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Preisdatenbank abonnierenWilliam Lionel Wyllie (1851-1931), Greenwich Hospital, etching, 'trial proof', initialled in pencil to the margin lower left, 8.5cm x 35.25cm, framed and glazed CONDITION REPORT: Mount burn around the edge of the paper. Blooming visible to several areas of the print, in particular on the sailing boat to the centre of the picture. There is an area of foxing to the lower left corner. General yellowing of the paper all over.
Arthur John Trevor Briscoe (1873-1943), The Shadow of the Main Sail, etching, signed in pencil to the margin lower right 16cm x 30cm, framed and glazed CONDITION REPORT: There is a lot of foxing around the plate mark and on the picture itself. There is mount burn all the way around the edge of the paper.
*Nixon (Job, 1891-1938). Dieppe Harbour, 1929, etching on wove paper, signed in ink, additionally inscribed to reverse by the artist in pencil with name, title, address and price, some mount staining, plate size 252 x 345 mm (10 x 13.6 ins), sheet size 320 x 430 mm (12.5 x 16.9 ins), together with Disertori (Benvenuto, 1887-1969), Jupiter, from The Planets, 1924, etching on thick wove paper, proof before letters, signed in ink and titled in pencil Il Pianeta Giove, plate size 400 x 290 mm (15.75 x 11.4 ins), sheet size 538 x 395 mm (21.2 x 15.5 ins), plus Bauer (Marius, 1867-1932), Indian Mountains, & A Horseman, together two etchings on heavy laid paper, both initialled in pencil by the artist, and numbered 99 and 20 respectively, with full margins, in very good condition (Wright 74 & 14), and other various etchings, including H. Gordon Warlow, Beauvais Cathedral, Charles Keene, A Woman Knitting, H.J. Harvey, The Jolly Vagabonds, Percival Gaskell, The Cairngorms and C.P. Slocombe, Heidelberg, & The Fairy Glen Bauers: Van Visseling 74 & 14. (10)
*Griggs (Frederick Landseer, 1876-1938). Stoke Poges, 1918, etching on laid paper, one of only 22 impressions of the final state, signed in pencil, a very good impression, plate size 96 x 117 mm (3.75 x 4.6 ins), sheet size 190 x 255 mm (7.5 x 10 ins) Comstock 20 vi/vi. One of the rarest of Griggs' etchings, an idealised interpretation of the timbered south porch of St. Giles Church, Stoke Poges in Buckinghamshire, itself the inspiration for Thomas Gray's Elegy Written in a Country Churchyard. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). A Ballynakill Woman, 1926, etching on laid paper, from the edition of 107 proofs published April 1926, signed in pencil, a very good, dark impression, plate size 137 x 105 mm (5.4 x 4.1 ins), sheet size 224 x 189 mm (8.8 x 7.5 ins), with old typewritten label to backing board Wright 53, vii/vii. A portrait of a Connemara peasant, also mother to the two children in Brockhurst's etching The West of Ireland (see lot 59). (1)
*@Cameron (David Young, 1865-1945). Killundine, 1929, etching and drypoint on laid paper, signed in pencil, a few scattered light spots, plate size 176 x 354 mm (6.9 x 13.9 ins), sheet size 310 x 468 mm (12.25 x 18.4 ins), together with Castle Moyle, 1932, etching and drypoint on laid paper (watermarked F.J. Head), signed in pencil, plate size 176 x 278 mm (6.9 x 10.9 ins), sheet size 233 x 362 mm (9.2 x 14.25 ins), plus five other etchings by D.Y. Cameron (Robin's Court, 1907, House Front, Ypres, 1907-13, Appin Rocks, 1913, On the Ourth, 1907 & Loch Eil, 1929-30), each signed in pencil, a few light spots and pale toning (generally in very good condition), various sizes Rinder 483, 497, 385, 396A, 442, 398 & 487 respectively. (7)
