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Click here to subscribe* Fuseli (Henry, 1741-1825). Chrysogone conceives, in a ray of sunshine, Amoretta and Belphoebe (Edmund Spenser, The Faerie Queene, III, vi), circa 1800-1810, soft-ground etching on heavy cream wove paper, some light surface soiling, plate size 200 x 276 mm (7.9 x 10.9 ins), sheet size 215 x 292 mm (8.5 x 11.5 ins)Qty: (1)NOTESWeinglass (1994) 154.
* Goya (Francisco de, 1746-1828). Si quebro el Cantaro (Yes he broke the pot), from Los Caprichos, 1799, etching, aquatint and drypoint on off-white wove paper, from the third edition, published by the Calcografia Nacional for the Real Academia, Madrid, in 1868, with printed caption below the image, and printed number 25 to upper right corner, plate size 211 x 151 mm (8.1 x 5.9 ins), sheet size 310 x 235 mm (12.1 x 9.25 ins), window-mountedQty: (1)NOTESTomas Harris, Goya: Engravings and Lithographs, 60, iii. According to Harris, the third edition 'is well printed and the impressions are still generally good'.
* Rembrandt (Harmensz Van Rijn, 1606-1669). Self-Portrait with Raised Sabre, 1634, etching on laid paper, a later impression, with reworking, some marks and discolouration to upper outer corners where glued to backing paper, light diagonal crease across the image, trimmed just inside the platemark, sheet size 122 x 100 mm (9.8 x 3.95 ins)Qty: (1)NOTESNew Hollstein 134; Bartsch 18. Hind 109.
* Rembrandt van Rijn (Harmensz., 1606-1669). Samuel Manasseh Ben Israel, 1636, etching on thin laid paper, laid down on a backing sheet, without visible watermark, some light surface marks and minor soiling, the third (final state), with vertical shading on the right brow, trimmed just outside the platemark, plate size 149 x 107 mm (5.8 x 4.2 ins), sheet size 137 x 104 mm (5.3 x 4.09 ins)Qty: (1)NOTESNew Hollstein 156, iii/v; Bartsch 269. Hind 146.
* Sadeler (Johannes, I, 1550-1600). Landscape with a rabbit hunt, after Paul Bril, etching and engraving on laid paper, without watermark, published by Justus Sadeler, a very good, well-contrasted impression, image size 198 x 273 mm, plate size 205 x 274 mm (8.1 x 10.8 ins), sheet size 22.4 x 29.4 cm (8.8 x 11.6 ins), unidentified collector's mark to verso (Lugt 4073), tipped-on to cream backing card, together with: Sadeler (Aegidius, circa 1570-1629). Mountainous landscape with a hermit, after Paul Bril, etching and engraving on laid paper, image size 195 x 270 mm, plate size 197 x 272 mm (7.7 x 10.75 ins), trimmed to plate margins, collector's mark of the Renesse-Breidbach collection (Lugt 1209), and unidentified collector (Lugt 4073) to verso, hinge-mounted to cream backing card, plus: Sadeler (Raphael, 1560/61-1628/32). Mountainous landscape with wooden bridge, after Paul Bril, etching and engraving on laid paper, trimmed to plate margins, sheet size 205 x 270 mm (8.1 x 10.7 ins), framed and glazed, and five other Italianate landscape etchings after Paul Bril by Willem Adriaensz. van Nieulandt (circa 1584-1635), published by Bonenfant or Mariette, one with margins, the remainder all trimmed to plate margins, each with unidentified collector's mark to verso (Lugt 4073), one with collector's mark of H.C. Levis (Lugt 1700), and one with collector's mark of J. Burleigh James (Lugt 1425), some light marks and minor soiling, all hinge-mounted on cream backing cardQty: (8)NOTESLandscape with a rabbit hunt: Hollstein 580, only state, Wurzbach 158. Mountainous landscape with a hermit: Hollstein 206, only state, Wurzbach 100. Mountainous landscape with wooden bridge: Hollstein 218, only state, Wurzbach 125, 2.
