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Click here to subscribeCharles Williams (fl. 1797-1830) ‘Rules for a Warm Weather Ball or Salutary Conduct for Corpulent Dancers’ hand-coloured etching, published c.1806 by McCleary, Dublin 23.5 x 32.5cm (9 1/4 x 12 3/4in) together with two other prints and a 19th century portrait photograph of a young lady (4)
A large Australian oil painting on canvas by Lesley Meaney showing a view through a window into the ruin of a pioneer village in north west Australia, signed bottom right Meaney, 110 x 80cm (unframed) together with an early 20th century black and white etching by G Boulet of a stylish young woman with hat box, with red printed stamp to lower right, 35 x 14cm in gilt frame, an early 20th century watercolour of a coastal scene, a sepia coloured print after Van Dyck of a child holding an apple and a further set of three coloured prints of woodland scenes (framed as one)
A collection of 19th century and other pictures and prints including an oil painting on canvas of a mountainous landscape with river, signed bottom right B N Lamb(?), 46 x 37cm (unframed) together with a signed early 20th century coloured etching by Marcel Anges, depicting a windmill, 24 x 19cm in floral embossed frame, a watercolour of a London scene with River Thames, etc, signed bottom left K Barkenray and dated 1948, 21 x 34cm (unframed), a similar Thames view, probably by the same hand, a royal military commission dated 1889 in the rank of Second Lieutenant, a 19th century coloured engraving of a Elizabethan style wedding party, etc
A collection of pictures and prints including a 19th century watercolour still life with basket of flowers, small oval gilt mirror, flower fairies subjects, engravings of agricultural scenes including ploughing, hay making, etc together with a black and white etching of a landscape with windmill by F J H Mason RBA, signed in pencil bottom left and with label verso "Vista of Mills"
After William Hogarth (English, 1697-1764) After William Hogarth (English, 1697-1764), "Simon Fraser (1667-1747), 11th Lord Lovat", 18th/19th c., oil on canvas, after Hogarth`s celebrated etching, unsigned, 27 5/8 in. x 17 in., period gilt frame, "Pitt & Scott, London" storage label en verso. Provenance: John Kenneth Byard, Norwalk, CT, July 10, 1958.
Attributed to James Akin (American, 1773-1846) Attributed to James Akin (American, 1773-1846), "The Pedlar and his Pack or the Desperate Effort, an Over Balance", 1828, Philadelphia, hand-colored etching with aquatint, the cartoon showing Binns being crushed by the weight of the coffins, with Henry Clay, John Quincy Adams and other leading candidates, image (including text) 9 5/8 in. x 14 in., sheet 10 1/2 in. x 15 1/2 in., attractively framed Note: This rare cartoon shows the paradoxical effect that negative attacks on Andrew Jackson were having in the famous campaign of 1828. An editor-publisher in Philadelphia named John Binns had published several harsh hand-outs called "coffin hand bills" that accused Jackson of arbitrary executions of American militia volunteers and Native American prisoners, as well as violent episodes from Jackson`s personal history. The hand bills failed, though it isn`t clear whether it was because they exaggerated Jackson`s excesses or because an important portion of the population approved of the implied excesses. All this, though hardly altogether false, had the effect of increasing Jackson`s popularity.
