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Edmund Blampied, R.E. 1886-1966.

Etchings, drypoints and lithographs.

Please click on the images for larger screens. The large image files are hyperlinked.

Fine and Not-so-Fine Dining.

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L'Auberge (Estaminet). 1931-32. Drypoint. Appleby 157. 9 x 7 (sheet 15 5/8 x 10 5/8). Edition 100, #13. Printed on cream laid paper, on the full sheet with deckle edges. Signed and numbered in ink. $975.

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Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 13 1/2 x 10 3/8). Edition 100, #42. A very fine impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. $2,000.

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The Butterfly. 1928-29. Drypoint. Appleby 133. 9 5/8 x 7 7/8). Edition 100, #58. A very fine impression on cream-colored laid paper. Signed and numbered in ink. Housed in a 21 2/8 x 17 3/8-inch black wood frame. $2,000.

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The Carousal (A Carouse). 1936-37. Drypoint. Appleby 134. 9 x 14 3/4 (sheet 12 9/16 x 18 5/16). Edition 36, #17. A rich impression on cream-colored wove paper with full margins. Signed and numbered in ink. This is an extremely scarce work. $2,750.

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The Cider Barrel. 1928-29. Drypoint. Appleby 134. 10 5/8 x 10 1/2 (sheet 15 7/8 x 12 1/2). Edition 100, #57. A very rich impression on cream-colored laid paper with full margins. Signed and numbered in ink. $1,750.

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Cider Drinkers (2nd Plate). 1925. Drypoint. Appleby 102. 10 1/4 x 8 3/16 (sheet 18 1/8 x 11 3/8). Edition 50. Illustrated: Fine Prints of the Year under the title 'Country Cider'; Salaman, Modern Masters of Etching. A rich impression with drypoint burr printed on Hand [Made] laid paper. Signed in pencil. $1,250.

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Les Deux Petits Verres. 1928-29. Drypoint. Appleby 135. 10 1/2 x 10 3/16 (sheet 18 1/4 x 12 3/8). Edition 100, #65. Illustrated: Fine Prints of the Year, 1920; Print Collector's Quarterly (1937): 374. A rich impression, with burr, printed on the full sheet of laid paper. Signed and numbered in pencil. This is a most charming study of a husband and wife sitting in a cafe, about to imbibe. $1,250.

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The Letter. 1921. Drypoint. Appleby 107. 7 x 9 3/8 (sheet 9 7/8 x 15 7/16). Edition 100. Illustrated: Fine Prints of the Year, 1925; Salaman, Modern Masters of Etching: Edmund Blampied; Print Collector's Quarterly 13 (1026): 93. A rich impression with drypoint burr, printed on cream laid paper on the full sheet with deckle edges. Signed in pencil. $1,750.

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Madame Dupré 1929-30. Drypoint. A 147. 8 5/8 x 7 1/8. Edition 100. $1,250.

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San Sebastian (Lunch Hour). 1924. Drypoint. Appleby 99. 8 7/8 x 11 7/8 (sheet 12 3/8 x 18). Edition 100. A rich impression with plate tone, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $750.

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Soup. 1920. Drypoint. Appleby 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. Illlustrated: Print Collector's Quarterly 13 (1926): 85. Signed in pencil. $850. Signed in pencil. $850.

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Speech of the Evening. 1930-31. Drypoint. Appleby 150. 11 x 10 7/8 (sheet 17 1/16 x 13 1/8). Edition 100, #97. Illustrated: Print Collector's Quarterly24 (1937): 368. A rich impression with drypoint burr, printed on the full sheet of cream wove paper. Signed and numbered in ink. $1,750.

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Toute de Suite. 1930-31. Drypoint. Appleby 151. 10 1/8 x 8 1/16 (sheet 15 1/2 x 10 7/16). Edition 100, #9. A rich impression, with drypoint burr, printed on the full sheet of laid paper. Signed and numbered in ink. $1,250.

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Vin Rouge. (Red Wine.) 1932. Drypoint. Appleby 167. 9 1/4 x 11 5/8 (sheet 11 3/8 x 17 15/16). Edition 100 #48. Mat line, well outside the image; otherwise excellent condition. A rich impression with drypoint burr printed on laid paper. Titled in pencil; signed and numbered in ink. $2,500.

Genre Scenes.

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The Accusation. 1930. Lithograph. Appleby Lithographs 23. 10 7/8 x 15 3/8 (sheet 13 1/2 x 18 3/4). Edition 50, #34. Illustrated: Print Collector's Quarterly 24 (1937): 378. Printed in cream laid paper with full margins. Signed and numbered in pencil. $975.

