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Lot 872
•KURT MEYER-EBERHARDT (GERMAN 1895-1977) HEAD OF AN AIREDALE; FOAL; FAWN; FOX CUB; KITTENS; SCOTTIE Etching in colours, signed, 27 x 37cm (10 1/2 x 14 1/2") (largest), 28 x 24cm (11 x 9 1/2") (smallest) (6) Labels verso - 'Head of an Airedale', 'Foal', 'Fox Cub', 'Scottie' Condition Report: Generally there is a degree of foxing on all images, the least affected being Foal, Scottie and Fox Cub with foxing more prevalent, including some spots in the margins, affecting Fawn and Kittens and to a heavier degree, Head of an Airedale.,
Lot 935
•JAMES MCINTOSH PATRICK RSA, ROI, ARE, LLD (SCOTTISH 1907-1998) COTTAGE IN THE SNOW Etching, signed, inscribed 'With Best Wishes', 15 x 21cm (6 x 8 1/4") Condition Report: Discolouration evident over the bottom margin but less so in the others as the mount is close to the edges of the image on these ones. There is a small, partially visible due to the mount, circular ring of brownish discolouration, bottom left in the margin. There is very slight brownish discolouration located over roof areas.,
Lot 198
•MARK MILLMORE (b. 1956) 'Crucian Carp' signed and numbered limited edition of 100 three plate colour etching printed on Fabriano Mould-made acid free cotton paper, the image 30cm x 25cm (unframed)Mark Millmore is a fine artist, theatre designer, writer, web designer, art director, and conservationist. His company, Eyelid Productions, has designed software products and computer graphics for major film production companies and other clientsProvenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 209
•RICHARD CLARK (contemporary) 'Interior, Fish and Chip Shop - Blackheath, 1987, signed and dated, four colour etching, the image 42cm x 56cm; together with the companion work 'Decorative Facade, Lowestoft, 1987' the image 43cm x 51.5cm (both unframed)Birmingham based artist Richard Clark took his inspiration from the elaborately designed stained glass found in the windows and behind the bars in local pubs, many of which are sadly no longer in existence.Provenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 210
•RICHARD CLARK (contemporary) 'See Breeze, 1987' signed and dated, four colour etching, the image 40.5cm x 43.5cm; together with the companion work 'Devonshire Works, Digbeth, 1987', the image 35cm x 45cmBirmingham based artist Richard Clark took his inspiration from the elaborately designed stained glass found in the windows and behind the bars in local pubs, many of which are sadly no longer in existence.Provenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 231
•PURE GOLD (aka Bob Cosford) 'Chrome Girl' signed, titled and blind stamped, further labelled and stamped verso, printer's proof, giclee print on 310gsm German etching paper, the image 56cm x 41cm (unframed)Pure Gold is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art. 'Chrome Girl' was originally a hand drawn figure that developed over a period of years whilst moving between North London, Buckinghamshire and eventually Bournemouth where the figure became clockwork, being heavily influenced by the 'Steam Punk' movement.Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"Provenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 234
•DIABLO (aka Bob Cosford) 'Buy Me And Stop One - POTA' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 62cm (unframed)DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertisingBob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"Provenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 237
•DIABLO (aka Bob Cosford) 'Buy Me And Stop One - SUICIDE' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 59.5cm (unframed)DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertisingBob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"Provenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 238
•DIABLO (aka Bob Cosford) 'Buy Me And Stop One - VADER' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 61.5cm (unframed)DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertisingBob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"Provenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 241
•BOB COSFORD (Contemporary) 'Some Girls' 2012, a portrait of Mick Jagger, signed limited edition of 25, blind-stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, the image 50cm x 37cm (unframed)Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"Provenance: The Bob Cosford Collection of Contemporary and Street Art​
Lot 930
Herbert Dicksee Pencil Signed Etching 'The Old Garden' circa 1921, published by Frost & Reed of London. Lebel verso: 'An original etching by Herbert Dicksee, RE, an Artist's signed proof impression upon Japanese vellum. Price £8-8-0 net. Edition strictly limited'. Framed and Glazed Size 28'' x 21''.
