* Gillray (James). A Peep at Christies; - or - Tally-ho, & his Nimeney-pimmeney taking the Morning Lounge, H. Humphrey, Sept. 24th 1796, aquatint etching with contemporary hand clouring, narrow margins, slight staining and dust soiling, some adhesion scaring to verso, 350 x 250 mmQty: (1)NOTESA caricature depicting the diminutive Lord Derby with the tall and thin actress Elizabeth Farren, studying paintings on view in the exhibition rooms at Christie's. The title, 'Tally-ho' refers to Lord Derby's reputation as an eminent fox-hunter; presumably, this is why he is studying a painting showing the death of a fox, and 'Nimeney-pimmeney' refers to Miss Farren's successful portrayal of Nimeney-pimmeney in General Burgoyne's The Heiress, a work dedicated to Lord Derby. The painting which is being studied by Lord Derby is titled 'The Death' and this hints at the fact that Lord Derby was waiting for his estranged - and terminally ill wife - to die, which she would do the following year. She had left her husband for an affair with Lord Dorset, which left Lord Derby and his wife in an acrimonious stalemate not resolved until the countess died; three weeks after her death Lord Derby married Miss Farren.
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* Gillray (James). Dilettanti Theatricals - or a Peep at the Green Room - Vide Pic-Nic-Orgies, H. Humphrey, Feb 18th 1803, etching on wove with contemporary hand colouring, some adhesion scars to margins, slight mount staining, laid on later card, 310 x 490 mmQty: (1)NOTESA crowded drawing-room scene showing several figures from the upper echelons of society dressing and rehearsing for an amateur production of a play. The image clearly echoes William Hogarth's 'Strolling Actresses Dressing in a Barn' but Gillray's rendering is a great deal more luxurious than the squalor depicted by Hogarth. The scene is dominated by the enormous Lady Buckinghamshire who is standing before a dressing-table, adding yet another 'beauty-spot' to her face. Othe characters include Lady Salisbury pulling on her boots, the gigantic Lord Cholmondeley who is dressed as Cupid and the tiny Lord Mount Edgcumbe clad in the armour and helmet of Alexander the Great. Sir Lumley Skeffington is dressed as Harlequin and dances with a deformed 'punch-like' hunchback who is Lord Kirkcudbright. Discreetly shown in front of the room screen is a group of four dancing in a round which includes the Prince of Wales placed between Mrs Fitzherbert and Lady Jersey; his attention and right hand firmly attached to Lady Jersey. A detailed caricature intended to depict complex machinations and intrigue which swirled around the political and aristocratic classes of mid-Georgian society.
* Rowlandson (Thomas). The Huntsman, T. Smith, 1785, etching with aquatint and contemporary hand colouring, slight spotting and dust soiling, 355 x 420 mm, framed and glazedQty: (1)NOTESAn uncommon Rowlandson etching of a huntsman on a grey horse with a couple of hounds, clearing a low stone wall.
* Sharpshooter (A. pseud. John Phillips). Four caricatures, New Mode of Military Discipline, G. Humphrey, 1829, Losing my Seat, G. Humphrey 1829, The Royal George, J. Gans 1829, [and] The Lumber Troop - or - Queen's Own, G. Tregear, 1829, together four caricatures with bright contemporary hand colouring, 'The Royal George' trimmed to neatline and laid on later paper, each approximately 250 x 345 mm, framed and glazed, together with Tregear (Gabriel Shire, publisher). A Vision of Judgement!!!, circa 1830, etching with bright contemporary hand colouring, 245 x 350 mm, framed and glazed (glass cracked), with Cruikshank (Isaac Robert). The Wellington Testimonial, see "The Times" April 30th, G. Tregear, 1829, etching with contemporary hand colouring, 250 x 345 mm, framed and glazed, plus Heath (Henry). A Long Pull, A Strong Pull and a Pull Together, G. Tregear 1829, etching with bright contemporary hand colouring, 250 x 350 mm, framed and glazed, and Heath (William). A Political Reflection, T. McLean, circa 1829, etching with bright contemporary hand colouring, 255 x 375 mm, framed and glazed, with Jones (Thomas Howell). John Bull & his new Doctor, S. W. Fores, 1820, etching with bright contemporary hand colouring, 355 x 250 mm, framed and glazed, and one other similarQty: (10)
* Marine. Walker (J.). The Great Western Steam Ship intended to trade between Bristol and New York, leaving Cumberland Basin on the morning of the 18th August 1837, in tow of the Lion Steam Tug and accompanied by the Benledi and Herald Steamers for the purpose of proceeding to London to receive her Engines, Hullmandel, 1837, uncoloured lithograph some mount staining and dust soiling, 240 x 320 mm, together with Morgan (W., lithographer). The British Queen Floated out of Dock on the Queen's Birthday, May 24th 1838, W. Morgan, 1838, tint stone lithograph, some dust soiling, one long repaired closed tear affecting image, 245 x 290 mm, mounted, with Knell (W. A.). [The Turkish Steamer "Vassitie Tidjaret", circa 1850, hand-coloured lithograph, proof before title and letters, some surface abrasion, occasional marginal closed tears, 280 x 420 mm, mounted, plus Fores (S. W. publisher). The Famous Packet from Paddington to Uxbridge on the Grand Junction Canal, 1801, etching with contemporary hand-colouring, a manuscript '96' to lower right margin, trimmed to platemark and tipped on to later card, 250 x 405 mm, mounted, and Rushton & Melling (publishers). The Hibernia and St George starting from Liverpool, circa 1830, uncoloured lithograph, slight staining, 260 x 360 mm, with another sixteen engravings and lithographs similar, including examples by or after Ackermanns, 'The Boys Own Paper, Ross, W. Cooke and Dudley, various sizes and conditionQty: (21)
