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Lot 199
Glynn Thomas (b.1946) - Snape, etching heightened in colours on wove paper, signed, titled and numbered 69/100 in pencil to the lower margin, visible sheet dimensions 28 x 41cm; together with one other by the artist - St Just-in-Roseland, etching heightened in colours, signed, titled and numbered 17/100 in pencil to the lower margin, visible sheet dimensions 21 x 32cm (2) Snape – slight rippling to paper.Colours to each appear good and original.No tears or losses to either.
Lot 198
Valerie Thornton (1931-1991) - A Suffolk church interior, etching with aquatint, signed, dated '81, titled and numbered 91/150 in pencil to the lower margin, visible sheet dimensions 76.5 x 57cm; together with one other by the artist - Cloisters, etching with aquatint, signed, dated 1980, titled and numbered 14/150 in pencil to the lower margin, visible sheet dimensions 76.5 x 57cm (2) Each with very light rippling to paper throughout.Colours good, bold and original.No tears or losses.
Lot 9448
OONA GRIMES (b.1957) A framed and glazed etching with gouache, 'Downfall #4'. Signed, titled and dated 0000 in pencil, No. 7/30. Image size 39cm x 42.5cm. Born in London and attended the Norwich School of Art from 1986-88. Lives in Hackney, London. Visiting lecturer at The Slade & The Ruskin Schools of Art
Lot 134
Deluxe Model WW2 German Kriegsmarine Officers Dress Dagger by Carl Eickhorn, Solingen, fine untouched example of a 2nd pattern German naval officers dress dagger with deluxe bone grip having wire binding. Eagle pommel top and cross guard with fouled anchor and press button for blade release. Housed in the original deluxe pattern hammered scabbard with two hanging rings. Fine double edged blade with much of the original polish remaining to the blade. Carl Eickhorn makers trade mark and standard etching. The blade 25 ¼ cms, overall 42 ¼ cms. Very fine example.
Lot 327
Pablo Picasso"Femme Torero, III" from "La Suite Vollard"1934etching on paper Vergé de Montval with watermark "Vollard"; framed24 x 30 cm (plate size), 34.2 x 44.5 cm (sheet size)signed by hand on the lower right: Picassoinscribed and dated in the plate on the lower right (mirror-inverted): Paris 22 Juin XXXIVwatermark Vollard on the left edgeedition of 260 pieces, edited by Ambroise Vollard, Paris, 1939private property, GermanyGeorges Bloch, Pablo Picasso. Band I, Katalog des graphischen Werkes 1904-1967, Bern 1984, no. 221, p. 72 (with ill.)
Lot 11
λ GRAHAM SUTHERLAND (BRITISH 1903-1980) PASTORAL Etching, 1930 Signed in pencil, dedicated to Marion Richardson With best wishes for Christmas/& love from Jane & Kenneth Clark and dated 1938 to backboard (verso) Image 12.2 x 19cm (4¾ x 7¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first things that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Stuck down to mounting board with tape to the upper corners. Some very light undulation to the lower margin. Some light staining running along the upper edge of the margin with a crease to the upper right corner. Image itself is in good original condition. Condition Report Disclaimer
Lot 875
TOM MAXWELL (SCOTTISH 1874-1937) ST. ENOCH'S SQUARE Etching, signed lower right, 23 x 12cm Title inscribed verso Together with a similar by the same hand titled 'Fish market, Glasgow' And Tom Paterson, Etchings, titled 'St. Enoch's Church', 'Kelvin Bridge' and 'Trongate' (5) Condition Report:Available upon request
Lot 411
AR * Brockhurst, Gerald Leslie (1890-1978). Casper, 1933, etching, signed in pencil, a deep impression with large margins, plate size 19.5 x 15 cm (7 3/4 x 6 ins), sheet size 32.5 x 24 cm (12 3/4 x 9 1/2 ins), inscribed in pencil in an unknown hand 'W. 76 Casper' and 'A56954' to lower portion of sheet, tipped onto backing card, hinge mountedQTY: (1)NOTE:Based on a painting from 1920 (which had been used as the cover of ‘Colour’ July 1920) the sitter was Casper Knewstub, the son of Jack Knewstub, who owned the Chenil Gallery in London. An impression was exhibited at the Royal Academy, 1933 No. 1282 or 1283.
