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Lot 206
Photography.- Loecherer (Alois) Two parts of the colossal statue "Bavaria" prepared for transportation, two salt prints from calotype negatives, 278 x 243mm. (11 x 91/2 in.) and 243 x 255 mm. (91/2 x 10 in.), on original card mounts within ruled borders, Loecherer's blind-stamp "A. Loecherer/Photograph/in Munchen" at lower right of images and on mounts below, both inscribed verso in German and apparently priced "8 frcs" each, 1850. ⁂ The head of the statue and the lion standing on the pedestal, each on a wooden base for transportation from the foundry to the site in front of the Hall of Fame, Theresienwiese, in Munich. The bronze statue was commissioned by Ludwig I of Bavaria and stands over 18 metres high. Loecherer's images are among the earliest examples of photo-reportage in Germany.
Lot 185
Hogarth (William) A comprehensive collection of approximately 235 etchings and engravings by and after William Hogarth, including two portraits of Hogarth, 11 portraits after Hogarth paintings, approximately 90 other works after designs by Hogarth, and approximately 130 original prints by Hogarth, all but one or two on 18th century laid paper, engravings and etchings, mezzotints, one woodcut, mainly circa 1730-1800, varying states of several impressions, neatly tipped onto large folio leaves, each leaf approx. 650 x 480 mm. (25 x 18 7/8 in), occasional minor loss and tears, some surface dirt and browning throughout, some trimmed, but the majority with good margins, early 19th century half-calf, marbled boards, spine gilt, possibly compiled and bound by Colnaghi, [probably early to mid-19th century]. Provenance: 11 works feature collector's stamp of Philip Moore (first half 19th century) [Lugt 2844]; P & D. Colnaghi, London ⁂ Original works by Hogarth include: Mr Garrick in the Character of Richard the 3rd [Paulson, 1989, 165 ii/ii]; Industry and Idleness, the set of twelve [P. 168-179]; Marriage-a-la-Mode, the set of six [P. 158 vi/viii, 159 ii/v, 160 i/iii, 161 ii, iv, 162 iii/v, 163 ii/iii]; A Rake's Progress, the set of eight, with 5 variant states [P. 132 i/iv and variant unrecorded state between i/iv and ii/iv, 133 iii/v, 134 i/iii parliament spelt without the second 'a', and with ii/iii with the second 'a' now inserted with a caret, 135 i/iii and iii/iii, 136 i/iii, 137 ii/iii, 138 ii/iii, 139 ii/iii and iii/iii (on wove paper)]; Hudibras [P. 82-93]; The Political Clyster [P. 107]; A Midnight Modern Conversation [P. 128]; A Harlot's Progress [P. 121-126 all first state impressions]; Analysis of Beauty, the pair [P. 195-196]; Gin Lane [P. 186 iii/iv]; Beer Street, two variant states [P. 185 ii/iii and iii/iii]; The Invasion [P. 202-203 both final state impressions]; The Times, the pair, [P. 211 i/iii, 212 iv/iv]; O The Roast Beef of Old England &c [P. 180 ii/ii].; The Enraged Musician [P. 152 ii/iii]; The Distressed Poet [P. 145 ii/iii]; The Four Stages of Cruelty and John Bell's 1751 woodcut version of The Reward of Cruelty on thin laid paper [P. 187 i/ii without '6d', 188 i/ii without '6d', 189 i/i, 190 iii/iv without '6d', 190/1 copy on thin laid paper]; Four Prints of an Election, the set [P. 198 ii/viii, 199 v/vi, 200 ii/iii, 201 iii/iii]; The Four Times of the Day, and Strolling actresses dressing in a Barn [P. 146 ii/ii, 147 ii/ii, 148 ii/iv, 149 ii/ii, 150 iv/iv]; twelve of fourteen engraved book illustrations for Beaver's Roman Military History [P. 77]; and many others.
Lot 330
§ Laurence Stephen Lowry, RA (British, 1887-1976) Group of children signed “L S Lowry” lower right and with Fine Art Trade Guild blind stamp colour reproduction print, 20.5 x 20.5 cm; together with "Nursery Sketches", three unsigned reproductions of original drawings in the collection of Mr and Mrs Andras Kalman, London, with a blind stamp, published by Adam Collection Ltd in an edition of 850 copies, three framed as one (2) Condition: In a good condition. Both framed
Lot 328
§ Laurence Stephen Lowry, RA (British, 1887-1976) Our Town signed "L S Lowry" lower right and with Fine Art Trade Guild blind stamp colour reproduction print 45 x 63cm (18 x 25in) Condition: A corner of the frame a little bumped. The print has sunk in the frame. Offset stains along the inner edges of the mount (please see photos).
