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Click here to subscribeHerbert Thomas Dicksee The Destroyers etching with drypoint on vellum paper signed in pencil lower left initialled and dated 1904 in the plate lower right Printsellers Association blindstamp lower left Frost & Reed 435 x 710mm. (17 x 28 in); with another of a crouching tiger similar both unframed (2). Condition report: The first with slight browning and cockling with minor abrasions to a few raised surfaces the second with a thin varnish overall.
Herbert Thomas Dicksee The Sentinel etching with drypoint on vellum paper signed in pencil lower left with etched vignette of metal gauntlet initialled and dated 1913 in the plate lower right Frost & Reed Printsellers Association blindstamp lower left 375 x 645mm. (14 3/4 x 25 1/2 in) unframed. Condition report: A few very faint spots.
Herbert Thomas Dicksee Goodbye etching with drypoint on vellum paper signed in pencil lower left with etched vignette of roses initialled in the plate also lower left 1913 C. Klackner Printsellers Association blindstamp lower left 750 x 555mm. (29 1/2 x 22 in) unframed. Condition report: Pale browning a few faint spots in the lower margin.
George Cruikshank The Royal Transport & the Captive Daughter or Prince Blue Beard Triumphant!!!! the Prince Regent with flowing beard and turban stands on the shore as his wife sails away their daughter calling after her while suspended in a cage labelled Cram Bone Lodge [not in BM Satires] original hand-coloured etching 1814 H. Harrild 215 x 260mm. (8 1/2 x 10 1/4 in); The R__t Kicking up a Row or Warwick House in an Uproar!!! [BM Satires 12292] original hand-coloured etching 1814 T. Tegg 250 x 350mm. (9 3/4 x 13 3/4 in); with a plate from Dr Syntax all unframed (3). *** The two principal plates relate to the decision of Princess Charlotte to break off her engagement to the Prince of Orange as she feared to leave the country would be to further undermine her mother`s position against the Prince Regent. He planned to move Charlotte to Cranborne House in Windsor Park but she slipped away in a cab to her mother`s home in Connaught Place. Condition report: `The Royal Transport & the Captive Daughter` is trimmed on or just within the platemark a repaired tear through the title just into the image two short tears at the right sheet edge. `The R__t Kicking up a Row` has surface dirt and slight spotting a few tears and small losses at sheet edges one tear just to the image. (3)
James Fittler. Captain MacBride three-quarter length portrait after Northcote engraving 1792 printed in dark blue/black by J. Shoveller 495 x 365mm.(19 1/4 x 14 1/2 in); with a portrait of Charles Saunders Vice Admiral of the Blue mezzotint 1794 360 x 255mm.(14 1/4 x 10 in); another of General Elliot later Governor of Gibraltar soft-ground etching 1794 520 x 355mm.(20 1/2 x13 3/4 in); also with The English Politicians by Richard Houston mezzotint 1794 610 x 460mm.(24 x 18 in) unframed (4)
Giovanni Battista Piranesi Veduta interna della Chiesa della Madonna degli Angioli [H.129 II; F.835; W-E.262] etching with engraving on laid paper (Hind watermark 6) [1776 but c.1780] posthumous Rome edition 490 x 715mm.(19 x 28 in) unframed (2). Condition report: A fold in each side margin well outside the plate.
Giovanni Battista Piranesi. Vaso antico di marmo presso S. E. il Sig. Gen.le Schouvaloff for Vasi Candelabri Cippi. [F.676; W-E.963] etching c.1768-1778 Rome 540 x 390mm (21 1/4 15 1/4 in); with Altra Veduta in Prospettiva dello Stesso Tripode [F.702; W-E.989] etching c.1768-1778 Rome 530 x 390mm (21 1/2 x15 1/4 in) unframed (2) Condition report: Minor dampstaining slight spotting.
Giovanni Battista Piranesi. Vaso antico di marmo di gran mole [.] si vede nel cortile del Monastero di S. Cecilia in Trastevere for Vasi Candelabri Cippi... [F.635; W-E.922] etching c.1768-1778 535 x 390mm.(21 x 15 1/2) unframed. Condition report: One repaired tear on upper right with other minor tears.
