121 Urushibara Mokuchu Japanese 1888-1953
[Vase Of Roses], c1920s. Colour woodcut, signature and artist's
chop stamped on image centre right, annotated "no. 117"
and signed in pencil in lower margin, 38.9 x 27.6cm. Minor scratch
to image and margin upper right.
Yoshijirô ('art name' of Mokuchu) was influential in the
English revival of colour woodblock printing in the 1920s and
1930s. He first travelled to London where he along with other
Japanese craftsmen demonstrated printing techniques at the Anglo-Japanese
Exhibition of 1910. He remained in London after the exhibition,
restoring prints and mounting scrolls at the British Museum.
Later Urushibara worked with English and French designers on
prints, notably with Frank Brangwyn. The two artists worked together
until Urushibara's departure for Japan in 1940.
122 Urushibara Mokuchu Japanese 1888-1953
[Sweet Flag Flowers And Gerberas In Vase With Fish Motif], c1925.
Colour woodcut, signature and artist's chop stamped on image
centre right, annotated "no. 14" and signed in pencil
in lower margin, 41.6 x 27.6cm. Old mount burn.
123 Henry Moore British 1898-1986
Three Reclining Figures, 1971. Colour lithograph, 29.9 x 23.1cm.
Slight paper remnants to upper left edge.
for XXe Siècle, no. 36. Held in Tate Gallery.
124 Henry Moore British 1898-1986
Girl Doing Homework III, 1974. Etching with aquatint, editioned
48/50 and signed in pencil in lower margin, 22.4 x 17.6cm. Minor
foxing and stains to right margin.
in Tate Gallery.
125 Henry Moore British 1898-1986
Bison, 1981. Etching, signed in plate lower left, annotated "pl.
VII", editioned 40/65 and signed in pencil in lower margin,
20.9 x 27.5cm. Framed.
Animals in the Zoo series. Held in Tate Gallery.
126 Henry Moore British 1898-1986
Mother And Child V, 1983. Etching, aquatint and roulette, signed
in plate lower left, annotated "Pl. V", editioned 35/65
and signed in pencil in lower margin, 27.5 x 21.1cm. Minor foxing
to image. Framed.
Henry Moore: Mother and Child Etchings, 1988, p28.
127 Aubrey K. Moore British active 1920s-30s
[The Sheldonian Theatre, Oxford], c1930s. Colour linocut, signed
in pencil in lower margin, 18.2 x 16cm. Creases and cockling
to image and margins, slight foxing.
Sheldonian Theatre is the official ceremonial hall of the University
of Oxford. Constructed between 1664 and 1669, it was Sir Christopher
Wren's first major design. It is one of the city's
foremost venues for concerts and plays. Ref: Wiki.
128 Richard Müller German 1874-1954
Wunder Der Dressur (Wonder Of Dressage), 1911. Etching, initialled
and dated in plate lower left, signed in pencil in lower margin,
28.7 x 43.8cm. Minor stains to left margin, slight cockling.
Günther #62, noting that this is one of the most humorous
and bizarre etchings Müller has created.
129 Richard Müller German 1874-1954
In Voller Würde (Full Dignity), 1912. Etching, signed and
dated in plate lower left, signed in pencil in lower margin,
36.1 x 52.4cm. Minor stain to image lower right, slight cockling
and creases overall.
130 Paul Nash British 1889-1946
[Abstract Portrait], c1920s. Woodcut, "PNT" [Paul Nash
Trust] stamp in lower margin, 3.9 x 10.1cm. Minor foxing to margins.
Richard Wynne Nevinson British
The Spirit Of Progress, 1933. Lithograph, signed in image lower
left, Studio magazine logo below image, 24.5 x 16.5cm. Slight
The Studio magazine, no. 481, vol. CV.
132 Karl Opfermann German 1891-1960
[Untitled], c1920. Ink and wash, stamped signature upper right,
"Lewis and Patricia Morley" ex-libris label attached
to frame verso, 34.1 x 20.4cm. Cockling and foxing. Framed.
