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Click here to subscribe§ DAME ELISABETH FRINK (BRITISH 1930-1993) HORSE AND RIDER, 1970 lithograph(the sheet 25.5cm x 32cm (10in x 12.7in))Footnote: Provenance: Peter Collins ARCA (1923-2001), artist, collector and owner of the Stanley Studios, Chelsea where Frink had a studio. The print run for this edition was 500, but it was not signed and editioned as Frink decided to re-print and issue the lithograph with wider margins.
§ DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) FOR PORTHIA PRINTS ABSTRACT, CIRCA 1955 initialled in the print (upper right), screenprint on linen(30cm x 42.5cm (11.75in x 16.75in))Footnote: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery.
A large wooden metal bound and lined chest, 36" x 20 1/2" x 19 1/2", lid and front marked Major General W.B.Lentaigne C/O Cox & Kings Tilbury, label to inside 'The Marshall Improved Air and Water Tight Chest Pat No 114962 1917-1933', he was profoundly involved in the Chindit operations being appointed Commander until the force was disbanded in 1945, this historical chest came directly from the family, included is a print out of Walter Lentaignes history
A wooden metal bound and lined chest, 42 1/2" x 16" x 10 1/2", lid and front marked Major General W.B.Lentaigne C/O Cox & Kings Tilbury, he was profoundly involved in the Chindit operations being appointed Commander until the force was disbanded in 1945, this historical chest came directly from the family, included is a print out of Walter Lentaignes history
After Georges Braque, limited edition print depicting two white birds within a light blue hexagon on a black and grey ground, 157/300, 31.5cm x 46cm, and a 'Les deux oiseaux', with printed signature, 27.5cm x 39cm, (2), Condition Report: Prints framed and glazed so condition report viewed through glass, do not appear to be any issues.
A collection of seven artworks to include: A Watercolour of an American Indian Child and Eagle by Sheila Dale, paper size 73.5 x 52cm. A digital print by John Higham depicting a boat on a beach, signed and numbered 1/20 in black ink, 23 x 23cm, mounted. An Artist Proof print signed indistinctly David Lublinshi? sheet size 78 x 58cm. A print depicting a courtyard from the Curwen Archive, unsigned, sheet size 88.5 x 62cm. A digital print of an abstract face on a red and pink ground, unsigned, sheet size 50 x 70cm. Two other prints, both signed indistinctly (&)
Charles Rowbotham (Contemporary British), Richmond Hill, limited edition hand enhanced print, signed and numbered 19/49 lower right, DeMontfort certificate of authenticity verso, 31 x 52.5cm, together with another hand enhanced print by the same artist, 'On the Move I', signed and numbered 29/195 lower right, certificate of authenticity verso, 50 x 35cm, and an over painted print after Rowbotham, 'Cafe Brasserie', with dedication verso from Felicity Rowbotham to her grandparents, dated 8/10/18 verso, 29.5 x 19cm (3)
Richards Galloway (British). 'St Johns', 2004. Lincut print, 181.5 x 150.5 cm. Provenance: From a reputable private collection. Acquired directly from the artist by the present owner in 2004. Literature: Saatchi Gallery Loan of Art, published by Saatchi Gallery, London, 2006 pp.98. From Saatchi Gallery Loan of Art, pp.99: A fair proportion of Galloway's university years must have been spent in the pub, if his large scale linocuts are anything to go by/ He graduated in printmaking from the Royal College of Art, London, in 2004, and many of his prints feature local East End boozers and the life that gathers there. They are teeming with incidental details, and offer a modern-day take on Hogarth's moralizing Gin Lane and Beers Street. Condition Report: Print direct on wood with outer frame surround but with no fixings to the back, floor standing.
Richard Galloway (British). 'The Welly', 2004,. Linocut print, 181.5 x 150.5 cm. Provenance: From a reputable private collection. Acquired directly from the artist by the present owner in 2004. Literature: Saatchi Gallery Loan of Art, published by Saatchi Gallery, London, 2006 pp.99. From Saatchi Gallery Loan of Art, pp.99: A fair proportion of Galloway's university years must have been spent in the pub, if his large scale linocuts are anything to go by/ He graduated in printmaking from the Royal College of Art, London, in 2004, and many of his prints feature local East End boozers and the life that gathers there. They are teeming with incidental details, and offer a modern-day take on Hogarth's moralizing Gin Lane and Beers Street. Condition Report: Unframed print direct on wood backing, floor standing, no fixing mounts behind.