*@Copley (John, 1875-1950). The Apple Tree, 1950, etching with aquatint on pale cream laid paper, signed in pencil, plate size 332 x 262 mm (13 x 10.3 ins), with margins, framed and glazed Cooke 152. One of the artist's last etchings, from a sequence of prints produced between 1939 and 1950 recently described as 'bold, clear and often startling' (John Copley, The Late Etchings, Fine Art Society, 2010). (1)
*@Frink (Elisabeth, 1930-1993). The Reeve's Tale, 1970, etching with aquatint on thick wove paper, from the Canterbury Tales series published by Leslie Waddington, signed, titled and numbered 39/70 in pencil, plate size 273 x 300 mm (10.75 x 11.75 ins), sheet size 400 x 590 mm (15.75 x 23.25 ins) Wiseman 30a. (1)
*Gray (Joseph, 1890-1962). Battle of Britain series, 1940, a set of 6 drypoint etchings on thick wove paper, each signed in pencil, largest plate size 180 x 260 mm (7.1 x 10.25 ins), smallest plate size 200 x 63 mm (7.9 x 2.5 ins), each with wide margins, the largest plate with some marginal creases (otherwise in very good condition) The Scottish etcher Joseph Gray was born in Durham, but moved to Dundee around 1912 to work for the Dundee Courier as an illustrator. He joined the Black Watch Regiment in 1914, and fought in the battles of Neuve Chapelle, Festubert and Loos. His drawings of the Western Front were published in The Graphic. After the war, he turned to etching, moving to London in 1931 in the wake of the Depression. In the later 1930s Gray independently undertook research into camouflage and air defence, and was subsequently recruited by the Royal Engineers as a camouflage officer. He was well-known to his colleagues for his night rambles through the London streets during the Blitz, where he witnessed scenes etched in the Battle of Britain series. The titles are: The First Blitz, The Burning of the City, The Bells of St. Clement's, Blitz, Dawn, Incendiary and Albemarle Street. (6)
*Griggs (Frederick Landseer, 1876-1938). Sellenger, 1917-22, etching on laid paper, one of only 18 impressions of the fifth state, signed in pencil, numbered VI in pencil lower left, with Dovers House Press stamped monogram to blank margin below signature, plate size 126 x 171 mm (5 x 6.75 ins), sheet size 237 x 307 mm (9.3 x 12 ins) Comstock 18 v/vi. (1)
*Griggs (Frederick Landseer, 1876-1938). Palace Farm, 1920, etching on laid paper, one of only 6 proofs of the first state, signed in pencil, plate size 125 x 182 mm (4.9 x 7.2 ins), framed and glazed, with old framer's label of Gale & Co., Birmingham to verso (unexamined out of frame) Comstock 25, i/iii. (1)
*Griggs (Frederick Landseer, 1876-1938). St. Botolph's Bridge no. 2, etching on wove paper, from the Centenary Edition of 30 proofs published in 1976, unsigned, plate size 248 x 198 mm (9.7 x 7.8 ins), with margins, titled and numbered 4/30 in pencil to lower blank margin, framed and glazed Comstock 56. (1)
*Griggs (Frederick Landseer, 1876-1938). Owlpen Manor, 1930, etching on thick laid paper, one of 45 impressions of the 3rd state, signed in pencil, with additional presentation inscription to lower left in pencil 'To Margaret from F.', with Dovers House Press inkstamp monogram to lower margin verso, and numbered in ink xliii, some light toning and mount stain, plate size 190 x 240 mm (7.5 x 9.5 ins), sheet size 270 x 350 mm (10.6 x 13.75 ins)Comstock 46 iii/iii. One of Griggs's most powerful images, Owlpen Manor in Gloucestershire was purchased in 1925 by the architect and friend of the artist, Norman Jewson, who sensitively restored it. The house was built in 1515, and provided shelter to Queen Margaret, fleeing from the Battle of Tewkesbury. Griggs quoted Tennyson in describing the house as a 'haunt of ancient peace', adding in a letter of November 1924: 'I've dreamt of it, & of a rendering that might capture some of that wonderful wistfulness & beauty.' (1)
