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Lot 343
George Soper (1870-1942) Drypoint etching "Mangels", rural scene with horse and cart in field with workers harvesting mangels, signed in pencil within margin, framed and glazed, mount aperture14.5cm x 21.5cm, together with another etching by the same hand 'The Blacksmith's Forge', scene with blacksmith shoeing a heavy horse, signed within margin, framed and glazed, mount aperture19.5cm x 13.5cm (2)
Lot 4
THE LITTLE MAST (KENNEDY 185; GLASGOW 196)Etching and drypoint printed in dark brown, 1879-80, on laid paper, a fine impression, signed with the butterfly and inscribed imp in pencil on the tab, Glasgow's eighth state of eight, from First Venice Set, published by The Fine Art Society, London, framed.Sheet 10 3/8 x 7 3/8 inches; 264 x 187 mm.Frame 16 5/8 x 13 3/8 inches; 422 x 340 mm.Provenance:P. von Baldinger-Seidenberg (Lugt 212)Sale, Sotheby's, New York, Old Master, 19th and 20th Century and Contemporary Prints, May 13, 1987, lot 184
Lot 37
AKT MIT FÄCHER (KORNFELD 39)Etching and drypoint, 1924, on Japan paper, signed and numbered 4/100 in pencil, the first state of two, from the edition of 25 on this paper, published in Le Portefeuille des Peintres-Graveurs Indépendant pour 1925, published by Editions Albert Morancé, Paris, with good margins, framed.Plate 8 1/2 x 11 inches; 216 x 279 mm.Sheet 11 1/4 x 14 7/8 inches; 286 x 378 mm.Frame 17 1/2 x 20 1/4 inches; 445 x 514 mm.Provenance:Berggruen & Cie, Paris, 1987
Lot 1
THE ENTOMBMENT (BARSCH 3; HIND 2; MARTINEAU 39)Engraving and drypoint, circa 1470, on laid paper with PM watermark (Hind 136), a good 16th century impression, from the second state of two, trimmed into the image, framed.Sheet 10 1/4 x 16 3/8 inches; 260 x 416 mm.Frame 17 x 22 3/4 inches; 432 x 578 mm.
Lot 80
CRAPAUD LYRE (DUPIN 389)Drypoint and color aquatint, 1965, Rives BFK paper, signed and numbered 28/75 in pencil, published by Maeght, Paris, with full margins, framed.Plate 19 x 22 7/8 inches; 483 x 581 mm.Sheet 25 x 34 5/8 inches; 635 x 879 mm.Frame 36 1/2 x 38 7/8 inches; 927 x 987 mm.Pale matstain, unobtrusive printer's ink or minor soiling at sheet edges, some pinpoint foxing mainly discernible at left and right just inside the platemark, framed with glass.
Lot 130
SOFTGROUND PLAYEtching and drypoint, 1982, on BFK Rives paper, signed with initials, dated and numbered 24/35 in pencil, from Four Softgrounds, printed and published by Crown Point Press, Oakland, California, with their blindstamp, with full margins, framed.Image 17 3/4 x 23 7/8 inches; 451 x 606 mm.Sheet 26 3/8 x 40 1/8 inches; 670 x 1019 mm.Frame 29 1/4 x 43 inches; 743 x 1092 mm.
Lot 52
EL ENTIERRO DEL CONDE DEL ORGAZ (BLOCH 1465-1477; BAER 1377-1391; CRAMER BKS. 146)Complete set of 12 etchings and one drypoint, 1969, with an additional on Romani wove paper, with title, justification page and text in Spanish, the drypoint signed and numbered 60/263 in pencil, the justification page signed in pencil and numbered 60 in ink, published by Gustavo Gili, Ediciones de la Cometa, Barcelona, in the original olive green paper wrappers and vellum-covered box.Sheets approximately 18 1/4 x 14 1/8 inches; 464 x 359 mm.Overall 15 1/8 x 19 3/8 x 2 3/4 inches; 384 x 492 x 70 mm.
Lot 1569
Two drypoint etchings of Aberdeenshire by Ray Allen (early 20th Century), comprising "Brig o' Balgownie - Aberdeen" and "Brig o' Feugh - Banchory", the former a study of the 13th Century bridge leading into a small village, banked by a thick forest, together with one other drypoint by A J Brown (?), "Dinant, Belgium", being a city prospect as viewed from across the river, the spire Collegiate Church of Our Lady towering above the small buildings, signed, framed in card mounts and slender ebonised frames under glass, latter 27 cm x 34 cm overall
Lot 9
Salvador Dali (Spanish 1904-1989)La Quete du Graal - The Tournament of Galoresigned and numbered 146/249 in pencil drypoint 39.5 x 26.5 cm, framed and glazed 63 x 48 cm Visible sheet in fairly good clean condition. There are a few black spots of possible ink visible to the blue knight. Under glass and unexamined out of frame.
