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Click here to subscribe* Palmer (Samuel, 1805-1891). The Herdsman's Cottage, or, Sunset, 1850, etching on pale cream laid paper, the second and final state, with printed initials SP lower left, as issued in The Portfolio in 1872, with large margins, 'MBM Portfolio' watermark, very minimal spotting, image size 9.7 x 7.6 cm (3.8 x 3 ins), plate size 12.4 x 10.2 cm (4.8 x 4 ins), sheet size 36 x 26.2 cm (14 1/4 x 10 1/4 ins), mounted QTY: (1)NOTE:Lister E3 ii/ii.
* Khnopff (Fernand, 1858-1921). Un Geste d'Offrande (Un Geste de Respect), 1900, drypoint etching on thin wove paper, printed with light plate tone, an artist's proof, signed an dinscribed 'epreuve d'etat. Un souvenir de Fernand Khnopff. 1920' to lower margin, some light soiling and handling marks to sheet edges, barely discernable crease to upper left corner of the plate area, plate size 200 x 145 mm, sheet size 272 x 182 mm (10 5/8 x 7 3/16 ins)QTY: (1)NOTE:Delevoy Croesë 355.
* Victoria (Queen, 1819-1901 & Albert, Prince, 1819-1861). Islay, by Prince Albert after a drawing by Victoria, 11th September 1840, etching on India wove, showing a dog sitting raising one paw, print size 15 x 9.8 cm (5 7/8 x 3 3/4 ins), sheet size 22.6 x 17.3 cm (8 7/8 x 6 3/4 ins), mounted (31.5 x 25.5 cm), together withVictoria (Queen, 1819-1901). Ada Hohenlohe, 1840, two etchings on India wove, depicting Queen Victoria's 5 year old half-niece Adelheid 'Ada' Hohenlohe-Langenburg, sitting in one and standing in the other, facing away from the artist, one dated 18th September, both with Ada Hohenlohe's name in pencil to margin, print size 11.6 x 7.8 cm (4 1/2 x 3 ins), sheet size 22.7 x 15.9 cm (8 7/8 x 6 1/4 ins), plus 8 other engravings and woodcuts by various artists including: J. Hamilton Douglas, Wyllie, L. Ward, Russell Conway, Christine M. Wells, various sizes, largest 50.5 x 38 cmQTY: (11)NOTE:Queen Victoria and Prince Albert took up etching in 1840 under the tutelage of the Royal portrait painter Sir George Hayter. Both were competent artists and over the rest of the decade Queen Victoria etched some sixty-two plates and Prince Albert twenty-five. Most compositions were based on paintings and drawings in their collection, but some were also based on each other's sketches. The plates were etched at Windsor Castle and some proof impressions were pulled from a small press there. The Queen and Prince Albert never intended these very personal etchings to stray outside of a very tight circle of family and friends. As such, very few etchings by either Royal exist outside of the private collections at Windsor (who have a full set) and the British Museum (who were given a set by King George V). Examples are also owned by the Victoria & Albert Museum as well as a small numbers in private hands.
* Legros (Alphonse, 1837-1911). Le Chateaux des Revenants (The Castles of the Ghosts), etching, signed in pencil to lower right margin, image size 17.3 x 22.5 cm (6 3/4 x 8 7/8 ins), together with Paysage en Bateau (Landscape with Boat), etching, signed in pencil to lower right margin, some minor spotting, image size 20 x 41.7 cm (7 7/8 x 16 3/8 ins), and another by the same artist, Le Petit Bruleur d'Herbe (Little Burner of Grass), etching, signed in pencil to lower right margin, image size 12 x 11.8 cm (4 3/4 x 4 5/8 ins), all in matching wooden frames (59.5 x 44 cm)QTY: (3)
* Tanner (Robin, 1904-1988). The Old Road, Elegy for the English Elm I, 1976, etching on laid William Morris 'Apple' paper, the first state (of three), signed in pencil, title and paper detail in artist's hand in pencil to lower portion of sheet, with margins, plate size 29.8 x 23.7 cm (11 3/4 x 9 1/4 ins), sheet size 40.5 x 33.2 cm (16 x 13 ins), unframed, together with Hedge Flowers, 1936, etching on cream wove paper, a separate impression printed by the artist in September 1983, aside from the published edition of 12 impressions issued in 1982 by Garton and Cooke, signed, titled and additionally inscribed by the artist 'This impression is for Fay & Ray: Fron Fawr. Sept., 1983.', with margins, plate size 23.2 x 16.2 cm (9 x 6 1/2 ins), sheet size 33.7 x 26.5 cm (13 1/4 x 10 1/2 ins), unframedQTY: (2)NOTE:Garton 36 (i/iii - before the area to the left of the road between the tree and hedge is burnished) & 20.