*Haden (Sir Francis Seymour, 1818-1910). Shere Mill Pond (Large Plate), 1860, etching on wove paper, etched signature and date within the image, lower right, right margin with hairline split along plate mark, plate size 178 x 333 mm (7 x 13.1 ins), sheet size 192 x 346 mm (7.6 x 13.5 ins), together with Kenarth, 1864, etching on thin laid paper, signed in pencil, plate size 113 x 147 mm (4.5 x 5.8 ins), sheet size 170 x 210 mm (6.75 x 8.25 ins), plus six other etchings by Seymour Haden, all unsigned, including Dusty Millers (formerly Edward James Collection), Sonning Bank, Dundrum River, Kidwelly Castle, Calais, and one other Harrington 38 & 64; Schneiderman 37 & 59 for the first two works. (7)
*Hunt (William Holman, 1827-1910). A Day in the Country, 1865, etching on india paper, published by Joseph Cundall and Thomas Bosworth in A Selection of Etchings by the Etching Club, a fine impression, a few faint marginal spots, image size 140 x 210 mm (5.5 x 8.25 ins), framed and glazed, with old label to verso of W. Herbert Yates Framemaker and Guilder, 5 Petersham Road, Richmond, (unexamined out of frame) Bronkhurst App. B21 (volume II, page 279). One of only two etchings of modern subjects, the other being A Morning Song of 1866. (1)
*Legrand (Louis, 1863-1951). AprŠs le tub, drypoint etching, signed with initials, numbered 37/50, with Gustave Pellet publisher's circular ink stamp in red to lower right, sheet size 41 x 31.5 cm (16 x 12.25 ins), together with La Toilette, drypoint etching on japon, signed in the image only, sheet size 30.5 x 22.3 cm (12 x 8.75 ins), mounted, plus Nude washing by a tub, etching on Louis Legrand watermarked paper, numbered 21/30 in pencil, with Gustave Pellet publisher's circular inkstamp in red to lower right corner, plate size 18 x 22.5 cm (7 x 9 ins), sheet size 44 x 28.5 cm (17.25 x 11.25 ins), mounted (3)
*Legros (Alphonse, 1837-1911). Les Bouleaux: Bord de l'Eau, Effet du Matin, etching on wove paper (watermarked O.W.P.), one of 38 impressions of the 2nd state, signed in pencil, plate size 127 x 203 mm (5 x 8 ins), sheet size 192 x 264 mm (7.5 x 10.4 ins), together with Bord de l'Adur, etching on wove paper (watermarked A.O.L. and O.W.P.), signed in pencil, plate size 113 x 202 mm (4.5 x 8 ins), sheet size 173 x 256 mm (6.8 x 10 ins), plus Les Bords de la Liane, etching on laid paper, an impression from the 6th state, plate size 153 x 203 mm (6 x 8 ins), sheet size 200 x 275 mm (7.9 x 10.8 ins), and seven other etchings by Legros, including Le Voyageur surpris par l'Orage, Le Voleur de Poires (2nd Plate), St. Pierre et St. Paul a la porte du Bonhomme Misere (5th state), St. Pierre et St. Paul a la porte de M. Richard (3rd state), title page for Fifty impressions of 10 Etchings by Alphonse Legros (5th state), and two others Bliss 325, 392, 240, 226, 139, 145, 175, & 162 respectively. (10)
*Legros (Alphonse, 1837-1911). A Woodland Study, circa 1903, etching on laid paper, signed in pencil, plate size 203 x 320 mm (8 x 12.5 ins), sheet size 235 x 350 mm (9.25 x 13.75 ins), together with Holroyd (Charles, 1861-1917), Alphonse Legros, No. 1 (Dodgson 102), etching on cream laid paper, signed and titled in pencil, plate size 250 x 175 mm (9.9 x 6.9 ins), sheet size 320 x 234 mm (12.5 x 9.25 ins) (2)
