* Peri (Peter Laszlo, 1899-1967). Pilgrim’s Progress Suite, pub. St George’s Gallery, 1958, complete set of eighteen etched plates, each signed and dated in pencil, each a limited edition numbered 1/75, plate dimensions 28 x 42cm (11 x 16.5ins), sheet size 38.5 x 56cm (15 x 22ins) Peter Peri was born in Budapest, joining the avant-garde Der Sturm group after moving to Berlin in 1920 where he acquired a reputation as a leading constructivist artist, though later in the 1920s he would produce realist sculpture. With strong socialist principles that would remain throughout his life, Peri was forced to flee Germany and became a British citizen in 1939. During WWII he developed an interest in etching, producing well-received series on Gulliver’s Travels and The Pilgrim’s Progress. He was later commissioned to produce many pieces of public art in Britain. (18)
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* Power (James P., exh. 1924-38). Amsterdam, proof etching, signed and captioned to lower margin, plate size 25.5 x 35.5cm (10 x 14ins), together with Church of St. Nicholas, Ghent, proof etching, signed and captioned to lower margin, plate size 25.5 x 35.5cm (10 x 14ins), plus Old Houses, Bayeux, proof etching, signed and captioned to lower margin, plate size 36.7 x 24.5cm (14.5 x 9.5ins) (3)
* Sharp (Miles Balmford, 1897-c.1981). The Demolition of Devonshire House, London, 1925, etching, signed, dated and inscribed to Kenneth Holmes in pencil to lower margin, plate size 17.8 x 26.3cm (7 x 10.25ins), framed and glazed, together with Farrell (Frederick, 1882-1935), Horse Guards Parade, etching, signed in pencil and blindstamp to lower margin, plate size 25 x 35cm (10 x 14ins), framed and glazedDevonshire House in Piccadilly was the London residence of the Dukes of Devonshire in the 18th and 19th centuries. It was built for William Cavendish, 3rd Duke of Devonshire in the Palladian style, to designs by William Kent. Completed circa 1740, it became empty after World War I, and demolishion commenced in 1924. (2)
* Smart (Douglas Ion, 1879-1970). The River O?ya, Gerona, Spain, drypoint etching, signed, sheet size 32 x 42cm, together with Baskett (Charles Henry, 1872-1953), Harwich, aquatint etching, signed on title by the artist, sheet size 24 x 36cm, plus Clilverd (Graham Barry, 1883-1959), untitled Cornish(?) quayside scene, aquatint etching, signed and numbered by the artist 3/75, sheet size 28 x 35cm, and four other etchings by Hester Flood, Jas. A. Grant and Norman Janes(2) (7)
* Southall (Joseph Edward, 1861-1944). Harbour Scene, 1913, etching on thick wove paper, signed with monogram and dated in the plate, plate size 135 x 94mm (5.25 x 3.75ins), sheet size 258 x 163mm (10.2 x 6.5ins), corner mounted. From the artist’s collection, according to a pencil note to verso. (1)
![* Tanner (Robin, 1904-1988). Martin’s Hovel, [1927], etching, reissued for The Memorial Portfolio, published by Merival](http://lot-images.atgmedia.com/SR/10729/2868860/307-2013126101744_468x382.jpg)
![* Tanner (Robin, 1904-1988). Hedge Flowers, [1936], etching, reissued for The Memorial Portfolio, published by Merivale Editi](http://lot-images.atgmedia.com/SR/10729/2868860/309-2013126101748_468x382.jpg)
* Walcot (William, 1874-1943). Piccadilly Circus, etching with drypoint of Piccadilly Circus with the rebuilding of Swan & Edgar Ltd. department store, signed in pencil to lower margin, plate size 13 x 20cm (5 x 7.75ins), framed and glazed. The department store Swan & Edgar Ltd. located at Piccadilly Circus, London, was established in the early 19th century. The premises were rebuilt and integrated in 1910-20 to a design by Sir Reginald Blomfield. The shop-front was targeted by the Suffragettes in their window-breaking spree on November 21, 1911 and hit by the last Zeppelin raid on London in 1917. The business was taken over by the Drapery Trust in 1927 and later by the Debenham Group, which closed it in 1982, due to the cost of modernization. (1)
* Whistler (James Abbott MacNeill, 1834-1903). The Menpes Children, etching, contained in Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black, 1904, sheet size 26.5 x 20cm (2.5 x 8ins), printed in a limited edition of 500 copies, signed by the author, rebound in modern quarter vellum, 4to (1)
* Krejci (Jan, 1942-2001). ‘Border of Space’, 1971, etching, signed, titled and numbered 34/40 in pencil, plate size 32 x 23cm (12.5 x 9ins), framed and glazed, together with three other erotic etchings by the same artist, entitled ‘Giovanna Cenami a Giovanni Arnolfini’ (1969), ‘Mao-Lisa’ (1970), & ‘The Rainbow Gate’ (1970), each signed, dated, titled and numbered from an edition of between 30 and 40, 39 x 25.5cm (15.25 x 10ins), and similar, all framed and glazed (4)
Prints and Printmakers : Clayton T. : The English Print; British Printmakers 1855 - 1955, From the Etching Revival to St.Ives; Mackenzie I. : British Prints; Griffiths A. : The Print in Stuart Britain & Prints and Printmaking; Tate Catalogue, Print Collection. Formats include Hb., Pb. & Qto. CONDITION REPORT: Condition : Vg.
CHARLES MAZELIN, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION BLACK AND WHITE ETCHING (18/300), “Baie de Pamplona, Sept. 1912”, 9” x 12”; together with AFTER W HEATH, ENGRAVED BY J CLARKE, GROUP OF FOUR ANTIQUE COLOURED AQUATINTS, PUBLISHED 1814/15, “Entrance of Lord Wellington into Salamanca”; “Battle of Vittoria ….”; “Battle of Salamanca” and “Entrance of the Allies into Paris …..”, each approximately 6” x 8 ½” (5)
GRAINGER SMITH, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (6/50) BLACK AND WHITE ETCHING, “Fire Eater”, 7” x 10”; together with ENZO PLAZZOTTA, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (14/70) BLACK AND WHITE ETCHING, “Study for Margaret Barbien 1973”, 7” x 12”, both mounted but unframed (2)
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