Lot 7
Henri Matisse (French 1869-1954)Jeune femme les mains jointes sur le dossier d'un meuble (Young Woman with Folded Hands on the Back of a Piece of Furniture) (D. 162) (1929)drypoint on Chine appliqué, signed in pencil, numbered 23/25 (there was also one artist's proof and two trial proofs) plate size 15 x 12 cm, framed and glazed 62 x 53 cm Hinged to the mount upper left and right corners, verso. The sheet is slightly undulating. There is soft creasing to the upper left corner and to the lower left corner. There is a small nick to the centre of the right deckled edge. Some light surface dirt. There is a small 0.3cm indentation to the hand. There is soft 2cm crease to the plate, upper left edge. Under glass and unexamined out of frame.
Lot 185
Sandra Millar Untitled Oil on paper Signed and numbered/dated 14 Framed W48cm x H59cm Provenance : Private Collection Note : Sandra Millar studied at Edinburgh College of Art and Goldsmiths College. Her prints focus on people and their relationship with each other and the space that surrounds them. Sandra explores the possibilities for linear and tonal contrasts that the mediums of etching, aquatint and drypoint offer. She has exhibited regularly since 1993 and her work is in private collections in this country and abroad. ARR may apply
Lot 94
Bernard Buffet - Le clocher de Sauzon, 1962Original drypoint on paper, signed in pencil and numbered 17/75, dedicated to Roger Passeron. Ref.: Reinz n°268. Very good condition, 56.5 x 76.5 cmPointe sèche originale sur papier, signée au crayon et numérotée 17/75, dédicacée à Roger Passeron. Réf. : Reinz n°268. Très bon état, 56,5 x 76,5 cm
Lot 95
Bernard Buffet - La plage bretonne : Rotheneuf, 1968Original drypoint on paper (greeting card), plate signed, not numbered. Publisher: La Société des peintres-graveurs français, Paris, 1968. Very good condition, 18 x 21 cmPointe sèche originale sur papier (carte de voeux), planche signée, non numérotée. Editeur : La Société des peintres-graveurs français, Paris, 1968. Très bon état, 18 x 21 cm
Lot 635
Arthur Briscoe (British, 1873-1943), Bending the Foresail, The Main Rigging and The Futtock Shrouds, a set of three drypoint etchings, editions 20/75, 22/75 and 10/75, plates 17.5cm by 29cm, 34cm by 22cm and 22cm by 15cm, each numbered and signed in pencil, framed (“The Main Rigging” with loss/damage to the frame). (3)
Lot 1542
Jahrhundertwende - - Auguste Renoir. (1841 Limoges - 1919 Cagnes-sur-Mer). Baigneuse debout, à mi-jambes. 1910. Kaltnadel auf Bütten. 17 x 11 cm (24,8 16,2 cm). Punktuell auf Unterlage freistehend montiert. Delteil 23. - In Rändern leicht gebräunt, oben mittig kleiner Braunfleck, insgesamt gut. Hervorragender, stellenweise herrlich gratiger Druck mit zartem Plattenton und breitem Rand. Drypoint on laid paper. Spot-mounted to underlying mat, free-standing. - Slightly browned in margins, faint small stain on upper middle, all in all good. Excellent, mostly wonderfully burr-like impression with delicate plate tone and wide margin.
Lot 552
Jugendstil - - Georg Jahn. (1869 Meißen - 1941 Dresden). 3 Arbeiten. Versch. Techniken, darunter Radierung u. Mezzotinto, je auf Velin. Blattmaße von 62,5 x 42,3 cm bis 64 x 46,5 cm. Je signiert, eine Arbeit nummeriert, teils von fremder Hand in Bleistift bezeichnet. Eine Arbeit eines von 200 Exemplaren. - Je mit geglätteter Mittelfalz, papierbedingt zart angebräunt, etw. fleckig sowie stockfleckig (1 Bl. verso etw. stärker betroffen, nicht durchschlagend), mit kl. Randeinrissen sowie hier leicht knickspurig. Insgesamt gut. Hervorragende, nuancierte Drucke mit ausgesprochen feiner Lichtführung. - Beigegeben: Paul Bürck. Frühling. 1909. Radierung, Kaltnadel und Aquatinta auf Similijapan. 26,5 x 18,5 cm (50,4 x 34 cm). Signiert und nummeriert. Art Nouveau - 3 works. Various techniques, including etching and mezzotint, each on wove paper. Each signed, one work numbered, some inscribed in pencil by another hand. One work of one of 200 copies. - Each with smoothed centrefold, delicately browned due to paper, somewhat stained and foxed (1 sheet verso somewhat more affected, not showing through), with small marginal tears and here slightly creased. Good overall. Excellent, nuanced impressions with remarkably delicate lighting. - Added: Paul Bürck. Etching, drypoint and aquatint on Japan.
