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Lot 144
*Todd (Arthur Ralph Middleton, 1891-1966). The Basket Weaver, etching with drypoint on wove paper, signed in pencil, plate size 200 x 155 mm (7.9 x 6.1 ins), with margins, framed and glazed (unexamined out of frame), together with Woollard (Dorothy E.C., 1886-1986), Old Buildings, Bristol, etching, signed in pencil, plate size 174 x 111 mm (6.8 x 4.3 ins), with margins, plus 8 other various etchings etc., including Edgar L. Patteson, Marcel Jacque, Bordass, Carl Rotky, etc. (10)
Lot 147
*Walcot (William, 1874-1943). Hospital of St. Mark's, Venice, 1920, etching drypoint and aquatint on cream wove paper, watermarked J. Green & Son, signed in pencil, plate size 120 x 179 mm (4.75 x 7 ins), sheet size 240 x 308 mm (9.4 x 12.1 ins), together with another impression of the same print, signed, somewhat soiled and with short closed tear repair to lower left corner One of the four views that make up Walcot's Venice set, published in an edition of 415. The others being the Doge's Palace, San Marco and The Library of San Marco. (2)
Lot 148
*Walcot (William, 1874-1943). Kom Ombo, 1928, etching with drypoint on wove paper, signed and numbered 32/75 in pencil, plate size 160 x 205 mm (6.3 x 8 ins), sheet size 275 x 370 mm (10.8 x 14.6 ins), together with The Caravan, & Antony's Palace, 1928, two drypoint etchings with aquatint, both signed, and numbered 47/75 and 42/75 respectively, plate size 177 x 230 mm (7 x 9 ins) and 171 x 283 mm (6.75 x 11.2 ins) respectively, both with full margins, all in fine condition (3)
Lot 15
*@Badmin (Stanley Roy, 1906-1989). Richmond Bridge, Surrey, 1931, etching on wove paper, from the edition of 50, published by the XXI Gallery, a fine impression, signed, titled, and numbered 14/50 in pencil, additionally inscribed in pencil by the artist to extreme lower margin 'A few available about 1935 Exhibited R.A. Published by the 21 Gallery Mill St. W, demolished in war', plate size 113 x 165 mm (4.5 x 6.5 ins), sheet size 185 x 240 mm (7.25 x 9.5 ins) Beetles 24. (1)
Lot 151
*Whistler (James Abbott MacNeill, 1834-1903). Sketching, No. 1, 1861, etching with drypoint on wove paper, as published in Passages from Modern English Poets illustrated by the Junior Etching Club, plate size 120 x 166 mm (4.75 x 6.5 ins), sheet size 168 x 237 mm (6.6 x 9.4 ins) Kennedy 86, iv/iv. (1)
Lot 153
*Whistler (James Abbott MacNeill, 1834-1903). Swan and Iris, 1882, etching and drypoint on wove paper, a good, strong impression, with full margins, plate size 135 x 83 mm (5.25 x 3.25 ins), sheet size 425 x 355 mm (16.75 x 14 ins) Kennedy 241 , ii/ii. Glasgow online catalogue 247. An etched interpretation of the unfinished painting by Cecil Lawson (1851-1882), whose widow Constance was the sister of Whistler's fianc‚e Beatrice. As published in Edmund Gosse's Cecil Lawson: A Memoir, published by the Fine Art Society in 1883. (1)
Lot 159
Nevinson (Christopher Richard Wynne, 1889-1946). Modern War. Paintings by C.R.W. Nevinson, with an Essay by P.G. Konody, Grant Richards, 1917, lacking the colour frontispiece, 24 monochrome reproductions, original green cloth with printed paper label to spine and upper cover, rubbed and worn to foot of spine and lower corners, in dust jacket (worn with loss to spine and lower corners), 4to Limited edition of 75 copies, originally containing the etching Returning to the Trenches, this copy numbered 48, and signed by the publisher. The etching is not present. Presentation inscription by Nevinson to front endpaper 'To Robert Mountsier, C.R.W. Nevinson, Feb 8. 1917.'. Robert Mountsier (1888-1972) was an American journalist, literary agent and later newspaper editor, who acted as D.H. Lawrence's American agent from October 1920 to 1923. (1)
Lot 16
