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Click here to subscribe*@Badmin (Stanley Roy, 1906-1989). Shepton Mallet, Somerset, 1930, etching on cream laid paper, from the edition of 50, published by Twenty One Gallery, a fine impression, signed, titled, and numbered 38/50 in pencil, additionally inscribed in pencil to lower margin 'Shepton Mallet Printed by S.R.B.', plate size 142 x 73 mm (5.6 x 2.9 ins), sheet size 240 x 150 mm (9.5 x 5.9 ins) Beetles 20. (1)
*@Badmin (Stanley Roy, 1906-1989). The Abbey Barn, Doulting, Somerset, 1929, etching on wove paper, from the edition of 30, published by the XXI Gallery, signed in pencil, additionally titled and numbered 26/30 to lower margin, light mount stain, plate size 113 x 137 mm (4.5 x 5.4 ins), sheet size 197 x 240 mm (7.75 x 9.5 ins) Beetles 19. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Jeunesse Dor‚e, 1942, etching on laid paper, an impression from the 1st state (of 3), signed and marked 1st state in pencil, additionally inscribed by the artist to lower margin in pencil, 'Property of artist. G.L.B.', plate size 275 x 225 mm (10.75 x 8.75 ins), sheet size 350 x 280 mm (13.75 x 11 ins) Wright 79, i/iii. Fletcher 80 i/iii. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Viva, (Mrs. Bobby Hazleton Ross), 1929, etching on wove paper, from the edition of 111 proofs, published March 1929, signed in pencil, plate size 214 x 172 mm (8.4 x 6.75 ins), sheet size 345 x 265 mm (13.5 x 10.4 ins) Wright 63, viii/viii. Fletcher 63. (1)
*@Cameron (David Young, 1865-1945). Arran Peaks, 1912, etching and drypoint on japan, a trial proof, signed in pencil, plate size 304 x 354 mm (12 x 13.9 ins), sheet size 320 x 480 mm (12.6 x 18.9 ins), together with The Tay, etching and drypoint on laid paper, signed in pencil, mount stained, and with overall toning and several spots, plate size 265 x 380 mm (10.5 x 15 ins), sheet size 317 x 470 mm (12.5 x 18.5 ins) Rinder 436, iv/vi. (2)
*Detmold (Charles Maurice, 1883-1908 & Edward Julius, 1883-1957). Long-Eared Bat, 1897, etching on imperial japan paper, initialled in pencil by both artists, and signed in full by E.J. Detmold, plate size 125 x 142 mm (5 x 5.5 ins), sheet size 233 x 306 mm (9.2 x 12 ins) Dodgson 9 (only state). (1)
*Griggs (Frederick Landseer, 1876-1938). Lanterns of Sarras, 1932, etching on laid paper, one of 25 impressions of the 3rd state, with the text of Wilfred Rowland Childe's poem A Gothic Rose etched below the image, signed in pencil, light mount stain, plate size 284 x 184 mm (11.2 x 7.25 ins), sheet size 472 x 330 mm (18.6 x 13 ins) Comstock 47 iii/iv. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Young womanhood, 1931, etching on wove paper, from the edition of 111 proofs, published July 1931, signed in pencil, a fine, rich impression, plate size 231 x 175 mm (9.1 x 6.9 ins), sheet size 400 x 267 mm (15.75 x 10.5 ins) Wright 70, vii/vii. Fletcher 70. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). La Tresse, 1926, etching on wove paper, from the edition of 111 proofs, published October 1926, signed in pencil, a very good impression, remains of three gummed labels to top edge of the sheet, plate size 212 x 176 mm (8.3 x 7 ins), sheet size 327 x 256 mm (12.9 x 9.9 ins) Wright 56, vii/vii. Fletcher 56. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Adolescence, 1932, etching on wove paper, from the edition of 91 proofs, published December 1932, signed in pencil, a fine, rich impression, plate size 370 x 265 mm (14.6 x 10.4 ins), sheet size 455 x 342 mm (17.9 x 13.5 ins) Wright 75, v/v. Fletcher 75. (1)
