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Click here to subscribeFELIKS JABLCZYNSKI (1865-1928) - View of Warsaw Church, lithograph, dated 1916 in the plate and signed in pencil by the artist, 18 1/2" x 24"; together with a pair of views of Warsaw by J. Kuczewski dated '82, 5" x 4" and 3 1/2" x 3 1/2"; a pair of prints after Czermanski, figural subjects; a wood engraving by Stanislaw Raczynski (b.1903); and an etching of a church signed H. Jakubowski; and a lithograph of a Russian cossack after Vernet (8).
MORTIMER MENPES (1860-1938): Chinese junks in calm waters, etching numbered '396', pencil signed, 6" x 9"; and two further by the same hand - a Continental balcony scene, etching with hand colouring, pencil signed in the margin, 10 1/2" x 7 1/2"; and fishing boats off the coast, 6" x 4 1/4" (3) (see illustration).
20th century view of Embankment, London, at sunset, pen and ink with crayon, 16 x 10.5 cm to/w Adeline S. Illingworth 'La Rue des Cordeliere, Falaise', etching, pencil signed to margin, 28 x 20 cm; and a nude study, pen and ink with watercolour, the verso with watercolour of figures at railway station, 33 x 34 cm (3)
Claude Rowbotham 'A Cornish Moor in early spring', coloured etching, unmounted, 30 x 22 cm to/w Edward J. Cherry three etchings of London landmarks, pencil signed, 17 x 10 cm, 16 x 11 cm, 17 x 10 cm; etching of 'The National Gallery St Martins 1925', 28.5 x 21.5 cm; W.P. Robins 'Mercury Lane, Canterbury', pencil signed, 25 x 17 cm; Map of Islington, 1805, 29.5 x 32 cm; and a print of 'Islington Green in 1750' (8)
Richard Beer (Brit. b.1928)-Venice III, etching with aquatint, signed and numbered in pencil to the margin, No.17/100, 61 x 45cm, one other of Venice II, etching with aquatint, No.15/100, one other of West Pier, Brighton, lithograph, No.110/150, signed in pencil to the margin (Part Illus.) (3)
Sidgewick-Old St Pauls, etching, signed and titled to the margin, 25 x 16.5cm; Dolf Rieserre-Deux Femmes, etching, numbered 15/35, signed and titled in pencil to the margin; Marian Rhodes-Quai Montebello, Paris, etching, signed and titled in pencil; and Ernest Marston-Rouen Cathedral, etching, with blindstamp, signed in pencil to the margin (4) (Part Illus.)
A FINE GERMAN EXECUTIONER'S SWORD, DATED 1684, with broad heavy double-edged blade formed with a characteristic rounded tip, etched at the forte with Christ crucified, the inscription 'Justicia', three men suspended from a gibbet, an execution scene and a pious inscription on one side, and with Christ crucified, a wheel dividing further pious inscriptions and an oval panel filled with verse including the date on the other (the etching worn), brass hilt comprising a pair of straight moulded quilllons with spirally-fluted globular terminals, incised with the date on one side of the cross-piece and the initials 'IH' on the other, and faceted plummet-shaped pommel en suite with the quillons over the upper portion, and retaining its original grip of plaited string (the cross- pieces loose), in its leather-covered wooden scabbard with large brass mounts, 83.1cm; 32 3/4in blade, Provenance, E. Oser Collection, Basel, sold Dr.Störi Kunstsalon, Zurich, 6th December 1929, lot 146, The inscriptions include:, 'Veracht nit mich und die mein....shaven dich unddied....nie....chavandich und....mich vatheie nit wietumi ....h sicht wer was o.tuay ...ch frumb bist...a anno 1684'
A RARE GERMAN ETCHED HALBERD, DATED 1566, with medially-ridged leaf-shaped central blade etched on the respective faces with the figure of St George on one side and an inscription including the date and the initials P W on the other, all against a stippled ground surrounded by scrolling leafy tendrils, small axe-blade pierced with five holes, rear fluke formed with an additional lug above, the latter stamped with a clover leaf mark on one side, etched throughout with further tendrils inhabited by exotic birds (the etching worn), and faceted socket decorated en suite, on an early fabric-covered wooden haft, fitted with two pairs of straps on the upper portion and the lower encased with a trellis pattern of leather studded with large domed brass nails, 46.2cm; 18 1/4in head, Provenance, Schloss Grafenegg, sold Galerie Fischer, Zurich 1934, lot 47, The inscription reads:, "Gott Mein Trost, Aber Jesus Christus Hat Mich von Allen Suenden Erloest, Anno Domini 1566", A halberd of similar form struck with the same maker's mark and decorated with the Crucifixion on one side and a standard bearer on the other is preserved in the Royal Armouries, Leeds. See C. J. Ffoulkes 1915, p. 248. No. 1026.
