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*Brock (Henry Matthew, 1875-1960). Four Cornish landscapes, together four watercolour on artist's board, each depicting a coastal scene of sea and rocks, all signed, one titled 'Strangles Bay' and dated 1925 lower left, some spotting and toning, each 26.5 x 37cm (10.5 x 14.5ins), together with Brock (Charles Edmund, 1870-1938), An English landscape, watercolour on paper, depicting a river with tree-lined bank, some light toning and a few fox spots, light offset line at edges from previous mount, initialled lower left, 25.5 x 35.5cm (10 x 14ins), plus Brock (Richard Henry, 1871-1943), Children with horses watering, watercolour on paper, depicting a sunset scene with a girl sitting on a horse in a river, and a boy on the bank leading another horse into the water, initialled in pencil on verso, 25.5 x 35.5cm (10 x 14ins), plus three others by Richard Brock, all signed or initialled, two dated 1894 and 1895, and three woodland landscapes by Thomas Alfred Brock, plus three unsigned landscapes (15)
*Roberts (David, 1796-1864). Town square with ancient buildings, Rouen, 1836, pencil and white bodycolour on light brown paper, partly unfinished to right hand side, inscribed in pencil lower right 'At Rouen Sep 36', laid down on card, some marks and minor damage to lower edge, sheet size 27.9 x 39.7 cm (10.9 x 15.7 ins), mounted, inscribed in a later hand in pencil to verso 'Rouen/ David Roberts R A/ Guy Lancaster Collection' Provenance: Collection of Percy Lancaster (1878 - 1951), landscape painter and etcher, born in Manchester, who originally trained as an architect but then attended Southport School of Art. (1)
*Attributed to Jacopo Palma II Giovane (circa 1548-1628). Assumption of the Virgin, with Saint Luke and Saint Anthony, late 16th century or early 17th century, pen and dark brown ink, light brown wash, over traces of pencil, and touches of white bodycolour on laid paper watermarked with shield, inscribed in brown ink by an early hand with names of the two saints below the image and at foot 'Nelle Chiesa di S. Procolo in oggi d. Macillare', squared in pencil for transfer with numbered sequence to right and lower edge of the image, sheet size 37.1 x 25.6 cm (14.6 x 10.1 ins), mounted Provenance: Sotheby's 30 October 1980, lot 43. Private Collection, Worcestershire, England. (1)
*Burne-Jones (Sir Edward Coley, A.R.A., 1833-98). Original preparatory design for the inscription to the painting "The Nativity", 1888, pencil on paper, consisting of six lines of text in Latin from the Book of Psalms, Psalm 11, chapter 6: "Propter Miseriam Inopum Et Gemitum Pauperis Nunc Exsurgam Dicit Dominus", 'For the oppression of the poor, for the sighing of the needy, now will I arise, saith the Lord' (King James version), some light marks and light soiling to central horizontal join, 43.5 x 43.5 cm (17 x 17 ins) mount aperture, framed and glazed Originally commissioned for the chancel of the Church of St John the Apostle in Torquay in 1887, the picture was sold with its companion work, The King and the Shepherd, to Andrew Lloyd Webber, who donated the paintings in 1997 to the Carnegie Museum of Art in Pittsburgh, United States. (1)
*De Morgan (William, 1839-1917). Stained glass window designs, together four pen, ink, & watercolour designs on card, all dusty, comprising: a design for a large multi-light tracery church window, depicting scenes from the Life of Christ, and various angelic figures, some closed tears, sheet size 44 x 33cm (17.5 x 13ins), laid down on card; a design for a tracery church window depicting David as shepherd in the centre, flanked by decorative panels either side and below, annotated in pencil, ink inscription upper left 'C.F. Hayward Archt. July 28/70', 47.5 x 24cm (18.75 x 9.5ins); a design for a rose window for the east window of 'Union' Congregational Chapel, Brixton Hill near Streatham, titled in ink above and below, annotated in pencil with colours, 34 x 24cm (13.5 x 9.5ins), sometime laid down on linen; and a design for a two light window with cinquefoil above, annotated in pencil 'Mr. Dimmock's window', 28 x 19cm (11 x 7.5ins); plus a small sheet of pencil sketches of architectural details, annotated in ink 'Du Sommerard', 14 x 22.5cm (5.5 x 9ins) Known chiefly as a ceramicist, William De Morgan's work as a designer of stained glass is less well documented. In 1863 at the age of 24 De Morgan met William Morris, and the pair, both to become central figures in the Arts & Crafts Movement, became lifelong friends. It was at Morris's suggestion that De Morgan gave up his training in fine art and turned to design work. Between 1863 and 1872 he designed glass, tiles and furniture for Morris & Co. including collaborations with Edward Burne-Jones on stained glass production for The Firm (as it was known). (5)
