78472 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

* Brodsky (Horace Ascher, 1885-1969). Expulsion, 1914, linocut on wove paper, this impression hors commerce, aside from the edition of 75 published impressions, signed in pencil lower left and marked H/C lower right, image size 26 x 16.5 cm (10 1/4 x 6 1/2 ins), with margins, framed and glazed (unexamined out of frame), together with Seaby (Allen William, 1867-1953). Lapwings, colour woodcut, unsigned, image size 21.5 x 21.5 cm (8 1/2 x 8 1/2 ins), sheet size 24.5 x 24 cm (9 1/2 x 9 1/2 ins), framed and glazed, plusRichter (Heinrich, 1884-1981). Abstract Female, 1965, lithograph, signed, dated and numbered '10/50 Für Peter', sheet size 21 x 21.9 cm (8 1/4 x 8 5/8 ins), and one etching by Christof SeizQTY: (2)

* Sickert (Walter Richard, 1860-1942). Ennui (The Medium Plate), 1914/15, etching on laid paper, with watermark of a unicorn and letters F J (probably F. J. Head), the rare first state, before all lettering, issued circa 1925 (the final state was advertised in 1929), signed and titled ink, slight diagonal paper flaw from the upper margin into the image, heavy mount stain, plate size 227 x 175 mm (9 x 6 7/8 ins), sheet size 305 x 220 mm (12 x 8 5/8 ins)QTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Bromberg 156 i/vi. The rare first state of one of Sickert's most famous prints, for which Bromberg lists only two impressions (Private Collection, formerly Sir Hugh Walpole, and Victoria & Albert Museum). An impression of the first state was exhibited at the Leicester Galleries exhibition of Sickert's prints in 1925.

* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ driving the Money Changers from the Temple, 1635, etching with drypoint on thin laid paper without watermark, a good but later impression of the fourth (final) state, trimmed on the platemark, retaining a fillet of blank paper around the borderline, one or two thin areas, generally in good condition, 13.8 x 17 cm (5 1/2 x 8 3/4 ins), framed and glazed (35.5 x 41.5 cm)QTY: (1)NOTE:Bartsch, Hollstein 69; New Hollstein 139; Hind 126.

* Walcot (William, 1874-1943). The Trojan Horse - Virgil's Aeneid II, 1914, etching with aquatint on thick wove paper, published in an edition of 29 impressions, signed in pencil, mount stain to margins, some pale spotting, plate size 62.8 x 82.3 cm (24 3/4 x 32 3/8 ins), sheet size 66.3 x 86.3 cm (26 1/8 x 34 ins), hinge mountedQTY: (1)NOTE:Dickins 20; EH-L 35.

* Sickert (Walter Richard, 1860-1942). The Old Bedford (The Large Plate), 1915, etching on pale cream wove paper, the 4th state (of 12), some mount toning, hairline horizontal tear (without loss) to the upper right blank margin just below the platemark (approximately 4.5 cm), the plate printed slightly obliquely onto the sheet, plate size 265 x 156 mm (10 1/2 x 6 1/4 ins), sheet size 326 x 254 cm (12 7/8 x 10 ins), tab-mounted, framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Bromberg 130 iv/xii.

* Soper (George, 1870-1942). Summer, the Last Load, drypoint etching on pale cream wove paper, signed in pencil, laid down on backing card, and outer blank edges of the sheet with heavy glue residue, sheet size 29.5 x 42.5 cm (11 1/2 x 16 3/4 ins), framed and glazed with period printed label of James Connell & Sons., 47 Old Bond Street, London to verso, together with another by the same artistFeeding Time, drypoint etching, signed in pencil, 19.4 x 32 cm (7 5/8 x 12 5/8 ins), framed and glazed with period printed label of James Connell & Sons to verso, plus an etching of a river landscape by Joseph Knight (1837-1909), signed in pencil, framed and glazed, with period printed label of George Barm dealer in works of art, 69 Bradshawgate, Bolton to verso (frame size 58 x 48.5 cm)QTY: (3)

* Walcot (William, 1874-1943). First Wooden Temple of Jupiter, 1918, etching with drypoint and aquatint on cream wove paper, published in an edition of 100 proofs, signed in pencil, tiny foxing spot to upper plate edge, small brown mark to left margin, plate size 12.5 x 17.7 cm (5 x 7 ins), sheet size 22.8 x 28.2 cm (9 x 11 1/8 ins), mounted, together with Emperor Hadrian entering Salonica, 1918, etching with drypoint and rockerwork on cream wove paper, published in an edition of 150 proofs, signed in pencil, lightly toned, one pale foxing spot to right side, plate size 7.9 x 12.6 cm (3 1/8 x 5 ins), sheet size 22.6 x 27.8 cm (8 7/8 x 11 ins), mounted, plus The Sacred Fair, Egypt, circa 1918, etching with drypoint and aquatint on cream wove paper, published in an edition of 51 proofs, signed in pencil, lightly toned, two small brown spots (one to right side, one to lower edge), closed tear towards upper right corner (previously repaired on verso), plate size 15.9 x 22.8 cm (6 1/4 x 9 ins), sheet size 26.8 x 39.3 cm (10 1/2 x 15 1/2 ins), mounted, and St. Peter's, Rome, 1919, etching on cream wove paper, published in an edition of 246 impressions, signed in pencil, plate size 15.1 x 17.4 cm (6 x 6 3/4 ins), sheet size 42.6 x 30.3 cm (16 3/4 x 12 ins), mounted, plus Villa Quintilii, 1921, drypoint with etching and aquatint on cream wove paper, edition of 400 impressions, signed in pencil, lightly toned, some foxing spots, mainly to margins, plate size 18 x 25.4 cm (7 1/8 x 10 ins), sheet size 28.6 x 34.8 cm 11 1/4 x 13 3/4 ins), mountedQTY: (5)NOTE:Dickins 47, 48, 27, 60 and 71; Elizabeth Harvey-Lee 68, 69, 42, 83 and 98, respectively.

