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Click here to subscribe§ SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956) NOTRE DAME, PARIS, 1914 Etching, ed. 120, signed in pencil to margin:and another 'Castello Della Ziza, Palermo,' 1904, etching on blue paper, signed in pencil to marginDimensions:image size 55cm (21 3/4in), 74cm (29in) and 45cm (17 3/4in), 47.5cm (18.75in)
§ SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956) GONDOLAS, VENICE, 1924 Etching, signed in pencil (to margin);and another 'The Gondoliers - Venice,' lithograph with hand-colouring, signed in pencil (to margin)Dimensions:image sizes 34.5cm (13 1/2in), 27cm (10 1/2in) and 11cm (4 1/2in), 20cm (8in)
§ SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956) SANTA SOPHIA, 1906 Etching, ed. 70, signed in pencil (to margin);and another 'Assisi,' etching, ed. 70, signed in pencil (to margin)Dimensions:image size, 47.5cm (18 3/4in), 52cm (20 1/2in) and 30cm (12in), 39cm (15 1/2in)Provenance: Provenance:Phillips, London, 12th September 1995, lot 177.
§ SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956) A BEND IN THE RIVER, 1926 (GAUNT 323) Etching, signed in pencil, 1st state, one of three impressions;and another, 'A Road in Picardy,' etching, ed. 60, signed in pencil (to margin)Dimensions:image size 30cm (11 1/2in), 35cm (13 3/4in) and 37cm (14 1/2in), 30cm (11 3/4in)
§ OROVIDA CAMILLE PISSARRO (BRITISH 1893-1968) JUNGLE LAW Etching, 22/45, signed, inscribed and numbered in pencil to margin;and another, Paul Drury (British 1903-1987), March Morning - 1933, etching, signed, titled and dated in pencil to marginDimensions:12 1/2cm (5in), 19cm (7 1/2in) and 13cm (5in), 16cm (6 1/4in)Provenance:Provenance: Paul Drury 'March Morning' - Elizabeth Harvey-Lee, Oxfordshire, 1996.
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) CRAY FIELDS, 1925 (TASSI 19) Etching, signed in pencil to marginDimensions:image size 11.5cm (4 1/2in), 12cm (4 3/4in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 55.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.19.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.11. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: Gordon Cooke has noted that 'the Cray is a river, rising at St Mary Cray, near Farningham, where Graham Sutherland moved in 1927' (op.cit., unpaginated). Roberto Tassi has remarked that in this work ‘the bewitching atmosphere of [Samuel] Palmer…is clearly in the ascendant here, as we can see from the stars, the tall spikes and line of hop-poles’. (op.cit., p. 20)
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) THE VILLAGE, 1925 (TASSI 20) Etching, signed in pencil to marginDimensions:17cm (6 3/4in), 22cm (8 3/4in)Provenance:Provenance: Christie's, South Kensington, 16th April 2014, lot 120.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.20.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no. 9. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air of quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Gordon Cooke has linked The Village to Samuel Palmer's etching The Bellman of 1879 (op.cit., unpaginated, see Victoria & Albert Museum collection acc. no.E.1465-1926). In contrast, Roberto Tassi detected the influence of Jean-François Millet and declared that The Village revealed 'a new and absolutely original vision...with tilled fields, weary labourers, their wretched cottages and the evening stillness that weighs on everything.' (op.cit., p. 19) Ronald Alley has explained that the scene depicted was 'based mainly on scenery around Cudham in Kent, but with elements from Warning Camp in Sussex.’ (Ronald Alley, Graham Sutherland, London 1982, p. 58.)
