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Click here to subscribeHENRY PERCY HUGGILL (1886-1957) ARTIST SIGNED ETCHING Bygone back street scene with tall buildings and cathedral in the background 12" x 5 ½" (30.5cm x 14cm) W.H. LEVERT(?) ARTIST SIGNED ETCHING Coastal scene with figures and thatched cottages 8" x 9 ¼" (20.3cm x 23.5cm) Both signed in pencil and with blindstamps, (2)
UNATTRIBUTED ARTIST SIGNED ETCHING WITH BLUE WASH 'Dusseldorf', river scene with paddle steamer, town in the background Indistinctly signed and titled 7 ½" x10 ½" (19cm x 26.7cm) AFTER JANICOTTE COLOURED PRINT 'Paris, Notre Dame et le Bateau Mouche', titled in pencil 8" x 11" (20.3cm x 28cm), (2)
An 18th century mourning sword, hollow triangular section blade 32½”, with traces of etching to top 8”, blackened steel hilt with plain oval guard, shallow pas d’ane rings, slender facetted knucklebow and quillon, facetted ovoid pommel, swollen simulated wirebound grip, in its leather scabbard (lower half AF) with 2 rings. Sword GC
An 18th cent mourning sword, hollow triangular section blade 33”, with foliate etching to top 8”, plain darkened steel hilt with double shell guard, pas d’ane rings, knucklebow and quillon, ovoid pommel, simulated wirebound grip. Basically GC (blade some wear and dark rust patina, hilt loose).
An 18th cent mourning sword, darkened hollow triangular section blade 31½”, with a little scrolled etching at forte, blackened facetted steel hilt with small studs overall, comprising pierced oval guard, shallow pas d’ane rings, knucklebow with pierced centre section, ovoid pommel and stud, swollen simulated copper wirebound grip.GC Plate 8
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) ''Putting on Tights'' (1926) Signed in pencil, from an edition of 55, etching, 19.5cm by 17cm References: Bolling. G. Frederick & Valerie A. Withington, ''The Graphic Works of Laura Knight, including a Catalogue Raisonne of her Prints'' (1993) No. 56 See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
AFTER THOMAS ROWLANDSON (1756-1827) "Rural Sports or Games at Quoits", etching, later hand coloured, published October 30 1811 by Thos Tegg Cheapside, 23.5 cm x 33.5 cm "Reconciliation of the Return from Scotland", engravng, later hand coloured, published November 22nd 1793 by S W Fores No 3 Rocadilly, 29 cm x 39 cm, together with AFTER GEORGE MOUTARD WOODWARD "Six of the most approved methods of appearing ridiculous on the ice", engraving, later hand coloured, published London by Allen & West 15 Paternoster Row August 13 1796, 25 cm x 19.5 cm CONDITION REPORTS Both prints framed and glazed. The Quoits print has a rip to the top centre, Four marks to the left hand corner, the whole appears brown/discoloured. Various dotted marks and scratch type marks. Various general signs of wear and tear throughout. Ice skating print again very browned. Some spotted grey type marks throughout. Various further marks and various general signs of wear and tear throughout. Return from Scotland appears very greyed. Framed. Presumably repaired rip to thebottom centre. Various scuff marks, dark marks, spotted marks, a brown mark to the right hand side. To the centre figure moving chair - perhaps an old repair to the chair/damage. Various general signs of wear and tear throughout
India.- Salt (Henry), after. Pagoda at Tanjore, plate X from: 'Twenty-Four Views in St. Helena, The Cape, India, Ceylon, The Red Sea, Abyssinia and Egypt', etching and aquatint, with hand-colouring, on Whatman wove paper, sheet 440 x 610 mm. (17 1/4 x 24 in), trimmed within the platemark, and partly into the upper edge, another small tear in the lower edge, surface dirt, unframed, William Miller, 1809.
NO RESERVE English Churches and Cathedrals.- Buckler (John) and R. Reeve. North West View of the Cathedral Church of St Peter, Exeter, from 'Views of the Cathedral Churches of England and Wales', etching and aquatint with hand-colouring, sheet 500 x 660 mm. (19 3/4 x 26 in), trimmed just within the platemark, some surface dirt and browning, unframed, J. Buckler, 1810; together with four others, including a large hand-coloured lithograph of Westminster Abbey, by Gustave Simoneau, and Collins' 'The South Prospect of the Cathedral Church of St Mary Lincoln', and others of Chester Cathedral and Worcester Cathedral, and another, engravings with hand-colouring, various sizes, largest 730 x 550 mm. (28 3/4 x 21 3/4 in), all unframed, [18th and 19th century] (6).
NO RESERVE Wheatley (Francis, 1747-1801), After. The Cries of London, the complete set of 13, etching and stipple engraving, by Vendramini, Schiavonetti, Cardon and Gaugain, printed in brown ink with hand-colouring, on wove paper, platemarks approx. 420 x 326 mm. (16 1/2 x 12 3/4 in), sheet 555 x 380 mm. (21 7/8 x 15 in), good margins, some repaired nicks and tears in margins, plate 9 with large repaired tear going within image, some surface dirt and browning, published by Colnaghi & Co., London, 1793-97 (13).