Lot 367
§ Alberto Giacometti (Swiss, 1901-1966) Têtes (recto); Nu debout (verso); a double-sided sketch signed and dated lower right "Alberto Giacometti 1947" pencil on wove paper 44.40 x 28.70cm (17 x 11in)Provenance: By repute part of the collection of the artist Elsa Vaudrey by 1955; From the collection of the late Eila Grahame of Claverhouse, sold to benefit the Art FundLiterature: The Alberto Giacometti Database, No. AGD 3759Other Notes: The present drawing encapsulates two of the three most important and recurring themes that dominated Giacometti’s art - (the standing female figure, the bust and the walking man). Giacometti - son of a notable post-impressionist painter - explored these motifs in endless variations and groupings across all mediums; in sculpture as well as in painting and drawing. These activities were inextricably linked throughout his artistic practice. He drew inspiration from his graphic works and would often draw the sculptures in his studio, making quick sketches in his notebooks of the things that surrounded him or caught his eye. He never made formal preparatory drawings for his sculptures - instead he regarded drawing as central to his art, a means of both exploring new concepts and finding solutions to problems. As he himself revealingly said in an interview with Georges Charbonnier in 1951 - “what I believe, is that whether it be a question of sculpture or of painting, it is in fact only drawing that counts.” Therefore, his drawings can be seen as visual reflections of his sculptural processes.Following his return to Paris in 1945, (having spent the remainder of the war years in Geneva), Giacometti began experimenting with the representation of the human figure in space and this marked the blossoming of his mature style. Driven by the desire to convey a sense of distance from the spectator, his drawings played a crucial role in his exploration of figures situated in space. He felt that his figures were only true to his vision of reality when portrayed as elongated and slender, as that is how they appeared to him at a distance. He thus gradually stretched out and attenuated his figures until they became as thin as nails. He began to focus primarily on single, elongated figures - and from this experimentation in drawing originated the tall and emaciated silhouette with roughly defined outlines which came to epitomise this new style after 1947. Giacometti claimed that the end result was a reflection of what he saw when he looked at a woman from a great distance across the street. The actual image of a person’s appearance glimpsed from afar was merely “a blur” devoid of any recognisable features.1947 marked a major watershed in Giacometti’s career. The present drawing embodies the archetype of the tall, weightless figures for which he is best known. The sketches on the recto of this sheet epitomise the series of heads and busts that constitute a large part of Giacometti’s oeuvre. The theme of the human head preoccupied him from the very beginning. He declared that it was only the head of his models that interested him, since the body merely served as an ‘antenna’. Hence, he set out to concentrate his studies on the head and the sitter’s gaze, in particular, as he believed that one’s life lay within the eyes. Since the intensity of the eye contact could only be conveyed by looking full face at a person, he focused on representing his heads from the front, as in the present work. The faces thus directly confront the beholder while the busts are only vaguely summed up by a few lines. The rendering of the faces with a flurry of coursing lines particularly evokes the rough and heavily worked surfaces of his sculptures. This side of the drawing appears to incorporate features from a number of Giacometti’s painted and sculpted portrayals of his family and friends - his brother Diego being one of his most frequent models.In the late 1940s, Giacometti began to develop his remarkable series of standing female figures. The nude on the verso of the present drawing stands serenely in a stylised interior, isolated within a space specifically demarcated by a frame. Giacometti frequently used this framing devi to fix the figure firmly in space and intensify its impact. The indistinct outline and the rigid stance of the figure instantly recall the stylisation of his standing female sculptures. Posed frontally with her limbs pressed tightly together and imbued with a sense of lofty gravity, the model directly engages the viewer and commands a powerful presence. An interesting parallel could be drawn between this sketch with its distinctive, choppy hairstyle and Giacometti’s