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).
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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 se](https://cdn.globalauctionplatform.com/cd2f11f6-be9d-46c6-afc6-a915011148fe/92a4d6aa-9c64-454a-d1c1-4535d1d3bfef/468x382.jpg)
† 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.
![Orazio Farinati (Italian 1559-circa 1616) Virgin and Child with the Infant St John Etching after Paolo Farinati, [B.4] 16.5 x](https://cdn.globalauctionplatform.com/06a08eba-c8ff-4c3a-92ec-a90500b6f13b/9ab2347e-0f7e-44c7-ea2d-2152cedb22eb/468x382.jpg)
Robert Sargent Austin (British 1895-1973) Cat and Mandolin Etching with drypoint, signed in pencil, lower right, numbered 2/50 10.5 x 15.5cm (4 1/8 x 6 1/8 in.) Together with 3 other signed etching revival plates, The Sheik, by Edward Julius Detmold; Farm near Sandwich, by William Palmer Robins; and The Thames Barges, by Arthur Briscoe (4) Property of the late Roger Bruno Higgins
λ Edmund Blampied (British 1886 - 1966) The Waiter - Tout suite! Etching with drypoint Signed in ink, lower right and numbered 59/100 lower left Signed and dated 1930 upper right in the plate 25.5 x 20cm (10 x 8in.) Together with another signed etching of a Parisian café scene by Solomon van Abbé, and lithographed French social satire by Alexandre Gabriel Decamps (3) λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
*George (Ernest, 1839-1922). The Oxford Arms, Warwick Lane, London, watercolour on wove paper, unsigned, 26 x 17.5cm (10.25 x 7ins), mounted, framed and glazed The Oxford Arms was one of the last remaining 17th century galleried inns in London and was demolished in 1876. The same view by Ernest George was published as an etching in 1884 by the Fine Art Society and in the same work the artist wrote "I have etched it from my sketch made shortly before it's demolition". (1)
*AR Anderson (Stanley, 1884-1966 ). Quai Duperré, La Rochelle, 1928, drypoint etching on Milbourn British handmade pure rag paper, one of 85 published proofs, signed, plate size 20.7 x 33.9 cm (8.2 x 13.3 ins), sheet size 28.3 x 44 cm (11.2 x 17.25 ins), window-mounted Hardie 126. (1)NB: This lot may be subject to ARR ("Droit De Suite")
*AR Anderson (Stanley, 1884-1966 ). A Devon barn, 1922, miniature etching on cream wove paper, the second state (of 3), before the published edition of only 12 impressions, signed, marked '2nd St.', and titled in ink, image size 23 x 38 mm (1 x 1.5 ins), sheet size 78 x 63 mm (3 x 2.5 ins), window-mounted Hardie 94. Meyrick & Heuser 144, ii/iii (listing only one impression of the second state). This minute print was commissioned for the library of Queen Mary's dolls' house, designed by Lutyens. (1)NB: This lot may be subject to ARR ("Droit De Suite")
*Arms (John Taylor, 1887-1953). The Church of St. Francis and the Natizone, Cividale, 1931, etching on pale cream laid paper, from the published edition of 128 impressions, signed, dated, and inscribed in pencil 'To my friends Kerr and Frances Eby', plate size 18.8 x 25.5 cm (7.4 x 10 ins), sheet size 27.5 x 37.5 cm (10.8 x 14.75 ins), window-mounted Fletcher 238 iii/iii. Number 22 from the Italian Series. (1)
*Austin (Robert Sargent, 1895-1973). The Cathedral, Palma, 1927, etching on cream laid paper, a signed proof printed in brown ink, signed and dated 1928 in pencil, plate size 20.3 x 34.3 cm (8 x 13.5 ins), sheet size 26.7 x 43.5 cm (10.5 x 17.25 ins), window-mounted Campbell Dodgson, 79. Ashmolean Museum, Oxford, Robert Austin, 16 February-16 March 1980, 24. (1)
*Besnard (Albert, 1849-1934). Reverie, 1887, etching and aquatint on cream laid paper, the second state (of 2), printed in an edition of around 75 impressions, signed in pencil, plate size 8.4 x 14 cm (3.3 x 5.5 ins), sheet size 13.5 x 17 cm (5.3 x 6.7 ins), window-mounted, together with Brouet (Auguste, 1872-1941), Joueur d'Orgue, etching on pale blue laid paper, one of only 10 artist's proofs aside from the published edition, signed and number 8/10 in pencil, plate size 9.3 x 10.4 cm (3.7 x 4.25 ins), sheet size 20 x 25.5 cm (7.9 x 14 ins), both window-mounted Godefroy 60, ii/ii & Geffroy 198. (2)
*Beurdeley (Jacques, 1874-1954). Barques de peche au repos (Tamise), etching with drypoint on laid paper, from the published edition of 50, a good impression with plate tone, signed and numbered 45/50 in pencil, plate size 15 x 23 cm (5.9 x 9 ins), sheet size 17.2 x 25 cm (6.75 x 8.7 ins), mounted, together with Bracquemond (Felix, 1833-1914), La Seine au Bas-Meudon, 1868, etching on laid paper, the final state, as issued in the Gazette des Beaux Arts in 1884, light crease to lower right blank margin, plate size 15.7 x 22.8 cm (6.2 x 9 ins), sheet size 18.5 x 27.5 cm (7.25 x 10.75 ins), mounted, plus six other etchings by Edgar Chahine (St.-Germain-L'Auxerrois, 1902), Louis Legrand (Flore artificielle), Leon Lhermitte, and Auguste-Louis Lepère, each mounted Beraldi 187, iv/iv. (8)
*AR Bone (Sir David Muirhead, 1876-1953). The Convent of San Payo, Santiago de Compostela, Spain 1929, drypoint etching on cream laid simili Japan paper, a unique proof of the 10th state, signed in pencil, a few spots, plate size 12 3/16 x 7 ? (sheet 15 1/4 x 10 3/4), mounted Campbell Dodgson/Wright 434, x/xviii. Unique proof of the 10th state, from a total of 18 states made by the artist between 1929 and 1937. The total edition being 102 impressions. (1) NB: This lot may be subject to ARR
*AR Bone (Sir David Muirhead, 1876-1953). The Shot Tower, 1904, drypoint etching on cream laid paper, the 5th and final published state, printed in an edition of 35 impressions, signed and titled in pencil, plate size 17.5 x 22.5 cm (6.9 x 8.8 ins), sheet size 19.7 x 24.6 cm (7.75 x 9.75 ins), laid down on backing card, window-mounted, with printed labels of the Montclair Art Museum, New Jersey, and M. Knoedler & Co., New York Campbell Dodgson 160, 5th state. 'The Shot Tower is Bone's best study of The Thames, and indispensable to a representative collection'. (1)NB: This lot may be subject to ARR ("Droit De Suite")
*AR Bone (Sir David Muirhead, 1876-1953). The East Breast, Greenock, 1900, etching with drypoint on wove paper, one of approximately 30 impressions, signed and titled in pencil, plate size 16.8 x 21.7 cm (6.6 x 8.5 ins), with margins, framed and glazed Acquired from Garton & Cooke. Campbell Dodgson 76. (1)NB: This lot may be subject to ARR ("Droit De Suite")
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73307 item(s)/page