Lot 2
Uzo Egonu (Nigerian, 1931-1996)Woman with a glass of wine signed and dated 'Uzo Egonu/ 79' (lower right)oil on canvas 150.5 x 122.5cm (59 1/4 x 48 1/4in).Footnotes:Uzo Egonu moved from Nigeria to England in 1945. He stayed in the UK, moving to London to study at Camberwell School of Art and later taking evening classes at St Martin's School of Art. Egonu first explored painting, later taking up printmaking which he took seriously in the late 1960s and early 1970s. Unfortunately printmaking was both his rise and fall. A lack of protective eyewear when etching, which creates seriously harmful fumes, affected the artist's eyesight. Egonu did continued to paint with the present lot being an exceptional example. Woman with a glass of wine is not only the first of the artist's works as his sight was beginning to fade, but also part of a wider body of work focusing on women in a domestic setting.IllustratedO. Oguibe, Uzo Egonu: An African Artist in the West, (London 1995), p.141BibliographyO. Oguibe, Uzo Egonu: An African Artist in the West, (London 1995), p.131For further information on this lot please visit Bonhams.com
Lot 2033
Gillray (James) Search-Night; or State-Watchmen, mistaking Honest-Men for Conspirators, Vide State Arrests, H..Humphrey, March 20th 1798, hand-coloured etching, 260mm x 365mm, mounted, framed and glazed [BMSat 9189] No obvious defects. Image clean, colours reasonably bright, margins slightly tanned, rear frame board loose. Reverse blank, not examined out of frame.
![[Gillray (James)] French Generals retiring on account of their Health; - with Lepaux presiding in the Directorial Dispensary,](https://cdn.globalauctionplatform.com/052a1ed4-884a-4f7d-a2b0-ab4600ebad9b/ca1031bf-7ab7-4f95-94ce-ab76011442e3/468x382.jpg)
Lot 2034
[Gillray (James)] French Generals retiring on account of their Health; - with Lepaux presiding in the Directorial Dispensary, H..Humphrey, June 20th 1799, hand-coloured etching, 260mm x 365mm, mounted, framed and glazed [BMSat 9403] No obvious defects. Image clean, colours reasonably bright, minor tanning to margins. Not examined out of frame.
Lot 2035
Gillray (James) Meeting of the Monied Interest; - Constitutional Opposition to e/y 10 pr Cent: _i.e:_ John Bull's Friends alarm'd by the New Tax, H..Humphrey, Dec. 13th 1798, hand-coloured etching, 260mm x 365mm, mounted, framed and glazed [BMSat 9282]No obvious defects. Image clean, margins a little tanned, colours reasonably bright, rear frame board a little loose. Not examined out of frame.
Lot 2036
Gillray (James) Buonaparte hearing of Nelson's Victory, swears by his Sword to Extirpate the English from off the Earth ...., H..Humphrey, Dec. 8th 1798, hand-coloured etching, 350mm x 260mm, mounted, framed and glazed [BMSat 9278]No obvious defects. Image clean, colours reasonably bright, rear frame board a little loose. Not examined out of frame.
Lot 2037
Gillray (James) The Daily Advertiser; Vide Dundas's Speech in the House of Commons. '' For a dozen Years past ...., H..Humphrey, Jan. 23rd 1797, hand-coloured etching, 365mm x 260mm, mounted, framed and glazed [BMSat 8981]No obvious defects. Minor crease to lower right corner. Image clean, colours reasonably bright, lighter areas to middle left side, top corner left side and to left of knee, rear frame board a little loose. Not examined out of frame.
Lot 2039
Gillray (James) A Voluptuary under the Horrors of Digestion, H. Humphrey, July 2nd 1792, hand-coloured etching, impression 370mm x 295mm, framed and glazed [BMSat 8112]No obvious defects. Colours a little dull, patches of deeper colour below wall candles, paper tanned. Some creasing in corners. Frame chipped and worn with loss of gilt detailing. Not examined out of frame.
![[Gillray (James)] 'Monstrosities' of 1799, - Scene Kensington Gardens, H. Humphrey, June 25th 1799, hand-coloured etching, vi](https://cdn.globalauctionplatform.com/052a1ed4-884a-4f7d-a2b0-ab4600ebad9b/29a44acf-b62a-49ee-bd71-ab7601144604/468x382.jpg)
Lot 2040
[Gillray (James)] 'Monstrosities' of 1799, - Scene Kensington Gardens, H. Humphrey, June 25th 1799, hand-coloured etching, visible image 250mm x 355mm, mounted, framed and glazed [BMSat 9454]No obvious defects. Image clean, margins hidden by mount, mount tanned. Frame chipped and worn with loss of gilt detailing. Not examined out of frame.
