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Lot 1096
A PAIR OF GEORGE II CAST SILVER TAPERSTICKS maker H M, London 1758, each with knopped stem and shaped square base. (2) 12.5cm high, 8.8 troy ounces grossEach with a lovely set of clear marks to the underside. Each stands upright and does not rock. In generally very good condition commensurate with age.
Lot 139
John DarlisonWhelk houses, BrancasterWatercolour16.5 x 24cmTogether with M McCarthy, The Garth, Gwaelod-y-Garth, Watercolour, Signed, 11 x 16cm, Helen Lush miniature watercolours, tapestry pictures, Marjorie Blamey, Garden birds in a tree, A limited edition print No.990/250 another of butterflies etc
![[Johnson (Richard)]The Famous History of the Seven Champions of Christendom. St. George of England, St. Denis of France, St.](https://cdn.globalauctionplatform.com/c35f1e1a-88e1-4f87-87ac-af26010e74ee/7e4eb77a-b962-420a-b85a-af8500e9b28f/468x382.jpg)
Lot 108
[Johnson (Richard)]The Famous History of the Seven Champions of Christendom. St. George of England, St. Denis of France, St. James of Spain ... The First and Second Parts. Printed for Ric. Chiswell, M. Wootton, G. Conyers and B. Walford, 1696, two volumes bound as one, small quarto, unpaginated, register A-Y4, A-S4. Part 1: neat repair to edges of A1 and A2, tears to R1 and T2 with loss to lower margin, single worm hole with text area of Q4 to end of second volume; Part 2: additional worm holes to lower margin, P2 onwards, becoming tracking at S2-4, gathering H cropped tight to lower edge with loss of catchwords, impinging on last line of H1v, closed tear to J2, tear with loss of text to corner of N4. Some staining to both volumes. Modern antique style sprinkled calf. ESTC R202613 and R13277
![Monarchy[Bacon (Francis)], The Historie of the Reigne of King Henry the Seventh. Written by the Right Hon: Francis Lo: Virula](https://cdn.globalauctionplatform.com/c35f1e1a-88e1-4f87-87ac-af26010e74ee/025d35df-548d-4f87-9f0b-af950091443a/468x382.jpg)
Lot 135
Monarchy[Bacon (Francis)], The Historie of the Reigne of King Henry the Seventh. Written by the Right Hon: Francis Lo: Virulam, Viscount S. Alban. Printed by I.H. and R.Y, to be sold by Philemon Stephens and Christopher Meredith, 1629, small folio in fours, [4], 248, [10] pages, reissue of the 1628 edition with cancel title page, repairs to gutter margins from title to G3 and 2J1 and fore-edge margin of several leaves (not affecting text), some small tears not affecting text and a little staining and toning, half calf. ESTC S106900;Herbert (Edward, Lord), The Life and Reign of King Henry the Eighth.Printed by M. Clarke for Anne Mearne, 1682, folio in fours, [6], 636, [18] pages, portrait frontis, 2E4 and 4C3 lower corners cropped without loss of text, small hole in type of 2O3, tanning and some spotting, re-backed calf. ESTC R15107. (2)
![Nostradamus (Michel)Les Propheties de M. Michel Nostradamus ..., [with] Les Propheties de M. Michel Nostradamus. Centuries VI](https://cdn.globalauctionplatform.com/c35f1e1a-88e1-4f87-87ac-af26010e74ee/c69c12c1-e00e-45c9-84e0-af9100dd3657/468x382.jpg)
Lot 144
Nostradamus (Michel)Les Propheties de M. Michel Nostradamus ..., [with] Les Propheties de M. Michel Nostradamus. Centuries VIII, IX, X ... A. Lyon, 1698, duodecimo, French text, [12], 132, 131-178 pages, two title pages within pagination, each with woodcut portrait, contemporary calf gilt with gilt armorial to each board (restoration to spine and part of front board, dark marks to leather).