* Brockhurst (Gerald, 1890-1978). Study for a Decoration, 1923, etching on cream laid paper, from the edition of 76 artist's proofs, signed in pencil, mount stained, plate size 15.7 x 12.1 cm (6 x 4.3/4 ins), sheet size 28.8 x 22.2 cm (11.3 x 8 3/4 ins), unframed, plus Anderson (Stanley, 1884-1966). 'Old Father Time', of Wiltshire, 1944, copper line engraving on laid paper, signed in pencil, from the edition of 100 artist's proofs, 'Ed = 100' by the artist lower left in pencil, titled 'Old Father Time, of Wiltshire. (Line-engraving) Edition 100 prints' by the artist to lower sheet edge, tipped-on to backing board at the upper sheet corners recto, plate size 9.5 x 8 cm (3 3/4 x 3 ins), sheet size 23 x 17.8 cm (9 x 7 ins), hinge-mounted, and Spencelayh (Charles, 1865-1958). The Last Night of Hanuka, etching, signed, titled and numbered 7/30 in pencil, plate size 25 x 20 cm (9 3/4 x 8 ins), framed and glazed (55.5 x 45.5 cm), with Lindsay (Lionel, 1874-1961). Zocodover Gate, Toledo, etching with drypoint, signed in pencil, from the edition of 75 proofs, P. & D. Colnaghi label to frame verso, plate size 29.5 x 19.9 cm (11 3/4 x 8 ins), framed and glazed (56.5 x 42 cm), together with a drypoint etching signed 'J. Gavin' of workers operating a press, and two etchings of views of Chelsea, London by Charles William Sherborn, all framed, signedQTY: (7)NOTE:Brockhurst: Wright/Fletcher 46. Anderson: Meyrick and Heuser 243.
* Khnopff (Fernand, 1858-1921). Sire Halewyn, 1903, drypoint etching on pale cream wove paper, signed and with indistinct presentation inscription lower right, several diagonal creases, affecting the image area, light mount stain, plate size 170 x 240 mm, sheet size 283 x 365 mm, together withUn Masque, 1899, drypoint etching on cream wove paper, heightened with pale red crayon (to the flower button hole), signed and inscribed 'un souvenir de Fernand Khnopff. 1919', diagonal crease to upper right, touching the image area, some light spotting and handling marks, mainly to blank outer margins and sheet edges, plate size 177 x 100 mm, sheet size 290 x 180 mm (11 3/4 x 7 1/8 ins)QTY: (2)NOTE:Delevoy Croesë 388 & 337.
Tanner (Robin, 1904-1988). Illustration for Thomas Gray's Elegy, 1980, etching, signed with initials in pencil and dated 1981, as published in Thomas Gray, Elegy written in a Country Churchyard, published by Robin Garton, 1981, in an edition of 100, plate size 13.8 x 14.4 cm (5 1/2 x 6 ins), sheet size 25.5 x 18.5 cm (10 x 7 1/4 ins), all edges gilt, original dark brown quarter morocco gilt, with paper wrapper, and publisher's cardboard box, small 4toQTY: (1)NOTE:Garton 41 (ii/ii). This copy numbered 90 of 100 copies, signed by Robin Tanner to the limitation leaf.
