Edwards (George). Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals... Exhibited in two hundred and ten copper plates, from designs copied immediately from nature, and curiously coloured after life... to which is added, a brief and general idea of drawing and painting in water-colours; with instructions for etching on copper with aquafortis: likewise some thoughts on the passage of birds; and additions to many of the subjects described in this work, 4 volumes, printed for Author, at the College of Physicians, in Warwick-Lane, 1743-51, & Gleanings of Natural History, exhibiting figures of quadrupeds, birds, insects, plants &c. most of which have not, till now, been either figured or described, 3 volumes, printed for the author, at the Royal College of Physicians, in Warwick-Lane, 1758-64, 7 volumes in all, containing 362 fine hand-coloured copper engraved plates (210 and 152 plates respectively to each work), uncoloured engraved portrait of the author by Johann Sebastian Muller after Bartholomew Dandridge, the three volumes of Gleanings of Natural History with parallel English and French printed text in double column, marbled endpapers, bookplate of William Hudson Hulme Hall Cheadle Hulme to front pastedown of each volume, contemporary uniform full red leather, with patterned outer border to each cover, panelled spines and all edges gilt, 4to (29 x 24 cm) (7) A fine set in contemporary uniform binding of 'one of the most important of all bird books, both as a fine bird book and a work of ornithology' (Sitwell, Fine Bird Books). The father of British ornithology, George Edwards (1694-1773) was appointed librarian at the College of Physicians, with the assistance of Sir Hans Sloane, who also employed him to draw curiosities from his own collection. These drawings, as well as others made by Edwards from the collections of his circle, including Mark Catesby, and the Dutchman Gideon Loten, formed the basis of his Natural History. Amongst the species described, some of which appear in print for the first time, are many from India and North America. Edwards personally oversaw the colouring of the engravings - 316 of which are of birds - carefully supervising the colourists who worked from twelve model copies coloured by the author himself. The work includes 'some brief instructions for etching on engraving on copper-plates', Edwards having been encouraged to etch his own plates by Catesby, and 'A Brief Idea of Drawing and Painting in Water-Colours'.
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![Original etching titled Amsterdam by Mortimer L. Menpes. [Signed]. Together with a coloured engraving titled Ulleswater](https://cdn.globalauctionplatform.com/58d8ded9-c508-45c5-bc07-ad9f011ed726/f64c8b2e-966d-465a-a20f-ada200e50770/468x382.jpg)
Five Pictures - Rodger McPhail (British 1953 ..) Signed Limited Edition Print of Grouse, no. 276/500, image 53cms x 31cms, Mick Causton Signed Limited Edition Print of a Springer Spaniel, no. 127/850, Eyvind Earle (American 1916-2000) Large Limited Edition Serigraph titled Autumn Fields, no.146/475, 90cms x 60cms, Limited Edition Etching monogrammed signature PB ' After Stubbs, Horse and Lioness ' no. 4/35 and a Print of an Eagle
William Walcot RBA RE (British 1874-1943): 'Downtown Manhattan from the East River', etching and aquatint unsigned, pub. 1924, 23cm x 16cmNotes: Harold Wollvine Dickens, Walcot's publisher up to 1924-25, listed only five prints in the New York set. This image could either be a proposed sixth plate, or an independent plate. Though printed on Dickens-watermarked paper it is not listed by Dickens
CARRINGTON BOWLES WELLADAY ! is this my SON TOM ! Hand coloured soft ground etching, published 25th June 1773 also a companion etching - MISS PRATTLE consulting Dr. DOUBLE-FEE about her PANTHEON Head Dress, published 8th Feb. 1772, 16cm x 12cm, framed and glazed Provenance: The William Mowat-Thomson Collection
Two early 20th Century believed masonic swords comprising a Wilkinson Sword made example with a wire wrapped celluloid grip, floral cross guard and double edged blade with scrollwork etching and a Spanish Toledo made sword with rope bound grip, complex basket guard and a painted scrollwork blade housed in a brown leather scabbard. Largest to measure approx 90cm
Rachel Anne Le Bas (b.1923)'The Old Tobacco and Snuff Shop, Haymarket' etching, numbered 31/75, signed in pencil lower right, 33cm x 24cmCondition report: One or two foreign objects under the glass. Minimal display wear to the frame as expected. Otherwise ok. Please note we have not removed this piece from the frame to examine.