* Hampshire (Ernest Llewellyn, 1882-1944). St. Paul's Cathedral from the Thames, etching, signed and titled in pencil, light mount toning, plate size 150 x 230 mm, with margins, together with Trafalgar Square, London, etching, signed and titled in pencil, and three other etchings by Ernest Hampshire: Windsor Castle, York Minster, and Bath Abbey, all signed, plus one other small etching of Westminster by Maria Eaton, signed, all framed and glazedQTY: (6)

* Wyllie (William Lionel, 1851-1931). London Bridge, etching and drypoint on pale cream wove paper, signed in pencil lower left, plate size 124 x 327 mm (4 7/8 x 12 7/8 ins), 195 x 410 mm (7 3/4 x 16 ins), window-mountedQTY: (1)

* Nieuwenkamp (Otto Wynand, 1874–1950). View in Dordrecht, 1897, from the set of six etchings by Nieuwenkamp and Johannes Graadt van Roggen (1867-1959), etching on wove paper, a very good impression printed in brown-black, printing with atmospheric contrasts, signed in pencil, titled 'Dordrecht' and numbered 1-35 No 4, with the blindstamp of the publisher P.J. Zürcher, The Hague, with margins, adhered to the backing board towards the sheet edges, generally in good condition, plate size 28.3 x 20.3 cm (11 x 8 ins), sheet size 40.3 x 30.5 cm; together with Armand Guillaumin (1841–1927), Vue prise de Saardam, etching printed in red and olive green, from the1906 first edition of "Histoire des Peintres Impressionnistes" by Theodore Duret, published by Floury, Paris; Jozef Israëls (1824-1911), The Odd Couple, 1873, two impressions, etchings on Arches laid paper (one with a partial Arches watermark), and Charles West Cope, Hush, 1878, etching on laid paper, a very good proof impression before letters, signed in pencil (the etching was published by The Etching Club, 1879); and Hope Deferred, 1877, etching on laid paper, a very good impression, signed in pencil, both with wide margins, largest sheet size 44 x 29 cmQTY: (6)

* Sickert (Walter Richard, 1860-1942). Jack Ashore (Small Plate), 1923, etching on laid paper, plate size 181 x 134 mm (7 1/8 x 5 1/4 ins), some overall brown discolouration from backing board, sheet size 29 x 21.5 cm (11 1/2 x 8 1/2 ins), framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Bromberg 214, ii/ii.

AR * Brockhurst (Gerald Leslie, 1890-1978). Corinne, 1925, etching on cream laid paper, one of 106 proofs of the fifth state published December 1925, signed in pencil, plate size 139 x 102 mm (5.5 x 4 ins), sheet size 286 x 211 mm (11.25 x 8.3 ins)QTY: (1)NOTE:Wright 50 v/v & 14. Fletcher 50 & 14.

AR * Tunnicliffe (Charles Frederick, 1901-1978). The Old Quarry Road, 1926, etching, a very good impression, on laid paper, signed in pencil and numbered 62/75, with a small margin at bottom, otherwise trimmed to the platemark, slight discolouration verso, generally in good condition, sheet size 23 x 30.2 cm (9 x 11 7/8 ins)QTY: (1)

AR * Tunnicliffe (Charles Frederick, 1901-1979). The Kestrel, 1927, etching with drypoint on laid paper, from the published edition of 75 impressions, signed and numbered 32/75 in pencil, plate size 253 x 358 mm (10 x 14 1/8 ins), sheet size 285 x 405 mm (11 1/4 x 16 ins)QTY: (1)

AR * Tanner (Robin, 1904-1988). Martin's Hovel, 1927, etching on pale cream heavy wove paper (with partial blindstamped title visible to extreme lower right blank corner for the Robin Tanner Memorial Portfolio), likely to have been issued by Merivale Editions in 1989, but an unnumbered impression aside from the published edition of 100, artist's name and date etched in the image lower left, plate size 16 x 18.8 cm (6.4 x 7.5 ins), sheet size 29.5 x 34.7 cm (11 5/8 x 13 5/8 ins), framed and glazed (42.4 x 43.2 cm)QTY: (1)NOTE:Garton 3.According to Garton the hovel is based on a farm building in Allington near Chippenham. As with most of Tanner's work the image is an amalgamation of studies including Saint Nicholas Church at Biddestone, the gate with a cowhorn fastening in Upper Castle Combe and a tree on a ha-ha wall in Corsham.

AR * Badmin (Stanley Roy, 1906-1989). Evening Light, near Sevenoaks, 1929, etching on laid paper, a fine artist's proof on antique Dutch laid paper (watermarked with shield and 'Charles I'), aside from the edition of 40 published by XXI Gallery, signed and titled in pencil, additionally inscribed by him 'To David & Mary on their 25th', plate size 130 x 166 mm (5.1 x 6.5 ins), sheet size 222 x 270 mm (8 7/8 x 9 5/8 ins), framed and glazed, with label to verso (by the artist) giving the title of the work as 'Evening Light (near Sevenoaks & Riverhead)', and artist's name, publication details, further inscribed 'To David & Ellen Downey on their 25th Anniversary'QTY: (1)NOTE:Beetles 16.

AR * Badmin (Stanley Roy, 1906-1989). Burford, Oxfordshire, 1931, etching on laid paper (indistinctly watermarked), an artist's proof (aside from the edition of 45 published by the Twenty One Gallery), signed and inscribed "To David & Mary Downey with best wishes" in pencil, plate size 137 x 194 mm (5 3/8 x 7 3/8 ins), sheet size 200 x 260 mmQTY: (1)NOTE:Beetles 25.

