Seven various letters and deeds relating to John Barton including a declaration from Her Majesty Queen Adelaide inscribed "To all whom these presents shall come Her Majesty Queen Adelaide Amelia Louise Theresa Caroline sendeth greeting whereas His present Majesty King William IV by letters patent under his great seal of Great Britain bearing date the fourteenth day of September one thousand eight hundred and thirty did give and grant unto her said Majesty the Queen together with other offices, the office of Keeper of the Warren, called the Share Warren at Hampton Court in the county of Middlesex and the office of Keeper of All Kinds of Game within the said warren and also the office of Lieutenant and Keeper of the Chase of Hampton Court to hold exercise and enjoy the said offices by herself for her sufficient deputy or deputies and further did give and grant unto her said Majesty the Queen the office and keeping of the game of .... partridge, pheasant and ... and all other wild fowl of the river as well within his Majesty's own grounds and woods as in other .... grounds and woods whatsoever they be in or about the honour of Hampton Court and Hounslow Heath within the county of Middlesex....", signed, sealed and delivered in the presence of John Barton Treasurer to the Queen, signed and within wax seal, 50 cm x 37 cm, a letter from John Barton to "My dear sister.....", dated "16th April 1814", a letter from Henrietta H Musker to her sister Margaret, dated "May 230th 1826", a letter from J N Palmer to Barton dated "15th January 61", together with two copy letters, one to Lady Barton from Adelaide, originally dated "August 22nd 1834", another inscribed "Sacred to the memory of Sir John Barton...", three various envelopes addressed to W H Barton at The Royal Mint and Bushey Cottage and a Victorian declaration to "Frederick St. John Barton Gentleman" appointing him to be an Officer in "Our land forces from the nineteenth day of May 1900" in the rank of 2nd Lieutenant, signed and dated "2nd January 1901" by "St. John Broderick" (Provenance: The Estate of John Barton thence by descent to the present vendor)
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John Craxton R.A. (British, 1922-2009)Goatherd and Goat signed and dated 'Craxton 1950' (lower right)oil on canvas127 x 104 cm. (50 x 40 in.)Footnotes:ProvenanceThe Artist, by whom gifted as a wedding present to the parents of the current owners in 1961, thence by family descentPrivate Collection, U.K.ExhibitedChichester, Pallant House Gallery, John Craxton: A Modern Odyssey, 26 March-21 April 2024LiteratureIan Collins, John Craxton: A Modern Odyssey, Pallant House Gallery, Chichester, 2023, p.82, fig.76 (col.ill.)In May 1946 – the first spring after World War Two – John Craxton flew away to Greece. At 23, the London-born nomad found his subject in Aegean life, light and landscapes. That passion would last until his death aged 87.By 1950 the artist was in his stride: exploring the ancient Greek world of the Eastern Mediterranean; exchanging a semi-Cubist approach in conveying jagged and rugged topography for a singular style taking in everything from mythology and archaeology to Byzantine mosaics. Despite many famous friends, Craxton depicted ordinary people – soldiers, sailors and herder families living close to nature as in Homeric times. If they all possessed a heroic aspect, they also appeared on the point of laughter. In quicksilver drawings and paintings taking ever longer, subject and artist seemed to share a secret joke as well as an all too evident joy in being alive.Always short of money, Craxton accepted free materials to produce a large painting for a 1951 Festival of Britain exhibition while briefly back in London. Cash prizes were a further lure. While pretending to be toiling in England, he then absconded back to Greece and his current home port of Poros. Drawing on a recent tour of Crete, when he had nearly been shot by a drunken gunman firing wildly while entering a house on a donkey to celebrate a shepherd's wedding, a hedonistic artist began the work which would become Four Figures in a Mountain Landscape (Bristol Museum & Art Gallery). He also completed Goatherd and Goat as the principal study and a stand-alone painting.Four Figures in a Mountain Landscape is an evocation of sun and shadow. Herders, two in light and two in darkness, lead a flock of goats from shelter in a mountain cave for milking at sunrise. Goatherd and Goat depicts the key foreground figure in the dazzle of dawn.Cast in the black garb of rural Cretan manhood, and with a traditional scarf lending a piratical look, the figure clasps a billy goat's horn in an image still to be seen across the untamed Mediterranean. But here an everyday encounter meets ancient and mythic themes. Much as Craxton loved goats – admiring their resilience in tough scenery they nibble into desert – there is also a link to the wild bull capture of antiquity and the bull leapers' fresco at the Minoan Palace of Knossos. Predictably, a happy victim of 'procraxtonation' he missed the Festival of Britain deadline – but for once with a good excuse beyond the pleasures of a social life in the sun. He was asked to design the décor for Frederick Ashton's 1951 Daphnis and Chloe ballet starring Margot Fonteyn, which launched a whole new personal and professional adventure. In 2011 David Attenborough found Four Figures in a Mountain Landscape in a Bristol City Art Gallery basement during a television documentary. Goatherd and Goat was unseen until the last leg of John Craxton's 2022-2024 centenary tour, taking in Athens, Chania, Istanbul and Chichester. We are grateful to Ian Collins for compiling this catalogue entry and to Richard Riley for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Registration No: R590 NUF Chassis No: SAJJGAED3AR025036 MOT: T.B.AFitted with a rebuilt engine in 2014 at circa 110,000 milesFinished in the attractive colour combination of