Alfred Heber Hutty (American/Charleston, 1877) Alfred Heber Hutty (American/Charleston, 1877-1954), "Flower Vendors at Charleston Market", drypoint etching, pencil-signed, monogrammed and titled in lower margin, first state, pencil notation "only five proofs pulled", Conner Rosenkranz, New York label en verso, image 8 in. x 10 1/4 in, sheet 10 1/2 in. x 13 in., framed Reference: Arnold and Hoffius, ed. The Life and Art of Alfred Hutty: Woodstock to Charleston, The University of South Carolina, 2012, p. 158; Saunders and McAden Alfred Hutty and the Charleston Renaissance, Sandlapper Publishing Company, Inc., 1990, p. 91
Alfred Heber Hutty (American/Charleston, 1877) Alfred Heber Hutty (American/Charleston, 1877-1954), "Edisto Live Oak", drypoint etching, pencil signed and snail monogrammed lower right, printed in lower left on mat published by The Miniature Print Society, Alexandria, Virginia in 1944, printed artist`s biography by Arthur W. Heintzelman, Keeper of Prints, Boston Public Library for Miniature Print Society en verso, plate 2 1/2 in. x 3 3/4 in., sheet 7 in. x 7 1/2 in., matted and framed Note: Illustrated in The Life and Art of Alfred Hutty: Woodstock to Charleston edited by Sara C. Arnold and Stephen G. Hoffius, The University of South Carolina Press, 2012, p. 154
Alfred Heber Hutty (American/Charleston, 1877) Alfred Heber Hutty (American/Charleston, 1877-1954), "An Old `Mauma`", 1926, etching, pencil-signed and snail monogram lower right, titled lower left, image 8 1/2 in. x 7 1/8 in., sheet 11 1/4 in. x 9 in., unframed Note: Listed and illustrated in The Life and Art of Alfred Hutty; Woodstock to Charleston, edited by Sara C. Arnold and Stephen G. Hoffius, The University of South Carolina Press, 2012, p. 133; and illustrated in Alfred Hutty and the Charleston Renaissance, by Boyd Saunders and Ann McAden, Sandlapper Publishing Company, Inc., 1990, p. 92
Alfred Heber Hutty (American/Charleston, 1877) Alfred Heber Hutty (American/Charleston, 1877-1954), "Wives of Fishermen, France", 1927, etching, pencil signed and snail monogram lower right, second state, accompanied by Albert Roullier, Art Galleries, Printsellers, Chicago label, image 7 1/8 in. x 9 in., sheet 9 in. x 11 1/4 in unframed Note: Listed and illustrated in The Life and Art of Alfred Hutty; Woodstock to Charleston, edited by Sara C. Arnold and Stephen G. Hoffius, The University of South Carolina Press, 2012, p. 137
Louis Oscar Griffith (American, 1875-1956) Louis Oscar Griffith (American, 1875-1956, active New Orleans 1916-17),"Monkey Wrench Cafe, French Quarter, New Orleans", color etching and aquatint, pencil signed lower right, plate 9 3/4 in. x 7 3/4 in., framed. Provenance: Collection of Philanthropist Ralph M. Pons (New Orleans, 1895-1983)
Louis Oscar Griffith (American, 1875-1956) Louis Oscar Griffith (American, 1875-1956, active New Orleans 1916-17), "Governor Nicholas (sic) Street, French Quarter, New Orleans", color etching and aquatint, pencil signed lower right, handwritten artist and title label en verso, plate 11 3/4 in. x 10 in., framed. Provenance: Collection of Philanthropist Ralph M. Pons (New Orleans, 1895-1983)
Morris Henry Hobbs (American/Louisiana, 1892-1967) Morris Henry Hobbs (American/Louisiana, 1892-1967), "Alice" and "Old Saint Mary`s, Toledo", etching and drypoint, each pencil-signed and titled in lower margin; accompanied by Certificate of Authenticity from Associated American Artists, New York label, image 9 in. x 6 in., sheet 11 1/2 in. x 9 3/8 in., and image 2 3/4 in. x 2 1/4 in., sheet 5 1/2 in. x 4 3/4 in. respectively, unframed, (2 pcs.)
Morris Henry Hobbs (American/New Orleans, 1892) Morris Henry Hobbs (American/New Orleans, 1892-1967), "The Aquarium", 1944, etching, pencil-signed, titled, dated and inscribed in lower margin, edition of 200, signed letter from the artist en verso, plate 9 1/2 in. x 6 3/4 in., framed Note: Morris Henry Hobbs wrote about his intentions for this print in a March 24, 1944 letter to Ralph Pons that accompanies this lot: "THE AQUARIUM...is the result of a period of experimentation in trying to use aquarium fishes [sic] in a decorative pattern, at the same time making the drawings of the individual fishes accurate enough that they may be identified by any one familiar with the various species. The plate contains drawings of seventeen fishes, of eight species and six varieties of aquarium plants".
Eugene E. Loving (American/Louisiana, 1908-1971) Eugene E. Loving (American/Louisiana, 1908-1971), "Emil Peron Courtyard", etching, pencil signed, titled and inscribed in lower margin, edition of 100, sight 8 in. x 11 in., framed; together with Charles Oglesby Longabough (American/Louisiana, 1885-1944), "Fishin` Hole", etching, pencil signed and titled in lower margin, sight 8 1/2 in. x 11 in., framed, (2 pcs.)
