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Lot 119
A pencil sketch attributed to L S Lowry ( Laurence Stephen Lowry 1887-1976) of a tramp smoking a cigarette by railings. Annotations to top left "Peel Park". Signed to lower left L,S.Lowry, 1959 with various notes to edges. On reverse Christmas dedication dated 1959, Lowry's address and what is believed to be a gallery number (*89329) N.F.S ( not for sale) amongst other notes. Similar to other works of tramps by Lowry, on folded A4 sized notepaper
Lot 120
A pencil sketch attributed to L S Lowry ( Laurence Stephen Lowry 1887-1976) of a street scene. Annotation lower left "Pendelbury", signed L.S.Lowry, 1959 to lower right. notes to reverse including Lowry's address, Christmas 1959, *89338 ( possible gallery number) and N.F.S ( not for sale). Similar to other Lowry sketches of street scenes, on A4 sized note paper ( folded)
Lot 441
Group of antique jewellery: Inlaid earrings, onyx brooch & an odd earring possibly gold mounted, a large stick / stock pin head set in yellow coloured metal with black enamel decoration and the inscription 'in memory of' and the facility to insert a small photo or lock of hair at the reverse and a propelling pencil set turquoise, and having a cap with hardstone seal matrix end stone, probably gold.
Lot 355
* German School. Portrait of a young gentleman, 18th century, coloured chalks on laid paper, with large watermark incorporating the figure of a man, head and shoulders portrait half-profile to right of a young bewigged gentleman wearing a dark coat and neck bands, some slight spotting, lower corners each with several short (maximum 4cm) incisions, some very slight fraying to top edge, verso with indistinct early pencil inscription '? Pfr Gyri-Meyer', and partially edged with brown paper strips, sheet size 29.5 x 21.5cm (11.5 x 8.4ins)Qty: (1)NOTESSee Churchill 509: a watermark very similar to that of Wendelsteiner Mill of Bavaria (1686).
Lot 356
* Beaumont (Sir George Howland, 1753-1827). Roman Ruins at Mount Palatine, pencil and white chalk on blue paper, showing Roman ruins including the palace of Domitian on the Palatine Hill in Rome, signed lower right, and titled upper left, sheet size 21.9 x 29.8cm (8.5 x 11.75ins), mounted, framed and glazedQty: (1)NOTESProvenance: Christie's Interiors Sale, London, South Kensington, 29th May 2012, lot 805.
Lot 450
* Anelay (Henry, 1817-1883). Folkestone, circa 1875, watercolour and pencil on paper, signed in pencil to lower left, 'Folkestone, Kent 1875' in pencil on verso, watermark 'Whatman 1875', some light discolouration (but generally in good, bright condition), sheet size 38.5 x 55.5cm (15.25 x 21.75ins), mounted, with artist's name and title at foot of mountQty: (1)NOTESThe South Eastern Railway took over Folkestone Harbour in 1842, and in 1848 they built an ornate wooden lighthouse which was known as the Horn Tower. Later, when the pier was extended, a new stone-built lighthouse was erected. The Horn Tower was eventually dismantled in 1941.
Lot 453
* Brindesi (Giovanni, 1826-1888). Ottoman Gentleman at rest, watercolour, pencil and white chalk on pale brown wove paper, signed Brindesi to margin, sheet size 266 x 190 mm (10.4 x 7.5 ins), mounted on old backing paperQty: (1)NOTESThe Italian painter Giovanni (or Jean) Brindesi lived in Istanbul during the reign of Abdul Mecit in 1831. His work is best known through the publications issued by Lemercier in Paris entitled Musée des Anciens Costumes Turcs de Constantinople of 1855, and the Souvenirs de Constantinople, issued between 1855 and 1860.
Lot 455
* British School. The Rescue, circa 1820s, watercolour and pencil on paper (watermarked 1824 according to a pencil note on the backboard), depicting wind-swept figures on a rocky shore, some semi-clad, including a woman weeping over a supine body, and other figures being carried ashore, with a vessel listing in the water off-shore, and a fortification with square tower on the cliff above, 24.5 x 39cm (9.75 x 15.5ins), mounted, framed and glazedQty: (1)NOTESUnsigned and apparently unfinished, but nevertheless a dramatic and accomplished watercolour drawing.
