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Modern & Contemporary Prints

by Bloomsbury Auctions


384 lots with images

December 4, 2012

Live Auction

24 Maddox Street

London, W1S 1PP United Kingdom

Phone: +44 (0)207 495 9494

Fax: +44 (0)207 495 9499

Email: info@bloomsburyauctions.com

384 Lots
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DDS. Craigie Aitchison (1926-2009) Daffodils and

Lot 1: DDS. Craigie Aitchison (1926-2009) Daffodils and

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Description: DDS. Craigie Aitchison (1926-2009) Daffodils and Candlesticks, silkscreen printed in colours, 1998, signed in white ink, numbered 7/75, on wove paper, with full margins, 498 x 385mm (19 5/8 x 15 1/8in)

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DDS. ** Robyn Denny (b.1930) From the Color Box,

Lot 2: DDS. ** Robyn Denny (b.1930) From the Color Box,

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Description: DDS. ** Robyn Denny (b.1930) From the Color Box, 2nd Series (Orange/Magenta, Magenta/Purple & Magenta/Purple) three screenprints in colours, 1969-73, each signed, dated, inscribed 'Colour Box (2rd Series)', and numbered 54/75 in black pen on the back of the board, within the frame designed by the artist, each on three sheets of perspex and one sheet of board, the full sheets printed to the edges, each 610 x 510mm (24 x 21in)

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DDS. Elisabeth Frink (1930-1993) Horse and Rider,

Lot 3: DDS. Elisabeth Frink (1930-1993) Horse and Rider,

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Description: DDS. Elisabeth Frink (1930-1993) Horse and Rider, lithograph printed in colours, 1976, signed in pencil, numbered 14/50, on wove paper, with full margins, sheet 652 x 455mm (25 5/8 x 17 7/8in)

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DDS. ** Elisabeth Frink (1930-1993) Guillemot

Lot 4: DDS. ** Elisabeth Frink (1930-1993) Guillemot

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Description: DDS. ** Elisabeth Frink (1930-1993) Guillemot (W.20) lithograph printed in colours, 1967, signed and inscribed Artists Proof in pencil, aside from the edition of 50, published by Leslie Waddington Prints Ltd., London, on wove paper, with full margins, sheet 510 x 720mm (20 x 28 3/8in)

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DDS. ** Elisabeth Frink (1930-1993) Wood Pigeon

Lot 5: DDS. ** Elisabeth Frink (1930-1993) Wood Pigeon

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Description: DDS. ** Elisabeth Frink (1930-1993) Wood Pigeon (W.21) lithograph printed in colours, 1967, signed in pencil, numbered 18/50, published by Leslie Waddington Prints Ltd., London, on wove paper, with full margins, sheet 395 x 690mm (15 1/2 x 27 1/8in)

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DDS. Sir Terry Frost (1915-2003) Straw, Orange,

Lot 6: DDS. Sir Terry Frost (1915-2003) Straw, Orange,

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Description: DDS. Sir Terry Frost (1915-2003) Straw, Orange, Blue (K.66) lithograph printed in colours, 1972, signed and dated in pencil, inscribed B. Proof, an artist's proof printed in a different colour combination aside from the edition of 65, printed by Emil Mattieu, Atelier, Zurich, published by Leslie Waddington Prints Ltd., London, on wove paper, with full margins, 630 x 505mm (63 3/4 x 19 7/8in)

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DDS. Sir Terry Frost (1915-2003) Red, Blue, Orange

Lot 7: DDS. Sir Terry Frost (1915-2003) Red, Blue, Orange

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Description: DDS. Sir Terry Frost (1915-2003) Red, Blue, Orange on Yellow (K.51) lithograph printed in colours, 1969, signed and dated in pencil, numbered 4/75, printed by Emil Mattieu, Atelier, Zurich, published by Leslie Waddington Prints Ltd., London, on Arches paper, with full margins, 451 x 457mm (17 3/4 x 18in)

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DDS. Sir Terry Frost (1915-2003) Black, Purple and