Lewis Morley estate.
133 Abel Pann Latvian/Israeli 1883-1963
Un Héros, c1915-1917. Hand-coloured lithograph, signed
and titled in image lower right and centre, annotated "Lithographie
colorieé par l'artiste" and editioned 266/500 in
pencil above and below image, 36.2 x 25.9cm. Tears, missing portions
and creases to margins.
The Museum of Jewish Art and History, France.
134 Abel Pann Latvian/Israeli 1883-1963
Jeune Savant (Young Scholar), c1920s. Lithograph, signed in image
lower left, titled below image lower right, 47.1 x 36.9cm. Slight
foxing, minor missing portion to upper left corner.
in the Museum of Jewish Art and History, France.
135 Max Papart French 1911-1994
[Cavalier], c1950s. Lithograph, editioned 4/8 and signed in pencil
below image, 55.6 x 41.7cm. Old mount burn.
self-taught, Max Papart attended the School of Fine Arts of Marseille.
His first solo exhibition was held in Paris in 1938 and he exhibited
at the Sébire Gallery in Marseille in 1946, after participating
in the liberation of Marseille during WWII. As a lithographer,
engraver and painter his work was influenced by Post-cubism.
In 1970, he learned the carborundum printmaking process from
his friend and inventor Henri Goetz. He taught printmaking at
the University of Paris at Vincennes from 1969 to 1973. Ref:
136 Pablo Picasso Spanish/French 1881-1973
Famille De Saltimbanques (Circus Family), 1933/later printing.
Etching, annotated and dated "Paris, 30 Mars XXXIII"
in plate lower right, editioned 115/300 in pencil and stamped
signature in lower
margin, 19.9 x 27.9cm. Framed.
the Vollard Suite. Ref: Geiser #316; Bloch #163. Also known as
Famille de Saltimbanques (Circus Family). Held in NGA.
137 Pablo Picasso Spanish/French 1881-1973
Bacchanal (Mourlot Cover III), 1955. Tinted lithograph, book
cover, 33.5 x 52.9cm. Minor wear to edges of image.
for Mourlot, Picasso Lithographe Bd. III, 1956. Ref: Bloch #795,
Cantz #667, Mourlot #280.
138 Pablo Picasso Spanish/French 1881-1973
Mourlot Cover IV (Two Masks), 1963. Lithograph, book cover, dated
"4.2.63" in image (twice), 30 x 50.5cm. Slight wear
and discolouration to edges and central portion of image.
for Mourlot, Picasso Lithographe Bd. IV, 1964. Ref: Bloch #1108,
Cantz #840, Mourlot #388.
139 Francis (Ferenc)
Motive I, c1920s. Linocut, initialled in block lower right, titled,
editioned 3/15 and signed in pencil in lower margin, artist's
stamp on slip attached verso, 25.5 x 17.6cm. Missing portions
to image lower left and margins, foxing to margins.
reads "F.R. Ferryman, 40-11 249th Street, Little Neck, L.I.
[Long Island], NY." Revesz (Hungarian for ferryman) was
born in Hungary and attended Budapest University where he studied
architecture. He went on to study painting in London with Walter
Sickert and Frank Brangwyn. He emigrated in the 1920's to the
United States and settled in Little Neck, New York. Over the
course of his lifetime he had over thirty international one man
shows which included Philadephia, Chicago, Australia (Holdsworth
Gallery in Sydney), Dresden, Budapest, London, and New York.
Ref: Granddaughter Joanne Ferryman via Askart website; artist's
archive held at Smithsonian.
140 Carl Rotky Austrian 1891-1977
Willow Tree, c1920s. Colour woodcut, titled and signed in pencil
in lower margin, 26.8 x 21.7cm. Slight creases and cockling,
missing portions, paper remnants and stains to margins, old mount