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Click here to subscribe*Badmin (Stanley Roy, 1906-1989). Priory Pond, 1932, etching on laid paper, watermarked L.& CIE (FRANCE), signed, titled and additionally inscribed to lower blank margin Priory Farm Kingstanley Glos., and marked 2nd state, a rich, delicate impression, mounting glue stains to upper outer corners (minor loss to extreme upper right corner), plate size 132 x 157 mm (5.2 x 6.2 ins), sheet size 214 x 216 mm (8.4 x 8.5 ins) (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Fabian, 1921, etching on pale cream laid paper, from the published edition of 76 impressions, signed in pencil, a very good impression, plate size 176 x 126 mm (6.75 x 5 ins), with margins, framed and glazed (unexamined out of frame) Wright 23, iii/iii. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Cypriano, 1928, etching on wove paper, from the published edition of 111 impressions, signed in pencil, a very good clean impression, plate size 162 x 95 mm (6.5 x 3.75 ins), sheet size 23.9 x 15.2 cm (9.4 x 6 ins), with margins, framed and glazed Wright 59, x/x. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Young Womanhood, 1931, etching on wove paper, from the edition of 111 proofs, published July 1931, signed in pencil, a fine, rich impression, with light plate tone, plate size 231 x 175 mm (9.1 x 6.9 ins), sheet size 397 x 266 mm (15.7 x 10.45 ins), mounted Wright 70, vii/vii. Fletcher 70. (1)
*Fairclough (Wilfred, 1907-1996). Spanish Beggar, 1938, copper engraving on handmade wove paper, signed and dated in pencil, plate size 150 x 125 mm (5.9 x 4.9 ins), sheet size 273 x 217 mm (10.75 x 8.5 ins), together with another etching by Fairclough of a theatre scene, signed and dated 1959, plate size 175 x 205 mm (6.9 x 8.1 ins), sheet size 250 x 325 mm (9.8 x 12.75 ins) (2)
*Forbes (Elizabeth Adela Stanhope, 1859-1912). The Bakehouse, circa 1886-87, drypoint etching on thick wove paper, a few minor tears to extreme margins, plate size 260 x 203 mm (10.25 x 8 ins), sheet size 418 x 320 mm (16.5 x 12.5 ins) One of five drypoints executed by Elizabeth Stanhope Forbes, shortly after she moved to the fishing village of Newlyn in Cornwall in 1885. (1)
*Hardie (Martin, 1875-1952). Landscape with ruined abbey, etching on laid paper, signed in pencil, plate size 216 x 201 mm (8.5 x 7.9 ins), with margins, together with another signed etching by Martin Hardie of a cottage amongst trees along an estuary, dated in the image 1906, plate size 144 x 203 mm (5.7 x 8 ins) laid down on card, plus Percival (Harold), Marsh Hay, etching with drypoint, signed in pencil, plate size 17.5 x 25.2 cm (6.8 x 9.8 ins), sheet size 25 x 30.3 cm (9.75 x 12 ins), and another drypoint etching, depicting the gardens of a French chateau with figures descending into a gondola, indistinctly signed G. Barraud (?) (4)
*Holmes (Kenneth, A.R.C.A., 1902-1994). The Aire Gap, Skipton, circa 1925, drypoint etching, published by James Connell in an edition of fifty proofs, signed in pencil to lower margin, plate size approximately 11.8 x 23.5cm (4.75 x 9.25 inches), mounted, together with Sharp (Miles Balmford, 1897-c.1981), The Demolition of Devonshire House, London, 1925, etching, signed, dated and inscribed to Kenneth Holmes in pencil to lower margin, plate size 17.8 x 26.3cm (7 x 10.25 inches), framed and glazed, plus Rhodes (Marion, 1907-1988), A Yorkshire Village, etching, signed in pencil to lower margin, plate size 24 x 36cm (9.5 x 14 inches), sheet size 28 x 41cm (11 x 16 inches) (3)