*@Badmin (Stanley Roy, 1906-1989). Burford, Oxfordshire, 1931, etching on Basingwerk Parchment wove paper (watermarked), from the edition of 45, published by the XXI Gallery, signed and numbered 26/45 in pencil, light mount stain, plate size 137 x 194 mm (5.4 x 7.7 ins), sheet size 184 x 259 mm (7.25 x 10.2 ins) Beetles 25. (1)
Lot 17
*@Badmin (Stanley Roy, 1906-1989). Fallen Mill Sails, 1931, etching on wove paper, from the edition of 35, published by the XXI Gallery, signed, titled and numbered 6/35 in pencil, additionally inscribed in pencil to lower margin by the artist 'published by the 21 Gallery Mill St. W.1 (demolished in war) ed. 35', plate size 106 x 125 mm (4.25 x 4.9 ins), sheet size 196 x 235 mm (7.75 x 9.25 ins) Beetles 23. (1)
Lot 2
*Palmer (Samuel, 1805-1888). The Bellman, from Il Penseroso, 1879, etching on laid paper, a rich, dark impression from the later edition printed by Frank Short, inscribed in pencil to upper left corner 'Printed by me F.S.', and additionally inscribed in pencil to lower left 'To my friend Nina Griggs. Frank Short', some light spotting, plate size 193 x 253 mm (7.6 x 10 ins), sheet size 270 x 387 mm (10.6 x 15.25 ins) Palmer's largest plate, considered by Raymond Lister as one of the artist's two greatest etchings, along with The Lonely Tower. The work is a recollection of Palmer's time at Shoreham, as he wrote in a letter to Philip Hamerton of 4th August 1879 'It is a breaking out of village-fever long after contact - a dream of that genuine village where I mused away some of my best years designing what nobody would care for...'. Printed by Frank Short, then professor of engraving at the Royal College of Art, around 1924, most likely shortly before the Trio edition issued by Short, Hardy and Griggs and published by the Cotswold Gallery in the same year. (1)
Lot 20
*@Brockhurst (Gerald Leslie, 1890-1978). James McBey, 1931, etching on cream wove paper, from the edition of 111 proofs, published April 1931, signed in pencil, a fine impression, plate size 267 x 190 mm (10.5 x 7.5 ins), sheet size 378 x 280 mm (14.9 x 11 ins) Wright 69 ix/ix. Fletcher 69. (1)
Lot 21
*@Brockhurst (Gerald Leslie, 1890-1978). Henry Rushbury, 1930, etching on cream wove paper, one of 111 proofs published March 1930, signed in pencil, a fine, rich impression, plate size 252 x 186 mm (10 x 7.3 ins), sheet size 368 x 274 mm (14.5 x 10.75 ins) Wright 66, xiii/xiii. Fletcher 66. (1)
Lot 24
*@Cameron (David Young, 1865-1945). Gloucester, 1931, etching and drypoint on laid paper, from the edition of about 88 proofs, signed in pencil, plate size 415 x 198 mm (16.3 x 7.75 ins), sheet size 488 x 310 mm (19.25 x 12.25 ins), together with Tewkesbury Abbey, 1915, etching and drypoint on laid paper, from the edition of about 98, signed in pencil, plate size 420 x 223 mm (16.5 x 8.75 ins), sheet size 485 x 284 mm (19.1 x 11.2 ins) Rinder 490, iii/iii & 457, vi/vi. (2)
Lot 26
*Hoyton (Edward Bouverie, 1900-1988). Virgil's Farm, 1926-28, etching on cream laid paper, signed in pencil, plate size 202 x 276 mm (7.9 x 10.9 ins), sheet size 310 x 438 mm (12.25 x 17.25 ins), together with Great Seaside Farm, No. 2, 1925, signed in pencil, one or two light spots, plate size 195 x 258 mm (7.6 x 9.65 ins), sheet size 310 x 445 mm (12.25 x 17.5 ins), plus Trevignano, 1927, etching on Van Gelder Zonen laid paper, signed in pencil, plate size 250 x 340 mm (9.8 x 13.4 ins), sheet size 383 x 526 mm (15 x 20.7 ins) The second and third works published in editions of 75 proofs. Provenance: Formerly in the collection of Neil Green, with his monogram inkstamp to lower right blank corner. (3)
Lot 27