metallic British Racing Green over a Cream Leather interiorTo be offered with a fresh MOT by the vendorOffered with a large history fileLiving up to expectations can be a burden. Consider the handsome Geoff Lawson-penned XK8 that followed in the wheeltracks of such automotive icons as the XK120 and immortal E-type. Like the E-Type before it, the XK8 made its debut at the Geneva Motorshow - that of 1996 - and, from launch, was available in either Coupe or Convertible guise. Like its immediate predecessor, the XJS, the original XK8 was more of a Grand Tourer than an outright sports car. It also had the distinction of being the first Jaguar to be powered by an eight cylinder engine. This then, was a cat with strong DNA but also its own distinctive, endearing personality. At the time of the newcomer's unveiling, Jaguar Cars was owned by Ford, as was Aston Martin, and it made sound economic sense for the XK8 and similarly targeted DB7 to share the same platform; which itself was derived from that of the outgoing XJS. The biggest of many differences between new and old, was the adoption of Jaguar's second generation independent rear suspension system, previously found on the XJ40 Saloon. Prior to 2003, power came from either a normally aspirated (XK8) or supercharged (XKR) 4.0-litre version of the company's DOHC V8 AJ26 engine. From 2003 to the end of production in 2006, the 4.2-litre AJ34 unit was employed. In each case, the engine was allied to either a five or six-speed (from 1997 onwards) automatic transmission.First registered on the 13th March 1998, 'R590 NUF' was sold by HA Fox of Guildford to a Mr C Thompson of Guildford, Surrey and supplied in the attractive colour scheme of metallic British Racing Green over a Cream Leather Interior. Showing four former keepers on the V5C, the vendor acquired the car in 2017 as part of his private collection. Offered with a large history file, the Jaguar is supplied with the original service book, showing seven stamps from Jaguar plus one stamp from a Jaguar Specialist at 118,000 miles. The vendor also serviced the car at 129,000 miles which includes a gearbox service. Having stored the car off the road for four years, it has recently been recommissioned for the road which included a new fuel pump. Now described by the vendor as having 'good bodywork - although with some areas of issues to be expected such as some lacquer peeling on the roof, a dent on the offside front wing and small areas of bubbling visible, it is very presentable overall'. He also describes the mechanical condition of the car to be 'very good' and drives 'very well' and he also describes the sumptuous cream leather interior as being in 'good condition for the age', having recently reveneered the centre console and replaced the headlining. If you are looking for a very reasonably priced grand touring car that is perfect for the summer, 'R590 NUF' would be a sound bet with some room for improvement if the prospective new owner wishes. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
DALWHINNIE 1980 DISTILLERS EDITION 1L HIGHLAND SINGLE MALT Distilled: 1980Bottled: 199543% ABV / 1L Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
DALWHINNIE 15 YEAR OLD AND WINTER'S GOLD HIGHLAND SINGLE MALT Each 43% ABV / 70clQty: 2Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
The British War Medal awarded to Lieutenant E. T. Smart, Royal Garrison Artillery, attached Royal Flying Corps, who died on the Western Front on 17 March 1918, when he failed to return from a bombing raid on enemy lines British War Medal 1914-20 (2. Lieut. E. T. Smart) very fine £100-£140 --- Edward Treloar Smart, the son of Rev. John Smart of Hythe, Kent, was born around 1898 in Monkton Combe, Somerset. He attended Tonbridge School and was afterwards a pupil in the Traffic Department of the South Eastern Railway at London Bridge before being commissioned into the Special Reserve of the Royal Garrison Artillery on 13 October 1915, for service during the Great War. He served at home with Anti Aircraft Batteries in Scotland until 27 March 1917 when he was attached to the Royal Flying Corps. Gazetted Flying Officer on 14 July 1917, he served on the Western Front from 25 August 1917 as a Pilot to No. 2 Artillery Observation Squadron. Smart was advanced Lieutenant in October 1917; on 27 March 1918, during the German spring offensive, he failed to return from a bombing raid in the Bray-Roye Sector, East of Amiens. The Second in Command of No. 2 Squadron wrote: ‘By the notification as missing of E. T. Smart a link with the Squadron and, more particularly, with B Flight, as we knew it, is snapped. His cheery personality and never-failing good humour under trying circumstances went far to render the Flight such a happy crowd. His work at first was patrol, later artillery registrations, and subsequently, as he gained experience, photography, both vertical and oblique. The Squadron photographic records show many examples of his good work done under bad conditions. When he was sent in his early days to interview an enraged battery commander, whose guns had refused to answer to the corrections sent from the air, he poured oil on the troubled waters in his own inimitable way, and quickly restored cordial relations. One could multiply instances of this gift of his, but one further example will suffice. Once, owing to engine failure, he perched on the roof of a house in his machine. He climbed down through the breach and met the astounded occupants on the stairs. His entry took some explaining, but he was quickly on good terms with his hosts. It was not his turn for the last trip that he made, but he was so eager to take his share in the big battle that he prevailed on another pilot to let him take his place.’ He is commemorated on the Arras Flying Services Memorial, France. Sold together with a copy of his Medal Index Card, confirming the issue of his Great War medals in the rank of Second Lieutenant.