*Tanner (Robin, 1904-1988). The Cheese Room, 1978, etching on thick wove paper, an artist's proof impression, aside from the edition of 49 published by Robin Garton in 1978, signed and dated in pencil, additionally titled by the artist and dated to lower left corner, plate size 222 x 285 mm (8.75 x 11.25 ins), sheet size 320 x 415 mm (12.5 x 16.3 ins) Garton 38. (1)
*Tanner (Robin, 1904-1988). The Wicket Gate, 1977, etching on wove paper, an artist's proof impression, aside from the edition of 49 published by Robin Garton in 1978, signed and dated '78 in pencil by the artist to lower margin, '"The Wicket Gate". The gate at the entrance of Sydney's Wood, Kington Langley, used by the diarist, the Rev. Francis Kilvert.', plate size 172 x 167 mm (6.75 x 6.5 ins), sheet size 271 x 269 mm (10.7 x 10.6 ins) Garton 37 iii/iii. (1)
*@Cameron (David Young, 1865-1945). Ben Lomond, 1923, etching and drypoint on laid paper, from the published edition of approximately 80, signed in pencil, a rich, dark impression, light mount stain, plate 262 x 415 mm (10.3 x 16.3 ins), sheet size 323 x 473 mm (12.75 x 18.7 ins) Rinder 468 vi/vi. (1)
*@Webb (Joseph, 1908-1962). Rat Barn, 1928, etching on laid paper, signed in pencil, and additionally titled lower left, some light toning and foxing, plate size 178 x 304 mm (7 x 12 ins), sheet size 235 x 343 mm (9.25 x 13.5 ins) Guichard 17. Meyrick (2007), illustration 11. Provenance: Formerly in the collection of Neil Green, with his inkstamp monogram to lower right corner. (1)
*@Webb (Joseph, 1908-1962). Prison, 1930, etching on laid paper, signed, and titled Prison IInd State in pencil, plate size 178 x 303 mm (7 x 12 ins), sheet size 245 x 405 mm (9.7 x 16 ins) Guichard 27. Meyrick (2007), illustration 38. ^TAsylum, 1930-31, ^Detching on laid paper, signed, and titled Asylum 1st State in pencil, a very good impression, plate size 179 x 304 mm (7 x 12 ins), sheet size 233 x 352 mm (9.2 x 13.8 ins) ^NGuichard 27. Meyrick (2007), illustration 37. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). Yolande (Mrs Rushbury), 1920, etching on laid paper, signed in pencil, additionally inscribed in pencil to lower margin (apparently in the artist's hand) 'Yolande (Mrs Rushbury)', plate size 113 x 87 mm (4.5 x 3.5 ins), sheet size 310 x 193 mm (12.25 x 7.5 ins) with upper outer corner torn away, together with Z‚lie (Marguerite), 1920, etching on wove paper, from the only edition of 40 proofs, signed in pencil, plate size 113 x 86 mm (4.5 x 3.4 ins), sheet size 255 x 160 mm (10 x 6.25 ins), plus La Basquaise, 1920, etching on wove paper, signed in pencil, pale mount stain, plate size 114 x 89 cm (4.5 x 3.5 ins), sheet size 280 x 217 mm (11 x 8.5 ins) Wright 12, 13 & 18. (3)
*@Brockhurst (Gerald Leslie, 1890-1978). Anais I, 1920, etching on laid paper, from the edition of 55 proofs published in July 1920, signed in pencil, plate size 138 x 111 mm (4.4 x 5.4 ins), sheet size 235 x 188 mm (9.25 x 7.4 ins), together with Ph‚mie, 1923, etching on laid paper, one of 76 proofs published in 1924, signed in pencil, plate size 100 x 74 mm (3.9 x 2.9 ins), sheet size 270 x 200 mm (10.6 x 7.8 ins), plus Aglaia, 1926, one of 111 proofs published April 1926, signed in pencil, and additionally signed by the artist in ink to lower left, plate size 137 x 105 mm (5.4 x 4.1 ins), sheet size 290 x 215 mm (11.4 x 8.5 ins), each in card passepartout (with Craddock & Barnard pencil annotations) Wright 6, ii/ii, 42 ii/ii & 54 ix/ix. (3)
