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Lot 1
Early Images of Angling.- Hollar (Wenceslaus) Angling; River Fishing; and Salmon Fishing, after Francis Barlow, 3 (of 12) plates from 'A Sett of Prints of Hunting, Hawking, & Fishing', engravings, very good clear impressions, platemarks each approx. 170 x 220 mm (6 3/4 x 8 3/4 in), under glass, good margins, uniformly framed, [circa 1671] (3)Provenance:Frank T. Sabin, LondonLiterature:cf. Schwerdt I, p.52; cf. Harting 33; Westwood & Satchell p.23Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, no. 1⁂ "The cornerstone of angling illustration in print form in England". [op. cit. Beazley, p. 15]
Lot 93
NO RESERVE Aldin (Cecil) A Likely Spot, chromolithograph printed in colours, 295 x 610 mm (11 1/2 x 24 in), presented in decorative plywood frame, published by Thomas McLean, 1901; together with three others by Aldin, including two variant impressions of '[Fishing]', and a colour print of '[The Fishing Party]', one framed, the other two unframed, [early 20th century] (4) Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, cf. nos. 324, and 325-326
![NO RESERVE Edwards (Lionel), After. [Autumn], colour print, 200 x 275 mm (7 7/8 x 10 3/4 in), under glass, framed, [circa 193](https://cdn.globalauctionplatform.com/0f22525d-6734-4a1c-ab87-ad1900af7337/cd839edc-b355-4702-b53d-ad1900b2d462/468x382.jpg)
Lot 94
NO RESERVE Edwards (Lionel), After. [Autumn], colour print, 200 x 275 mm (7 7/8 x 10 3/4 in), under glass, framed, [circa 1930-1950]; together with 5 others, including 4 colour prints of fishing scenes by Lionel Edwards, and a colour print after William Nicholson's fishing lithograph 'May', all but 3 framed, [early 20th century] (6)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, cf. nos. 222, 327-331
Lot 47
Eduardo Paolozzi R.A. (Scottish 1924-2005) Homage to Michaelangelo, 1975, signed, dated and numbered XXX/200 in the margin, published by the Foundation Bruckmann Stiftung, Munich, from portfolio to celebrate the 500th anniversary of the birth of Michaelangelo, on BFK Rives paper, intaglio colour etching.80cm x 59.5cm (31.5in x 23.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed.
Lot 48
John Hoyland R.A. (British 1934-2011) Untitled, 1978, signed, dated and numbered 46/50 in pencil in the margin, produced for the 150th Anniversary of the Slade School of Art, lithograph.63.5cm x 47cm (25in x 18.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and scratches commensurate with age.
Lot 49
After Andy Warhol (American 1928-1987) "Marilyn, 11.25 (Green)", 2012, from the edition of 2500, on Archival Museum Board, published by Sunday B Morning, with their rubber stamps in blue ink verso, screenprint in colours.sheet size 91.5cm x 91.5cm (36in x 36in)Condition report:The print is in good, original condition with strong colours and no obvious faults to report. The print is unframed.
Lot 53
Peter Blake C.B.E., R.D.I., R.A. (British 1932-) "Babe Rainbow", 1968, from the edition of 10,000, with printed text on verso, the full sheet printed to the edges, screenprint on pressed tin.66cm x 44cm (26in x 17.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no major visible scratching. The print is unframed.
Lot 54
Peter Blake C.B.E., R.D.I., R.A. (British 1932-) "Bobbie Rainbow", 2001, signed and numbered 1540/2000, from the edition of 2000, lithograph on tin.66cm x 44cm (26in x 17.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed.
Lot 55
Peter Blake C.B.E., R.D.I., R.A. (British 1932-) "The Beatles, 1962", signed and numbered 324/500 in pencil in the margin, 2012, on Somerset wove paper, published by Pallant House Gallery, Chichester, with full margins, screenprint in colours, unframed.sheet size 71cm x 55.5cm (28in x 21.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed.
Lot 57
Richard Hamilton (British 1922-2011) "Just what is it that makes today's homes so different?", 1993, signed and numbered 1522/5000 in the margin, produced for the BBC QED programme 21/3/93, printed directly from the computer, colour laser print.17.5cm x 26.5cm (7in x 10.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition. There is a slight crease in the top right-hand corner of the sheet. The print is unframed.