*Griggs (Frederick Landseer, 1876-1938). Potter's Bow, 1924, etching on antique French pale cream laid paper, one of 46 impressions of the seventh state, signed in pencil, with Dovers House Press monogram added in ink to verso, some foxing to central portion, margins trimmed (as usual), plate size 258 x 180 mm (10.2 x 7.1 ins), sheet size 267 x 188 mm (10.5 x 7.4 ins) Comstock 33 vii/vii. Provenance: Formerly in the collection of Neil Green, with his inkstamp monogram to lower right corner. (1)
*McBey (James, 1883-1959). The Ford, 1913, (Hardy 140), etching on laid paper, from the edition of 50 proofs, signed in ink, and numbered XV, plate size 140 x 240 mm (5.5 x 9.5 ins), sheet size 200 x 277 mm (7.9 x 10.9 ins), together with Brockhurst (Gerald Leslie, 1890-1978), Marquett, 1925, (Wright 51), etching on Whatman laid paper, from the edition of 106 proofs published December 1925, signed in pencil, plate size 216 x 175 mm (8.5 x 7 ins), sheet size 415 x 275 mm (16.3 x 10.8 ins), plus Strang (William, 1859-1921), Portrait of Hans Richter (1843-1916), etching on F.J. Head laid paper, signed in pencil, plate size 400 x 275 mm (15.75 x 10.8 ins), sheet size 570 x 430 mm (22.4 x 17 ins), and other various etchings, including Muirhead Bone, Ian Strang, James G. Power, H. Gordon Warlow, Bertram Buchanan, J. Reginald Taylor and J.R.G. Exley (4) (13)
*Menpes (Mortimer L., 1860-1938). Bronze Workers, Japan, etching with drypoint on laid paper (watermarked F.J.H.), initialled in pencil, plate size 138 x 175 mm (5.4 x 6.9 ins), sheet size 225 x 280 mm (8.8 x 11 ins), together with Interior of St. Marks, Venice, 1910-11, etching with drypoint on Van Gelder Zonen laid paper, signed in pencil, plate size 305 x 210 mm (12 x 8.25 ins), sheet size 380 x 275 mm (15 x 10.8 ins), plus Interior of St. Maclou, Rouen, 1912/13, etching and drypoint on thick wove paper, published in an edition of 50, signed, plate size 310 x 160 mm (12.25 x 6.25 ins), sheet size 345 x 192 mm (13.5 x 7.5 ins), and one other signed etching of a street with buildings and archway (possibly Mexico), plate size 300 x 190 mm (11.75 x 7.5 ins), sheet size 386 x 252 mm (15.25 x 9.9 ins) Morgan 411, 366 & 383 for the first three works. (4)
*Menpes (Mortimer, 1855-1938). A Peddlar of Puepla, 1907-08, drypoint etching on laid paper, signed in pencil, numbered with the artist's inventory number 79 in pencil lower left, and additionally titled in pencil to lower margin (in another hand), some mount staining, plate size 150 x 134 mm (5.9 x 5.25 ins), sheet size 283 x 227 mm (11.2 x 8.9 ins), together with Patterson (Malcolm, 1873-), Head of a Woman, 1928, etching on laid paper, signed in pencil, and artist's inventory number 28 lower left, plate size 184 x 127 mm (7.25 x 5 ins), sheet size 227 x 171 mm (9 x 6.75 ins), plus 8 woodcuts by Cyril Saunders Spackman (1887-1963), including Edge of the Fir Grove, and Firs, each signed in pencil, 4 titled, including 3 duplicates Morgan 283 (for the etching by Menpes). For Malcolm Patterson, see Grant Waters, Dictionary of British Artists 1900-1950. (10)
*Merritt (Anna Massey Lea, 1844-1930). Ophelia, 1880, etching on thick laid paper, plate size 225 x 172 mm, sheet size 316 x 241 mm (12.5 x 9.5 ins), together with 3 other late 19th-century etchings: Sir Frederick Leighton, Athlete wrestling with a python, 1881, Lawrence Alma-Tadema, Childish Affections, circa 1881, and Percy Thomas, Portrait of Henry Wadsworth Longfellow (4)
*Griggs (Frederick Landseer, 1876-1938). he Barbican, 1920, etching on laid paper, one of a few proofs of the second state (without the cresset or torch pole on top of the tower), signed in pencil, light mount stain, plate size 165 x 174 mm (6.5 x 6.8 ins), sheet size 340 x 257 mm (13.4 x 10.1 ins) Comstock 26, ii/iii. (1)
