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Lot 1114
Sir Henry Rushbury RA, RE, CBE, KCVO (1889-1968) ''Stirling Castle'', signed, etching, together with a wood engraving by George Reiss ''Christmas Snow'', a further print by Joan Hassall ''The Young Pigeon'' and an abstract oil on canvas ''Stampede'', indistinctly signed and inscribed verso, oil on board (4)
![*Barry (James, 1741-1806). The Grecian Harvest Home, 1791 [1792], etching and engraving on laid paper, a slightly later reis](https://cdn.globalauctionplatform.com/3628d5ff-59e1-4f54-ba6d-a88d00b7880a/5c367de6-e090-4ef1-a9a0-3f1d0ed59944/468x382.jpg)
Lot 407
*Barry (James, 1741-1806). The Grecian Harvest Home, 1791 [1792], etching and engraving on laid paper, a slightly later reissue, some marks and short tears to margins, trimmed to plate mark, and with some marks and soiling, a few short closed tears, laid down on later card, image size 39.5 x 49 cm (15.5 x 19.25 ins), framed and glazed See Pressly (1981) 18. The second in the series of six large prints issued in 1792, depicting the artist's murals in the Great Room of the Society of Arts, Manufactures and Commerce, in London, known as The Progess of Human Culture and Knowledge. The present work may be from the volume of prints by James Barry, issued after his death, entitled A Series of Etchings by James Barry, from his original and justly celebrated paintings in the ...Society of Arts, 1808. (1)
Lot 412
*Callot (Jacques, 1592-1635). Les Misères et les malheurs de la guerre... mis en lumière par Israel son amy, Paris, 1633, collection of twenty etchings on laid paper, consisting of title, another title in Dutch from the Schenk edition, and plate numbers 2, 3, 8 (2), 10 (2), 11, 12, 13 (2), 14(2), 15 (2), 16 (2) and 18 (2), some of which are later reprints or copies in reverse, each with plate number and French captions by Marolles, trimmed just inside platemark, 82 x 184 mm (3.25 x 7.25 ins) or similar, together with La Vie de l'Enfant Prodigue, 1635, set of eleven etchings by Israel Silvestre after Callot, on laid paper, with inscriptions but before numbers, trimmed to platemark, some marks and soiling, 62 x 82 mm (2.5 x 3.25 ins), all mounted in 19th century half calf album, 4to (29 x 22.5 cm), plus a group of six etching by Callot from the series Capitano de Baroni (37)
Lot 420
*Stanley (Harold John, 1817-1867). The Tyrol painter Haller's first studies, 1852, pencil on laid paper (watermarked Honig), signed with initials and dated lower right, additionally inscribed by the artist to upper right 'Drawn for Payne', together with five other similar pages from the artist's sketchbook, depicting various genre scenes and illustrations, each signed with initials and dated, most with captions in pencil by the artist, sheet size 23.5 x 16 cm (9.25 x 6.25 ins), plus other various drawings and prints, mainly 19th century pencil studies, including a landscape sketch by Sir George Beaumont (1753-1827), an etching by Waterlo inscribed to verso Schweickhardts Sale 1799, two rough pencil sketches attributed to George Romney, circa 1780 (taken from his sketchbooks sold at Sotheby's circa 1910), a pen, ink and monochrome wash view of Hornby Castle, Lancaster, 1822, by a follower of William Gilpin, and a pencil landscape study by William Dyce, inscribed At Castle Fraser, an etched view of Plymouth by Hollar, 1676, two early 19th century pencil and watercolour studies of birds, etc., all contained in 20th century plastic album (approx. 30)
Lot 440
*Follower of Rembrandt (van Rijn, 1606-1669). Head of a man with plumed hat and cloak, etching on laid paper, hand finished with brown wash, probably 18th century, plate size 116 x 88 mm (3.5 x 4.5 ins), thread margins, glue stains to upper edge, together with Rembrandt (van Rijn, 1606-1669), Cottage beside a Canal: View of Dresden, 1645 [but later], (Bartsch 228), etching on laid paper, an 18th century copy in reverse, with watermark of a crown and G R within a laurel enclosed by a circle, plate size 140 x 206 mm (5.5 x 8.1 ins), blank margins to three sides (top margin trimmed to platemark), plus four other reprints of Rembrandt etchings, various (6)
Lot 441
*Rossini (Luigi, 1790-1857). Veduta dell'Arco di Costantino, escavato e ristaurato da Papa pio VII regnante, Rome, 1821, etching on wove paper, some marks, plate size 41 x 49 cm (16 x 19.25 ins), together with Veduta di fianco del Panteon preso nel vicolo del Grottino, Rome, 1821, etching on wove paper, plate size 61 x 44 cm (24 x 17.25 ins), both in modern antique-style black and gilt frames, glazed (unexamined out of frames), plus Brun (Jo Jovanni), Veduta della Basilica di S: Pietro in Vaticano, [Rome], Carlo Losi, 1785, copper engraving on laid paper, some minor marks and pale discolouration to margins, plate size 43 x 60.5 cm (17 x 23.75 ins), narrow margins, old wood frame, glazed (3)