A RARE ETCHED PARTISAN THIRD QUARTER OF THE 17TH CENTURY, with broad flat tapering central blade, formed with a pair of broad lugs cut with a series of notches at the base, retaining some etching over its surface including foliate rondels within a stylised architectural framework, the inscription 'Fide sed Cuide' on one side and further inscriptions on the other, moulded neck, faceted socket, and a pair of short straps, on a later wooden haft, 84cm; 33in head, This belongs to a group of partisans variously dated 1631 and 1632 and were almost certainly used by a Protestant Army from Saxony. Another, formerly in the collection of Count Dimitri de Nesselrode and William Randolph Hearst is the the Kretzschmar von Kienbusch collection, inv. no. 594. Another was sold in these rooms 26th June 2007, lot 219 (£3600 including premium).
A SWISS DRAGOON OFFICER'S SWORD FOR THE CANTON OF ZURICH, CIRCA 1780, with double-edged blade retaining traces of etching towards the forte, brass regulation hilt comprising solid double shell-guard, short straight quillon, knuckle-guard (a small crack at the base), additional scrolling outer bar, and ovoid pommel with a raised rib on each side, and retaining an early grip of plaited copper wire, 80cm; 31 1/2in blade, For a similar example in the Carl Beck Collection see J. A. Meier 2002, no. 48.
AN ITALIAN ETCHED HALF ARMOUR, CIRCA 1560, comprising close helmet with one-piece skull rising to a low cabled comb etched on each side with scrolling foliage inhabited by reclining nude figures, fitted at the nape with a shield-shaped plume-holder, visor, bevor and lower bevor all attached by common pivots, the visor pierced with a pair of stepped vision-slits and roped en suite with the skull, fitted at the right side with a lifting-peg, etched at each side with a mounted classical warrior and at the edges with narrow guilloche borders, upper bevor etched en suite and with a vertical band including grotesques and putti, repeated on the bevor proper, the upper bevor and bevor each retained at the right side by a hook and pierced stud, neck-guard of two lames front and rear (restored, the lowest lame with later etching), restored collar of a single lame front and rear, the former embossed with a pair of volutes, breastplate of deep bellied, medially ridged form, later embossed at the neck with a pair of addorsed volutes and fitted at its lower edge with a deep waist-plate, flanged outwards to receive a fauld of a single lame, a pair of restored pendant tassets each of seven lames, restored backplate formed en suite, a pair of large pauldrons each of six lames, the third and largest embossed with a quatrefoil, early 17th century articulated vambraces formed of a tubular upper and lower cannon, the latter of slightly 'tulip-shaped' form, and a couter of five lames, the central lame of winged bracelet form and embossed en suite with the pauldrons, two gauntlets with short obtusely-pointed tubular cuffs, five metacarpal-plates, a transversely-roped knuckle-plate, a shaped finger- plate (the right restored) and hinged thumb-plates (restorations, one detached), the collar, cuirass, tassets, arm- defenses and gauntlets etched throughout with a later pattern of running acanthus foliage on a hatched ground: on a wooden stand
Belgian Decorations, including the First and Second Class Decoration of Earned Income, Civil Decoration for Long Service in Administration (Gold award), Labour Decoration, Silver Class of Civil Decoration and Labour Decoration; a First World War Iron Cross, First Class; a Princess Mary's Christmas Tin 1914 and a German Belt buckle; a signed etching of probably a Prisoner of War Camp, sent from Jach to Mml.Andree Van de Maele, Brussels
JOHN EVERETT (British, 1876-1949), 'Dover Castle', signed in pencil in the margin lower right, etching, 19 3/4" x 13 3/4"; A F Collinson, a city scene, signed in pencil in the margin lower right, etching, 8" x 10 1/4"; J E Clutterbuck, 'The Shrine', signed and titled in the margin and another by the same artist entitled 'The Wizard', unframed; G. Cuitt, two town scenes of Chester; an etching of two deer resting, indistinctly signed and a watercolour caricature of a lady and gentleman in profile (8)
GABRIEL VAN SCHNELL (20th Century), 'St Margaret Pattens, City', signed and titled in pencil in the margin, etching, 11 1/2" x 6 1/4", another etching by the same artist of a continental town, 6 3/4" x 6" and a drawing by the same artist of a street scene, signed and dated 'March 1932' lower left, ink and watercolour, 12 1/4" x 9" (3)
AFTER JAMES GILLRAY (1756-1815), 'Bank notes - Paper money - French alarmists - O, the Devil, the Devil! - ah! poor John Bull!!', from the edition published in 1847 by Henry Bohn, hand coloured etching, 10" x 13 3/4" (see illustration). Note: Pitt shovels out Bank of England bank notes while Fox warns people to hold onto their gold
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