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Lot 117
Herbert Thomas Dicksee (British 1862-1942): Lady in a Doorway, drypoint etching signed in pencil, after Jean Corot, 'The Ferryman' and 'L'allée des Arbres', two Grafton Proof polychrome prints, Sunset off the Coast, lithograph signed by Julius Olsson, Theatrical Scene, lithograph signed by Doris Zinkeisen etc max 51cm x 66cm framed and unframed (8) Condition Report & Further Details Click here for further images, condition, auction times & delivery costs
Lot 521
*@Dali (Salvador, 1904-1989). Le Demon Ail‚ (from the suite La Venus aux Fourrures), 1968, drypoint etching on Arches heavy wove paper (with partial watermark 'Ar'), bears signature to lower margin, mount stained, plate size 31.6 x 23.5 cm (12.5 x 9.3 ins), sheet size 38 x 28.5 cm (15 x 11.2 ins), framed and glazed (1)
Lot 505
*Tissot (James Jacques Joseph, 1836-1902). Trafalgar Tavern, Greenwich, 1878, etching with drypoint on cream laid paper, the first state (of 2), with the sky unetched, signed and dated in the plate, and with artist's monogram in red, additionally signed in pencil lower left, the sheet horizontally cut (now laid down on card), plate size 35 x 25 cm (13.75 x 9.8 ins), sheet size 48 x 35.5 cm (19 x 14 ins) Wentworth 36, i/ii. (1)
Lot 488
*@Bone (Sir David Muirhead, 1876-1953). Ayr Prison, 1905, drypoint etching on laid paper, the only state, printed in an edition of 41 proofs only, signed in pencil, with wide margins, in very good condition, plate size 12.5 x 17.8 cm (4.9 x 7 ins), sheet size 22 x 29 cm (8.7 x 11.4 ins), mounted Provenance: Purchased by the current owner from Robin Garton circa 1990. Campbell Dodgson 179. (1)
Lot 507
*Wilkinson (Norman, 1878-1971). Spey Pool, circa 1930, etching with drypoint, signed in pencil lower right, plate size 22.5 x 30.3 cm (9 x 12 ins), with margins, framed and glazed, with old printed label to verso of Richard Howarth, Dealer in Works of Art, 25 Preston Road, Blackburn to verso, framed and glazed (glass cracked), together with Playing a Trout in the Shadows, circa 1930, etching with drypoint, signed in pencil lower right, xxx x xxx ins, with margins, framed and glazed, with printed label of Richard Howarth, Blackburn to verso (2)
![[§] ELYSE ASHE LORD (1900-1971) 'THE IMMORTALS NO.1' drypoint and coloured woodcut, artist's signed proof, signed lower rig](https://cdn.globalauctionplatform.com/860ec78e-5245-44e7-ab1a-a969010cf5f3/f73674ef-3eba-496a-b613-a97c00fb1e87/468x382.jpg)
Lot 442
[§] ELYSE ASHE LORD (1900-1971) 'THE IMMORTALS NO.1' drypoint and coloured woodcut, artist's signed proof, signed lower right in pencil ELYSE ASHE LORD 60/75 44.5cm x 56cm; 'THE IMMORTALS NO. 2' drypoint and coloured woodcut, artist's signed proof, signed lower right in pencil ELYSE ASHE LORD 75/75 44.5cm x 56cm; and 'MASTERS OF THE COLOUR PRINT', book of coloured prints published by 'The Studio', 1927 (two prints lacking (3)
Lot 292
Francisco Goya (Spanish 1746-1828) MODO CON QUE LOS ANTIGUOS ESPANOLES CAZABAN LOS TOROS Á CABALLO EN EL CAMPO impressed with La Tauromaquia chopmark etching, aquatint, drypoint and engraving, pulled in 1921 from the 5th edition Deteil,L., Francisco Goya: Le Peintre graveur illustré, Collectors Editions, New York, 1968. illustrated on page 224, catalogue number 56 Harris,T., Goya:Engravings & Lithographs, B.Cassier, Oxford 1964, illustrated on page 204, catalogue number 36 sheet size: 34 by 44,5cm
Lot 62
Ian Chamberlain. 'Communication I', etching, image size 27 x 22cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.