Family Group: The rare Afghanistan Order of the Dooranee Empire badge attributed to Colonel W. Croker, C.B., 17th (Leicestershire) Regiment of Foot, who commanded the Regiment at the Storming and Capture of the Fortress of Ghuznee on 23 July 1839 Afghanistan, Order of the Dooranee Empire 1839, Third Class breast badge, with Swords, of Afghan manufacture, 53mm, gold and enamel, the central enamelled Persian inscription encircled by 16 small pearls, the reverse backplate plain, fitted with a gold straight bar suspension and contemporary top gold brooch bar, good very fine and rare Three: Captain E. Croker, 17th (Leicestershire) Regiment of Foot, who was present at the Storming and Capture of the Fortress of Ghuznee on 23 July 1839, and later served in the Crimea Ghuznee 1839 (Edward Croker, Ensign 17th. Regiment.) contemporarily engraved naming in upright serif capitals to edge, with top silver brooch bar; Ghuznee 1839, a contemporary good quality tailor’s copy of the so-called ‘Tall Tower’ variety and similar to other examples named to officers of this regiment, the reverse field engraved in small capitals ‘Ensn. Edw. Croker 17th. Regiment.’, with silver ball and gold split ring and straight bar suspension, with contemporary top gold brooch bar; Crimea 1854-56, 1 clasp, Sebastopol (Edward Croker, Captn. 17th. Regt.) Hunt & Roskell engraved naming, with Hunt & Roskell top silver riband buckle; minor contact marks, generally good very fine and better, the last rare (4) £5,000-£7,000 --- William Croker was born in Co. Limerick, Ireland, in March 1788 and was commissioned Ensign in the 17th Regiment of Foot on 27 March 1803, being promoted Lieutenant on 2 June 1804, and Captain on 20 November 1806. He served in the East Indies from 1804 to 1824, and was present during the Siege of Gurnowri in 1807; the campaign against the Sikhs of 1808-09; in the Nepaul campaign of 1814-15; and in the Mahrattas and Pindarrees campaign of 1817-18. For his services in the Nepaul campaign, Croker was Mentioned in Major-General J. S. Wood’s Despatch: ‘His Majesty’s 17th Regiment of Foot led the column, headed by its gallant commander, Colonel Hardyman, and supported by the grenadiers of the 2nd battalion of the 17th and 14th regiments of Native Infantry, and advanced upon the works; while the grenadiers and one battalion company of His Majesty’s 17th Regiment of Foot succeeded in gaining the hill on the right of the redoubt. This party was led by a brave and cool officer, Captain William Croker, who drove the enemy up the hill, killing a chief, Sooraj Tappah’ (Historical Record of the Seventeenth or The Leicestershire Regiment of Foot, by Richard Cannon, refers). Promoted Brevet Major on 12 August 1819, Croker was confirmed in that rank on 16 June 1825, and served as Assistant Adjutant General to HM Forces in India from 1818 to 1824. After a period of home service from 1826, in 1831 Croker was posted to Australia, where he served as Commandant of Bathurst, New South Wales. Promoted Lieutenant-Colonel on 1 April 1836, he arrived back in Bombay in command of the 17th Regiment of Foot in May 1836, and commanded the Regiment during the Afghan and Beloochistan campaign, including the storming and capture of the fortresses of Ghuznee on 23 July 1839. The Regimental History gives the following account of the role played by Croker: ‘Before daylight on the morning of the 23rd of July, one of the principal gates was destroyed by an explosion of gunpowder; and the British troops rushed in at the opening and captured the strong fortress of Ghuznee by storm. The 17th Regiment of Foot, commanded by Lieutenant-Colonel Croker, had the honour to take a conspicuous share in the capture of this fortress: it led the assault of the citadel, which was captured with little loss, and at five o'clock in the morning its colours were waving triumphantly on the fortress. The loss of the regiment was limited to one private killed and six men wounded.’ Croker further led the Regiment at the storming and capture of Khelat on 13 November 1839, where he was personally attacked by tribesmen who were fought off. For their services in Afghanistan, the 17th Regiment of Foot received the Battle Honours ‘Afghanistan’, ‘Ghuznee’, and ‘Khelat’, and Croker was nominated a Companion of the Order of the Bath (London Gazette 20 December 1839). He is also recorded in the Regimental History as being awarded the Order of the Dooranee Empire. Following the conclusion of hostilities in 1840, the 17th Regiment of Foot were ordered back to Bombay, and their troopship, The Hannah, was wrecked on a sand-bank off the mouth of the Indus on 17 March 1840, but was evacuated in good order, and not a single man nor horse was lost. After a period spent commanding the Troops at Aden, Croker was promoted Colonel on 9 November 1846, and returned home the following year, resigning by sale of his commission on 5 November 1847. William Croker married Elizabeth Stokes in Calcutta on 14 July 1819; together they had four sons and two daughters, including Captain Edward Croker, 17th Regiment of Foot. William Croker died in Cheltenham on 11 August 1852, and is buried in St. Peter’s Churchyard, Leckhampton, Cheltenham. Under the statutes in force at the time, his insignia of the Order of the Bath would have been returnable upon his death. Edward Croker, the eldest son of Lieutenant-Colonel William Croker, was born in Calcutta on 25 April 1820 and was commissioned Ensign in the 17th Regiment of Foot, by purchase, on 27 October 1837. He served with the Regiment in Afghanistan and Beloochistan, and was present at the storming and capture of the fortress of Ghuznee on 23 July 1839, and the storm and capture of Khelat on 13 November 1839. He was promoted Lieutenant on 21 October 1839, and subsequently served as Adjutant. Promoted Captain on 10 March 1848, he saw further service in the Crimea, including the first assault on the Grand Redan at Sebastopol on 18 June 1855. He resigned by sale of his commission that same year. Edward Croker married Catherine Keily in Cheltenham on 14 November 1850, and they had two sons and three daughters together, including Sir Henry Leycester Croker, who commanded the 2nd Battalion, Leicestershire Regiment (as the 17th Foot had become) during the initial stages of the Great War. Edward Croker died in Cheltenham on 19 January 1892, and is buried in St. Peter’s Churchyard, Leckhampton, Cheltenham. William Croker’s nephew (and therefore Edward Croker’s cousin), John Lacy Croker, also served in the 17th Regiment of Foot, having been commissioned Ensign on 18 March 183, and promoted Lieutenant on 5 June 1839. He too served with distinction at the storming and capture of the fortress of Ghuznee on 23 July 1839, and it was he who placed the first British Standard (the Regimental Colour of the 17th Foot) on the Citadel of Ghuznee. He was killed in action in the Crimea during the first assault on the Grand Redan on 18 June 1855, the only Officer of the Regiment to be killed, and was buried on Cathcart’s Hill. Sold with a watercolour portrait of William Croker.