*Tanner (Robin, 1904-1988). Lesser Celandine, 1943, etching on laid paper, an artist's proof impression, aside from the edition of 50 published by Penn Print Room in 1974, signed in pencil, additionally inscribed by the artist in pencil to lower margin '"Lesser Celandine": Impression on C18 paper printed in 1974 at Old Chapel Field Press.', plate size 116 x 137 mm (4.5 x 5.4 ins), sheet size 230 x 277 mm (9 x 10.9 ins) Garton 22 ii/ii. (1)
Lot 28
*Tanner (Robin, 1904-1988). The Meadow Stile, 1970, etching on thick wove paper, an artist's proof impression, signed in pencil, and additionally inscribed in pencil by the artist to lower margin '"The Meadow Stile" - Kington Langley. 1970.', plate size 200 x 149 mm (7.9 x 5.9 ins), sheet size 368 x 282 mm (14.5 x 11.1 ins) Garton 24 ii/ii. (1)
Lot 29
*Tanner (Robin, 1904-1988). August in Wiltshire, etching on thick wove paper, watermarked J Green & Son, the second of 6 artist's proof impressions, printed at The Old Chapel Field Press in March 1976, signed and dated in pencil, additionally inscribed by the artist in pencil to lower margin '"August in Wiltshire", 1976. Printed at The Old Chapel Field Press, Kington Langley, Wiltshire, March 1976.', plate size 237 x 296 mm (9.25 x 11.6 ins), sheet size 330 x 390 mm (13 x 15.3 ins) Garton 35 iii/iii. (1)
Lot 3
*Palmer (Samuel, 1805-1888). The Early Ploughman, 1861, etching on laid paper, a good impression of the eighth state (of 9), margins trimmed, plate size 167 x 253 mm (6.6 x 10 ins), sheet size 179 x 265 mm (7 x 10.5 ins), together with The Homeward Star, etching on laid paper (bearing watermark 'MILL'), the second state (of 4), plate size 133 x 190 mm (5.25 x 7.5 ins), sheet size 222 x 322 mm (8.75 x 12.75 ins) Lister 9, viii/ix & 14 ii/iv. (2)
Lot 30
*Griggs (Frederick Landseer, 1876-1938). Sarras, 1926-28, etching on cream laid paper, one of 84 impressions of the eighth state, signed in pencil, with stamped monogram of the Dovers House Press to lower margin verso, and numbered in ink 70, some light scattered spotting towards the right-hand side, plate size 194 x 284 mm (7.6 x 11.2 ins), sheet size 250 x 370 mm (9.8 x 14.5 ins) Comstock 35 viii/viii. (1)
Lot 31
*Griggs (Frederick Landseer, 1876-1938). The Almonry, 1925, etching on laid paper, signed in pencil, very light foxing and pale mount stain, inkstamp monogram of the Dovers House Press to lower margin verso, plate size 245 x 170 mm (9.7 x 6.7 ins), sheet size 298 x 194 mm (11.7 x 7.7 ins) Comstock 34, v/vii. (1)
Lot 32
*Griggs (Frederick Landseer, 1876-1938). St. Ippolyts, 1927, etching on laid paper, the second state (of 4), from the edition of 32 in this state, signed in pencil, and additionally inscribed lower left 'To Joan', some light discolouration and marginal spotting, inkstamp monogram of the Dovers House Press to lower margin verso, plate size 135 x 120 mm (5.25 x 4.75 ins), sheet size 172 x 148 mm (6.75 x 5.75 ins) Comstock 36, ii/iv. Provenance: This print was presented by the artist to Joan Ayling (1907-1993), a miniature painter, who studied at the Birmingham School of Art and the Slade School, and privately with F.L. Griggs, for whom she posed for the figures in his etching of Owlpen Manor (see lot 112). (1)
Lot 34
*@Badmin (Stanley Roy, 1906-1989). Shepton Mallet, Somerset, 1930, etching on cream laid paper, from the edition of 50, published by Twenty One Gallery, a fine impression, signed, titled, and numbered 38/50 in pencil, additionally inscribed in pencil to lower margin 'Shepton Mallet Printed by S.R.B.', plate size 142 x 73 mm (5.6 x 2.9 ins), sheet size 240 x 150 mm (9.5 x 5.9 ins) Beetles 20. (1)
Lot 35
*@Badmin (Stanley Roy, 1906-1989). Oxfordshire Cottage, 1936, etching on cream laid paper, an artist's proof, aside from the published edition of 40 published by the Fine Art Society, signed, titled and marked A/P, plate size 107 x 158 mm (4.4 x 6.25 ins), sheet size 202 x 258 mm (8 x 10.2 ins) Beetles 40. (1)
Lot 36