Josef Seche Orgy scene etching with drypoint signed in pencil and in the plate lower right early 20th century numbered 21 of 50 lower left 315 x 425mm. (12 3/4 x 16 3/4 in). Condition report: Slight even browning a crease in lower left margin well outside the plate and edition number under glass with no other visible faults.
Herbert Gordon Warlow Westminster Hall from the south aquatint printed in colours signed in pencil lower right early 20th century 255 x 200mm. (10 x 8 in) § Louis Conrad Rosenberg Beaune interior of the cathedral of Notre Dame etching signed in pencil lower right early 20th century London exhibition label of F.R. Meatyard of Museum St. pasted on backboard 230 x 120mm.(9 x 5 in) (2).
Emil Karl Zoir Hildegard Florence etching with drypoint and wash signed in pencil lower right titled and dated 1903 in the plate inscribed and dated Paris Salon 1903 lower left 200 x 150mm. (8 x 6 in); Pescatore etching with drypoint and wash signed in pencil lower right signed and dated 1902 in the plate titled lower left 220 x 105mm. (8 3/4 x 4 1/4 in); with an unsigned duplicate of Hildegard and a small mixed group of mostly early 20th century prints including Aboukir by Leslie Greener and Winter at Finistère by Rhona Haszard and a 19th century portrait photograph from the Cameron Studio all unframed (9).
Sir Claude Francis Barry (1883-1970) - portrait of Mary Marshall, signed oil on board. Sir Claude Francis Barry was born 128 years ago into a rich family whose wealth was based on heavy industry. But he had a troubled childhood after the death of his mother when he was two and his father`s subsequent re-marriage in 1893. In 1905 he went to live in St Ives. Barry was a pacifist and was anyway exempted from military service; he did not fight in the First World War. From about 1905, he exhibited his pointilistic works at the Royal Academy and elsewhere. Between the Wars he became renowned for his etchings and spent much of his time on the Continent returning to St Ives in 1939. Most of his etching plates were stored in Milan and were destroyed by a bomb in 1944. After the War he left Cornwall to live on Jersey. It is during this period that he painted many of his portraits including this one. PROVENANCE; This portrait is sent in for sale by the sitter. Mary Marshall knew the artist well and he had great admiration for her as a singer. She was born in Bolton and was a solo artiste with Columbia in the 1950`s. For a short time she was a member of a group "The Three Shades". She moved from her recording company and accepted a contract to perform in the Channel Islands for impresario Sydney James, where she caused an unprecedented sensation; they were married in 1960 and settled in Guernsey. Mary continued in Sydney`s Olde Tyme Music Hall shows and cabarets for many years having had two daughters. She retired in 1979 and remains in Guernsey today having remarried after her husband`s death in 1985. 24 x 18in. (60.96 x 45.72cm)
* AFTER THOMAS ROWLANDSON. `Pic Nic Revels-Men are but Children of a larger Growth`, coloured print, bears signature` Rowlandson Delt` , unframed, 9 1/2 x 14 in; a coloured etching after William Heath titled `Retrenchment`; and a coloured mezzotint titled `Tom Tackle relieving an Old Shipmate`. (3)
* Bruno Gimpel, German 1886-1943- Eve; pen and black ink and wash with watercolour, signed, 13.5x17cm: together with a work in calligraphy in pen and black ink and gold, signed, and a hand-coloured reproduction print of a further work, 32x20.5 and 31x17cm: Martin Claus, German 1892-1929- Writer in a garret; pen and black ink and wash, signed and dated 13, 22x18cm: together with a pen and ink and wash drawing of a musician by the same hand, tondo 18cm., dia: E Wünsch, German early 20th century- Workers in a factory; watercolour, signed , inscribed and dated 14, 22x31cm: Kurt Preisller, German 1893-1968- Parkland/cityscape; pencil, signed and dated 13, 26x36cm: together with seven further drawings, German School, early-mid 