Lot 193
TrialsThe Proceedings on the King's Commissions of the Peace, Oyer and Terminer, and Gaol Delivery for the City of London and .... the County of Middlesex, held at Justice Hall in the Old Bailey ... Numbers I, I (pt.2), II, II (pt.2), III, III (pt.2), IV, IV (pt.2), V, V (pt.2), VI, VI (pt.2), VII, VII (pt.2), VIII, VIII (pt.2) for the year 1755. Printed and sold by M. Cooper, 1755, quarto in twos, 304, 327-364 pages, including 'The Tryal of Stephen McDaniel, John Berry.....' (Felony) within pagination, each part with separate title page, 'The Tryal of Charles Bradbury for the Detestable Crime of Sodomy ...', 1755, (19, [1] pages) bound between pages 304 and 327 but with own pagination, [bound with];The Ordinary of Newgate's Account of the Behaviour, Confession and Dying Words, of the Seven Malefactors Who were Executed at Tyburn ....Numbers I, II III and IV.Printed for and sold by T. Parker and R. Griffiths, 1754-5, quarto in twos and ones, 60, [2], 63-74, 77-81, each part with separate title, the final part with the execution of Barnaby Horan, uncut edges, well worn contemporary quarter calf binding [sold as described];Arnot (Hugo), A Collection and Abridgement of Celebrated Criminal Trials in Scotland, from A.D. 1536, to 1784. With Historical and Critical Remarks. Edinburgh: William Smellie, 1785, quarto, xiv, [2], xv-xxiii, [1], 400 pages, with additional Subscibers leaf, some light staining to lower margins and a little foxing, modern half calf ESTC T142881;With five others. (7)
Lot 59
English ParliamentThe Names of the Members of Parliament. Called to take upon them the Trust of the Government of this Common-wealth. Which Began on Munday the Fourth of June, 1653. The day appointed by the Letters of Summons from his Excellency the Lord Gen. Cromwell, for the meeting of these Gentlemen.Printed by M. Simmons, for Tho. Jenner, 1654, small quarto, [2], 70, pages, nine engraved illustrations (two cropped at tail edge), title page worn at edges with date and price to head (1656), extensive pen trials to pages 14/15, 38/39 and 46, marginal annotation to pages, 34, 35, 37 and 63, head of E1 and E2 cropped with loss of page numbers. ESTC R2275 [bound with]A Perfect List of the Names of the Persons returned to serve in this Parl. 1656 ...no imprint, 8 pages, part of larger work, worn edges, modern full sheep binding;May (Thomas), The History of the Parliament of England: Which began November the third, M.DC.XL. With a short and neccessary view of some precedent yeares.Imprinted .. by Moses Bell, for George Thomason, 1647, folio in fours, [16], 119, [1], 128, pages. Marginal foxing throughout, encroaching into text on final leaves, stain to lower gutter margin corner, small surface abrasion to text on 2H1, creasing to pages, ink obliteration at head of title, foxing to endpapers, armorial bookplate, worn contemporary calf.With nine others on the English Parliament, six published in the seventeenth century and three in the eighteenth. (11)
Lot 69
Frith (John)A Boke made by Johan Fryth, prysoner in the Towr of London, answering unto M. Mores letter, which he wrote against the fyrst lytle treatyse that Johan Fryth made concerning the sacrament of the body and bloud of Christ .... his Examination before the Bysshoppes .... for which John Frith was condemned ...Anthony Scoloker and Wyllya Seres, newely revised, corrected and printed ... 1548, the last daye of June. Small octavo, signatures A - O8, P5. Title page, E8, G2, G7, K1, K8, L3, L6, M8 and P3 supplied in facsimile, P6 is a later blank. Neat repair to head corner of E2 with ms. replacement of text, some marginal annotation. Manuscript notes regarding Frith to two blank leaves before title. Full calf binding. ESTC S102658
Lot 94
Homilies and SermonsLatimer (Hugh), Frutefull Sermons Preached by the right reverend father and constant Martyr of Jesus Christ M. Hugh Latymer newly imprinted ...John Daye, 1571, [2], 124 leaves, the title and preliminary leaf supplied in good facsimile, fo. 1 worn at fore-edge with functional repair, age tanning and some staining to pages, [bound with];idem, Seven Sermons made upon the Lordes Prayer, preached by the right reverend father ......M. Hugh Latimer ..., John Daye, 1572, [6], 219 leaves, the title and other five preliminary leaves and the final leaf supplied in facsimile, pages shaved with loss of headlines, foliation and catchwords, loss of lower line on at least one page, several marginal tears, tanning and staining.Bound in early calf with recent ties, 'P.p Candler' to front worn free endpaper, possibly Rev. Phillip Candler, headmaster of Woodbridge Grammar School, 1670-1688, manuscript notes on three pages of blanks before first title. ESTC S108312 With three further volumes of sixteenth century Sermons and Homilies, ten volumes of seventeenth century Sermons and one other. (15)
Lot 84
Edwardian period First World War George V 1897 patterned Infantry Officers sword with leather coated scabbard and sword bag, blade with CR5 cipher under crowned engraving, and initials M P W Made in England on the blade and spine, GR 5th cipher on hand guard and leather sword knot, overall length of sword approx 99cm
