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78472 Los(e)/Seite
Los 228
Richard Polwhele Ten volumes 'Poems; Chiefly, The Local Attachment; The Old English Gentleman; the Pneumatic Revellers; and The Family Picture,' later half pebbled cloth with marbled boards, vg, J. Mitchell and Co Truro, for Messers, Rivingtons, London, 1810; 'The Rural Rector,' vol II only, later full cloth with gilt lettering to spine, ex libris label to front pastedown, with a gift label inscribed For the vicar of Manaccan, Trevor McCabe- from his good friend Charles Thomas, some spotting throughout but generally vg, W. Polybank London, 1831; With the full three volumes in original publishers boards; 'Biographical Sketches in Cornwall,' three volumes bound in one, original publishers boards with loss to spine, frontis etching of author, some graphite annotations to margins, good to vg, W. Polybank, Truro, 1811; 'Poems,' three volumes, full speckled calf, all boards debound, vg textblocks, T. Cadell and W. Davies, London, 1806; 'The Idyllia, Epigrams, and Fragments, of Theocritus, Bion, and Moschus..,' vol I only, original publishers boards, front board and frontis debound, minor sporadic spotting, good, Whittingham and Rowland, London, 1810.
Los 506
Adriaen Collaert (1560-1618) Julius Caesar as the fourth king from the vision of Daniel Etching, very strong impression, mounted, framed and glazed measuring 43cm x 46cm, plate mark measures 22.5cm 26cm, vg, thought to be circa 1590'sAdriaen Collaert’s "Julius Caesar as the Fourth King from the Vision of Daniel" is part of a series of engravings illustrating key figures from the biblical Book of Daniel's prophetic visions. The artwork aligns Julius Caesar with the fourth beast described in Daniel 7:7, a creature symbolizing a powerful, destructive kingdom that many scholars interpret as the Roman Empire. In this vision, Daniel sees a series of four beasts, each representing a kingdom, and the fourth is the most fearsome, described as “terrifying, frightening and very powerful” with iron teeth and ten horns, often symbolizing Rome’s dominance and its emperors.In Collaert’s engraving, Julius Caesar is depicted in his regal Roman military attire, often adorned with a laurel wreath, signifying his victory and leadership. The figure of Caesar, rendered with intricate line work, stands or sits in a commanding posture, exemplifying his role as the archetype of Roman authority and military might. The engraving draws on classical iconography but also taps into the Christian eschatological tradition, interpreting historical figures through the lens of divine prophecy.The background may include symbols associated with the beast from Daniel’s vision—an element used by Collaert to tie the historical Julius Caesar into the biblical narrative. Architectural or natural elements like stormy skies may suggest divine judgment or the apocalyptic nature of the vision. Collaert’s attention to detail, especially in the engraving’s fine line work and dramatic contrasts, is a hallmark of his Mannerist style, combining religious themes with classical motifs.The piece is part of a broader artistic trend during the Renaissance in which classical history was often reinterpreted through Christian theology. The juxtaposition of Julius Caesar with the fourth beast emphasizes the view of Rome as the final great kingdom before the advent of divine intervention in Christian eschatology. (Greenfield, J. (2019). Daniel in the Renaissance: The Influence of the Book of Daniel in the Fifteenth and Sixteenth Centuries. Oxford University Press) This work has not been studied out of its frame
Los 189
Etching by William James Smith after Rembrandt An Old Woman Seated in a Cottage, with a String of Onions on the Wall (1631) Etching, lettered with Rembrandt's facsimile monogram and date, in top right "Rt 1631", trimmed extremly close to margin, no watermark, 120mm x 8mm, head pasted onto mount, framed and glazed measuring 37.5cm x 32cm, from 'Twelve Facsimile Etchings', published by William Bernard Cooke, London, 1824.