AR * Badmin (Stanley Roy, 1906-1989). Mill Street W, 1932, etching on Basingwerk Parchment wove paper, with margins, signed and titled in pencil, and additionally inscribed "1st T - 1st St., Frankfort & B.V. , one ed. only", and further inscribed by the artist to lower blank margin "1.1. May 20th 1937", plate size 155 x 170 mm (6 1/5 x 6 4/5 ins), sheet size 220 x 283 mm, hinged to top margin of mount, framed and glazedQTY: (1)NOTE:Beetles 33.Illustrated in Fine Prints of the Year 1932. Issued by the Twenty One Gallery in an edition of 25 impressions in 1932. The present work is a trial proof, apparently printed by the artist in 1937, and very likely given as a present to David and Mary Downey, related to Badmin by marriage. The Twenty One Gallery on Mill Street was bombed during the Second World War, and the street is now a continuation of Savile Row. According to the artist, the man entering the gallery in the scene is a self portrait.

AR * Badmin (Stanley Roy, 1906-1989). Priory Pond, 1932, etching on laid paper, watermarked L.& CIE (FRANCE), signed, titled and additionally inscribed to lower blank margin Priory Farm Kingstanley Glos., and marked 2nd state, a rich, delicate impression, plate size 132 x 157 mm (5.2 x 6.2 ins), sheet size 214 x 216 mm (8.4 x 8.5 ins)QTY: (1)NOTE:Beetles 32.Priory Pond is near Kingstanley, Stroud, Gloucestershire. The subject of this etching is the Saxon barn at Priory Farm, Leonard Stanley, Gloucestershire. The first edition and records were lost in the war but the plate survived.

* Rembrandt (Harmensz. van Rijn, 1606-1669). The Death of the Virgin, 1639, etching on laid paper, without watermark, the fourth state (of 5), some overall light scattered spotting, with margins, small pinhole to lower left of the image (in the draped tablecloth), with William Sharp's initials in brown ink (Lugt 2650), plate size 410 x 310 mm (16 x 12 1/4 ins), sheet size 430 x 340 mm (17 x 13 1/4 ins), framed and glazedQTY: (1)NOTE:Provenance: William Sharp (early 19th-century), of Manchester, a friend of Sir Mark Masterman Sykes (1771-1823), one of the great connoisseurs of the period who owned nearly 100,000 prints. Sharp's collection was sold at Sotheby's on March 1st, 1878 and 11 following days. According to Lugt, the collector's identity may also be that of William Sharp (1795-1881) of Enwood Court, Handsworth, near Birmingham 'a lead and glass merchant originally from Manchester', whom Waagen met during a visit to the midlands in 1854, or perhaps his father; Collection of Sir Lawrence Gowing (1918-1991).Bartsch 99; New Hollstein 173, iv/v; Hind 161.

* Adamson (George Worsley, 1913-2005). Whit Monday, St. Mary's, Wigan, 1947, etching, the 5th state, printed in 1980, signed, titled, and numbered 9/35, plate size 40.2 x 28.4 cm (15 3/4 x 11 1/8 ins), together with Dixon (Frederick Clifford, 1902-1992). A London Street, 1927, etching, signed in pencil lower right, plate size 23.2 x 29.2 cm (9 1/8 x 11 1/2 ins), plus Brangwyn (Frank, 1867-1956). A Romantic Landscape, etching printed with pale green plate tone, signed in pencil, plate size 15 x 23.3 cm (5 7/8 x 9 1/8 ins), and three other etchings, including one by William Walcot, signed in pencil, an estuary landscape by B. Eyre Walker, and The Coming Storm by Geoffrey S. Garnier, signed, titled and numbered 90/100 in pencil, all framed and glazed (Eyre Walker without glass)QTY: (6)NOTE:G. 317 (Brangwyn).

AR * Brunsdon (John, 1933-2014). Coastal Scene on the Lleyn Peninsula, etching and aquatint, titled, signed and numbered 84/350 in pencil, plate size 60 x 45 cm (23.5 x 17.3/4 ins), sheet size 79 x 57 cm (31 x 22 1/2 ins), framed and glazed, Christie's Contemporary Art label to verso, together with Rugged Farmland, etching and aquatint, titled, signed and numbered 46/150 in pencil to lower margin, plate size 22.5 x 28.8 cm (8 7/8 x 11 3/8 ins), framed and glazed (39.2 x 44.5 cm)QTY: (2)NOTE:Provenance: 'Farmland' was purchased from Christie's in March 1986 and has since been kept in the same family.

AR * Tanner (Robin, 1904-1988). Easter, 1970, etching on cream handmade wove paper, with watermark 'handmade', a very good, strong impression of the third (final) state, signed in pencil and numbered 2/50, from the edition published by Penn Print Room, 1974 (there was a further edition of 25 published by Garton & Cooke, in 1984), wide margins, a deckle edge at top and right, plate size 39 x 26.6 cm (15 3/8 x 10 1/2 ins) sheet size 51 x 43.7 cm (20 x 17 1/4 ins)QTY: (1)NOTE:Garton 25.

AR * Tanner (Robin 1904-1988). Full Moon, 1973, etching on pale cream heavy wove paper, signed in pencil to lower margin, sheet margins to verso lightly abraded, plate size 24.3 x 18.8 cm (9 5/8 x 7 3/8 ins), sheet size 32.9 x 26.4 (12 7/8 x 10 3/8 ins), framed and glazed (45.8 x 39 cm)QTY: (1)NOTE:Garton 29, iii.According to Garton the setting of this etching is the valley of Woodford Brake near the cobbled ford across Broadmead Brook which runs between Nettleton and Castle Combe.

