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Click here to subscribe*@Holloway (Edgar, 1914-2008). Self Portrait No. 7, 1937, etching with plate tone on pale cream laid paper, from the published edition of 50 impressions, signed and numbered 47/50 in pencil below the image, titled and dated to lower edge, plate size 25 x 30 cm (9.9 x 11.11 ins), with margins, framed and glazed (1)
*Stevens (Norman, 1937-1988). Dusk, 1973, colour etching with aquatint, published by Editions Alecto, signed, dated, titled and numbered 30 from the edition of 150, publisher's blindstamp lower right, some overall paper toning, plate size 40 x 30 cm (15.75 x 11.8 ins), sheet size 66 x 51 cm (26 x 20 ins), framed and glazed (1)
*Mayer (Kaia, 1923-2005). Summer at last, colour etching on wove, lower margin signed and captioned, plate size 40.5 x 29.3cm (16 x 11.5ins), sheet size 56.5 x 37.5cm (22.5 x 15ins), together with Boulevard, blue monotone etching on wove, lower margin signed and captioned, plate size 10 x 38.8cm (4 x 15.25ins, plus three other similar etchings, including Eternal Triangle, Sauna and Le Calone, all signed, framed & glazed (5)
*Brunsdon (John, 1933-2014). Point Lynas, Anglesey, colour etching with aquatint on Somerset handmade paper, from the edition of 150 published by Christie's Contemporary Art in 1985, plate size 44.5 x 60 cm (17.5 x 23.75 ins), sheet size 56 x 75.5 cm (22 x 29.75 ins), framed and glazed, with publisher's signed certificate in envelope attached to verso (1)
*@Holloway (Edgar, 1914-2008). Christopher (Self Portrait 14), 1942, etching on laid paper, with light plate tone, signed and titled in pencil to lower margin, additionally inscribed in pencil by the artist to foot 'for Monica - Capel-y-Ffin May 1943. S.P. 14 1942', plate size 22.7 x 13.7 cm (8.9 x 5.4 ins), with wide margins, framed and glazed (unexamined out of frame) (1)
*Cosman (Milein, 1921-2017). Stravinsky Conducting, 1982, etching with aquatint, signed and dated, and numbered 2/75, some light overall spotting, 17.8 x 32.5 cm (7 x 12.75 ins), with margins, framed and glazed, together with another self-portrait etching by Cosman, signed and dated '81, marked A/P, and 'For Kaja with love' in pencil, plate size 14.6 x 10 cm (5.75 x 4 ins), sheet size 37.5 x 28.5 cm (14.75 x 11.25 ins), framed and glazed, plus a group of 6 original pen and dark green ink drawings of orchestral musicians and a conductor performing Wagner's Flying Dutchman, Tchaikovsky's Overture to Romeo and Juliet, Elgar Howarth concertino for trumpet and Beethoven's 5th Symphony, 17 x 11 cm (6.7 x 4.3 ins) and slightly smaller, mounted together as one, framed and glazed (3)
*Piranesi (Giovanni Battista, 1720-1778). Veduta degli Avanzi delle Fabbriche del Secondo Piano delle Terme di Tito, 1776, etching and engraving on laid paper, the first state, published in Rome in 1776, a very good, dark impression, light central vertical crease, plate size 49 x 71 cm (19.25 x 28 ins), with margins, framed and glazed Hind 127 i/iv. Focillon 838. Wilton-Ely 260. (1)
*@Holloway (Edgar, 1914-2008). St. Paul's in 1942, etching with plate tone on cream paper, from the published edition of 50 impressions, signed, titled and numbered 10.50 in pencil, plate size 17.6 x 25.2 cm (7 x 9.9 ins), with margins, framed and glazed, together with three other etchings by Edgar Holloway (Mohawk River & Harmony Mills, Kohoes, N.Y., 1973, another American river scene, & Ardingly), each signed and numbered 19/75, 13/75 & 11/100 respectively, framed and glazed (4)