Lot 385
* Strang (William, 1859-1921). Portrait of Sir Henry Rider Haggard, 1911, etching with drypoint on cream paper, printed with light plate tone, one of 35 published proofs, signed 'David Strang imp' bottom left, signed 'Wm Strang fec. DS' bottom right on behalf of the artist by David Strang, inscribed 'Final St.' in pencil below image, research notes to verso, plate size 39.7 x 27.4 cm, framed and glazed (59 x 45 cm)QTY: (1)
Lot 401
* Schultz (Anton, 1894-1977). Wall Street Giants, circa 1929, etching, signed in pencil to lower right, plate size 30.2 x 18.8 cm (11 7/8 x 7 3/8 ins), sheet size 43 x 29 cm (16 7/8 x 11 3/8 ins)QTY: (1)NOTE:Anton Schutz was a German-American artist, born in Berndorf, Germany in 1894. He is best known for his cityscapes and architectural etchings, especially of New York City. Schutz began his formal studies at the University of Munich, but they were put on hold because of World War I. After serving in the German Army, he returned to the University for a period of time before moving on to the Royal Academy of Fine Art, where he earned his degree in Mechanical Engineering and Architecture in 1920. He immigrated to the United States in 1924, where he met and befriended artist Joseph Pennell in New York City. That same year, he had his first several solo exhibitions at Anderson Gallery.
Lot 461
AR * Tanner (Robin, 1904-1988). March, 1984, etching on cream wove paper, an excellent impression of the third (final) state, signed, inscribed and titled in pencil 'Robin Tanner fec. et imp. / “March:”', published in an edition of 25 by Garton and Cooke in 1984, the full sheet, old tape to verso, plate size 24.7 x 19.5 cm (9 3/4 x 7 3/4 ins), sheet size 35.5 x 28.5 cm (14 x 11 1/4 ins), unmountedQTY: (1)NOTE:Garton 42.
Lot 82
* Piranesi (Giovanni Battista, 1720-1778). Sezione di uno de' cunei del Teatro di Marcello corrispondente colle vie de’Senatori, from Le Antichità Romane IV, 1756, etching on laid paper, 'Piranesi Archit. dis. et Scul.' below explanatory text, presence of 'TF' watermark (to both sheets) suggests a later Paris edition [c.1807-1835], two sheets joined to create one image (join strengthened on verso), two further vertical folds, some offsetting, small areas of spotting, plate size 40 x 85 cm (15 3/4 x 33 1/2 ins), sheet size 60 x 108 cm (23 1/2 x 42 1/2 ins), together with Sezione di uno de'Cunei del Teatro di Marcello... Portico della circonferenza esterna, from Le Antichità Romane IV, 1756, etching on laid paper, 'Piranesi Archit. dis. et Scul.' to lower right, 'TF' watermark (to both sheets) suggests a later Paris edition [c.1807-1835], two sheets joined together and secured to verso, three further vertical folds, some offsetting, areas of spotting, one small water stain to lower margin (not affecting image), plate size 45 x 85 cm (17 3/4 x 33 1/2 ins), sheet size 60 x 108 cm (23 1/2 x 42 1/2 ins).QTY: (2)NOTE:Wilton-Ely 498/497; Focillon 365/364; Ficacci 356/355.
Lot 439
* Kay (Bernard, 1927-2001). Chartres West, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 48.5 cm x 34.1cm (19.2 x 13.7 ins.), full sheet 65 cm x 51 cm (25.5 x 20.2 ins), together with the original copper printing plate, and an Artist’s Proof signed edition of Chartres IQTY: (3)
Lot 79
* Piranesi (Giovanni Battista, 1720-1778). Pianta del Mausoleo di Cecilia Metella moglie di M. Crasso Triumviro..., from Le Antichità Romane III, 1756, etching on thick laid paper, a crisp impression, 'Piranesi Archit. del. et inc.' to lower right, double ring fleur-de-lys watermark suggests a lifetime Roman edition, central fold (strengthened to verso), large margins, small areas of offsetting, plate size 44 x 52 cm (17 1/4 x 20 1/2 ins), sheet size 55.5 x 81 cm (21 3/4 x 31 3/4 ins), plus Pianta del Sepolcro de'Scipioni, from Le Antichità Romane II, 1756, etching on laid paper, a deep and engaging impression, 'Piranesi Archit. dis. et inc.' to lower right, single ring fleur-de-lys watermark suggests a lifetime Roman edition, wide margins, plate size 34.5 x 23.2 cm (13 1/2 x 9 1/4 ins), sheet size 54 x 39.5 cm (21 1/4 x 15 1/2 ins), and Pianta di un Sepolcro sulla Via Tiburtina vicino a Ponte Lugano..., from Le Antichità Romane II, 1756, etching on laid paper, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, good margins, remnants of old tape to verso, plate size 34.5 x 23.5 cm (13 1/2 x 9 1/4 ins), sheet size 56.5 x 43.5 cm (22 1/4 x 17 ins), together with three further etchings from Le Antichità Romane, one with a double ring fleur-de-lys watermark and the another with 'Bracciano' and florid heraldic watermark. QTY: (6)NOTE:Wilton-Ely 424/384/395; Focillon 289/249/260; Ficacci 281/241/252.
