Artist: Edgar Degas (French, 1834 - 1917). Title: "Pianiste et le chanteur". Medium: Original color gravure with pochoir, after the monotype. Date: Composed 1877. Printed 1948. Dimensions: Overall size: 10 3/4 x 9 in. (273 x 229 mm).Lot Note(s): Numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Fine condition, very crisp, with a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29329-2-600]
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Artist: Robert Mapplethorpe (American, 1946 - 1989). Title: "Parrot Tulip in a Black Vase". Medium: Original vintage photogravure. Date: Composed 1985. Printed 1988. Dimensions: Overall size: 8 3/16 x 8 1/8 in. (208 x 206 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): According to “Gordon’s Photography Prices” the auction record for a platinum print of this image is $72,000 realized at Christie's, New York, 4/24/2006, lot #2. Image copyright © The Robert Mapplethorpe Foundation. [29664-2-600]
Artist: Karl Struss (American, 1886-1981). Title: "On the Pier, New York". Medium: Vintage platinum print. Date: Composed c1911. Printed c1911. Dimensions: Image size: 3 13/16 x 2 7/8 in. (97 x 73 mm).Lot Note(s): Identified as to photographer/title, verso. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Good condition. Comment(s): In addition to his work as a photographer, Struss was also a highly acclaimed cinematographer and one of the earliest pioneers of 3-D films. [27196-1-1200]
Artist: Diane Arbus (American, 1923-1971). Title: "Nudist Lady with Swan Sunglasses, PA". Medium: Original photogravure. Date: Composed 1965. Printed later. Dimensions: Overall size: 8 3/16 x 8 3/16 in. (208 x 208 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): A scarce print. Image copyright © The Estate of Diane Arbus, LLC. [29602-2-600]
An Edwardian oak book trough with inset printed panel depicting a horse racing scene, L42.5cm, together with a Copeland Spode jug, transfer print decorated with 'The Last Draw' after J F Herring, plus a Copeland Spode plate, transfer print decorated with a scene entitled 'Gone Away'. (3). - Condition Report
Battle of Britain. 8x12 inch print signed by 605 Squadron Battle of Britain pilot Officer Robert Foster. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Battle of Britain. 8x12 inch print signed by 501 Squadron veteran Battle of Britain pilot Sgt Pilot Bill Green. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Battle of Britain. 8x12 inch print signed by 616 Squadron Battle of Britain pilot Officer William Walker. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Battle of Britain. 8x12 inch print signed by 234 & 603 Squadron Battle of Britain pilot Officer Keith Lawrence. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Battle of Britain. 8x12 inch print signed by 238 Squadron Battle of Britain pilot Officer Bob Kings. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Battle of Britain. 8x12 inch print signed by 56 Squadron Battle of Britain pilot Sqn Ldr Herbert Pinfold. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Battle of Britain. 8x12 inch print signed by 248 Squadron Battle of Britain pilot Flt Lt Roger Morewood. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Muhammad Ali The Greatest 12x12 multi signed print signatures include Heavyweight legends Joe Frazier, George Foreman, Earnie Shavers, Ken Norton and Angelo Dundee. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
THREE DECORATIVE FRAMES comprising a gilded wood sunburst frame, with `Madonna della Stella` after Fra Angelico, Arundel Society (or similar) chromolithograph, arched top, to fit 33.5 x 25cm; a pierced and scrolled `Florentine` frame, with a late 19th Century drawing of a cherub with keys in the manner of Orazio Sammachini, arched top, to fit 27.5 x 22.5cm.; and a Georgian circular gilt frame with ribbon moulded border, with a print of `Blind Man's Buff` after Angelica Kauffmann, to fit 20cm. (3) ++ Each in generally good condition
FOLLOWER OF SIR JOSHUA REYNOLDS, PRA (1723-1792) THE HON. LEICESTER STANHOPE (1784-1862) Oil study en grisaille, on paper 25 x 22.5cm. Bears a label on the backboard, reading `This is an authenticated Study by Sir Joshua Reynolds & belonged with others to "Collins" the Miniature Painter by whom they were given to Mr Horrex (who was for many years assistant in the studio of Mr Collins) and by him this sketch was given to W. Money/ October 1869` * Probably derived from a print of the subject by S. W. Reynolds (1833), see illustration. The completed oil by Reynolds, 74 x 62cm, was exhibited at the RA in 1788 and is now in a private collection. ++ Some faint crazing of the paint near the edges
§ Percy Wyndham Lewis (British 1882-1957) for The Rebel Art Centre or Omega Workshops Rare hand-blocked print on silk and linen, with hand-stitched woolwork line details(255cm x 180cm (100.4in x 71in))Footnote: Literature: Rayner, Geoffrey, Chamberlain, Richard and Stapleton, Annamarie, Artist's Textiles 1949-1976 , pp.14-15, plates 4a and 4b (similar example illustrated); Mallams, Oxford, Design & Modern British Art , 8 December 2017, lot 620 for an example of the textile made into a dressing robe. The Omega Workshops, established in 1913, was a design enterprise founded by members of the Bloomsbury Group. In 1914, Lewis set up The Rebel Art Centre as a workshop for the applied arts, and it is likely that this handblocked bedspread was designed for one of these. The same design is visible on an embroidered and block-printed silk robe created by Lewis in 1914. This design was seen by the authority on the Omega Workshops and Rebel Art Centre, Dr. Judith Collins, who identified this design as the work of Wyndham Lewis. Although closely related to Lewis’s slightly earlier applied designs for The Omega Workshops and The Cabaret Theatre Club, Dr. Collins considered it to dated from 1914 and the period of Lewis’s involvement with the Rebel Art Centre.
