* Marine Views. Wright (Bert). London and the Thames, Castlebar Graphics, 1996, coloured photolithograph, titled, signed and numbered in pencil by the artist, limited edition 332/850, 425 x 620 mm, mounted, together with Hanfstaengl (Franz). The Pool of London, circa 1900, hand-coloured photogravure, some mount staining and toning, 445x 640 mm, mounted, with Whishaw (Alexander Y.). Ocean Liner leaving Liverpool, circa 1920, coloured etching, signed in pencil by the artist to the lower right, 415 x 545 mm, mounted, plus Smitheman (S. F.). The SS Great Britain arriving at Liverpool from Australia in 1861, circa 1990, colour print, signed in pencil by the artist to the lower right, limited edition 70/250, 385 x 555 mm, mounted, and The Cutty Sark in the South China Sea, 1872, SS Great Britain arriving in New York on her Maiden Voyage, 1845 [and] SS Great Britain on her first Australian voyage, Hobson's Bay, Melbourne, 1852, together three colour prints, each signed by the artist in pencil to the lower right, each a limited edition of 59/500, 67/500 & 70/500 respectively, each approximately 375 x 540, two mounted, together with another eight 20th century colour prints of marine and civil engineering views, various sizes and conditionQty: (15)
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* Mason (Frank Henry, 1876-1965). Harbour Lights: Shields, etching on paper, printed with plate tone, signed lower left, titled lower right, spotted, plate size 185 x 300 mm (7.25 x 11.75 ins), mount aperture 210 x 315 mm (8.25 x 12.5 ins), framed and glazed (430 x 490 mm), together with two others etchings: St. Augustine's Gate [Bristol], by Edward W. Sharland (1884-1967), and Petergate, York, by Charles A. Barker (late 19th-early 20th century), both window mounted, framed and glazedQty: (3)
* Wyllie (William Lionel, 1851 - 1931). Brig under Fire, uncoloured etching, signed by the artist in pencil to the lower left, 185 x 225 mm, mounted, framed and glazed, together with Phillips (Paul). Red-throated Diver, 1989, uncoloured etching, signed and dated by the artist in pencil to the lower right, 155 x 170 mm, mounted, framed and glazed, with Blundell (A. G.). The Pool, circa 1900, uncoloured etching, titled and signed by the artist in pencil below the image, 115 x 165 mm, mounted, framed and glazed, plus Watson Turnbull (A.). Outward Mills, Surrey, circa 1920, uncoloured etching, titled and signed by the artist in pencil below the image, 205 x 275 mm, mounted, framed and glazed, and Millais (J. G.). Golden Eagle, circa 1910, uncoloured print, 200 x 305 mm, mounted, framed and glazedQty: (5)
After Karel Dujardin A Savoyard boy playing a violin Etching 16.7 x 12.2cm; 6½ x 4¾in (plate) Together with Continental School 19th Century; Study of an ornamental ceiling; pencil; 28.2 x 19.7cm; 11 x 7¾in; Edward Croft-Murray (1907-1980); Duetto for Young Serpent and Gouty Violin; Figures at a ball; two, the former inscribed with title; both pen and ink; each 14 x 8.8cm; 5½ x 3½in; Rowland Emett (1906-1990); Just Like Them to Go and Spoil the Amenities with a Block of Flats; signed and inscribed To Captain & Mrs Whitford Hawkes/with best wishes from/Rowland Emett (lower left); reproduction print; 22.6 x 28.6cm; 9 x 11¼in; Francesco Bartolozzi (Italian 1728-1815) after Henry Edridge (1768-1821); Portrait of Colonel Stanley; stipple with hand-colouring; 15.5 x 11.5cm; 6 x 4½in; and Manner of Thomas Lawrence; Portrait of a lady; reproduction print 27.1 x 20.4cm; 10¾ x 8in (unframed) (7) Provenance: From the collection of Edward Croft-Murray (1907-1980)
François Boucher (French 1703-1770) after Jean-Antoine Watteau (French 1684-1721) La Coquette (Dacier & Vuaflart 210) Etching, third state 26.7 x 39.5cm; 10½ x 15½in (plate) Provenance: Colnaghi, London, where purchased by Edward Croft-Murray, December 1974; From the collection of Edward Croft-Murray (1907-1980)
Henry Bunbury (1750-1811) Concerto Spirituale Pencil, pen and brown ink 22.4 x 18.1cm; 8¾ x 7in Framed together with James Bretherton (act.1750-1799) after Henry Bunbury; Concerto Spirituale; etching; 25 x 19.3cm; 9¾ x 7½in (2) Provenance: From the collection of Edward Croft-Murray (1907-1980) The viol da gamba player likely represents Carl Friedrich Abel, or possibly Johann Christian Bach. The oboe player has been identified as Johann Christian Fisher, and the French horn player as Giovanni Punto (born Jan Stich).