George Woolliscroft Rhead, after Thomas M Hemy, The Eton Wall Game, signed in pencil 'G Woolliscroft Rhead' (in lower margin), etching, published 1888 by Dickensons, 35 x 52cm, together with another etching by Woolliscroft Rhead after Thomas Hemy, Eton - Absence, signed in pencil, published 1887 by Dickensons, 35 x 52cm (2)
F G Stevenson, after Henry Jamyn Brooks, Eton College Gateway (Entrance to School Yard), signed in pencil 'H Jamyn Brooks, F G Stevenson' (in lower margin), etching, published 1891 by Dickinson & Foster, 32 x 50cm, together with an etching by George Woolliscroft Rhead after Thomas M Hemy, Eton - Absence, signed in pencil 'G Woolliscroft Rhead' (in lower margin), published 1887 by Dickensons, 35 x 52cm (2)
Martin Hardie (British, 1875-1952), Antifouling boats, signed in pencil 'Martin Hardie' (in lower margin), etching, 17 x 22.5cm, together with an etching by Elisabeth Boardman Warren, A Path to the Sea, signed in pencil, 20 x 25cm, and a further etching of two girls on the beach, indistinctly signed in pencil, 17.5 x 25cm (3)ARR
Valerie Thornton (British, 1931-1991), L'Estany, stamped signature in the margin (lower right), titled, dated '90' and numbered '16/40' in pencil (in margin), etching, 36 x 36cm, together with; 'Cows in the valley', etching by June Berry and 'Gardens after rain', an aquatint by Ronald Miller, (3)ARR
After Boris Stfanovitch Riabouchinsky (1898-1975) French Coloured sporting etching marked to top ?Ch.Ducher et Cie . 35 Ave de l? Opera , Paris No 737? Black Labrador studies Posthumously signed in pencil lower left ? B Riab ? 13 1/4 (30.6 cm) x 10? (25.4 cm) In a figured walnut and ebonised frame
Sir David Young Cameron ( 1865-1945) Scottish Etching ? Perth Bridge ? on the River Tay 1889. Titled and signed within the plate lower right Plate aperture 7 1/8 x 10 3/8 " ( 18.2 x 26.3cm) Ref. National Gallery Scotland, ?Cameron was encouraged to take up etching in 1887 by the collector and amateur etcher George Stevenson, who had seen a couple of the young artist?s drawings in a shop window. Stevenson introduced him to the etching technique, financed him, presented him to dealers, and published Cameron?s first series of etchings, including the ?Clyde Set? in 1889. This print, showing Perth Bridge on the River Tay, was published in the influental periodical 'The Portfolio' in 1889. Cameron skilfully constructed an atmospheric perspective by creating a tonal transition from deeply etched dark areas in the foreground, to a light background with outlines of distant hills hardly touched by acid.?
Moon Butterflies, edition 11/75 etching, with hand finished 24 carat gold leaf on Somerset paper 96 x 96cm Footnote: Guy discovered his passion for print making during his time in Paris studying at the École Nationale Supérieure Des Beaux-Arts in 2010, when he became particularly fascinated with the traditional etching process. Guy then graduated from Central Saint Martins School of Art in 2011. “Norfolk is my home, where I go to find inspiration. Growing up here, I have an affinity with and fascination for animals, for their quirks, strengths, and fragility. I have tried to capture these characteristics in this collection of Insects in small format original etchings that render them accessible to the viewer. I use gold leaf, itself a delicate medium, to highlight the natural beauty, iridescence and fragility of the insect and animal world”
Smoke Fox giclee print on hannemulle etching paper, Artist’s Proof 80x85cm, unframed Footnote: Maria Pavledis is an artist and printmaker who works with the dreamlike world of fairy tale and narrative, drawing upon the relationships between animals, humans and nature, including the darker and uncanny elements. Starting from a very strong commitment to drawing, she develop images using a mixture of traditional and non -traditional methods, including etching, drypoint, monoprint, projection installation, and more particularly, smoke drawing. The unusual smoke drawing method is developed from a process used in etching called ‘smoking the plate’ where the copper plate is blackened with a lighted wax taper before the image is drawn on. Maria always took great pleasure in creating rhythms and patterns on the plate with the smoke, and started to experiment with smoke on paper and from that began working on larger scale drawings. The work in this show creates an iconic animal presence which connects the viewer with a sense of reverie. Maria studied painting at Norwich School of Art and did an MA in printmaking at Camberwell College of Art.
Structural Memories II, 2008 numbered 20/50 etching 38x38cm Footnote: This edition was created for the 2008 Summer Exhibition at the Royal Academy and represents signature elements of Grimshaw design. While President of the Royal Academy Sir Nicholas Grimshaw made a few etchings each year for the Summer Exhibition. Ordinarily he does not sell his work but some have been given as gifts or donated to charity. Grimshaw graduated from the Architectural Association with honours and has had his own practice ever since. He was elected a Royal Academician in 1994 and was President of the RA from 2004 to 2011. He received the RIBA Gold Medal in 2019. GRIMSHAW, now a global practice, is known for buildings such as the Eden Project and London’s Waterloo Station and the Excel Centre.
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