Lot 480
*Haden (Sir Francis Seymour, 1818-1910). On the Test, 1859, etching with drypoint on wove paper, an artist's proof, unsigned, old pale mount stain, plate size 152 x 225 mm (6 x 8.8 ins), sheet size 215 x 285 mm (8.5 x 11.3 ins), mounted, together with a lithograph of a mother and child by James Ardern Grant (1885-1973), a wood engraving by Sydney Lee (1866-1949) titled On the Mediterranean, signed and numbered 37/50, Marjorie Holmes (1907-1992), The Trough, & The Goats, two etchings, each signed in pencil Marjorie Fenning (the artist's maiden name), mounted, Mabel Lee Hankey, Woman Seated, colour etching, signed in pencil, plate size 15 x 10.2 cm (6 x 4 ins), with margins, framed and glazed, and Phyllis Clarke, Harbour Scene, 1934, woodcut, signed and dated in pencil, sheet size 125 x 80 mm (5 x 3.2 ins), mounted (7)
Lot 489
*Ray-Jones (Raymond, 1886-1942). Self-portrait wearing a hat, 1915-21, etching on laid paper, watermarked F.J. Head & Co., signed in pencil, plate size 33 x 24.7 cm (13 x 9.75 ins), with margins, framed and glazed, together with Lamp-light (E.I.P.), etching on laid paper, signed in pencil, plate size 203 x 182 mm (8 x 7.2 ins), with margins, framed and glazed, with original printed label to verso Considered to be the artist's greatest print, the self-portrait wearing a hat was exhibited at the Seventh Exhibition of Modern Masters of Etching at the Leicester Galleries in 1922, at which all impressions were sold out on the first day. The work was described as "one of the finest etched portraits of contemporary times". (2)
Lot 494
*Strang (William, 1859-1921). A Matter of Fact, 1901, etching with aquatint, the second state, signed in pencil, with annotation regarding the state by David Strang, plate size 14.5 x 20 cm (5.75 x 7.9 ins), with margins, light spotting to edges, framed and glazed, together with The Farmer's Boy, 1902, etching with aquatint, a touched proof of the first state, initialled and annotated by David Strang in pencil to lower margin, plate size 22.5 x 17.5 cm (8.8 x 6.9 ins) with short margins, framed and glazed, plus The Greengrocer's Shop, 1884, etching, signed by William Strang and David Strang in pencil, plate size 17.7 x 22.7 cm (7 x 9 ins), framed and glazed, and three other etchings by William Strang, including one signed of a peasant couple, dated 1911, and a portrait of Thomas Hardy (second and final state), 1893, and another of women fieldworkers, all framed and glazed Strang 492, 535 & 78 for the first three works respectively. (6)
Lot 495
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 138 x 144 mm (5.45 x 5.95 ins), sheet size 255 x 185 mm (10 x 7.25 ins), top edge gilt, original dark brown quarter morocco gilt, with paper wrapper, and publisher's cardboard box Garton 41, ii/ii. This copy numbered 77, and additionally signed by Robin Tanner to the limitation leaf. (1)
Lot 498
*Walcot (William, 1874-1943). The Thames from Waterloo Bridge, 1913, etching on cream wove paper, with plate tone, from the published edition of 100, signed in pencil lower right, plate size 95 x 180 mm (3.75 x 7 ins), framed and glazed, with Doig, Wilson, & Wheatley, Edinburgh label to verso (1)
Lot 499
*Walcot (William, 1874-1943). Battery Park, New York (from the New York set), 1923, etching and drypoint on A.C. & H.W. Dickins handmade paper, from the edition of 375, with watermark, signed in pencil, publisher's blindstamp to lower right blank margin, plate size 146 x 146 mm (5.75 x 5.75 ins), sheet size 267 x 302 mm (10.5 x 11.75 ins), mounted (1)
Lot 611
*@Hockney (David, 1937-). My Bonnie Lies Over the Ocean, 1962, etching with aquatint printed in red, blue and black with collage on Crisbrook handmade paper, signed and dated in pencil and numbered 36/50, printed by Ron Fuller and Peter Matthews at the Royal College of Art, London, pale toning, some handling marks to margins, plate size 45 x 45 cm (17.7 x 17.7 ins), sheet size 56.5 x 80 cm (22.25 x 31.5 ins), framed and glazed Tyler 29. Scottish Arts Council 13. Lyndsey Ingram (2017) 11. (1)
Lot 622
*Procktor (Patrick, 1936-2003). Municipal Gardens, Johannesburg (from the South African Suite), etching with aquatint on wove paper, signed and inscribed AP in pencil, an artist's proof aside from the edition published by Editions Alecto, publisher's blindstamps to lower edge, with full margins, 172 x 120 mm (6.75 x 4.75 ins), framed and glazed (1)
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78388 item(s)/page