1081 |
AFTER GEORGE STUBBS, ARA (1724-1806) HORSE FRIGHTENED BY A LION; GREY STALLION WITH MARES AND FOALS Two, oil over mezzotint engravings (c.1765-1770), backed onto canvas Each 38 x 55.5cm. (2) £300-400 | Tears and paper breaks; scattered other damages; gilt frames | Nil |
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| 1082 | AFTER GUSTAVE DORE (1832-1883) TRIUMPH OF CHRISTIANITY OVER PAGANISM (2 copies); SLAYING OF THE INNOCENTS Three, mixed-method engravings, on laid India, by H. Bourne, with etched signatures in the margins, published by Fairless and Beeforth, 1880 and 1875 (and by American publishers in 1871 and 1876), rolled, unframed Images 82.5 x 55cm. and 56 x 81cm. (3) £200-300 | Support sheets with some soiling and tears; images good (one with slight mildew) | Nil |
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| 1083 | AFTER WILLIAM POWELL FRITH, RA (1819-1909) THE RAILWAY STATION Line engraving, by F. Holl, published by Henry Graves and Co, 1866, on laid India, with blindstamp, signed in pencil by the artist and the engraver, further inscribed by Frith Mr and Mrs Prince (? the name is unclear)/ from his friend WPFrith/ Christmas 1866 Image 51.5 x 111cm. £400-600 | Some foxing and stains largely confined to the support sheet; image generally good | Nil |
|
1050 |
| 1084 | SIR DAVID YOUNG CAMERON, RA, RSA, RWS, RSW (1865-1945) ETCHINGS OF PAISLEY The folio of seven etchings, published by Matthew Neilson of Paisley, 1887, each signed in pencil, within the original folder Images 14 x 19cm. approx. * These were Cameron's first etchings. £150-200 | Prints good; the folder slightly worn | Nil |
|
140 |
| 1085 | AFTER GUSTAV KLIMT (1862-1918) (FEMALE PORTRAITS) Four, photogravures, published by J. Casper, 1899, paginated 1, 4, 5 and 6, on tissue, unframed Two 18 x 25cm.; two 25 x 18cm. (4) £100-150 | A little foxing | Nil |
|
130 |
| 1086 | AFTER DAVID SHEPHERD, OBE (b.1931) THE SAPPI SELECTION: DAVID SHEPHERD IN SOUTHERN AFRICA The folio of twelve colour reproductions of big game subjects, each signed in pencil and numbered 248/500, in original box and slipcase Each sheet 39.5 x 48.5cm.; with a folio of four signed prints after Donald Grant ("Cats and Cubs", with four further prints), each numbered 101/500, published 1996, 38 x 38cm. (2 folios) £200-300 | Very good condition | Nil |
|
440 |
| 1087 | CECIL ALDIN (1870-1935) (TERRIER RECLINING) Etching with drypoint details, with signature 14.5 x 21cm. £400-600 | Slight wear in margin at right; a few old soft creases at image edges | Nil |
|
1000 |
| 1088 | CECIL ALDIN (1870-1935) (PLAYFUL TERRIER) Etching with drypoint details, printed with plate tone, signed in pencil 17 x 12cm. £500-700 | A few tiny blemishes | Nil |
|
820 |
| 1089 | CECIL ALDIN (1870-1935) (HOUNDS ON A SCENT) Etching with drypoint details, signed in pencil 10.5 x 17cm. £400-600 | A few pale surface marks | Nil |
|
480 |
| 1090 | ERIC GILL (1882-1940) (FEMALE NUDES) Twenty four from the set of twenty five, wood engravings from the Twenty-Five Nudes series, published by J. M. Dent and Sons Ltd, 1938, without margins (as issued), mounted but unframed Each 22 x 13.5cm. (24) £300-500 | Each in good condition | Nil |
|
1750 |
| 1091 | ERIC GILL (1882-1940) THE CRUCIFIXION Wood engraving, printed in gold, signed Eric G on the support sheet Image 12.25 x 7.75cm.; with another wood engraving of the crucifixion, with printed inscription beginning "Et Sicut Moyses Exaltavit..", unsigned, 17 x 9cm. (2) £150-200 | The former with amendments in black ink at lower corners; tear approx 15mm at right of image; the latter with some pale damp marks | Nil |
|
520 |
| 1092 | EIGHT ASSORTED PICTURE FRAMES to comprise a pair of ebonised frames with gilt slips, sight size 11.5 x 16.5cm.; three Victorian watercolour frames with gilt slips, 36 x 53.5cm., 34 x 49cm. and 26 x 36cm.; and three Victorian oil painting frames, one with beaded decoration, 36.5 x 61.5cm; one with reeded borders, 18 x 23.5cm.; and one with trailing oak leaf border, 57.5 x 75.5cm. (8) £100-200 | Generally good; a few minor losses | Nil |
|
260 |
