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Click here to subscribe*@Brockhurst (Gerald Leslie, 1890-1978). The West of Ireland, 1928, etching on wove paper, one of 111 proofs of the final state, published July 1928, signed in pencil, a strong rich impression, plate size 122 x 145 mm (4.8 x 5.75 ins), sheet size 230 x 270 mm (9 x 10.6 ins) Wright 61 viii/viii. Fletcher 61. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, one of 111 proofs published August 1927, signed in pencil, a fine, rich impression, remains of mount hinges to head and foot of extreme left blank margin, plate size 223 x 159 mm (8.75 x 6.25 ins), sheet size 375 x 270 mm (14.75 x 10.6 ins) Wright 58, ix/ix. Fletcher 58. (1)
*@Drury (Paul, 1903-1987). After Work, 1926, etching on laid paper, from the edition of 75 published by the XXI Gallery, a fine strong impression, with full margins, with several pinholes to outer edges, and one or two minor marginal losses, plate size 102 x 142 mm (4 x 5.5 ins), sheet size 167 x 208 mm (6.5 x 8.2 ins) Garton 20, viii/viii. One of Drury's finest etchings created while the artist was working alongside his close friend Graham Sutherland. (1)
*@Drury (Paul, 1903-1987). Nicol's Farm, 1925, etching on antique laid paper (with partial watermark), a strong impression, signed and dated in pencil, a few marks to margins, plate size 111 x 192 mm (4.25 x 7.5 ins), sheet size 216 x 250 mm (8.5 x 9.9 ins), stamped T.P.H. to outer margin verso, with owner's stamp of T.P. Hoskins to outer margin verso Garton 18. (1)
*@Drury (Paul, 1903-1987). Evening, 1925, etching on laid paper, from the edition of approximately 50 published by the XXI Gallery, signed and dated '25 in pencil, pinholes to outer margins, some light scattered foxing, and remains of gummed hinges to outer corners verso, plate size 75 x 100 mm (3 x 4 ins), sheet size 172 x 226 mm (6.75 x 8.9 ins) Garton 16, iii/iv. (1)
*@Drury (Paul, 1903-1987). September, 1928, etching on antique laid paper, signed and dated Paul Drury '28 fec. et imp., and additionally inscribed by the artist in pencil to lower margin 'No. 28. Old Japanese Paper. 'September'', a fine, rich impression, plate size 102 x 130 mm (4 x 5.1 ins), sheet size 163 x 204 mm (6.4 x 8 ins) Garton 24. (1)
*Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching on wove paper, fifth state (of 5), from the edition of 85, published by the XXI Gallery, signed and dated in roman numerals, plate size 138 x 188 mm (5.5 x 7.4 ins), sheet size 216 x 291 mm (8.5 x 11.5 ins), light mount stain Cooke, Graham Sutherland Early Etchings, 26, iii/iii. Man 24, v/v. Plate destroyed. (1)
*Sutherland (Graham, 1903-1980). Village, 1925, etching on laid paper, the third state (of 3), published by the XXI Gallery, signed in pencil, a strong, dark impression, trimmed to narrow margins, plate size 175 x 225 mm (6.9 x 8.9 ins), sheet size 193 x 248 mm (7.6 x 9.75 ins) Man 23. Cooke, Graham Sutherland Early Etchings, 25, iii/iii. Plate destroyed. (1)
*Sutherland (Graham, 1903-1980). St. Mary Hatch, 1926, etching on laid paper, watermarked Gen de Motret, signed in pencil, from the edition of 95, published by the XXI Gallery, plate size 125 x 183 mm (5 x 7.25 ins), sheet size 175 x 220 mm (6.9 x 8.7 ins) Man 26. Cooke, Graham Sutherland Early Etchings, 28, v/v. (1)
*Tanner (Robin, 1904-1988). The Old Thorn, 1976, etching on 18th-century laid paper, an artist's proof impression, printed by Robin Tanner at The Old Chapel Field Press, signed and dated in pencil, additionally titled and inscribed to lower margin 'This impression (on C18 paper) was printed for John Camfield at The Old Chapel Field Press, Kington Langley, Wiltshire. 1976', plate size 101 x 150 mm (4 x 5.9 ins), sheet size 192 x 247 mm (7.5 x 9.75 ins) Garton 34. (1)