Lot 8: DDS. Sir Terry Frost (1915-2003) Black, Purple and

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Description: DDS. Sir Terry Frost (1915-2003) Black, Purple and Blue (K.46) lithograph printed in colours, 1969, signed and dated in pencil, numbered 7/75, printed by Emil Mattieu, Atelier, Zurich, published by Leslie Waddington Prints Ltd., London, on Arches paper, with full margins, 570 x 432mm (22 1/2 x 17in)

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DDS. Sir Terry Frost (1915-2003) Orange and Blue Q

Lot 9: DDS. Sir Terry Frost (1915-2003) Orange and Blue Q

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Description: DDS. Sir Terry Frost (1915-2003) Orange and Blue Q Newlyn (K.167) screenprint in colours, 1997, signed in pencil, inscribed S/P 1/11, an artist's proof aside from the edition of 150, printed by Coriander Studio, London, published by CCA Galleries, Tilford, on wove paper, with full margins, 482 x 530mm (19 x 20 7/8in)

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DDS. ** Sir Terry Frost (1915-2003) Cancion de

Lot 10: DDS. ** Sir Terry Frost (1915-2003) Cancion de

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Description: DDS. ** Sir Terry Frost (1915-2003) Cancion de Jinete (K.99) etching with aquatint printed in colours with hand-colouring in red gouache, 1989, signed and inscribed AP III/X in pencil, an artist's proof, aside from the edition of 75, as included in the Lorca Suite, published by Austin/Desmond Contemporary Books, Ltd., London, on Somerset Satin wove paper, the full sheet printed to the edges, sheet 565 x 385mm (22 1/2 x 15 1/2in)

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DDS. Sir Terry Frost (1915-2003) Tolcarne Moon

Lot 11: DDS. Sir Terry Frost (1915-2003) Tolcarne Moon

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Description: DDS. Sir Terry Frost (1915-2003) Tolcarne Moon Blue Newlyn (K.171) screenprint in colours, 1997, signed in pencil, inscribed S/P 1/11, an artist's proof aside from the edition of 150, printed by Coriander Studio, London, published by CCA Galleries, Tilford, on wove paper, with full margins, 482 x 482mm (19 x 19in)

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DDS. ** Sir Terry Frost (1915-2003) Thamar Y Amnon

Lot 12: DDS. ** Sir Terry Frost (1915-2003) Thamar Y Amnon

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Description: DDS. ** Sir Terry Frost (1915-2003) Thamar Y Amnon (K.105) etching with aquatint with extensive hand-colouring, 1989, signed and inscribed AP III/X in pencil, an artist's proof, aside from the edition of 75, as included in the Lorca Suite, published by Austin/Desmond Contemporary Books, Ltd., London, on Somerset Satin wove paper, the full sheet printed to the edges, sheet 565 x 385mm (22 1/2 x 15 1/2in)

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DDS. Sir Terry Frost (1915-2003) Sun Bow (k.239)

Lot 13: DDS. Sir Terry Frost (1915-2003) Sun Bow (k.239)

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Description: DDS. Sir Terry Frost (1915-2003) Sun Bow (k.239) etching and dustgrain gravure with aquatint printed in colours, 2002, signed and dated in pencil, numbered 9/50, printed by Hugh Stoneman at Stoneman Graphics, Cornwall, published by the artist, Newlyn, on wove paper, with full margins, 295 x 595mm (11 3/4 x 23 1/2in)

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DDS. Sir Terry Frost (1915-2003) Red and Black

Lot 14: DDS. Sir Terry Frost (1915-2003) Red and Black

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Description: DDS. Sir Terry Frost (1915-2003) Red and Black Squeeze (k.213) silkscreen in colours, 2001, signed in pencil, inscribed VIII/XXX AP, an artist's proof aside from the edition of 120, published by Galleria Multigraphic, Venice, with their blindstamp, on Fabriano wove paper, with full margins, sheet 362 x 582mm (14 1/4 x 22 7/8in)

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DDS. Sir Terry Frost (1915-2003) Sun and Boat

Lot 15: DDS. Sir Terry Frost (1915-2003) Sun and Boat

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Description: DDS. Sir Terry Frost (1915-2003) Sun and Boat (k.135) screenprint in colours with collage and extensive hand colouring in crayon, 1992-6, signed in pencil, dated 1999, numbered 16/50 and inscribed H/P, printed by the Royal College of Art, London, published by the artist, Newlyn, on wove paper, the full sheet printed to the edges, sheet 315 x 335mm (12 1/2 x 13 1/4) This impression formed part of the original edition of 50, however, it was re-worked by the artist in 1999. The original numbering and signature are just visible under the hand colouring at the extreme lower edge of the sheet.