Lot 457
* Collins (B.P., late 19th/early 20th century). Study of a male head, red and black chalks on wove paper, head and shoulders portrait half-profile to right, depicting a young man with flowing auburn red hair, wearing a square-necked tunic and a hat, signed in pencil lower right below mount, sheet size 35 x 28cm (13.75 x 11ins), mounted, framed and glazedQty: (1)NOTESWe have been able to trace only one other artwork (a female nude) by this elusive artist who was evidently an accomplished painter influenced by the style of the Pre-Raphaelite Brotherhood.
Lot 460
* Devis (Anthony, 1729-1816/17). 'From the Field above Mrs Dalton's', circa 1790, pen, black ink and watercolour on wove paper, inscribed with title by the artist in pencil to top blank margin, image size 136 x 200 mm (5.4 x 8 ins), sheet size 159 x 231 mm (6.3 x 9.1 ins), framed and glazed, with Thomas Agnew & Sons gallery label to verso, and printed catalogue note (erroneously describing another drawing by Devis), together with an English School watercolour study of a gothic church and street scene in France, circa 1830s-40s, unsigned, 295 x 190 mm (11.6 x 7.5 ins) mount aperture, gilt frame, glazedQty: (2)NOTESThe Georgian topographical artist Anthony Devis moved to Albury House near Guildford, Surrey in 1780, where he built a mushroom-shaped studio, later known as Mushroom Hall. For much of the time thereafter Devis produced watercolour views of the local landscape, such as the present work.
Lot 461
* English School. Four watercolour drawings of big cats, circa 1828, 4 pen, black ink, pencil and watercolour drawings on cream wove paper, heightened with white bodycolour and gum Arabic, each with paper mount, inscribed in pencil with title: Young Lions (Cross’s Menagerie), Tiger (Zoological Society), Black Leopards (Zoological Sy.), and Jaguars (Zool. Socy), each with mount stain, sheet size 170 x 245 mm (6.7 x 9.7 ins) or slightly smaller, matching 20 th century white painted frames, glazedQty: (4)NOTESProvenance: Collection of Jack Webb (1923-2019), London. Given the handwritten captions to these drawings, they must have been executed around 1828 or 1829, as Edward Cross’s Menagerie, the first commercial zoological collection in England, which had been founded in 1773, closed in 1829. The Zoological Society of London founded the oldest zoological gardens in continual use in Regent’s Park in 1828. These unsigned drawings are therefore likely to have been made around the time of the opening of the Zoological Society’s exhibit.
Lot 463
* Fisher (Thomas, 1782-1836). Mr. Roberts's house, Tebworth, Bedfordshire, watercolour and traces of pencil, depicting a red stone house with mullioned windows, and a thatched timbered barn adjoined on the right with a lattice-paned window, image size 24 x 28.5cm (9.5 x 11.25ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 54. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.
Lot 464
* Fisher (Thomas, 1782-1836). Mrs Sandy's House, Eversholt, Bedfordshire, watercolour and traces of pencil, depicting a large and imposing red brick house with sash windows, a path between lawns leading to the panelled front door, and a door in the garden wall to the left leading into a small dwelling or bothy, image size 24 x 28.5cm (9.5 x 11.25ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 60. The house depicted here is still extant, and now called Linden House, having been known as Linden Farm in the late 18th century, and subsequently as Eversholt House in the 19th century and Eversholt Rectory in the early 1900s. A number of Sandys family members are associated with, or lived in and around, Eversholt from the mid 18th century right up until the late 19th century. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.
Lot 465
* Fisher (Thomas, 1782-1836). Well-head in the parish of Barton, Bedfordshire, watercolour and traces of pencil, depicting a landscape with rolling hills, trees, and a branching stream, some light toning, image size 25.5 x 38cm (10 x 15ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 24. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.
Lot 466
* Fisher (Thomas, 1782-1836). How-green near Ampthill, Bedfordshire, watercolour and traces of pencil, depicting a traveller with a walking stick and a bundle on his back traversing a wide lane lined with trees on the right and piles of bricks beside a double fence on the left, a sign post in the distance, lightly toned, image size 23 x 33cm (9 x 13ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 50. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.
