Adolphe Appian - Une noria a Bordiquier (Italy) - 1873 / Description: UNE NORIA A BORDIQUIER (ITALIE) 1873. ( J.33, P.37 ). Exhibited in the Paris Salon. This is a very unusual subject for Appian, but it is, nonetheless, a strong image. Bordighera is on the Italian coast between Monaco and San Remo. This is a larger print: 29 by 20,5 cm on plate border. It is signed upper left 'Appian 1878'.With full plate border and 1 cm margins. / Dimensions: 29,00 x 20,50 cm / Condition: Impression on laid paper with 1 cm. Margins. In very good condition. / Literature: Curtis & Prouté 1968 / Adolphe Appian, son oeuvre gravé et lithography (37) --- Jennings.33 ---- Appian was one of the outstanding landscape painters of the 19th century in Lyon. He was also an excellent etcher who was extremely sensitive to light and atmosphere. He was able to create a mood with line and by carefully leaving a fine layer of ink on the surface of the copper plate which prints as pale tone. Adolphe Appian studied at the École de Dessin et Beaux-Arts in Lyon, where he was taught by Jean-Michel Grobon (1770-1853). In 1851 he debuted at the Salon of Lyon with three paintings. In 1852 he moved to Crémieu, where he painted the region. He befriended Corot and Daubigny and they influenced his work. 1854 he made his first excursion to the forest of Fontainebleau, In 1861 Appian settled in Creys, located twenty-five kilometers from Crémieu and ten kilometers from Morestel. In 1863 he became an active member of the new Société des Aquafortistes founded by Alfred Cadart in 1862.F. In 1866 the two works he exhibited in Paris were bought by Napoleon III and by princess Mathilde. From 1871 until the early nineties he often visited the Mediterranean coast.Appian is one of the regional artists who showed their territory with love and grace. Besides his paintings he made 76 etchings and 4 litho. Appian was one of the artists closely followed by the publisher Cadart who's merit it was to publish their genius graphical work. Appian was responsible together with Corot and Daubigny for the renewal of the etching in the middle of the 19th century. The great esteem for his work was boosted by Atherton Curtis for Paul Prouté who published his catalogue raisonné in 1968.He based his catalogue on that one of H. Jennings published in the Print Collector's Quarterly" from February 1925 / Medium: Etching /Circa: 1873 180
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Roelant Savery landscape by Aegidius Sadeler - 1609 / Description: Famous Roelant Savery landscapes engraved by Aegidius Sadeler II: Forest landscape with fallen dead trees near a river. Right on the bank three hunters and a dog. First print of a six-part series with mountain landscapes from Tyrol - 1609. / Dimensions: 20,50 x 26,70 cm / Condition: Still good silvery impression with some plate tone in a full watermarked laid sheet with impressive watermark. Bottom right corner of the margin restored with some china paper. Good inside plate border. Hollstein Dutch 225-2(2) Engraving /Circa: 1609 260
Félix Bracquemond - La terrasse de la Villa Brancas - 1876 / Description: Two women on sunny terrace in lush landscape at Sèvres; one, the darker, drawing the other, who poses with umbrella; with the old porcelain manufacture and part of Bellevue seen beyond amongst trees. Etching and drypoint with aquatint. Print made by Félix Bracquemond in 1876, published in 'L'Art' with the printers address of Salmon in the bottom left corner. Signed, dated, titled "la Terrasse "and L'Art bottom right corner. / Dimensions: 26,20 x 36,00 cm / Condition: A good impression in good condition on watermarked laid paper. / Literature: Beraldi 1885-92 / Les Graveurs du dix-neuvième siècle (215.VIII) / Medium: /Circa: 1876 260
Pieter Paul Rubens, Allegory of Philips II and Saint Francis of Assisi, last judgement. Philip Spruyt / Description: Saint Francis of Assisi kneeling with three globes on his shoulders with the Virgin on top. Philip IV King of Spain and his family at left. Two chariots , one left with kings Charles V, Philip II and Philip III and right with the four Cardinal Virtues. both driven by a Franciscan monk. Below right Franciscan monks chase the devil back to hell. Proof etching, before the text below was engraved. This state is a unknown state. This etching with the text etched is the top part of a thesis print. Very rare Proof before the text etching made by Philippe Lambert Joseph Spruyt(1727-1801) in Gent ca 1787 after a grisaille of Pieter Paul Rubens (1577-1640). References: Schneevoogt 1873 / P.P.Rubens 145.70. In very good condition printed on laid wide margined paper with a printers