§ Russell Young (British, b. 1960). 'Brigitte Bardot' 2007, signed limited edition print, 4/20, 78cm x 99cm. Please note that artists resale right may be additionally payable on this lot up to a maximum of 4% on top of the hammer price where above the threshold, visit www.dacs.org for more information.
Candice Farmer (British). Underwater photography, photographic print of Lily Cole, signed by the artist in silver ink lower right and dated 2007, also signed by the subject the model Lily Cole with a love heart in black ink. 86 x 57cm. Framed and glazed. Created by the artist for fresh.20.org.
Tierney Gearon (American, b.1963). Untitled, 2000. Chromogenic photographic print, 122 x 183 cm. Provenance: From a reputable private collection. Acquired directly from the artist by the present owner in 2000. Exhibitions: I am a Camera, Saatchi Gallery, London, 2001. Literature: I Am A Camera, exh. cat., Saatchi Gallery, London, n.p. (illustrated in colour). Saatchi Gallery Loan of Art, published by Saatchi Gallery, London, 2006 pp.102. From Saatchi Gallery Loan of Art, pp.100: Gearon's chief subject is her family. She photographs her son and daughter by swimming pools and ski slopes, in the bath and in front of the TV. Often they are accompanied by recurring props such as masks, and striking poses that seem oddly inappropriate for their settings. Using a documentary style while rigorously grooming each shot, Gearon's photographs evoke David Lynch-style surreal moments in everyday settings. Condition Report: Framed and glazedFixing mounts to backno apparent signature or edition numberMinor knocks and scratches to frame, minor abrasion top left to print surfaceTiny fleck of paper on ouside of glass
Tierney Gearon (American, b.1963). Untitled, 2000. Chromogenic photographic print, 122 x 183 cm. Provenance: From a reputable private collection. Acquired directly from the artist by the present owner in 2000. Exhibitions: I am a Camera, Saatchi Gallery, London, 2001. Literature: I Am A Camera, exh. cat., Saatchi Gallery, London, n.p. (illustrated in colour). Saatchi Gallery Loan of Art, published by Saatchi Gallery, London, 2006 pp.101. From Saatchi Gallery Loan of Art, pp.100: Gearon's chief subject is her family. She photographs her son and daughter by swimming pools and ski slopes, in the bath and in front of the TV. Often they are accompanied by recurring props such as masks, and striking poses that seem oddly inappropriate for their settings. Using a documentary style while rigorously grooming each shot, Gearon's photographs evoke David Lynch-style surreal moments in everyday settings. Condition Report: Image viewed through glass appears to be fine.Framed and glazed. Minor white marks and minor scratches to frame, and very minor scratches to glass.No apparent signature or edition number
NO RESERVE Hersey (John) Hiroshima, first edition, bookplate to half- title, original cloth, spine browned, light fraying to spine ends, dust-jacket, light fading to spine, minor chipping to spine ends and corners, chip to upper joint, light rubbing to extremities, 8vo , New York, 1946.⁂ First edition of this landmark work, one of the earliest examples of New Journalism and never out of print.
Wilde (Oscar) A Woman of No Importance, pirated edition, one of 250 copies , contemporary inscription to front free endpapers, half-title and title lightly foxed, original cloth, lightly discoloured, small stain to lower cover, spine faded and marked, spine ends bumped and creased, 4to, Paris, [Leonard Smithers], 1903.⁂ Pirated edition anonymously printed by Leonard Smithers, based on the suppressed 1893 edition. Smithers was noteworthy for being one of the few publishers willing to print "Decadent" literature following the trials and persecution Oscar Wilde.
