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Lot 1011
Dublin Printing: After George Cruikshank (British, 1792-1878), Early 19th Century - Coloured Caricature Etching. 'An Interesting Scene, on Board an East - Indiaman, showing the Effects of a Heavy Lurch.' Published by. J. Le Petit, 20 Capel St, Dublin. In an eglomise mount. 39 x 49cm total size.
![Wilfred Crawford Appleby [ARR]/Edinburgh University Quadrangle/signed/ etching, 35cm x 28.5cm Condition Report: Note: Artist'](https://cdn.globalauctionplatform.com/21677206-61bb-45f9-a1ad-a4c901141d7a/d68099a0-58b0-4a8f-9970-e5151d6193da/468x382.jpg)
![Roderick Bar-Jones [ARR]/Phoenix/dated 76/limited edition 41/50/etching, 29cm x 20cm/Note: Artist's Resale Right ("Droit de S](https://cdn.globalauctionplatform.com/21677206-61bb-45f9-a1ad-a4c901141d7a/4f2321db-b61a-4680-dd75-6088ed2008ea/468x382.jpg)
Lot 1474
Early 20th Century oil on canvas, figure on a woodland track, titled ' The Road Through the Wood near Abinger ', indistinctly signed and dated 1904, gilt framed, 14ins x 8.5ins, three Henry Alken coloured prints, ' The Meet ', ' Full Cry ' and ' The Death ' and an etching by F. Robson, ' The Dark Entry, Canterbury Cathedral '
Lot 714
David Hockney (b. 1937) A Picture of Ourselves, from: The Blue Guitar (S.A.C. 210; Tokyo 189) Signed in pencil and numbered 44/200, etching with aquatint in colours, 1976-7, 34cm by 42cm *ARR/(Droit de Suite) applies to this lot Light time staining to the paper. With some tiny sized sporadic foxing spots throughout. The print has been glued at the edges and there are discoloured finger prints which may well be the transference of the glue from the securing process. Cockelling around the centre. Small number of thunderflies trapped under the glass. Scuffs and scratches to the glass. Thin aluminium frame. Not examined out of the frame.
![REMBRANDT VAN RIJN [1606-1669], ETCHING & DRYPOINT, 4TH & FINAL STATE, H 4", W 6", "THE ANGEL DEPARTING FROM THE FAMILY OF](https://cdn.globalauctionplatform.com/aec596d7-7a9d-417e-b41f-a4b800b0bfbf/af629d0a-7ff2-4292-bb25-c84f675d604d/468x382.jpg)
Lot 2011
REMBRANDT VAN RIJN [1606-1669], ETCHING & DRYPOINT, 4TH & FINAL STATE, H 4", W 6", "THE ANGEL DEPARTING FROM THE FAMILY OF TOBIAS": Plate signed and dated 1641; framed; references: B., Holl.. 43; H. 185; BB 41-G. Provenance: Ex. Coll. J. Peoli [Lugt 2020; F.C. Gray [Lugt 1101] and the Fogg Art Museum, Harvard University.
![REMBRANDT VAN RIJN, [DUTCH, 1606-1669], ETCHING, H 10 1/4", W 8 1/2" "THE ANGEL APPEARING TO THE SHEPHERDS".: Basan editio](https://cdn.globalauctionplatform.com/aec596d7-7a9d-417e-b41f-a4b800b0bfbf/e52c929e-222a-4783-9f2f-6f7e9afebd63/468x382.jpg)
Lot 1401
ALBRECHT DURER (1471-1528) MADONNA BY THE TREE (B.35) Engraving, 1513, a slightly later impression, narrow margins 11.5 x 7cm.; with `Entombment`, `St. Peter` and `St. Eustace`, engravings, all copies after Durer (two in reverse); and `The Good Samaritan` etching, after Rembrandt (in reverse). (5) ++ `Madonna` fair but grubby; the others fair, but foxed/grubby
Lot 1406
JAMES GILLRAY (1757-1815) A MARCH TO THE BANK Etching, a later impression from the Bohn edition of 1851 (paginated 85 upper right), originally published by S. W. Fores, 1787, with hand colouring 40 x 54cm. * Following the Gordon riots (anti-Catholic protests following the discriminatory Papish Acts of 1778), there were fears that the Bank of England did not have enough protection against looters and malcontents. The introduction of a daily guard met with fierce public disapproval. Soldiers marched down the Strand in pairs and took no heed of rebellious pedestrians in their grim determination to assert their authority. ++ Very slight light staining
Lot 1409
WALTER GREAVES (1846-1930) `TINNIE` (ALICE FAY GREAVES, b.1852, THE ARTIST'S SISTER) Etching with drypoint, c.1877, on wove, apparently an early trial impression 22.5 x 11cm. Provenance: London, Michael Parkin Fine Art Ltd, November 1998 ++ Slightly rubbed along the paltemark; a few slight grubby marks
Lot 1414
HERBERT DICKSEE (1862-1942) FOOTSTEPS Etching, 1925, published by Frost and Reed, 1926, signed in pencil 35 x 54.25cm.; with two further etchings by Dicksee, `The Challenge` and `Recumbent Puppies` (this one signed), 15.5 x 23.5cm. and 14.5 x 27.5cm. (3) ++ Each good condition but `The Challenge` lightstained.