*Beurdeley (Jacques, 1874-1954). Barques de peche au repos (Tamise), etching with drypoint on laid paper, from the published edition of 50, a good impression with plate tone, signed and numbered 45/50 in pencil, plate size 15 x 23 cm (5.9 x 9 ins), sheet size 17.2 x 25 cm (6.75 x 8.7 ins), mounted, together with Bracquemond (Felix, 1833-1914), La Seine au Bas-Meudon, 1868, etching on laid paper, the final state, as issued in the Gazette des Beaux Arts in 1884, light crease to lower right blank margin, plate size 15.7 x 22.8 cm (6.2 x 9 ins), sheet size 18.5 x 27.5 cm (7.25 x 10.75 ins), mounted, plus six other etchings by Edgar Chahine (St.-Germain-L'Auxerrois, 1902), Louis Legrand (Flore artificielle), Leon Lhermitte, and Auguste-Louis Lepère, each mounted Beraldi 187, iv/iv. (8)
*Lievens (Jan, 1607-1674). Bust of a man with thick lips, circa 1640, etching on laid paper, third state (of 3), with all-over cross-hatching, some marks and light waterstaining, small hole below the head of the figure, minor paper loss towards bottom of right margin, trimmed to plate margin on all four sides, 77 x 62 mm (3 x 2.5 ins), 19th century wood frame, glazed, together with another head of a bearded prophet, initialled in the plate J.S. no. 4 lower left, similar size and frame Hollstein 88, iii/iii. Bartsch 308 (as Rembrandt). Hind 353 (as Rembrandt). (2)
*Calvert (Edward, 1799-1883). The Brook, 1829, wood engraving on light grey-brown wove paper, as issued in A Memoir of Edward Calvert, Artist, by his Third Son, 1893, in an edition of 350, mount staining, image size 51 x 88 mm (2 x 3.5 ins), sheet size 16 x 26.2 cm (6.25 x 10.3 ins), framed and glazed Lister 12c. (1)Amendment : This is not framed and glazed
*Leyden (Lucas van, 1489/94-1533). The Conversion of St. Paul, 1509, large engraving on cream laid paper (without watermark), 18th century copy after the engraving by Van Leyden, one or two small touches of light brown watercolour wash, trimmed to margins, sheet size 28.9 x 41.3 cm (11.4 x 16.3 ins) New Hollstein (Dutch & Flemish 107). Bartsch VII. 394. 107. (1)
*Francais (Francois Louis, 1814-1897). Baigneuses, lithograph on paper after Alexandre Gabriel Decamps (1803-1860), printed by Imprimerie Bertauts, Paris, for Les Artistes Contemporains, small publisher's blindstamp to centre of lower blank margin, image size 17.5 x 24.5 cm (6.8 x 9.6 ins), with margins, framed and glazed, together with 17 other various 19th century French and continental lithographs and etchings, including Charles Jacques, Le Pecheur (from Souvenirs d'Artistes), several lithographs by Louis Marvy after Decamps, Corot, J. Laurens, L'Affut after Paul Flandrin, Cheveaux dans un paturage, after Diaz (for Les Artistes Anciens et Modernes), etc, many with print seller's stamp of G. Boy, Alliance des Arts, 80 Rue Lafayette, Paris, some marks and light soiling (18)
*Palma il Giovane (Jacopo, 1548-1628). The Virgin appearing to St. Nicholas of Bari, pen, ink and light brown wash on pale grey-green laid paper, depicting a sleeping saint, with the Virgin Mary appearing above him, and three men in the background around a wooden chest, inscribed in an old hand in brown ink 'Giacomo Palma' lower left corner, with collector's blindstamp of a flower just above, and small circular stamp with initials WSK to verso, 34.4 x 22.6 cm (13.5 x 8.9 ins), some surface marks and minor stains, with one or two minor repairs, mounted along left margin to late 19th century card with wash border, (with extensive handwritten note in ink in German) Provenance: Nicholas Lanier (1588-1666), musician, collector and art agent for Charles I (his star mark Lugt 22285). Pietro Malenza, lawyer, Verona. His sale, Leipzig, 25 February 1867. Unidentified German collector W.S.K. (apparently not in Lugt). Attribution to Palma il Giovane (Jacopo, 1548-1628), confirmed by Professor Stefania Mason Rinaldi on the basis of a photograph. Nicholas Lanier was appointed Royal Lutenist in 1616, and became Master of the Musick to Prince Charles in 1618. He was selected by Charles I to supervise the acquisition and transport of the Duke of Mantua's collection to England during 1625-1628. He is particularly known as a collector of drawings, his star mark being one of the earliest recorded collector's marks. The inscription 'Giacomo Palma' in brown ink below is likely therefore to be in Lanier's own hand. The present drawing may have been obtained by Lanier directly from the artist, who died in 1628. (1)
