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Lot 628
LAURA KNIGHT, 'Modern Masters Of Etching', foxing to the edges of leaves and original boards, etchings good, 1932. Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years. At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £19.56 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.
![Goldsmith [Oliver]: 'The Deserted Village', illustrated by the etching club, pub by Joseph Cundall; Dante's Purgatoria and Pa](https://cdn.globalauctionplatform.com/08095d3d-72a8-4818-9953-ad9600f3524e/74eccc4e-e4d2-4069-b75f-adba00e19c9f/468x382.jpg)
Lot 101
FRANK B. JOWETT,COUNTRY COTTAGES,framed and under glass, signed, 31cm x 39cm overall size (each), along with another watercolour by John G. Mathieson, a coloured etching, and an oleograph print after Pissaro (5)Condition report: Condition is good overall. There is fixing throughout in the watercolours, and the surface of all pictures could use a clean. Additional images have been uploaded to our website.
Lot 70
Italy.- Reinhardt (Johann Christian) In Villa Mecenate a Tivoli, etching, an excellent impression on laid paper with watermark of two concentric circles surrounding an indistinct device, platemark 380 x 275 mm (15 x 10 3/4 in), sheet 390 x 290 mm (15 1/4 x 11 1/2 in), minor spotting, hinged into conservation mount, unframed, 1793.
Lot 71
Italy.- Vues d'optique.- Six views of Venice and Florence, after Canaletto and Zocchi, engravings with hand-colouring, on various wove and laid papers, each sheet approx. 345 x 480 mm (13 1/2 x 18 7/8 in), irregularly trimmed with some small losses, one laid down on support, toning and surface dirt, nicks and tears to extremities, all unframed, some published by Laurie & Whittle, other Sayer, [circa 1750-1818]; together with 3 others, including another vue d'optique by Thomas Bowles after Rigaud, 'The Square of Lewis the Greta at Paris...', J. Deeley's etching and aquatint 'Wingfield Castle Suffolk', and Henry Overton's 'The East Prospect of Dr FLamstead's unframed, published by R.H. Laurie, [circa 1820] (9)
Lot 818
•JOHN BRUNSDON (1933-2014) EDALE Colour etching, signed, titled and inscribed Artist Proof XXIV/XXV Image 45 x 60cm; with three more signed and titled etchings by Brunsdon, comprising `Glaciated Valley`, numbered 140/150, 22 x 30cm.; `Laugharne` and Manorbier Castle`, each of these two inscribed Artist proof and numbered 11/15 and 13/15, 8.5 x 22.5cm. (4) Provenance: (last two) London, The New Academy Gallery ++ Each in good condition but `Manorbier Castle` with damp/foxing in outer margins and `Glaciated Valley` with very pale foxing lower right margin
Lot 813
•DAME LAURA KNIGHT, DBE, RA, RWS (1877-1970) DRESSING ROOM, No.1; A CROWD (Bolling & Withington 3, 4) Two aquatints with etching, 1923, each signed in pencil, from the published editions of 55 impressions, framed as one (back to back) 14.5 x 19.5cm. and 9.5 x 12cm. ++ Good impressions; the former with slight mount burn
Lot 844
NORMAN ALFRED WILLIAM LINDSAY (Australian, 1879-1969) FANFROLICO, c.1924 Signed, watercolour and pencil 64.5 x 59cm Provenance: London, The Leicester Galleries, 1926, no.48 (label on backboard), bt. by J. W. Dearden Esq. The asking prices was 300 guineas. * We are very grateful to Helen Glad, the artist's granddaughter, for her observations about this picture. Ms Glad notes the energy and optimism to be found in Lindsay's work of the 1920s, probably the artist's response to the devastation of the Great War. This watercolour is similar to a 1924 etching entitled The Happy Barge. Before the 1920s, Lindsay was primarily recognized as a black and white artist and so his mastery of the difficult medium of watercolour was extraordinary. His multi-figured compositions with such complex washes were notably distinguished. The title, Fanfrolico, refers to the private press set up by Norman and his son Jack at the time: it specialised in poetry, mythology and anything which captured the imagination. The press specialised in lavishly produced volumes of exceptional quality. ++ Some fading; slight foxing
Lot 368
AFTER HENRY WILKINSON "Setters", study of two dogs flushing birds, limited edition coloured etching No'd. 59/150, signed in pencil, 27.5 cm x 36 cm, together with two others by the same hand "Spaniel with Teal", No'd. 44/150, 27 cm x 36 cm and "Black Labrador with Pheasant", No'd. 120/150, 27.5 cm x 36 cm
Lot 369
AFTER HENRY WILKINSON "Guns at Pegs", study of driven shooting, limited edition coloured etching No'd. 59/150, signed in pencil, 27 cm x 35 cm, together with three others by the same hand "Labrador and Guns on Peg", No'd. 99/100, 27.5 cm x 38 cm, "Huntsman on horseback with hounds", No'd. 36/150, 27.5 cm x 36 cm and "Pheasants breaking cover", No'd. 31/150, 27.5 cm x 32 cm
Lot 196
ARR * Gross (Anthony, 1905-1984). Chateau Correze, copper etching on thick Arches wove paper, printed by the artist's daughter, Mary West, at the artist's studio, circa 1984, published by Merivale Editions, in an edition of 500, numbered in pencil 329/500, small crease/indent to image, plate size 152 x 228 mm (6 x 9 ins), sheet size 210 x 295 mm (8.25 x 11.6 ins), contained in original thin card folder with printed title to upper coverQty: (1)
Lot 201
ARR * Pasmore (Victor, 1908-1998). World in Space and Time I, 1992, etching and aquatint in colours on wove paper, printed by Vigna Antoniniana, Rome, and published by 2 RC Edizioni d'Arte, Rome (with their blindstamps) in an edition of 90 impressions, numbered, signed with monogram, and dated '92 in pencil lower right, and numbered 8/90 in pencil to lower left, plate size 49 x 144.5cm (191/4 x 56 7/8 ins), sheet size 64.5 x 192cm (25 3/8 x 75 1/2 ins), framed and glazed (75 x 198 cm)Qty: (1)
Lot 204
ARR * Trevelyan (Julian, 1910-1988). Westminster Abbey, 1964, etching and aquatint and soft-ground in colours, on crisbrook paper, printed in an edition of 75 impressions, published by Editions Alecto, signed, titled and numbered 23/75 in pencil, closed tear to left blank margin, just touching plate mark, and another closed tear right blank margin (not touching plate mark), plate size 35 x 48cm (133/4 x 183/4 ins)Qty: (1)NOTESTurner, Julian Trevelyan Prints (2010), 163.