Brian Perrin FRE, British b.1932- Untitled abstract composition; etching with aquatint printed in colours, signed and inscribed `Artist`s Proof` in pencil, 37x53.5cm: together with another etching with aquatint printed in colours by the same artist titled, "Manod 2", signed, titled and numbered 20/50 in pencil, 48.5x60.5cm, (2)
Ronald King, British 1932- "Moonstuck"; screenprint in colours, signed, titled and numbered 13/20 in pencil, 50x64cm: Peter Warner, British late 20th century- "Hillside"; etching and aquatint printed in colours, signed, titled, dated 72 and inscribed `A/P`, 42.5x49.5cm, (2), (may be subject to Droit de Suite)
Alfred Louis Brunet-Debaines, French 1845-1939- View of a chapel; etching with drypoint, signed within the plate, 19x14.5cm: Samuel Arlent Edwards, American 1862-1935- Williamsburg NY, Pub 1900- "Mrs Robinson(Perdita)" and "Lady Sheffield", after Thomas Gainsborough FRSA; mezzotints printed in colours, both signed in pencil, 34x15cm., ea: together with one other mezzotint printed in colours by a different hand, three tondo in shared frame, 5.5cm., dia., (4)
Francesco Bartolozzi RA, Italian 1727-1815- The Madonna and Child, after Guercino; etching in sepia, in a glazed 19th century gilt composition frame, 23x17.3cm: Georg Peter Nusbiegel, German 1713-1776- "Christianvs Gottlib Schwarzivs", after Johan Justin Preissler; mezzotint, 32x21cm: Jacobus Houbraken, Dutch 1698-1780- "George Hamilton Earl of Orkney", "John Lord Somers" and "Thomas Marquis of Wharton"; engravings, 36.5x23cm., ea: together with a small further quantity of mixed prints and engravings by and after different hands, (a lot) (part unframed)
Late 20th/Early 21st Century- Portrait of a lady, head and shoulders; charcoal, signed, dedicated and dated 94, in a glazed gilt composition frame, 71x46cm: After Edward Tennyson Reed, British 1867-1933- Maxims for the Bar No I, II, III and IV; hand-coloured reproduction prints, mounted in matching glazed reverse profile moulding frames, 17.5x14, 16x20, 16.5x21.5 and 17x19cm: Edward W Sharland, British, late 19th/early 21st century- "Rheims"; etching printed in colours, signed and inscribed in pencil, 39.5x27cm: Braun, late 20th/early 21st century- Flowers in a vase; oils on panel, a pair, both signed, in matching gilt composition swept frames, 39x29cm., ea., (8) (may be subject to Droit de Suite)
After Adolphe Lalauze, French 1838-1905- "The Beguilinng of Merlin", after Edward Burne-Jones; etching, 28.5x16.5cm: After Maxine Lalanne, French 1827-1886- Bordeaux, a view of the port; etching, signed, titled and dated 1873 in the plate, Provenance: with the William Weston Gallery according to the label attached to the reverse, Note: originally from the series of small compositions Divertissements sur Cuivre ref Beraldi 62: Felix Augustin Milius, French 1843-1894- "Fin D`Octobre", after E Duez; etching, 18.3x27.5cm: After Robert Walker Macbeth RA RI RPE RWS, Scottish 1848-1910- "Potato Harvest In The Fens"; etching, 13.2x31.2cm: After John Ruskin HRWS, British 1819-1900- "Lake of Zug"; etching printed in sepia, 17.5x24.5cm: Provenance: with the Maas Gallery according to the label attached to the reverse: After Frederick Morgan ROI, British 1847-1927- "Sir Roger de Coverley", publ Queens Newspaper Xmas 1907; photogravure, 55x67cm, (6) (part unframed)
George Hunt, British fl. early-mid 19th century- `Trolling for Pike` after James Pollard; hand-coloured aquatint, publ by John Moore, 1 West St., St Martin`s Lane, 34.5x44cm: Edward Joseph Cherry FRSA, British 1886-1960- Doorways in a courtyard; etching, signed in pencil, 12.2x17cm: together with three chromolithographs after George Morland entitled `The Dairy Farm`, `Children Bird Nesting` and `The Thatcher`, various sizes, two reproduction prints after Richard Park Bonington entitled `Coast of Picardy` and after Canaletto entitled `City of London From the Terrace of Richmond House`, ea. publ The Medici Society Ltd, London, various sizes and one ink drawing after John Scott entitled `Cowes Castle, Isle of Wight` after Paul Sandby RA, 5.5x8.5cm, (8), (may be subject to Droit de Suite)
Michael Sandle, British b.1936- "Germany Calling"; etching with aquatint, signed, titled, numbered 7/55 and dated 1976 in pencil, 45x60cm: Graeme Peebles, Australian b.1955- "Marat We`re Marching On"; mezzotint, signed, titled, numbered 22/40 and dated `83 in pencil, 48x88cm, (2), (unframed), (may be subject to Droit de Suite)
Yuji Oki, Japanese b.1949- "Icarus"; drypoint etching, signed, titled, numbered A/P II and dated `92 in pencil, 51x46cm Note: a copy of a Yuki Oki, Flower of Prehistory, Paintings 1996-1998, Curwen Gallery exhibition catalogue accompanies this lot and a inscribed and signed postcard from the artist Provenance: from the Estate of Ronald Dennis Parkinson 1945-2012, he was a prominent art historian, the former head of education and lecturer at the V&A Museum and author of important books on British painting. He compiled the `V&A`s Catalogue of British Oil Paintings 1820-1860` and `John Constable, The Man and his Art`.