| 1093 | AFTER JAMES FERRIER PRYDE (1866-1941) SIR HENRY IRVING AS DUBOSC IN THE LYONS MAIL Monochrome reproduction print with hand colouring, inscribed To/ Mr and Mrs Hippisley Cox/ from their sincere friend/ James Pryde 47 x 33.5cm.; with a signed portrait of Sir Johnston Forbes-Robertson, photogravure after George Harcourt, inscribed and dated Nov 1913, 49 x 25cm.; and two pamphlets for funeral services of the same and for his brother, Norman (4) * (Pryde) The print was produced by the Chenil Galleries, Chelsea, circa 1906, from the celebrated portrait (see for example Haldane McFall, The Work of James Pryde in The Magazine of Fine Arts, August 1906, pp.231-237). The artist quite commonly finished his prints in this way and other examples were shown at at the 1992 exhibition of Pryde's work at the Scottish National Gallery of Modern Art (no.33) and at Sothebys, March 8th 1995, lot 8. An original sketch for the portrait, c.1897, was bequeathed by the Estate of Sir John Gielgud to the National Portrait Gallery in 2001. Literature: Derek Hudson, James Pryde 1866-1941, London, 1949, pl.XI (another print illustrated). £400-600 | Each in good condition; the former with a little slight foxing | Nil |
|
360 |
| 1095 | WALTER E. GREENGRASS (1896-1970) RUGBY Linocut printed in colours, 1935, the colours bright and fresh, signed and dated 1933, titled and numbered 29/50, on cream oriental paper, with full margins 19.5 x 26.5cm. £1500-2000 | Gummed at two corners onto a support sheet; a good impression in good condition * The following six lots are superb, iconic images from the pioneering Grosvenor School of Art. Cyril Power and Sybil Andrews arrived there in 1925, the former to lecture on architecture, the latter to work as school secretary alongside the school's founder, Iain Macnab. Claude Flight, already established as an inventive champion of the linocut, was to prove to be an inspiration. He nurtured Power's skills and Andrews's fascination with the medium to oversee the design of some of the most striking prints produced anywhere in Europe between the wars. The artists' subject matter derived from Futurism and Vorticism (which focussed attention upon depicting in art the energy and movement of the machine age) but their prints were never merely derivative. Andrews's linocuts expressed strength and activity through geometric or sinuous forms reduced to bold outline without shadow or detail. Power's "The Eight" approaches abstraction in its rigorous reduction of form and the little-known work of Walter Greengrass (formerly an assistant keeper at the V&A) is to be found here in a clever mosaic design of tussling rugby players whose striped shirts invest the image with dynamic white lines. The colour linocut was a perfect medium for this determinedly modern approach to printmaking and the practitioners' skills were shockingly avant garde in the 1930's but were designed to be affordable for all types of collector. Interestingly, each of these prints is priced between £1.11s.6d (£1.58) and 3gns (£3.15) verso. After her marriage, Andrews emigrated to Canada in 1947 but continued to paint and teach until her death in 1992. Provenance: The six prints were acquired by the father of the vendor, a London solicitor, in the early 1950's from a gentleman who had probably been involved with the production of Francis Aldor's book "The Good Time Guide to London" in 1951 in which these very impressions were all illustrated. It is possible that the prints were offered in lieu of fees. | Nil |
|
9600 |
| 1096 | SYBIL ANDREWS (1898-1992) THE GALE Linocut printed in colours, 1930, the colours bright and fresh, signed and titled, numbered 23/50, on tissue thin japan paper, with full margins 21 x 24cm. £4000-6000 | Gummed at corners onto a support sheet; slight light staining | Nil |
|
13500 |
| 1097 | SYBIL ANDREWS (1898-1992) (STEEPLECHASING) Linocut printed in colours, the colours bright and fresh, signed and titled, numbered 8, on tissue thin japan paper, with full margins 29 x 42cm. £4000-6000 | Gummed at corners onto a support sheet; a few spots of foxing; faint stain and possible minute tear above the leading horse's neck; slight light staining | Nil |
|
21000 |
| 1098 | SYBIL ANDREWS (1898-1992) BRINGING IN THE BOAT Linocut printed in colours, 1933, the colours bright and fresh, signed and titled in pencil, numbered 1/60, inscribed Best in margin lower left, on tissue thin japan paper, with full margins 33 x 26cm. £7000-10000 | Gummed at the corners onto a support sheet; a few spots of foxing; 23mm tear in bottom margin not affecting the image | Nil |
|
19000 |