Lawrence (D.H.) Birds, Beasts and Flowers, number 20 of 500 copies, frontispiece and plates by Blair Hughes-Stanton, original vellum-backed boards, light browning to head and soiling to lower cover, Cresset Press, 1930 § Beerbohm (Max) Things New and Old, number 270 of 350 copies signed by the author/artist and with an additional signed print in pocket at end, bookplate of Robert Tunstall to endpaper, original cloth, light browning to spine, soiling and marking to covers, 1923; and 7 others, illustrated and limited editions, v.s. (9)
DUDLEY GLANFIELD (1904-1992), Eight Actor Portraits of the 1920's, Anna May Wong, vintage bromide print c.1929 (Note: the half-plate glass negative to this photograph dated 25 April 1929 is held in the National Portrait Gallery collection); Jean Forbes-Robertson as Tessa in 'The Constant Nymph', vintage bromide print, c.1928; Nora Swinburne, vintage bromide print,c.1928, taken November 1928; Irene Russell c.1928 (Note: three half-plate glass negative of Irene Russell by Dudley Glanfield dated October 1928 are held in the National Portrait Gallery collection, probably including this image); Malcolm Keen, vintage bromide print c.1928 (Note: the half-plate glass negative to this photograph in held in the National Portrait Gallery collection); Hugh Wakefield, vintage bromide print c.1928 (Note: the half-plate glass negative to this photograph in held in the National Portrait Gallery collection); Francis Lister vintage bromide print c.1928-30; George Vollaire, vintage bromide print c.1928-30; all images approximately 21.5cm x 15.5cm, all photographs in good condition, some original mounts marked, soiled or slight damage.
DUDLEY GLANFIELD0 (1904-1992) Ten Society Portraits, nine bromide prints c.1928-1932 all signed recto on mount, subjects include Col The Rt Hon Wilfred Ashley MP, with a photograph by Glanfield of a young boy, overpainted in colour (original process hard to discern) and an anonymous silver gelatin print, autographed by Keith Miller, Australian cricketer, c. 1940's sizes approx 21cm x 16, photographs in good condition, condition of original mounts vary (11)
A Collection of Photographs of WWI Royal Flying Corps Aircraft A unique collection of vintage matt gelatin silver prints of aircraft in 1917 and 1918, taken by rigger Alex Andrew Sanders with a Vest Pocket Autographic Kodak, each contact print is 4.2cm x 6.4cm. Sanders provided details of each photograph and these were recorded by his son. Note: In the order presented online they are as follows - 1. Airco De Havilland DH6, 2 seat trainer with 90h.p. engine. This appears to be a training unit with Auro 504's and canvas Besenault type hangers in the background; 2. Airco de Havilland DH6, 13 Squadron (training squadron) Yatesbury; 3. Sopwith F1 Camel (B6223) single seat scout, 28 Squadron Yatesbury; 4. Royal Aircraft Factory FE2d with Rolls Royce Eagle engine, a 2 seater fighter and reconnaissance; 5. De Havilland DH5 single deat fighting scout; 6. 'Very posh' line hut; 7. Bristol Scout (A1783), single-seat scout with 80h.p. engine; 8. De Havilland DH5 single-seat fighter scout (note the stagger wing); 9. a Bristol Scout and two DH6's, possibly Salisbury Plain; 10. Bristol F2B fighter (1106) 2 seater fighter/reconn; 11. Henry Farman F20 2 or 3 seater biplane with 80h.p. engine; 12. Avro 504 with Sopwith Camel in background; 13. crash (aircraft not identified); 14. Royal Aircraft Factory BE2c (Farnborough) 2 seater or single-seat bomber; 15. Sopwith F1 Camel fitted with 130hp Clerget engine; 16. Royal Aircraft Factory FE2D, probably Salisbury Plain; 17. Sopwith Pup B5253 single-seat fighting scout; 18. An Avro 504 has crashed into a DH5 Probably Salisbury Plain; 19. Royal Aircraft Factory RE8 140h.p. RAF4a engine 2-seater; 20. De Haviland 2-seater bomber; 21. Another crash. Identifying notes are included in this lot.
ARNOLD CLAYTON HENDERSON (American,1938-) Nude in Strange Space, 1967, vintage gelatin silver print, image 30.5cm x 24.5cm, sheet 35.5cm x 27.5cm, signed and dated verso. Note: this image appears in Arthur Goldsmith's History of the Nude in Photography, the opening photograph of the contemporary section. It also appears in Henderson's own book Nudes, Metanudes, and Real People, 2015.
JAN SAUDEK (1935-) Nude with Clown's Face, vintage gelatin silver print of female nude with clown's face, c.1980, numbered 321 verso, image 17.5cm sq, sheet 18cm x 24cmNote: Taken in Saudek's basement studio, it is typical of his work in this period, a square format image, printing the whole negative
A Good Album Of Pictorialist Images, English, c. 1900-1920 gelatin silver prints with two platinum prints (swans) and a carbon print (man and dog in the sea) images typically approx. 25cm x 20cm and some smaller (30), photographs in good condition, album worn with much of spine missing, photographs typically soft focus, matt, printed on heavy paper, some textured, final few on thinner paper with stamp verso indicating submission for publication
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