*Tanner (Robin, 1904-1988). White Violets, 1973, etching on 18th-century wove paper, an artist's proof impression, aside from the edition of 150 printed for the Print Collectors' Club, signed in pencil, and additionally inscribed by the artist to lower margin 'Presentation Plate for The Print Collectors' Club. 1973. - This impression is printed on C18 paper. Artist's Proof, no. IX.', plate size 124 x 100 mm (5 x 4 ins), sheet size 196 x 155 mm (7.75 x 6.1 ins) Garton 28. (1)
*Tanner (Robin, 1904-1988). Christmas Greeting Card for 1929, etching on handmade paper, watermarked J. Green & Son, an artist's later proof impression, signed in pencil, additionally inscribed by the artist to lower margin 'This print - My Christmas Greeting Card for 1929 - is for John Camfield. July, 1976.', plate size 90 x 137 mm (3.5 x 5.5 ins), sheet size 233 x 181 mm (9.2 x 7.1 ins), together with Wiltshire Hedger, 1928, etching on wove paper, signed in pencil, additionally titled by the artist to lower margin in pencil 'Wiltshire Hedger: Final state. 1971.', plate size 100 x 149 mm (4 x 5.9 ins), sheet size 201 x 265 mm (7.9 x 10.5 ins), plus November, 1975, etching on antique laid paper, with hand and flower watermark, signed and dated in pencil, additionally inscribed with the title to lower margin by the artist, plate size 214 x 300 mm (8.4 x 11.75 ins), sheet size 315 x 403 mm (12.4 x 15.9 ins) Garton 10, 7, iii/iii & 3. (3)
*Tanner (Robin, 1904-1988). Wren and Primroses, 1935, etching on laid paper, one of a small number of artist's proof impressions printed in 1935, signed and dated in pencil, additionally title by the artist to lower left corner, plate size 94 x 113 mm (3.7 x 4.5 ins), sheet size 200 x 228 mm (7.9 x 9 ins) Garton 19. (1)
*Tanner (Robin, 1904-1988). The Gamekeeper's Cottage, 1928, etching on antique laid paper, an artist's proof impression, aside from the edition of 12 published by Garton & Cooke in 1982, a rich, dark impression, signed in pencil, and additionally inscribed to lower margin by the artist 'Artist's Proof. No. 2. Printed at Kington Langley, 1976. 'The Gamekeeper's Cottage'. First published, 1929. Plate partially reworked, 1975. This proof is of the Final (1975) State.', plate size 175 x 226 mm (6.9 x 8.9 ins), sheet size 270 x 328 mm (10.6 x 12.9 ins) Garton 8, iv/iv. (1)
*@Webb (Joseph, 1908-1962). Boxgrove Priory, Sussex, 1928, etching on laid paper, signed in pencil, old pinholes to extreme corners, head and foot of left margin restrengthened to verso, plate size 178 x 189 mm (7 x 7.4 ins), sheet size 295 x 231 mm (11.6 x 9.1 ins) Guichard 18. Meyrick (2007), illustration 8. Provenance: Ex collection of Neil Green, with his inkstamp monogram to lower right blank corner. (1)
*@Cameron (David Young, 1865-1945). The Chimera of Amiens, 1910, etching and drypoint on thin laid paper, signed in pencil, mount stained, plate size 244 x 182 mm (9.6 x 7.2 ins), sheet size 277 x 211 mm (10.9 x 8.3 ins), together with Harfleur, 1903, etching and drypoint on laid paper, signed in pencil, plate size 310 x 195 mm (12.25 x 7.7 ins), sheet size 337 x 205 mm (13.25 x 8.1 ins), plus The North Porch, Harfleur, 1904, etching and drypoint on laid paper, a trial proof, signed in pencil, plate size 376 x 189 mm (14.75 x 7.5 ins), sheet size 411 x 226 mm (16.25 x 8.9 ins) Rinder 415, 356, v & 360, i. (3)
*@Webb (Joseph, 1908-1962). The Great Bridge, 1929, etching on wove paper, signed, dated, and inscribed in pencil 'The Great Bridge, 1st state as published. To my dear friend F. De Courcy Grylls. 'The Murmuring Stream',' plate size 240 x 353 mm (9.5 x 14 ins), sheet size 320 x 445 mm (12.6 x 17.5 ins), together with The Glory Hole, Lincoln, 1933, etching on wove paper, signed and dated in pencil, additionally inscribed to lower margin 'The Glory Hole, Lincoln' 1st state, plate size 200 x 250 mm (7.9 x 9.9 ins), sheet size 272 x 330 mm (10.7 x 13 ins) G. 20 & 38. Meyrick (2007), illustration 14 & 21. (2)