A double-sided illustrated album folio : a Kathak dance and a study of a blue-throated barbet after the Mughal artist Ustad Mansur (d. 1624AD)Awadh, provincial Mughal, circa 1760-80Opaque pigments heightened with gold on paper, two ladies holding hands dancing, laid on card within white rules and margins with gold scrolling tendrils against dark blue ground, within orange, blue and gold rules, wide gold floral borders, laid on card ; the reverse with a study of a perched green feathered bird, opaque and transparent pigments on paper, similarly laid, gold foliate tendril on dark blue ground, large gold speckled dark cream borders, thin gold and blue rules, laid on card, framed and glazedfolio, 39.5 x 27cm., 40 x 27.2cm framedFootnotes: A very similar painting depicting two female dancers in the same pose as ours, attributed to early 18th century Mughal India, is now kept at the Victoria and Albert Museum, London. Although slightly smaller in format the Victoria and Albert Museum example shows the same proportions and composition. Both paintings share the realistic rendering of the dancers' elegant energy whirling their garments and sashes. The museum records it was formerly part of an album bought from "Lieut. Col. Murdoch Smith, Teheran" (inv. 132:27-1885).Condition Report: The folio's edges are scuffed, some with minimal losses. The edges are in fair condition although solely in part. The laid borders' corners are lacking safe for the upper left one. Their edges are irregular with some losses, tears and repaired tears.The painting presents as clean overall. A closer inspection reveals some crease, staining, and white speckles inclusions. Two hair cracks resulting from marked creases affect this painting : the first, most visible, runs vertically from upper margin to lower margin, affecting the veil of the dancer, her upper and lower leg. Along the crease fold, near the veil, a brownish deposit can be noticed. The second crease runs vertically on approximately 10cm. along the left blue border to the centre of the painting. Upon close inspection, some minimal drop stains can be seen to the actual right of the left hand side dancer. Some scattered very minute losses can also be noticed the the surface of this painting. The margins are in good condition overall. The wide borders are in fair condition with some staining and some creasing.The study of the blue-throated barbet is affected by a long crease which, in place, resulted in a tear. It runs vertically from the upper blue margin, approximately 2.5cm. form it upper left corner, down to the middle of the lower wide border, approximately 3cm. from the edge. it affects the upper part of the left tuft of grass, the tip of the bird's tail, the lower leaf of the sprig below the bird, the side of the trunk, the lower margin, rules and border. The margins are slightly rubbed and discoloured. This is especially noticeable to the lower part of the lower left side and corner. The wider borders are stained.Please note this lot was not inspected under U. V to prepare this condition report.
A collection of 20th century circa 1950s / 60s / 70s Rock, Soul, R&B, Pop, and Country music 45 RPM singles records. The collection to include; SHARE YOU LOVE WITH ME / PLEDGING MY LOVE - Aretha Franklin, STAY AWHILE / SOMETHING SPECIAL - Dusty Springfield, WHAT A WONDERFUL WORLD / CABARET - Louis Armstrong Orchestra & Chorus, CAN'T HELP FALLING IN LOVE / ROCK-A-HULA BABY - Elvis Presley, I WAS MADE TO LOVE HER / HOLD ME - Stevie Wonder, WICHITA LINEMAN / BACK IN THE RACE - Glen Campbell, ON THE DOCK OF THE BAY / MY SWEET LORENE - Otis Redding, A BOY NAMED SUE / SAN QUENTIN - Johnny Cash, THE GIRL OF MY BEST FRIEND / A MESS OF BLUES - Elvis Presley, THESE BOOTS ARE MADE FOR WALKIN / THE CITY NEVER SLEEPS AT NIGHT - Nancy Sinatra, FOOLS FALL IN LOVE / INDESCRIBABLY BLUE - Elvis Presley, WHERE DID OUT LOVE GO / NOTHING BUT HEARTACHES - Diana Ross & The Supremes, IN SAN FRANCISCO / CANDY KISSES - Tony Bennett, WILL YOU LOVE ME TOMORROW / BOYS - The Shirelles, KILLING ME SOFTLY / JUST LIKE A WOMAN - Roberta Flack, alongside other examples from Gladys Knight & The Pips, The Supremes, Shangri-Las, Stevie Wonder, Elvis Presley, Cilla Black, Frank Sinatra, Chubby Checker, and The Four Tops amongst others. To include approximately 57 records in total.