English School 1754 The Charming Brute: A Satire on Handel Etching 33.2 x 23.5cm; 13 x 9¼in (sheet) Together with Jean Baptiste Delafosse (French 1721-1806) after Louis Carmontelle (French 1717-1806); Portrait of the Mozart family; etching; 32.6 x 20.4cm; 12¾ x 8in (sheet); James Bretherton (act. 1750-1799) after Loraine Smith (1751-1835); A Sunday Concert; etching and aquatint; 33.5 x 48.8cm; 13.1 x 19¼in (image); Francesco Bartolozzi (Italian 1728-1815) after Giovanni Battista Cipriani (Italian 1727-1785); Ticket for the masqued ball at Ranelagh; etching; 15.6 x 10cm; 6¼ x 4in (sheet); After William Hogarth; Masquerade ticket; etching; 19.7 x 27.9cm; 7¾ x 11in; Herbert Bourne (c.1825-1907) after Thomas Webster (1800-1886); The Village Choir; etching with hand-colouring; 14.6 x 25.4cm; 5¾ x 10in (image) (6) Provenance: 'Mozart family' presented to Angus Greenland by Leopold Mozart, 1764 (according to inscription to verso); 'Ranelagh' presented to Edward Croft-Murray by James and Christine Byam Shaw; All from the collection of Edward Croft-Murray (1907-1980)
Samuel Wale RA (1721-1786) A view of the entrance of Vauxhall Gardens Pen and ink and grey wash, in black framing lines 9.4 x 15.5cm; 3¾ x 6in Together with Thomas Simpson (act.1765-1801) after Samuel Wale; View at the Entrance into Vauxhall; etching; 11.5 x 17.9cm; 4½ x 7in; unframed (2) Provenance: From the collection of Edward Croft-Murray (1907-1980) Literature: Robert Dodsley, London and its Environs Described, vol. VI (London, 1761), p.216 (illustrated)
After Henri L'Evêque (Swiss 1769-1832) Departure of his R.H. the Prince Regent of Portugal for the Brazils; The landing of the British Army at Mondego Bay; The attack on the French corps commanded by Genl. Laborde, on the 17th of Augt. 1808; Battle of Vimiero; The attack on the strong fort of Grijo, on the 11th of May 1809; Passage of the Douro (two versions); Bridge of Nodin; The bridge at Saltador; A view of the bridge of Miserere; The battle of Talavera; The battle of Bussaco; A view taken on the Tagus; The battle of Victoria Fourteen, each coloured etching, some with stipple Largest 39.8 x 53.5cm; 15¾ x 21in; Smallest 33.8 x 48.1cm; 13¼ x 19in (14)
§ DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH 1931-) TOBY - Etching and aquatint, B.A.T. aside from the edition of 50, signed, titled and editioned in pencil to margin, published by Glasgow Printmakers, with their blindstamp(the sheet 50cm x 55cm (19.75in x 21.75in))
§ PAULA REGO R.A. (BRITISH/PORTUGESE 1935-) FLYING CHILDREN (FROM PETER PAN) Etching and aquatint, 'Proof,' aside from the edition of 50, signed and inscribed in pencil to margin(image size 27.5cm x 20cm (10.75in x 8in))Footnote: Note: This was printed by Paul Coldwell for the artist, Marlborough, 1992.
§ PABLO PICASSO (SPANISH 1881-1973) MARIE-THÉRÈSE REGARDENT SON CORPS SCULPTÉ from LA SUITE VOLLARD Etching, ed. 250, on Montval laid paper with Picasso watermark, signed in pencil to margin(plate size 27cm x 19cm (10.5in x 7.5in), the sheet 44.5cm x 33.8cm (17.5in x 13.25in))Provenance: Galerie de la Bouquinerie de l'Institut, Paris; Open Eye Gallery, Edinburgh.Footnote: Note: The Vollard Suite of one hundred etchings was a significant artistic undertaking. Commissioned by the art dealer Ambrose Vollard, Picasso worked on the series over a period of seven years, from the initial commission in 1930 until 1937, though it then took the printer a further two years to complete the full printing. The suite reveals Picasso’s most significant personal preoccupations over this period of his life, as wider turmoil was unfolding across Europe. During this time Picasso embarked on an affair with the teenaged Marie-Thérèse Walter, and she became his mistress and his muse. Within the most coherent sequence of the suite, known as Sculptor’s Studio, Marie-Thérèse features in all 46 works. In this etching, she appears twice, as both artist’s model but also in sculptural form. Picasso casts himself in the leading man’s role of sculptor, inspired by his commitment at this time to classicism, which placed sculptor above painter in the hierarchy of arts. Marie-Thérèse views herself, while both versions of her, both real and created, are viewed by us in the position of the artist/sculptor, and through the hand of Picasso. In this way, the composition plays with ideas of perception, creation and reality, transformation and metamorphosis, the relationship between artist and muse and ultimately, between life and art.
§ VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) WORLD IN SPACE AND TIME II - 1992 Etching and aquatint, 12/90, signed with initials, dated and numbered in pencil to margin(image size 49cm x 144cm (19.25in x 56.75in))Footnote: Note: Victor Pasmore didn’t move towards his signature abstract style until 1947, in a move the art historian Herbert Read described as ‘the most revolutionary event in post-war British art.’ In 1966 Pasmore re-located to Malta and it was in this same year that he began experimenting extensively with printmaking, starting with the 2RC printshop in Rome. From then on, printmaking became a significant part of his artistic practice and he worked with many important print studios, including Kelpra Studio and Curwen Press. With time, and this significant move to both warmer climes and into printmaking, Pasmore’s work softened and his hard-edged geometric forms gave way to more curving shapes and the wandering lines and areas of bold colour that we can see here in ‘World in Space and Time II.’ The resulting image is characterised by a simplicity and fluidity that evokes a strong sense of balance, even peacefulness, in juxtaposition to the dramatically large scale of the work.
§ PAULA REGO R.A. (BRITISH/PORTUGESE 1935-) HOW MANY MILES TO BABYLON? FROM 'NURSERY RHYMES' - 1989 Etching and aquatint, 14/50, signed and numbered in pencil to margin, published by Marlborough Graphics, printed at the Culford Press, with their blindstamp(the sheet 51.5cm x 38cm (20.25in x 15in))
§ PAULA REGO R.A. (BRITISH/PORTUGESE 1935-) SEE-SAW, MARGERY DAW - 1994 Etching and aquatint with hand-colouring, 15/50, signed and numbered in pencil to margin, published by the artist and Marlborough Graphics, London, printed by Culford Press, London(image size 32cm x 21cm (12.5in x 8.25in))
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) LANDSCAPE: BIRTH OF A FLOWER - 1951 Etching, 6/50, signed, numbered and inscribed 'Jan 51' in pencil to margin; and a companion, a pair 'Landscape: Death of a Flower,' Etching, 32/50, signed, numbered and dated '1951' in pencil to margin(each, image size 21.5cm x 44cm (8.5in x 17.25in))
JOY DIVISION - OVERSEAS LPS/12". Cool pack of 5 x hard to find overseas pressing LPs/12" from Joy Division. Titles are Unknown Pleasure (US FACTUS 1, original textured sleeve, solid black vinyl, matrix/runout FACTUS 1 (indecipherable etching) â–◯■98387 L-1835 SACC 008 A/FACTUS 1 L-1835-X 9839 ê”° I'VE BEEN LOOKING FOR A GUIDE - Ex nice and clean record with only a couple of light paper marks/VG+ printed paper inner, stamped 401346/VG+ neat sleeve with some shelf/edgewear), Closer (US FACTUS 6, original lesser seen 'light green' light visible when the record is held up to strong light, matrix/runout FACUS 6A 11142 (3) +/FACUS 6B 11143 (3) +, the record in lovely Ex condition showing again only a couple of very light and fine paper marks/Ex textured inner stamped 390858/Ex some light scuffs to the heavy textured sleeve), Love Will Tear Us Apart (Japanese YW-7421-AX - superb archive condition record/VG+ sleeve, complete with obi), Atmosphere (Japanese YW-7422-AX - superlative archive condition record/Ex+ very clean sleeve, complete with obi) and Short Circuit Live At The Electric Circus (Greek pressing VG 50100 - Mint and factory sealed).
Sir William Russell Flint RA, RSW (1880-1969) - The Harness Maker, drypoint with margins, signed by the artist in ink, 22 x 38.5cm and James McBey - Venice 24 September 1925, etching with margins, signed by the artist in pencil, 29.5 x 44cm (2) Provenance: (McBey) P & D Colmaghi & Co Limited Both exposure stained / lightly browned
Pieter Nolpe (C.1613-c.1652 ) after Paulus Potter (1625-1654) Monochrome etching ' AER ' circa 1650. A scene on a sea shore with fishing boats beached and a group gathered around a beach hut with barrels of fish. With parallel couplets of verse in Dutch and French. Printed under ' P Potter inventor / Pieter Nolpe Fecit / F de Wit excudit' numbered 24. 15 7/8 (40.3 cm) x 20 15/16" (53.2 cm)For similar see The British Museum
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