AR * Tanner (Robin, 1904-1988). The Plough, 1973, etching on pale cream wove paper, from the edition of 12 impressions, published by Garton & Cooke in 1982, signed in pencil to centre of lower blank margin 'Robin Tanner', plate size 16 x 18.8 cm (6.4 x 7.5 ins), sheet size 26.6 x 34.4 cm (10 1/2 x 13 1/2 ins), framed and glazed (42.4 x 43.2 cm)QTY: (1)NOTE:Garton 30 iv.

* Feild (Maurice, 1905-1988). W. H. Auden, three lithographs on pale cream wove paper, plus two duplicates, each signed in pencil, one marked artist's proof, sheet size 41 x 38 cm (16 x 15 ins) and similar, together with other various modern prints including a late re-issue of Sickert's Noctes Ambrosianae, from the cancelled plate, an etching signed in the plate V. d. S. after a drawing by Augustus John of a woman's head in profile, numbered in pencil 28/35, a signed etching by Graeme Willson, entitled The Dream of Cuthbert Broderick, 1985, signed and numbered 15/60, an etching by Elaine Shemilt, signed, dated '75, numbered 2/5, and two other etchings, dated 1981 and 1982 by Susan Horlode (?)QTY: (11)

AR * Pasmore (Victor). Cave of Calypso I, 1977, colour etching on thick wove paper with blindstamp, from the edition of 60 impressions published by Marlborough Graphics, signed and dated by the artist lower right, and numbered 30/60 lower left, some overall discolouration, plate size 37 x 37.5 cm (14 1/2 x 14 3/4 ins), sheet size 68.5 x 58.5 cm (27 x 23 ins), framed and glazed, with Christie's Contemporary Art label to versoQTY: (1)NOTE:Bowness & Lambertini 59.

* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ at Emmaus, 1654, etching, burin and drypoint, a good but later impression of the fifth (final) state on wove paper, trimmed to the subject, a short repaired tear lower left, paper thinning in places at the lower sheet edge, some faint brown spotting, trimmed on the platemark, sheet 21.1 x 16.1 cm (8 1/4 x 6 3/8 ins) framed and glazed (33.5 x 27.5 cm)QTY: (1)NOTE:Bartsch, Hollstein 87; New Hollstein 283.

AR * Tanner (Robin 1904-1988). December: Elegy for the English Elm II, 1978, etching on wove paper, depicting an ancient chapel with bell tower, set in a valley lit by a crescent moon, from the edition of 25 published by Garton & Cooke, 1984, signed in pencil to lower margin, plate size 30.3 x 24.3 cm (11.75 x 9.5 ins), sheet size 44.3 x 39 cm, Garton & Co label to verso with printed title and edition, framed and glazed (51 x 45 cm)QTY: (1)NOTE:Garton 39 ii. According to Garton the church derives from the North Wiltshire church of Inglesham (which William Morris 'saved' from restoration). The wooden plough is one preserved by Lackham College of Agriculture.

AR * Brunsdon (John, 1933-2014). Minsmere Beach, etching and aquatint, signed, titled and numbered '72/125' in pencil, mount aperture 47.5 x 63 cm (18 3/4 x 24 3/4 ins), framed and glazed (67 x 81 cm) QTY: (1)

* Martin (Frank Vernon, 1921-2005). Sèvres Babylone, circa 1981, colour etching on embossed paper, titled, signed and numbered '71/150' in pencil to lower margin, plate size 38.4 x 54 cm (15 1/8 x 21 1/4 ins), sheet size 57.5 x 78 cm (22 5/8 x 30 3/4 ins) framed and glazed, together with Montparnasse Bienvenue, colour etching on embossed paper, titled, signed and numbered '71/150' in pencil to lower margin, plate size 38.4 x 54 cm (15 1/8 x 21 1/4 ins), sheet size 57.5 x 78 cm (22 5/8 x 30 3/4 ins), framed and glazed (61.8 x 81.5 cm)QTY: (2)

AR * Tanner (Robin, 1904-1988). Still is the Land (The Farms of Home), 1986, etching on pale cream wove paper, from the edition of 10 impressions, published by Garton & Co. in 1988, printed by the artist, and initialled by the artist to lower margin, plate size 14.4 x 20.8 cm (5 5/8 x 8 1/4 ins), sheet size 28.3 x 37 cm (11 1/8 x 14 1/2 ins), framed and glazed (36.5 x 42.4 cm)QTY: (1)NOTE:Garton 49 ii.

AR * Tindle (David, 1932-). David's Jacket, 1994, etching and aquatint, from an edition of 50 impressions, signed, and numbered 31/50 in pencil, plate size 25 x 20 cm (10 x 8 ins), with margins, framed and glazed, with Redfern Gallery label to verso, dated 1995QTY: (1)

* Poilly (Nicolas Jean-Baptiste 1675-1747). Pan teaching Daphnis to play the pipes, circa 1700, engraving, a very good impression, with thread margins or trimmed on the platemark, retaining a fillet of blank paper around the borderline, some minor discolouration and a small skinned area in the margins, together with Borgianni (Orazio, circa 1578–1616). God creating the Sun and the Moon,after Raphael, 1615, etching, a very good impression, with narrow margins, adhered to a backing sheet at the reverse sheet corners, some foxing mainly towards the left and right of the image, plus Rode (Christian Bernhard, 1725-1797). Romulus and Remus, 1770, etching, a very good impression, with margins, some minor discoloration, and Manner of Parmigianino. A Female Saint, etching, a very good impression, trimmed to the borderline, some condition defects, 275 x 195 mm (10 7.8 x 7 3/4 ins) and smaller QTY: (4)NOTE:Poilly's engraving of Pan teaching Daphnis to play the pipes is based on a Roman copy of a Hellenistic original in the Uffizi Galleries, Florence (Inv. no. 1914 n. 92); Rode, Romulus and Remus: Jacobs 195.