crease below. Very strong dark early impression. With two watermarks: French lily. Proof before the text below was printed. Very rare proof of a Thesis. The thesis was printed with two plates. This is the upper part with large margins. Thesis prints are extremely rare. / Dimensions: 29,2 cm x39,6 cm / Condition: Very rare proof of this etching, before the text below was engraved. In very good condition printed on laid wide margined paper with a printers crease below. Very strong dark early impression. With two watermarks: French lily. Very rare proof of a Thesis. The thesis was printed with two plates. This is the upper part with large margins, an unknown state. Thesis prints are extremely rare. References: Schneevoogt 1873 / P.P.Rubens 145.70. Unknown first state before the text was engraved. etching /Circa: 1787 775
Iain Macmillan (British, 1938-2006): Two prints of The Beatles on Abbey Road,1969,two original vintage chromogenic prints, the first depicting the Beatles walking from right to left (frame no.2), signed and numbered 13/25 by Iain Macmillan in silver metallic pen, together with a second print depicting the Abbey Road street sign with the girl in the blue dress as seen on the back of the album, signed and numbered 13/25 by Macmillan in silver metallic pen, framed and glazed, with a copy of the letter of provenance from Iain Macmillan, each sheet 20in x 24in (51cm x 61cm)each 28 1/4in x 29in (71.5cm x 73.5cm) framed(2)Footnotes:Provenance:Having met John Lennon at the Indica Gallery with Yoko Ono in 1966, Lennon later invited Macmillan to photograph the Beatles for the cover of their final album, Abbey Road. Given the Beatles recorded most of their music at the EMI Studios on Abbey Road, St John's Wood, London, they decided to name their last album after the road. Armed with a sketch Paul McCartney had given him a couple of days before of what the picture should look like, Iain knew he didn't have long to get the right shot for the world's most famous band.On 8th August 1969, at around 11:30 am, a hired policeman stopped the traffic, Iain climbed up a large stepladder in the middle of Abbey Road and took just six pictures of the Beatles on that now-famous street crossing. In approximately 10 minutes, Iain shot the band in various orders, but it was frame no.5 that was used for the cover of the album - the only photo where all four of them are striding in perfect formation.'The whole idea was McCartney's. A few days before the shoot, he drew a sketch of how he imagined the cover, which we executed almost exactly that day. I took a couple of shots of the Beatles crossing Abbey Road one way. We let some of the traffic go by and then they walked across the road the other way, and I took a few more shots. The one eventually chosen for the cover was number five of six. It was the only one that had their legs in a perfect 'V' formation, which is what I wanted stylistically.' - Iain Macmillan.After the shoot, Macmillan went to find a road sign for use on the back cover. Over 50 years on, the cover for Abbey Road is undoubtedly one of the most iconic album covers of all time.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Edward Wadsworth (1889-1949), hand-coloured limited edition copper-plate engraving on paper, Adriatic Trabaccoli, from Sailing Ships and Barges of the Western Mediterranean and Adriatic Seas, 13cm x 13cm, mounted, glazed and framedPrinted at the Curwen Press on Zanders handmade paper in 1926. Ed.147/450. Thecopper plates were destroyed after the print run was complete
Roy Lichtenstein (1923 - 1997), Woman In Bath (1963), colour serigraph/screen print, unsigned, numbered 15/50, with Certificate of Authenticity, 91cm x 91cm, aluminium and glass frame, overall frame dimensions 109cm x 109cm. Provenance: purchased by the present vendor from ExhibitionVery good condition, colours all bright, no paper damage creases or tears, frame also in good condition
Various ArtistsA Tribute to Birgit Skiöld (Volumes I-III)The complete set of three portfolios, 1983, comprising one hundred and eighteen prints of various media, with title-page, text and justification, each print signed, dated and numbered from the edition of 25, published by The Birgit Skiöld Memorial Trust, London, on various papers, the full sheets loose as issued in the original navy cloth-covered portfolio boxes, each sheet 300 x 300mm (11 7/8 x 11 7/8in); each portfolio box 330 x 330 x 40mm (13 x 13 x 1 1/2in) (3)To include prints by David Hockney, Norman Ackroyd, Anthony Gross, Terry Frost, Patrick Hughes, Allen Jones, Ron King, Liliane Lijn, Michael Rothenstein, Julian Trevelyan, William Tillyer, and more.