20th century, to include portrait studies, nudes, landscape studies etc., each signed and/or inscribed, some dated, various sizes: Martin Erich Philipp (MEPH), German 1887-1978- Toucans; colour woodblock print, signed with initials within the plate, signed, inscribed and dated 1913 in pencil, 17x25cm: Hans Kallmeyer, German 1882-1961- Moose; etching, signed within the plate and signed and dated 1913 in pencil, 16x21cm: Max Schenke, German 1891-1957- Portrait of a man head and shoulders; etching, signed and dated 13 within the plate, signed and titled in pencil, 32x20cm: together with fourteen further etchings, lithographs and woodcuts by different hands, German School early 20th century and a further two photographs of sculptures and reliefs and a sample of ex libris, after different hands, all in card mounts, in vellum mounted presentation box with inset pen and ink and watercolour drawing by Bruno Gimpel signed with initials, 56x45x8.5cm., (34) (box)
J Moore, 19th century, No`s 1 & 2 corner of West Street Upper St Martins Lane, Publ March 1st 1842- "Messrs Truman Hanbury Buxton & Co`s Brewery"; hand-coloured aquatint, mounted in a modern maple veneered frame, 44x60cm: J Dadley, 18th/19th century- Royal Jennerian Society Honorary Testimonial...", 1803, after G Oben; engraving with gold coloured applied seal, 31.3x32cm: Benjamin Cole c.1697-1783- "The South Prospect of St Bartholomew`s Hospital"; engraving, 37x25cm: Thomas Rowlandson 1756-1827, Augustus Charles Pugin 1769-1832 and Joseph Constantine Stadler fl. 1780-1822- "Quakers Meeting", publ 1st April 1809 at R Ackermann`s Repository of Arts 101 Strand; hand-coloured aquatint, 22x26.7cm: Leslie Moffat Ward 1888-1978- "Evening at the Fisherman`s Dock Poole"; etching, signed with monogram within the plate, signed and titled in pencil, 22.5x30cm: together with two small decorative prints, (6)
Alvar Sunol Munoz-Ramos, Spanish b.1935- "A Look of Hope"; etching with aquatint printed in colours, signed and numbered 66/150 in pencil, 39x48.8cm: Charles Laborde, French 1886-1941- "L`Essayage"; lithograph printed in colours, signed and numbered 41/150 in pencil, bears publisher`s blindstamp, 43x33cm., (2) (may be subject to Droit de Suite)
Döethe von Haniel, late 20th century- Untitled abstract landscape composition; etching with aquatint, signed in pencil and dated `89, inscribed `E.A`, 39x29.7cm: together with nine further similar style prints by the same hand, all signed in pencil and dated `89, (10) (unframed) (may be subject to Droit de Suite)
Daniel Havell 1785-c.1826- "A View of the Bank of England", after T H Shepherd, publ Aug 1st 1816 by R Ackermann`s Registry of Arts 101 Strand; hand-coloured aquatint, 41x49.5cm: Johan Martin Weis 1711-1751- "Vue et Perspective de la Ville de Bale du cote de Huningue", after em Buchel; engraving, 45.5x67.7cm: William Monk RE 1863-1937- City street scene; etching, signed in pencil, signed and dated June 5 96 within the plate, 25x17cm: Stow`s Survey, publ 1754- "Coleman Street ard and Bashishaw ard"; engraved plan, 36x30cm: together with one other 18th century plan of London titled "A Mapp of the Parish of St Martins in the Fields", 36.5x30.5cm: Johan Sebastian Müller 1715-1785- "A View of the Grand South Walk in Vaux Hall Gardens", after Canaleti, publ by Robt Sayer Map & Printseller at the Golden Buck opposite Fetter Lane Fleet Street; hand-coloured engraving, from a later edition, 26x40cm: British School, 18th century- "Warburg in Westphallia"; engraving, 16x23cm: J Gough, British 19th century- "St Catherine Cree, Leadenhall Street", after T H Shepherd; hand-coloured engraving, 12x16.5cm: Francesco Bartolozzi RA 1727-1815- "Fitz Williams Earl of Southampton" "The Eliott Knight" "The Lady Parker" and two others, from portraits In His Majesty`s Collection, publ Dec 1st 1797 by I Chamberlaine, Brompton Row, Middlesex; stipple engravings printed in colours, in matching oak frames, 30x24cm., ea., (13)
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