FIVE BOXES AND LOOSE MISCELLANEOUS ITEMS, to include a Kodak Easy Share V1003 digital camera, a case Imperial 'The Good Companion, Model 1' typewriter, vintage boxed Brillo White Wall Tyre Jumbo Cleaning Pads, a mid-twentieth century adjustable desk calendar, a small folding table with pyrography design of a Ford Fairlane car, a potted cactus, a boxed Sovtek Russian electron tube, a Garrard Marconi phone record player, a Micro-Perophone portable gramophone, etc. (5 boxes + loose) (sd, untested)
WW2 fighter ace Peter Townsend signed Edward Mannock VC historic aviators cove. Townsend was Equerry to King George VI 1944-1952 and held the same position for Queen Elizabeth II 1952-1953. Group Captain Townsend is best known for his romance with Princess Margaret. He joined the Royal Air Force in 1933 and trained at Cranwell. He served in Training Command, and as a flying instructor at RAF Montrose. He was stationed at RAF Tangmere in 1937 and was a member of No. 43 Squadron RAF. The first enemy aircraft to crash on English soil during World War II fell victim to fighters from Acklington on 3 February 1940 when three Hurricanes of 'B' flight, 43 Squadron, shot down a Heinkel 111 of 4./KG26 near Whitby. The pilots were F/L Townsend, F/O 'Tiger' Folkes and Sgt. James Hallowes. He was awarded the DFC in April 1940. Two more He 111s were claimed by Townsend, on 22 February and 8 April, and a sixth share on 22 April. Good condition. All 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
Engineers.- Collection of letters, documents and engineers plans, including: (letters): Sir William Fairbairn (3), Sir John Rennie, Sir Joseph Paxton, James Meadows Rendel, Sir Joseph Wilson Bazalgette, George Berkley, Samuel Plimsoll, (documents): East London Waterworks share, 1854 Highway Rate relating to Evenwood - Durham, Rochdale Company Bill, 1800; Contract to build a road at Threepwood, 1816 (plans): 5 Jarrow Grange Estate plans (3 duplicates), n.d. [19th century], together c. 25 pieces (c. 15 letters and c. 10 other), folds, v.s., v.d., 19th century (c. 25).
STATUETTE D'ACHALA EN LAITONTIBET, XIIIE SIÈCLEHimalayan Art Resources item no. 1810 27.3 cm (10 3/4 in.) highFootnotes:A BRASS FIGURE OF ACHALA TIBET, 13TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 379, no. 162. Exhibited Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Achala, 'the Immovable One', is a meditational deity (yidam) tasked with holding the sacred ground of a mandala and deterring negative phenomena as the 'Remover of Obstacles'. In Hinduism, this role is reserved for the elephant-headed god Ganesha, who is presently being depicted as the 'Creator of Obstacles' instead, subdued under Achala's feet. This form of Achala was popularized by Atisha (982-1054), the founder of the Kadampa school, and Sonam Tsemo (1142-82) of the Sakya order, as a central purification practice. In his right hand, Achala brandishes a sword above his head, poised to slash through the veil of ignorance shrouding the practitioner's mind. In his left, he points his index finger in the gesture of 'warning' (tarjani mudra) while holding a vajra lasso in order to ensnare corrupting forces. For further discussion of Achala within the Buddhist pantheon, see Linrothe, Ruthless Compassion, 1999, pp. 151-3. Retaining a warm patina from centuries of devotion and handling, the crisp details of this sculpture adapt earlier Indian styles that influenced the nascent artistic traditions of Tibetan Buddhism. During the 10th-12th centuries, in a period known as the Chidar, generations of Tibetan monks gathered and translated Indian devotional texts and icons. They considered paintings and sculpture from Buddhism's homeland prized religious objects, purer and more potent. Numerous examples are preserved in temple collections in Lhasa, including two Achala figures of similar modeling, who analogously trample animated and full-bodied renderings of Ganesha underfoot (von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1113, nos. 291B & D-E). Another example worthy of comparison is published in Essen & Thingo, Die Gotter des Himalaya, 1989, p. 160, fig. I-98. Lastly is a brass figure of Jambhala from the Nyingjei Lam Collection, sold at Bonhams, Hong Kong, 7 October 2019, lot 806 (Fig. 1), whose patina and piercing gaze share a close resemblance with the present work.For the figures listed in this essay, please refer to our printed or digital catalogue.不動明王銅像西藏 十三世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁379，編號162 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 不動明王為一尊重要觀想本尊，使命為鎮守曼陀羅聖地，抵抗消極力量，為業障消除者。