Lot 57
* Soutman (Pieter, 1580-1657). The Last Supper, after Rubens, after the fresco by Leonardo da Vinci, 1620, etching on laid paper, a characterful impression, two sheets conjoined to create one image, four Last Supper bible verses in Latin to lower margin, 'P. B. Rub. Delins.' and further attributions in Latin and Italian to lower margin, trimmed to image on three sides, lower left corner trimmed removing 'Leonardo Da Vinci, Pinxit.', 'P. & D. Colnaghi & Co. Ltd.' gallery label with attribution details in ink to verso, image size approx. 27.3 x 99.3 cm (10 3/4 x 39 1/4 ins), sheet size 29 x 99.4 cm (11 1/2 x 39 1/4 ins), framed and glazed (47 x 106 cm)QTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.Pieter Soutman was a painter, etcher and engraver, draughtsman and publisher of prints. He worked in Antwerp around 1618 as a pupil or collaborative assistant of Rubens.Another impression of this work is held by the British Museum (1868,0612.371).
Lot 83
* Piranesi (Giovanni Battista, 1720-1778). Spaccato del Ponte Fabrizio, detto de’quattro Capi, from Le Antichità Romane IV, 1756, etching on thick laid paper, a crisp impression, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, very large margins, central fold (strengthened to verso), some offsetting to left margin, plate size 39.6 x 60 cm (15 3/4 x 23 1/2 ins), sheet size 56 x 80 cm (22 x 31 1/2 ins), plus Pianta d’un Sepolcro fuori di Porta S. Sebastiano, from Le Antichità Romane III, 1756, etching on thick laid paper, both 'Bracciano' and florid heraldic watermark suggests a posthumous Roman edition, large margins, central fold (later repaired and strengthened to verso, with very small area of repaired loss near top of image), plate size 39.5 x 52 (15 1/2 x 20 1/2 ins), sheet size 54 x 77 cm (21 1/4 x 30 1/4 ins), together with four more etchings including plans and architectural studies from Le Antichità Romane.QTY: (6)NOTE:G. Piranesi: Wilton-Ely 487/429; Focillon 354/294; Ficacci 345/286.
Lot 67
* Hollar (Wenceslaus, 1607 - 1677). The Four Windmills, after Jan Breughel, 1650, etching on laid paper with foolscap watermark, the first state (of 2), with printed inscription to lower margin of the plate 'Brüghel pinxit' and 'W. Hollar fecit 1650. Ex Collectione Arundeliana', a very good impression with strong contrasts, old ownership inscription in brown ink to lower left corner of the plate verso 'cc', and further neat pencil inscription just below the platemark verso '1215. Apell in Dresden 1861', light mount stain, plate size 118 x 170 mm, sheet size 190 x 240 mm, framed and glazed (with 20th century typewritten description of the print and provenance information to verso)QTY: (1)NOTE:Provenance: Ciccri Collection (according to typewritten note pasted to verso of the frame); Aloys Apell, printdealer, Dresden, by 1861; purchased from the London printdealer Robert Dunthorne in 1912 (typewritten note to verso). Pennington 1215 i/ii; New Hollstein (Hollar Part IV) 1104 i/ii.The Earl of Arundel employed Wenceslaus Hollar as artist-in-residence to make drawings of his extensive art collection. Some of these drawings are now the only record of the contents of that impressive collection. Hollar was able to make prints from the drawings of the Arundel collection which were produced in three issues.
