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Lot 1
* Caricatures & satirical engravings. Vernet (Carl, after), Les Aveugles, c.1830s,. hand coloured etching, approx. 290 x 395 mm, together wine two finely hand coloured aquatints of Swiss girls in regional dress, each approx. 155 x 115 mm, a hand coloured etched caricature of Wellington entitled 'The Man Wot Drives the Queen', pub. E.King, April 1829 and measuring approx. 340 x 240 mm, plus others similar (approx.35)
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Barrow (John). Dictionarium Polygraphicum: Or, the Whole Body of Arts Regularly Digested, 2 vols., 2nd ed., corrected and improved, 1758,. eng. frontis. to vol. 1, fifty four folding eng. plts., contemp. calf, some wear, old manuscript label on upper cover of vol. 1, 'The Whole Body of Arts Very Scarce', 8vo Contains information on the arts of limning, Japanning, Gilding, Engraving, Etching and Mezzotinto, Refining, Compounding, Transmutation and Tinging all sorts of Metals and Minerals, Staining all sorts of Glass and Marble, Dyeing all sorts of Materials, Linen, Woollen, Silk, the Art of Tapestry Weaving, a description of Colours, Natural and Artificial, the Whole Art of Pyrotechny, and the Chinese method of making Porcelain, etc. (2)
Lot 1
Jackson (John). A Treatise on Wood Engraving, Historical and Practical, pub. Charles Knight, 1839,. b&w illusts. to text, t.e.g., contemp. half red morocco, rubbed and some marks, large thick 8vo, together with Strauss (Walter L.), Chiarocuro, The Clair Obscur Woodcuts by the German and Netherlandish Masters of the XVIth and XVIIth Centuries, a complete catalogue with commentary, pub. Thames & Hudson, 1973, numerous tinted illusts., etc., orig. cloth in d.j., 4to, plus Ramiro (Erastene), Catalogue Descriptif et Analytique de l'Oeuvre Gravé, 2nd ed., Brussels, 1893, several b&w plts., t.e.g., contemp. full calf, (with orig. printed wrappers bound in), rubbed and heavily scuffed, large 8vo, limited ed. 103/200, and others on prints and print making, including Etching by Charles Kirkpatrick Sharpe, 1869, Reynolds Stone Engravings, 1977, Pre Raphaelite Prints, by Rodney Engen, 1995, The Beggarstaff Posters, by Colin Campbell, 1990, some catalogues, etc. (approx. 50)
Lot 1
London. 'Panorama of the River Thames in 1845', pub. Illustrated London News,. uncoloured panoramic wood engraved view, a little browning and fraying to side margins, image approx. 300 x 2390 mm, together with 'Sketches in London in 1851', large folding uncoloured wood engraving incorporating several views, some creasing and splits to folds, laid onto linen, approx. 720 x 975 mm, plus two others including an etching of Dover Castle after Myra H. Hughes (4)
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Three First World War Chromolithographic Recruiting Posters, published by the Parliamentary Recruiting Committee:- "Whose Absent? Is It You?", no.125; "There's Room For You. Enlist Today", no.122; "Come Along, Boys!" no.22; a similar poster published by the War Savings Committee "War Loan. Lend Your Savings to the Nation To-Day", no.22; a recruiting showcard "Come and Do Your Bit. Join Now"; a framed etching Launch of the Nelson.(6).
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Charles Murray, crucifixion , etchingCharles Murray (1894-1954), Crucifixion, signed in pencil in the margin, with blindstamp, etching, 32 x 16cm.; 12.5 x 6.25in. * Had first one-man show at Leicester Galleries in 1946, another following at Batley Art Gallery in 1950. Memorial exhibition at Temple Newsam House, Leeds, 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Tate Gallery and Scottish National Gallery of Modern Art hold his work.
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C.F. Tunnicliffe, Malcolm Salaman, etchingCharles Frederick Tunnicliffe R.A. (1901-1979), Portrait of Malcolm Salaman, etching, 22.5 x 20cm.; 9 x 8in. * Illustrated in 'Portrait of a Country Artist' by Ian Niall, 1985, page 50. After Tunnicliffe won a scholarship to the Royal College of Art in 1921 he met Malcolm Salaman who was instrumental in arranging the first publication of a portfolio of Tunnicliffe's etchings.