*Palmer (Samuel, 1805-1888). The Lonely Tower, 1879, etching on cream wove paper, with plate number 16 added to lower left, a 20th-century impression (probably one of the 21 impressions printed by C.H. Welch in 1962, or the approximately 10 impressions printed by Edgar Holloway in 1972), some foxing and browning to extreme top margin, plate size 190 x 250 mm (7.5 x 9.8 ins), sheet size 318 x 415 mm (12.5 x 16.3 ins) (1)
*Rhodes (Marion, 1907-1988). A Yorkshire Village, etching, signed in pencil to lower margin, plate size 24 x 36cm (9.5 x 14ins), sheet size 28 x 41cm (11 x 16ins), together with three other etchings by Rhodes, including Bibury, dated 1937, Rome, also dated 1937 and a view of a Buckinghamshire woods, plus a watercolour view of Bolton Abbey also by Rhodes (5)
*@Badmin (Stanley Roy, 1906-1989). Evening Light, near Sevenoaks, 1929, etching on laid paper, from the edition of 40, published by XXI Gallery, signed and titled in pencil, a fine, rich impression, plate size 130 x 166 mm (5.1 x 6.5 ins), sheet size 191 x 243 mm (7.5 x 9.5 ins) Beetles 16. (1)
*Sickert (Walter Richard, 1860-1942). The Old Fiddler, circa 1919, etching on F.J. Head laid paper (with watermarked initials), signed in pencil, mount stained, remains of adhesive to extreme upper blank corners, and lower blank margin, plate size 150 x 114 mm (5.9 x 4.5 ins), sheet size 265 x 203 mm (10.4 x 8 ins), framed and glazed, with old label for Chas. A. Jackson, Fine Art Dealer, Carver and Guilder, Picture Frame Manufacturer, Manchester to verso Bromberg 187, ii/ii. (1)
*Todd (Arthur Ralph Middleton, 1891-1966). The Basket Weaver, etching with drypoint on wove paper, signed in pencil, plate size 200 x 155 mm (7.9 x 6.1 ins), with margins, framed and glazed (unexamined out of frame), together with Woollard (Dorothy E.C., 1886-1986), Old Buildings, Bristol, etching, signed in pencil, plate size 174 x 111 mm (6.8 x 4.3 ins), with margins, plus 8 other various etchings etc., including Edgar L. Patteson, Marcel Jacque, Bordass, Carl Rotky, etc. (10)
*Walcot (William, 1874-1943). Hospital of St. Mark's, Venice, 1920, etching drypoint and aquatint on cream wove paper, watermarked J. Green & Son, signed in pencil, plate size 120 x 179 mm (4.75 x 7 ins), sheet size 240 x 308 mm (9.4 x 12.1 ins), together with another impression of the same print, signed, somewhat soiled and with short closed tear repair to lower left corner One of the four views that make up Walcot's Venice set, published in an edition of 415. The others being the Doge's Palace, San Marco and The Library of San Marco. (2)
*Walcot (William, 1874-1943). Kom Ombo, 1928, etching with drypoint on wove paper, signed and numbered 32/75 in pencil, plate size 160 x 205 mm (6.3 x 8 ins), sheet size 275 x 370 mm (10.8 x 14.6 ins), together with The Caravan, & Antony's Palace, 1928, two drypoint etchings with aquatint, both signed, and numbered 47/75 and 42/75 respectively, plate size 177 x 230 mm (7 x 9 ins) and 171 x 283 mm (6.75 x 11.2 ins) respectively, both with full margins, all in fine condition (3)
*@Badmin (Stanley Roy, 1906-1989). Richmond Bridge, Surrey, 1931, etching on wove paper, from the edition of 50, published by the XXI Gallery, a fine impression, signed, titled, and numbered 14/50 in pencil, additionally inscribed in pencil by the artist to extreme lower margin 'A few available about 1935 Exhibited R.A. Published by the 21 Gallery Mill St. W, demolished in war', plate size 113 x 165 mm (4.5 x 6.5 ins), sheet size 185 x 240 mm (7.25 x 9.5 ins) Beetles 24. (1)
*Whistler (James Abbott MacNeill, 1834-1903). Sketching, No. 1, 1861, etching with drypoint on wove paper, as published in Passages from Modern English Poets illustrated by the Junior Etching Club, plate size 120 x 166 mm (4.75 x 6.5 ins), sheet size 168 x 237 mm (6.6 x 9.4 ins) Kennedy 86, iv/iv. (1)