在印度教，此角色是由象神迦納什擔任。然而，在此佛教造像之中，象神被視為業障之創造者而被踏於不動明王腳下。此不動明王的特殊形象因噶當巴派創始人阿底峽（982-1054）和薩迦派的洛本索南孜摩（1142-82）之推崇而流行，其對事部修行至關重要。明王右手舉劍過頭，準備劃破籠罩修行者心靈的無知與幻覺的面紗。左手則豎起食指降魔，結期克印，同時手握金剛索，以誘捉邪惡力量。有關不動明王及其在佛教萬神殿中之角色，更多討論可參見 Lindrothe，《Ruthless Compassion》，1999年，頁151-3。數百年的虔誠供奉與傳承，給予了這尊雕像溫潤明亮的包漿。整體清晰的細節，向早期印度風格致敬，正是這些風格影響了萌芽時期的西藏藝術傳統。在十至十二世紀的這段又被稱為後弘期的年代裡，一代又一代的西藏僧侶收集並翻譯著印度宗教文字與典籍。他們視來自佛教發源地的印度繪畫以及雕塑為珍品、一種更純淨、更有效的宗教形式。拉薩寺廟收藏中保存諸多例證，例如另外兩尊造型相似的造像，同樣有力地踩踏栩栩如生的象神全身像（見von Schroeder，《Buddhist Sculptures in Tibet》，卷二，2001年，頁1113， 編號291B、D-E）。 另一值得比較的例子刊於Essen 及 Thingo 著之《Die Gotter des Himalaya》，1989年，頁160，圖I-98。菩薩道所藏一尊黃財神銅像之銅質以及銳利的眼神亦與本不動明王像極為相似，見邦瀚斯，香港，2019年10月7日，拍品806（圖1）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Books & Ephemera. A collection of share certificates, early 20th c and later, various; Coronation of Edward VII, The Illustrated London News, 1902, original red wrappers, folio; [&] Bartlett (W.H., illustrator), Illustrations of the Scenery and Antiquities of Ireland, various miscellaneous numbers, London: James S. Virtue, n.d. [c. 1835], original wrappers, some disbound and defective, 4to, (3)
Stanley Roy BADMIN (1906-1989) Fallen Mill Sails, 1931 Etching, signed, inscribed and numbered 31/35, plate 10.7 x 12.6cm, sheet 17.8 x 20.1cm (mounted 41 x 51cm)Collectors NoteBeetles 24. Edition 35. Published by the Twenty-One Gallery in 1931. An extremely rich impression with subtle tonal wiping, printed on cream wove paper. Signed, titled and numbered in pencil.Exhibited: Fine Art Society, 1933; Royal Society of Painter-Etchers and Engravers, 1981. Illustrated: Guichard: British Etchers. 1850-1940. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Graham Vivian SUTHERLAND (1903-1980) Warning Camp, 1924 Etching, signed, titled and annotated, plate 12.6 x 15.5, sheet 19 x 21.5cm (mounted 41 x 51cm)Collectors NotesTassi 9.ii; Cooke 15. Edition of 62 in two states. Published by Twenty-One Gallery, London. A fine impression printed on cream-coloured laid paper with wide margins. Excellent condition. A scarce early image printed by the artist.Warningcamp is a small village and civil parish in the Arun District of West Sussex, England. It is located to the north-east of Arundel, on the east bank of the River Arun. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. This charming etching is in very good condition. There are some very minor surface marks, which appear to be ink and we believe by the artist's hand during the printing process.
Bernard Eyre WALKER (1886-1972) Scheregate Steps, Colchester, 1921 Etching, signed and inscribed, plate 24 x 16.5cm, sheet 33 x 23cmTogether with Francis SEYMOUR-HADEN (1818-1910), 'The Mill Wheel' 1874, etching, signed, plate 18 x 26cm, sheet 25 x 31cmEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Dame Laura KNIGHT (1877-1970) Some Clowns, 1930 Drypoint, artist's proof, signed, titled and annotated '2nd state', plate 35 x 25cm, sheet 24.5 x 31cm, mountedIllustrated: Fine Prints of the Year, 1931 THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. This charming piece is in excellent condition, with no areas of concern.
Eleanor HUGHES (1882-1959) Rural View Watercolour, signed, 25.5 x 37cm, mounted THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Isabel Beatrice MESHAM (1896-?) An etching/aquatint and two etching plates St Mary's Church with Starts, Torquay, Devon, etching, plate 20 x 15cm, mountedSt Mary's Church with Starts, Torquay, Devon, zinc etching plate, 20 x 15cmAbstract copper etching plate, 23 x 28cm(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Gerald Leslie BROCKHURST (1890-1978) Le Beguin, 1922 Etching, signed, plate 14 x 11.1cm, sheet 29.4 x 22.7cm (mounted 51 x 41cm) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Arthur BRISCOE(1920-1997) The Wheel, 1927 Etching, signed and numbered 1/75, plate 22.6 x 35.3cm, sheet 28.6 x 35.5cm (mounted 41 x 51cm)Collectors NoteHurst 196. 9 x 10 (sheet 11 1/4 x 16 5/8). File copy, apart from the edition of 75. A rich impression with tonal wiping. Printed on the full sheet of cream laid paper with deckled edges. Signed and annotated 'file copy' ink. Illustrated: Print Collector's Quarterly 25 (1938): 292 THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. Overall this charming etching is in good condition, with no particular areas of concern. There are a number of very light marks to the perimeter of the piece, yet these appear to be very faint finger prints of ink, from the artists hand.