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DDS. Barbara Hepworth (1903-1975) Composition pl.7

Lot 16: DDS. Barbara Hepworth (1903-1975) Composition pl.7

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Description: DDS. Barbara Hepworth (1903-1975) Composition pl.7 (from Europäische Graphik VI) lithograph printed in colours, 1968/69, signed in pencil, inscribed VIII/XXXV, an artist's proof aside from the edition of 75, published by Edition Galerie Wolfgang Ketterer and Felix H. Man, on Japon nacre paper, with full margins, sheet 700 x 500mm (27 1/2 x 19 3/4in)

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DDS. Howard Hodgkin (b.1932) Indian View H, from

Lot 17: DDS. Howard Hodgkin (b.1932) Indian View H, from

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Description: DDS. Howard Hodgkin (b.1932) Indian View H, from 'Indian Views' (h.18) silkscreen printed in colours, 1971, signed and dated in pencil, numbered from the edition of 75, published by Leslie Waddington Prints, London, printed by Chris Prater at Kelpra Studio, London with the printer's blindstamp and the studio stamp verso, on J Green paper, the full sheet printed to the edges, sheet 580 x 776mm (22 3/4 x 30 1/2in)

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DDS. Howard Hodgkin (b.1932) Indian View L, from

Lot 18: DDS. Howard Hodgkin (b.1932) Indian View L, from

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Description: DDS. Howard Hodgkin (b.1932) Indian View L, from 'Indian Views' (h.22) silkscreen printed in colours, 1971, signed and dated in pencil, numbered from the edition of 75, published by Leslie Waddington Prints, London, printed by Chris Prater at Kelpra Studio, London with the printer's blindstamp and the studio stamp verso, on J Green paper, the full sheet printed to the edges, sheet 580 x 776mm (22 3/4 x 30 1/2in)

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DDS. Howard Hodgkin (b.1932) Street Palm (h.87)

Lot 19: DDS. Howard Hodgkin (b.1932) Street Palm (h.87)

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Description: DDS. Howard Hodgkin (b.1932) Street Palm (h.87) etching with aquatint and carborundum with extensive hand colouring in vermillion red egg tempera, 1990-91, initialled and dated in pencil, numbered 51/55, printed by 107 Workshop, Wiltshire, published by Waddington Graphics, London, on Arches paper, the full sheet printed to the edges, sheet 1495 x 1215mm (58 3/4 x 47 3/4in)

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DDS. Howard Hodgkin (b.1932) Welcome, from

Lot 20: DDS. Howard Hodgkin (b.1932) Welcome, from "Art

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Description: DDS. Howard Hodgkin (b.1932) Welcome, from "Art and Sport" or Winter Sports, lithograph printed in colours, 1983, initialled and dated in pencil, numbered 96/150, printed by Petersburg Studios, New York, published by Visconti Art, Vienna, on B.F.K. Rives paper, the full sheet printed to the edges, sheet 845 x 620mm (33 3/4 x 24 3/8in) This work was produced for the XIV Olympic Winter Games in Sarajevo, Yugoslavia in 19984.

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DDS. Howard Hodgkin (b.1932) Eye (h.102) etching

Lot 21: DDS. Howard Hodgkin (b.1932) Eye (h.102) etching

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Description: DDS. Howard Hodgkin (b.1932) Eye (h.102) etching with aquatint and carborundum printed in colours with extensive hand-colouring in gouache, 2000, initialled and dated in pencil, inscribed A/P 8/18, an artist's proof aside from the edition of 80, printed by Jack Shirreff, published by the Institute of Contemporary Arts at the Philadelphia Museum of Art and Alan Cristea Gallery, London, on handmade wove paper, the full sheet printed to the edges, sheet 287 x 330mm (11 1/4 x 13in)

