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Lot 443
*Norman Ackroyd RA (b.1938)'Chateau Cheval Blanc'etching and aquatint, signed 'N... A...' in pencil l.r., also bears signature by a different hand l.l., inscribed as titled and numbered 23/15035 x 50cm*Artist's Resale Right may apply to this lot.Condition report: Not examined out of glazed frame, sheet is stuck down to the mount, there is a slight stain below title, and a similar stain upper centre which creates two patches on the image. Please refer to images. There is some dirt to the glass, otherwise sheet is clean and white.
Lot 54
Peter LANYON (1918-1964)Beast, 1959EtchingSigned and inscribed by Sheila Lanyon also stamped PLInscribed 'Beast 1959 - one of 6 prints made for family before plate destroyed S m Lanyon - Jo Lanyon - June 1983' to versoPlate size 25 x 18cm Condition report: This rare etching has not been examined out of the frame but it appears to be in excellent condition
![BOUVERIE-HOYTON Edward [1900-1988]-Roman Theatre,:- etching, signed in pencil, plate size 25 x 34cm, together with an etching](https://cdn.globalauctionplatform.com/16427ae3-b6dd-4c32-a92c-add60137c3ca/d8ff4af3-d3fe-4f86-ad39-add700d3e973/468x382.jpg)
![FITTON E. HEDLEY [1859-1929] - Chateau des Comtes, Ghent,:- etching, signed in pencil in the margin, image 37 x 39cm, [With F](https://cdn.globalauctionplatform.com/16427ae3-b6dd-4c32-a92c-add60137c3ca/998a180b-dae1-45c3-8643-add700d3e8a8/468x382.jpg)
Lot 355
FITTON E. HEDLEY [1859-1929] - Chateau des Comtes, Ghent,:- etching, signed in pencil in the margin, image 37 x 39cm, [With Frost & Reed 1935], together with one other signed etching by the same hand of The Clock Tower, Amboise, an etching by Sidney Tushingham of The Church of St. John and St. Paul, Rome and one other by Albany Howarth of Ponte St Pierre, Auxere. [4]
Lot 100
‡Eileen Soper RMS, SWLA (1905-1990) Stop Thief; Black Puss-cats; Cricket Three, each signed Eileen A. Soper (in pencil to margin) Each etching, 1926, 1925, c.1926 (respectively) Largest 11.4 x 19cm; Smallest 11.1 x 17.4cm (plate) (3) Exhibited: 'Stop Thief', London, Chris Beetles Ltd, The Art of George and Eileen Soper, 3-30 June 1995
Lot 99
‡Eileen Soper RMS, SWLA (1905-1990) Follow My Lead; The Giant Stride; The Sands Three, each signed Eileen A. Soper (in pencil to margin) Each etching, c.1923, 1921, 1921 (respectively) Largest 12.2 x 18.5cm; Smallest 11 x 17cm (plate) (3) Provenance: 'The Sands' with The Rembrandt Gallery, Liverpool and London (according to label)
Lot 440
‡Julian Trevelyan RA (1910-1988) Game Park Signed, numbered and inscribed 2/125 Game Park Julian Trevelyan (in pencil to margin) Etching and aquatint in colours 34.9 x 47.2cm (plate) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Mary Fedden and Julian Trevelyan were close friends of Elisabeth Frink. They often visited Frink and her second husband Ted Pool when they lived at Corbès in the Cévennes. Later they would stay at Woolland with Frink and Alex Csaky.
Lot 384
‡Patrick Procktor RA (1936-2003) The Rime of the Ancient Mariner: Samuel Taylor Coleridge; The charmed water burnt alway A still and awful Red; Two of the Polar Spirit's fellow daemons; I pass, like night, from land to land Four, each signed and inscribed APIII Patrick Procktor (in pencil to margin) Two etching and aquatint; two aquatint Three approx. 22.2 x 15cm; One 14.9 x 22.5cm (plate) Unframed (4)
Lot 365
‡Colin Self (b.1941) Out of Focus Object and Flowers 1 (Provincial Image); Power and Beauty No.1 (Cat); Power and Beauty No.2 (Whale) Three, each signed and inscribed with title, two dated, and each inscribed Artist's proof, 3/75 and 30/75 (respectively) The first etching and aquatint; 'Cat' and 'Whale' photo-screenprints Largest 68.8 x 105.4cm; Smallest 79.4 x 56.3cm Each unframed (3)
Lot 574
DORIS TEAGUE START LIGHTHOUSE DEVON COAST watercolour 1930s 55 x 45cms together West Country Harbour watercolour, 1948, 73 x 53 cms, Renata Schmidt Broecker 'The Red Scale' watercolour, English Village Church oil on board, c1890, with an etching of Bexhill parish church, 1920s and Robinson, pair of lithographs of Paull, East Yorkshire, 1920s
Lot 29
Patrick HERON (1920-1999)Brushworks No. 8EtchingNumber 25/38Facsimile Patrick Heron signature to verso, signed by Susanna and Katharine Heron in pencilPlate size 44 x 58cm'The suite of prints from which this etching is taken is one of the last works Patrick Heron made before his death. Over a period of three months between December 1998 and March 1999, Heron worked in his studio with the printer Hugh Stoneman, making drawings for fifteen works in total, from which he selected the eleven plates that make up the portfolio. He finished the drawing for the colophon page on the morning of the day he died. Heron approved the proofs and decided on a sequence for presenting the works shortly before his death. The etchings were printed posthumously, overseen by the artist’s two daughters.' The Tate
Lot 371
Henry Pymm Drypoint Etching 'Bishop's Walk North Lambeth (from a rough sketch & description by contemporaries) the site of S.T Thomas's Hospital. Dost Thou Know the Difference (King Lear I.IV.)' Henry Pymm worked from Norwich England and produced this etchings 1880-1920's A working bookbinder of Drury Lane, and amateur draughtsman and etcher.
Lot 631
PICTURES AND CLOCKS ETC, TO INCLUDE A BILL HAWKES COASTAL LANDSCAPE, oil on board, approximate size 44cm x 91cm, artist proof aquatint etching of Windermere, Carl Holsol open edition print, Brent Hayton Parisian print, modern box canvas prints etc, Seiko Westminster chiming quartz wall clock, Lincoln quartz pendulum wall clock, Istim wall clock, quartz carriage clock and a wooden storage box etc
Lot 817
* TOM MACKENZIE (SCOTTISH 1947 - 2018),OLD MAN OF STORR IIcoloured etching on paper, signed, titled and numbered 12/75image size 45cm x 60cm, overall size 64cm x 82cm Mounted, framed and under glass.Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.
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