78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Roland Langmaid, 'Blackfriars Bridge and St Paul's from The Thames', signed in pencil, etching, pl.18.5 x 24cm.  

Percy Robertson, 'St Paul's from The River', signed in pencil, etching, pl.17.5 x 26cm.

Eric James Mellon, 'Allegory', signed and titled artist's proof, woodcut, 24 x 19.5cm; 'The Gardener', signed, titled and numbered 5/50, woodcut, 17 x 19.5cm; 'The Dream', signed, titled and numbered 5/50, woodcut, 20.5 x 17.5cm; and 'Children Playing, Ospringe Rd, Tufnell Park, London, 1948', signed, titled and numbered 10/50, etching, pl.9.5 x 21.5cm. (4)

etching on paper, signed in pencil to lower margins, 16 x 26cm, glazed and framed, 43.5cm x 53.4cm overall, together with a quantity of books on the engravings of Robin Tanner (6). *CR (i) Generally good condition. Under glass, unexamined out of glazed frame. (ii) Mixed condition.

The Studio. Modern Masters of Etching, 5 volumes, original publishers boards, oblong 4to, London: The Studio, 1924-25. *CR Mixed condition.

Hockney Etching No 46 of 100. 'Digging up Glass'  Signed and numbered by the artist in pencil. c.1969 Frame size 32cm x 32cm 

A 19th Century burr wood ebonised Bonheur-du-jour writing desk with two small drawers above a sloping fold down front encasing a fitted interior with a well standing on shaped tapering legs, with brass etching. 68cm by 44cm by 98cm

Engraving of Buxton, Covent Garden, actors, signed Hoffman etching, one other. (8)

William Russell Flint (1880 - 1969) Clatter and Whirl, Granada, Drypoint etching, signed Trial Li 25.1.32, 21 x 35.5cm, Paper Bourgogne 1749 and titled all to lower margin.

Beethoven Etching, pencil signed, 22.5 x 16.5cm; Early XX Century pencil drawing of German male figure, print Cavalryman study, 41.5 x 33cm, 'Harmony Before Matrimony' James Gillray engraving. (4)

Early Engraving of Charles Howard by Piper Etching, 36 x 22cm. Jacquline Currell and Mark Gamble signed prints (4).

Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Allegorie der Ewigkeit oder auch Venus im TriumphwagenDarstellung vor schwarzem Grund mit einer jungen, weiblichen Figur in einem Triumphwagen, gezogen von zwei schwebenden Amoretten mit brennenden Fackeln. Motiv und Stil des klassizistischen Blattes lassen es Maestri zuschreiben, der durch die antiken Fresken in Pompeji und Herculaneum sowie Raffael und Romano inspiriert wurde. Viele Gouachen Maestris erwarben wohlhabende Reisende und Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in enger Anlehnung an eine "Venus" betitelte Radierung Tommaso Pirolis in "Peintures de la Villa Lante à Rome" (1. Ausgabe Paris 1803), der hierin wiederum ein um 1520 geschaffenes Fresko von Giulio Romano wiedergibt, das sich einst in der Villa Lante in Rom befand und heute im Palazzo Zuccari zu finden ist. Gouache (über Umrissradierung?)/Papier. Ca. 45 cm x 60,5 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.

Salvador Dalí(1904 Figueras - 1989 ebenda) nach "Die Schafherde". OriginaltitelRadierung mit Pochoir und Goldauflage/Japan, 1971. Bez. und nummeriert 19/250. Verso blauer Stempel "Edition USA". Aus der Folge "Das Hohe Lied des Salomon". Vgl. Wvz. Michler/Löpsinger 470. Plattenmaß 40,7 cm x 25,2 cm. Blatt 57,8 cm x 38,6 cm.After Salvador Dalí. Etching with stencil colouring and gold on Japan paper. Inscribed and numbered 19/250. Blue stamp "Edition USA" on the reverse.

Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Zwei tanzende MänadenVor schwarzem Grund schwebende Mänaden in graziöser Tanzpose mit wehenden, leichten Gewändern; in der Sockelpartie zwei Raubkatzen und Zimbeln auf Landschaftssockel. Motiv und Stil des klassizistischen Blattes lassen es Maestri zuschreiben, der durch die antiken Fresken in Pompeji und Herculaneum sowie Raffael und Romano inspiriert wurde. Viele Gouachen Maestris erwarben Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in Anlehnung an Radierungen Tommaso Pirolis aus der 1757-1792 in Neapel und später in Rom erschienenen, mehrbändigen Publikation "Le pitture antiche d'Ercolano". Gouache (über Umrissradierung?)/Papier. 46 cm x 36 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.

Rembrandt Harmenszoon van Rijn(1606 Leiden - 1669 Amsterdam)"Die drei Orientalen (Jacob und Laban?)". OriginaltitelRadierung und Kaltnadel/Bütten, um 1641. R. o. in der Platte sign. und dat. 1641 (seitenverkehrt). Kräftiger Abzug (II. Zustand) mit der hinzugefügten Linie am Turban des stehenden Mannes links, den Überarbeitungen im Laub und der Linie im Nacken des Hundes. Wvz. Bartsch 118; New Hollstein 190 II (von II). Bis über den Facettenrand beschnitten. 14,3 cm x 11,4 cm. Rahmen. Möglicherweise schildert Rembrandt hier eine Szene aus der Jacobs-Erzählung des Alten Testaments (1. Mose 30, 25-43), in der Jacob mit seinem Onkel Laban über eine Vereinbarung ihrer Partnerschaft disikutiert.Provenienz: aus der über Generationen gewachsenen Sammlung Michahelles, Hamburg.Etching and drypoint on laid paper, circa 1641. Signed and dated 1641 (inverted) in the plate. An impression of New Hollstein's second (final) state.

Salvador Dalí(1904 Figueras - 1989 ebenda) nach "König Salomon". OriginaltitelRadierung mit Pochoir und Goldauflage/Japan, 1971. Bez. und nummeriert 182/250. Aus der Folge "Das Hohe Lied des Salomon". Vgl. Wvz. Michler/Löpsinger 468. Plattenmaß 40,7 cm x 25,3 cm. Blatt 56,8 cm x 39 cm.After Salvador Dalí. Etching with stencil colouring and gold on Japan paper. Inscribed and numbered 182/250.

Salvador Dalí(1904 Figueras - 1989 ebenda) "Hamadryades Mimetiques Arborescentes (Baumartige Mimikry-Hamadryaden)". OriginaltitelKaltnadelradierung und Farbaquatinta/Arches-Velin (Wasserzeichen), 1971. Sign. oder bez. und bez. EA. Künstlerexemplar außerhalb der Auflage von 175 Exemplaren auf Arches-Velin. Vgl. Wvz. Michler/Löpsinger 465. Plattenmaß ca. 31,8 cm x 49,5 cm. Blatt 50,5 cm x 66 cm. Rahmen. Drypoint etching and aquatint in colours on paper, 1971. Signed or inscribed and inscribed EA (artist's proof).

Salvador Dalí(1904 Figueras - 1989 ebenda)"Elijah" (Elias und der Feuerwagen). OriginaltitelKaltnadelradierung mit Pochoir und Goldauflage/Japan, 1975. Sign. oder bez. und nummeriert 93/250. Aus der Serie "Our historical Heritage" (Unser historisches Vermächtnis). Wvz. Michler/Löpsinger 758. Plattenmaß 39,8 cm x 56,5 cm. Blattmaß ca. 57,5 cm x 77,5 cm. Rahmen.Drypoint etching with stencil colouring and gold on Japan paper, 1975. Signed or inscribed and numbered 93/250.

Salvador Dalí(1904 Figueras - 1989 ebenda) nach"Die Geliebte ist schön wie eine Pferdeherde". OriginaltitelRadierung mit Pochoir und Goldauflage/Japan, 1971. Bez. und nummeriert 19/250. Verso blauer Stempel "Edition USA". Aus der Folge "Das Hohe Lied des Salomon". Vgl. Wvz. Michler/Löpsinger 475. Plattenmaß 40,7 cm x 25,3 cm. Blatt 56,8 cm x 39 cm.After Salvador Dalí. Etching with stencil colouring and gold on Japan paper. Inscribed and numbered 19/250. Blue stamp "Edition USA" on the reverse.

Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Römische TänzerinVor schwarzem Grund schwebende Tänzerin als Halbakt, eine Silberplatte in der Hand haltend und ihr goldgelbes, wehendes Gewand emporhaltend; in der Sockelpartie der Kopf einer Bacchantin und ein Taubenpaar auf einem Lorbeerfeston. Motiv und Stil des klassizistischen Blattes lassen es Maestri zuschreiben, der durch die antiken Fresken in Pompeji und Herculaneum sowie Raffael und Romano inspiriert wurde. Viele Gouachen Maestris erwarben Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in Anlehnung an Radierungen Tommaso Pirolis aus der 1757-1792 in Neapel und später in Rom erschienenen, mehrbändigen Publikation "Le pitture antiche d'Ercolano", welche auch die Vorlage für eine um 1790 entstandene Wandmalerei in der Villa Hamilton in den Wörlitzer Parkanlagen war. Dasselbe Motiv der Tänzerin zeigt auch ein Maestri zugeschriebenes Blatt in der Sammlung des Belvedere in Wien (Inv.-Nr. SLM 401). Gouache (über Umrissradierung?)/Papier. 46 cm x 36 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.

Friedrich Leopold Bürde(1792 Breslau - 1849 Detmold)Bildnis des Hengstes "Artaud" in TrakehnenRadierung/Papier. Unterhalb in der Platte sign. u. dat. 1820 sowie Betitelung "Artaud im Friedrich Wilhelms Gestüt (...) 1804 gezogen, Silberschimmel befindet sich seit 1814 in Trakehnen". Darstellung 32,5 cm x 49,5 cm. Rahmen.Etching on paper. Signed and dated.

Salvador Dalí(1904 Figueras - 1989 ebenda)"Hommage à Klimt". OriginaltitelKaltnadelradierung/BFK Rives Velin (Wasserzeichen), 1974. Sign. und nummeriert 201/300. Hrsg. Molden Edition Graphische Kunst. Druck bei Walter Fischer, Wien. Wvz. Michler/Löpsinger 718. Plattenmaß 59,4 cm x 49,8 cm. Blatt ca. 90 cm x 63 cm. Rahmen.Beigefügt Expertise von Dr. Christian Brandstätter (Wien) aus dem Jahr 1984.Drypoint etching on BFK Rives wove paper, 1974. Hand-signed and numbered 201/300. Published by Molden Edition Graphische Kunst. Printed by Walter Fischer, Vienna. Accompanied by an expertise from Dr. Christian Brandstätter (Wien).

Salvador Dalí(1904 Figueras - 1989 ebenda) nach "Kehr zurück, Sulamit". OriginaltitelRadierung mit Pochoir und Goldauflage/Japan, 1971. Bez. und nummeriert 19/250. Verso blauer Stempel "Edition USA". Aus der Folge "Das Hohe Lied des Salomon". Vgl. Wvz. Michler/Löpsinger 479. Plattenmaß 40,7 cm x 25,5 cm. Blatt 57,8 cm x 38,6 cm.After Salvador Dalí. Etching with stencil colouring and gold on Japan paper. Inscribed and numbered 19/250. Blue stamp "Edition USA" on the reverse.

Salvador Dalí(1904 Figueras - 1989 ebenda) nach "Der Kuss". OriginaltitelRadierung mit Pochoir und Goldauflage/Japan, 1971. Bez. und nummeriert 19/250. Verso blauer Stempel "Edition USA". Aus der Folge "Das Hohe Lied des Salomon". Vgl. Wvz. Michler/Löpsinger 469. Plattenmaß 40,9 cm x 25,2 cm. Blatt 57 cm x 39 cm.After Salvador Dalí. Etching with stencil colouring and gold on Japan paper. Inscribed and numbered 19/250. Blue stamp "Edition USA" on the reverse.

Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Medea in einem StreitwagenDarstellung vor schwarzem Grund mit Medea in einem von zwei Pferden gezogenem Streitwagen, hinter ihr ein Gefäß mit brennendem Feuer und einer Rauchwolke sowie die schwebende Figur des Göttervaters Zeus mit Schlangen in der erhobenen rechten Hand. Motiv und Stil des klassizistischen Blattes lassen es Maestri zuschreiben, der durch die antiken Fresken in Pompeji und Herculaneum sowie Raffael und Romano inspiriert wurde. Viele Gouachen Maestris erwarben wohlhabende Reisende und Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in enger Anlehnung an ein um 1520 geschaffenes Fresko von Giulio Romano das sich einst in der Villa Lante in Rom befand. Im Unterschied hierzu erhielt die weibliche Figur jedoch ein Gewand und wurde durch Hinzufügung des Zeus mit den Schlangen in eine Medea verwandelt. Gouache (über Umrissradierung?)/Papier. Ca. 45 cm x 60,5 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.

Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Römische Dienerin mit Tablett und SchenkkanneVor schwarzem Grund schwebende Figur in wehendem, leichtem Gewand; in der Sockelpartie ein Festonfries aus Weintrauben und vollbärtigen Männerköpfen. Motiv und Stil des klassizistischen Blattes lassen es Maestri zuschreiben, der durch die antiken Fresken in Pompeji und Herculaneum sowie Raffael und Romano inspiriert wurde. Viele Gouachen Maestris erwarben Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in Anlehnung an Radierungen Tommaso Pirolis aus der 1757-1792 in Neapel und später in Rom erschienenen, mehrbändigen Publikation "Le pitture antiche d'Ercolano". Gouache (über Umrissradierung?)/Papier. 45 cm x 35 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.

Salvador Dalí(1904 Figueras - 1989 ebenda) nach"Die Geliebte weidet zwischen den Lilien". OriginaltitelRadierung mit Pochoir und Goldauflage/Japan, 1971. Bez. und nummeriert 19/250. Verso blauer Stempel "Edition USA". Aus der Folge "Das Hohe Lied des Salomon". Vgl. Wvz. Michler/Löpsinger 477. Plattenmaß 40,7 cm x 25,5 cm. Blatt 57,6 cm x 38,8 cm.After Salvador Dalí. Etching with stencil colouring and gold on Japan paper. Inscribed and numbered 19/250. Blue stamp "Edition USA" on the reverse.

Salvador Dalí(1904 Figueras - 1989 ebenda) nachSurrealistische Komposition mit Figuren und SchmetterlingenFarbradierung und -heliogravüre(?)/Velin. Bez. u. nummeriert 262/300; überdies in der Platte bez. u. dat. 1951; Trocken- bzw. Blindstempel mit Künstler-Bez.; Nach einem Gemälde oder Aquarell des Künstlers. Plattenmaß ca. 41,5 cm x 59,5 cm. Rahmen. After Salvador Dalí (1904 - 1989). Etching and photogravure(?) in colours on wove paper. Inscribed and numbered 262/300. Further inscribed and dated 1951 in the print, blind stamp.

Frederick Arthur Farrell (British 1882-1935): 'Westminster Abbey' Interior, etching signed and blind stamped, with Thomas Agnew & Son labels verso 30cm x 19cm

Rowland Langmaid (British 1897-1956): 'The Dreadnaughts' and 'The 1935 Coronation Review', pair academy proof drypoint etching signed in pencil with blindstamp 19cm x 36cm (2) (unframed)

Sue Levington (British 20th Century): The White Cottage, etching signed titled and numbered together with an original watercolour of Bootham Bar signed W Illingworth and a selection of prints in one box (approx. 20)

English School (19th Century): 'Sarah of Farbridge - 1882', pencil sketch unsigned, titled verso; together with another similar of a boy, a set of three silhouette works and an etching of a lady in a bonnet etc in one box (8)

A small mixed lot of paintings and prints comprising a watercolour portrait of a young lady, signed 'Bouvier' lower right and titled 'La Guerelle 1876' to the margin, 43 x 26cm, a watercolour of a garden path, signed lower left 'N. Walford', 26 x 36cm, a pen and ink study of a fishing port with cathedral beyond, signed lower left 'G. Molinat', 32 x 49cm, an artist's proof etching titled 'Round Island' to the margin, indistinctly signed and dated '99 in pencil lower right, 24 x 33cm, and a coloured etching, indistinctly signed and titled to the margin, numbered 27/100 top right and annotated 'Orig. Etching' top left, 22 x 27cm, all framed and glazed (5). Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/