*@Badmin (Stanley Roy, 1906-1989). The Abbey Barn, Doulting, Somerset, 1929, etching on wove paper, from the edition of 30, published by the XXI Gallery, signed in pencil, additionally titled and numbered 26/30 to lower margin, light mount stain, plate size 113 x 137 mm (4.5 x 5.4 ins), sheet size 197 x 240 mm (7.75 x 9.5 ins) Beetles 19. (1)
Lot 37
*@Brockhurst (Gerald Leslie, 1890-1978). Jeunesse Dor‚e, 1942, etching on laid paper, an impression from the 1st state (of 3), signed and marked 1st state in pencil, additionally inscribed by the artist to lower margin in pencil, 'Property of artist. G.L.B.', plate size 275 x 225 mm (10.75 x 8.75 ins), sheet size 350 x 280 mm (13.75 x 11 ins) Wright 79, i/iii. Fletcher 80 i/iii. (1)
Lot 38
*@Brockhurst (Gerald Leslie, 1890-1978). Viva, (Mrs. Bobby Hazleton Ross), 1929, etching on wove paper, from the edition of 111 proofs, published March 1929, signed in pencil, plate size 214 x 172 mm (8.4 x 6.75 ins), sheet size 345 x 265 mm (13.5 x 10.4 ins) Wright 63, viii/viii. Fletcher 63. (1)
Lot 4
*Haden (Sir Francis Seymour, 1818-1910). Shere Mill Pond II (Large Plate), 1860, etching with drypoint on laid paper, plate size 178 x 335 mm (7 x 13.2 ins), sheet size 208 x 254 mm (8.2 x 13.9 ins), together with On The Test, etching with drypoint on chine appliqu‚, a rich, dark impression, plate size 157 x 226 mm (6.2 x 8.9 ins), plus Kensington Gardens (Large Plate), 1859, etching on laid paper, a very good impression, plate size 205 x 128 mm (8 x 5 ins), sheet size 243 x 162 mm (9.6 x 6.3 ins), and 2 other etchings by the same artist: Sunset in Ireland & Newcastle-in-Emlyn, both on laid paper, the first with some light mount staining Harrington 38 (ii), 20, 28 (ii), 51 & 62. (5)
Lot 41
*@Cameron (David Young, 1865-1945). Arran Peaks, 1912, etching and drypoint on japan, a trial proof, signed in pencil, plate size 304 x 354 mm (12 x 13.9 ins), sheet size 320 x 480 mm (12.6 x 18.9 ins), together with The Tay, etching and drypoint on laid paper, signed in pencil, mount stained, and with overall toning and several spots, plate size 265 x 380 mm (10.5 x 15 ins), sheet size 317 x 470 mm (12.5 x 18.5 ins) Rinder 436, iv/vi. (2)
Lot 42
*Detmold (Charles Maurice, 1883-1908 & Edward Julius, 1883-1957). Long-Eared Bat, 1897, etching on imperial japan paper, initialled in pencil by both artists, and signed in full by E.J. Detmold, plate size 125 x 142 mm (5 x 5.5 ins), sheet size 233 x 306 mm (9.2 x 12 ins) Dodgson 9 (only state). (1)
Lot 43
*Griggs (Frederick Landseer, 1876-1938). Lanterns of Sarras, 1932, etching on laid paper, one of 25 impressions of the 3rd state, with the text of Wilfred Rowland Childe's poem A Gothic Rose etched below the image, signed in pencil, light mount stain, plate size 284 x 184 mm (11.2 x 7.25 ins), sheet size 472 x 330 mm (18.6 x 13 ins) Comstock 47 iii/iv. (1)
Lot 44
*@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, plate size 231 x 175 mm (9.1 x 6.9 ins), sheet size 400 x 267 mm (15.75 x 10.5 ins) Wright 70, vii/vii. Fletcher 70. (1)
Lot 45
*@Brockhurst (Gerald Leslie, 1890-1978). La Tresse, 1926, etching on wove paper, from the edition of 111 proofs, published October 1926, signed in pencil, a very good impression, remains of three gummed labels to top edge of the sheet, plate size 212 x 176 mm (8.3 x 7 ins), sheet size 327 x 256 mm (12.9 x 9.9 ins) Wright 56, vii/vii. Fletcher 56. (1)
Lot 46
*@Brockhurst (Gerald Leslie, 1890-1978). Adolescence, 1932, etching on wove paper, from the edition of 91 proofs, published December 1932, signed in pencil, a fine, rich impression, plate size 370 x 265 mm (14.6 x 10.4 ins), sheet size 455 x 342 mm (17.9 x 13.5 ins) Wright 75, v/v. Fletcher 75. (1)
Lot 47