* Carter (Frederick, 1885-1967). Pierrot in love with the moon, circa 1911, etching, signed in pencil lower left, 22 x 13.5 cm mount aperture, framed (frame size 39 x 33 cm), together with Legros (Alphonse, 1837-1911). Charity, etching, signed in pencil lower right, 23 x 20 cm mount aperture, framed (frame size 43 x 37.5 cm), plus Manner of Augustus John. The Daffodil Seller, etching, 25.5 x 15.5 cm mount aperture, framed (frame size 38.5 x 28.5 cm) QTY: (3)
* Legros (Alphonse, 1837-1911). Les Mendiants de Bruges (Beggars of Bruges), etching on laid paper, signed, titled and notes 'Second state Proof No 6' in pencil to lower right margin, two ownership stamps to lower margin (Francis Edward Bliss, Lugt 988, L265 & and Achille Chariatte L88a), plate size 20.6 x 34.3 cm (8 1/8 x 13 1/2 ins), sheet size 24.5 x 36 cm (9 5/8 x 14 1/8 ins), together with The Wayfarer, etching on laid watermarked 'Portfolio MBM' paper, ownership stamp to lower margin (Charles Lambert Rutherston L594), plate size 15.2 x 27.6 cm (6 x 10 7/8 ins), sheet size 25.8 x 36 cm (10 1/8 x 14 1/4 ins), plus 9 other etchings by the same artist including: The Poet, Les Bouches Inutiles (The Useless Mouths) with ownership stamp (Bliss L265), Le Lutrin (The Lectern), A woodland study, Breton Peasant, etc., 3 signed in pencil, various sizes, and three lithographs by the same artist, largest image size 27.5 x 44 cm (10 7/8 x 17 1/4 ins), all mounted in cream card (40.5 x 56 cm)QTY: (14)NOTE:Provenance: Achille Chariatte (Lugt 88a). After his death in 1922 his collection of 296 prints were sold over two days by Sotheby, Wilkinson & Hodge in London. On the 30th April & 1st May 1923, they hosted the Catalogue of Old Master Drawings and Modern Etchings from the collection of the late Monsieur A. Chariatte, of 36, Brondesbury Road, NW6. The second day of the sale saw lots 128-296 auctioning Modern Etchings by English and French Artists ..., lots 128-296.Francis Edward Bliss (Lugt 988 & 265) author of A Catalogue of Etchings, Drypoints and Lithographs by Professior Alphonse Legros, printed in 1923, emigrated to Santa Barbara, California. Before his departure he sold numerous Legros prints from his collection at Sotheby Wilkinson & Hodge in London at various points throughout 1921-1924.
* Anderson (Stanley, 1884-1966). Pan in Fulham, 1932, engraving on Millbourn wove paper, signed in pencil, a deep impression, from the edition of 50 artist's proofs, title pencil to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners recto, faint mount staining, plate size 18.6 x 14.2 cm (7 1/4 x 5 1/2 ins), sheet size 29 x 21.5 cm, window mounted, and Austin, (Robert Sargent, 1895-1973). Woman Sleeping, 1931, engraving on wove paper, signed in pencil, with margins, tipped-on to backing board at the upper sheet corners recto, very faint mount staining, plate size 13.7 x 19.2 cm (5 1/2 x 7 1/2 ins), sheet size 28 x 36.5 cm, window mounted, plus Walcot (William, 1874-1943). Cornhill and the Royal Exchange, London, circa 1933-35, etching with drypoint on cream wove paper, signed in pencil, plate size 17.8 x 19.8 cm (7 x 7.3/4 ins), with margins, window mounted, together with two further prints by Louis C Rosenberg and Leslie Moffat Ward, both unframedQTY: (5)NOTE:Pan in Fulham. It is thought that only about 10 to 14 prints were made before the plate was lost when Anderson's studio was bombed in 1941. Meyrick & Heuser 203 (iv/iv).
AR * Clarke (Geoffrey, 1924-2014). Study for Sculpture, 1956, etching and aquatint in colour, an unsigned artist's proof, aside from the published edition of 30 impressions, inscribed in pencil to verso (presumably by the artist): Clarke 1956 [GT Bardfield], plate size 90.5 x 55.5 cm (35 1/2 x 21 3/4 ins), sheet size 97 x 61 cm (38 x 24 ins), framed and glazedQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.
* Armitage (Kenneth, 1916-2002). Landscape, 1977, etching on Crisbrook handmade wove paper, from the published edition of 30 impressions, signed, numbered 14/30, and dated in pencil, plate size 25 x 30 cm (10 x 12 ins), sheet size 50.5 x 57.5 cm (19 1/2 x 22 1/2 ins), together with another similar Landscape etching by Armitage, on handmade wove paper, signed, numbered 5/30 and dated 1979, plate size 30 x 37.5 cm (12 x 14 3/4 ins), sheet size 51 x 60 cm (20 x 23 1/2 ins)QTY: (2)
* Menpes (Mortimer Luddington, 1855-1938). Hanging out the Washing, etching on thick paper, signed to lower margin in pencil, image size 13.4 x 15.2 cm (5 1/4 x 6 ins), sheet size 25.5 x 20.2 cm (10 x 8 ins), together with another etching by the same artist, Dresden, Church of St. Sophia, signed in pencil to lower edge, image size 24 x 30 cm (9 1/2 x 11 3/4 ins), sheet size 29 x 46 cm (11 3/8 x 18 1/8 ins), plus six other etchings by the same artist including: Ann Street, Dresden, Musse de Cluny, Port St. Dennis, all but two signed, largest 48 x 61.5 cmQTY: (8)
* Piranesi (Giovanni Battista, 1720-1778). Veduta interna del Tempio della Tosse, from Vedute di Roma, 1764, etching on thick laid paper, the first state (of five), printed with real contrast, with margins, fixed to mount with tape to sheet verso, plate size 62.5 x 46 cm (24 1/2 x 18 ins), sheet size 70.5 x 50.6 cm (27 3/4 x 20 ins), framed and glazed (76 x 59 cm)QTY: (1)NOTE:Hind 70 (i/iv). Wilton-Ely 203. Focillon 775. Ficacci 941.