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Pantheon d'Agrippa oggi Chiesa di S. Maria ad Martyres (from Vedute di Roma), 1761, etching printed on thick laid paper, with watermark of a fleur-de-lys within a double ring, a fine clean impression of the first state (of 5), generally in excellent condition, short closed vertical tear to centre of lower blank margin, plate size 47.5 x 69.5 cm (19 1/2 x 27 3/8 ins), sheet size 54 x 78.5 cm (21 1/4 x 31 ins), black and gilt frame, glazed with mid 20th century printed label of P. & D. Colnaghi & Co. Ltd. to versoQTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Romano Campidoglio con Scalinata che va alla Chiesa d'Araceli, (from Vedute di Roma), 1757, etching printed on thick laid paper, with watermark of a fleur-de-lys within a double ring, a fine strong and clear impression of the second state (of 5), generally in excellent condition with full margins (now folded in to fit the current window-mount), pale mount stain and a few associated light spots, plate size 40.5 x 54.5 cm (16 x 21 1/2 ins), sheet size 55.5 x 80 cm (21 5/8 x 31 1/2 ins), black and gilt frame, glazed with mid 20th century printed label of P. & D.Colnaghi & Co. Ltd. to verso QTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Obelisco Egizio (from Vedute di Roma), 1759, etching printed on thick laid paper, with watermark of a fleur-de-lys within a double ring, the second state (of 5), with full margins, generally in excellent condition, old stitch marks to upper blank margin of the sheet (the outer blank margins now folded in to fit the current card window-mount), plate size 54.5 x 40.5 cm (21 1/2 x 16 ins), sheet size 80 x 56 cm (31 1/2 x 22 ins), black and gilt frame, glazed with mid 20th century printed label of P. & D. Colnaghi & Co. Ltd. to versoQTY: (1)NOTE:Hind 53, ii/v; with full margins.Fine lifetime impression.

* Sandby (Paul, 1731-1809). A collection of 18 engravings after Paul Sandby, 1770's-1780's, very good impressions, including four by Michael Angelo Rooker: A South East View of Windsor Castle, engraving, 1776, on laid paper (inscribed ‘Mrs Thomson’ verso in pencil); Chatsworth in Derbyshire, engraving, 1775; Seat of the Right Hon.ble the Earl of Harcourt at Nuneham with a distant view of Oxford, engraving, 1775, the latter two on laid paper laid down on card, varnished, the latter inscribed lower margin ‘varnished by my father W.S.’; Knole Park in Kent, engraving, 1775, on laid paper; and Wynn Stay in Denbighshire, 1775, on laid paper; Richard Bernard Godfrey after Paul Sandby, Pembroke Castle, engraving, 1778, on fine laid paper; Mannorbeer Castle, 1779, on laid paper watermarked B B Brun; Woodstock, engraving, 1777, on wove paper, two by William Walker after Sandby: Queen’s Gate at Caernarvon, 1778, engraving on laid paper, and View of Boniton Lin, engraving, 1788, on laid paper laid down on card, varnished; two by Francis Chesham after Sandby: Roche Abbey in Yorkshire, engraving, 1780, on laid paper laid down on card, varnished, inscribed lower margin ‘varnished by my father W.S.’, and The Hot Wells at Bristol from a Meadow, near Rownham Passage, on laid paper with a partial Grapes watermark; two by William Watts after Sandby: Ruins of Stanton Court in Oxfordshire, 1778, and West View of Nottingham Castle, engraving, 1776, both on wove paper; W. & J. Walker after Sandby, Gresford Cottage, Denbighshire, engraving, on wove paper, 1793; Thomas Milton after Sandby, Newstead, in Nottinghamshire, The Seat of Lord Byron, 1780, engraving, on laid paper with an indistinct watermark; and Benjamin Green after Sandby, The Welch Bridge at Shrewsbury, engraving, 1776, on laid paper; plus four engravings by and after other artists, including Joseph Lambert after James Storer, Remains of Eltham Palace, Kent, 1811, etching on wove paper; W. Watts after C. Metz, View of the Isle of Anglesea, 1784, on wove paper; Thomas Milton after Francis Wheatley, Mallahide Castle in the Co. of Dublin, 1783, engraving on wove paper; and Thomas Milton after John James Barralet, The Dargle in the Co. of Wicklow (from Milton’s Views), engraving, 1783, on wove paper, various sizesQTY: (21)

* Sandby (Paul, 1731-1809). Views in Wales, 1775-1777, etchings and aquatints printed in browns, including Manerbawr Castle in Pembrokeshire, (from Twelve Views in South Wales, 1775), etching and aquatint, a very good, rich impression of the first state (of two); Chepstow Castle in Monmouthshire, a very good impression of the first state (of three), some defects; St Quintin's Castle near Cowbridge in Glamorgan Shire, 1775-1776, a later impression of the third (final) state; View up North River from the House at Briton Ferry in Glamorganshire, a later impression of the second state (of three), some defects, all from Twelve Views in South Wales, 1775; Harlech Castle in Monmouthshire with Snowdon at a distance, a good but later impression and Conway in the county of Caernarvon (both from Twelve Views in North Wales,1776,) a later impression of Auvergne laid paper; The Entrance to Chepstow Castle (from Twelve Views in Wales, 1777), a very good impression of the only state; and three further works from Twelve Views in Wales: Inside View of Chepstow Castle looking Eastwood, a later impression on Villedary paper with a Crowned Fleur de Lys within Shield watermark with pendant Initials (Heawood 262), Traeth Mawr in the Road to Caernarvon from Festiniog, on J. Whatman laid paper, presumably a later impression of the first state (of two), and Denefawr Castle, a good impression of the only state on Auvergne laid paper, all prints on laid paper, trimmed variously, with margins or to the borderlines, occasional waterstains and tears in the margins, generally in good to fair condition, sheet size 29.2 x 40.6 cm (11 1/2 x 16 ins) and smallerQTY: (10)NOTE:Gunn 204, 197, 199, 220, 201, 224, 234, 236, 237, 242 (respectively).