NO RESERVE Teniers the Younger (David, 1610-1690), circle of. The Temptation of Saint Antony, etching on thin laid paper without watermark, sheet 140 x 111 mm. (5 1/2 x 4 3/8 in), trimmed to image, some small loss to upper right edge, inset at edges onto paper mount, indistinct pen and brown ink inscription in the lower right corner, old attributions verso to Teniers and Bruegel, unframed, [early to mid 17th century] mounted on the same sheet as Teniers the Younger's Circle Dance, etching, on laid paper without watermark, sheet 107 x 134 mm. (4 1/4 x 5 1/4 in), trimmed to image, inset at edges onto paper mount, unframed, [circa 1635-1668] (2).Provenance:Unidentified [?]initials in brown ink in the upper left corner [Not in Lugt]Literature:(Circle Dance) Dutuit 22 ⁂ We have been unable to find an another impression of the print of Saint Antony, which bears old pencil attributions verso to both Bruegel and Teniers. The British Museum hold a copy in reverse, presumably after this print or possibly the original source, which is by the German printmaker G C Stich (see Nagler V.337).
† Watteau.- Cochin the Elder (Charles Nicolas, 1688-1754) Le Bosquet de Bacchus [Bacchus's Grove], after Watteau, from the series 'L'Oeuvre d'Antoine Watteau Peintre du Roy Recueil Jullienne', etching and engraving, on thick laid paper without watermark, platemark 340 x 420 mm. (13 1/2 x 16 1/2 in), with small margins, minor surface dirt, unframed, [circa 1727]; together with four further prints after Watteau including Probst's 'Spring' and 'Summer', Jacques Firmin Beauvarlet's 'Lecture Espagnole', and another of 'Voulez-vous triompher des belles?', engravings with etching, 590 x 420 mm. (23 1/4 x 16 1/2 in) and smaller, some nicks and tears, minor surface dirt, all unframed, [early 18th century] (5).This lot is subject to VAT at 20% payable on the hammer price, which may be reclaimable as input VAT.
NO RESERVE Piranesi (Giovanni Battista, 1720-1788) Two large plates from 'Vasi, candelabri, cippi, sarcofagi, tripodi ...', including plate 27 of a marble candelabrum ornately decorated with dolphins entitled 'A Sua Eccellenza il Sig. Principe D. Abondio Rezzonico Senatore di Roma ...' and the Funerary monument of Mamertinus and his wife Partenope, etching and engravings, on laid paper, each platemark approx. 670 x 420 mm. (26 1/4 x 16 1/2 in), good margins, minor surface dirt and browning, the latter sheet with a handling crease upper left, both under glass in uniform decorative ebony and gilt frames, [circa 1768-1778] (2).Literature:Wilton-Ely 912 [F.625], and 959 [F. 672], respectively.
† De Launay (Nicolas, 1739-1792) Les Hazards heureux de l'escarpolettes, after Fragonard, etching and engraving, a good impression on laid paper, without watermark, sheet 580 x 425 mm. (22 3/4 x 16 3/4 in), trimmed within platemark, central horizontal fold, some folds and small repairs to lettered margin, unframed, 1782.Literature:IFF 233⁂ After the painting by Fragonard now in the Wallace Collection, with a vignette designed by Choffard and engraved by DelaunayThis lot is subject to VAT at 20% payable on the hammer price, which may be reclaimable as input VAT.
E. Goodall after J.M.W. Turner R.A. - 'Scene at Colgong on The Ganges', inscribed, black and white engraving, 6.25" x 8.75" (a bookplate); together with further prints and reproductions, The Midland Railway Station - St. Pancras, other views of St. Pancras Station and Hotel, the Railway Station at Peterborough, The South Eastern Railway Station, London Bridge, an old hand coloured etching of Badminton in the County of Gloucester, further prints of Longleat, Ragley in Warwickshire, other views in Warwickshire and Somerset, all book plates, various sizes (a collection)
Janet McCall A.R.C.A (20th century) - 'Two's Company, Three's a Crowd', three field mice in a cornfield, signed etching, also inscribed on a label verso with title and artist's address in Redland, Bristol, black and white etching, 3.75" x 7.25"; together with a print after Louis Wain, two cricket prints, and a later print of Chepstow after Buck, various sizes (5)
•DAVID HOCKNEY (B. 1937) "THE BOY HIDDEN IN A FISH" an illustration from "Six Fairy Tales from the Brothers Grimm", published 1970, signed in pencil to the margin, Artist Proof number VI, etching and aquatint, the image 22.5cm x 26.5cm (27cm x 30.5cm including margin) Provanance: Acquired from Goldmark Gallery In the 1960s David Hockney was hired to illustrate the British Royal Academy of Arts' book Six Fairy Tales from the Brothers Grimm. From over 350 Grimm fairytales, Hockney selected 6: "The Little Sea Hare", "Fundevogel", "Rapunzel", "The Boy who left Home to learn Fear", "Old Rink Rank" and "Rumpelstiltzhen". The above lot features in the story "The Little Sea Hare"
After William Henry Toms (British, 1700-1765)'Bridewell'Copper engraving, 173932 x 20cmTogether with a larger print after Paul Angier entitled 'A View from the Town-House of Paris'; another After J. Rigaud, ‘Vue de l’Hostel de Ville de Marseille’, 1720, an etching after Anthony van Dyck of Charles, Prince of Wales, 1649, and others (7)
λAnthony Gross (British 1905-1984) Cat on the Barrell, La Mairie - Paris Etching, 1924 Signed in pencil and dated 1924 Image: 23.5 x 15.5cm (9 1/4 x 5 3/4in.) Provenance: From the collection of R W Lloyd, Christie's, 1959; To Doctor Dally, in gratitude from Mr & Mrs Ian Lowe, January 1965 λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
λAnthony Gross (British 1905-1984) La Poupette Etching, 1932 Signed in pencil, dated 1932, titled and inscribed Trial 3 together with a dedication 19.5 x 24.5cm (7 7/8 x 9 1/2in.) λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
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