*@Webb (Joseph, 1908-1962). Shepherd's Haven (Lambs), 1929, etching on antique laid paper, signed in ink, and additionally titled by the artist in ink to lower blank margin Lambs, some light foxing, mostly to the plate area, plate size 137 x 262 mm (5.4 x 10.3 ins), sheet size 294 x 457 mm (11.5 x 18 ins) Guichard 22. Meyrick (2007), illustration 28. Provenance: Ex collection Neil Green, with his inkstamp monogram to lower right blank corner. (1)
*Anderson (Alfred Charles Stanley, 1884-1966). Avignon, from the Rhone, 1926, drypoint etching on Millbourn wove paper, from the edition of 75 published by Colnaghi, signed in pencil, plate size 226 x 398 mm (9 x 15.75 ins), framed and glazed, with James Connell label on thick card mounted to verso Meyrick & Heuser, 173. (1)
@Brangwyn (Frank). A Londoner (Type Cockney), 1924, etching on laid paper, signed in pencil, plate size 165 x 93 mm (6.5 x 3.7 ins), sheet size 282 x 218 mm (11.1 x 8.6 ins), contained in The Etchings of Frank Brangwyn, R.A., A Catalogue Raisonne by W. Gaunt, The Studio, 1926, numerous illustrations, typescript presentation note to front endpaper, with various signatures of those offering the gift on 12 May 1945, original vellum gilt with card slipcase, 4to, limited edition of 125 copies (this copy unnumbered) (1)
*@Briscoe (Arthur John Trevor, R.E., 1873-1943). An Arrival, 1932, etching on laid paper, from the edition of 75, signed in ink and numbered 32/75, plate size 203 x 356 mm (8 x 14 ins), in very good condition (unexamined out of frame), framed and glazed with early label of the Horner Galleries, Sheffield to verso Hurst 75. (1)
JAMES ABBOTT McNEILL WHISTLER (1834-1903) BILLINGSGATE (K.47) Etching, on cream wove, 1859, apparently the 8th state (of 9) as published in The Portfolio, 1878 15 x 22.5cm.; with a group of assorted etchings by or after J M W Turner (by Brunet Desbaines), H. Toussaint, L. Flameng, H. von Herkomer, C. Meryon, G. P. Jacomb Hood, F. S. Haden; also heliogravures after A. Durer and M. Schongauer, all unframed (a lot) ++ Good condition
A GROUP OF EIGHT ASSORTED CARICATURES & DRAWINGS to comprise a watercolour of George, Prince of Wales as a jester surrounded by fancing elves, by J. L. Marks (possibly Lewis Marks), 34 x 22.5cm.; a `Parisian Group` by Henry Monnier, 11.5 x 11.5cm.; two drawings by John Leech (including `The Young Model`), 10.5 x 15cm approx; `French Ambassador`, c.1792, after an etching publ. by William Dent, 1792, 27.5 x 19cm.; an ink drawing of `Dignitaries in Profile`, c.1780, 22.5 x 18cm.; a watercolour of a theatrical lady, sketch from Madame Josephine, c.1790, 18 x 13.5cm.; and an ink sketch of `Battle of Titan` (?) by a follower of Edward Lear, 8.5 x 12.5cm. (8) ++ Satisfactory but a little grubby, foxed and worn
•SIR FRANK WILLIAM BRANGWYN, RA, RWS (1867-1956) CLIFF VILLAGE, SAINT CIRQ LAPOPIE, FRANCE (Gaunt 162) Etching, 1910, printed in sepia with plate tone, signed in pencil 46.5 x 43.5cm.; with a colour lithograph of `The Port` by Jean Morvan, signed and numbered, 29 x 43cm. Provenance: Brangwyn, probably London, Ernest Brown and Phillips; Morvan, London, The Redfern Gallery Ltd, 1959 ++ Each in good condition
ENGLISH SCHOOL "Seascape", coloured etching, indistinctly signed and dated '96, No'd. 46/50, bears indistinct signature, title and number in pencil to mount CONDITION REPORTS Size approx. 33 x 24 cm. Overall with some light general wear and dirt, and some marks to the mount, but overall appears in good condition. Frame has a few scuffs and scratches.
MichelAngelo's Sonnets by Eric Hebborn. No 41/60. Printed on antique laid paper and hand-bound in leather with marbled papers. This is the first time Hebborn's translation into English ver of Michelangelo - The Cavalieri Cycle (A Selection of Love Poems) appears in print with an illustration of Hebborn's recreation, in the form of an etching, of Michelangelo's lost drawing of Ganymede.
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