*Haden (Francis Seymour, 1818-1910 ). Horsley's House at Willesley, 1865, etching and drypoint on thick laid paper, a trial proof, a very good, richly printed impression, signed and inscribed 'D.88' and 'trial proof' by the artist in pencil, light mount stain, plate size 17.6 x 24.8 cm (7 x 9.75 ins), with margins, framed and glazed Schneiderman 89 i/ii. John Callcott Horsley R.A. (1817-1903) married Haden's sister Rose, and lived at Willesley House near Cranbrook in Kent. The house was remodelled in 1864-65 by the architect R. Norman Shaw, and became an artist's colony. Haden produced five etchings at this location (Schneiderman 89-93). Provenance: Acquired from Garton & Cooke in 1985 (Catalogue 31). (1)
*Hainard (Robert, 1906-1999). Gobe-mouche becfigue (Flycatcher), 1932, colour woodcut, the second state, signed and numbered 35/50, printed location and date Aire-La-Ville 25 Avril 1932, image size 10 x 10 cm (4 x 4 ins), with margins (some light discolouration to edges), framed and glazed with Tryon Gallery label to verso (1)
*Langmaid (Rowland, 1897-1956). Shipping on The Thames, by Waterloo Bridge, with Lambeth Shot Tower and Works, etching on handmade paper, watermarked England to lower right corner, signed in pencil, mount stained, plate size 9.2 x 34.5 cm (3.6 x 13.6 ins), sheet size 19 x 45 cm (7.5 x 17.75 ins), old frame, glazed, together with Harding (Frank, late 19th/early 20th century), Dover, etching, signed and titled in pencil, plate size 11 x 30 cm (4.3 x 11.75 ins), with margins, some light discolouration, framed and glazed (2)
*McBey (James, 1883-1959). April in Kent, 1912, drypoint etching on laid paper, from the edition of 5 letttered and 40 numbered proofs, signed and numbered XXXIX in ink, a very good, clean impression, plate size 15.4 x 28.5 cm (6 x 11.25 ins), with margins, framed and glazed, together with Zaandijk, 1910, etching on paper, from the edition of 41 proofs, signed and numbered XXVII in ink, some light discolouration, plate size 10.4 x 17.7 cm (4.1 x 7 ins), with margins, framed and glazed Hardie 114 & 73. (2)
*Haden (Francis Seymour, 1818-1910 ). The Little Boathouse, 1877, drypoint etching on antique white laid paper, the third state (of 4), signed in pencil, light mount stain, plate size 14.9 x 22.3 cm (5.9 x 8.75 ins), with margins, together with Ludlow Castle, 1869, etching with plate tone on laid paper (with F J Head & Co watermark), the only state, plate size 13.9 x 21.3 cm (5.5 x 8.4 ins), with full margins, both framed and glazed Schneiderman 157, iii/iv & 130. Provenance: Acquired from Garton & Cooke. (2)
*Attributed to Ferdinando Galli Bibiena (1656-1743). Facade and Portico of a Palazzo with figures and receding columns, pen and dark brown ink on laid paper with Strasburg Lily watermark (similar to Churchill 404 or 407) dateable to circa 1725-1758, some ink marks and early doodles in ink to verso, sheet size 13.5 x 19.7 cm (5.5 x 7.75 ins), together with two other pen, brown ink and wash studies of architecture with receding columns, attributed to Giuseppe Galli Bibiena (1696-1757), the first in pen, brown ink and grey-brown wash on laid paper (watermarked indistinctly) with additional design to verso in pen, brown ink and grey wash, with some blue, red, purple and pink watercolour, partial manuscript title to right 'di Teatro, a uso di Arena, per una villegiatura, 230' [a design for the auditorium in a country villa), sheet size 28.7 x 23.8 cm (11.25 x 9.4 ins), the other drawing in pen, brown ink, grey and brown wash on laid paper (watermarked), with additional design of a multi-storey façade in brown ink, grey, brown and light pink wash to verso, sheet size 28.7 x 23.5 cm (11.3 x 9.3 ins) Provenance: Formerly in the collection of the artist and stage designer Edward Gordon Craig (1872-1966), with his handwritten notes relating to these and one other drawing by Bibiena (not present), on two sheets, contained in his own purpose-made brown paper folder, titled by hand to upper cover, and dated 1940. Purchased by Gordon Craig in Florence in 1922 (according to his notes). With a letter from John Carter of Sotheby's, New Bond Street, London, to Edward Craig (Carrick), Gordon Craig's son, dated 14th February 1957, acknowledging receipt of the drawings. A similar study of architecture with porticoes and columns, by Ferdinando Bibiena in brown ink, measuring 26.1 x 20 cm was sold by Gonnelli Casa d'Aste, 14 June 2012, lot 210, featuring the same type of decorative columns. (3)