sculpture, ‘Femme Leoni’. He conceived the original plaster cast in the same year and later named the sculpture after Peggy Guggenheim’s Venetian palace - Palazzo Venier dei Leoni, (as she was the first to receive the bronze cast). Both portrayals of the lone standing female figure are early, iconic examples of Giacometti’s post-war style. The authenticity of this work has been confirmed by the Comité Giacometti and is registered in the Alberto Giacometti database.Condition report: Pencil sketches on a double-sided sheet of paper.Signed and dated lower right "Alberto Giacometti 1947" in pencil to recto. Also signed and dated to verso lower right "Alberto 1947" (signature partially faded). A blindstamp to the bottom left corner of an "S" with an arrow running through it.Recto: Very slight creasing in the upper area above the heads - this is only visible when holding the sheet against the light. Minor scattered spotting mostly along the margins. Two larger foxing spots - approximately 1 cm (0.4in) in width - one by the head on the far right and the other by the left-hand edge, left of the figure's shoulders. Old sellotape marks along the bottom edge. A small red stain by the shoulders of the figure on the far right. A crease running horizontally - 6 cm (2.4in) long - below the figure's shoulders far right.Verso: Scattered foxing, particularly below the figure, with few smaller foxing spots also to either side. A larger foxing spot right of the figure, approximately 1cm (0.4in) in diameter. Old sellotape marks along the bottom edge of the sheet. A slight crease top right, running horizontally about 5 cm (2in) from the top edge. A small scuff to the paper left of the figure's head - 1 cm (0.4in) in width - approximately 2.5 cm (1in) from the left margin.Condition report by a paper conservator:Condition: the artist has used a reasonably good quality paper. The paper is slightly discoloured overall as a result of long term exposure to light. The very left edge is slightly more discoloured. The sheet is currently loose but was mounted in the past. The mount attachment was via strips of Sellotape and the discoloured adhesive remains along one edge (both on the recto and verso) and on the two opposite corners. At some point the glass in the double-sided frame broke, causing a typical glass cut on the verso. The verso is foxed and the recto less so. This is as a result of the microclimate when the sheet was mounted and framed. A brown stain on the verso is starting to show on the recto. The other prominent brown mark on the recto is a glue spot. Many of the minor marks appear to be traces of watercolour and other artist’s media. These and the slight surface dirt were probably acquired in the artist’s studio and so should be left. The pin hole in the top edge probably also dates from the same time. The artist’s technique has caused the paper to stretch locally where most heavily worked. This is of course part of the artwork and should not be flattened during treatment. Similarly the blind stamp of a capital S pierced by an arrow should not be flattened during treatment.
Lot 326
§ Laurence Stephen Lowry, RA (British, 1887-1976) Britain at Play signed "L S Lowry" lower right and with Fine Art Trade Guild blind stamp colour reproduction print 47 x 60cm (18 x 23in) Condition: Colours faded. The FATG stamp with "DCE" letters. Offset stains along the bottom edge of the mount.
Lot 351
Postcards, a modern album with a selection of 30 cards from the early 1900's inc RP's Ham, Ham common, Hampton Court Palace, Needles IOW, together with another example with 50 cards inc, RP Victoria Institute Worcester, museum bomb collection, RP century plant Kew gardens 1912, WW1 silk, loose cards, and children's Sunday school stamp albums. Parcel. G/Vg
Lot 366
Postcards, a collection of approx 1,000 cards Edwardian and later, from the British Isles, inc, Churches, Ancient Monuments, Holiday Locations, Country Scenes, Olympic games, Annimals and birds, Tucks, Royal Mail- silk and stamp, WWI, RP's Skipton, together with a selection of 19 century and later stamps Fair V/G. Parcel.
Lot 286
PAUL LOUIS LEGER CHARDIN (FRENCH 1833 - 1918),CULLINS, SKYE; VIEW FROM GAIRLOCH HOTEL, SKYE; and MUIR OF ORDpencil on paper, each signed with studio stamp, titled and dated 1880Each 12cm x 21cmFramed together in single mount and under glassNote: Paul Chardin was a French painter and illustrator, a pupil of Adrien Dauzats and Justin Ouvrie and a member of the French Society of Archeology. He exhibited landscapes and portraits at the Salon de Paris from 1855 - 1875. He mostly made landscapes of Lower Brittany and Cotes-d'Armor.