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) PECKEN WOOD, 1925 (TASSI 21) Etching, signed in pencil to marginDimensions:13.5cm (5 1/4in), 18cm (7in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 51.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.21.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.10. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: Ronald Alley has written about this work that the rural world it depicts ‘is one of the past, the evocation of a mode of village life which had almost completely passed away. The emphasis is on the autumnal fertility of nature, with man living in communion with nature and...the moment depicted is when the sun is setting, or near setting and the stars are beginning to come out.' (Ronald Alley, Graham Sutherland, London 1983, p. 59)
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) ST. MARY'S HATCH, 1926 (TASSI 22) Etching, signed in pencil to marginDimensions:12cm (4 3/4in), 18cm (7in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 52.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.22.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.13. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: St Mary's Hatch comes from ‘a series of small, densely worked etchings of rural England, thatched cottages and churches, fields with stooks of corn, the setting sun and the first evening stars, which were intensely poetic evocations of a more or less lost world of innocence and religious piety.’ (Ronald Alley, Graham Sutherland, London 1982, p. 9)
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) MAY GREEN, 1927 (TASSI 24) Etching, signed in pencil to marginDimensions:11cm (4 1/4in), 16cm (6 1/4in)Provenance:Provenance: Christie's, South Kensington, 16th April 2014, lot 121.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.24.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.16. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: According to Gordon Cooke, this was the only etching which Sutherland made in 1927 (op.cit, unpaginated). He has also explained that it is the last in a series of four etchings, including Cray Fields and St Mary Hatch, ‘which seem to celebrate both religious and rural values, anchoring the scenes to the calendar and particular places.’
William Monk (1863-1937), London scene with St Paul's Cathedral, in the foreground, monochrome etching, 21cm x 29cm, a collection of etchings, some signed, to include Arthur L Cherry scenes of London, Stokesay Castle Shropshire, another unsigned, J Lewis Eton, John J Creswell, The Post Mill, etc.
Nash (John). The Wood-Engravings of John Nash, compiled by Jeremy Greenwood, Liverpool: Wood-Lea Press, 1987, colour and monochrome illustrations, original cloth0-backed illustrated boards, slipcase, folio, limited edition of 750, together with Caldecott (Randolph). The Complete Collection of Randolph Caldecott's Contributions to The "Graphic", with a preface by Arthur Locker, London: George Routledge and Sons, 1888, portrait frontispiece,colour illustrations, some light spotting, original cloth-backed boards, spine torn, upper cover toned with some edge wear, 4to, plus other illustrated and art books including 13 volumes of the Modern Masters of Etching series, 1920's-30's QTY: (24)
Salvator Rosa (Italian, 1615-1673). Etching on paper titled "Saint William of Maleval," depicting the saint with his hands tied to a tree, 1661. He is depicted doing penitence in a forested valley in a region of Siena known as Maleval.Sight; height: 13 1/2 in x width: 8 3/4 in. Framed; height: 21 1/4 in x width: 16 3/4 in.
Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). Etching on paper titled "Christ Driving the Money-changers from the Temple," depicting a Biblical story of Christ. Originally printed in 1635, this is a posthumous impression. Signed and dated in plate along the lower right.Sight; height: 5 1/4 in x width: 6 1/2 in. Framed; height: 14 1/4 in x width: 15 1/2 in.
Pedro Joseph de Lemos (American, 1882-1954). Etching on paper titled "Windmills of Mallorja," depicting a line of windmills in a landscape while a shepherd strolls past with his sheep. Pencil signed and inscribed "to Jane Rehnstrand," along the lower right; titled along the lower left.Sight; height: 5 1/2 in x width: 6 1/4 in. Framed; height: 11 in x width: 11 1/2 in.
Armin Hansen (American, 1886-1957). Etching on paper titled "The Montereyans," depicting three men looking to their right at a boat in the water, 1923. Signed and dated in plate. Pencil signed along the lower right; titled along the lower left.Image; height: 6 in x width: 7 3/4 in. Framed; height: 14 1/4 in x width: 19 in.