*@Brockhurst (Gerald Leslie, 1890-1978). The West of Ireland, 1928, etching on wove paper, one of 111 proofs of the final state, published July 1928, signed in pencil, a strong rich impression, plate size 122 x 145 mm (4.8 x 5.75 ins), sheet size 230 x 270 mm (9 x 10.6 ins) Wright 61 viii/viii. Fletcher 61. (1)
*@Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, one of 111 proofs published August 1927, signed in pencil, a fine, rich impression, remains of mount hinges to head and foot of extreme left blank margin, plate size 223 x 159 mm (8.75 x 6.25 ins), sheet size 375 x 270 mm (14.75 x 10.6 ins) Wright 58, ix/ix. Fletcher 58. (1)
*@Drury (Paul, 1903-1987). The Steeplejack, 1925, & Head of a Negro, 1925, 2 etchings on wove paper, the first from an edition of 65, the second from an edition of about 55 published by the XXI Gallery, each signed in pencil, both in excellent condition, plate size 108 x 90 mm (4.25 x 3.5 ins) and 127 x 102 mm (5 x 4 ins) respectively, sheet size 217 x 160 mm (8.5 x 6.25 ins), and 220 x 170 mm (8.7 x 6.75 ins) Garton 13 iii/iii & 15 ii/ii. (1)
*@Drury (Paul, 1903-1987). Nicol's Farm, 1925, etching on antique laid paper (with partial watermark), a strong impression, signed and dated in pencil, a few marks to margins, plate size 111 x 192 mm (4.25 x 7.5 ins), sheet size 216 x 250 mm (8.5 x 9.9 ins), stamped T.P.H. to outer margin verso, with owner's stamp of T.P. Hoskins to outer margin verso Garton 18. (1)
*@Drury (Paul, 1903-1987). Evening, 1925, etching on laid paper, from the edition of approximately 50 published by the XXI Gallery, signed and dated '25 in pencil, pinholes to outer margins, some light scattered foxing, and remains of gummed hinges to outer corners verso, plate size 75 x 100 mm (3 x 4 ins), sheet size 172 x 226 mm (6.75 x 8.9 ins) Garton 16, iii/iv. (1)
*@Drury (Paul, 1903-1987). September, 1928, etching on antique laid paper, signed and dated Paul Drury '28 fec. et imp., and additionally inscribed by the artist in pencil to lower margin 'No. 28. Old Japanese Paper. 'September'', a fine, rich impression, plate size 102 x 130 mm (4 x 5.1 ins), sheet size 163 x 204 mm (6.4 x 8 ins) Garton 24. (1)
*Sutherland (Graham, 1903-1980). Village, 1925, etching on laid paper, the third state (of 3), published by the XXI Gallery, signed in pencil, a strong, dark impression, trimmed to narrow margins, plate size 175 x 225 mm (6.9 x 8.9 ins), sheet size 193 x 248 mm (7.6 x 9.75 ins) Man 23. Cooke, Graham Sutherland Early Etchings, 25, iii/iii. Plate destroyed. (1)
*Sutherland (Graham, 1903-1980). St. Mary Hatch, 1926, etching on laid paper, watermarked Gen de Motret, signed in pencil, from the edition of 95, published by the XXI Gallery, plate size 125 x 183 mm (5 x 7.25 ins), sheet size 175 x 220 mm (6.9 x 8.7 ins) Man 26. Cooke, Graham Sutherland Early Etchings, 28, v/v. (1)
*Tanner (Robin, 1904-1988). The Old Thorn, 1976, etching on 18th-century laid paper, an artist's proof impression, printed by Robin Tanner at The Old Chapel Field Press, signed and dated in pencil, additionally titled and inscribed to lower margin 'This impression (on C18 paper) was printed for John Camfield at The Old Chapel Field Press, Kington Langley, Wiltshire. 1976', plate size 101 x 150 mm (4 x 5.9 ins), sheet size 192 x 247 mm (7.5 x 9.75 ins) Garton 34. (1)