* Sandby (Paul, 1731-1809). The Entrance of Warwick Castle from the Lower Court (from Four Views of Warwick Castle,1776), aquatint with etching printed in bistre, a very good impression of presumably the second (final) state, on Villedary laid paper with a Fleur de Lys within Shield surmounted by a Crown watermark (Heawood 1833), with pendant letters VDL, together withanother view from the same series: Part of Warwick Castle from the S.E., aquatint with etching printed in bistre, some condition defects, together with five plates from Miscellaneous Aquatints: Duke of Montagu’s, Black Heath, etching with aquatint printed in brown; two impressions of Cemetery Gate of St Augustine’s Monastery at Canterbury, 1782-89, aquatints printed in black and grey, fine, rich and bright impressions, one with a circular watermark; and two impressions of Tunbridge Castle, aquatints, one printed in bistre and one in black and grey, each with Auvergne laid paper with a Name of Jesus within oval surmounted by a cross watermark (Heawood 2952); plus Inside View of Chepstow Castle looking Eastwood, with a circular watermark, all on laid paper; and an impression of Windsor Castle from the Lower Court on the 5th Novr. on wove paper QTY: (9)NOTE:Gunn 210, 212, 325 & 328.According to Gunn there are likely two states of The Entrance of Warwick Castle from the Lower Court; she cites an impression at the Yale Centre for British Art, New Haven (B1977.14.13012), which has clear white edged clouds, but no birds.

* Sandby (Paul, 1731-1809). Four plates from Six Views of Windsor and Eton, 1776-1777, etchings with aquatint, including a rare signed proof before letters of Windsor Castle from the N.W. a fine, atmospheric early impression of the second (final) state, with the flag dark against the sky, signed, inscribed, titled and dedicated by the artist in pencil ‘WINDSOR CASTLE from the North West, Published / 1 Sept 1776 / To his Grace the Duke of Montagu – Three Views of the Royal Castle of Windsor are most respectfully inscribed by his Grace’s most obedient & most obliged humble servant / P. Sandby R.A.', backed on stiff laid paper; a further rare trial proof of Windsor Castle from the N.W. with the flag lacking, a fine rich impression on Auvergne laid paper with the Encircled Cross (cf. Heawood 3306), trimmed to the borderline and window mounted, some skinned patches in the lower half of the sheet verso Eton College from Crown Corner, 1776, etching with aquatint printed in bistre, a fine, atmospheric impression of the first state (of two), before re-work to the sky, printing with rich contrasts, on Auvergne laid paper with the Letters watermark (cf. Heawood 3306), trimmed to the borderline, some faint scattered foxmarks; Windsor from Eton, etching with aquatint printed in bistre, a fine, rich impression of the first state (of two), again before changes to the sky, on Auvergne laid paper with the Encircled Cross and Letters watermark (Heawood 3306), with margins, some faint scattered foxmarks; and Windsor Hundred Steps, from Views of Windsor Castle, Small Set, circa 1777, outline etching printed in bistre, on laid paper with a Sphere watermark (related to Heawood 511) backed with stiff card with a Fleur de Lys watermark, unframed, sheet 39.4 x 54.4 cm (15 1/2 x 21 3/8 ins) and smaller QTY: (5)NOTE:Gunn 230, 231, 226 (respectively).

* Sandby, Paul (1731-1809). Windsor Terrace looking Westward (from Six Views of Windsor and Eton), 1776, etching with aquatint and extensive hand colouring in watercolours. state uncertain as trimmed to the subject, on laid paper backed with thick laid card, with a watercolour border, in very good condition, 28.7 x 44.9 cm (11 1/4 x 17 5/8 ins), unframed QTY: (1)NOTE:Gunn 228.

* Sandby (Paul, 1731-1806). Swansey Castle, 1777, etching with aquatint, a fine, rich impression printed in subtly graduated browns and sepia, on Auvergne laid paper (watermark related to Heawood 3416); together with Plate VII from XII Views in Aquatinta From Drawings Taken on the Spot in South Wales, The First Set 1775: Part of the Remains at Llanphor near Pembroke, etching with aquatint printed in black and grey, a fine, rich impression of the first state (of three), before the edition published by Boydell, plus three further plates from Views in South Wales (The First Set), including two impressions of the title page, good impressions though printing slightly unevenly, one with part of a Letters watermark; and Plate I, Chepstow Castle in Monmouthshire, 1775, etching with aquatint printed in sepia, a good impression of the second state (of three), published by Boydell, with a Fleur de Lys watermark, a little marred by pale staining, and Carew Castle (from Twelve Views in Wales, Third Set, 1777), aquatint printed in sepia and brown, a very good impression, on laid paper with a Cross and pendant letters within an Oval watermark (related to Heawood 922), trimmed on the platemark, all on laid paper; sheet size 35.5 x 53 cm (14 x 20 7/8 ins) and smallerQTY: (6)NOTE: Swansey Castle, intended for the first set of Views in South Wales, was rejected by Sandby. Gunn respectively 310, 203 i/iii,196 (2), 197 ii/iii, 239.