POLLAK or POLLACK (Max) artist: [group of four Jewish men] ca. 1921 etching, signed, contemporary frame & mount with framer's label on the verso is dated 1921 [Note: The present work is one of a series that is thought to have stemmed from a putative visit to Jaffa, Palestine. Max Pollak, painter and printmaker, was born in Prague, in 1886, but his family moved to Vienna, Austria when he was six months old. In 1902, aged 16, he entered the Vienna Academy of Art, studying painting and printmaking under William Unger and Ferdinand Schmutzer. During the First World War, he was appointed painter to the Austrian Army. He emigrated to the U.S. in 1927, where he had a very successful career as an artist, and died in Sausalito, California on May 29, 1970.
A BOX AND LOOSE SUNDRY ITEMS ETC, to include an Aristos of London bowler hat in good condition approximate size 55cm, plated wares, brass ornaments, brass Welsh Guards ashtrays, Kundo quartz chiming mantle clock with plaque named to Captain Elcock Welsh Guards, red hackle, small quantity of postcards including seven B&W depicting Treptower Park in Berlin, assorted prints etc including an artist proof etching depicting a rocky outcrop (1 box + loose)
STANLEY JOYCE (BRITISH 20TH CENTURY) A LARGE QUANTITY OF DRYPOINT ETCHINGS ETC, to include nude figure studies and landscapes, comprising loose sheets and framed prints, largest size approximately 50cm x 34cm including margins, there are a number of duplicates, together with a bag containing aluminium and perspex etching plates, Condition Report: loose sheets have edge bumps, creases in places and tears to some (artist resale rights apply) (3 boxes, a bag and loose)
H. C. Fox Watercolour drawing 'At Burpham Sussex ' water boatman taking a load of hay on a river, with another farm labourer on a ladder up a haystack, signed and dated lower right 1912, 53 x 17cm, famed and glazed Paul Stafford Watercolour drawing Bridge over river with a castle in background, signed lower right, 24cm x 34cm approx. Etching Venice Photographic portrait Woman with headscarf and pearls, framed and glazed Three framed photographs Small child, circa 1940's (
ROBERT BUCHAN NISBET (BRITISH, 1857-1942) (3)Autumnal landscape, signed and dated 'R B Nisbet 1885' (lower right), watercolour heightened with white, 12.5 x 22cm, together with an etching in colours of a landscape, indistinctly signed, 15.5 x 21.5cm; and a watercolour of still life of vases and a bowl by Janet Skea, signed, 23 x 31cm, (3)
Mozley (John, printer) The School of Wisdom; or Repository of the most Valuable Curiosities of Art & Nature..., first edition, light marginal staining ro a few leaves, wormhole, contemporary sheep, rubbed, lower cover worn, Gainsborough, John Mozley, 1776 § Mackenzie (Colin) Mackenzie's Five Thousand Receipts in all the Useful and Domestic Arts, fourth edition, wood-engraved illustrations on the art of carving meat, foxing, worming at end, contemporary sheep, worn patch to upper cover, rebacked, Philadelphia & Pittsburgh, 1831: and another on trades, 8vo (3)⁂ The first is a curious work covering a wide range of subjects including the human body, astronomy, natural history, meteorology, artistic crafts of painting,drawing, etching etc., dyeing, fire-works, and porcelain-manufacture.