Lot 70
AFTER FRANCISCO DE GOYA (1746-1828) drypoint etching and aquatint - Pobrecitas! (Poor little girls!), plate 22 from Los Caprichos (The Caprices), later state from the plate created in 1799, in an edition of 210, (PL) 21 x 15cmsProvenance: private collection GwentComments: box framed ready to hang, overall 71 x 65cm
Lot 68
SALVADOR DALÍ (1904-1989) drypoint etching with colour - Femme-Feuille, from the Venus Aux Fourrures suite, in an edition of 150, signed in pencil over embossed signature, titled and dated 1969 on gallery label verso, (PL) 31 x 23cmsProvenance: with Goldmark Gallery, Rutland; private collection GwentComments: box framed, ready to hang.
Lot 631
Rembrandt; Ignace Joseph de Classin (1795 - 1844) engraver, etching after Rembrandt drawing, etched by De Calssin in 1799 printed on handmade wove paper, consistent with the date 1799 with rich drypoint, signed by etcher in lower right corner, with Rembrandt gently etched into plate in top left corner, image 23cm x 30cm, mountedThe sheet is adhered to a large sheet, is slightly dusty, three light brown marks in the lower margin
Lot 180
Harry Bilson born 1948 Icelandic.A group of five drypoint etchings '' Grass and Brass Toots'' AP12/25, signed in pencil to margin 1980, 29.5 x 20cm. '' Boor to Door'', AP 3/25, signed in pencil 1980, 29.5 x 20cm, '' Once upon a tablecloth'', AP 3/25 signed in pencil 1980, 29.5 x 20cm, '' Upstart, Upstaging, Upfront'' AP 3/25, signed in pencil 1980, '' Chipper Fields'' AP 3/25, signed in pencil 1980, 29.5 x 20cm
Lot 98
Pierre-Auguste Renoir (French, 1841-1919) ‘Sur la Plage à Berneval’ (Delteil 5); ‘Le Chapeau Épinglé’ (Delteil 8) two drypoint etchings, both signed in the plate plate 13 x 9cm and 11.5 x 8.5cm respectively (2) Condition ReportFramed: 36 x 30cm The signatures are printed. ‘Sur la Plage à Berneval’: A small grey line to the lower margin, centre left, which just crosses into the plate. A slight undulation to the lower centre. Presents well overall. ‘Le Chapeau Épinglé’: Slight timestaining. Not viewed out of glazed frames.
Lot 100
Louis Icart (French, 1888-1950) 'Vitesse' (Speed II), 1933etching with aquatint and drypoint in colours, signed 'Louis Icart' in pencil and inscribed '105', with artist's blind stampplate 39.5 x 65.5cmProvenance: Bonhams, Knightsbridge, 'Old Master, Modern and Contemporary Prints', 21 September 2011, lot 298.Condition ReportFramed: 66.5 x 89cmA little time staining. Some small spots of foxing starting to emerge. Two small black spots in the margin in the lower right corner. An extremely faint, small brown mark to the margin in the upper right. Not viewed out of glazed frame.
Lot 110
A striking drypoint etching by celebrated French artist Paul Helleu portraying the esteemed Comte Robert de Montesquiou-Fezensac, a poet, dandy, and influential figure of the Belle Epoque. This refined profile study captures Montesquiou's aristocratic features and distinctive presence, rendered with Helleu's signature fluidity and precision. The subject's poised elegance, accentuated by his boutonniere, reflects the artist's mastery in depicting the elite of his era. Signed on lower left: Helleu. Inscribed: tirer a 10, planche detruite, signifying that only ten impressions were printed before the plate was destroyed, ensuring its rarity and exclusivity. Housed in an ornate gold-tone frame with a double mat, this exceptional portrait stands as a testament to Helleu's artistic finesse and Montesquiou's enduring legacy as an icon of refinement and literary influence. Artist: Paul Cesar Helleu (French, 1859-1927)Issued: 1911Dimensions: 30.50"L x 39"HCountry of Origin: France Condition: Age related wear.