*Barry (James, 1741-1806). Crowning the Victors at Olympia, May 1st 1791, etching on laid paper, published by the artist, a strong impression, trimmed to platemark, several short closed tears to margins, and repaired tears to corners, without loss, laid down on card, 42 x 92 cm (16.5 x 36.2 ins), good quality 19th century dark wood and gilt frame, glazed, with old framer's label of Fred Loversidge, Carver and Gilder, Oldham to verso The London-based Irish artist James Barry's most famous work are the six large-scale painted scenes commissioned by the Royal Society of Arts to decorate its Great Room, a project which occupied him between 1777 and 1783. Crowning the Victors at Olympia, the third in the series entitled The Progress of Human Culture, is almost 42 feet in length, and depicts the finale of an Olympic competition, thereby offering an example to contemporary English society of the value of cultural excellence. The artist depicted himself in this work, seated on the base of the statue of Hercules. The large prints of the series that Barry published himself are uncommon. (1)
*@Dali (Salvador, 1904-1989). Le Demon Ail‚ (from the suite La Venus aux Fourrures), 1968, drypoint etching on Arches heavy wove paper (with partial watermark 'Ar'), bears signature to lower margin, mount stained, plate size 31.6 x 23.5 cm (12.5 x 9.3 ins), sheet size 38 x 28.5 cm (15 x 11.2 ins), framed and glazed (1)
*Austen (Winifred Marie Louise, 1876-1964). Budgerigars, colour etching with aquatint, a fine published proof with oval publisher's blindstamp of Warwick Galleries lower right, signed and titled in pencil, plate size 18.8 x 26 cm (7.5 x 10.2 ins), with margins, framed and glazed, with small printed label of Warwick Galleries, 205 Hagley Road, Edgbaston, Birmingham to verso (1)
*Whaite (Gillian, 1934-2012). A portfolio of 78 etchings and linocuts, including 'Flowers in August', hand-coloured etching on wove, captioned and signed lower margin, limited edition 6/60, 60 x 45cm (23.5 x 17.5ins), 'Fountains 1968', artist's proof etching on wove, captioned & signed lower margin, 35 x 23cm (14 x 9ins), 'Cat among autumn leaves', hand-coloured etching on wove, captioned and signed lower margin, limited edition 7/75, 39 x 49 (15.5 x 19.5ins), plus other similar including studies of plants, cats, birds and figures Gillian Whaite (1934-2012) was born in London and studied at the Slade School of Fine Art, the University of London Institute of Education, and also at the Royal Academy Schools. She was a senior lecturer in art at Gabriel College of Education, London until 1978. In 1979 an exhibition of her work along with that of her father H. Clarence Whaite (1895-1978) was held at the South London Art Gallery. (a portfolio)
*@Holloway (Edgar, 1914-2008). Self Portrait No. 16 (Prospect of America), etching with plate tone on pale cream laid paper, from the published edition of 50 impressions, signed and numbered 22/50 in pencil below the image, titled in pencil to lower edge, plate size 19.9 x 15 cm (7.9 x 5.9 ins), with margins, framed and glazed (1)
*Mayer (Kaia, 1923-2005). Sauna, monotone etching on wove, signed and captioned lower margin, plate size 20.5 x 29.5cm (8 x 11.5ins), framed and glazed, caption label to verso, together with Etruscan Banquet, colour etching on wove in green, yellow & black, lower margin signed, captioned and limitation 4/15, plate size 27 x 41cm (10.75 x 16ins), framed and glazed, caption and address label to backboard, plus two others similar etchings, both framed and glazed (4)