A group of Liverpool related pictures and prints, to include an etching titled 'View of Liverpool', framed and glazed, a poster for 'Merseyside Trade Union, Community and Unemployed Resource Centre', framed and glazed, a print 'Lost Landmarks of Liverpool' by Matthew Storrow, initialled and dated (20)18 lower right, etc (7).Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/

† BRYAN POOLE (1953-2022); coloured etching, 'Phormium Tenax - Harakeke Flax', no.78/150, signed in pencil lower right, numbered lower left and titled to centre, 31 x 50cm, framed and glazed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

SIR MUIRHEAD BONE (1876-1953); four postcards with pen sketches and annotations, signed by the artist, dated 1900 to 1901, together with a drypoint etching of a figure on a riverside track in an extensive landscape, signed lower right, 17.5 x 25.5cm (4).Condition Report: The postcards were drawn and written by Muirhead Bone to William Winstanley Pearson (Willie)

† BRYAN POOLE (1953-2002); coloured etching, 'Helleborus Orientalis', no.22/100, signed in pencil lower right, numbered lower left, 37 x 50cm, framed and glazed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Shoichi Hasegawa (Japanese b. 1929); 'Le Royaume des Perle' coloured etching, numbered 76/110, titled and signed in pencil, 64cm x 54cm

Les Dennis Collection - Monochrome etching of Venice, probably William Walcot, framed musical score cover, Punch cartoon, silkwork study of a crane bird and a pair of colour prints, (6)

Bernard Leach, portrait of Mushanokoji Saneatsu, etching signed to to the plate, (D)

Mary Norman, Black and white etching, monks in a line, 20ins x 21ins

Vincenzo Volpi, etching hand tinted "A View of San Giminagnano" 

Alphonse-Charles Masson after Charles Chaplin, 'Le Sommeil', engraving, 32x21cm; Richard Earlom after Giovanni Battista Cipriani, Hercules Fighting A Centaur, engraving, 26.5x30cm; together with a 20th century etching of a river scene, signed John Yarwood? lower right, 19x27cm

Joseph Mallord William TURNER (1775-1851) Farmyard with Cock, 1809 Etching and mezzotint, image 18 x 26cm, sheet 30 x 37cm, mountedDrawn and etched by J.M.W. Turner, engraved and published by C. Turner THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.

James Abbot McNeill WHISTLER (1834-1903) The Tyresmith, 1890 Lithograph, sheet 27 x 20cm, mounted (Way 27, Levy 41, Tedeschi, Stratis and Spink 36)Collectors NotePrinted on cream-laid paper with a 'Harris & McMurd[o]/1814' watermark. An impression before the text and before the image was transferred to supplementary stones for publication in the November 15, 1890 issue of The Whirlwind. According to the Tedeschi, Stratis and Spink catalogue, page 152, "The published edition was machine printed from supplementary stones on smooth ivory wove paper, which has often discoloured to cream. Periodical impressions tend to be slightly coarser, glossier and higher in contrast than those printed by hand." Signed with the butterfly in the stone. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.

Sheila OLINER (1930-2020) Head Etching, signed and inscribed, numbered 6/30, plate size 18.5 x 19cm, 40 x 40cm framed.

Sir Muirhead BONE (1876-1953) The Jetty, Gorlestone, 1934 Drypoint, signed and inscribed, plate 17.5 x 27.9cm, sheet 23.6 x 33cm (mounted 41 x 51cm)Dogson 463.vii, edition 99 THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.

William Lee HANKEY (1869-1952) Two works  'Le Repos', etching and drypoint, signed, edition 100, plate 24.5 x 29.5cm'The Old and The Young' c.1930, drypoint, signed, edition 100, plate 14.5 x 17.5cmEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.

Joseph Mallord William TURNER (1775-1851) The Straw Yard, 1808 Etching and mezzotint, image 18.5 x 25.5cm, sheet 29.5 x 40cm, mountedDrawn and etched by J.M.W. Turner, engraved and published by C Turner THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.