Lot 8977
Great Britain - KGV : (SG 2) 1840 1d black, plate 1b, GA, with NON-COINCIDENT RE-ENTRY, a marginal example with small trimmed inscription at left, 4 tiny to huge margins except just touches at bottom left, very fresh, m.m. A super example, free from the usual gum toning. With photocopy of original 1969 Stanley Gibbons letter offering this stamp at £80 (!) plus the retail card it was sold in. I wish I could go back in time! SG Spec. AS5b. Cat. pro rata £13500. (image available) [US1]
Lot 5338
Fiji : 1874-1916 A remarkable collection of the postmarks of Fiji in a Senator loose-leaf album. Starting with Levuka, the old capital, with cds cancels on 12 stamps, a page of 'Sunburst' killer cancels showing the Levuka oval type on 2 single KEVII adhesives & a strip of 4 of the 2d dull green on piece; the Suva killer on 8 values, two in bright red; Smaller post offices are represented by BUA, with three values with manuscript name cancel & date(1900-02); UDU KACU manuscript cancel across a pair of 1d mauve(1899); TAVIUNI on Edward 1d(1905); NANUKULOA RA on 1d mauve(1902); scarce cds cancels of P.O.BA (3), P.O.NADI (2), P.O.NAVUA(3) & undated violet double ring SAVU SAVU/POST OFFICE on Edward ½d pair. The a 'locally made' cancel of P.O.NAMOLI in violet (c1900-01) on 2 x ½d green. Violet LAUTOKA, part cancels in violet on 1d & 2d(c 1900-07) & 4 examples of the 23mm cds on 4 adhesives (1905-10). A manuscript cancellation by the postal agent at NAUSORI (1897) plus 3 values with the cancel of 'A.M.Brodziak & Co Nausori' (1898) & 1899,1900 & 1903 examples of the Nausori P.O.cds on 1d or 2d adhesives; 2 pages of SUVA with various cds cancels from 1892 & examples of the duplex (1895). Three pages of cancels, not written-up, at the back of the album include more 'killer' cancels & part straight line cancels of SOMO SOMO, NADARIVATU, NADROGA, WAINIBOKASI etc. Plus some possibly fiscal manuscript cancels. A terrific lot for the specialist, many marks are rarely seen. All on stamp(s).(114 items - 135 stamps) Scans & photocopies are available - please contact the office.
Lot 13524
Leeward Islands : (SG 113ad) 1938-51 10s pale green and dull red/green with broken top right scroll very fine m.m., lightly browned gum as usual, please note that this stamp has been submitted for a certificate and is offered on the basis of getting a 'clean' certificate Cat £8000 (image available) [US1]
Lot 20546
Malaya - Straits Settlements : (SG 72) 1884 '4 Cents' in black on 5c blue fresh m.m., very fine with large part original gum, with 1978 RPS certificate which very harshly states 'crease', whatever they are referring to is not visible to the naked eye, one would be hard pressed to find a finer example of this rare stamp Cat £3500 (image available)
Lot 10608
Hong Kong : (SG 54b) 1898 (1st April) 10c on 30c grey-green, SURCHARGE DOUBLE with equal intensity, from position 17 of the third printing showing broken 'EN', very fine mint, and with 2011 BPA photo certificate signed by Schneider, Granger and Taylor, probably the most knowledgeable experts in the field today. To put the rarity of this stamp into perspective, the 10c on 30c with Chinese characters similarly with double surcharge has been recorded incl. within a complete mint pane, and a handful of singles (currently priced at £12,000 by SG). ONLY one row in a single pane became doubly printed, and the row comprised a setting of six subjects (incl. the above variety showing 'EN' broken); Moving on to the same stamp issue without Chinese characters which this is, ONLY ONE OTHER EXAMPLE IS KNOWN and unpriced by SG, and to find one with this combination of broken letters is almost certainly unique. A Hong Kong and indeed Asian philately rarity of the highest calibre. (image available)
Lot 20281
Great Britain - QV (line engraved) : (SG 14) 1841 2d blue, plate 3, horizontal pair, IC-ID, each stamp with guide lines in each right hand corner, margins all around but very close at top, with BLUE MC cancels, fresh, fine used. Probably originating from Truro. SG Spec. ES11 uc. Mike Jackson Cert. (2014). Cat £10000 (image available)
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