Los 498
A Group Of Three Etchings To include a signed in pencil etching by Robert Weir Allan, with blindstamp lower right, of a harbour coastal scene with figures, 21 x 30cm; a signed in pencil etching and aquatint by Marcel Angus, titled in French lower left, of an evening walk, 25 x 17cm; and a signed in pencil 19th century etching depicting children overlooking a coastal village, 20 x 30cm (3)Largest frame size: 34cm x 42cm
Los 601
Frances St Clair Miller (British, b.1947-) 'Wensleydale' signed in pencil (lower right) - numbered edition 27/75etching and aquatint 36cm x 38cm screen;With a further signed in pencil, untitled, textured coloured print, numbered 1/11, 58cm x 51cm by the same hand (2)Largest frame size: 68cm x 68cm
Los 593
A Group Of Four Etchings/Engravings to include a signed in pencil etching and aquatint, titled 'The Suitor', 26 x 21cm; titled 'Conserving Energy', numbered edition 17/500, 19.5 x 17cm; a 19th century drypoint etching, signed in pencil, of a town river scene, 14 x 21.5cm, housed in a modern Hogarth frame; a signed in pencil woodblock engraving 'stephens', titled 'ferreting', numbered edition 24/50, 6.5 x 7cm (4)Largest frame size: 46cm x 39cm
Los 551
Phil Greenwood (British, b.1943-) Meadow Suitesigned and dated in pencil lower right 19(75)etching and aquatint - artist proof42 x 49cmThe etching and aquatint does have condition issues. The entire composition has yellowed and discoloured, with varying degrees of level. There is moisture damage to the paper at the border edges along with acid burning in the same area. The colour pigment has faded. A professional restoration would be recommeded.Frame size: 58cm x 63cm
Los 562
Sir Frank Short (British, 1857-1945) untitled landscapesigned in pencil lower rightmezzotint etching16.5 x 23.5cmThere are a few signs of foxing to the bottom section of the composition. There are no visible signs of tears or rips to the paper, however, the paper has discoloured to a certain degree. The frame baking needs resealing and a new frame would be recommended.
Los 617
A Group Of Three Prints to include a 19th century print after John Constable ' View on the River Stour, near Dedham, 41 x 48.5cm; a print after Nicolas Poussin, 'The Death of Hippolytus', 26 x 35.5cm; and a 19th century etching by Henry Davy of the South West view of Beccles Church, Suffolk; a plate from 'A Series of Etchings Illustrative of the Architectural Antiquities of Suffolk, 26 x 32.5cm (3)Largest frame size: 49cm x 56cm
Los 450
Jean-Baptiste-Camille Corot (French, 1796-1875) Landscape with a small cottage in the distance - Campagne Boisee signed within plate lower left etching 10.2 x 13.4cm (plate mark) An etching of the same composition with similar plate measurements can be found in the collection of Philadelphia Museum of Art - Accession Number: 1945-53-2 We do believe this to be a soft-ground etching. However, we are unsure what state or impression this belongs to. The paper has disoloured significantly, with cirular white patching visible next to the plate composition and on the bottom section of the sheet. There are no visible signs of tears or rips. The impression is clear, but a professional clean would be recommeded. This artwork has not been examined out of the frame. Frame size: 28.5cm x 23cm
Los 640
A Group Of Prints to include an artist proof etching and aquatint by Glynn Thomas (b.1946-) titled 'Yellow Iris', 39.5cm x 27cm; a signed woodblock print of Lag castle, a signed woodblock print titled' The Duck Pool', numbered 3/200; a print after George Clausen; four etchings of house landscapes and a signed woodblock print of a women holding a man in despair (qty)
Los 608
Norman Wilkinson (British 1878-1971) Fishing by a lakesigned in pencil lower rightetching20 x 26cmIn good clean original condition with no visible signs of foxing or spotting. The paper has discoloured to a minor degree overall. However, the edges of the sheet, where the mount has been in contact has significant burn marks and discolouration. A replacement of the mount would be highly recommended.
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78472 Los(e)/Seite