Lot 474
* Landseer (Charles, 1799-1879). Study of an antique sculpture, possibly South-East Asian, circa 1830's-40's, pen, ink and brown & grey wash on paper, depicting a three-headed figure in carved stone, each head with ornate headdress and looking in a different direction, contemporary pencil inscription to lower left 'By Chas Landseer', 15 x 13.5cm (5.75 x 5.25ins) mount aperture, framed and glazed, backboard with label of the Fry Gallery, 58 Jermyn Street, St James's London, stating artist's name and titleQty: (1)NB: This depicts Shiva with his 3 heads.
Lot 475
* Legge (Lady Charlotte, 1789-1877). Between Ronco and Arquato, Apennines, pencil and sepia wash, depicting a mountainous landscape with trees, dwellings, and a church with spire, initialled lower right, a few fox spots, 12.2 x 18.3cm (4.75 x 7.25ins), mounted, framed and glazed, printed label on backboard with attribution and titleQty: (1)NOTESLady Charlotte Legge was the daughter of George Legge, 3rd Earl of Dartmouth, and Lady Frances Finch. She married the Very Rev. Hon. George Neville-Grenville in 1816.
Lot 477
* London. The Fire at The Albion, circa 1820s/30s, watercolour on wove paper, depicting a fire raging at Albion Mills, Blackfriars Bridge, with firefighters and spectators, and St Paul's Cathedral in the background, sheet size 19.5 x 26.1cm (7.75 x 10.25ins), mounted, framed and glazed, pencil inscription on backboard 'Ex collection A.W. Ackermann'Qty: (1)NOTESProvenance: from the collection of Arther W. Ackermann (1830-1914), grandson of Rudolph Ackermann. After the aquatint by Augustus Charles Pugin and Thomas Rowlandson which appeared in The Microcosm of London , published by Rudolph Ackermann in three volumes between 1808 and 1810. The Albion flour mill, designed in the neo-classical style by James Wyatt, opened at the foot of Blackfriars Bridge in London in 1786, a symbol of Britain’s rapid industrial progress during the late 18th century. The revolutionary steam engines contained therein were widely resented by millers who still relied on wind or water power, and when, on 2nd March 1791, the mill was entirely destroyed by fire, there were rumours of foul-play. It is thought that poor maintence was the real culprit, but the fire was a sensational event, and many people crowded to the site in the following weeks. The catastrophe became a symbol of the evil of industrial progress and is thought to have inspired William Blake (who lived close-by) to portray his vision of "dark Satanic Mills", now best-known as part of the hymn 'Jerusalem'.
Lot 481
* Naive School. A pair of Regency drawings of domestic scenes, circa 1810, pen, ink and watercolour with traces of pencil, the first depicting 3 women and a man preparing food at a kitchen table next to 3 women stooping or kneeling at a large half barrel on the floor, a water urn on the table beside, 9.1 x 13.1cm (3.5 x 5.25ins), the second depicting 6 female figures around a dining table set for dinner, several of them leaning with wine glass aloft towards a gentleman covering his eyes and holding a bottle of erupting liquid or vapour, a cork and corkscrew dropping to the floor at his feet, some light dust-soiling and minor marks, lower right corner excised (just clipping the gentleman's foot), 11.8 x 15.1cm (4.75 x 6ins), matching frames, glazedQty: (2)NOTESProvenance: Given to the owner by the late Martin Woolf Orskey. A charming and unusual pair of drawings, most probably sketches from real life by an older child. The slightly larger sketch is an entertaining comic tableau, whilst the smaller drawing shows the household engaged in some large culinary undertaking, possibly marmalade-making, with apparently both the ladies of the house and the servants pitching in with the task at hand.
