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Click here to subscribe* Belcher (George). Mrs Harris of Follop Yard, taken from life, etching, signed in pencil to lower margin, plate size approx. 280 x 190mm (11 x 7.5ins), with margins, framed and glazed, together with another similar etching by George Belcher, entitled Seated Lady, signed in pencil to lower margin, plate size approx. 240 x 150mm (9.5 x 6ins), framed and glazed (2)
* Berrington (Adrian, early 20th c.). Waterloo Bridge, London, panoramic etching, numbered 12/50, approx. 455 x 1300mm (18 x 51ins), with orig. label to verso, framed and glazed Adrian Berrington, etcher and architectural draughtsman, exhibited from 1911 to 1913, and became Associate Professor of Architecture and the University of Toronto. (1)
* Blampied (Edmund, 1886-1966). A Jersey Vraic Cart, 1939, etching, signed in pencil to lower margin, and lettered A, published in an edition of 250 for the Print Club of Cleveland in 1941, this being one of ten artists proofs, lettered A to K, plt. size approx. 220 x 280mm (8.5 x 11 in), with margins, Hogarth-style framed, glazed (1)
* Cain (Charles William, 1873-1962). The Date Pickers, etching, signed and titled, plate size approx. 107 x 203mm , framed and glazed, together with The High Window, etching, signed and numbered 60.90 in ink to lower margin, plate size approx. 175 x 125mm (7 x 5ins), both framed and glazed (2)
* Chabanian (Heran, 1887-1939). Porte Hollandaise, colour etching, signed in black crayon to lower margin, numbered 88 from an edition of 350 artists proofs, plate size approx. 600 x 470mm (23.5 x 18.5ins), framed and glazed, with orig. handwritten label by Wisemans Ltd. of Southampton to verso (1)
* East (Alfred, R.A., R.E., 1849-1913). Walberswick, etching, signed, titled, and inscribed To Miss Cicely Moon from Alfred East with kind regards, plate size approx. 245 x 250mm (9.5 x 10ins), with margins, period frame, glazed, with gallery label of Grindley & Palmer of Liverpool to verso (1)
* Gooden (Stephen, 1892-1955). The Rider of the Lion, 3rd state, 1924, circular engraving on paper, signed & dated in pencil, approx. 150mm diameter, (published by Colnaghi in an edition of 100), together with A bill and wooden block, orig. engraving by Gooden (unsigned), approx. 65 x 100mm, plus Short (Frank), Sail Loft, Poole, 1914, orig. etching, signed and captioned in pencil, approx. 100 x 50mm (3)
* Holden (Harold H.,). Southam Barn, aquatint, signed and titled, plate size approx. 291 x 206mm, mounted, together with March etching, signed, titled and inscribed to K. Holmes, plate size approx. 126 x 176mm, mounted, plus Simpson (H. E.), The Cob Barn, etching, signed and titled in pencil, plate size approx. 150 x 300mm, mounted, and Webster (Norman), Farm Buildings, c. 1920s, etching, signed and inscribed to Kenneth Holmes, plate size approx. 150 x 200mm, mounted (4)
* Osborne (Malcolm, 1880-1963). Elterwater & The Langdale Pikes, etching with aquatint, signed and titled in pencil to lower margin, plate size approx. 180 x 340mm (7 x 13.5ins), mounted, together with Portrait of Herbert Thompson, 1936, etching, signed by the artist and sitter in pencil to lower margin, plate size approx. 365 x 265mm (14.25 x 10.5ins), plus Hall (Oliver, 1869-1957), Vale of Ffestiniog, Snowdonia, etching, signed in pencil, plate size approx. 215 x 300mm (8.5 x 12ins), Hogarth-style frame, glazed (3)