Lot 66
Ian Chamberlain. 'Sat Study I', etching, image size 22 x 18cm. Signed and numbered 3/30. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.
Lot 67
Ian Chamberlain. 'Sat Study II', etching, signed and numbered 13/30. Image size 22 x 18cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.
Lot 68
Ian Chamberlain. 'Sat Study IV', etching, signed and numbered 7/30. Image size 41 x 39cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.
Lot 69
Ian Chamberlain. 'Dome II', etching, signed. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.
Lot 70
Ian Chamberlain. 'Dome I', etching, signed and numbered 4/6. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.
Lot 1786
WILLIAM WALCOT (1874-1943) THE FORTH BRIDGE: THE AMERICAN SHIP DELAWARE LYING ON THE FIRTH OF FORTH Two, etchings with drypoint, the former also with some aquatint, 1918 and 1916, each signed in pencil, unframed 14.5 x 23cm.; and 10 x 13cm. (2) ++ Some handling creases; a few spots of foxing; the latter with short tear in lower margin
Lot 1794
WILLIAM WALCOT (1874-1943) THE ROYAL INSTITUTE OF BRITISH ARCHITECTS, PORTLAND PLACE; NEWCASTLE CENTRAL STATION Two, etchings with drypoint, the former with aquatint, c.1935 and 1922, each signed in pencil, unframed 15.5 x 23.5cm. and 9.5 x 15cm. (2) ++ The former with light staining where formerly mounted and soft crease in margin lower right, also slightly rubbed along plate mark at lower edge; the latter good
Lot 1805
•FRANCIS EDGAR DODD, RA, RWS (1874-1949) THE MONUMENT AND FISH STREET HILL Etching with drypoint, 1912, the 5th state (of 8), signed in pencil, unframed 27.5 x 14.5cm. * A margin inscription in the artist's hand, reads "the distance was afterwards scraped down & the foreground darkened/ FD" ++ Needs a light clean
Lot 1808
JOB NIXON, RWS (1891-1938) THE TABLES, DIEPPE Etching with drypoint, 1925, the third and final state, signed in pencil, from the edition of 60, unframed 33 x 51.5cm.; with the pencil preparatory drawing for the same subject, 31.5 x 51cm. (2) Exhibited: an impression of the etching was exhibited in London, The Royal Academy, 1925, no.963 ++ The etching a little grubby with handling marks in the margins; the drawing with unobtrusive tear upper left, very small losses at lower corners and in need of a clean
Lot 1813
•STANLEY ANDERSON, CBE, RA (1884-1966) BEER AND SKITTLES Etching with drypoint, 1933, signed and inscribed Edition 32 in pencil, unframed 18 x 22cm.; with Anderson's Bookplate for Margaret Grindley Ferris, engraving, 1941, signed and inscribed one of 18 signed prints, 10.5 x 7.5cm. (2) * The principal item shows the Golden Heart pub, Painswick, Glos. In 1941, Miss Ferris was a medical student living in Johannesburg. She later specialised in psychiatry. The choice of a cluttered bookshop has been seen as a respectful nod to history coupled with a pioneering spirit. ++ (Beer..) Laid down on board, evident crusted gum stains in margins; (Ferris) very good condition
Lot 1815
•STANLEY ANDERSON, CBE, RA (1884-1966) PARKY AND VURTY, PRAGUE Engraving, 1929, signed, titled and inscribed Edition, 85 proofs in pencil, unframed 21.5 x 16.5cm. * In 1937, Campbell Dodgson praised this as "the finest drypoint executed in this century". The title is a reference to the two varieties of sausage on sale. Anderson was in Prague in the company of a friend who was a conference delegate. ++ Good condition
Lot 1816
•STANLEY ANDERSON, CBE, RA (1884-1966) TIMMS' SMITHY, THAME Etching with drypoint, 1934, signed, titled, inscribed Drypoint, Edition 60 prints and only 38 prints were pulled before this plate was lost in a London "blitz"! in pencil, unframed 24 x 18cm. * A scene at Ralph and Rupert Timms's workshop, not far from Anderson's home. In the artist's final drypoint, Anderson is demonstrating his proficiency at atmospheric printmaking rather than admiring the blacksmiths' skills. His seeming nonchalance about the loss of the plate during the War thus becomes all the more surprising. ++ Some foxing; slightly grubby