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DDS. ** Bill Jacklin (b.1943) The Coney Island

Lot 22: DDS. ** Bill Jacklin (b.1943) The Coney Island

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Description: DDS. ** Bill Jacklin (b.1943) The Coney Island Suite (10 works) ten etchings with aquatint, 1992, each signed and dated in pencil, numbered variously from the edition of 30, including the Coney Island Bathers Suite: I-V, all on wove paper, with full margins, various sizes

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DDS. Victor Pasmore (1908-1998) Points of Contact

Lot 23: DDS. Victor Pasmore (1908-1998) Points of Contact

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Description: DDS. Victor Pasmore (1908-1998) Points of Contact 21, silkscreen printed in colours, 1974, signed and dated in pencil, numbered 57/70, on wove paper, with full margins, 560 x 395mm (22 x 15 1/2in)

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DDS. Victor Pasmore (1908-1998) The Earth from

Lot 25: DDS. Victor Pasmore (1908-1998) The Earth from

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Description: DDS. Victor Pasmore (1908-1998) The Earth from Space, silkscreen printed in colours, 1979, initialled and dated in pencil, numbered 61/70, printed by Kelpra Studio, London, on wove paper, with full margins, 535 x 980mm (21 x 38 5/8in)

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DDS. John Piper (1903-1992) Nursery Frieze II

Lot 26: DDS. John Piper (1903-1992) Nursery Frieze II

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Description: DDS. John Piper (1903-1992) Nursery Frieze II (L.9) autolithograph printed in colours, 1936, printed by Waterlow and Sons, published by Contemporary Lithographs Ltd., London, on machine-made lithographic cartridge paper, with full margins, 457 x 1210mm (18 x 47 5/8in)

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DDS. ** Henry Moore (1898-1986) Helmet Head

Lot 27: DDS. ** Henry Moore (1898-1986) Helmet Head

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Description: DDS. ** Henry Moore (1898-1986) Helmet Head Lithographs the portfolio, 1974-75, comprising five lithographs printed in colours, each signed and inscribed H.C. in pencil, an hors commerce copy aside from the edition of 50, with title-page, text and justification, this copy signed in ink and insceibed H.C, published by Gerald Cramer, Geneva, all on wove paper, with full margins, loose within the original grey silk covered boards, overall size 515 x 660mm (20 1/4 x 26in)

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DDS. Henry Moore (1898-1986) La Poesie the

Lot 28: DDS. Henry Moore (1898-1986) La Poesie the

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Description: DDS. Henry Moore (1898-1986) La Poesie the portfolio, 1973/75, comprising ten lithographs printed in colours, each initialled in pencil, numbered 106/110, printed by Curwen Prints Ltd, published by Art et Poesie, Paris, on Arches paper, this copy numbered 106/110, the sheets loose as issued within the lithographed boards and matching slipcase, overall size 490 x 400mm (19 1/4 x 15 3/4in)

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DDS. Henry Moore (1898-1986) Promethee (c.18-32)

Lot 29: DDS. Henry Moore (1898-1986) Promethee (c.18-32)

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Description: DDS. Henry Moore (1898-1986) Promethee (c.18-32) the complete portfolio, 1951, comprising fifteen lithographs mostly printed in colours, accompanying Andre Gide's translation of Goethe's text, numbered 164/183, with the title-page and justification, this copy numbered 164/183, printed by Mourlot Freres, Paris, published by Henri Jonquieres, PA Nicaise Editeur, Paris, all on wove paper, with full margins, the sheets loose as issued within the cream paper covered solander box, the title lithographed on the spine, overall size 410 x 310mm (16 1/8 x 12 1/8in)

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DDS. Henry Moore (1898-1976) Head of Girl and

Lot 30: DDS. Henry Moore (1898-1976) Head of Girl and

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Description: DDS. Henry Moore (1898-1976) Head of Girl and Reclining Figure (c.506) etching, 1979, signed in pencil, numbered 34/50, printed by Atelier Lacouriere-Frelaut, Paris, published for the Henry Moore Foundation, Much Hadham, on Richard de Bas paper, with full margins, 232 x 277mm (9 1/8 x 10 7/8in)