* Osborne (Malcolm, 1880-1963). Continental landscape with castle and buildings on a promontory, uncol. etching, signed in pencil, two light vertical creases, plate size approx. 190 x 345mm (10.5 x 13.5ins), framed and glazed, together with Kemp-Welch (Margaret, late 19th-early 20th c.), On The Marsh, uncol. etching, showing a flock of sheep going through a gate, signed in pencil, plate size approx. 150 x 155mm (6 x 6ins), framed and glazed, plus Thomas (Percy, 1846-1922), Fisherman returning home, uncol. etching, showing figures returning to their cottages by the sea, signed in pencil, approx. 115 x 140mm (4.5 x 5.5ins), framed and glazed, and Sandoe (Ernest, 20th c.), Eltham, & Aylesford, Kent, together two uncol. etchings, the first signed, titled, and dated 1929, the second signed and titled in pencil, plate size approx. 95 x 160mm (3.75 x 6.25ins) and a little larger, both framed and glazed, plus four other framed and glazed landscape etchings, including a mezzotint of the Old Gravel Pits, Moseley, near Birmingham, by Frank Short after David Cox, 1901, a view entitled Falls of the Clyde at Bonnington, by C. O. Murray, etc. (9)
* Pattison (Edgar L., 1872-). The Return of the Caravan, colour etching, signed in pencil to lower margin, plate size approx. 150 x 290mm (6 x 11.5ins), framed and glazed, together with five other similar etchings by the same artist, all depicting Middle Eastern scenes, each signed in pencil, approx. 150 x 180mm (6 x 7ins) and similar, mostly framed and glazed (6)
* Pott (Constance Mary, 1862-c.1930). A Kentish road, uncol. etching, signed in pencil by the artist, approx. 9 x 12 in (23 x 31cm), mounted, together with Womersley (Alfred, 20th c.), Westminster Cathedral, uncol. litho, signed and titled by the artist to lower margin, approx. 15 x 10 in (38 x 26cm), mounted, plus Maxwell (Tom, 20th c.), Untitled coastal landscape/River landscape, a pair of uncol. etchings, signed in the plt., each approx. 8 x 12 in (20 x 31cm), mounted, and one other (5)
* Renoir (Pierre-Auguste, 1841-1919). Le chapeau epingle (third plate), etching, signed in the image, plate size approx. 120 x 830mm (4.75 x 3.25ins), framed and glazed, together with Sur la Plage ˆ Berneval, etching, signed in image, plate size approx. 135 x 95mm (5.25 x 3.75ins), framed and glazed (2)
* Richards (Fred, 1878-1932). In Normandy, etching, signed and titled (a view of old buildings in Lisieux), plate size approx. 210 x 160mm , together with Webb (Clifford, 1895-1972), Portrait of a Cavalier, colour woodcut, signed in pencil, image size approx. 175 x 165mm , plus Haden (Francis Seymour, 1818-1910), trees on a hillside, etching, signed in pencil, approx. 75 x 75mm , and other various etchings, including works by Fred Richards, Harry Winslow, Luke Taylor, Martin Hardie, Isobel Mesham, etc. (30)
* Shepperson (Claude Allin, 1867-1921). Landscape with woman in ballgown, etching, signed in pencil, plate size approx. 205 x 255mm (8 x 10ins), together with Osborne (Malcolm, 1880-1963), An Old Quarry, Bannockburn, drypoint etching, signed in pencil, plate size approx. 175 x 230mm (7 x 9ins), mounted, plus Spensce (Robert, 1871-1964), Scenes from the Life of George Fox, six etchings, each signed in pencil, and six other etchings, including one landscape by L. Walker and five unsigned etchings by William Strang (14)
* Strang (William, 1859-1921). The Ancient Mariner, etching, signed on behalf of the artist by David Strang, approx. 225 x 200mm (9 x 8ins), framed and glazed, together with Illustration to The Monk and Hangmans Daughter, etching with engraving, signed on behalf of the artist by David Strang, and printed by him, plate size approx. 150 x 175mm (6 x 7ins), mounted, plus Trees, soft-ground etching, signed on behalf of the artist by David Strang, and printed by him, plate size approx. 150 x 100mm (6 x 4ins), mounted (3)
* Taylor (Eric Wilfred, b. 1909). Daughters of Adella the Gypsy, uncol. etching, signed and titled in pencil by the artist, approx. 7.5 x 7 in (17 x 19cm), framed and glazed, together with Sweet (W.H.), Shakespeares House/Anne Hathaways Cottage/Mols Coffee House, Exeter, together three uncol. etchings, signed in pencil by the artist, approx. 7 x 11 in (17 x 28cm) and slightly smaller, framed and glazed, plus approx. forty-five misc. 20th-century etchings, many signed by the artist, all unframed (approx. 50)