Lot 165
A Dynatron radiogram music system, model RG 25 A, two section lift up lid, Garrard diamond stylus turntable, 16,33,45,78 speeds, radio, two built in speakers, labelled by appointment to H M the Queen supplier of Televisions and Radiogramophones, Dynatron Radios Limited, 81cm high, 130cm wide, 41.5cm deep
Lot 425
John M. Wilson Signed Booklet Titled No Known Grave. A5 size booklet published privately by the author, 78 pages. This booklet is signed by the author on the preface page and comes with an post-publication introduction slip by the author fixed onto the inside front cover. This introduction reads: 'When WWII ended in 1945 the MOD imposed a 30 year rule which prevented any research being undertaken into missions flown by the RAF over enemy territory during the conflict. This meant that the wartime missions were not declassified until 1975 by which time my Mother and Father had gone to their graves not knowing what had happened to my late brother Ken who was a Flying Officer in 78 Squadron. I started to research with a view to tracing the steps which Ken had taken from joining the RAF as a V.R. in 1939 until the night of July 29/30th, 1943 when his aircraft failed to return from a mission over Germany and also to try to find out what had happened to himAll autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 465
Yeovilton The History Of Paperback Book by P. M. Rippon and Graham Mottram. Published in 1990. 95 Pages. Spine in good conditionAll autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 530
WW2 DM Medals Cover. 7 signatures including a rare signature. Flown in a Jet Provost Mk T3A. Signed by Air Marshall Sir Denis Crowley Milling, Group Captain H G Davies, Air Vice Marshal F L Dodd, Air Vice Marshal A V R Johnstone, Air Commodore Hon Sir Peter B R Vanneck, Wing commander H M Stephen and a rare sought after signature Wing Commander D E Kingaby DSO AFC DFM AE. certified copy 581 of 650All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 609
WW2 Multi-Signed Limited Edition Print 54/100 Short Stirling Mk I R9257 MG - C Aircraft History by M A & S J Kinnear Multi-Signed by 8 Bomber Command Veterans good conditionAll autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 191
PHOEBE STABLER (BRITISH 1879-1955) FOR HAMMERSMITH POTTERY THE BUSTER BOY, 1912 glazed stoneware, incised 'STABLER' above waves and '1912', impressed '18'; together with 'THE BUSTER GIRL' BY PHOEBE STABLER, glazed earthenware, impressed 'PHOEBE STABLER', printed 'ASHTEAD POTTERY' and 'DCM/ ASHTD', incised 'M 49' 17.5cm (6 7/8in) high; and ROYAL WORCESTER FIGURE OF PUTTI, modelled by Frederick Gertner to designs by John Wadsworth, printed mark 'Royal Worcester England', model '2694 Registrati...', 17.8cm (7in) high Dimensions:17.5cm (6 7/8in) highProvenance:Provenance: Ashtead figure: Christie's, South Kensington, 1st December 1993, lot 1.Worcester Figure: 'The Ceramic Art and Paintings of John and Philip Wadsworth', the auction of their estate, Phillips, Knowle, 8th April 1992, lot 84
Lot 211
JESSIE MARION KING (SCOTTISH 1875-1949) SKETCH BOOK, CIRCA 1915 her own sketchbook, with 26 original pencil sketches and watercolour sketches, cloth binding Dimensions:each page 12.7cm (5in), 21cm (8 1/4in)Provenance:Provenance: Sotheby's, 'Jessie M. King and E.A. Taylor', Charles Rennie Mackintosh Society, Queen's Cross Church, Glasgow, 21st June 1977, probably lot 257
Lot 213
JESSIE MARION KING (SCOTTISH 1875-1949) SPRINGTIME, THE ENCHANTED START AFTER WINTER'S SLEEP, 1904 pen, ink and watercolour on buff paper, signed and datedDimensions:14cm (5 1/2in) 19cm (7 1/2in)Provenance:Provenance: Sotheby's, 'Jessie M. King and E.A. Taylor', Charles Rennie Mackintosh Society, Queen's Cross Church, Glasgow, 21st June 1977
Lot 235
AUBREY BEARDSLEY (BRITISH 1872-1898) THE BIRTH, LIFE AND ACTS OF KING ARTHUR The Text as written by Sir Thomas Malory and imprinted by William Caxton at Westminster in the Year MCCCCLXXXV. Now spelled in Modern Style. With an Introduction by Professor Rhys and embellished with many Original Designs by Aubrey Beardsley. London: J. M. Dent, 1893-4. First edition, one of 1500 copies on ordinary paper, 2 volumes, 4to, original cream cloth, floral Art Nouveau design by Aubrey Beardsley gilt to spines and front covers, top edges gilt, others untrimmed, half-titles (each with limitation statement verso), photogravure frontispieces (on india paper, mounted as issued), 18 line-block plates (4 double-page), line-block text-illustrations, decorative borders, chapter-headings and tailpieces throughout, colophon leaf to each volume
Lot 241