William Scott C.B.E. R.A. (British 1913-1989) for Edinburgh Weavers Whithorn, designed 1961 two furnishing fabric panels, screen printed linen, printed manufacturer's mark to the selvedge(larger panel 149cm x 174cm (58.5in x 68.4in); smaller panel 55cm x 149cm (21.6in x 58.5in))Footnote: Literature: Lesley Jackson, Alaistair Morton and Edinburgh Weavers , V&A Publishing, 2012, pl.396 (illustrated). Whithorn was based on a painting Brown and Grey (1961) and commissioned by the architect Eugene Rosenberg, of Yorke, Rosenberg and Mardell for Altnagelvin Hospital in Londonderry. Both textile and painting were illustrated together in an article 'Art into Fabric' in Architectural Review in 1962, noting 'the original design has been modified (by the artist himself) to unite the main area of colour into a continuous vertical band,' and the article went on to note approvingly 'The similarity in the quality of edges, etc, in the original and the print does not involve any feeling of forced reproductive accuracy, but is quite at home as a material with linen's surface qualities'. (Quoted in Jackson, p.221)
§ Edward Bawden C.B.E. R.A. (British 1903-1989) 'Sahara' Wallpaper, designed 1928 lithograph after linocut, printed by the Curwen Press(70.5cm x 53cm (27.75in x 21in))Footnote: Late in the 1920s Edward Bawden began designing wallpapers alongside the artist John Aldridge. Initially these were printed from lino blocks by the artist’s themselves, in a small studio attic room at Bawden’s home. At a later date the blocks were transferred to John Perry & Co., who produced wallpapers from them. The whole process of making the wallpaper, like an artist’s print, meant they were made in separate sheets rather than rolls.
Elizabeth Adela Stanhope Forbes, ARWS (Canadian, 1859-1912)The Gipsy signed and indistinctly dated 'EAFORBES.' (lower left); signed and inscribed ''The Gipsy'/Mrs Elizabeth Stanhope Forbes/Trewarveneth/Newlyn/Penzance' (on a label attached to the frame) oil on canvas96.5 x 122.5cm (38 x 48 1/4in).Footnotes:Provenance(possibly) CD Morton Esq., by 1906.(possibly) Sotheby's 22 February 1972.1Property of a deceased's estate.ExhibitedLondon, Royal Academy, 1901, no. 315.Literature'Women's Studios', The Gentlewoman, 6 April 1901, p. 40.Royal Academy Illustrated, 1901, p. 22.Pall Mall Magazine 'Extra', Pictures of 1901, 1901, p. 64 (illustrated).'The Royal Academy – Second Notice', The Times, 24 May 1901, p. 13.The Royal Academy – Supplement to the Illustrated London News, 18 May 1901, p. IV (illustrated). 'The Royal Academy – Final Notice', Pall Mall Gazette, 16 May 1901, p. 2.Gladys B Crozier, 'Elizabeth Stanhope Forbes', The Art Journal, 1904, p. 383.Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906, Cassell & Co, p. 80 (illustrated).Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628. Judith Cook, Melissa Hardie and Christiana Payne, Singing from the Walls, The Life and Art of Elizabeth Forbes, 2000, Sansom & Co, no 4.97, p. 181.By 1900 the radical first phase of Newlyn School painting had passed, and many original 1880s founders of the colony had left west Cornwall. The recent news that Stanhope and Elizabeth Forbes had opened an art school however, initiated a new phase for the artists' colony that would, in the early years of the century, see the emergence of a distinguished cast of young artists that included Harold Harvey, Dod and Ernest Procter, and Laura and Harold Knight. The continuing success of the colony however, depended upon the Forbes's ability to diversify – to expand its focus on the heroic fisherman and encompass, in Elizabeth Forbes's case, child-lore, chivalric romance, and tales of fairies and woodland sprites. For these, the woods behind Trewarveneth, her home on the hilltop above the town, provided, as Austin Chester noted, 'the inspiration'.2 Depicted with the dedication of a devotee of Bastien-Lepage, according to E Bonney Steyne in The Studio, works such as At the Edge of the Wood (1894, Wolverhampton Art Gallery), demonstrate the use of 'square brush' technique that persists in the treatment of trees in the present lot.3 Painted over the winter of 1900-1, the canvas was not the first modern representation of gypsies. Forbes's husband, Stanhope Alexander Forbes, had addressed the subject in Their ever-shifting home, the progress of which he reported to Elizabeth, then his fiancé, in 1887.4 This stern piece of social realism casts the Romany family as penniless vagrants, viewed with suspicion by local cottagers. In the ensuing decade, the factual reporter in Stanhope left poetic fancy to Elizabeth. When, in 1900, a gypsy girl entered her woodland it signified a moment when serious interest