*Tanner (Robin, 1904-1988). Hedge Flowers, 1936, etching on 18th-century laid paper, an artist's proof impression, aside from the edition of 12 published by Garton & Cooke, signed, and additionally inscribed to lower margin by the artist '"Hedge Flowers": Impression printed on 18th century paper.', plate size 232 x 162 mm (9.2 x 6.4 ins), sheet size 343 x 258 mm (13.5 x 10.2 ins) Garton 20. (1)
Lot 48
*Tanner (Robin, 1904-1988). The Cheese Room, 1978, etching on thick wove paper, an artist's proof impression, aside from the edition of 49 published by Robin Garton in 1978, signed and dated in pencil, additionally titled by the artist and dated to lower left corner, plate size 222 x 285 mm (8.75 x 11.25 ins), sheet size 320 x 415 mm (12.5 x 16.3 ins) Garton 38. (1)
Lot 49
*Tanner (Robin, 1904-1988). The Wicket Gate, 1977, etching on wove paper, an artist's proof impression, aside from the edition of 49 published by Robin Garton in 1978, signed and dated '78 in pencil by the artist to lower margin, '"The Wicket Gate". The gate at the entrance of Sydney's Wood, Kington Langley, used by the diarist, the Rev. Francis Kilvert.', plate size 172 x 167 mm (6.75 x 6.5 ins), sheet size 271 x 269 mm (10.7 x 10.6 ins) Garton 37 iii/iii. (1)
Lot 5
*@Cameron (David Young, 1865-1945). Ben Lomond, 1923, etching and drypoint on laid paper, from the published edition of approximately 80, signed in pencil, a rich, dark impression, light mount stain, plate 262 x 415 mm (10.3 x 16.3 ins), sheet size 323 x 473 mm (12.75 x 18.7 ins) Rinder 468 vi/vi. (1)
Lot 53
*@Webb (Joseph, 1908-1962). Rat Barn, 1928, etching on laid paper, signed in pencil, and additionally titled lower left, some light toning and foxing, plate size 178 x 304 mm (7 x 12 ins), sheet size 235 x 343 mm (9.25 x 13.5 ins) Guichard 17. Meyrick (2007), illustration 11. Provenance: Formerly in the collection of Neil Green, with his inkstamp monogram to lower right corner. (1)
Lot 55
*@Webb (Joseph, 1908-1962). Prison, 1930, etching on laid paper, signed, and titled Prison IInd State in pencil, plate size 178 x 303 mm (7 x 12 ins), sheet size 245 x 405 mm (9.7 x 16 ins) Guichard 27. Meyrick (2007), illustration 38. ^TAsylum, 1930-31, ^Detching on laid paper, signed, and titled Asylum 1st State in pencil, a very good impression, plate size 179 x 304 mm (7 x 12 ins), sheet size 233 x 352 mm (9.2 x 13.8 ins) ^NGuichard 27. Meyrick (2007), illustration 37. (1)
Lot 57
*@Brockhurst (Gerald Leslie, 1890-1978). Yolande (Mrs Rushbury), 1920, etching on laid paper, signed in pencil, additionally inscribed in pencil to lower margin (apparently in the artist's hand) 'Yolande (Mrs Rushbury)', plate size 113 x 87 mm (4.5 x 3.5 ins), sheet size 310 x 193 mm (12.25 x 7.5 ins) with upper outer corner torn away, together with Z‚lie (Marguerite), 1920, etching on wove paper, from the only edition of 40 proofs, signed in pencil, plate size 113 x 86 mm (4.5 x 3.4 ins), sheet size 255 x 160 mm (10 x 6.25 ins), plus La Basquaise, 1920, etching on wove paper, signed in pencil, pale mount stain, plate size 114 x 89 cm (4.5 x 3.5 ins), sheet size 280 x 217 mm (11 x 8.5 ins) Wright 12, 13 & 18. (3)
Lot 58
*@Brockhurst (Gerald Leslie, 1890-1978). Anais I, 1920, etching on laid paper, from the edition of 55 proofs published in July 1920, signed in pencil, plate size 138 x 111 mm (4.4 x 5.4 ins), sheet size 235 x 188 mm (9.25 x 7.4 ins), together with Ph‚mie, 1923, etching on laid paper, one of 76 proofs published in 1924, signed in pencil, plate size 100 x 74 mm (3.9 x 2.9 ins), sheet size 270 x 200 mm (10.6 x 7.8 ins), plus Aglaia, 1926, one of 111 proofs published April 1926, signed in pencil, and additionally signed by the artist in ink to lower left, plate size 137 x 105 mm (5.4 x 4.1 ins), sheet size 290 x 215 mm (11.4 x 8.5 ins), each in card passepartout (with Craddock & Barnard pencil annotations) Wright 6, ii/ii, 42 ii/ii & 54 ix/ix. (3)
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71174 item(s)/page