*Whistler (James Abbott MacNeill, 1834-1903). Swan and Iris, 1882, etching and drypoint on wove paper, a good, strong impression, with full margins, plate size 135 x 83 mm (5.25 x 3.25 ins), sheet size 425 x 355 mm (16.75 x 14 ins) Kennedy 241 , ii/ii. Glasgow online catalogue 247. An etched interpretation of the unfinished painting by Cecil Lawson (1851-1882), whose widow Constance was the sister of Whistler's fianc‚e Beatrice. As published in Edmund Gosse's Cecil Lawson: A Memoir, published by the Fine Art Society in 1883. (1)
Nevinson (Christopher Richard Wynne, 1889-1946). Modern War. Paintings by C.R.W. Nevinson, with an Essay by P.G. Konody, Grant Richards, 1917, lacking the colour frontispiece, 24 monochrome reproductions, original green cloth with printed paper label to spine and upper cover, rubbed and worn to foot of spine and lower corners, in dust jacket (worn with loss to spine and lower corners), 4to Limited edition of 75 copies, originally containing the etching Returning to the Trenches, this copy numbered 48, and signed by the publisher. The etching is not present. Presentation inscription by Nevinson to front endpaper 'To Robert Mountsier, C.R.W. Nevinson, Feb 8. 1917.'. Robert Mountsier (1888-1972) was an American journalist, literary agent and later newspaper editor, who acted as D.H. Lawrence's American agent from October 1920 to 1923. (1)
*@Badmin (Stanley Roy, 1906-1989). Burford, Oxfordshire, 1931, etching on Basingwerk Parchment wove paper (watermarked), from the edition of 45, published by the XXI Gallery, signed and numbered 26/45 in pencil, light mount stain, plate size 137 x 194 mm (5.4 x 7.7 ins), sheet size 184 x 259 mm (7.25 x 10.2 ins) Beetles 25. (1)
*@Badmin (Stanley Roy, 1906-1989). Fallen Mill Sails, 1931, etching on wove paper, from the edition of 35, published by the XXI Gallery, signed, titled and numbered 6/35 in pencil, additionally inscribed in pencil to lower margin by the artist 'published by the 21 Gallery Mill St. W.1 (demolished in war) ed. 35', plate size 106 x 125 mm (4.25 x 4.9 ins), sheet size 196 x 235 mm (7.75 x 9.25 ins) Beetles 23. (1)
*Palmer (Samuel, 1805-1888). The Bellman, from Il Penseroso, 1879, etching on laid paper, a rich, dark impression from the later edition printed by Frank Short, inscribed in pencil to upper left corner 'Printed by me F.S.', and additionally inscribed in pencil to lower left 'To my friend Nina Griggs. Frank Short', some light spotting, plate size 193 x 253 mm (7.6 x 10 ins), sheet size 270 x 387 mm (10.6 x 15.25 ins) Palmer's largest plate, considered by Raymond Lister as one of the artist's two greatest etchings, along with The Lonely Tower. The work is a recollection of Palmer's time at Shoreham, as he wrote in a letter to Philip Hamerton of 4th August 1879 'It is a breaking out of village-fever long after contact - a dream of that genuine village where I mused away some of my best years designing what nobody would care for...'. Printed by Frank Short, then professor of engraving at the Royal College of Art, around 1924, most likely shortly before the Trio edition issued by Short, Hardy and Griggs and published by the Cotswold Gallery in the same year. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). James McBey, 1931, etching on cream wove paper, from the edition of 111 proofs, published April 1931, signed in pencil, a fine impression, plate size 267 x 190 mm (10.5 x 7.5 ins), sheet size 378 x 280 mm (14.9 x 11 ins) Wright 69 ix/ix. Fletcher 69. (1)
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