SIR DAVID YOUNG CAMERON R.A. (BRITISH 1865-1945) D. Y. CAMERON'S ETCHINGS With an Introductory Essay by Frank Rinder. Edinburgh: Otto Schulze and Company, 1908. First edition, deluxe issue, one of 150 copies printed on Japanese vellum and signed by the artist, 4to, original vellum, tipped-in plate (a few loose), bookplate (Frank Gordon Brown);Idem. Etchings of D. Y. Cameron [same work as the preceding, with variant title]. Edinburgh: Otto Schulze and Company, 1908. First edition, trade issue, 4to, original quarter vellum, etched bookplate of James Robertson Cameron tipped in;Idem. The Etchings of D. Y. Cameron by Arthur M. Hind. London: Halton and Truscott Smith, Ltd., 1924. 4to, original black pictorial cloth gilt;and 13 others, including: Book of Common Prayer, c.1930, with repoussé silver panel after Holman Hunt's Jesus Light of the World mounted to front cover; Katharine Cameron, The Flowers I Love, undated, original boards with Art Nouveau design gilt to front cover, tipped-in colour plates; Oscar Wilde, A House of Pomegranates, with Sixteen Illustrations by Jessie M. King, 1915; Harry Clarke, Tales of Mystery and Imagination by Edgar Allan Poe, undated, original cloth, colour plates; Clough Williams-Ellis and John Summerson, Architecture Here and Now, 1934, original cloth, dust jacket; Joseph Nicolson, The History and Antiquities of the Counties of Westmorland and Cumberland, 1777, volume 1 only, with Aubrey Beardsley-designed bookplate of one, Mr Pollitt; Maxfield Parrish, The Arabian Nights, New York, 1921, original black cloth, plates; idem, The Golden Age by Kenneth Grahame, 1899, original cloth; idem, Dream Days by Kenneth Grahame, c.1900, original cloth; J. C. Rogers, Modern English Furniture, c.1910, original cloth, photographic plates; and 3 similar works; the lot sold as seen, not subject to returnProvenance:Provenance: Dominic Winter Book Auctions, Swindon, 17th May 1996, lot 341.
Lot 251
ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951) THE EDGE OF TOWN - KIRKCUDBRIGHT Mixed mediaDimensions:30.5cm (12in), 38cm (15in)Provenance:Provenance: Sotheby's, 'Jessie M. King and E.A. Taylor', Charles Rennie Mackintosh Society, Queen's Cross Church, Glasgow, 21st June 1977Note: Illustrated: The Studio Magazine, 1925
Lot 253
ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951) COTTAGES ON THE HILLSIDE Charcoal and watercolourDimensions:28cm (11in), 37cm (14 1/2in)Provenance:Provenance: Sotheby's, 'Jessie M. King and E.A. Taylor', Charles Rennie Mackintosh Society, Queen's Cross Church, Glasgow, 21st June 1977Abott & Holder, London.
Lot 283
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) CRAY FIELDS, 1925 (TASSI 19) Etching, signed in pencil to marginDimensions:image size 11.5cm (4 1/2in), 12cm (4 3/4in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 55.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.19.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.11. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: Gordon Cooke has noted that 'the Cray is a river, rising at St Mary Cray, near Farningham, where Graham Sutherland moved in 1927' (op.cit., unpaginated). Roberto Tassi has remarked that in this work ‘the bewitching atmosphere of [Samuel] Palmer…is clearly in the ascendant here, as we can see from the stars, the tall spikes and line of hop-poles’. (op.cit., p. 20)
Lot 285
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) PECKEN WOOD, 1925 (TASSI 21) Etching, signed in pencil to marginDimensions:13.5cm (5 1/4in), 18cm (7in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 51.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.21.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.10. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20 Note: Ronald Alley has written about this work that the rural world it depicts ‘is one of the past, the evocation of a mode of village life which had almost completely passed away. The emphasis is on the autumnal fertility of nature, with man living in communion with nature and...the moment depicted is when the sun is setting, or near setting and the stars are beginning to come out.' (Ronald Alley, Graham Sutherland, London 1983, p. 59)
Lot 286
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) ST. MARY'S HATCH, 1926 (TASSI 22) Etching, signed in pencil to marginDimensions:12cm (4 3/4in), 18cm (7in)Provenance:Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 52.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.22.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.13. Note: Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: St Mary's Hatch comes from ‘a series of small, densely worked etchings of rural England, thatched cottages and churches, fields with stooks of corn, the setting sun and the first evening stars, which were intensely poetic evocations of a more or less lost world of innocence and religious piety.’ (Ronald Alley, Graham Sutherland, London 1982, p. 9)
Lot 290
ERNEST GIMSON (BRITISH 1864-1919) CHEST OF DRAWERS, CIRCA 1915 oak, with patinated brass handles by Alfred Bucknell Dimensions:99cm (39in) wide, 90cm (35 1/2in) high, 48.5cm (19in) deepNote: Literature: Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p.220, pl. 202 where a drawing for a similar chest is illustrated, and p. 258, pl 243 where line drawings for similar handles are illustrated.Note: Accompanied with authentication from Cheltenham Museum and copies of Gimson's original design drawings (catalogue number 1941-222-491).
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