Lot 60
Chris Levine (Canadian-British 1960-) X Marks the Spot 1 (Yellow/Red), 2018, signed but unnumbered edition of 25, published by Jealous Gallery, with full margins, one colour screenprint with glitter overlay on somerset satin radiant white 410gsm paper.sheet size 30cm x 30cm (11.75in x 11.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed with all original packaging.
Lot 62
Pure Evil (British 1968-) "New Logo For The Favela Looting Team", 2015, signed and numbered in pencil, with embossed stamp, on 330 gsm Fedrigoni paper, screenprint in colours.sheet size 72cm x 72cm (28.25in x 28.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed.
Lot 65
David Hockney R.A. (British 1937-) “Little Boodge”, signed in pen by the artist, 1993, published by 1853 Gallery, Salts Mill, Saltaire, Yorkshire, offset lithograph on wove paper.sheet size 28cm x 42cm (11in x 16.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition. There is some very light time staining and yellowing around the edges of the print and one or two minor bumps to the edges of the sheet. The print is unframed.
Lot 66
David Hockney R.A. (British 1937-) "New Drawings", black and white dogs exhibition poster, offset lithograph on gloss paper, signed in ink by the artist, published by Salts Mill for the exhibition 'David Hockney - New Drawings - 1994'.sheet size 70cm x 83.5cm (27.5in x 33in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The poster is in very good, original condition. There is some very light time staining and yellowing around the edges of the print and one or two minor bumps to the edges of the sheet. The poster is unframed and rolled.
Lot 69
Frank Vernon Martin (British 1921-2005) "Atlantique", signed and titled in pencil in the margin, numbered 64/100, etching with aquatint.plate size 34.5cm x 54.5cm (13.5in x 21.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 70
Maggie Burley (20th/21st century) "Bank Holiday", signed and titled in pencil in the margin, printer's proof, etching.plate size 21.5cm x 25cm (8.5in x 9.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 71
Alfred Cohen (American/British 1920-2001) Folkestone, signed and titled in pencil in the margin, numbered 10/75, hand-coloured print.plate size 26.5cm x 34cm (10.5in x 13.5in)Footnote:* Studied at the Art Institute of Chicago. In 1929 was awarded a foreign travel scholarship which took him to Europe. He continued studying in Paris at L'Academie de la Grande Chaumiere, showing his work in France and Germany. In 1960 Cohen settled in England and had a long series of shows with Roland, Browse & Delbanco. Cohen's work is in many public collections including Contemporary Art Society, Nuffield Foundation, Pembroke College in Oxford and galleries in Rye and Hull, as well as widely abroad.Condition report:The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.
Lot 72
Gertrude Hermes O.B.E., R.A. (British 1901-1983) The Lovers' Song-Book Illustration No. VI, numbered 58/100 in pencil in the margin, printed by The Gregynog Press, originally commissioned in 1933 to illustrate a collection of W.H. Davies' poems, entitled 'The Lovers' Song-Book' but never used, with Gwasg Gregynog exhibition brochure, wood engraving.13.5cm x 11cm (5.25in x 4.25in)Condition report:The print is in good, original condition with no obvious faults to report. The print is framed and glazed.
Lot 73
Lionel Arthur Lindsay (Australian 1874-1961) "Siesta", signed and numbered 65 in pencil in the margin, wood engraving.16cm x 12cm (6.25in x 4.75in)Footnote:* Sir Lionel Lindsay, along with his brother Norman, is considered to be one of the greatest original printmakers ever to have emerged from Australia. A masterly technician and an outstanding draughtsman, he did much through his work, writing and public speaking to popularise the revived medium of original printmaking in Australia. Having already established himself as the foremost of Australian etcher, Lionel Lindsay joined his colleagues to found the Australian Painter-Etchers’ Society and he was President for their first exhibition. However, he left this grouping and went to London in 1926 to meet Harold Wright of the dealers P.& D. Colnaghi. A close friendship ensued and Colnaghi’s handled his work from there on. After his meeting with Wright, Lionel Lindsay’s art turned towards topographical drypoints of France and Spain. His work was an immense success and firmly established him as one of the leading printmakers resident in England. He did not re-commence wood engraving until his return to Australia in 1930.Condition report:The print is in very good, original condition with no obvious faults to report. The paper has yellowed universally across the sheet. The print is framed and glazed.
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314766 item(s)/page