*Legros (Alphonse, 1837-1911). Les Bouleaux: Bord de l'Eau, Effet du Matin, etching on wove paper (watermarked O.W.P.), one of 38 impressions of the 2nd state, signed in pencil, plate size 127 x 203 mm (5 x 8 ins), sheet size 192 x 264 mm (7.5 x 10.4 ins), together with Bord de l'Adur, etching on wove paper (watermarked A.O.L. and O.W.P.), signed in pencil, plate size 113 x 202 mm (4.5 x 8 ins), sheet size 173 x 256 mm (6.8 x 10 ins), plus Les Bords de la Liane, etching on laid paper, an impression from the 6th state, plate size 153 x 203 mm (6 x 8 ins), sheet size 200 x 275 mm (7.9 x 10.8 ins), and seven other etchings by Legros, including Le Voyageur surpris par l'Orage, Le Voleur de Poires (2nd Plate), St. Pierre et St. Paul a la porte du Bonhomme Misere (5th state), St. Pierre et St. Paul a la porte de M. Richard (3rd state), title page for Fifty impressions of 10 Etchings by Alphonse Legros (5th state), and two others Bliss 325, 392, 240, 226, 139, 145, 175, & 162 respectively. (10)
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*Legros (Alphonse, 1837-1911). A Woodland Study, circa 1903, etching on laid paper, signed in pencil, plate size 203 x 320 mm (8 x 12.5 ins), sheet size 235 x 350 mm (9.25 x 13.75 ins), together with Holroyd (Charles, 1861-1917), Alphonse Legros, No. 1 (Dodgson 102), etching on cream laid paper, signed and titled in pencil, plate size 250 x 175 mm (9.9 x 6.9 ins), sheet size 320 x 234 mm (12.5 x 9.25 ins) (2)
*Griggs (Frederick Landseer, 1876-1938). Potter's Bow, 1924, etching on antique French pale cream laid paper, one of 46 impressions of the seventh state, signed in pencil, with Dovers House Press monogram added in ink to verso, some foxing to central portion, margins trimmed (as usual), plate size 258 x 180 mm (10.2 x 7.1 ins), sheet size 267 x 188 mm (10.5 x 7.4 ins) Comstock 33 vii/vii. Provenance: Formerly in the collection of Neil Green, with his inkstamp monogram to lower right corner. (1)
*McBey (James, 1883-1959). The Ford, 1913, (Hardy 140), etching on laid paper, from the edition of 50 proofs, signed in ink, and numbered XV, plate size 140 x 240 mm (5.5 x 9.5 ins), sheet size 200 x 277 mm (7.9 x 10.9 ins), together with Brockhurst (Gerald Leslie, 1890-1978), Marquett, 1925, (Wright 51), etching on Whatman laid paper, from the edition of 106 proofs published December 1925, signed in pencil, plate size 216 x 175 mm (8.5 x 7 ins), sheet size 415 x 275 mm (16.3 x 10.8 ins), plus Strang (William, 1859-1921), Portrait of Hans Richter (1843-1916), etching on F.J. Head laid paper, signed in pencil, plate size 400 x 275 mm (15.75 x 10.8 ins), sheet size 570 x 430 mm (22.4 x 17 ins), and other various etchings, including Muirhead Bone, Ian Strang, James G. Power, H. Gordon Warlow, Bertram Buchanan, J. Reginald Taylor and J.R.G. Exley (4) (13)
*Menpes (Mortimer L., 1860-1938). Bronze Workers, Japan, etching with drypoint on laid paper (watermarked F.J.H.), initialled in pencil, plate size 138 x 175 mm (5.4 x 6.9 ins), sheet size 225 x 280 mm (8.8 x 11 ins), together with Interior of St. Marks, Venice, 1910-11, etching with drypoint on Van Gelder Zonen laid paper, signed in pencil, plate size 305 x 210 mm (12 x 8.25 ins), sheet size 380 x 275 mm (15 x 10.8 ins), plus Interior of St. Maclou, Rouen, 1912/13, etching and drypoint on thick wove paper, published in an edition of 50, signed, plate size 310 x 160 mm (12.25 x 6.25 ins), sheet size 345 x 192 mm (13.5 x 7.5 ins), and one other signed etching of a street with buildings and archway (possibly Mexico), plate size 300 x 190 mm (11.75 x 7.5 ins), sheet size 386 x 252 mm (15.25 x 9.9 ins) Morgan 411, 366 & 383 for the first three works. (4)
*Menpes (Mortimer, 1855-1938). A Peddlar of Puepla, 1907-08, drypoint etching on laid paper, signed in pencil, numbered with the artist's inventory number 79 in pencil lower left, and additionally titled in pencil to lower margin (in another hand), some mount staining, plate size 150 x 134 mm (5.9 x 5.25 ins), sheet size 283 x 227 mm (11.2 x 8.9 ins), together with Patterson (Malcolm, 1873-), Head of a Woman, 1928, etching on laid paper, signed in pencil, and artist's inventory number 28 lower left, plate size 184 x 127 mm (7.25 x 5 ins), sheet size 227 x 171 mm (9 x 6.75 ins), plus 8 woodcuts by Cyril Saunders Spackman (1887-1963), including Edge of the Fir Grove, and Firs, each signed in pencil, 4 titled, including 3 duplicates Morgan 283 (for the etching by Menpes). For Malcolm Patterson, see Grant Waters, Dictionary of British Artists 1900-1950. (10)