§ Gerald Leslie Brockhurst (British, 1890-1978). 'Anais', etching on wove paper. Signed in pencil to margin. Framed and glazed. Image size 14 x 11cm. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information.
Charles Frederick Tunnicliffe OBE RA (1901-1979) Winifred, circa 1924-26, signed in pencil bottom right, etching, measurements 26 x 18.5 cm (i), frame 48 x 40 cmWinifred Wonnacott (1902-1969) met Charles Tunnicliffe while studying at the Royal College of Art and were married in 1929 experiencing a happy, devoted marriage until her death 40 years later.Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.47
Charles Frederick Tunnicliffe OBE RA (1901-1979) Herding Sheep at Kemps Croft Farm, 1928, signed in pencil bottom right, titled and numbered 44/75 bottom left, etching, measurements 18.7 x 37.8 cm (PL), frame 47 x 64 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 87Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. It has full margins and a clearly defined platemark. The sheet appears in good condition, some general ageing (browning to the paper) consensurate with age. The surface appears stable, there are no obvious signs of deterioration or any rips, creasing, folds. The surface appears well preserved and colours in good condition. Frame is good with solid joints
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Old Quarry Road, 1926, signed in pencil bottom right, numbered 70/75, etching, measurements 22.4 x 30.4 cm (PL), frame 46 x 53 cmNotes: illustrated in Charles Tunnicliffe Prints: A Catalogue Raisonne, p.33Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing, not examined external to the frame. The sheet appears to be in good condition without any obvious evidence for rips, creasing or folding. The etching has full margins and a clearly defined platemark, the inking is clear and the surface appears stable. The frame is in good condition with solid joints
David Hockney RA (British b.1937) Two Figures with Mirror, etching, Proof for Cavafy suite unused in the final series, included in the Belgium Sketchbook, measurements 25.5 x 15.5 cm (PL), frame 49 x 37.5 xmProvenance: private local collection, purchased from the Goldmark GalleryCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition with no obvious evidence for any rips, creasing or folds. There are some faint, sparsly distributed spots of foxing in the platemark and a couple of patches of discolouration to the upper left. The mount covers any platemark- the visible area measures 25.3 x 15.5 cm
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Thatcher, signed in pencil bottom right, numbered 20/75, etching, measurements 19.3 x 15.5 cm (PL), frame 48 x 39 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.76Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet has some general ageing (yellowing) of the paper comensurate with age. There is evidence for some sparsly distributed, faint spots of foxing in the margins and signs of faint discolouration in the top right corner- the print may well have been cleaned. THe etching measures 19.3 x 15.4 cm (PL) The frame is in good condition with solid joints.
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Cheshire Plain, 1926, signed pencil lower right, numbered 50/75 lower left, etching, measurements 20.1 x 24.7 cm (PL), frame 44 x 47.5 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.66Provenance: Consigned from a significant private collection of wildlife art
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Mowing Machine, 1928, signed in pencil bottom right, inscribed 'To Mr and Mrs F.J. Wonnacott, Christmas 1930' bottom left, etching, measurements 16.3 x 23.8 cm (PL), frame 40 x 46 cmNotes: Mr and Mrs Wonnacott were Tunnicliffe's mother and father in-law. Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.90Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. It has full margins and a clearly defined platemark. The sheet appears in good condition with no obvious evidence for any rips, creasing or folds. The surface shows some ageing to the paper (slight browning) comensurate with age, the surface appears stable and does not suggest deterioration. The ink is well preserved and clear. The frame is in good condition with solid joints
Charles Frederick Tunnicliffe OBE RA (1901-1979) A Hard Winter, 1928, signed in pencil bottom right, numbered 63/75, etching, measurements 22.7 x 27.7 cm (PL), frame 50.5 x 54.5 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.89, exhibited at Charles Frederick Tunnicliffe exhibition at Oriel Môn 2019-2020Provenance: consigned from a significant private collection of wildlife artCondition report: This etching is a work on paper, framed under glazing, not examined external to the frame. It has full margins and clearly defined platemark. The sheet appears in good condition, no obvious signs for creasing, tears or losses and there does not appear to be evidence for deterioration. The colour is well preserved and the surface appears stable. The frame is in good condition with solid joints.