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DDS. Henry Moore (1898-1986) Reclining Figure Back

Lot 31: DDS. Henry Moore (1898-1986) Reclining Figure Back

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Description: DDS. Henry Moore (1898-1986) Reclining Figure Back (c.424) etching with aquatint printed in colours, 1976, signed in pencil, numbered 99/100, printed and published by Il Bisonte, Florence, on Rives paper with the Bisonte watermark, with full margins, 165 x 245mm (6 1/2 x 9 5/8in)

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DDS. William Scott (1913-1989) Scalpay (A.18)

Lot 32: DDS. William Scott (1913-1989) Scalpay (A.18)

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Description: DDS. William Scott (1913-1989) Scalpay (A.18) lithograph printed in colours, 1963, signed and dated in pencil, numbered 2/65, on Arches paper, the full sheet printed to the edges, 501 x 655mm (19 3/4 x 25 3/4in)

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DDS. William Scott (1913-1989) Still Life with

Lot 33: DDS. William Scott (1913-1989) Still Life with

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Description: DDS. William Scott (1913-1989) Still Life with Frying Pan, screenprint in colours, 1973, signed and dated in pencil, numbered 161/250, printed by Kelpra Studio, London, with their rubberstamp verso, published by Christie's Contemporary Art, London, on wove paper, with full margins, sheet 670 x 875mm (26 3/8 x 34 1/2in)

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DDS. ** Graham Sutherland (1903-1980) Bees

Lot 34: DDS. ** Graham Sutherland (1903-1980) Bees

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Description: DDS. ** Graham Sutherland (1903-1980) Bees (T.179-192) the set of twelve etchings with aquatint printed in colours, each signed in pencil, numbered 9/66, published by Marlborough Fine Art, London, on wove paper, with full margins, each 565 x 456mm (22 1/4 x 18in)

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DDS. Julian Trevelyan (1910-1988) Taj Mahal (from

Lot 35: DDS. Julian Trevelyan (1910-1988) Taj Mahal (from

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Description: DDS. Julian Trevelyan (1910-1988) Taj Mahal (from the India Suite) etching with aquatint printed in colours, 1968, signed and titled in pencil, numbered 25/75, on wove paper, with full margins, 355 x 474mm (14 x 18 5/8in)

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DDS. Claude Flight (1881-1955) Trinity College,

Lot 36: DDS. Claude Flight (1881-1955) Trinity College,

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Description: DDS. Claude Flight (1881-1955) Trinity College, and St. John's Chapel, Cambridge (Not in C.) linocut printed in colours, hinged to a backboard rollered with orange linocut ink by the artist, 1921, signed and dated in pencil, most probably a unique impression, also signed and inscribed on the backboard, on tissue thin Japan paper, with full margins, sheet 270 x 305mm (10 5/8 x 12in) backboard 390 x 420mm (15 3/8 x 16 1/2in) The present linocut was unknown to Coppel at the time of writing the catalogue raisonne. One of Flight's earliest linocuts, the use of a rollered backing to create a depth of colour that shines through the paper was a technique he used on a number of his later works, most notable in impressions of Speed, Paris Omnibus and Brooklands.

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DDS. Claude Flight (1881-1955) Claude Flight

Lot 37: DDS. Claude Flight (1881-1955) Claude Flight

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Description: DDS. Claude Flight (1881-1955) Claude Flight Cutting a Linocut (Not in C.) the rare possibly unique linocut, with type written text in red, on tissue thin japan paper, with wide margins, sheet 135 x 115mm (5 1/4 x 4 1/2in)

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DDS. Claude Flight (1881-1955) Self Portrait (Not

Lot 38: DDS. Claude Flight (1881-1955) Self Portrait (Not

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Description: DDS. Claude Flight (1881-1955) Self Portrait (Not in C.) the rare linocut printed in red, inscribed Lill from Claude "What is this supposed to be"? possibly a unique impression, on Japan paper, with full margins, 135 x 100mm (5 3/8 x 4in)

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DDS. Claude Flight (1881-1955) Shutting Up the