* Swanevelt (Herman van, 1603 ca.-1655). Vinia Mamfrona for della porta pinciana, 1653, etching on laid paper, from the series 'Diverses veuës dedans et dehors de Rome desinee par Herman van Swanevelt. Dediee aux Vertueux, 1653', a very good impression of the first state of three, trimmed to platemark, sheet size 113 x 183 mm (4.5 x 7.25 ins), window-mounted, together with: Hopfer (Hieronymus, circa 1500-1563). Design for Two Goblets, circa 1530-40, etching and engraving on off-white paper, after Albrecht Altdorfer, the second state, reissued by the German printer David Funck, circa 1700, trimmed to plate margin, sheet size 87 x 136 mm (3.4 x 5.35 ins), hinge-mounted in 20th-century cream card window mount, with printed label of Christopher Mendez, London, plus other various Old Master prints: Jan van de Velde II (1593-1641), Landscape with a Round Tower, circa 1616, etching on laid paper, Hans Baldung Grien after Albrecht Durer, St. Martin, circa 1505, woodcut on laid paper with watermark of a shield, Durer monogram to upper right, with margins, Wenceslaus Hollar (1607-1677), St. Paul's from the south showing the spire (Ecclesiae Paulinae Prospectus...), 1657, published in Dugdale's History of St. Paul's Cathedral, 1658, trimmed to plate margins, Richard Gaywood (active 1644-1677), Tomb of Sir Francis Vere in Westminster Abbey, 1657, trimmed just outside the plate margin, with some marks to sheet edgesQty: (6)NOTESSwanevelt: Dutuit 54, i/iii. Hopfer: Hollstein 77, ii. Durer: Bartsch 18, Hollstein 124.
* Waterloo (Anthonie, 1610-1690). Dog Drinking, etching on laid paper, a very good impression, trimmed to, or just outside, plate mark, sheet size 291 x 233 mm (11.5 x 9.2 ins), together with: Two Stone Bridges, etching on laid paper, with foolscap watermark, trimmed to plate margins, sheet size 155 x 210 mm (6.1 x 8.25 ins), plus: Two Figures on a Forest Path, etching on laid paper, trimmed to, or just outside, the plate mark, numbered 4 to upper right corner, sheet size 122 x 141 mm (4.8 x 5.6 ins), all hinge-mounted in 20th century card window mountsQty: (3)NOTESDog Drinking: Dutuit 120, ii. Two Stone Bridges: Dutuit 101. Two Figures on a Forest Path: Dutuit 62.
ARR * Brangwyn (Frank, 1867-1956). A Street in Saint Cirq, No. 2, 1912, etching and drypoint on buff wove paper, printed with plate tone, signed in pencil, plate size 302 x 200 mm (11.9 x 8 ins), with margins, framed and glazed (unexamined out of frame), with Fine Art Society exhibition label to verso, giving the title of the work, and number 198, dated December 1945Qty: (1)NOTESGaunt 197.
* Briscoe (Arthur John Trevor, 1873-1943). The Fore T'Gallant Sail, 1927, etching with drypoint on pale cream wove paper, published in an edition of 75 impressions, signed and numbered 51/75 in ink to lower margin, plate size 22.5 x 35.2 cm (8.9 x 13.9 ins), with margins, framed and glazedQty: (1)
* Carter (Frederick, 1883-1967). A collection of 10 original copper etching plates, 1907-1932, 10 original copper plates etched by Frederick Carter, for Gigolette (1907), Bacchante (1913-14), Ma Lionne (1915), Bathers I (1915), The Tin Bath (1916), Thyrsus Bearer (1925), Decoration (1928), The Dryads (1931-32), Standing Nude (1932), The Two Trees (1932), some light handling marks, various sizes from 233 x 186 mm (9.25 x 7.3 ins) to 98x 65 mm (3.85 x 2.5 ins)Qty: (10)NOTESRichard Grenville Clark, Frederick Carter, A Catalogue and Study of His Etchings (1998), page 25 (Gigolette), page 59 (Ma Lionne, page 59 (Bathers I, and The Tin Bath), page 67 (Thyrsus Bearer), page 75 (Decoration), page 76 (Standing Nude), page 77 (The Dryads), page 76 (Standing Nude) and page 78 (The Two Trees).