Lot 485
* Powell (James & Sons). A small collection of original designs for stained glass, Whitefriars Glass Works, late 19th/early 20th century, together 8 pen, ink, and watercolour drawings on heavy stock paper, 5 showing triptychs, and 3 showing single windows, each with calligraphic ink title and manufacturer's name (except one with the information in pencil), further marginal annotations in pencil or ink pertaining to the design, generally dust-soiled, and some spotting and marks, sheet size of largest 34.5 x 28.5cm (13.5 x 11.25ins) and of smallest 25 x 16.5cm (9.75 x 6.5ins)Qty: (8)NOTESWhitefriars Glassworks was England's longest producing glassworks. The firm is believed to have been established in 1680, and was purchased by James Powell in 1834, with production continuing until 1980. Although the firm produced high quality art glass on a par with Tiffany, it is best known for its stained glass. The firm under Powell became an innovative world leader in the field of decorative glass, and business was aided by the building of hundreds of new churches during the Victorian era. During the latter part of the nineteenth century Whitefriars Glass formed associations with a number of leading artists and designers, including Philip Webb, William Morris, Edward Burne-Jones and William De Morgan. The designs offered here are for: Catthorpe Church, near Rugby; All Saints Church, Woodford Green (North Aisle window); St Mark's Church, Bromley; St John's Ambulance, Clerkenwell; Hereford Cathedral (east window of Crypt Chapel, alternative design); Southwark Cathedral (window over altar in Lady Chapel); Carmelite Church, Kensington; Dunnevirke, Waiapu, New Zealand.
Lot 491
* Attributed to Archibald Thorburn (1860-1935). Study of a sparrowhawk, pen & brown ink on paper, depicting a bird of prey perched on the branch of a tree in a landscape, further drawings on verso faintly visible, lightly toned, 17 x 11cm (6.75 x 4.25ins), mounted (with attribution), framed and glazed, together with: A pair of studies of a bull, two pencil drawings on textured card or paper, one with touches of pen & ink, both showing a bull with his head down, each 7.2 x 12.3cm (3 x 5ins), mounted together in double-aperture mount (with attribution), framed and glazedQty: (3)
Lot 496
* Wilson (Thomas Walter, 1851-1912). Portrait of Colin Hunter ARA, pen, ink, & wash, half-length portrait half-profile to left of a bearded and bespectacled gentleman holding an artist's palette, monogrammed lower left, 18.7 x 14.5cm (7.5 x 5.75ins), mounted, framed and glazed, later title label in pencil on backboardQty: (1)NOTESScottish artist Colin Hunter (1841–1904) is best-known for his paintings of seascapes and fisher-folk, painted in fishing villages in Ireland, Devon and Cornwall as well as in Scotland. He exhibited widely, including at the Royal Academy, and he kept a large house and studio in Melbury Road, London where he entertained fellow artists; he was a neighbour of Lord Leighton, G.F. Watts and Luke Fildes.
Lot 498
* Alma-Tadema (Laurence, 1836-1912). The Parting Kiss, Munich: Franz Hanfstaengl, photogravure print after a painting by Alma-Tadema, depicting an embracing couple in a Roman interior, toned, signed in pencil lower left, plate size 29.5 x 15.5cm (11.5 x 6.2ins), framed and glazed, together with an etching by George Percy Jacomb-Hood, of a boy mounted on a barge horse, image size 21 x 17.7cm (8.25 x 7ins), mounted, framed and glazedQty: (2)
Lot 499
* Alma-Tadema (Sir Lawrence, 1836-1912). A Silent Greeting, 1892, uncoloured etching by Leopold Lowenstam (1842 - 1898), published Stephen. J. Gooding, PSA blindstamp to lower left, remarque of ivy leaves, signed in pencil below image by artist and engraver, 470 x 345 mm, framed and glazedQty: (1)
Lot 500
* Alma-Tadema (Sir Lawrence, 1836-1912). Welcome Footsteps, Arthur Tooth & Sons, 1888, uncoloured etching on india wove by Leopold Lowenstam (1842 - 1898), proof before title with remarque of the artist's house in St John's Wood, signed in pencil below image by both the artist and engraver, 410 x 530 mm, large period gilt gesso frame, glazedQty: (1)NOTESA fine impression with wide margins in very good condition.
