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Lot 613
WALTER RICHARD SICKERT, ARA (1860-1942) THE OLD BEDFORD (THE SMALL PLATE) (Bromberg 135) Etching, 1910, the only state, on pale cream-grey wove 11 x 8.2cm.; with 'Dieppe, Quai Henri IV` (B.167) by the same hand, 1915, third state, 15.5 x 11.5cm. (3) Exhibited : (`The Old Bedford`) London, Thos. Agnew & Sons Ltd, `From the Pre-Raphaelites to Picasso`, June-July 1969, no.162 (£45). A copy of the exhibition catalogue accompanies this lot. ++ Each in good condition
Lot 505
HEDLEY FITTON (1857-1929) THE PANTHEON, ROME Etching with drypoint, 1913, signed 44 x 55.5cm.; with `Little Market, Vincenza` (1918) and `Loggia dei Lanzi, Florence` by the same hand, both signed, 41.5 x 29.5cm and 54 x 35.5cm. (3) * `The Pantheon` is generally considered to be Fitton's most accomplished etched work. ++ `Pantheon` with slight time toning, minor bruising along plate mark; the others each a little time stained
Lot 517
A FOLIO OF FIVE OLD MASTER PRINTS Comprising `Descent from the Cross` (Bartsch 81) and `Jan Uytenbogaert (The Goldweigher)` (B.281), after Rembrandt, later editions or copies; also `The March of Silenus` by P. Soutman after Rubens; `Sir Philip Sidney`, an etching by G. Vertue after Isaac Oliver; and another etching in Rembrandt's style (not in Bartsch) (5) ++ Fair-poor only; the two Rembrandt subjects with damages, trimmed; the others satisfactory
Lot 105
A 19th century scrap book of portrait engravings, varying sizes; together with assorted unframed prints and engravings to include: Norman Wilkinson - A Hulk at Sea; R.A. Maynard - woodcut; French school - Figures approaching a church, pencil sketch; Lord Viscount Castlereagh mezzotint; Farewell Miss Julie Logan publication for the Times 1931; etching in the manner of Rembrandt etc
Lot 541
E Gambier Parry (of Highnam Court Gloucestershire interest) pencil drawing of a leaf detail on wood or stone carving, monogramed and dated 81, 28 x 38cm, coloured etching of the Passage, Arlingham River Severn, and seven further sketches and etchings to include F.H.White pen and ink study of Exeter
Lot 93
Leonard Brewer (1875-1935)The Manchester Royal Exchange, etching, pencil signed by the artist, 36 x 29.5cm; together with two satirical prints - 'The Ray of Hope' after Woodward and 'Another Stage in the March of Intellect', lithograph by John Doyle; and a map of Oxford after Michael Burghers (re-strike) (4)
Lot 765
AFTER LUKE CLENNELL "The decisive charge of The Life Guards at The Battle of Waterloo", hand-coloured etching by William Bromley, published 18th June 1819, impression size 32 cm x 50 cm, two Vanity Fair prints "Croppy" and "The Might", AFTER R SIMKIN "The Royal Escort in 1742", lithograph by Emrick & Binger and another framed and glazed military print
Lot 105
Goltz (Hubert). Les Images presque de tous les empereurs, depuis C. Julius Caesar jusques a Charles V et Ferdinandus son freere, pourtraites au vif, prinses des me?dailles anciennes..., [Anvers: Impr. de G. Coppenius], 1557, title (A1) within strapwork cartouche, colour-printed from at least 2 woodblocks over an etched outline (torn to outer corners with loss and lined to verso, 124 chiaroscuro medallion portrait woodcuts only over etching printed in tones of brown and sepia (of 155), without preliminary leaves after title and few other leaves, close trimming at head with some cropping of plate numbers, leaves P6 & Y3 torn with loss, T6 with knife cuts around image, some fraying and occasional other tears, damp stains and spotting, few repairs, 19th century half sheep, blind decoration to spine, rubbed and some wear, 4to in 6s (27.5 x 21.5 cm)Qty: (1)Footnote: Sold with all faults, not subject to return. This volume contains 125 leaves only and appears to collate as A1 (title), D2-D6, E1-E6, G1-N6, O2-O6, P1-X6, Y2-Y6, Z6, Aa2--Aa4, Bb1, Bb4-Bb5, Cc2-Cc3, Dd3-Dd4, Ee1-Ee2, Ee4-Ee6, Ff1-Ff3.In 1557 the German painter, engraver, and printer Hubert Goltzius (1526-1583) issued a folio volume from the press of Copen (?) Diesthem in Antwerp, entitled Lebendige Bilder gar nach all Keyersern, von C. Julio Caesare, bisz auff Carolum.V. und Ferdinandum seinem Bruder, auxz den alten Medalien. He also issued this book in Latin and Italian in 1557, in French in 1559, and in Spanish in 1560. Each edition was illustrated with etched portrait medallions of each emperor with woodcut colour. In addition to illustrating medallic portraits of Roman emperors, Goltzius provided histories of their reigns.
Lot 171
§ JULIAN TREVELYAN (BRITISH 1910-1988) BOLTON Etching with aquatint, 10/30, signed, titled and numbered in pencil to margin; and another 'Bolton, High Level,' Etching with aquatint, 2/30, signed, titled and numbered in pencil to margin(image size 43cm x 55.5cm (17in x 21.75in) and 35.5cm x 47.5cm (14in x 18.75in))
Lot 211
§ VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) BLUE DEVELOPMENT - 1974 Etching and screenprint, A/P, signed in plate, signed with initials, dated and numbered in pencil to margin(the sheet 72cm x 61cm (28.25in x 24in))Footnote: Note: Victor Pasmore didn’t move towards his signature abstract style until 1947, in a move the art historian Herbert Read described as ‘the most revolutionary event in post-war British art.’ In 1966 Pasmore re-located to Malta and it was in this same year that he began experimenting extensively with printmaking, starting with the 2RC printshop in Rome. From then on, printmaking became a significant part of his artistic practice and he worked with many important print studios, including Kelpra Studio and Curwen Press. With time, and this significant move to both warmer climes and into printmaking, Pasmore’s work softened and his hard-edged geometric forms gave way to more curving shapes and the wandering lines and areas of deep colour that we can see in this selection of work. The resulting images are characterised by a simplicity and fluidity that evokes a strong sense of balance, even peacefulness. This sense is magnified by his chosen titles, which imbue the pieces with a mystical quality.
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