Lot 2041
Gillray (James) 'Meeting of Unfortunate Citoyens;, H. Humphrey, May 12th 1798, hand-coloured etching, visible image 255mm x 355mm, mounted, framed and glazed [BMSat 9205]No obvious defects. Image clean, margins hidden by mount, mount tanned. Frame chipped and worn with loss of gilt detailing. Not examined out of frame.
Lot 2042
Gillray (James) The Man of Feeling, in Search of Indispensibles ..., H. Humphrey, Feb 12th 1800, hand-coloured etching, impression 263mm x 368mm, mounted, framed and glazed [BMSat 9577]No obvious defects. Some tanning to paper, mount tanned. Frame chipped and worn with loss of gilt detailing. Not examined out of frame.
![Gillray (James) [The Worn-out Patriot:-or-The Last Dying Speech of yhe Westminster Representative ...], H. Humphrey, no title](https://cdn.globalauctionplatform.com/052a1ed4-884a-4f7d-a2b0-ab4600ebad9b/a654eb22-ca79-43d6-95cc-ab7601144771/468x382.jpg)
Lot 2043
Gillray (James) [The Worn-out Patriot:-or-The Last Dying Speech of yhe Westminster Representative ...], H. Humphrey, no title or date visible [Oct 13th, 1800], hand-coloured etching, visible image 322mm x 240mm, mounted, framed and glazed [BMSat 9548]No obvious defects. Image clean, colours bright, margins hidden by mount, mount tanned. Frame chipped and worn with loss of gilt detailing. Not examined out of frame.
Lot 516
AFTER GEORGE STUBBS ARA (1724-1806)Anvilcolour stipple engraving with etching,first published by George and George Townly Stubbs, December 1794with printed title in open letters and etched inscription 'George Stubbs, pinxt...ANVIL...Geo. Townly Stubbs Sculp. Engraver to His R.H. the Prince of Wales, London, Published Decr. 1794 by Messrs. Stubbs, Turf Gallery, Conduit Street', laid down, with rubbing at plate edges, some light browning particularly in central and upper area of imagePl. 15 1/2 x 19 3/4 inLiterature: Lennox Boyd, Dixon & Clayton. The Complete Engraved Works of George Stubbs ARA no.115 (state 1)The source for this work is an oil on canvas in the collection of Lord HalifaxAnvil was bred by Thomas Panton Esq, and foaled in 1777. In 1781 he is recorded as winning races at Epsom, Exeter, Bath and Blandford. In 1783, Anvil in the first Spring meeting at Newmarket 'beat Sir Charles Davers' Buccaneer over the Beacon Course for 200 gns', Besides another win at Newmarket that year, he also recorded victories at Winchester and Salisbury. In 1784 he became the property of H.R.H. the Prince of Wales, and continued to record numerous victories. During that time he beat a number of leading racehorses of the day including Boudrow, Boxer, Drone, Mercury and Fortitude.By the early 1790's Anvil had become a stallion in the stud of H.R.H. the Prince of Wales. He later moved to a stud at Canons Edgware George Townly Stubbs originally advertised this print at 15s. plain and £1 10s. for proof or coloured-printed impressions (c.1797)
Lot 517
AFTER GEORGE STUBBS ARA (1724-1806)Sharkecolour stipple engraving with etching, by George Townly Stubbsfirst published by George and George Townly Stubbs 1794with printed inscription 'George Townly Stubbs...George Stubbs pinxt...Geo. Townly Stubbs Sculpt. Engraver to His R.H. the Prince of Wales/SHARKE/London Published May 20 1794 by Messrs. Stubbs, Turf Gallery, Conduit Street'all margins trimmed to near plate edge, title plate also trimmed, laid down on backing cardPl. 15 1/2 x 19 3/4 inLiterature: Lennox-Boyd, Clarke, and Dixon.The Complete Engraved Works of George Stubbs ARA ,(no.110 state 2)George Townly Stubbs originally advertised this print at 15s. plain or £ 10s. for proof or colour-printed impressionsThe source for the print is the oil painting in the Paul Mellon Collection (Egerton 1978, no.85.) another later version is known, and a watercolour reduction for this print by George Townly Stubbs is also in the Mellon Collection (Egerton and Snelgrove, p. 91 and pl. 51)The Sporting Magazine (Jan 1794) commentated of Sharke..'A most beautiful as well as a very famous horse: he won five single matches for one thousand guineas each, and upwards of twenty thousand guineas in stakes. He gave Laurel and Postmaster 7lbs. each each for a sweepstake of a thousand guineas over the Beacon Course at Newmarket. The portrait is of Price, who trained him.'Sharke was bred and owned by Robert