![* Alma-Tadema (Sir Lawrence, 1836-1912). [The Convalescent], published J. S. Virtue & Co., 1896, uncoloured etching by Ch](https://cdn.globalauctionplatform.com/bb56183a-a288-4c5b-9887-ac3f00a88bf2/9592bbca-a04c-4bff-bd50-ac4100ffd396/468x382.jpg)
Lot 503
* Herkomer (Hubert von, 1849-1914). The Lady in White (Miss Grant), 1887, uncoloured etching, an artist's proof, published by Obach & Co., with PSA (Printsellers Association) blindstamp, signed by the artist in pencil lower right, 495 x 375 mm (19.5 x 14.75 ins), period maple frame with gilt slip, glazedQty: (1)NOTESMiss Grant was the celebrated American beauty Miss Adele Grant, of New York, whose marriage to the Earl of Essex in 1893 was the social event of the season. One of the so-called 'Lovely Five', the oil portrait of the same title by Herkomer was widely praised when exhibited at the Royal Academy in 1885.
Lot 504
* Holman Hunt (William, 1827-1910) The Finding of the Saviour in the Temple, 1867, etching and engraving on chine colle, by Auguste Thomas Marie Blanchard (1819-1898) after William Holman Hunt, a signed proof, published August 1st 1867 by E. Gambart and Co., with Printseller's Association blindstamp, signed in pencil below image by Holman Hunt and Blanchard, plate s ize 531 x 750 mm 20.9 x 29.5 ins), near-contemporary ornate carved and stained wood frame with elaborate gilt slip, glazedQty: (1)NOTESBeraldi, Graveurs du dix-neuvième siècle (1885-92) 14.
Lot 506
* Leighton (Frederick, 1830-1896). Anita, 1879, mezzotint on india wove by Thomas Lewis Atkinson (1817–1898) after Frederick Leighton, published by P. & D. Colnaghi and Co., 1879, signed in pencil by the engraver lower right, Prinseller's Association blindstamp lower left, plate size 390 x 295 mm (15.4 x 11.6 ins), near contemporary stained oak frame with gilt slip, glazedQty: (1)NOTESA fine dark impression, in very good condition.
Lot 508
* Long (Edwin Longsden, 1829-1891). Merab, & Michal, 1890, a pair of mixed method proof engravings on india wove by Herbert Bourne (1825-1907) after Edwin Long, published October 6th 1890 by Fairless & Beeforth, both signed in pencil by the artist and engraver, plate size 630 x 400 mm (25.75 x 15.75 ins), period gilt gesso frame and period maple veneer frame with gilt inner slip respectively, glazedQty: (2)
Lot 510
* Millais (John Everett, 1829-1896). The Order of Release, 1856, mezzotint by Samuel Cousins after J. E. Millais, a proof before letters on india laid paper, published by Henry Graves, May 1st 1856, signed in pencil by both artist and engraver to lower margin, some scattered spotting, plate size 76 x 54.5 cm (30 x 21.5 ins), with margins, period elaborately gilt moulded frame, glazedQty: (1)NOTESMillais' The Order of Release was painted between 1852 and 1853, and depicts the release of a Jacobite rebel soldier into the care of his wife and child. The figure of the woman was modelled by Effie Ruskin, who later left her husband John Ruskin to become Lady Millais.
Lot 511
* Millais (John Everett, 1829-1896). The Minuet, 1868, mezzotint by Samuel Cousins after J.E. Millais, published by Henry Graves, July 17th 1868, signed in pencil by J. E. Millais lower left, with Printseller's Association oval blindstamp, plate size 71.5 x 52cm (28 x 20.5ins), framed and glazedQty: (1)
Lot 512
* Millais (John Everett, 1829-1896). A Huguenot on St Bartholomew's Day, 1857, mixed method engraving on chine collé, by Thomas Oldham Barlow, after J.E. Millais, published by Thomas White & Messrs. E. Gambart & Co., London, June 1st 1857, with Printseller's Association oval blindstamp to lower left and remarque crest to lower right, signed in pencil by the artist and engraver, plate size 74 x 50.8cm (29 x 20ins), satinwood-veneered frame, glazedQty: (1)
Lot 516
* Sargent (John Singer, 1856-1925). Miss Jane Evans, 1899, photogravure by William H. Ward & Co. Ltd after the oil portrait by John Singer Sargent of 1898, published, March 1st 1899, signed in pencil by the artist, and sitter to lower blank margin, image size 44 x 28.5 cm (17.25 x 11.25 ins), with margins, pale marginal spotting, framed and glazed, with small printed label to verso of Lechertier Barbe Ltd, 95 Jermyn St. LondonQty: (1)NOTESJane Evans (1826-1906), described as the last of the Eton Dames, was the landlady of one of the lodging houses run for the Oppidan boys of Eton College. Famed for her powers of sympathy and insight, the oil portrait of her by John Singer Sargent was commissioned by a number of Old Boys of the College, including Bishop John Selwin.