Lot 39: DDS. Claude Flight (1881-1955) Shutting Up the

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Description: DDS. Claude Flight (1881-1955) Shutting Up the Hens at Night (Not in C.) the rare linocut, with type written text in red, on tissue thin Japan paper, with wide margins, sheet 175 x 130mm (6 7/8 x 5 1/8in)

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DDS. Claude Flight (1881-1955) Untitled (Not in

Lot 40: DDS. Claude Flight (1881-1955) Untitled (Not in

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Description: DDS. Claude Flight (1881-1955) Untitled (Not in C.) two linocuts printed in bistre, both on tissue thin Japan paper, with margins, 830 x 95mm (32 3/4 x 3 3/4in); and 95 x 110mm (3 3/4 x 4 3/8in)

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DDS. Claude Flight (1881-1955) Two Christmas Cards

Lot 41: DDS. Claude Flight (1881-1955) Two Christmas Cards

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Description: DDS. Claude Flight (1881-1955) Two Christmas Cards (Not in C.) two linocuts, the first inscribed "To My Dear Lill with love and best Christmas Wishes from Claude Flight" in black ink, the second inscribed "Dear Ady with love and best Christmas Wishes from Claude Flight", both on laid paper, 185 x 150mm (7 1/4 x 5 7/8in) and 145 x 90mm (5 3/4 x 3 1/2in)

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DDS. Claude Flight and Edith Lawrence, Best Wishes

Lot 42: DDS. Claude Flight and Edith Lawrence, Best Wishes

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Description: DDS. Claude Flight and Edith Lawrence, Best Wishes (Not in C.) linocut printed in red, presumably intended as a Christmas Greeting, from the edition of an unknown size, on tissue thin japan paper, with full margins, sheet 104 x 92mm (4 1/8 x 3 5/8in)

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DDS. Claude Flight and Edith Lawrence, From

Lot 43: DDS. Claude Flight and Edith Lawrence, From

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Description: DDS. Claude Flight and Edith Lawrence, From Christmas and Other Feats and Festivals (Not in C.) three rare proofs printed in colours, on tissue thin japan paper, with margins, various sizes

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DDS. ** Paul Nash (1889-1946) A Shell Bursting,

Lot 44: DDS. ** Paul Nash (1889-1946) A Shell Bursting,

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Description: DDS. ** Paul Nash (1889-1946) A Shell Bursting, Passchendaele, 1918 (Postan 6) the extremely rare Lithograph, 1918, signed, dated and inscribed "Albert From Paul" in pencil, a proof aside from the edition of 25, on wove paper, with full margins, 255 x 350mm (10 x 13 3/4in) The Battle of Passchendaele took place on the Western Front between June and November 1917, the action, close to Ypres, was considered of extremely high strategic importance. Passchendaele featured the combined Allied forces, with large numbers of British, Australian, Canadian and New Zealand Forces taking part in long stretches over its course. Casualties were high, and are heavily disputed, though it is estimated that both the Allies and the German Empire lost between 200,000 and 400,000 men on each side. Paul Nash had enlisted in the Artist's Rifles (a volunteer regiment, which today is known as the SAS) and in February 1917 was sent to the Western Front. Shortly before the Ypres offensive Nash was invalided off the front line with a broken rib, and whilst recuperating he drew on his experiences to produce a series of drawings and paintings documenting his months in the trenches. These works were particularly well received, and when he returned to the Front in early November 1917 it was as an official War artist. From November 1917 onwards he produced some of his most powerful documents of the War, the Battle of Passchendaele being amongst the very first. Nash said of his role: "I am no longer an artist. I am a messenger who will bring back word from the men who are fighting to those who want the war to go on for ever. Feeble, inarticulate will be my message, but it will have a bitter truth and may it burn their lousy souls."

