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Lot 415
R Halfnight: a signed etching, church by a river, in original oak strip frame, B W Leader: a signed engraving, pine trees with figures at dusk, in original oak strip frame, Alfred de Breanski: a signed limited edition photogravure published by Bovril Ltd, lakeland mountain scene, in original gilt frame, and Edward Waite: an engraving, "The Brook He Loved", in oak strip frame
Lot 1774
JOHN HAMILTON MORTIMER, ARA (1741-1779) SLEEPING MONSTERS Etching, published in a posthumous edition by the artist's executors, 1780 13.5 x 21cm. Provenance: Solomon Alexander Hart, RA (1806-1881), painter of portraits and historical and biblical genre. ++ A little discoloration and light-staining
Lot 1777
AFTER RICHARD WESTALL, RA (1765-1836) QUEEN JUDITH RELATING TO ALFRED THE GREAT WHEN A CHILD THE SONG OF THE BARDS, DESCRIBING THE HEROIC DEEDS OF HIS ANCESTORS Colour aquatint and soft-ground etching with some hand colouring, published by the artist, 1801 64.5 x 52cm. approx. * Westall produced a watercolour of this subject in 1799. Intended to inspire patriotism amongst the British during the Napoleonic Wars, the drawing was exhibited at The Royal Academy in 1800 (no.423) and is now in the British Museum. In 1801, Westall showed a further work with the same title (no.569), described as ` a print in imitation of a drawing`. ++ Image generally good; some wear at edges; approx. 5mm margins
Lot 1787
WALTER RICHARD SICKERT, RA (1860-1942) MAPLE STREET (Bromberg 212) Etching with drypoint, c.1923, full margins, on laid, signed in pencil, unframed 19.6 x 12.6cm. * This lot and the following lot are strikingly similar and were evidently composed from the same standpoint at the junction of Maple, Cleveland and Southampton Streets close to Tottenham Court Road. The site was close to Sickert's studio in Fitzroy Street and the prints were derived from a drawing and an oil executed in c.1917. The almost entirely vertical and linear technique used in `O Sole Mio` has been developed into the more complex textures afforded by the cross-hatched lines in `Maple Street`. It is probable that these were Sickert's experiments in assessing different moods in an etching as he tested subtly nuanced varieties of technique and scale. He varied the `weight` of etched lines and explored contrasts of light and dark by placing patches of blackness against the stark paleness of the paper. ++ Slight light-staining
Lot 1805
•SIX MODERN PRINTS comprising `Pines, Birds and Sea` (1948) after Milton Avery, coloured and inscribed by Gerald Dillon, 11 x 15cm.; `St. George`, etching by Leo Wyatt after Albrecht Durer, signed and inscribed, 10.5 x 8.5cm.; `Sitting Hare`, wood engraving by Charles Frederick Tunnicliffe, publ.2007, 18.5 x 11.5cm.; and three unframed prints by Mainie Jellett, Leo Wyatt and Barry Moser, two signed, various sizes. (6) ++ Each in good condition
Lot 2070
A black and white Print depicting a street scene with horse and carts, figures and a lady pushing a cart; a Print of a photograph depicting HMS Newcastle, built by Sir W.G. Armstrong, Whitworth & Co. Ltd., Elswick Shipyard 1910, and a coloured Etching of a horse at a blacksmith's, signed lower right in pencil Henry G. Walker
![JOHN MCNULTY (IRISH, B.1949) 'Bogland 1', etching and aquatint, limited edition 171/175, titled, signed and dated [19]81 in](https://cdn.globalauctionplatform.com/c8e44a30-50a8-4008-bc37-a40200b63128/c70751ee-368a-4d74-db75-d22701dfd8d1/468x382.jpg)
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