* Campbell (Norah Mary, 1888-1971). Rejected!, 1919, etching, depicting a chaotic scene outside a large stone building, crowds of people with paintings and sculptures, in the foreground two unhappy looking women walk away with pictures under their arms, titled, signed and dated in pencil to lower margin, image size 12.4 x 17.5 cm (4 7/8 x 6 7/8 ins), mounted, framed and glazed (28.5 x 31.5 cm), together with two original pen and ink drawings by the same artist, including: Death of an Orchestra Tragedy by Worthing Council, one signed to lower right, the other unsigned, largest 12.5 x 16.4 cm (4 7/8 x 6 3/8 ins) mount aperture, framed and glazed (31 x 33.5 cm) QTY: (3)
* Rembrandt Harmenszoon van Rijn (1601-1669). Landscape with a cottage and haybarn, late 18th or early 19th-century, counterproof etching on wove, sheet size 115 x 320 mm (4 1/2 x 12 1/2 ins), window mounted, framed and glazed (46 x 56.5 cm), together with:Leyden (Lucas van, 1494-1533). The Milkmaid, late 17th or early 18th-century, reverse engraving on laid with Strasburg lily watermark bearing the arms of Amsterdam, lower right corner excised with infill repair (measuring 8 x 16 mm), plate size 115 x 158 mm, sheet size 118 x 159 mm (4 5/8 x 6 1/4 ins), window mounted, framed and glazed (41.5 x 29.5 cm),Rembrandt Harmenszoon van Rijn (1601-1669). Christ returning from the Temple with his parents, late 19th or early 20th-century, etching on wove, sheet size 95 x 145 mm (3 3/4 x 5 5/8 ins), window mounted, framed and glazed (37 x 41 cm)QTY: (3)NOTE:1. Counterproof etching of Bartsch 225. The original with plate size 129 x 321 mm.2. Reverse engraving of Bartsch 158 which was originally produced in 1510.3. Bartsch 60. The original was produced in 1654.
* Piranesi (Giovanni Battista, 1720-1778). Veduta del Tempio ottangolare di Minerva Medica, from Veduta di Rome, 1764, etching on thick laid paper, the 2nd state (of five), a deep impression, with margins, dust soiling, a few short closed tears (one affecting image), plate size 46.6 x 70.6 cm (18 1/4 x 27 3/4 ins), sheet size 51.5 x 73 cm (20 x 28 3/4 ins), unframed, together with Veduta degli avanzi del Tablino della Casa aurea di Nerone detti volgarmente il Tempio della Pace, from Vedute di Roma, 1774, etching on thick laid paper, a later Regia Calcografia edition of the fourth state (of four), with margins, marks and closed tears to margins, plate size 49 x 72 cm (19 1/2 x 28 1/2 ins), sheet size 63 x 85 cm (24 1/2 x 33 1/2 ins), unframed QTY: (2)NOTE:Hind 74 ii/iv, and 114 iv/iv. Wilton-Ely 207 and 247; Focillon 778 and 751; Ficacci 945 and 985.
* Meryon (Charles, 1821-1868). L'Arche du Pont Notre-Dame, 1853, etching with drypoint on laid paper, with partial watermark, the 4th state (of 7), some light spotting, plate size 153 x 195 mm (6 x 7 3/4 ins), sheet size 295 x 475 mm (11 1/2 x 18 3/4 ins), old card mountQTY: (1)NOTE:Schneiderman 28.
Louis Icart (1888-1950)Paresse (Laziness),dry point etching on paper, copyright 1925, printed by Les Graveurs Modernes, of a woman lying back on a bear-skin, printed by framed,signed and numbered 139/500 in pencil,47.5 x 38cm. (image) ProvenanceDecades of Design & Clarice Cliff, Fieldings, 27th April 2013 lot 577.The collection of William Billy Kidd and Elizabeth Kidd. LiteratureMichael Schnessell Icart, Schiffer Books, page 55 figure 57 for a comparable example illustrated.