Lot 92
* Piranesi (Giovanni Battista, 1720-1778). Senatus Populusque Romanus Monumenta Marmorea Magistratuum Triumphohorumque AB Urbe Tempora Divi Augusta..., from Lapides Capitolini sive Fasti Consulares Triumphalesq. Romanorum, 1800, etching on thick laid paper, a strong impression, presence of 'TF' watermark (to both sheets) suggests a later Paris edition [c.1807-1835], wide margins, central fold where the two sheets are joined on verso, three further vertical folds, a little mount stained, dust soiling to top right margin, repaired 8 cm closed tear to lower left portion of image, tipped onto backing board in three places with tape, Sanders of Oxford information sheet to verso, plate size 50.3 x 123 cm (19 3/4 x 48 1/2 ins), sheet size 58.6 x 135 cm (23 x 53 ins), framed and glazed (78 x 150 cm). QTY: (1)NOTE:Wilton-Ely 558; Focillon 427; Ficacci 482.
Lot 407
AR * Tanner (Robin, 1904-1988). Christmas Card for 1930, etching on cream wove paper, a fine impression, signed, titled and dated by the artist in pencil, additional inscription by the artist lower left 'A hastily etched greeting card, sent out to 200 friends.', with margins, plate size 9 x 13.7 cm (3 1/2 x 5 1/4 ins), sheet size 14.7 x 19 cm (5 3/4 x 7 1/2 ins), unmountedQTY: (1)NOTE:Garton 11. Garton suggests an edition of approximately 60, but Tanner suggests a run of 200.
Lot 376
* Wyllie (William Lionel, 1851-1931). A Bird’s Eye View of Westminster Bridge and The City, etching with drypoint, an atmospheric impression, on thick cream wove paper, signed in pencil to lower left, the full sheet, plate size 225 x 375 mm (9 x 15 3/4 ins), sheet size 305 x 460 mm (12 x 18 ins), hinge-mounted, together with: Clausen (George, 1852-1944). The Barn Door, 1894-1904, etching, a fine, bright impression, on laid paper watermarked O.W.P. and A.C.L., signed 'George Clausen' in pencil lower right, with margins, old tape at the sheet edges, platemark 15.7 x 12.2 cm (6 1/8 x 4 3/4 ins), sheet 21.7 x 17.5 cm (8 1/2 x 6 7/8 ins), mounted, plus: Brockhurst (George, 1890-1978). The Artist’s Mother, 1920, etching on thick ivory wove paper, the full sheet, signed in pencil to lower right, a balanced and characterful impression, titled and numbered '55 proofs' in pencil in another hand to lower sheet edge, plate size 88 x 88 mm (3 1/4 x 3 1/4 ins), sheet size 230 x 195 mm (9 x 7 3/4 ins)QTY: (3)NOTE:F. Gibson Print Collector's Quarterly VIII, 1921, pp.203-227, no. 15.
Lot 76
* Piranesi (Giovanni Battista, 1720-1778). Vindicibus et Protectoribus Bonarum Atrium i.B. Piranesius (Frontispiece to Le Antichità Romane IV), 1756, etching on laid paper, a deep impression, 'Gio Batta. Piranesi invent. ed incise' to lower left, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, central fold (strengthened to verso), very wide margins, minimally fixed to mount with tape on all sides, plate size 40.5 x 54.5 cm (16 x 21 1/5 ins), sheet size 56 x 80.5 cm (22 x 31 3/4 ins), framed and glazed (66 x 96.5 cm), together with Rossini (Luigi, 1790–1857) Veduta della rovina del gran Arco trionfale della nave traverse, from Le Antichita Romane, 1823, etching on laid paper, plate size 49.5 x 59 cm (19 1/2 x 23 1/4 ins), framed and glazed (66 x 96.5 cm).QTY: (2)NOTE:Piranesi: Wilton-Ely 471; Focillon 338; Ficacci 329.
Lot 80
* Piranesi (Giovanni Battista, 1720-1778). Pianta dell’antico Foro Romano..., from Le Antichità Romane I, 1756, etching on thick laid paper, a clear and crisp impression, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, large margins, central fold, plate size 46.2 x 46.7 cm (18 x 18 1/2 ins), sheet size 55.5 x 79 cm (21 3/4 x 31 ins), plus Pianta del Mausoleo di Costanza figlia di Costantino Magno Imperatore…, from Le Antichità Romane II, 1756, etching on laid paper, double ring fleur-de-lys watermark suggests a lifetime Roman edition, central fold (later strengthened to verso), small area of repaired loss in centre of image, plate size 40 x 59.5 (15 3/4 x 23 1/2 ins), sheet size 55 x 80 cm (21 1/2 x 31 1/2 ins), and Pianta dell'Avanzo del Mausoleo di Adriano Imp., from Le Antichità Romane IV, 1756, etching on thick laid paper, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, large margins, plate size 34.5 x 23 (13 1/2 x 9 ins), sheet size 55 x 42 cm (21 1/2 x 16 1/2 ins), together with three further etchings from Le Antichità Romane, two with lifetime fleur-de-lys watermarks. QTY: (6)NOTE:Wilton-Ely 357/378/473; Focillon 222/243/340; Ficacci 213/235/331.