Lot 1426
•ROBIN TANNER (1904-1988) THE OLD ROAD: ELEGY FOR THE ENGLISH ELM 1 (Garton 36) Etching, 1976, as published in British Etchers 1850-1940 by K, Guichard (1977), signed in pencil 30 x 23cm.; with `Wren and Primroses` (G.19) by the same artist, published 1977, signed, 9 x 11cm. (2) ++ Each in very good condition
Lot 1430
•ROBIN TANNER (1904-1988) MARTIN'S HOVEL (G.3) Etching, 1927, as published by Garton & Cooke in an edition of 12 in 1982, signed 16 x 21cm. * This is most Tanner's most famous etching, inspired by his Romantic `ruralist` vision of the Wiltshire countryside that he so loved. He extolled the idyll of 'a world of pastoral beauty that could be ours if we did but desire it passionately enough'. `Martin's Hovel` determined the course of most of the young Tanner's later subject matter. He withstood his teacher Stanley Anderson's harsh criticism of the composition and Anderson's comment that the sun was like a `blasted search light`. The print is now admired for its technical detail, its subtle balances of light and shade around the hovel entrance and for the evident delight that Tanner derived from his meticulous, painstaking work on the plate. ++ Very slight time staining; generally good condition
Lot 138
AFTER WILLIAM LIONEL WYLIE (1851-1931) "View of The Victory in Portsmouth harbour", black and white etching, signed in pencil, 19 cm x 26 cm, together with AFTER WILLIAM LIONEL WYLIE (1851-1931) "The Dreadnought at anchor", black and white etching, signed in pencil lower left, 19.5 cm x 26 cm
Lot 310
Salmon (William) - Polygraphice: or The Arts of Drawing, Engraving, Etching, Limning..., fifth edition, 23 engraved plates, ?lacking engraved title and portrait, light scattered foxing, modern calf, for Thomas Passinger, 1685 § Pyne (W.H.) Etchings of Rustic Figures for the Embellishment of Landscape, 60 engraved plates, some very light foxing endpapers browned, contemporary cloth-backed boards, spine worn, [1813]; and 13 others, mostly art, v.s. (15)
Lot 111
Walter Sickert (1860-1942)(after) - Wellington House etching, signed and titled within the plate, signed in pencil at lower right in the margin, 153 x 113 mm (image); with Peter Coker, Seated Girl, etching, numbered 3/4 and signed in pencil at lower right, 283 x 157 mm (image); Muirhead Bone, etching, 138 x 175 mm (image); Sir Stanley Spencer, six engraved plates from 'Almanack', published by Chatto & Windus, 1927, each bearing the rubber stamp 'Stanley Spencer Studio Sale', 203 x 128 mm (each sheet)
Lot 129
André Masson (1896-1987) - Les Conquérants -360 etching with aquatint, 1949, from Les Conquérants , published by Skira, Paris, on wove paper, with full margins, sheet 380 x 280 mm (15 x 11 in) This image was reproduced in Etching and Engraving, Techniques and the Modern Etching and Engraving: Techniques and the Modern Trend by John Buckland-Wright, Studio Publications, London, 1953. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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78388 item(s)/page