Francis Bacon (1909-1992) after.Study for Head of Lucian FreudGiclée print mounted on aluminium, 2015, numbered from the edition of 500 in black ink verso, co-published by The Estate of Francis Bacon and Heni Productions, London, with the Heni inkstamp verso, the full sheet printed to the edges, sheet 355 x 305mm (14 x 12in)
δ Patrick Heron (1920-1999)Garden Print, from the Royal College of Art Artist's Choice PortfolioLithograph printed in colours, 1987, signed and dated in pink felt-tip pen verso, inscribed 'AP', an artist's proof aside from the edition of 48, printed and published by the Royal College of Art, London, on wove paper, the full sheet printed to the edges, sheet 305 x 305mm (12 x 12in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Elizabeth Blackadder (1931-2021)MeconopsisScreenprint in colours, 2011, signed in pencil, numbered from the edition of 80, published by Glasgow Print Studio, Glasgow, on wove paper, with full margins, image 470 x 345mm (18 5/8 x 13 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Home, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 84)Etching, 1969, from the edition of 100, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, together with justification page signed by the artist and numbered from Edition C of 100, each on Hodgkinson watermarked paper, the sheet printed to the edges, each 450 x 312mm (17 5/8 x 12 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
STEVE MCCURRY (AMERICAN b. 1950), SHARBAT GULA, AFGHAN GIRL, PAKISTAN offset lithographic colour print, signed in pen lower right mounted, framed and under glassimage size 49cm x 33cm, overall size 77cm x 58cm Note: Steve McCurry took his most recognised portrait, ''Afghan Girl'', in a refugee camp near Peshawar, Pakistan in 1984. The image itself was named as ''the most recognised photograph'' in the history of the National Geographic magazine and her face became famous as the cover photograph on the June 1985 issue. The photo has also been widely used on Amnesty International brochures, posters, and calendars. The identity of the ''Afghan Girl'' remained unknown for over 17 years until McCurry and a National Geographic team located the woman, Sharbat Gula, in 2002.
* TRACEY EMIN, 2002 BBC FOUR 'EVERYBODY NEEDS A PLACE TO THINK' limited edition of 1500 screen print of handkerchief unframedoverall size 52.5cm x 53.5cmNote: Original invitation and box included. Everybody Needs a Place to Think, is a highly collectable limited edition screen-print on a handkerchief created by YBA artist Tracey Emin. Emin was commissioned by the BBC to create a gift to accompany the VIP invitation to their launch party of BBC Four. The work bears the text inscription "Everybody Needs a Place to Think", the text "BBC Four" (three times), an image of a dog with a bone, and Tracey's printed signature and date of 2002. This work was accompanied by an original card invitation to the launch party for BBC Four on February 28, 2002. The invitation also includes printed text by Tracey Emin in her recognizable handwriting outlining the event details and noting "Please bring this invitation with you, otherwise, you're not going to get in, Love, Tracey X." While attendees were able to keep the handkerchief, they were forced to surrender the invitation, making this full set especially uncommon and collectable.