*Merritt (Anna Massey Lea, 1844-1930). Ophelia, 1880, etching on thick laid paper, plate size 225 x 172 mm, sheet size 316 x 241 mm (12.5 x 9.5 ins), together with 3 other late 19th-century etchings: Sir Frederick Leighton, Athlete wrestling with a python, 1881, Lawrence Alma-Tadema, Childish Affections, circa 1881, and Percy Thomas, Portrait of Henry Wadsworth Longfellow (4)
*Griggs (Frederick Landseer, 1876-1938). he Barbican, 1920, etching on laid paper, one of a few proofs of the second state (without the cresset or torch pole on top of the tower), signed in pencil, light mount stain, plate size 165 x 174 mm (6.5 x 6.8 ins), sheet size 340 x 257 mm (13.4 x 10.1 ins) Comstock 26, ii/iii. (1)
*Palmer (Samuel, 1805-1888). The Lonely Tower, 1879, etching on cream wove paper, with plate number 16 added to lower left, a 20th-century impression (probably one of the 21 impressions printed by C.H. Welch in 1962, or the approximately 10 impressions printed by Edgar Holloway in 1972), some foxing and browning to extreme top margin, plate size 190 x 250 mm (7.5 x 9.8 ins), sheet size 318 x 415 mm (12.5 x 16.3 ins) (1)
*Rhodes (Marion, 1907-1988). A Yorkshire Village, etching, signed in pencil to lower margin, plate size 24 x 36cm (9.5 x 14ins), sheet size 28 x 41cm (11 x 16ins), together with three other etchings by Rhodes, including Bibury, dated 1937, Rome, also dated 1937 and a view of a Buckinghamshire woods, plus a watercolour view of Bolton Abbey also by Rhodes (5)
*@Badmin (Stanley Roy, 1906-1989). Evening Light, near Sevenoaks, 1929, etching on laid paper, from the edition of 40, published by XXI Gallery, signed and titled in pencil, a fine, rich impression, plate size 130 x 166 mm (5.1 x 6.5 ins), sheet size 191 x 243 mm (7.5 x 9.5 ins) Beetles 16. (1)
*Sickert (Walter Richard, 1860-1942). The Old Fiddler, circa 1919, etching on F.J. Head laid paper (with watermarked initials), signed in pencil, mount stained, remains of adhesive to extreme upper blank corners, and lower blank margin, plate size 150 x 114 mm (5.9 x 4.5 ins), sheet size 265 x 203 mm (10.4 x 8 ins), framed and glazed, with old label for Chas. A. Jackson, Fine Art Dealer, Carver and Guilder, Picture Frame Manufacturer, Manchester to verso Bromberg 187, ii/ii. (1)
*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)
*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)
*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)
*@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)
*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)
*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)
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)
*@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)
*@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)
*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)
*@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)
*@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)
*@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)
*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)
*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)
*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)
*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)
*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)
*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)
*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)
*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)
*@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)
*@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)
*@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)
*@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)
*@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)
*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)
*@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)
*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)
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78391 item(s)/page