*Tissot (James Jacques Joseph, 1836-1902). Trafalgar Tavern, Greenwich, 1878, etching with drypoint on cream laid paper, the first state (of 2), with the sky unetched, signed and dated in the plate, and with artist's monogram in red, additionally signed in pencil lower left, the sheet horizontally cut (now laid down on card), plate size 35 x 25 cm (13.75 x 9.8 ins), sheet size 48 x 35.5 cm (19 x 14 ins) Wentworth 36, i/ii. (1)
*@Bone (Sir David Muirhead, 1876-1953). Ayr Prison, 1905, drypoint etching on laid paper, the only state, printed in an edition of 41 proofs only, signed in pencil, with wide margins, in very good condition, plate size 12.5 x 17.8 cm (4.9 x 7 ins), sheet size 22 x 29 cm (8.7 x 11.4 ins), mounted Provenance: Purchased by the current owner from Robin Garton circa 1990. Campbell Dodgson 179. (1)
*@Holloway (Edgar, 1914-2008). The Turban (Self-Portrait No. 9), 1937, etching with plate tone on cream paper, from the published edition of 50 impressions, signed and numbered 45/50 below the image, and titled to lower edge, 12.6 x 10.2 cm (5 x 4.1 ins), with margins, framed and glazed Meyrick (1996) 108. (1)
*Wilkinson (Norman, 1878-1971). Spey Pool, circa 1930, etching with drypoint, signed in pencil lower right, plate size 22.5 x 30.3 cm (9 x 12 ins), with margins, framed and glazed, with old printed label to verso of Richard Howarth, Dealer in Works of Art, 25 Preston Road, Blackburn to verso, framed and glazed (glass cracked), together with Playing a Trout in the Shadows, circa 1930, etching with drypoint, signed in pencil lower right, xxx x xxx ins, with margins, framed and glazed, with printed label of Richard Howarth, Blackburn to verso (2)
*Cowern (Raymond Teague, 1913-1986). V‚zelay, 1937, etching on wove paper, signed, titled and dated in pencil, plate size 14.5 x 18.8 cm (5.75 x 7.4 ins) with margins, framed and glazed, together with a late 19th century etching on wove paper of women in a harbour loft mending fishing nets (possibly by a Newlyn or Staithes artist), unsigned, plate size 16.2 x 26 cm (6.4 x 10.5 ins), with good margins, plus a lithographic portrait of Hilaire Belloc by William Rothenstein (1872-1945), dated in the image 1896, framed and glazed (3)
*@Holloway (Edgar, 1914-2008). Self Portrait, 1932, etching on pale cream paper, one of 6 artist's proofs, aside from the published edition of 50, signed, titled and dated in pencil, and marked V/VI AP's to lower margin, and additionally marked in pencil to edge of sheet S.P. No. 6, 1932, a very good impression, plate size 22.7 x 16.2 cm (8.9 x 6.4 ins), with wide margins, framed and glazed (unexamined out of frame) (1)
*Richards (Frederick Charles, 1887-1932). Boodles to St. James's Palace, etching on thin wove paper, signed and titled in pencil, plate size 21.8 x 25 cm (8.5 x 9.75 ins), with margins, mounted, together with A City Built Upon A Hill, The Monastery, Ewot Bridge - Durham, Near S. Pietro - Venice, each signed and titled in pencil, various sizes, plus one other etching by the same artist, The Little Shop under the Arches, unsigned, all except two mounted (the small Venice etching laid down on card) (6)
Herbert Thomas Dicksee British ( 1862 - 1942 ) Coloured Etching, Printed In Sepia. Title ' The Wishing Pool ' Date 1903, From a Poem by Tennyson. Period Frame. Size 18.5 x 27 Inches - 47 x 68.5 cm. Mounted and Framed Behind Glass, Excellent Condition In All Aspects, No Foxing or Fading. Provenance - Original Label to Back Reads - T. Bromley & Son, Fine Art Gallery, Fold Street Bolton.