* BANKSY (BRITISH b. 1974), AGILE hand finished 7 colour screenprint on cardboardsigned and inscribed 'Thanks Chris' with a peace symboloutside of the numbered edition of 50mounted, framed and under glass, in artist's frame image size 47cm x 47cmoverall size 58cm x 58cm x 7cm ‘AGILE’, a hand-finished, seven colour screenprint on cardboard, will be familiar to Banksy collectors and enthusiasts; 50 limited edition prints were sold via the Legacy of War Foundation website in 2022 as part of a fundraising campaign to support civilians affected by the conflict in Ukraine. A staggering 1.3 million applications were submitted for the coveted pieces. Importantly, the signed ‘AGILE’ screenprint going to auction on 14 December was not part of the initial limited edition of 50; instead, it was produced specially as a gift to the current vendor, complete with the personal dedication, ‘Thanks Chris’ followed by a peace symbol. This lot is accompanied by a certificate of authenticity issued by Banksy's verification platform, The Pest Control Office, 21/08/2023.The artwork itself showcases Banksy's trademark creativity and ingenuity. Featuring a rat climbing up a freight box marked 'FRAGILE,' the rodent’s claws have scratched out the 'F' and 'R,' leaving behind the word 'AGILE’ – a nod to the resilience of the Ukrainian people. In true Banksy style, it is believed that the distinctive scratch marks were made using a pizza cutter, with each print featuring a different scratch pattern. The serial number on the freight box is a reference to the completion date of the artwork. This is an important and evocative work that showcases the artist’s unique style, with his trademark ‘rat’ image at the heart of the piece. We rarely see Banksy works of this quality come to auction in Scotland, and it is wonderful that it will go under the hammer in Glasgow, a city that is close to the artist’s heart. The personal dedication and the fact that this piece was produced separately from the original edition of 50, lift this artwork to a different level.
* HANNAH FRANK (SCOTTISH 1908 - 2008), COME LOVELY AND SOOTHING DEATH lithograph on paper, signed in pencilmounted, framed and under glassimage 44cm x 31cm, overall 62cm x 48.5cmNote: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932) lithograph on paper, signed in pencilmounted, framed and under glassimage size 32cm x 28cm, overall size 53cm x 43cm Note: "Garden (1932)" is one of the rarest Hannah Frank signed prints. A previous example of this print was sold (by McTear's) for £650 (lot 526 The Scottish Contemporary Art Auction 27th September 2020). Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* HANNAH FRANK (SCOTTISH 1908 - 2008), FLIGHT (1939) lithograph on paper, signed in inkframed and under glassimage size 35.5cm x 28cm, overall size 47cm x 38cmProvenance: HFDS Plate 16 page 97. The original pen and ink work was exhibited at the RGI in 1942. Flight (1939) is also the largest and most prominent photograph shown on the front cover of "Hannah Frank, A Glasgow Artist, Drawings & Sculpture" second edition, Revised and updated by Fiona Frank.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 but beaten in January 2023 in Edinburgh by a single print achieving £900 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* THE CONNOR BROTHERS, I TRIED TO DROWN MY SORROWS I TRIED TO DROWN MY SORROWS BUT THE BASTARDS LEARNED HOW TO SWIMlimited edition wrapping paper print on paper, signedframed and under glassimage size 69cm x 49cm, overall size 74cm x 54cmThe condition is good overall, with no visible or known issues.
The Height Of The Battle Sunday September 15th 1940, colour print by Geoffrey Nutkins, limited edition from 100 copies published 1986, signed by 11 Battle Of Britain pilots in 1999, including 1 German pilot, mounted in a frame with an unnamed DFC medal, and German Luftwaffe badge, overall frame dimensions 84cm x 71cmAll in very good condition
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