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Constitutional, circa 1925-1926, signed in pencil bottom right, numbered 9/75, measurements 17.5 x 22.6 cm (PL), frame 42.5 x 46.5 cmNotes: The image depicts William Tunnicliffe turning out the sow and piglets. As illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 57Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition with no obvious evidence for any rips, creasing or folds. There does not appear to be evidence for any deterioration, the surface is stable. The etching has a clearly defined platemark and full margins. The frame is in good conditionw with solid joints.
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Seed Roller, circa 1925-26, signed in pencil bottom right, numbered 55/75, etching, measurements 17.5 x 22.5 cm (PL), frame 41 x 45 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.63Notes: The etching depicts Mr Cooper, a neighbour, receiving refreshment from Dorothy Tunnicliffe while taking a break from rolling a ploughed field to prepare the soil for laying seed.Provenance: consigned from a significant private collection of wildlife artCondition report: Lot 4 is an etching on paper, with full margins and a clearly defined platemark. It is framed under glazing- not examined external to the frame- the frame is in good condition with solid joints. The sheet appears in good condition, no evidence for any rips, creasing or folds and the surface appears well preserved and stable. It is signed in pencil bottom right as well as in the plate and numbered 55/75 bottom left.
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Sitting Hare, 1926, signed in pencil bottom right, numbered 64/75, etching, measurements 14 x 19 cm (PL), frame 34.3 x 38.3 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 64Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The print has full margins and a clearly defined platemark, is numbered below left and signed in pencil below right. The paper has some signs of ageing- including some browning of the paper and has some small, sparsly distributed spots of foxing in the upper margin and a couple in the very top edge of the platemark. The sheet does not show any obvious evidence for rips, tears or creasing. The frame is in good condition with solid joints.
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Kestrel, 1926, signed in pencil bottom right, numbered 65/75, etching, measurements 25.2 x 35.7 cm (PL), frame 49 x 57 cmNotes: This etching depicts the view from Tunnicliffe's friends home at Lee Farm, showing his farmhouse, Sutton Lane End's village and St James church in the distance. Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.67Provenance: consigned from a significant private collection of wildlife artCondition report: This etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition, no obvious evidence for rips, creasing or folds. There is one visible foxing spot in the dark cloudy area of the skyline upper left. The surface appears stable. Full margins are present and the platemark clearly defined. The frame is in good condition with solid joints
Charles Frederick Tunnicliffe OBE RA (1901-1979) The White Horse, 1927, signed in pencil bottom right, numbered 59/75, etching, measurements 20.4 x 24 cm (PL), frame 44 x 46 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.77Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition without any obvious signs for rips, creasing or folds. The etching has full margins and a clearly defined platemark, the ink appears clear. There are some very faint, minor, sparsly distributed spots of discolouration in the margin. The frame is in good condition with solid joints.
Charles Frederick Tunnicliffe OBE RA (1901-1979) Christmas Chickens, 1927, signed in pencil bottom right, numbered 73/75, etching, measurements 23.9 x 20 cm (PL), frame 48 x 42.5 cmNotes: Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 72Provenance: consigned from a significant private collection of wildlife artCondition report: Lot 4 is an etching on paper, framed under glazing- not examined external to the frame. The etching has full margins and a clearly defined platemark. The sheet appears in good condition without any signs of tears, creasing or folds and the surface appears stable. There does not appear to be evidence for deterioration. The frame is in good condition with solid joints.
Charles Frederick Tunnicliffe OBE RA (1901-1979) Old Bones, 1928, signed in pencil bottom right, etching, measurements 22.6 x 17.7 cm (PL), frame 47 x 41 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.80Provenance: consigned from a significant private collection of wildlife artCondition report: This item is an etching on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition without any obvious signs for any tears, folds or creases, there is some cockling within the plate. There are a couple of sparsly distributed faint spots of foxing to the upper background within the platemark and one visible in the bottom margin. The print has full margins and clearly defined platemark. The frame is in good condition with solid joints.
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