Lot 65
* Van Dyck (Anthony, 1599-1641 and Jacobus Neeffs, 1604-1667). Frontispiece to the series Icones principum virorum doctorum pictorum, chalcographorum, Antwerp, 1646, etching and engraving on laid paper, a very good impression, with publisher's name of Gillis Hendricx, but with date of 1646 removed below the publisher's name, trimmed to plate margins, sheet size 243 x 152 mm (9 5/8 x 6 1/8 ins), black and gilt frame, glazed (40 x 30cm), together with three portraits from the same series, Jacobus Jordaens, Lucas Vorstermans and Horatius Gentilescius, engraving on paper, each a deep and rich impression, Jacobus Jordaens slightly spotted and stained, each plate size approx. 24 x 17.5 (9 1/2 x 7 ins), uniformly framed and glazed (the largest 44.5 x 36 cm)QTY: (4)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Wibiral 4, ii/iv. The head of Van Dyck was etched as a self-portrait by the artist with the remainder of the plate completed by Jacob Neeffs.
Lot 52
* Sadeler (Jan, 1550-1600). Annunciation of the Birth of Christ to the Shepherds, after Jacopo Bassano, etching, together withGalle (Philipp, 1537-1612). The Parable of the Prodigal Son Eating with the Swine, after Marrarten van Heemskerck, 1562, engraving, plusDe Leu (Thomas, ciarc 1555-1615). Egptian Sibyl, after Crispijn de Passe, 1601-12, engraving, plate 12 from The Sibyls series, 178 x 124 mmQTY: (3)
Lot 81
* Piranesi (Giovanni Battista, 1720-1778). Nella Tav. precedente si sono dimostrati gli Avanzi del Mausoleo, e del Ponte d'Elio Adriano..., from Le Antichità Romane IV, 1756, etching on thick laid paper, 'Piranesi Archit. dis. et inc.' to lower right, presence of double ring fleur-de-lys watermark to both sheets suggests a lifetime Roman edition, large margins, two sheets joined to create one image (join strengthened on verso), four further vertical folds, small areas of spotting, dust soiling to sheet edges, plate size 45.6 x 138.5 cm (18 x 54 1/2 ins), sheet size 56 x 157 cm (22 x 61 3/4 ins), together with Avanzo del Mausoleo d'Elio Adriano Imp. oggi ridotto nella principal Fortezza di Roma, from Le Antichità Romane IV, 1756, etching on thick laid paper, 'Piranesi Archit. dis. et inc.' to lower right, double ring fleur-de-lys watermark to both sheets suggests a lifetime Roman edition, large margins, two sheets joined to create one image (join strengthened on verso), five further vertical folds, some areas of spotting, small area of offsetting, plate size 45 x 138 cm (17 3/4 x 54 1/4 ins), sheet size 55 x 156 cm (21 1/2 x 61 1/2 ins).QTY: (2)NOTE:Wilton-Ely 478/477; Focillon 345/344; Ficacci 336/335.
Lot 73
* Piranesi (Giovanni Battista, 1720-1778). Vedute di Roma disegnate ed incise da Giambattista Piranesi Architetto veneziano (Frontispiece to Vedute di Roma), 1748, etching on thick laid paper, a fine lifetime impression, the third state (of five), double ring fleurs-de-lys watermark, vertical (as issued) and horizontal central folds, with margins, scattered spotting, a little dust soiled, old drawing pin holes to four corners, plate size 40.5 x 55 cm (16 x 21 1/2 ins), sheet size 45.4 x 61 cm (17 3/4 x 24 ins) QTY: (1)NOTE:Hind 1 (iii/v); Wilton-Ely 134; Focillon 719; Ficacci 872.