* Dicksee (Frank, 1853-1928 and Lalauze, Adolphe, 1838-1905/06) A Love Story, 1884, etching on wove paper by Adolphe Lalauze after Frank Dicksee, published by Thomas Agnew & Sons, July 1st 1884, a proof signed by both the engraver and artist, with Printseller's Association blindstamp to lower left corner, image size 32.5 x 47 cm (12.75 x 18.5 ins), sheet size 45 x 63.5 cm (17.7 x 25 ins), laid down on card, old frame, glazed, with early handwritten label to verso 'A Love Story Royal Academy 1883 Painted by Frank Dicksee', framed and glazedQty: (1)
* Dicksee (Herbert, 1862-1942). Lion Drinking, circa 1890, etching printed in sepia on cream laid paper, small adhesive tape residue to extreme outer corners of the sheet, plate size 177 x 251 mm (7 x 10 ins), sheet size 263 x 360 mm (10.4 x 14.25 ins), together with: Bryden (Robert, 1865-1939). The Holy Fair, 1895, etching printed in sepia on cream wove paper, signed in pencil to lower right, plus four other sepia etchings by Robert Bryden, all depicting scenes from poems by Robert Burns, unsigned, plate size 215 x 275 mm (8.5 x 11 ins) or similar, with marginsQty: (6)
* Rushbury (Henry, 1889-1968). St. Paul's from Paternoster Row, 1941, etching with drypoint on pale cream laid paper, signed in pencil, plate size 200 x 300 mm (7.9 x 11.8 ins), with margins, together with: St. Martins-in-the-Fields, 1944, etching and drypoint on pale cream paper, signed in pencil, plate size 290 x 264 mm (11.4 x 10.4 ins), plus four others similar: Francis Dodd, Porta della Carta, Palazzo Ducale, Venice, etching with aquatint, from the published edition of 90 impressions, signed by the artist in pencil, Frank Short, Strolling Players, Lydd, an artist's proof, signed in pencil, D.I. Smart, Vinaroz Beach, and Barges & Warehouses, both signed, all framed and glazed (the last work without glass)Qty: (6)
* Pearsall (Richard, 1891-). Playa del Corral de Don Diego, Toledo, etching with drypoint, from the published edition of 75 impressions, signed, titled and numbered 3/75, plate size 185 x 353 mm (7.25 x 13.9 ins), with margins, framed and glazed, together with other etched European views: Sidney Tushingham, Venetian Canal with Gondolas, Louis C. Rosenberg, Venetian Square, Frank A. Mason, Dutch Landscape with Windmills, H.P. Huggill, Ponte Vecchio, Florence, and William Fairclough, Figures on the Piazza San Marco, 1983, all signed in pencil by the artist, framed and glazedQty: (6)
* Strang (William, 1859-1921). Thomas Hardy, O.M., 1920, etching on cream wove paper, printed with plate tone, a unique proof of the first state, signed and marked in pencil First State 1 proof, additionally signed 'David Strang Imp.', plate size 35 x 23.6 cm (13.8 x 9.3 ins), sheet size 41.6 x 27.1 cm (16.4 x 10.7 ins), framed and glazedQty: (1)
ARR * Tunnicliffe (Charles Frederick, 1901-1979). The Sitting Hare, 1926, etching on laid paper, printed with plate tone, from the published edition of 75 impressions, signed and numbered 19/75 in pencil, mount stained, plate size 137 x 187 mm (5.4 x 7.3 ins), sheet size 165 x 210 mm (6.5 x 8.25 ins), the sheet untrimmed, framed and glazedQty: (1)NOTESMeyrick & Heuser, Charles Tunnicliffe: Prints : A Catalogue Raisonne? (2017), 29.
ARR * Tunnicliffe (Charles Frederick, 1901-1979). The Fruit of the Tree, 1931, etching on cream laid paper, with watermark of a running figure with a streamer, on a sphere, from the only published edition of artist's proofs, printed with light plate tone, signed in pencil lower right, plate size 280 x 206 mm (11 x 8 ins), sheet size 370 x 250 mm (14.6 x 9.8 ins), window mounted, together with The Flight from Eden, 1931-32, etching on pale cream wove paper, printed with light plate tone, an artist's published proof, signed in pencil lower right, plate size 274 x 200 mm (10.75 x 7.9 ins), sheet size 365 x 249 mm (14.3 x 9.75 ins), window mountedQty: (2)NOTESTunnicliffe's small group of mythological etchings of circa 1930 to 1931 were regarded by the artist as his most important etched works. The Fruit of the Tree was chosen for illustration in Fine Prints of the Year 1931 and singled out for particular praise by Malcolm Salaman in his introductory essay to the volume. Along with the companion piece The Flight from Eden, Tunnicliffe is shown here at his most ambitious, deliberately referring (in The Fruit of the Tree) to Durer's famous engraving of Adam and Eve, as well as to the work of his contemporary William E. C. Morgan.