Robert Sargent AUSTIN (1895-1973) Boy and Bull Calf, 1927 Etching, plate 11.6 x 14.5cm, sheet 27.5cm (Dodgson 68.iii) edition of 30Together with a second work by the same hand titled 'Bowley Cart Horse', engraving, plate 13 x 13cm, sheet 22 x 28cmEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Four etchings Lamorna Gate, c1937, etching, stamped signature, plate 9.5 x 8.5cmOld Watermill, 1938, stamped signature, plate 7 x 9cmRookery, 1939, stamped signature, plate 9 x 12.5cmSycamore Trees and Farm, 1939, stamped signature, plate 15 x 9.5cmA small calendar is mounted below each etchingEach mounted(4) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Frank SHORT (1857-1945) Thee works The Timber Raft on The Rhine, 1896, mezzotint, signed, edition 100, image 18 x 28.2cmSt Mary Redcliffe, Bristol, 1888 (after Cotman), mezzotint, image 16.5 x 23.5cmThe Street, Whitstable, 1910, etching, signed, plate 24 x 35cm (Hardie 348)Each mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Herbert Gordon WARLOW (1885-1942) Farmyard, c1925 Etching, signed and numbered 54/75, plate 14 x 18cm, sheet 26 x 39cmTogether with Sidney TUSHINGHAM (1884-1968), Amalfi, 1926, etching and drypoint, signed, plate 24 x 31.5cm, sheet 30.5 x 44cm& James Duffield HARDING (c.1797/98-1863), At Dorking, c.1836, lithograph, sheet 38.5 x 28.5cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Three small etchings Lamorna Gate, 1937, stamped signature, plate 9.2 x 8.5cm,Trewoofe Orchard, stamped signature, plate 8.8 x 10.8cm,Cottage and Barm, stamped signature, plate 12 x 9cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Oliver HALL (1869-1957) Five Etchings & 1 Lithograph Five etchings - 'Bolton Castle Vista', 1894, signed, plate 10.6 x 20cm, 'Border Castle', signed, plate 17.5 x 30cm, 'Broughton Moor Pits', c1920, signed, plate 20 x 30.2cm, 'Newbiggin', c1895, signed, plate 15 x 22.5cm, 'A Yorkshire Road' c1924, signed and titled, plate 12.5 x 18cmLithograph - 'Road into Town', sheet 19 x 26cmEach mounted(6) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Arthur BRISCOE (1920-1997) Winkle Picker, 1926 Etching (Hurst 149), edition 1/75, signed and numbered in ink, plate 14 x 22.5cm, sheet 22.5 x 28cm, mounted 41 x 51cm. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Edmund BLAMPIED (1886-1966) Loading Vraic, St Malo, 1927 Drypoint, signed, inscribed and numbered 91/100, plate 17.5 x 25.7cm, sheet 25.3 x 39cm (mounted 41 x 51cm)Appleby 122. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. Overall this charming etching is in good condition, with no particular areas of concern. There are a number of very light marks to the perimeter of the piece, yet these appear to be very faint finger prints of ink, from the artists hand. The etching is bonded to the backing by two hinges located in the top two corners of the sheet.
Frank SHORT (1857-1945) after J.M.W. TURNER Four mezzotints Sheep-washing, Windsor, 1920, signed by Short, image 18.5 x 25.5cmMill near The Grand Chartreuse, Dauphiny, 1886, signed by Short, image 19 x 25.5cmRaglan Castle (Berry Pommeroy Castle), 1885, signed by Short, image 19.5 x 27cmThe Watermill, 1885, signed by Short, image 18 x 25.5cmEach mounted(4) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
James MCBEY (1883-1959) Two etchings 'Hastings' 1925, signed, edition 80, plate 20 x 25cm (Hardie 225)'April in Kent' 1912, signed, proof E apart from the edition of 40, plate 15.8 x 29cm (Hardie 114)Each mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Gerald Leslie BROCKHURST (1890-1978) The Dancer (Anais), 1925 Etching, signed, titled and annotated, 1st state, plate 25 x 15.2cm, sheet 41.5 x 23cmTrial proof before the plate was reduced with the signature upper right.Illustrated: Fine Prints of the Year, 1926; Salaman - Modern Masters of Etching THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Two etchings Trees with Two Birds, 1937, stamped signature, plate 15 x 17.5cmThree Trees, 1937, stamped signature, plate 12.5 x 15cmEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Three small etchings 'The Folly Seen Through the Trees' c1936, stamped signature, plate 8.5 x 9cm'Farmhouse with Fields' c1937, stamped signature, plate 7 x 9cm'Old Windmill' 1938, stamped signature, plate 7 x 9cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Dame Laura KNIGHT (1877-1970) Gilding the Lily, 1926 Soft ground etching, signed, titled and annotated, from an edition of 35, plate 29.5 x 19cm, 39 x 26cm (mounted 51 x 41cm)Bolling/Withington 47Collectors NoteThe subject is probably the dancer, Vanda Edina, of whom the artist made a pen and ink drawing in 1924. At this time, Knight was becoming increasingly interested in the life - especially the back-stage life - of theatre and circus performers. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. This delightful etching is in excellent condition. The sheet may have changed in tone over the years, yet we cannot say this for certain.
Joseph Mallord William TURNER (1775-1851) Isis, 1819 Etching and mezzotint, image 18 x 26cm, sheet 30 x 43cm, mountedDrawn and etched by Turner, engraved by W Say THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Quarry Etching & drypoint, stamped signature, plate 17.5 x 20cm, sheet 23.5 x 32cm, mounted THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
James MCBEY (1883-1959) Penzance, 1913 Etching & drypoint, signed, edition 51, plate 21 x 30.5cm, sheet 24 x 36.5cm (Hardie 13), mounted 41 x 51cm THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. Overall this charming etching is in good condition. Minor discolouration can be found to the edges of the page, which cannot be seen when the piece is placed behind the mount.