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DDS. Paul Nash (1889-1946) Mine Crater, Hill 60

Lot 45: DDS. Paul Nash (1889-1946) Mine Crater, Hill 60

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Description: DDS. Paul Nash (1889-1946) Mine Crater, Hill 60 (p.1) the rare lithograph, 1917, signed, titled, dated and inscribed, 'To Ambrose, 1918,' in pencil, the edition was 25, on extremely fine China paper laid onto stiff wove presumably by the artist, with full margins, 360 x 457mm (14 1/8 x 18in) The tunnelling and destruction of the mines at Messines was amongst the most audacious Allied plans of WWI. The plan involved tunnelling deep underneath German lines in 21 individual mines, and there planting huge quantities of explosives, it is estimated that some 450,000 KG of TNT were placed. The 1st Australian tunnelling company was formed to carry out the task of keeping the tunnels under Hill 60 free of water, since they had a great deal of experience in dealing with heavy clay soil that had left the mine waterlogged. At 3.10am on the 7th of June 1917 the explosives were detonated simultaneously, and although only 19 of the 21 mines exploded, the German lines were utterly decimated. It is said that the action created one of the largest explosions in history, reportedly heard as far away as London and Dublin.

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DDS. Paul Nash (1889-1946) Das Rheingold Scene I

Lot 46: DDS. Paul Nash (1889-1946) Das Rheingold Scene I

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Description: DDS. Paul Nash (1889-1946) Das Rheingold Scene I (p.W58) woodcut, 1925, signed, dated and inscribed in pencil, numbered 3/12, on Japon paper, with full margins, 78 x 95mm (3 x 3 3/4in) Whilst this work was executed after the First World War, the imagery is clearly influenced by Nash's experiences at the front. The view we are presented with looks ominously like a view out of a tunnel into a broken trench.

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DDS. ** C.R.W. Nevinson (1889-1946) Acetylene

Lot 47: DDS. ** C.R.W. Nevinson (1889-1946) Acetylene

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Description: DDS. ** C.R.W. Nevinson (1889-1946) Acetylene Welders (Building Aircraft) lithograph, 1917, signed and dated in pencil, numbered 5, the edition was 200, as included in the portfolio The Great War: Britain's Efforts and Ideals, published by the Stationary Office, on wove paper, with full margins, 400 x 295mm (15 3/4 x 11 5/8in)

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DDS. C.R.W. Nevinson (1889-1946)(after) Banking at

Lot 48: DDS. C.R.W. Nevinson (1889-1946)(after) Banking at

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) Banking at 4000 ft, offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 195 x 155mm (7 358 x 6 1/8in)

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DDS. C.R.W. Nevinson (1889-1946)(after) Column on

Lot 49: DDS. C.R.W. Nevinson (1889-1946)(after) Column on

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Description: DDS. C.R.W. Nevinson (1889-1946)(after) Column on the March, offset lithograph printed in colours, ca.1918, signed in pencil, on soft wove paper, with full margins, 152 x 183mm (6 x 7 1/4in)

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Edward McKnight Kauffer (1890-1954) Flight, the

Lot 50: Edward McKnight Kauffer (1890-1954) Flight, the

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Description: Edward McKnight Kauffer (1890-1954) Flight, the rare woodcut, 1917, a fine, richly inked early impression before the crack in the block in one of the birds at right, signed and dated in pencil, on tissue thin laid japan paper, with full margins, sheet 303 x 375mm (12 x 14 3/4in) The most vorticist of McKnight Kauffer's very small output of wooducts, and the image that is perhaps most associated with him. The reversed image was used by the artist on one of his most notable poster designs for the Daily Herald, with the strap line "Soaring to Success! Daily Herald - The Early Bird".

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DDS. C.R.W. Nevinson (1889-1946) On the Road to

Lot 51: DDS. C.R.W. Nevinson (1889-1946) On the Road to

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Description: DDS. C.R.W. Nevinson (1889-1946) On the Road to Ypres, pen and ink, 1916, signed in black ink, on laid paper, sheet 110 x 210mm (4 5/16 x 8 1/4in) It seems likely that the present work was the preliminary drawing for the drypoint, also created in 1916. The dimensions are almost exactly that of the print, and the manner in which the shaded areas are scratched into the paper mirrors somewhat the manner in which the drypoint was executed. It also possible that the design was intended for inclusion in the unproduced 3rd issue of Blast Magazine, as with the earlier publication of his pen and ink version of Returning to the Trenches. Provenance: Ruth Bromberg, London. Acquired from the above by the present owner.

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