Robert Sargent AUSTIN (1895-1973) The Trace Horse, 1921  Etching, signed and inscribed, 16.5 x 20.5cm, sheet 23 x 27.5cmTogether with a lithographic print by the same hand titled 'The Mill', sheet size 33 x 25.5cm and an etching by John Taylor Arms (1887-1953) titled 'The Old Exe Bridge', 1920, signed, titled and numbered 10/100, plate 11.5 x 16cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.

Paul NOBLE (1963) Paul's Place, 2002 Etching, signed and dated 2002, numbered 11/30, 48 x 73cm, 80 x 105cm framed.

Karl WESCHKE (1925-2005) Cerberus, 1994 Etching, signed, titled and numbered A/P III/V, plate size 27 x 23cm, framed 53 x 47.5cmThe Artist's Estate (stamp verso)

Douglas Ion SMART (1879-1970) 5 drawings and 1 mezzotint  Repairs to S.T. John Wilson, London, conte on paper, signed and inscribed, further study to verso, sheet 20 x 22cmSt Martin's Church, Ludgate Hill, pencil on paper, sheet 38 x 28cmMoored Boats, c1935, pencil on paper, sheet 13 x 17cmOctagon Gallery on Ludgate Hill, pencil on paper, inscribed, sheet 25.5 x 18cmRichmond, Yorkshire, 1900, ink drawing on paper, signed and inscribed, sheet 28 x 39.5cmMoonlit, Rye, 2nd state 'plate not complete', plate 17.5 x 25cmEach mounted(6) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.

Bryan PEARCE (1929-2006) Harbour, 1990 Etching, signed, inscribed and dated '90, numbered 7/75, plate size 19.5 x 15cm, 46 x 36.5cm framed.Generally, this work is in good condition. The paper has browned a little and there are a few flecks of minor foxing, the image remains unaffected. The inside of the glass needs cleaning. The frame is in pretty good condition, the work is float-mounted on slightly cockled paper. Please see the additional images.

A Group Of Four Pictures To include a unsigned 21st century oil painting of Fen Common Bridge, 29cm x 39cm; A unsigned 20th century oil painting of Prince Philip, The Duke of Edinburgh, 24.5cm x 19cm; A signed etching by Alfred Edward Warner (1879-1968) of sticking the hay, 14.5cm x 24.5cm; and an early 20th century signed etching of Westen Village, Nottingham by a N.Shaw, dated 1935, 16.5cm x 26.5cm (4)

Sir David Muirhead Bone (British. 1876-1953) The Gull Lightship,signed in pencil lower right,etching,19cm x 26cm (plate)There are some visible signs of light foxing to the top section and the surrounding sheet borders. The paper has also yellowed to a minor degree. The signature is clean and clear. There is significant creasing found to the top right section and within the image plate

Anita Klein (Australian. b.1960-) Untitled - Nude in a bathroomsigned and dated in pencil 19(96) - 14/15 numbered edition,drypoint etching on wove,31.5cm x 25cm (plate)Provenance:The Artist's StudioThere are no visible signs of significant markings and no visible signs of damage. There is some slight yellowing to the paper. The signature is clean and clear.

Anita Klein (Australian b.1960-) Tuesday Eveningsigned and dated in pencil 19(94) - 10/15 numbered edition,drypoint etching on wove24cm x 28cm (plate)Provenance:The Artist's StudioThere are no visible signs of significant markings and no visible signs of significant damage. The paper has yellowed to a certain degree with the severity clear in the top right hand corner, where the etching sheet has slipped within the mount. The signature is clear.

Cambridge Interest, collection of Trinity College Cambridge and other prints and pictures, including Hanslip Fletcher portfolio of prints published by Beynon and Co, Peterborough Cathedral, watercolour by Hughson Hawley signed and dated 1872, photo album circa 1944-45 documenting travels in Egypt Palestine Bethlehem Jerusalem, etc Trinity Bridge Etching, Clare College Bridge by Grabham, Church of St Sepulchre Etching signed by J W King, Trinity Great Court by R T Cowern 1940 Etching 46/75 (qty)

Mark Clark (British. b.1959-) Seated female nude,signed and dated in pencil 19(93),etching,20cm x 13cm (plate);With a further signed etching, 6/30 numbered edition, by the same hand (2)