John Hoar, British b.1947- "Middle Temple" and "Master`s House Inner Temple"; two, watercolours, ea. signed, 32.2x48cm and 32.5x49cm respectively: Andrew Ingamells, British b.1956- "St George in the East"; etching with aquatint with handcolouring, signed, titled and numbered 37/75 in pencil, embossed with blind stamp, 47.5x29.2cm:Adam B Marshall, British, late 20th/early 21st century- "The Barbican"; etching with aquatint printed in colours, signed, titled and numbered 18/150 in pencil, embossed with blind stamp, 54x43cm, (unframed), (4), (may be subject to Droit de Suite)
Caroline Isgar, British, late 20th century- "By the Pool"; etching printed in colours, signed, titled, dated `89 and numbered 3/75 in pencil, 41.5x29.5cm:Anna Pugh, British b.1938- Riverbank with ducks and trout- gouache, signed in pencil, 17x15cm: together with two watercolours depicting cats and one etching printed in colours entitled "Palm House Kew" by the same hand, ea. signed, some dated, and one numbered in pencil: Isabelle Brent, British, late 20th century- "Mother and Kitten" and "Pussy Cat and Party Bow"; two, etchings with aquatints printed in colours, both signed titled , dated `84 and numbered 27/200 and 42/200 in pencil respectively, ea. embossed with blind stamp, ea. 10.7x13.5cm: together with five other contemporary prints by different hands including examples by C Rees, Louise Bawden and Rose Florence, various sizes, (unframed), (14), (may be subject to Droit de Suite)
Robin Brown, British b.1950- Standing female nude; charcoal on grey coloured paper, signed, 63x44cm: Early-Mid 20th Century- Reclining female nude; charcoal, signed, 34.5x59.5cm: Athene Andrade, British 1908-1973- Conductor and an orchestra; pencil and watercolour, 37x52cm: Michael Barratt, British, late 20th century- "A Day at the Races"; hand-coloured etching with aquatint, signed, titled and inscribed `A/P` in pencil, 13.5x25cm: Style of Clifford Hall- Two figures in an interior; black, white and coloured chalk/pastel, bears signature, 20x21cm: British School, late 20th/early 21st century- Three figures dragging a log; pen and black ink and wash, 21x30cm: Late 19th/Early 20th Century- The chess players; watercolour, 10.5x15cm: Late 20th/early 21st Century- Sleeping dog; pencil and watercolour, signed, titled and dated 92, 16x18cm., (8) (may be subject to Droit de Suite)
Frederick H Halpern, Austrian/Australian b.1909- Two musicians; etching, signed and numbered 23/25 in pencil, bears stamp on the reverse of the frame A Abdul Ghany, 189/191 Orchard Rd Singapore, 25x19.5cm: Mabel Catherine Robinson ARE, British 1875 exh 1901-1928- Alpine village by a lake; etching with aquatint printed in colours, signed in pencil, bears label for W R Deighton & Sons, The Abbey Gallery, 2 Victoria Street, Westminster SW1 attached to the reverse of the frame, 18.7x25cm: Morton Mathews, British 1866-1953- "The Three-Decker, Kedington Church, Suffolk"; etching, signed and inscribed in pencil, 37.5x22cm: R J King, British, early 20th century- "Kyles of Bute"; etching, signed in pencil, bears label for Morton & Banks 33 & 35 West Graham Street Glasgow C4 attached to the reverse of the frame, 19.8x27cm., (4) (may be subject to Droit de Suite)
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