Lot 518
* Sant (James, 1820-1916). The Mirror, 1894, uncoloured mezzotint on india wove by Charles John Tomkins (1847-circa 1897), after James Sant, plate size 635 x 515 mm (25 x 20.25 ins), near-contemporary stained ribbed frame with gilt slip, glazed, together with: Seymour (George L., 19th century). The Surprise, 1901, uncoloured mezzotint on india wove by John Douglas Miller (1860-1903) after George L. Seymour, published by Arthur Tooth & Sons, an artist's proof with PSA blindstamp, signed in pencil by the engraver below the image, plate size 385 x 270 mm (15 x 10.5 ins), near-contemporary stained oak frame with gilt slip, glazedQty: (2)NOTESFine dark impressions in very good condition. The vendor has stated that the second image came from John Miller's private collection and thence by descent.
Lot 520
* Watts (George Frederick, 1817-1904). A Greek Idyll, 1903, etching printed in sepia by Robert Walker Macbeth (1848 - 1910) after G.W. Watts, published by H. Virtue & Co. 1903, signed in pencil by both the artist and engraver, some light creasing, 390 x 535 mm, period walnut veneer frame with gilt slip, glazedQty: (1)
Lot 524
* Barry (Claude Francis, 1883-1970). Windsor, 1926, aquatint on cream wove paper, lightly toned and with mount mark, titled in pencil lower left, and pencil inscription lower right 'To Dr East from C F Barry. 1926', plate size 23.2 x 30.1cm (9 x 11.75ins), sheet size (irregularly trimmed) 27 x 34.5cm (10.75 x 13.5ins), together with: Boutet (Jean, 20th century). Le Pont Neuf, 1948, etching on cream wove paper, inscribed and signed in pencil lower right, lightly toned and with mount mark, plate size 17.8 x 23.5cm (7 x 9.25ins), sheet size 22.3 x 28.1cm (8.75 x 11ins), plus approximately 50 other etchings and prints, by R.S. Hardie, Andrew Watson Turnbull, William Hyde, Glynn Thomas, August Lepère, Neil M. Lawrence, J.W. Jackson, Charles Claude Houssard, and others, various sizes and conditionQty: (approximately 50)
Lot 525
* Blampied (Edmund, 1886-1966). Purring and Snoring, 1921, etching with drypoint on pale cream wove paper, from the published edition of 100 proof impressions, signed in pencil lower left, plate size 176 x 238 mm (7 x 9.4 ins), with margins, framed and glazedQty: (1)NOTESAppleby 77. Malcolm Salaman, Print Collectors' Quarterly, 24 (1937), 390.
Lot 527
* Brangwyn (Frank, 1867-1956). Sisteron, 1924, etching with drypoint on ivory laid paper, signed in pencil, plate size 150 x 120 mm (5.9 x 4.75 ins), with margins, framed and glazed, together with: Clausen (George, 1852-1944). Figure Working in a Hay Field, etching on pale cream wove paper, signed in pencil lower right, plate size 124 x 173 mm (4.9 x 6.9 ins), with margins, framed and glazed, plus: Menpes (Mortimer Luddington, 1855-1938). A City Wharf, 1889, etching on pale cream laid paper, with watermark, signed in pencil, some pale overall toning, plate size 150 x 105 mm (6 x 4.2 ins), sheet size 244 x 242 mm (9.65 x 9.6 ins), framed and glazedQty: (3)
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296963 item(s)/page