* Walcot (William, 1874-1943). The Thames from Waterloo Bridge, 1913, etching on cream wove paper, with plate tone, from the published edition of 100, signed in pencil lower right, plate size 95 x 180 mm (3.75 x 7 ins), framed and glazed, with label of Henry Whitley, Printseller, Scarborough to verso, together with: Gentleman (David, 1930-). Iron Bridge, 1971-72, colour lithograph, printed by Curwen Studio, from the Ironbridge series, signed and numbered 156/240 in pencil, image size 41 x 52 cm (16 x 20.5 ins), with margins, framed and glazed, plus: Bewick (Thomas, 1753-1828). Three Dogs (The Bulldog, The Small Water Spaniel and A Terrier), 3 wood engravings printed on one sheet of Barcham Green hand-made paper from the original blocks, printed by Iain Bain on an Albion handpress, published by Merivale Editions in an edition of 500, and numbered 123/500 in pencil, sheet size 29 x 20.2 cm (11.4 x 8 ins), and seven other wood engravings, lithographs and etchings by Sarah van Niekerk, Alan Powers (2), David Sim (2) and Stephen Whittle (2), all published by Merivale Editions, each signed and numbered from an edition of 500, similar sizes, each loosely contained in original publisher's printed wrappersQty: (10)
* Wyllie (William Lionel, 1851-1931). A Submarine accompanied by naval vessel, in the Solent off Portsmouth, circa 1914, etching on pale cream wove paper, signed in pencil lower left, plate size 11.3 x 34.5 cm (4.5 x 13.5 ins), framed, with early printed label for Robert Dunthorne & Son, The Rembrandt Gallery, 5 Vigo Street, London to versoQty: (1)
* Wyllie (William Lionel, 1851-1931). Somerset House and Barges on The Thames, etching with drypoint on pale cream wove paper, signed in pencil lower left, plate size 12.5 x 30.5 cm (5 x 12 ins), with margins, framed and glazed, together with: Shipping on the Thames, etching on pale cream laid paper, signed in pencil lower left, plate size 12.5 x 30 cm (5 x 11.9 ins), sheet size 25 x 44.5 cm (9.9 x 17.25 ins), framed and glazedQty: (2)
* Wyllie (William Lionel, 1851-1931). The Convoy, circa 1915, etching on pale cream wove paper, showing a convoy of British battleships at sea accompanied by a White & Thompson No. 3 anti-submarine flying boat, and two yachts, signed in pencil, plate size 17.4 x 35.3 cm (6.8 x 14 ins), framed and glazedQty: (1)
* Menpes (Mortimer, 1855-1938). Trixie, dry point etching, signed lower right, plate size 26 x 20 cm, sheet size 41 x 28 cm, mounted, together with Octagon House, Oxford, dry point etching, signed lower right, plate size 21.5 x 16.5 cm, sheet size 28.5 x 23.5 cm, mounted, plus Buckels (Alec, 1892-1972). Little John (Sherwood Forest), 1961, wood engraving, 1/50, signed lower right, plate size 27.5 x 24.5 cm, sheet size 34 x 29.5 cm, mounted, and Hardie (Martin, 1875-1952). Salt-Killed Tree, Blythburgh, dry point etching, signed lower right, plate size 20 x 27.5 cm, sheet size 26.5 x 39 cm, mountedQty: (4)
ARR * Trevelyan (Julian 1910-1988). Triplane, 1974, etching and aquatint, with hand-colouring in turquoise, red and violet, from the published edition of 25 impressions, printed by the artist, and published by Leslie Waddington Prints Ltd., signed, titled and numbered 5/25 in pencil, plate size 24 x 35 cm (9.4 x 13.75 ins), sheet size 39.5 x 58 cm (15.5 x 22.8 ins), window-mountedQty: (1)NOTESSilvie Turner, Julian Trevelyan, Catalogue Raisonné of Prints (2010), 297.