* Turnbull (Andrew Watson, 1874-). University College, London, etching, signed in pencil, plate size approx. 250 x 380mm (10 x 15ins), with margins, mounted, together with Aiken (John MacDonald, 1880-1961), Nelsons Column, Trafalgar Square, 1919, etching, signed and dated in the image, plate size approx. 380 x 250mm (15 x 10ins), framed and glazed, plus Law (W. Edwin), Edinboro Castle, sepia etching, signed and titled in pencil to lower margin, plate size approx. 350 x 235mm (13.75 x 9.25ins), framed and glazed (3)
* Wedgwood (Geoffrey Heath, 1900-1977). Trattoria Gatti, Rome, 1929, etching, signed in pencil to lower margin, plate size approx. 180 x 180mm (7 x 7ins), framed and glazed After Army service in the First World War, Geoffrey Wedgwood studied at Liverpool School of Art, and the Royal College of Art. He won the Prix de Rome for engraving in 1925, exhibited at the Royal Society of Etchers, the Royal Academy, the New English Art Club, Fine Art Society, and elsewhere. (1)
* Whistler (James Abbott MacNeil, 1834-1903). Billingsgate, 1859, etching, printed and published by P.G. Hamerton in Etching and Etchers, 1880, plt. size approx. 150 x 225mm (6 x 9 in), with margins (Kennedy 47), together with four other etchings, various, inc. an unsigned etching by William Strang of The Mother, 1884, and signed topographical etchings by Hanslip Fletcher, H.M. Blake, etc., all mounted (5)
* Whistler (James Abbott MacNeil, 1834-1903). The Little Pool [from A Series of Sixteen Etchings of Scenes on the Thames], 1861, etching, signed and dated in the image, plate size approx. 102 x 126mm (4 x 5ins), sheet size approx. 127 x 151mm (5 x 6ins), period Hogarth-style frame, glazedKennedy 74. (1)
* Nevinson (Christopher Richard Wynne, (1889-1946)). Returning to the Trenches, 1916, drypoint etching printed in dark brown, a good impression, signed and dated in pencil, from the edition of 75 on laid paper, with wide margins, in good condition, apart from light mount stain, a few minor marks to margins, plate size approx. 150 x 201mm (6 x 8ins), sheet size approx. 212 x 275mm (8.3 x 10.75ins), together with the copy of Modern War Paintings by C. R. W. Nevinson, pub. Grant Richards, 1917, printed in a limted edition of 75 copies, this copy numbered 67 and signed by the publisher, in which the etching was originally published Provenance: From the collection of Samuel Courtauld, (1876-1947), the wealthy industrialist and art patron, with his bookplate (designed by Paul Nash) to front pastedown. Leicester Galleries Catalogue. Leicester Galleries, Nash and Nevinson, The Graphic Work, 1914-1920 (1977), 1. (1)
* Nevinson (Christopher Richard Wynne, (1889-1946)). A Dawn, 1914, drypoint etching, approx. 180 x 150mm, crudely trimmed to margins, touching the image along the length of the left hand margin, and without the lower margin containing the artists signature, laid down on old backing card Leicester Galleries, Nash and Nevinson, The Graphic Work, 1914-1920 (1977), 17. This print was produced by Nevinson in 1916, and shown in his first solo exhibition at the Leicester Gallery in London in the same year. Its Futurist technique is borrowed from the works of the Italian Futurists around Marinetti whom Nevinson met in Paris, prior to the First World War. As he told the Daily Express in 1915, Our Futurist technique is the only possible medium to express the crudeness, violence, and brutality of the emotions seen and felt on the present battlefields of Europe. (1)
* Nevinson (Christopher Richard Wynne, (1889-1946)). In The Cafe, 1919, drypoint etching, plate size approx. 223 x 150mm , signed and dated in pencil, with margins, sheet size approx. 375 x 280mm (14.75 x 11ins), tab-mounted Leicester Galleries, Nash & Nevinson, The Graphic Work 1914-1920 (1977), 68. (1)
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