| 1099 | SYBIL ANDREWS (1898-1992) SPEEDWAY Linocut printed in colours, 1934, the colours bright and fresh, signed and titled, numbered 4/60, inscribed Exhibition print in lower margin, on tissue thin japan paper, with full margins 32.5 x 23cm. £12000-18000 | Gummed at corners onto a support sheet; some slight foxing; slight light staining | Nil |
|
32000 |
| 1100 | CYRIL EDWARD POWER (1874-1951) THE EIGHT Linocut printed in colours, 1930, the colours bright and fresh, signed and titled, numbered 20/50, on tissue thin japan paper, with full margins 32 x 23cm. * Power lived at Brook Green Studios, close to the Thames at Hammersmith. This is a study of the racing eight under Hammersmith Bridge. Power was a great enthusiast of the Head of the River Race. Sold with a copy of "The Good Time Guide to London" by Francis Aldor (London, 1951) in which all these six linocuts are illustrated, pp.212-225. £10000-15000 | Gummed at corners onto a support sheet; 3mm by 1mm hole within image near stern of boat | Nil |
|
36000 |
| 1101 | SYBIL ANDREWS (1898-1992) THE GIANT CABLE Linocut printed in colours, 1931, the colours good, signed and titled, numbered 17/50, on tissue thin japan paper, with full margins 31 x 42.5cm. £4000-6000 | Gummed at edges onto a support sheet; light stained; small jagged tear from broken glass within image upper right; a couple of minor tears at extreme sheet edges | Nil |
|
14000 |
| 1103 | ATTRIBUTED TO JACQUES COURTOIS, IL BORGOGNONE (1621-1676) BATTLE SKIRMISHES ON THE OUTSKIRTS OF A TOWN A pair, pen and brown ink with grey wash Each 11.5 x 36.5cm. (2) £1200-1500 | Good condition overall; needs a light clean; apparently laid down | Nil |
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| 1104 | FOLLOWER OF FRANCESCO GUARDI (1712-1793) FIGURES IN A VENETIAN CAMPO Sepia ink with brush and pen 13 x 17.5cm. £120-180 | Needs a clean; a little worn; manufacturer's crease in the paper at left | Nil |
|
160 |
| 1105 | JOHANNES JANSON (1729-1784) RUSTIC SCENES WITH FARMERS AND LIVESTOCK A pair, both signed and dated 1779, watercolour with pen and ink Each 28 x 35cm. (2) £800-1200 | Good condition overall; a little scattered pale foxing | Nil |
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| 1106 | SAMUEL JACKSON (1784-1869) THE AVON AT CLIFTON, BRISTOL Watercolour and pencil with scratching out 18 x 24cm. £400-600 | Faded in the sky; pale damp marks | Nil |
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| 1107 | *** ROCHEFORT (20th CENTURY) VIEWS OF VENICE Five, to include two watercolours and three pen and sepia ink drawings, each signed 28 x 44cm. and smaller (5) £300-400 | The watercolours good; the drawings with some foxing or pale stains | Nil |
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| 1108 | WILLIAM CALLOW, RWS (1812-1908) LANDSCAPE WITH MADELEY MANOR, STAFFORD Signed and dated 1843, inscribed Madely Manor Stafford, watercolour and pencil 24.5 x 34.5cm. Provenance: London, Appleby Bros Ltd, Autumn Exhibition, 1965 Callow visited Madeley Manor in order to give drawing lessons to The Hon Annabel Crewe, the sister of Lord Crewe. Despite catching a severe cold "through sitting on the damp grass" and taking himself off to the south coast to recuperate, he nonetheless ventured back to Madeley later in 1843. £1000-1500 | Generally good condition; slightly faded | Nil |
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|
| 1109 | ROBERT HILLS (1769-1844) STUDIES OF DUCKS Watercolour and pencil 8 x 18cm. £100-200 | Good condition | Nil |
|
240 |
| 1110 | SIR RICHARD POLLEN (Fl.c.1840-1860) LAON Inscribed and dated Laon/Aug.29/1858, watercolour and pencil 33.5 x 50.5cm.; with another watercolour by the same hand of a cathedral, 34 x 51cm. (2) £150-250 | the former with old tears at lower edge; the latter with short tear at left edge | Nil |
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| 1111 | EDWARD DUNCAN, RWS (1803-1882) VESSELS AT TWILIGHT Signed and dated 1867, watercolour, mounted but unframed 12 x 26.5cm. £200-300 | Good condition; Whatman watermark clearly visible at base | Nil |
|
380 |
| 1112 | FLORENTINE SCHOOL, LATE 16th CENTURY THE HOLY FAMILY WITH ANNE AND JOACHIM (?) Watercolour on vellum or chicken skin, unframed 16.5 x 13.5cm. £800-1000 | Rubbed lower right corner; scattered creases and slight wear/flaking consistent with age; slightly oxidized pigments on Christ's robes | Nil |
|
800 |