PIRANESI, Giovanni Battista. Veduta interna della Basilica di S. Pietro in Vaticano. Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 410 x 600 mm., a central vertical fold, slight surface dust, [H.4 III; F.788; WE.137]
PIRANESI, Giovanni Battista. Veduta della Basilica di S. Giovanno Laterano. Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 390 x 545 mm., a central vertical fold, marginal surface dust, [H.8 III; F.790; WE.139]
PIRANESI, Giovanni Battista. Veduta della Facciata della Basilica di S. Croce in Gerusalemme. Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 405 x 610 mm., a central vertical fold with a parallel soft crease, marginal surface dust with faint browning towards sheet edges, [H.11 III; F.729; WE.173]
PIRANESI, Giovanni Battista. Veduta dell'Esterno della gran Basilica di S. Pietro in Vaticano. Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 4th state with the artist's address and price, and some additional lines of shading, 405 x 610 mm., a central vertical fold with a parallel soft crease, marginal surface dust with faint browning towards sheet edges, [H.5 IV; F.789; WE.153]
PIRANESI, Giovanni Battista. Veduta della vasta Fontana di Trevi anticamente detta l'Acqua Vergine. Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper, 3rd state with the artist's address and price, 400 x 555 mm., a central vertical fold, faint spotting and surface dust, mostly marginal, [H.19 III; F.797; WE.145]
PIRANESI, Giovanni Battista. Veduta del Castello dell'Acqua Paolo sul Monte Aureo. Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper, 2nd state with the artist's address and price, 400 x 615 mm., a central vertical fold, faint spotting and surface dust, mostly marginal, a few other small surface marks, [H.21 II; F.736; WE.174]
PIRANESI, Giovanni Battista. Veduta della gran Curia Innocenziana edificata sulle rovine dell'Anfiteatro di Statilio Tauro, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state with the artist's address and price, 405 x 615 mm., a central vertical fold, faint marginal spotting towards the sheet edges, [H.23 I; F.738; WE.176]
PIRANESI, Giovanni Battista. Veduta sul Monte Quirinale del Palazzo dell'Eccellentissima Casa Barberini, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 2nd state with the artist's address and price, 405 x 615 mm., a central vertical fold, faint marginal spotting and slight surface dirt towards the sheet edges, [H.25 II; F.740; WE.188]
PIRANESI, Giovanni Battista. Veduta del Palazzo Odescalchi, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 2nd state with the artist's address and price, 405 x 615 mm., a central vertical fold with a parallel crease, faint marginal spotting and slight surface dirt towards the sheet edges, [H.26 II; F.741; WE.178]
PIRANESI, Giovanni Battista. Veduta del Porto di Ripetta, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 4th state with the artist's address and price, 405 x 615 mm., a central vertical fold, faint marginal spotting and slight surface dirt towards the sheet edges, [H.28 IV; F.814; WE.155]
PIRANESI, Giovanni Battista. Veduta del Ponte e Castello Sant'Angelo, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, and additional shading, 380 x 585 mm., a central vertical fold, faint marginal spotting and minor damp-staining, slight surface dirt towards the sheet edges, [H.29 III; F.793; WE.156]
PIRANESI, Giovanni Battista. Veduta del Mausoleo d'Elio Adriano (ora chiamato Castello S. Angelo), Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state with the artist's address and price, 435 x 555 mm., a central vertical fold with two parallel stripes of pale oil staining, faint marginal spotting and surface dust, [H.30 I; F.743; WE.170]
PIRANESI, Giovanni Battista. Piramide di C. Cestio, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state with the artist's address, 390 x 535 mm., a central vertical fold, a small skinned area on verso, some marginal spotting and damp-staining, [H.36 I; F.745; WE.190]
PIRANESI, Giovanni Battista. Veduta degli avanzi del Foro di Nerva, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper, 4th state with the artist's address and price, and additional shading, 405 x 610 mm., a central vertical fold, marginal surface dust, [H.42 IV; F.749; WE.181]