Pigott (1736-94) of Chesterton Hall, in Huntingdonshire. Pigot was a sympathiser with the American and French revolutions and an aquaintance of Franklin, Voltaire and Brissot. He is said to have later become 'a zealous Pythagorean, as a vegetarian was than called, and was a dupe of the quack James Graham and his electric bed' (DNB)Sharke's racing winnings at Newmarket alone totalled over 16000 guineas. The highest sum to that date for any racehorse. He commenced as a stallion at Chesterton Hall in 1779. Later he was sold at Tattersall's to a dealer and exported to Virginia. His first season in America was spent at General Spottiswood's stud at Nottingham near Fredericksburg. His period at stud proved a success and he was later described by a correspondent as doing 'as much to enhance the value of the bloodstock of the United States as any horse ever imported' (American Turf Register, 1830, vol V, p173)
Lot 506
GIOVANNI BATTISTA PIRANESI. (1720-1778) 'Altra Veduta del tempo Della Sibilla in Tivoli' (Hind 61), etching, first published 1761, on watermarked paper laid down, Pl. 17 1/2 x 26 in; and a later published reprint after Piranesi, depicting a view towards 'the Basilica di S. Giovanni Laterano..' (with printed number 694 in top right corner); two (2)
Lot 515
AFTER GEORGE STUBBS ARA (1724-1806)Sweetbryercolour stipple engraving with etching, first published by George and George Townly Stubbs, December 1794, with title in open letters and etched inscription 'George Stubbs pinxt....Geo. Townly Stubbs sculpt. Engraver to His Royal Highness the Prince of Wales../SWEETBRYER /London Pubd. by Messrs Stubbs, Turf Gallery, Conduit Street' laid down, with four margins, some rubbing along plate edges, repaired old tears in top right corner image edge, vertical repaired tear upper centre towards image edgePl. 15 1/2 x 19 3/4 inLiterature: Lennox Boyd, Dixon, Clayton. The Complete Engraved Works of George Stubbs ARA no 113 George Townly Stubbs advertised this print (c.1797) at 6s. plain or 12s. for proof or colour printed impressions This print (as well as the three other examples in this auction) is from a series which were intended to illustrate a history of Horse-racing in England (post 1750). This 'Review of the Turf' was to have been compiled by George Stubbs and his son under the aegis of an anonymous patron.This ambitious venture failed at an early stage. In the event only two issues of descriptive text out of a proposed forty to forty-five were published and only fourteen horses were actually engraved
Lot 514
AFTER GEORGE STUBBS ARA (1724-1806)Sweet Williamcolour printed stipple engraving with etching,with title in open letters, and etched inscription 'G. Stubbs pinxt...Geo Townley Stubbs Sculp...Engraver to his Royal Highness, The Prince of Wales', with further inscription on lower publication line 'Republished June 1817 by Edward Orme, New Bond Street, corner of Brook St.', laid down, with general surface time-staining, with central tear and surface defect in lower centre (approx 1 1/4 in length)Pl. 15 1/4 x 19 3/4 inLiterature: Lennox Boyd, Dixon & Clayton. The Complete EngravedWorks of George Stubbs ARA no.118 (state 3)For another similar impression cf. Sotheby's, London 29 June 1987 Lot 3Sweet William was a chestnut son of Syphon, and was foaled about 1770, and raced for Lord Bolingbroke and later for Lord Grosvenor to whose Oxcroft Stud he was retired in 1778The Sporting Magazine (Jan 1794, p213) commentated on the horse...' a good runner and afterwards a Stallion. Equally as fine a picture as the former (Sweetbriar) and the flower Sweet William adorns the foreground of the landscape, to signify the horse's name, as before'Edward Orme (b.1774) served as printseller and engraver to King George III from 1799-1820, and to the Prince of Wales (later King George IV) from 1817-1830. He exhibited at the Royal Academy between 1801-1803.
Lot 503
REMBRANDT VAN RIJN (1606-1669)Self-Portrait, Frowningetching (originally published 1630, state 3)a later (post lifetime) impressionsome trimming of margins to near plate markPl. 3 x 2 1/2 inProvenance: with The Fine Art Society, London no.22, July 8th 1935 W.A.N. Macgeough-Bond, Esq, The Argory, Dungannon Thence by descent
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78183 item(s)/page