Whistler (James Abbott MacNeill, 1834-1903). The Unsafe Tenement, 1858, etching on chine colle, the 4th state (of 4) with printer's name and address erased, a rich clean impression with light plate tone, with margins, plate size 15.3 x 22.6 cm (6.02 x 8.89 ins), with good margins, framed and glazed Kennedy 17, iv/iv. Glasgow Online Catalogue 18, iv/iv (records 76 known impressions). From the series: Twelve Etchings from Nature first published in 1858. (1)
*Whistler (James Abbott MacNeill, 1834-1903). The Rag Gatherers (or Rag Pickers, Quartier Mouffetard, Paris), 1858, etching and drypoint on laid paper, the 5th state (of 5) with figures present and date, a clean impression with light plate tone, with margins, plate size 15.3 x 8.9 cm (6.02 x 3.50 ins), with good margins, framed and glazed Kennedy 23, v/v. Glasgow Online Catalogue 29, v/v (records 80 known impressions). (1)
*Wyllie (William Lionel, 1851-1931 ). Rouen, drypoint etching, signed in pencil lower left, light staining to lower blank margin, plate size 16 x 37.5 cm (6.4 x 14.8 ins), sheet size 26.4 x 45 cm (10.5 x 17.8 ins), together with a sepia aquatint of Framlingham Castle by G. Dudley Kaynes, signed and titled in pencil (2)
*Hirokage (Utagawa, active 1855-1865). Srange Events at Tomonoura in Asakusa (Asakusa Tomonoura no kikai), from the series Comical Views of Famous Places in Edo (Edo meisho dôke zukushi), 1859, oban colour woodblock print, published by Tsujiokaya Bunsuke (Kinshôdô), some light soiling and a few small wormholes mostly not affecting image), 35.5 x 24 cm (14 x 9.5 ins), together with six other Japanese colour woodblock prints, including Hiroshige (2) and Utagawa Kunisada (2) Ota Memorial Museum, Tokyo, Warau ukiyo-e (2013), 25. (1)
*Rembrandt (Harmensz. van Rijn, 1606-1669). St. Jerome in a dark chamber, 1642 (Bartsch 105; Hollstein 201), etching on laid paper, without watermark, probably a 19th century impression from the original plate, by Henri Louis Basan or Auguste Bernard, some light overall browning, plate size 15 x 17.3 cm (6 x 6.8 ins), sheet size 16 x 18.2 cm (6.35 x 7.2 ins), mounted, together with a collection of 95 various Old Master etchings and engravings by Rembrandt, Durer, Claude, Frans van Bloemen, Jan van Kessel, Israel, Silvestre, Karel Dujardin, Stefano della Bella [the majority apparently from Kay's reissue of 1826, entitled Collection of Original Etchings by Kay of Welbeck Street, Cavendish Square, London], and including 12 etchings of Italian scenery by Farington, Gandon, E. Rooker, M. Rooker and W. Hodges after Richard Wilson, published by John Boydell in 1776, the majority mounted on album leaves and bound in an early 19th century gilt-decorated morocco binding, worn, and one other worn and broken gilt-decorated red morocco binding, both folio (96)
*Piener (Werner, 1897-1984). Mars and Venus, circa 1945, a pair of watercolour and pencil drawings on light brown paper, heightened with white bodycolour, signed Piener and with monogram respectively lower left, 24 x 14 cm (9.5 x 5.5 ins), framed and glazed together, with arched card mount to each image Provenance: Major Robert Graham Holt (1921-2008), Suffolk, England; his stepdaughter Judy Boyt; recently acquired from the latter by the present owner. Previously associated during the Weimar Republic of the early 1920's with the New German Romantic movement, Werner Piener was one of the most significant artists to receive official support from Hitler's National Socialist government. Major Holt met and befriended the artist (interned due to his connections to the Third Reich) in Germany after the war, whilst serving in the Royal Observer Corps, where he was appointed Quartering Officer in Munster, Westphalia, as part of the Allied teams liaising with German communities in the post-war reconstruction of Germany. (1)