* Sandby (Paul, 1731-1809). Sepulchral Monument at Old Capua (from Views in and around Naples, after Pietro Fabris), 1778, a fine impression, printed in browns: and four plates from Ionian Antiquities (1779-1780): Inside of the Ruin at Troas, aquatint with etching printed in sepia and brown two impressions, the first a fine, rich impression of the first state (of two) on Auvergne laid paper, the second a very good impression of the second (final) state, with the publication line, trimmed on the platemark at top and bottom, fractionally within subject at left and right, The Temple at Sunium, and Miletus, aquatints with etching printed in brown and sepia, fine, rich impressions of the first states (of two), The Temple at Sunium on laid paper with a Name of Jesus with Cross and Heart within a Circle watermark (Heawood 2997, dated 1767) and a Letters watermark, trimmed to the borderline, some defects; Miletus on Auvergne (?) laid paper, trimmed to the borderline, retaining the title, a small split and a couple of associated small areas of surface loss in the sky towards the right of subject; sheet size 35.8 x 54.8 cm (14 1/8 x 21 1/2 ins) and slightly smaller QTY: (5)NOTE:Gunn 257, 271, 274 i/ii and ii/ii, 275 i/ii.

* Sandby (Paul, 1731-1809). The Encampment on Blackheath (from Four Views of Military Encampments), 1783, etching with fine hand-colouring (by the artist or a pupil of his), on laid paper with a Villedary watermark with crowned Fleur de Lys and pendant initials VDL, trimmed to the subject, inset to modern cream laid paper, in very good condition, the watercolour pigments bright and fresh, 29.8 x 45.2 cm (11 3/4 x 17 3/4 ins), window-mountedQTY: (1)NOTE:Gunn 284.In her catalogue Gunn refers to Sandby's habitual use of Villedary paper, watermarked with a shield surmounted by a Fleur de Lys.

* Sandby (Paul, 1730-1809). Album of 56 etched landscapes and figure subjects, 1747-1758 [but circa 1815], originally executed 1747-1758, final states on Whatman wove paper dated 1815, including 20 figure subjects, 32 landscape subjects, including the three complete sets of Scottish Landscapes (first set, oval, together with one oval landscape etching by Francis Vivares; the second set, vertical; the third set, horizontal), and the complete set of Six Ruins, some pale mottled foxing towards the edges of the album sheets, bound in marbled paper covered boards, gilt tooled leather spine and corners, some wear and tear, the front cover detached, inscribed within 'Mary Spuring (?)/ Heath Lodge / Thornton Heath' album size 26.5 x 40.5 cm (10 3/8 x 16 1/4 ins)QTY: (1)NOTE:Gunn (references in order of appearance in the album, one print per sheet unless stated otherwise): 80, 102; nos. 50, 54, 64, 67, 70, 71 printed on one sheet; 87, 89, 90, 91, 92, 93, 94, 95; nos. 44, 45, 61, 62, 68, 69 printed on one sheet; nos. 48, 51, 55, 57, 63, 103 printed on one sheet; nos. 73, 76, fig. 58 (one plate by Francis Vivares) printed on one sheet; 96, 72; nos. 32, 47, 59, 60, 66 printed on one sheet; nos. 74, 75, 77 printed on one sheet; 83, 85, 88, 78, 79, 86, 84, 107, 81, 106, 110, 82, 108, 109, and 105.

* Goya (Francisco, 1746-1828). De que mal morira? (What illness will he die from?), 1796-97, etching with aquatint, from Los Caprichos, plate 40, the 6th state, printed by the Calcografia for the Real Academia, 1890-1900, 215 x 150 mm (8 1/2 x 6 ins), with margins, framed and glazed, with label of Goldmark gallery label to versoQTY: (1)

* Crome (John, 1768-1821). Road by Park Palings, etching and drypoint on chine collé, second state (of 2), signed in pencil lower right, inscribed in pencil in later hand by 'Road by Park Palings Theobald no 19, only state, early impression', plate size 105 x 175 mm (4 1/8 x 6 7/8 ins), sheet size 185 x 269 mm (7 1/4 x 10 1/2 ins), old frame, framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Theobald 19 (only state); Clifford E19 ii/ii; Goldberg 230 ii/ii.Unpublished in his lifetime, this early etching by Crome was later issued in the portfolio titled Norfolk Picturesque Scenery, consisting of 30-1 Etchings by the late John Crome, founder of the Norwich Society of Artists, and printed from the plates as left by himself, in 1834.

* Meryon (Charles, 1821-1868). Tourelle, Rue de la Tixeranderie, 1852, etching and drypoint, the second state (of five), published in 1861 in an edition of 30 impressions, plate size 245 x 129 mm (9 5/8 x 5 ins), framed and glazed (52.5 x 42.3 cm)QTY: (1)NOTE:Provenance: Purchased from Garton & Cooke in April 1987;thence by family descent.Schneiderman 24, iv/v; Delteil/Wright 29 iv/v.The house stood at the corner of the rue de Coq, demolished in 1851, and is now part of the extended rue de Rivoli in Paris. Meryon sought to capture the architecture and spirit of an ancient Paris that was soon to be lost due to Baron Haussmann's modernisation programme.

* Meryon (Charles, 1821-1868). Saint Etienne-du-Mont, Paris, 1852, etching and drypoint on laid paper, the 8th (final) state, published in an edition of 30 impressions, plate size 24.4 x 13 cm (9 5/8 x 5 1/8 ins), with margins, framed and glazed (52.5 x 42.3 cm)QTY: (1)NOTE:Schneiderman 25, viii/viii. Wright 25, viii / viii.