* Emanuel (Frank Lewis, 1866-1948). An archive collection of drawings and sketches in England and France, with some Scottish locations, and a few in Belgium, Holland and Spain, circa 1900-1945, mainly pencil on paper (or sketchbook sheets), some in pen and black ink, a few in chalk, and a few in colour, mostly picturesque street scenes and buildings, coastal views and marine subjects, views of architectural landmarks and old buildings in towns and cities, some country landscapes, and some studies of figures, the majority signed or initialled, and often dated, and also inscribed to verso by the artist, largest sheet size approximately 31.5 x 40.5 cm (12.5 x 16 ins), the smallest approximately 6 x 12 cm (2.5 x 4.75 ins), occasional marks and creases (generally in good condition), plus a further 100 etchings by the same artist, including landscapes, coastal scenes, figure groups, New Year's greetings, a few lithographs and colour woodcuts, mostly unsigned and with some duplicatesQty: (350)NOTESA remarkable collection of 250 vivid sketches of picturesque street scenes and architectural motifs by the important artist and illustrator F. L. Emanuel, who studied at the Slade School of Art under Alphonse Legros (1837-1911) and at the Académie Julian in Paris under William-Adolphe Bouguereau (1825-1905) and Tony Robert-Fleury (1837-1911). Emanuel also wrote on art for the Architectural Review and Manchester Guardian and is the author of The Illustrators of Montmartre (1903) and Etching and Etchings (1930). He exhibited at the Paris Salon, the Royal Academy from 1886, the New English Art Club and elsewhere, had a show of his watercolours in the Méryon Galleries in 1912, and taught etching at the Central School of Arts & Crafts from 1918 to 1930. British locations for the drawings (approximately 150 in total) include London ('Thatched Cottage at Paddington', 'The Yorkshire Stingo, Marylebone Road', Westminster Bridge, Hampstead, Hyde Park, Greenwich Park, High Holborn, Kensington Gardens, Kew), Newcastle-on-Tyne, Edinburgh, Hastings, Great Yarmouth, St. Leonards, Ledbury, Rottingdean, Dunwich, St. Ives, Truro, Gorleston, Ludlow, Deal, Hitchin, Wells, Whitby, Ross-on-Wye, Pevensey, Ayr, Hitchin, Tewkesbury, etc. Foreign views (approximately 100) include Paris, Brittany (Quimperle, Pornic, Plancoet, St. Malo, Rennes, Cancale, Morlaix, Treguier), La Rochelle, St. Omer, Dieppe, Vire, Mont St. Michel, Blois, Nantes, Amiens, Le Puy, Collioure, Avranches, Honfleur, Rouen, Tain, St. Servan, Lyon; Amsterdam, Muiden, Haarlem Cathedral, Enkhuize, Marken, Brussels; Manresa, Lerida and Gerona.
A pair of 18th Continental stemmed wine glasses with wheel etched figures in rural landscapes to the conical bowls. above a compressed knop stem and spreading dome feet. Together with one other of similar age with armorial etching and everted rim over a bubble included knop and dome foot. Probably Dutch 18th century. 18cm high(3)Condition report: A slight chip to one of the rims of the pair.
From Chagall's Bible Etchings printed portfolio. Hand water-colored etching. Signed in pencil lower right. The Bible Series consisted of 105 etchings, it was the third of Chagall’s etching suites. Numbered on piece 3 of 5. Housed in gilt frame. Etching measures 21"H x 15.25"W. Marc Chagall was a Russian-French artist of Belarusian Jewish origin. He was associated with several major artistic styles including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Artist: Marc ChagallIssued: 20th c. Dimensions: 33.5"W x 39.25"H
From Chagall's Bible Etchings printed portfolio. Water-colored etching. Signed in pencil lower right. Hand colored. The Bible Series consisted of 105 etchings, it was the third of Chagall’s etching suites. Numbered on piece 2 of 100. Housed in black and gilt frame. Etching measures 21"H x 15"W. Marc Chagall was a Russian-French artist of Belarusian Jewish origin. He was associated with several major artistic styles including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Artist: Marc ChagallIssued: 20th c. Dimensions: 31.75"W x 37.5"H
From the Seven Deadly Sins, a series of 16 etchings, c. 1925. Marked Chagall in etching. Pen and ink sketch print of a man; edition of 300. Printed by Louis Fort. Housed in gilt frame. Etching measures 7.5"H x 5.5"W. Marc Chagall (1887-1985) was a Russian-French artist of Belarusian Jewish origin. He is known for his paintings, drawings, fine art prints, book illustrations and tapestries. Artist: Marc ChagallIssued: 20th c. Dimensions: 18.25"W x 20.25"HCountry of Origin: France
•DAVID ROSS WARRILLOW (SCOTTISH B. 1956) TENEMENT SHOPS Oil on board, signed with initials verso, 6 x 8cm (2 1/4 x 3") RICHARD NORMAN RSW (SCOTTISH CONTEMPORARY) EDINBURGH OLD TOWN Pencil, signed and dated (19)97, 15 x 21cm (6 x 8 1/4") IAN MCNICOL (SCOTTISH B. 1965) GROSVENOR TERRACE Etching, 21 x 15cm (6 x 8 1/4") (3) Provenance: The Late Dr Helen. E. C. Cargill Thompson Provenance: Roger Billcliffe Gallery Condition Report: All three works are in generally good condition with no significant issues.
SIR DAVID YOUNG CAMERON RA, RSA, RWS, RSW, RE (SCOTTISH 1865-1945) ST AIGNAN, CHARTRES; AN ENGLISH TOWN Drypoint etching, signed, 24 x 11cm (9 1/2 x 4 1/4"), 17.5 x 31cm (7 x 12 1/4") (2) Provenance: The Late Dr Helen. E. C. Cargill Thompson Condition Report: ST AIGNAN, CHARTRES:. Some discolouration noticeable in the margin lower left half next to the mount. . AN ENGLISH TOWN:. Good condition and no significant issues.
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