*Jongkind (Johan Barthold, 1819-1891). Jet‚e en bois dans le port de Honfleur, 1865, etching on laid paper, printed by Delatre, Paris, and published by Cadart & Luquet, Paris, a good impression with plate tone, oval publisher's blindstamp to centre of lower blank margin, plate size 237 x 314 mm (9.3 x 12.4 ins), with good margins, framed and glazed (unexamined out of frame), with old typewritten label to verso, and additional printed label of Maurice Rousseau, Paris to verso Delteil 12 ii/iii. Melot 12 ii/iii. (1)
*Lambert (Terence Henry, 1891-). Piccadilly Circus, etching on wove paper, a published proof signed in pencil, plate size 155 x 215 mm (6.1 x 8.5 ins), with margins, mounted, together with other various early 20th century British etchings, mostly signed, including Gerald M. Burn, Trafalgar Square, Cyril Grey, Berne Market Place, Hanslip Fletcher, St. James's Street, 1931, K. Vernon, Mercery Lane, Canterbury, a river landscape by John Fullwood, a large etching by Daniel Mordant after Eugene Carriere entitled La Famille, printed by Charles Wittmann, etc. (15)
*Martin (Frank, 1921-2005). Montparnasse-Bienvenue, colour etching, signed, titled, and numbered 42 from the edition of 150 in pencil to lower margin, plate size 38.5 x 54 cm (15.2 x 21.25 ins), with margins, in excellent condition, framed and glazed, with Unicorn Gallery, Wilmslow, Cheshire label to verso (1)
*Palmer (Samuel, 1805-1888). The Herdsman's Cottage, or Sunset, 1850, etching on laid paper, with partial watermark 'INES', the second and final state, some minor marks to margins, image size 97 x 76 mm (3.8 x 3 ins), plate size 124 x 117 mm (4.8 x 4 ins), sheet size 294 x 224 mm (11.6 x 8.8 ins) Lister E3 ii/ii. (1)
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Jonathan Gibbs, C20th, chalk and charcoal on linen, Abstract, 60 x 99 cm; After Vibert, pair of black and white etchings, Bucolic scenes; After Frank Carless, black and white etching Windsor Castle, signed in pencil, After G. Wright, set of 4 colour prints, equine interest & other sundry prints and a pair of decorative contemporary advertising posters, for Castrol Motor oil, 56 x 41cm, framed & glazed
An assortment of five early 19th century hand-coloured political etching caricatures published by H. Humphrey, London to include 'An Old Maid on a Journey', Anacreontick's in Full Song', 'Blind Man's Buff', 'A Decent Story', 'Vices Overlooked in the New Proclamation' and three others 'Het Commit van Woodlyndende', 'Un Jeu Des Dames', 'Un Jeu des Ethecs' all framed and mounted, glazing missing on two (8)
Sir Frank Short R.A., P.R.E., (1857-1945), "Kinver Edge and Black Country", signed lower right, watercolour framed. 20.5cm by 27cm. Note: Short originally trained as an engineer before pursuing a career as an artist after studying in London at South Kensington and the Westminster Schools of Art. He is best known as a master print maker specialising in mezzotint, aquatint and etching. He was however a gifted watercolourist, particularly later in life and the subject work probably dates from the period 1920-30. He exhibited at the Royal Academy between 1885 and 1904. He won two gold medals for engraving at the Paris Salon in 1889 and 1900. Soon after this he became a teacher of etching and was professor of engraving at the Royal College of Art between 1913 and 1924. He was elected a member of the Royal Society of Painter-Etchers and Engravers (now the Royal Society of Painter-Printmakers) in 1885, becoming its President between 1910 and 1938. Short was Master of the Art Workers' Guild in 1901and an Associate Member of the Royal Academy in 1906, where he became Treasurer in 1919 until 1932. He was knighted in 1911 and was elected a member of the Royal Institute of Painters in Watercolours in 1917.
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