Gillray (James) Diana return'd from the Chace, satire on the Countess of Salisbury, etching with vibrant original hand-colouring, on wove paper without watermark, platemark 358 x 255 mm (14 1/8 x 10 in), sheet 370 x 263 mm (14 1/2 x 10 3/8 in), minor surface scuffs and light toning, unframed, published by Hannah Humphrey, 1802Literature: BM Satire 9908
Gillray (James) The Lover's Dream, etching and aquatint, a good but uncoloured impression on wove paper without watermark, marginal ink and pencil inscriptions identifying persons depicted, platemark 325 x 425 mm (12 3/4 x 16 3/4 in), sheet 360 x 435 mm (14 1/8 x 17 in), scattered spotting, unframed, published by Hannah Humphrey, 1795; together with two further uncoloured Gillray caricatures, including Blood on Thunder fording the Red Sea, [BM Satires 7278], and a later edition of The kettle hooting the porridge-pot, [BM 6013], etchings, on wove papers, 240 x 345 mm (9 1/2 x 13 1/2 in) and 300 x 395 mm (11 3/4 x 15 1/2 in), all unframed, circa 1782-1788 (3)
Gillray (James) Integrity retiring from Office!, etching with original hand-colouring, on wove paper without watermark, sheet 126 x 353 mm (5 x 13 7/8 in), trimmed within the borderlines, some cockling to sheet, minor spotting and surface dirt, unframed, [BM Satires 9710], published by Hannah Humphrey, 1801; together with 3 sheets with 6 later impression uncoloured Gillray caricatures, two anonymous 19th century political cartoons, and a hand-coloured impression of Charles Williams' 'The Westminster ceceder [sic] on fresh duty', published by by S.W. Fores, 1801, all unframed, 19th century (7)
Gillray (James) La Derniere Ressource, or Van Buchells Garters, etching with original hand-colouring, on cream laid paper with watermark of Strasbourg Lily, platemark 273 x 175 mm (10 3/4 x 6 7/8 in), sheet 315 x 210 mm (12 1/4 x 8 1/4 in), very faint toning to margins, unframed, published by Hannah Humphrey, 1791; together with ; together with Charming well again, [BM 10307], etching with original hand-colouring, 270 x 210 mm (10 5/8 x 8 1/4 in), unframed, 1791-1804 (2)
Gillray (James) Farmer Giles & his Wife shewing off their daughter Betty to their Neighbours on her return from School, etching with original hand-colouring, on wove paper without watermark, sheet 310 x 465 mm (12 1/4 x 18 1/4 in), trimmed within the platemark, small loss to lower right corner, surface dirt and browning, unframed, [BM Satires 11444], published by Hannah Humphrey, 1802; together with Push Pin, [BM 9082], and a pair of reduced copies after Gillray Matrimonial Harmonics and Harmony before Matrimony, etchings, all with original hand-colouring, various sizes, all but the last 2 mentioned published by Hannah Humphrey, circa 1797-1809 (4)
Gillray (James) The first kiss this ten years! - or - the meeting of Britannia & Citizen François, etching and aquatint with original hand-colouring, on wove paper without watermark, sheet 357 x 260 mm (14 x 10 1/4 in), thread margins, minor even toning but mainly to extremities, some residual album leaves in corners verso, unframed, Hannah Humphrey, 1803Literature:BM Satires 9960 ⁂ Satire on Anglo-French relations with a fat good-natured Britannia receiving a big kiss from a lean French military officer, with oval bust portraits of Napoleon and George III above.
Heath (William) A la mode - 1828, etching with full hand-colouring, on wove paper without watermark, sheet 270 x 380 mm (10 5/8 x 14 7/8 in), small margins, some spotting and surface dirt, unframed, Thomas McLean, [1829]; together with a good group of 21 19th century caricature prints and drawings, including Robert Dighton's The Specious Orator [James Christie] ..., and 5 others of various men by the Dighton family, William Hogarth's Scholars at a lecture, [Paulson's second state] on laid paper without watermark, and Hogarth's Characters and Caricaturas, Ghezzi's etching of Dr Tom Bentley, a portrait of James Gillray by Charles Turner, and others by various artists including Bunbury, engravings, etchings, some with hand-colouring, a few pen and ink, various sizes, all unframed, 18th and 19th century (22)
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![POLLAK or POLLACK (Max) artist: [group of four Jewish men] ca. 1921 etching, signed, contemporary frame & mount with fram](https://cdn.globalauctionplatform.com/11849aff-3fd4-4d74-98b7-af880105a156/54f3c068-3638-4562-b679-af88010f2f2b/468x382.jpg)