Eleanor HUGHES (1882-1959) Old Watermill, 1937 Three small etchings in three states, each with stamped signature to verso, plate size 7 x 9cm, mounted together THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Arthur BRISCOE (1920-1997) The Seine Net, 1925 Etching, signed, annotated 'Trial V', plate 18.2 x 27.9cm, sheet 24.6 x 37.4cm (mounted 41 x 51cm)Hurst 143.iii, trial VI, apart from the edition of 75 THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Three etchings From Below the Farm, etching with soft ground, stamped signature, plate 17.5 x 12.5cmSycamore Trees, c1935, stamped signature, plate 15 x 9.5cmThree Trees, c1937, stamped signature, plate 12.5 x 15cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Edmund BLAMPIED (1886-1966) Night Time, Dieppe, 1926-27 Drypoint, signed, inscribed and numbered 92/100, plate 20.1 x 27.9cm, sheet 36.4 x 26.6cm (mounted 41 x 51cm)Collectors NoteAppleby 123. Edition 100. A fine impression printed on cream laid paper with full margins. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. Slight yellowing is present around the perimeter of the plate (please see additional image). Ink marks can be found in the corners of the sheet, these appear to be caused by the artist's finger tips and not a particular conditional issue (please see additional image). The piece is attached to the back board via two small hinges which can be found in the two top corners of the sheet.
Eleanor HUGHES (1882-1959) Three small etchings Sycamores with Farm in the Distance, 1939, stamped signature, plate 15 x 9.5cmLamorna Gate, c.1930, stamped signature, plate 9 x 8.5cmFarmhouse with Fields, stamped signature, plate 7 x 9cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Pendant Branches, 1937 Etching, stamped artist's signature, plate 25 x 20cm, sheet 39.5 x 27cm (mounted 51 x 41cm) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Allan GWYNNE-JONES (1892-1982) Three etchings 'Lambs on a Hillside' 1927, 1st state, signed and dated, plate 21.5 x 29cm'Lambs on a Hillside' 1927, 2nd state (Bassett 120.ii) signed and dated, plate 21.5 x 29cm'The House at the Crossroads' 1926, (Bassett 113) signed, dated and titled, plate 16 x 20.2cmEach mounted(3) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Robin TANNER (1904-1988) Easter, 1970 Etching, signed and numbered 44/50, plate 39 x 26.5cm, sheet 51 x 44cm, mounted THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours. Light foxing is present throughout, as is some minor yellowing to the sheet. The etching is signed, but not numbered.
Robert Sargent AUSTIN (1895-1973) Donkeys of Selva, 1928 Engraving, plate 13.2 x 16.5cm, sheet 18.7 x 24.5cmAn early proof before the drypoint work, Dodgson 78Together with an etching of the same image, Dodgson 78.iiEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Edmund BLAMPIED (1886-1966) Through the Storm, 1923 Drypoint, signed, plate 10 x 17.7cm, sheet 20.6 x 26.8cm (mounted 51 x 41cm)Collectors NoteAppleby 97. Edition 100. A rich impression with drypoint burr and carefully wiped plate tone, printed on 'FJ Head' paper, on the full sheet with deckle edges. Signed in pencil. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Eleanor HUGHES (1882-1959) Two works Cottage with Trees, 1937, linocut, stamped signature, image 18 x 20.5cm, sheet 26 x 39cmMill Wheel with Sycamore, 1937, etching, plate 20 x 15cm, sheet 29 x 23cmEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Edmund BLAMPIED (1886-1966) Ostend Shrimper, 1926-27 Drypoint, signed, titled and numbered 46/100 in pencil, plate 19.5 x 25.8cm, sheet 24.5 x 33cm (mounted 41 x 51cm)Appleby 126. 7 3/4 x 10. Edition 100, Illustrated: Print Collector's Quarterly 24 (1937): 372. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Stanley Roy BADMIN (1906-1989) Sorting Potatoes (Potatoe Clamps), 1931 Etching, signed and inscribed, plate 10.2 x 17.9cm, sheet 24.6 x 31.6cm (mounted 41 x 52cm)Trial proof before the edition of 25 for the Twenty One Gallery. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Nathaniel SPARKS (1880-1957) Two works Alys Cockin, 1925, drypoint, signed, plate 25 x 23.5cm (Barclay 140)Marble Arch, London, 1911, etching, signed and titled, plate 13 x 29cmEach mounted(2) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Stanley Roy BADMIN (1906-1989) Swinbrook Bridge, 1931 Etching, signed, titled and numbered 28/45, plate 9.4 x 14.6cm, sheet 19 x 25.2cm (mounted 41 x 51cm)Collectors NoteBeetles 22. Edition 45. Published by the Twenty-One Gallery. A rich impression with plate tone printed on cream wove paper, probably Basingwerk Parchment. Signed, titled and numbered in pencil. Exhibited: Royal Society of Painter-Etchers and Engravers, 1931; Royal Academy of Arts, 1932. Illustrated: Fine Prints of the Year, 1931. THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
Gerald Leslie BROCKHURST (1890-1978) Fabian (The Ideal Head), 1921 Etching, signed, plate size 17.5 × 12.5 cm, sheet size 29.5 x 24cm (loose mounted 51 x 41 cm) THE JANE ALLINSON COLLECTION The Allinson Gallery of Connecticut USA, is a member of the International Fine Print Dealers Association and has been trading since 1976.Over 40 years ago, Derek and Jane Allinson began to collect works by British printmakers, primarily from the 1850s through the 1940s, who concentrated on landscapes, images of villagers, sailors and the sea, farmers and agriculture.Hailing from the North of England and with an inborn love of the British countryside, Derek W. Allinson is a professor emeritus at the University of Connecticut whose teaching and artistic interests lay in the fields of agronomy and animal industry. Jane Allinson has a background in medieval studies. The Allinsons now wish to share the works in the hope that other enthusiastic collectors will provide a home for these outstanding examples of the British etching tradition. The collection is especially appealing to collectors of Cornish art and we are delighted that Jane & Derek have chosen Lay’s to handle their exceptional collection of prints, drawings and watercolours.
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