*Tanner (Robin, 1904-1988). White Violets, 1973, etching on 18th-century wove paper, an artist's proof impression, aside from the edition of 150 printed for the Print Collectors' Club, signed in pencil, and additionally inscribed by the artist to lower margin 'Presentation Plate for The Print Collectors' Club. 1973. - This impression is printed on C18 paper. Artist's Proof, no. IX.', plate size 124 x 100 mm (5 x 4 ins), sheet size 196 x 155 mm (7.75 x 6.1 ins) Garton 28. (1)
*Tanner (Robin, 1904-1988). Christmas Greeting Card for 1929, etching on handmade paper, watermarked J. Green & Son, an artist's later proof impression, signed in pencil, additionally inscribed by the artist to lower margin 'This print - My Christmas Greeting Card for 1929 - is for John Camfield. July, 1976.', plate size 90 x 137 mm (3.5 x 5.5 ins), sheet size 233 x 181 mm (9.2 x 7.1 ins), together with Wiltshire Hedger, 1928, etching on wove paper, signed in pencil, additionally titled by the artist to lower margin in pencil 'Wiltshire Hedger: Final state. 1971.', plate size 100 x 149 mm (4 x 5.9 ins), sheet size 201 x 265 mm (7.9 x 10.5 ins), plus November, 1975, etching on antique laid paper, with hand and flower watermark, signed and dated in pencil, additionally inscribed with the title to lower margin by the artist, plate size 214 x 300 mm (8.4 x 11.75 ins), sheet size 315 x 403 mm (12.4 x 15.9 ins) Garton 10, 7, iii/iii & 3. (3)
*Tanner (Robin, 1904-1988). Wren and Primroses, 1935, etching on laid paper, one of a small number of artist's proof impressions printed in 1935, signed and dated in pencil, additionally title by the artist to lower left corner, plate size 94 x 113 mm (3.7 x 4.5 ins), sheet size 200 x 228 mm (7.9 x 9 ins) Garton 19. (1)
*Tanner (Robin, 1904-1988). The Gamekeeper's Cottage, 1928, etching on antique laid paper, an artist's proof impression, aside from the edition of 12 published by Garton & Cooke in 1982, a rich, dark impression, signed in pencil, and additionally inscribed to lower margin by the artist 'Artist's Proof. No. 2. Printed at Kington Langley, 1976. 'The Gamekeeper's Cottage'. First published, 1929. Plate partially reworked, 1975. This proof is of the Final (1975) State.', plate size 175 x 226 mm (6.9 x 8.9 ins), sheet size 270 x 328 mm (10.6 x 12.9 ins) Garton 8, iv/iv. (1)
*Tanner (Robin, 1904-1988). Twelve Etchings by Robin Tanner, Penn Print Room, 1974, the complete portfolio of 12 etchings on cream wove paper, each signed and numbered 1/50 in pencil, with original printed calligraphic title-page by Robin Tanner, all loosely contained in original brown cloth portfolio Garton 3, 6, 9, 12-13, 21, 23, 25-27 & 30. The set consists of Wiltshire Roadmaker, Martin's Hovel, Wiltshire Woodman, Christmas, Harvest Festival, Autumn, Wiltshire Rickyard, June, Easter, Flowers of May, The Clapper Bridge and The Plough. A fine copy, and the first set printed, of this magnificent portfolio. (1)
*@Webb (Joseph, 1908-1962). Boxgrove Priory, Sussex, 1928, etching on laid paper, signed in pencil, old pinholes to extreme corners, head and foot of left margin restrengthened to verso, plate size 178 x 189 mm (7 x 7.4 ins), sheet size 295 x 231 mm (11.6 x 9.1 ins) Guichard 18. Meyrick (2007), illustration 8. Provenance: Ex collection of Neil Green, with his inkstamp monogram to lower right blank corner. (1)
