dominic, Terry Frost Prints: A catalogue raisonné, Lund Humphries, Farnham, 2010, cat. no. 118.
§ STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) LE COUPLE - 1952 Color engraving, soft-ground etching and scorper, 2/2, signed, numbered and inscribed 'son japan' in pencilDimensions:the sheet 56.5cm x 41.5cm (22.25in x 16.25in)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.
§ 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.
§ 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.
§ 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.
§ 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.
§ 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)
§ 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)
§ SIR TERRY FROST R.A. (BRITISH 1915-2003) LORCA SUN (KEMP 130) - 1991 Etching with lithography, 3/25, signed, dated and editioned in pencil to margin, printed by Hugh Stoneman and Alan Cox at the Print Centre, London, published by the artist, NewlynDimensions:plate size 56cm x 37.5cm (22in x 14.75in)
Five topographical prints comprising 'The SouthWest Prospect of Birmingham in the County of Warwick', with further information below, 28.5 x 79cm, 'A Perspective View of Venice', 29 x 43cm, a coloured etching inscribed 'Peter's Church', also inscribed in pencil to the margin 'Church Lane' and indistinctly signed, 33 x 21cm, an etching of a bridge and a cathedral, signed in pencil to the margin David Law, 23 x 32cm and a contemporary coloured signed limited edition print by John R. Oakenden, signed lower right, numbered and titled '9/550 Lower Heswall' to the lower left margin, 30 x 42cm, all framed (5).
GORDON KING; two prints, 'Lavender Blue', depicting ladies in an orangery/conservatory with floral displays, both no.172/475, both signed in pencil, both 41 x 29cm, John Chancellor; signed print, sailboat in rough waters, pencil signed lower right, no.243/300, 53 x 78cm, and Francis R Flint; signed print, three-masted yacht on rough waters, signed in pencil lower right, 48 x 63cm, all framed and glazed (4). CONDITION REPORT:
A small mixed lot of pictures and prints including a miniature silhouette in ebonised framed, a further silhouette inscribed below 'Horatio Nelson' and signed in pencil 'JG', in ebonised frame, a small Victorian rosewood frame containing six wax seal stamps, a framed pot lid 'The Time' (af), a small map for the road from 'Carlisle to Rarwick in the North and East Riding of Yorkshire', 19 x 12cm, an etching of Napoleon Bonaparte, indistinctly signed to the margin, a small print of a harbour scene, indistinctly signed and dated 1853, an early 19th century print of George III by Rosenberg & Son, a print of HMS Britannia entering Portsmouth 1835, a print titled 'The End of An Era', depicting HMS London leaving the Grand Harbour in Malta, all framed and glazed, also a half boat block mounted on a plinth, bearing plaque 'Falmouth Working Boat 1890' (12).
A quantity of early 20th century and later maritime related ephemera, to include sheet music 'Ship Ahoy (All the Nice Girls Love a Sailor)' sung by Miss Hetty King, prints of 'Our Fighting Navy', typed letters and receipt bills for the United States Naval Institute, a print of the Battle of Aboukir 1801, various bands for the warship 'Arethusa', black and white prints of various ships, a photograph of early 20th century Naval family, newspaper cuttings, also a group of thirteen card calendar fronts from Thos. & JAS. Harrison Line of Liverpool, including one duplicate example, also an early 20th century drypoint etching of a scene on the Solent, Queen Victoria's royal yacht sailing toward the Isle of Wight, c1900, signed in the margin lower right, 39 x 26cm, framed and glazed and fourteen Naval related Original Acts of Parliament, dating from 1802 to 1850, which covers 'His Majesty's Royal Marines: The Speedy Payment of Naval Victualling and Transport Bills', 'Concerning the Capture of British Ships', 'Concerning Enemy Goods Seized as Prizes' and 'Concerning Officers of the Customs and Superintendent of Quarantine', 'The Royal Naval Asylum', etc. CONDITION REPORT: There is a lot of foxing and discolouration to the mount of the print and to the etching itself. The Acts of Parliament all appear to be in good condition.
AUSTIN MOSELEY (1930-2013); print, 'Faithful Friends', edition size 195, no.20 of Artist's Proof, hand embellished giclée board, size 12, 30.5 x 40.5cm, framed and a limited edition signed print of a kingfisher with water iris, no.154/200, unframed (2). †CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.
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