* Manet (Edouard, 1832–1883). Le chanteur espagnol, ou Le guitarero (The Spanish Singer, or The Guitarist), 1861, etching on heavy laid paper, the 5th state (of 7), mount-stained, plate size 298 cm x 244 mm, sheet size 445 x 358 mm, hinge-mounted, framed and glazedQTY: (1)NOTE:Provenance: Sir Lawrence Gowing (1918-1991).Harris 12; McKean Fisher 11; Guérin 16.

* Manet (Edouard, 1832-1883). The Gypsies (Les Gitanos), 1862, etching on pale cream laid paper, from the Strolin edition of 100 copies published in 1905, plate size 315 x 236 mm (12 3/8 x 9 1/4 ins), with margins, framed and glazed, with printed stock label to versoQTY: (1)NOTE:Guerin 21. Harris 18.Published in Manet's Trente Eaux-fortes Originales, Paris, 1905, edited by Théodore Duret, and issued in an edition of 100 copies only.

* Meryon (Charles, 1821-1868). Rue des Chantres, 1862, etching and drypoint, the 5th state (of 6), printed in an edition of 100 impressions, printed by Pierron and published by Rochoux, image size 27.9 x 11.9 cm (10 7/8 x 4 5/8 ins), framed and glazed (52.5 x 42.3 cm)QTY: (1)NOTE:Provenance: Purchased from Garton & Cooke in April 1988 thence by family descent.Schneiderman 85.v/vi.

* Holman Hunt (William, 1827-1910). A Day in the Country, 1865, etching, a proof, reworked by the artist with ink and pencil, inscribed in pencil to lower margin '5th Biting after...? touched upon with ink and pencil', plate size 185 x 216 mm, with top margin trimmed to plate mark, and other margins short, framed and glazedQTY: (1)

* Haden (Seymour, 1818-1910). A Castle, County Wicklow, 1865, etching with drypoint, depicting extensive vegetation in the foreground, a castle visible in the distance, signed in pencil to lower margin, image size 10.2 x 13.7 cm (4 1/8 x 5 3/8 ins), framed and glazed (32.5 x 42.3 cm), together with Egham Lock, 1859, etching, signed in pencil to lower margin, image size 14.9 x 22.5 cm (5 7/8 x 8 7/8 ins), framed and glazed (32 x 42.5 cm), plus Amalfi, 1858, etching, Schneidermann's third state (of three), unsigned, image size 11.6 x 7.8 cm (4 1/2 x 3 1/8 ins), framed and glazed (42.5 x 32 cm) Kensington Gardens II (Large Plate), 1859, etching with drypoint, printing with selectively wiped plate tone, signed in pencil to lower margin, image size 19.7 x 12.5 cm (7 3/4 x 4 7/8 ins), sheet size 23.5 x 15.6 cm (9 1/4 x 6 1/8 ins), framed and glazed (42.3 x 32.4 cm), together withOut of Study Window, etching, depicting a view of a city emerging from behind trees and bushes, image size 10.5 x 25.6 cm (4 1/8 x 10 1/8 ins), framed and glazed (32 x 42.5 cm)QTY: (3)NOTE:Provenance: Egham Lock purchased from Garton & Cooke in April 1987; thence by descent.

* Manet (Edouard, 1832–1883). Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face), 1868, etching on thin laid paper, the 4th and final state, with printed inscription to lower margin of the image 'Peint et Gravé par Manet 1865' and 'Imp. A. Salmon', plate size 94 x 82 mm (3 7/8 x 3 1/4 ins),sheet size 197 x 149 mm (7 3/4 x 5 7/8 ins), hinge-mounted, framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Moreau-Nélaton 16; Guérin 38; Harris 61.Final published state of Manet's portrait of Baudelaire, after a photograph by Nadar.

* Dicksee (Frank, 1853-1928). A Love Story, 1884, etching on wove paper by Adolphe Lalauze after Frank Dicksee, published by Thomas Agnew & Sons, July 1st 1884, a proof signed by both the engraver and artist, with Printseller's Association blindstamp to lower left corner, image size 32.5 x 47 cm (12.75 x 18.5 ins), sheet size 45 x 63.5 cm (17.7 x 25 ins), laid down on card, old frame, glazed, with early handwritten label to verso 'A Love Story Royal Academy 1883 Painted by Frank Dicksee', framed and glazedQTY: (1)

* Sisley (Alfred, 1839-1899). Bords du Loing, La Charrette, 1890, etching, a very good, delicate impression, without letters (an edition with letters was published by La Gazette des Beaux Arts), plate size 14.5 x 23 cm (5 3/4 x 9 ins), sheet size 18.8 x 27.8 cm (7 3/8 x 11 ins)QTY: (1)NOTE:Delteil 1.

* Zorn (Anders, 1860-1920). King Oscar II (second plate), 1898, etching on Van Gelder Zonen laid paper, with partial watermark, the second state (of 2), signed in pencil, mount stain, plate size 244 x 177 mm (9 5/8 x 7 ins), sheet size 320 x 252 mm (12 5/8 x 10 ins), hinge-mountedQTY: (1)NOTE:Delteil 130; Asplund 132 ii/ii.

* Mortimer (John Hamilton, 1741-1779). Study for head of an old man and other figures, circa 1774, pen and black ink on light brown laid paper, 149 x 120 mm (5 7/8 x 4 3/4 ins), framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).The pensive male figure in this drawing is similar in pose to the figure of Caius Marius sitting on the Ruins of Carthage, in the etching by Robert Blyth after Mortimer, taken from a work owned by Richard Payne Knight, and published in 1782. The finished drawing as well as the oil painting of the same subject were exhibited at the Society of Artists exhibition of 1774.