Lot 37
* Castiglione (Giovanni Benedetto, 1609-1664). Man with beard and moustache wearing a turban, from the series Large Heads in Oriental Headdress, etching on laid paper, trimmed just inside the plate mark, extreme upper left corner torn (without loss), sheet size 180 x 150 mm (7.1 x 5.9 ins), window-mounted, together with: Young man sounding a trumpet, wearing a flat cap (from the series Small Studies of Heads in Oriental Headdress), etching on thin laid paper, trimmed just inside the plate mark, sheet size 102 x 77 mm (4 1/8 x 3 ins), laid down on old card, with ink inscription to verso 'Les petites tetes d'hommes coiffées à l'Orientale, BXX1, J.Kay, Lond 1826', with card mount, plus: Desplaces (Louis, 1682-1739). To The Memory of Sir Isaac Newton, circa 1741, etching by Desplaces, from a drawing by D.M. Fratta after Pittoni and Baleriani, depicting an allegorical tomb of Isaac Newton, with figures engaged in astronomical calculations, and observing a beam of light refracted into a mirror, trimmed to plate mark, 64 x 40 cm (25 1/4 x 15 3/4 ins), some marks and marginal creases, with short closed tear towards head of left margin, without loss, and three others: Hans Burgkmair, The Triumph of Maximilian I, 1516-18, woodcut on laid paper, from the series of 236 plates, watermark of a spread eagle within a circle (probably later 16th century), with old inscription in brown ink to upper right giving the title of the work, sheet size 382 x 367 mm (15 x 141/2 ins), and Jakob Schmutzer (1733-1811), portrait of Wenzel Anton Count Kaunitz, 1786, etching and engraving on laid paper, after Johann Baptist Hagenauer, trimmed to plate margins, and with some light overall toning, a few marks and margins reinforced with archival tape to verso, 45.5 x 44.5 cm (18 x 171/2 ins)Qty: (5)NOTESBartsch 51; Bellini (1982), 44 & 51 for the first two works
Lot 40
* De Vos (Martin, 1532-1603). Mulier Inclinata (plate 9 from Icones Illustrium Feminarum Novi Testamenti), circa 1590-1612, etching on laid paper, published by Phillipe Galle, together with other Old Master prints, various: Albrecht Aldegrever, The Testimony of Daniel, and The Stoning of the Elders, 1555, two engravings from the set of four plates illustrating the story of Susanna (Hollstein 32-33), & Lot with his Daughters, 1555, engraving from the set of four plates illustrating the story of Lot, Abraham Bloemaert, a chiaroscuro woodcut, Giovanni Andrea Sirani (1610-1670), Apollo and Marsyas (Bartsch 2), engraving, and a grey wash drawing by Mathieu Antoine Xhrouet, La Fontaine de la Sauvenière, pen and black and grey inks with grey wash, titled and signed ‘La Fontaine de la Sauveniere ‘xhrouuet fecit’Qty: (7)
Lot 44
* Gillot (Claude, 1673-1722). Witches' Sabbath, etching on laid paper, with indistinct watermark, pale overall toning, close-trimmed to plate margins, old paper restrengthening to verso of upper margin, sheet size 250 x 345 mm (97/8 x 131/2 ins)Qty: (1)NOTESBernard Populus, Claude Gillot, Catalogue de l'oeuvre gravé (1930), 10. A Witches' sabbath at night, with a necromancer seated on a rock holding an open book, with an owl above, while naked male and female figures dance in a circle to the right to a tune played by a goat violinist, and various witches, sorcerers, strange animals and monsters to the left, from the series entitled Les Sabbats (The Sabbaths). Gillot is best known as the inventor of the fête champêtre genre, and was the teacher of Antoine Watteau.
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71174 item(s)/page