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MAKE-UP 1925. TCHERNECHEVA.Etching with drypoint, from an editi](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/fd048ae1-4dd2-4845-fd16-f484bcdb945c/468x382.jpg)
Lot 289
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MAKE-UP 1925. TCHERNECHEVA.Etching with drypoint, from an edition of 18, signed26cm x 20.5cm (10.25in x 8in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)DANCERSEtching and aquatint, signed28cm x 23cm (11in x 9in)Note](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/96e00390-2811-4cfa-dfc5-6b20883d7563/468x382.jpg)
Lot 290
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)DANCERSEtching and aquatint, signed28cm x 23cm (11in x 9in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)SPANISH DANCEREtching and aquatint, signed28cm x 22.5cm (11in x](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/ee8a436f-d552-4454-89e3-79071f97446e/468x382.jpg)
Lot 291
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)SPANISH DANCEREtching and aquatint, signed28cm x 22.5cm (11in x 8.75in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)A CHORUSEtching and aquatint, from an edition of 55, signed18cm](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/2837aff5-8be1-4129-f647-df54639dfb77/468x382.jpg)
Lot 292
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)A CHORUSEtching and aquatint, from an edition of 55, signed18cm x 25cm (7in x 9.75in)Provenance:The Leicester Galleries, LondonExhibited: Walker Art Gallery, Liverpool – Sixty-Third Autumn Exhibition, 1937.Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MERRY-GO-ROUNDEtching, signed28.5cm x 21cm (11.25in x 8in)Note:](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/508ac862-a937-4f22-ae77-ae37d5aec226/468x382.jpg)
Lot 293
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MERRY-GO-ROUNDEtching, signed28.5cm x 21cm (11.25in x 8in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
![[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)ZEBRAS - 1930Etching, signed27cm x 36cm (10.5in x 14in)Note: Da](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/f49da9b7-6180-46aa-ccb9-9dfef94879b9/468x382.jpg)
Lot 294
[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)ZEBRAS - 1930Etching, signed27cm x 36cm (10.5in x 14in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.
Lot 41
WALTER RICHARD SICKERT (BRITISH 1860-1942)THE OLD BEDFORD (LARGE PLATE)Etching, drypoint, pentimenti and engraving29cm x 16.5cm (11.5in x 6.5in)Provenance: Johnnie Shand KyddThe Fine Art Society, London, January 2003Exhibited: London, Thomas Agnew & Sons Limited, ‘Centenary Exhibition W.R. Sickert 1860-1942,’ March – April 1960Literature: Bromberg 130
![[§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., L.L.B., D.LITT (SCOTTISH 1876-1953)A MANHATTAN EXCAVATION - 1923Drypo](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/128e63b6-c0e4-4ffb-9c8c-ab675f18230a/468x382.jpg)
Lot 88
AQUATINT AND ETCHING BY LAURA KNIGHT (BRITISH 1877-1970)comprising:a) Powder and Paint, 1925, etching and aquatint on cream wove paper, plate mark 32.3 x 24.2 cm (12 3/4 x 9 1/2 in.), full sheet measuring 41.7 x 28.4 cm (16 3/8 x 11 1/8 in.), signed lower right; b) Zebras, drypoint on cream wove paper, plate mark 25 x 35 cm (9 7/8 x 13 3/4 in.), full sheet measuring 32 x 43 cm (12 5/8 x 16 7/8 in.), inscribed with title lower borderLITERATUREG. Fredric Bolling and Valerie A. Withington, The graphic work of Laura Knight: including a catalogue raisonne of her prints (Brookfield: Ashgate Publishing, [1993]), p. 30 [Powder and Paint]
Lot 572
CATALOGUE AMMENDMENT ARTIST IS TOM CARR BRITISH ARTIST (1912- 1977)Tom Carr (British 1912- 1977): etching titled 'Riot!!', hand-coloured, signed to the plate and in pencil lower right margin, with title and numbered 18/75 lower left, 26 by 32cm, framed 49 by 59cm. Notes: Carr was a well known hunting and equine sporting artist from the North East of England, commissioned to paint a number of hunts and masters including the Heythrop, North Northumberland and Beaufort, he studied drypoint etching under George Vernon Stokes.
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