PIRANESI, Giovanni Battista. Veduta del piano superiore del Serraglio delle fiere fabbricato da Domiziano a uso dell'Anfiteatro Flavio, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 400 x 605 mm., a central vertical fold, slight surface dirt towards the sheet edges, [H.43 III; F.804; WE.160]
PIRANESI, Giovanni Battista. Veduta del Tempio di Bacco, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 2nd state with the artist's address and price, 400 x 605 mm., a central vertical fold, slight surface dirt towards the sheet edges, [H.48 II; F.753; WE.184]
PIRANESI, Giovanni Battista. Veduta degli avanzi di due Triclini che appartenevano alla Casa aurea di Nerone, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 415 x 550 mm., a central vertical fold, a small area of slight skinning on verso, faint marginal spotting and minor damp-staining, slight surface dirt towards the sheet edges, [H.50 III; F.812; WE.149]
PIRANESI, Giovanni Battista. Veduta dell'Atrio del Portico di Ottavia, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 4th state with the artist's address and price, 400 x 600 mm., a central vertical fold, faint marginal spotting and minor damp-staining, slight surface dirt towards the sheet edges, [H.58 IV; F.815; WE.166]
PIRANESI, Giovanni Battista. Veduta interna dell'Atrio del Portico di Ottavia, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 415 x 550 mm., a central vertical fold with a parallel crease, marginal surface dirt with slight browning and damp-staining towards the sheet edges, [H.59 III; F.816; WE.167]
PIRANESI, Giovanni Battista. Veduta del Ponte Molle sul Tevere che niglia lontan da Roma, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state with the artist's address and price, 440 x 675 mm., a central vertical fold with a printer's crease in the lower section, faint marginal surface dust, [H.64 I; F.767; WE.197]
PIRANESI, Giovanni Battista. Veduta delle due Chiese, l'una detta della Madonna di Loreto l'altra del Nome di Maria presso la Colonna Trajana, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state with the artist's address and price, 430 x 690 mm., a central vertical fold, oil staining in the side margins, other marginal spotting, a splitting crease across the upper left sheet corner but well outside the plate, [H.66 I; F.849; WE.199]
PIRANESI, Giovanni Battista. Veduta interna della Basilica di S. Giovanni Laterano, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving on thick laid paper, 2nd state with additional shading, 430 x 675 mm., a central vertical fold, slight marginal browning and surface dirt, [H.88 I; F.726; WE.221]
PIRANESI, Giovanni Battista. Veduta della Villa dell'Emo. Sig.n Card. Alesandro Albani fuori di Porta Salaria, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state, 445 x 700 mm., a central vertical fold, oil staining in the side margins, other marginal spotting, [H.89 I; F.853; WE.222]
PIRANESI, Giovanni Battista. Veduta degl'Avanzi del Foro di Nerva, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state, 480 x 710 mm., a central vertical fold with a short split at the head and a parallel crease, some marginal spotting and surface dirt, [H.95 I; F.750; WE.228]
PIRANESI, Giovanni Battista. Title page for Vedute di Roma. Rome, c.1774Rome edition, etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 405 x 545 mm., a central vertical fold, slight surface dust on recto, more heavily dust-stained on verso, [H.1 I; F.719; WE.134]
Ivor Mervyn Pritchard RCA (1886 - 1948), by and after, Pharaoh Akhenaten, monogrammed, signed and titled within plate, signed in pencil by the artist in margin, etching, 21cm x 14cm; others, Penmon, Anglesey, 2nd final proof, signed, titled and dated 1924 within plate, signed, titled, inscribed and dated 1924 in pencil by the artist in margin, etching, 14cm x 16.5cm; another, [3]
Jean Carzou (Armenian 1907-2000), by and after, Canal a Venice, signed, dated '92, limited edition 245/250, lithograph, 38cm x 53cm; another, Ramon Dilley (French, bn. 1933), La Plage a Deauville, signed artist proof, lithograph, 61cm x 53cm; another, Peter Ford, 'Throng', signed, etching, No. 4 of 5, (3)
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