Lot 441
* Kay (Bernard, 1927-2001). Laon, circa 1970, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 48.5 cm x 33.7 cm (19.2 x 13.6 ins), full sheet 64.3 cm x 51.3 cm (25.6 x 20.5 ins), together with two other proofs of the image in trial stages, and the original copper printing plate.QTY: (4)
Lot 74
* Piranesi (Giovanni Battista, 1720-1778). Antiquus bivii viarum Appiae et Ardeatinae prospectus... (Frontispiece to Le Antichità Romane II), 1756, etching on laid paper, a strong and arresting impression, 'Gio Batta. Piranesi inv. dis. e incise' to lower right, central fold, good margins (upper and lower margins particularly large), remnants of old tape to verso, minimally tipped onto mount with tape, plate size 40 x 64 cm (15 3/4 x 25 1/4 ins), sheet size 52.2 x 68.2 cm (20 1/2 x 27 ins), framed and glazed (62 x 87 cm) QTY: (1)NOTE:Wilton-Ely 360; Focillon 225; Ficacci 216.
Lot 399
* Holmes (Kenneth, 1902-1994). Victoria Station, circa 1928, etching, depicting a view London looking east from Victoria Station, Westminster Cathedral in the distance, signed in pencil to lower margin, 27.5 x 21.8 cm (10 7/8 x 8 1/2 ins), Thomas Murray & Son Fine Art Dealers label with type written title and artist details to verso, mounted, framed and glazed (58 x 42.5 cm), together withAnderson (Stanley, 1884-1966). Toledo Cathedral, etching, depicting a view of a busy Toledo street, Cathedral in the background, signed in pencil to margin, some spotting to upper left and margins, 24.5 x 30 cm (9 5/8 x 11 3/4 ins), Alex A Haworth Dealer in Works of Art label with type written title, artist and 'edition limited to 70 proofs' to verso, mounted, framed and glazed (47 x 56.5 cm), plusDawson (Nelson Ethelred, 1859-1941). Murano, etching, depicting boats moored at the side of a large building, signed and titled in pencil to lower margin, mount staining, some overall toning, 16 x 20.5 cm (6 1/4 x 8 1/8 ins), mounted, framed and glazed (43 x 48 cm), and 56 other etchings by various artist's including: Claude Hamilton Rowbotham, Wilfrid Ball, David Young Cameron, William Renison, D.M. Clark, A Watson Turnbull, Ronald Green, Hal Hurst, Robert Houston, etc., various sizes, largest 42.5 x 26.5 cm (16 3/4 x 10 1/2 ins), 39 framed and glazed, largest (71 x 50 cm)QTY: (59)
Lot 438
* Kay (Bernard, 1927-2001). Chartres East, etching / aquatint printed in colours on wove, trial proof, signed in pencil and titled to border, plate size 48cm x 33.9cm (18.8 x 13.6 ins.), full sheet 56.5cm x 38cm (21.8 x 14.9ins.), together with the original copper printing plate, and an Artist’s Proof signed edition Interior, Poitiers, signedQTY: (3)
Lot 235
* Jongkind (Johann Barthold, 1819-1891). Moulins en Hollande, 1867, etching on laid paper, a very good impression of the apparent first state (of three), printing with tone, with margins, platesize 14.2 x 19.5 cm (5 5/8 x 7 3/4 ins), sheet size 16.7 x 25.1 cm (6 1/2 x 9 7/8 ins); together with Batavia, 1868, etching, on laid paper, a very good impression of the second (final) state printing with tone, plus Guillaumin (Armand, 1841-1927). Vue prise de Saardam, etching printed in red and olive green, from the 1906 first edition of "Histoire des Peintres Impressionnistes" by Theodore Duret, published by Floury, Paris, and Israëls (Jozef, 1824-1911). The Odd Couple, 1873, two impressions, etchings on Arches laid paper (one with a partial Arches watermark), largest sheet 25.8 x 35.5 cmQTY: (5)NOTE:Jongkind: Delteil 14 & 16; Guillaumin: Kraemer 23.
Lot 379
* Strang (William, 1859-1921). Kilcreggan, 1897, etching on pale cream laid paper, watermarked O.W.P & A.C.L, printed in an edition of 35 impressions, of which possibly 15 were signed, signed in pencil lower right, pale mount stain, plate size 148 x 227 mm (5 7/8 x 8 15/16 ins), sheet size 258 x 375 mm (10 1/4 x 14 3/4 ins), window-mounted, together with Mother Earth, etching on thin laid paper, a state unknown to David Strang, before the mezzotinting, probably issued in one or two proofs only, inscribed by the artist in pencil to lower margin 'to L. Binyon from Wm Strang', plate size 200 x 150 mm (7 7/8 x 5 7/8 ins), with margins, some handling marks to sheet edges, window-mounted, plus Binyon (Helne, 1904-1979). The Tea-Party, circa 1930, etching on laid paper, signed and titled in pencil, window-mountedQTY: (3)
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71174 item(s)/page