*@Cameron (David Young, 1865-1945). The Chimera of Amiens, 1910, etching and drypoint on thin laid paper, signed in pencil, mount stained, plate size 244 x 182 mm (9.6 x 7.2 ins), sheet size 277 x 211 mm (10.9 x 8.3 ins), together with Harfleur, 1903, etching and drypoint on laid paper, signed in pencil, plate size 310 x 195 mm (12.25 x 7.7 ins), sheet size 337 x 205 mm (13.25 x 8.1 ins), plus The North Porch, Harfleur, 1904, etching and drypoint on laid paper, a trial proof, signed in pencil, plate size 376 x 189 mm (14.75 x 7.5 ins), sheet size 411 x 226 mm (16.25 x 8.9 ins) Rinder 415, 356, v & 360, i. (3)
*@Webb (Joseph, 1908-1962). The Great Bridge, 1929, etching on wove paper, signed, dated, and inscribed in pencil 'The Great Bridge, 1st state as published. To my dear friend F. De Courcy Grylls. 'The Murmuring Stream',' plate size 240 x 353 mm (9.5 x 14 ins), sheet size 320 x 445 mm (12.6 x 17.5 ins), together with The Glory Hole, Lincoln, 1933, etching on wove paper, signed and dated in pencil, additionally inscribed to lower margin 'The Glory Hole, Lincoln' 1st state, plate size 200 x 250 mm (7.9 x 9.9 ins), sheet size 272 x 330 mm (10.7 x 13 ins) G. 20 & 38. Meyrick (2007), illustration 14 & 21. (2)
*Anderson (Alfred Charles Stanley, 1884-1966). Avignon, from the Rhone, 1926, drypoint etching on Millbourn wove paper, from the edition of 75 published by Colnaghi, signed in pencil, plate size 226 x 398 mm (9 x 15.75 ins), framed and glazed, with James Connell label on thick card mounted to verso Meyrick & Heuser, 173. (1)
*Anderson (Alfred Charles Stanley, 1884-1966). The Cooper, 1947, engraving on laid paper, from the edition of 65 published by Colnaghi in October 1947, signed in pencil, additionally inscribed to lower margin with title, and Edition 65 prints, plate size 182 x 149 mm (7.25 x 6 ins), with margins, framed and glazed Meyrick and Heuser 250. (1)
*Anderson (Alfred Charles Stanley, 1884-1966). The Lacemaker: or, 'The fruitful ground, the quiet mind', 1914, engraving on laid paper (watermarked O.W.P. and A.O.L.), from the edition of 50 published by Colnaghi February 1941, signed in pencil, additionally inscribed in pencil to lower blank margin, very light mount stain, plate size 195 x 151 mm (7.75 x 6 ins), sheet size 350 x 277 mm (13.75 x 10.9 ins) Meyrick & Heuser 227. (1)
*@Austin (Robert Sargent, 1895-1973). Woman Praying, 1928, copper engraving, signed and dated in pencil, and numbered 25 from the published edition of 75, as issued by the XXI Gallery, some light paper toning and pale spotting, plate size 202 x 156 mm, framed and glazed Dodgson 76. Ashmolean Museum, Robert Austin (1980) 22. (1)
@Brangwyn (Frank). A Londoner (Type Cockney), 1924, etching on laid paper, signed in pencil, plate size 165 x 93 mm (6.5 x 3.7 ins), sheet size 282 x 218 mm (11.1 x 8.6 ins), contained in The Etchings of Frank Brangwyn, R.A., A Catalogue Raisonne by W. Gaunt, The Studio, 1926, numerous illustrations, typescript presentation note to front endpaper, with various signatures of those offering the gift on 12 May 1945, original vellum gilt with card slipcase, 4to, limited edition of 125 copies (this copy unnumbered) (1)
*@Brangwyn (Frank, 1867-1956 ). The Zeppelin Raids: The Vow of Vengeance, circa 1915, lithograph on laid paper, signed in pencil, in very good condition, image size 580 x 485 mm (22.8 x 19.1 ins), with margins, framed and glazed (unexamined out of frame) A signed impression of the poster designed by Brangwyn for the Daily Chronicle, and published in 1916, with the printed text above and below removed. (1)
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