Louis Icart (1888-1950)Vitesse (Speed), dry point etching on paper of a woman with hounds, framedsigned in pencil Louis Icart63 x 37cm (image) ProvenanceEditions Graphiques (Victor Arwas), paper label to backThe collection of William Billy Kidd and Elizabeth Kidd. LiteratureMichael Schnessell Icart, Schiffer, page 94 figure 117 for a comparable etching illustrated
Fitzgerald (Edward) Rubaiyat of Omar Khayyam, illustrated by Willy PoganyLondon, 1930, limited numbered limited edition of 734/750 copies for England, signed by Willy Pogany, dry point etching signed by the artist, twelve tipped in colour plates, mounted monochrome illustrations throughout, 4to., t.e.g., original gilt dec. teal full morocco, original tissue wrappers and card boxCondition:Good condition. some pages un cut
William Lionel Wyllie, RA (1851-1931)'HMS President lying on her permanent mooring on the Thames', black and white etching, signed in pencil bottom right, mounted, framed accompanied by Quarm (Roger) and Wyllie (John) W.L.Wyllie Marine Artist, 1851-1931, Chris Beetles Ltd, 1981, d.w. signed by both Roger Quarm & John Wylie, (2)within mount 32.3 x 22.7cm., overall 48.5 x 38cm.Condition:Toning to paper.
Pablo Picasso (Spanish, 1881-1973)"Garcon et Dormeuse a la Chandelle" - 1934Aquatint and etching on Montval laid paper. Pencil signed lower right. Appraised for $78,850 in 2021.Comes with COA from Martin Lawrence Galleries.Impression Size: 9.25 x 11.5 in.Overall Framed Size: 24.75 x 27 in.Framed behind glass.Garcon et Dormeuse a la Chandelle is one of 100 different etchings from the Vollard Suite (Plate 26), a series Picasso produced from 1930 to 1937 for Parisian publisher Ambroise Vollard. While over 300 sets were printed, complete suites are exceedingly rare, instead the prints from this series now are often found individually.The suite spans Picasso's passionate, sometimes tumultuous affair with his teenage model and muse Marie-Therese Walter. Many of the earlier works in the series portray a sculptor in his studio among his work?alluding to the classical myth of Pygmalion (see lot 263). The later prints become increasingly dark as both his relationship with Marie-Therese waned and Europe marched toward World War II.This particular print marks a turning point in Picasso's relationship with Marie-Therese, as it was created when Picasso learned that she was pregnant with his child in 1934. Her pregnancy marked the end of Picasso's then marriage to the Ballet Russe dancer Olga Koklova and also the beginning of the end for his relationship with his young model (just one year later he would meet Dora Maar?with whom Marie-Therese would become embattled over Picasso's affection).This print, however, portrays a tranquil scene of a sleeping woman (Marie-Therese); her fertile feminine features illuminated by candlelight, with a young man (likely intended to symbolize Picasso himself) sitting and thoughtfully watching her at rest. A single candle illuminating the scene creates a stillness and chiaroscuro reminiscent of Rembrandt's nocturnal scenes.The onset of World War II and the sudden death of the publisher Vollard in a car crash in the south of France in 1939 delayed the distribution of this major suite of etchings until the 1950s. Bloch 226; Geiser 440.
A mid 20th Century pastel full length portrait of girl seated on stool, and early 20th Century etching of Manchester Grammar School, signed indistinctly; 'The Bagman's Toast' sweethearts and wives, late 19th Century/early 20th Century coloured print, framed and glazed; John Thorley watercolour of traditional house, framed and glazed.
Julien Temple (b. 1953) A framed and glazed monochrome etching depicting a parrot perched on a branch with one claw raised, signed and dated 1970, overall size approx. 80cm x 49.5cm.Julien Temple is a British film, documentary and music video director, known for his work with the Sex Pistols including 'The Great Rock 'n' Roll Swindle'.
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![Haec Ubi Regnant [Where These Rule], 1990, a cast bronze medal by D. Chandler for BAMS, etching of a vase-face with lid, rev.](https://cdn.globalauctionplatform.com/96c1e5b3-3409-4c86-b370-b0d900c72b0c/dcfffe0f-0715-4588-b80e-b1f80098ed0c/468x382.jpg)