in the origins and lifestyle of the Romany was growing. Within a year of the showing of Their ever-shifting home, the Gypsy Lore Society had been formed and although in its first incarnation it lasted only a few years, the interest was maintained by enthusiasts such as John Sampson, the librarian at University College, London, who took Augustus John, then a Slade student and arch-bohemian, under his wing. As the society, and its journal revived in the early years of the century, many bourgeois travellers inspired by Matthew Arnold's Scholar Gypsy took to the open road. Although lampooned by Jerome K Jerome in the character of 'Mr Toad', these renegades from the suburbs would form the membership of the Caravan Club. In this social and cultural phenomenon, Forbes's The Gipsy, and her husband's Nomads, (Royal Academy 1903, no. 258, unlocated) have been neglected. The work's re-appearance at this moment is therefore significant. The characterisation of Forbes's young woman is also of great interest. Clearly not one of the downtrodden of the earth, she sports a striped skirt and red bandana and by her side is her fiddle. Dance and song, as musicologists and composers were currently discovering, defined the Romany. Her life, unlike that portrayed by Forbes's husband, was to be envied, not pitied, and as the artist indicates, her music comes directly from the natural world, from the birds that surround her. One enthusiastic onlooker, who ironically credited Elizabeth Forbes's work to her husband, read the picture's clues: 'Here The Gypsy[sic] touches actuality as Sinfi Lovell, or the dauntless women of Borrow's wanderings touched a more commonplace present. But this gypsy, alone, with fiddle mute beside her, listening in a pause of her own music to the lyrical pipe of a robin in the leafless woods has a more plaintive charm.5 This unidentified reviewer touched upon the possible sources of the work. While George Borrow's classics, Lavengro (1851) and The Romany Rye (1857) remained in print, Theodore Watts-Dunton's Aylwin published in December 1898, was very much current when Forbes began her painting. A lengthy novel which draws on gypsy lore it tells the tale of the young Hal Aylwin who enlists the assistance of Sinfi Lovell – a 'sublime creation' according to critics – while in search of his true love, Winifred. Sinfi's 'dukkeripen' (fortune-telling in Romany) was the fount of ancient wisdom. Forbes does not of course identify a specific literary source for her work, and gypsies in Cornwall were not an unusual sight, but this young woman asserts more solidity and as much spiritual power as Will-o-the-wisp (1900), in the triptych she had recently shown at the Women's Exhibition at Earl's Court. In the following years, Forbes would return to the celebration of child lore in her Leicester Galleries exhibition of 1904, but it was the emblematic Gipsy that would resonate in the wanderings of Augustus John, the joyful gypsy parades of Alfred Munnings, and the dark-eyed Romany girls of Laura Knight. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry. 1 Cook and Hardie 2000 indicate that two pictures, and possibly three, bear the title, Gypsy, or The Gypsy. They cite a work sold at Newlyn Art Gallery in 1906 for £10, in addition to that owned by CD Morton. At such a low price, the former may be no more than a drawing for the present work which, as contemporary illustrations confirm, is that which appeared at the Royal Academy. 2 Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628.3 EBS, 'The Paintings and Etchings of Mrs Stanhope Forbes', The Studio, vol IV, 1894, p. 188. 4 See Caroline Fox and Francis Greenacre, Artists of the Newlyn School, 1880-1900, 1979, exhibition catalogue, Newlyn, Plymouth and Bristol Art Galleries, pp. 83-4.5 EWR, 'The Royal Academy – Local Exhibits', The Western Daily Press, 20 May 1901, p. 3.For further information on this lot please visit Bonhams.com
NO RESERVE Prints.- Cooper (Douglas) Henri de Toulouse-Lautrec, 1988 § Castleman (Riva) Jasper Johns: A Print Retrospective, New York, 1986 § Ives (Colta) & others. Pierre Bonnard: The Graphic Art, New York, 1989 § Cooke (Gordon) The Ruth and Joseph Bromberg Collection of Sickert Prints and Drawings, 2004 § Getscher (R.H.) The Stamp of Whistler, Oberlin, Oh., 1977 § Gillis (Eric) James Ensor: A Collection of Prints, 2002 § Lowe (Ian) The Etchings of Wilfred Fairclough, Aldershot, 1990, illustrations, the first and last original cloth or boards with dust-jackets, the rest original wrappers; and a small quantity of others on modern prints, mostly catalogues, 4to & 8vo (c.50)
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314783 item(s)/page