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Lot 429
WILBUR KELLS PEACOCK 1898 - 1990 CANADIAN SET OF FOUR COPPER ETCHING of scenes around Harthouse, University of Toronto, each signed and numbered in pencil in the margin and dated consecutive years from 43 to 46 inclusive, these etchings were presented by the Warden of Harthouse to it's Alumni each Christmas, each is approximately 14cm x 11cm (4)
Lot 497
Houses of Parliament as viewed across the Thames, print, numbered 42/75 and inscribed lower left, signed indistinctly in pencil lower right (J Bentill?), 37 x 51 cm; together with Elyse Ashe Lord (1900-1971) - A lady reading surrounded by blue hydrangeas and blossom, coloured etching with aquatint, numbered 23/100 lower left and signed "E Ash Lorde" lower right, 30 x 37 cm (2)
Lot 105
ROBERT H. SMITH (20TH CENTURY) An ocean liner convoy with bi-planes above, etching, pencil signed in the margin, 16 x 22cm; and two further etchings by the same hand to include a naval engagement and a naval convoy, each also signed in pencil to the margin, 21 x 27.5cm and 16 x 22cm respectively, all mounted but unframed (3)
Lot 114
ATTRIBUTED TO CYRIL HENRY BARRAUD (1877-1965) The Tower of London, etching, pencil signed 'Sedgwick' to the margin, 19 x 28.5cm; three further historical Thames shipping scenes by the same hand; and four further London scenes (8) The works are attributed to Cyril Henry Barraud and were published by F.W. Sedgwick around 1920
Lot 187
Rembrandt van Rijn (1606-1669) - Beggar Woman Leaning on a Stick Etching, on laid paper Inscribed no.164 in pen and brown ink lower right Circa 1646 8.5 x 6.5 cm. (3 3/8 x 2 1/2 in) Literature: Bartsch 170; Hollstein (White and Boon) 170 Please note: that this work is dated circa 1646 not as catalogued
Lot 188
Rembrandt van Rijn (1606-1669) - Nude seated on a mound Etching on laid paper with indistinct armorial watermark Possibly re-worked by another hand Circa 1631 but later impression [cf. White & Boon 198; New Hollstein 88] 17.5 x 16 cm. (6 7/8 x 6 1/4 in) Together with Baron Dominique Vivant Denon's (1747-1825) etching of three heads, after Rembrandt[?], 5 x 12 cm. (2 x 4 3/4 in), (2).
Lot 189
Charles Meryon (1821-1868) - La Morgue Etching and drypoint, printed in brownish black ink, on laid paper Fourth state (of seven), [Schneiderman 42] 1854 28 x 24 cm. (11 x 9 1/2 in), full margins Unframed A well inked impression of one of Meryon's most iconic and atmospheric etchings. La Morgue not only documents the architectural heritage of Paris, but with Meryon's characteristic skill of creating mood through line and shadow, the macabre subject matter becomes both intriguing and mysterious.
Lot 193
Theodore Casimir Roussel (1847-1926) - The Gate, Chelsea Etching and drypoint, with light plate-tone, on laid paper Signed in pencil on tab lower left Circa 1889-1890, [Hausberg 33] Final state (of four), from an edition of around 40 20.7 x 16.5 cm. (8 x 6 1/2 in) Together with Margaret Dunwoody Hausberg's The Prints of Theodore Roussel, A Catalogue Raisonné , numbered 164 of 750, in green cloth slipcase, and a Christie's sale catalogue, 28th October 1988; the original auction for the present etching, lot 341. 'The gate and house behind it still stand today at No.4 Cheyne Walk. It is located in a row of the oldest and most elegant buildings on Cheyne Walk - the segment that has changed the least since Roussel's time.' [Hausberg, The Prints of Theodore Roussel , 1991, p.65]
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