*Blake (Peter, 1932- ). Alice Through the Looking-Glass and What Alice Found There, 1970, the completed set of 8 colour screenprints on paper from the edition of 100, each with printed caption at foot, pencil signed by the artist, numbered 38/100, image size 24 x 18 cm (9.5 x 7 ins), occasional light toning to a few sheets, framed and glazed (8)
Finlay (Ian Hamilton, 1925-2006). Headlines: Eavelines, for Eve Furnival, Openings Press from Bath Academy of Art, Corsham, Wiltshire, circa 1970, portfolio of 13 colour screenprints by Ann Stevenson, Christopher Lumgair, Susan Hudson, Simon Lord, Jonathon Willcocks, Virginia Robinson, David Mitchinson, Deborah Fulford, Ann Hildred, Angela Wellard, Paul Ansell, Simon Farrell and Elizabeth Kelly, numbered 9 from the edition of 50, light spotting to title leaf, sheet size 46.5 x 46.5 cm (18.25 x 18.25 ins), loose as issued in original cloth-backed portfolio, slight edgewear, square folio (1)
*Volpato (Giovanni, 1732-1803 & Ducros, Abraham Louis Rodolphe, 1748-1810). The Garden of The Villa Doria Pamphili, circa 1780, watercolour and gouache over etched outline, trimmed slightly inside the image, some light discolouration to sky, image size 49 x 69 cm (19.25 x 27.2 ins), period beaded gilt frame, glazed (1)
*Pennie (Michael, 1936-). The Succession of Life Through Geological Time, 1961, colour screenprint, signed and dated '72, and numbered 9/50, additionally signed by the British novelist B.S. Johnson (1933-1973) in green ink, image size 52 x 68 cm (20.5 x 26.75 ins), some light mottled marks to margins, framed and glazed (1)
*Attributed to Taddeo Zuccaro (1529-1566). Holy Family with Saint John the Baptist, Saint Elizabeth and Saint Joseph, pen & brown ink and wash on laid paper, inscribed with title in French to verso and attributed to Francesco Mazzolo, Il Parmigianino(1503-1540), sheet size 41 x 29.3 cm (16.2 x 11.55 ins), mounted, inscribed in English to verso of mount 'Sothebys' 'Taddeo Zuccaro' and 'Other versions exist of this drawing' Provenance: Private Collection, Worcestershire, England. A fine large-scale drawing in ink and wash showing Zuccaro's ability to evoke spatial depth from the two-dimensional surface of the paper by means of light and dark tones, a skill developed from the example provided by Michelangelo. (1)
*AR Piper (John, 1903-1992). Courthouse, Long Crendon, Buckinghamshire, 1978, colour lithograph on T.H. Saunders waterleaf paper, printed by Curwen Studio for Christie's Contemporary Art, and The National Trust in an edition of 120, signed and numbered 24/120 in pencil, with publisher's blindstamp lower right, very light spotting to lower blank margin and minor waterstain to extreme lower left edge (generally in very good condition), image size 42.2 x 58 cm (16.5 x 22.75 ins), sheet size 57.3 x 77.3 cm (22.5 x 30.5 ins), framed and glazed, with Gold Mark Gallery labels to verso Levinson 285. (1)
*Fasi-Gessner (Johann Conrad, 1796-1870). Three sketchbooks containing drawings of Swiss people, flower studies, alphabets, some Zurich town scenes, trees and landscape, by Johann Conrad Fusi-Gessner, circa 1820's-30's, consisting of one slightly larger album with 42 studies of individual figures, tradesmen and women, some children, many in traditional costume, mostly fine pencil, a few with light brown wash, artist's printed name label to front pastedown, sheet size 28 x 21 cm (11 x 8.25 ins), a second slightly smaller album containing 45 pencil drawings on 37 leaves, including flower and plant studies, street scenes and interiors, seated figures etc., artist's printed label to front pastedown, sheet size 22 x 17.5 cm (8.7 x 6.9 ins), and a third slightly smaller album of plant studies, alphabet and letter designs, some figures, pen & brown ink or pencil, sheet size 20.5 x 13.5 cm (8 x 5.25 ins), all original boards, rubbed and marked, some wear to edges (3)
*Cignani (Carlo, 1628-1719). The Mystic Marriage of Saint Catherine, pen & dark brown ink and wash on laid paper, with traces of red chalk, inscribed with artist's name to foot of sheet( in light and dark brown ink), and also inscribed 'Octtantsette' (?) by an early hand, verso inscribed with artist's name and with initials AS in a later hand (probably later 18th century), sheet size 30 x 21.8 cm (11.8 x 8.6 ins), mounted Provenance: Private Collection, Worcestershire, England. (1)
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