![MARTIN, JOHNIllustrations to Paradise Lost. [London: published by Septimus Prowett, likely 1827]. Two volumes, three-quarters](https://cdn.globalauctionplatform.com/034cdc41-5223-4edc-9728-b2ae01052634/9fa5343b-bde0-456e-a8b3-b2ae014efc44/468x382.jpg)
Lot 96
MARTIN, JOHNIllustrations to Paradise Lost. [London: published by Septimus Prowett, likely 1827]. Two volumes, three-quarters red calf, marbled sides. The complete set of 24 mezzotints, plus duplicates of two plates in a second volume indicated as proofs (in pencil, in a later hand), plates 6 x 7 1/2 inches (140 x 207 mm) or the reverse (with some variation); some plates with etching and touches of drypoint, printed on wove paper. Minor wear to binding, some very minor scattered foxing, mostly marginal, restored marginal tears, one of the proof plates with a restored short tear into the image. Without the text (as issued) the corresponding texts to the plates tipped-in on slips of paper written in a fine hand of the period.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 1435
Frank Vernon Martin (1921 - 2005)"Amazone", a study of a woman on horseback flanked by three hunting dogs, advancing through a dense forest, drypoint, artist's proof, signed in graphite, in contemporary ebonised frame under glass, 23 cm x 29 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1437
Frank Vernon Martin (1921 - 2005)"Bel Air", a study of a stylish woman basking in sunlight on a Los Angeles beach, before an Art Deco building on the rocks, aquatint and drypoint, artist's proof, signed by artist in graphite, in card mount and contemporary ebonised frame under glass, 51 cm x 42 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1439
Frank Vernon Martin (1921 - 2005)"Constance Bennett in 1924", a striking portrait of the actress dressed in glamourous attire with rouged cheeks and lips, looking coyly off to one side, drypoint, signed by artist in graphite, 3/40, in double card mount and contemporary ebonised frame under glass, 67 cm x 54 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1440
Frank Vernon Martin (1921 - 2005)"Greta Garbo", a chiaroscuro portrait of the Hollywood star richly dressed in fur and a cloche hat, gazing nonchalantly, aquatint and drypoint, signed by artist in graphite, 47/50, in double card mount and contemporary ebonised frame under glass, 71 cm x 54 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1441
Frank Vernon Martin (1921 - 2005)"Winter Garden", a lush vista of two women and a dog luxuriating in a tropical glasshouse, enjoying music and tea amongst the abundant plants and trees, aquatint and drypoint, signed by artist in graphite, 124/150, in double card mount and contemporary ebonised frame under glass, 70 cm x 55 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1443
Frank Vernon Martin (1921 - 2005)"Louise", a wistful portrait of the American actress Louise Brooks enveloped in fur, drypoint, artist's proof, signed by artist in graphite, in double card mount and contemporary ebonised frame under glass, 64 cm x 51 cm overall, together with Louise Brooks, "Lulu in Hollywood", Alfred A Knopf, New York, 1982, first edition in dust jacket, Tom Graves, "My afternoon with Louise Brooks", Devault Graves Books, Memphis, 2011, signed by the author, and two other biographical works[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1444
Frank Vernon Martin (1921 - 2005)"Louise Brooks", a sultry portrait of the American actress set against an abstract cubist background, watercolour tinted drypoint, signed by artist in graphite, 44/100, in double card mount and contemporary ebonised frame under glass, 64 cm x 51 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1446
Frank Vernon Martin (1921 - 2005)"Ann Pennington", a playful study of the 1920s starlet looking cheekily towards the viewer, drypoint etching, signed by artist in graphite, 32/40, in double card mount and contemporary ebonised frame under glass, 56 cm x 74 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1447
Frank Vernon Martin (1921 - 2005)"Marina", a summer vista of a chic woman cradling her dog before moored boats and a seaplane on the distant waters, aquatint and drypoint, signed by artist in graphite, artist's proof, in double card mount and contemporary ebonised frame under glass, 64 cm x 83 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1448
Frank Vernon Martin (1921 - 2005)"Riviera", an airy study of two finely dressed women relaxing on the promenade, boats in the distance and a seaplane overhead, aquatint and drypoint, signed by artist in graphite, artist's proof, in double card mount and contemporary ebonised frame under glass, 64 cm x 80 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 1449
Frank Vernon Martin (1921 - 2005)"Carlton-Astoria", a decadent study of a glamorous woman attracting the attention of a passerby in a lavish hotel lobby, aquatint and drypoint, signed by artist in graphite, artist's proof, in double card mount and contemporary ebonised frame under glass, 62 cm x 78 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Lot 165
Dumont-Wilden (L.) Fernand Khnopff, number 35 of 50 large paper copies on Japon with an original signed drypoint 'Les Grelots', tipped-in portrait and plates, captioned tissue guards (some a little spotted), illustrations, old continental shelf-label to front free endpaper, flyleaves browned, contemporary floral-patterned cloth, a little rubbed and marked, spine and edges faded, embossed paper endpapers, top edge stained red (occasionally visible at head of leaves), 4to, Brussels, 1907.*** Monograph of this Belgian Symbolist artist, a member of Le Group des XX and influence on Gustave Klimt.
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