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The following lots offered are from the estate of Ivor Roberts-Jones CBE RA 1913-1996, artist and sculptor. The artist worked mainly in the field of portraiture, the monumental Winston Churchill statue in parliament square is one of eight National monuments Ivor Roberts-Jones created along with over twenty portraits for the Welsh National Portrait gallery and further private commissions and exhibitions throughout his career. "Abstraction and reality have an uneasy relationship in my sculpture, all things vividly seen are, as I believe, abstractions and starting work is the beginning of a move back to reality" Ivor Roberts-Jones. Ivor Roberts-Jones was a member of the the Society of Portrait Sculptors and exhibited in the founding exhibition of 1953 and is included in the society's 43rd annual exhibition in 2006. Source: President Nigel Boonham FRBS After Francisco Goya y Lucientes 1746-1828- 'Ne Se Peude Mirar', 2nd edition of the 'Disasters of War'; etching with aquatint, signed within the plate, 14x20.5cm: together with one other etching after the same hand titled 'The Blind Singer'; etching with aquatint, 20x12cm: J Pass fl. Late 18th/Early 19th century- 'The Clotho', or 'The Deadly Viper', after Albertus Seba 1665-1736, publ London as the act directs Oct 3 1801 by J Wilkins; plate 1, from the 'Locupletissimi rerum naturalium thesauri' ; hand-coloured engraving, 24x19cm: together with a further nine etchings, engravings and woodblock prints by and after different hands to include: Dirk Stoop 1618-1681, Cornelias Bega 1620-1664 and others, (12), (unframed)
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Frederick Hollyer 1837-1933- Study for the 'Masque of Cupid'- Disiderium, after Sir Edward Coley Burne-Jones BT ARA; platinotype, 21x19cm: European school circa 1900- Portrait of a gentleman seated full-length; lithograph, bears stamped monogram on the reverse, 32x20cm: Paul Drury, American 1903-1987- Portrait of a young woman, head and shoulders turned to the left; etching, signed in pencil and inscribed '3rd state, final proof', 16x12cm., (3), (unframed) Note:This platinotype is the only record of the drawing before the right side was cut off, presumably by a member of the artist's family, before it was gifted to the Tate Gallery by the artist son in 1910., source: Victorian etching, p.18, Maas Gallery 1999
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James Gillray 1756-1815- 'Inspecting a Volunteer Corps in Hyde Park'; publ Dec 4th 1803 by H Humphrey 27 St James's Street London; hand-coloured etching, trimmed on plate mark, 26x19cm: together with one other hand-coloured etching by the same hand titled 'Charons Boat-or-the Ghosts of all the Talents taking their last voyage, from the Popes Gallery at Rome', publ July 1807 by H Humphrey, 25x35cm: Thomas Rowlandson 1756-1827- 'An Old Ewe Drest Lamb Fashion', from the Tegg's Caricatures no 42; hand-coloured engraving, 25x35cm: together with one other hand-coloured engraving titled 'Old Fellows from Downing Street complaining to John Bull' after George Moutard Woodward, 23x33cm., (4)
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Graham Clarke b.1941- 'Windmill Hill'; hand-coloured etching, arched, signed titled and numbered 59/100 in pencil, 8.8x12.3cm: together with one other etching by the same hand titled 'Valley Cottage', arched, signed, tiled and numbered 34/100 in pencil, 8.8x12.3cm: Fred Cuming b.1930- Standing female nude; etching, signed and numbered 12.40 in pencil, 11.5x7.4cm., (3)
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An early 19th century wax relief portrait plaque of Titian mounted on glass (damaged), 20 x 15cm., in oak frame, inscribed to the reverse modelled by H. Smith, 3 Northernhay Place; a carved mother-of-pearl portrait plaque of a Roman Emperor, oval, 8 x 6cm., in satinwood frame; a parian relief portrait plaque of a gentleman, 8 x 5.5cm., later mounted on velvet, in rosewood frame; a pair of portrait miniatures of St Peter and St James, watercolour on card, oval, 7 x 6cm., gilt frames and a coloured etching of a gentleman in 16th century costume, 9 x 7cm., in gilt gesso frame. (6)
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78391 item(s)/page