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An Argument. 1917. Drypoint. Appleby 50. 6 x 7 15/16 (sheet 7 7/8 4 x 10 1/4). Edition 76. Illustrated: Allhusen, Print Collector's Quarterly 13 (1926): 77. A rich impression with drypoint burr and plate tone, printed on cream laid paper with a partial hand and cross watermark. Signed in pencil. $850.

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Births, Deaths and Marriages. 1929. Drypoint. Appleby 140. 8 x 10 1/4 (sheet 10 3/8 x 15 1/2). Edition 100, #41. Printed on the full sheet of cream laid paper, with deckle edges on all sides. Illustrated: Print Collector's Quarterly 24 (1937): 392. An extremely rich impression, wih burr. Signed and numbered in ink. $1,250.

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The Centenarian. 1930-31. Drypoint. Appleby 144. 10 5/16 x 10 3/8 (sheet 17 3/8 by 12 3/8). Edition 100. A very fine impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. Housed in a black wood frame. $1,250.

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Chez Madame Dupont. 1931-32. Drypoint. Appleby 158. 8 3/16 x 11 3/4 ( 11 1/8 x 18 1/3). Edition 100, #75. A fine impression on pale cream-colored laid paper, printed on the full sheet with deckle edges. Signed and numbered in ink. $1,250.

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"Come On Boys!" 1921. Drypoint. Appleby73. 7 9/16 x 11 15/16. Edition 100. Signed in pencil. $750.

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En Pension. 1929-30. Drypoint. Appleby 142. 8 1/2 x 12 1/8 (sheet 11 1/2 x 18 5/16). Edition 100, #72. A rich impression on cream wove paper. Collector's seal: E.C. Crossett. Signed and numbered in ink. $1,250.

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Fairy Tales. 1931. Drypoint. Appleby 154. 7 7/8 x 10 7/8 (sheet 10 3/8 x 15 1/2). Edition 100, #13. A fine impression on the full sheet of 'J Whatman' laid paper with full margins. Signed and numbered in ink. $1,750.

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Fetch It! 1923. Drypoint. Appleby 57. 10 3/4 x 14 3/4 (sheet 14 x 18 1/2). Printed with plate tone on cream wove paper. Signed in pencil. $750.

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The Joy Ride. 1923. Drypoint. Appleby 89. 8 3/4 x 10 3/16. Edition 100. Illustrated: Fine Prints of the Year, 1924; Salaman, Modern Masters of Etching. Signed in pencil. $1,250.

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Leisure. 1923. Drypoint. Appleby 90. 7 13/16 x 11 3/8 (sheet 10 1/2 x 15 1/2). Edition 100. A rich impression with drypoint burr, printed on 'FJ Head & Co' cream laid paper on the full sheet with deckle edges. Signed in pencil. $1,250.

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Male Voice Choir. 1925-26. Etching. Appleby 113 (alternate version). 9 x 7 (sheet 12 x 8 1/2). Edition 100, #98. Prints vol. VI, no. 2, 1935, page 100. A rich, well-inked impression with plate tone, printed on cream laid paper with a unicorn watermark. Signed and numbered in pencil. $1,850.

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A Market Argument. 1929-30. Drypoint. Appleby 141. 10 5/8 x 10 1/2 (sheet 14 3/4 x 12 1/2). Edition 100, #71. A rich impression with drypoint burr, printed on cream wove paper with full margins. Signed and numbered in ink. $1,250.

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My Cousin. 1921. Drypoint. Appleby 75. 9 7/8 x 6 7/8 (sheet 13 1/2 x 9 1/2). Edition 100. Printed on cream wove paper with wide margins. Signed in pencil. $750.

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The Old Complaint (Three Old Parties). 1929. Drypoint. Appleby 139. 10 1/8 x 7 3/4 sheet 15 5/8 x 10 1/2). Edition 100, #43. An extremely rich impression printed on cream laid paper. Illustrated: Fine Prints of the Year, 1930. Signed and numbered in ink. $950.

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Politics (Tonnere de Brest). 1926. Drypoint. Appleby 108.7 x 9 (sheet 10 1/2 x 15 1/2). Illustrated: Salaman, Modern Masters of Etching: Edmund Blampied. This is one of Blampied's most famous images. Signed in pencil. $1,750.

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The Sick Man. 1921. Drypoint. Appleby 79. 7 3/8 x 11 3/8 (sheet 11 7/8 x 17 7/8). Edition 100. Illustrated: Print Collector's Quarterly 13 (1926): 87; Salaman, Modern Masters of Etching: Edmund Blampied. A fine impression printed on 'FJ Head & Co' cream laid paper on the full sheet with deckle edges. Signed in pencil. $975.

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Splashing Through the Surf. 1923. Drypoint. Appleby 95. 7 1/4 x 10 3/16 (sheet 10 1/4 x 15 3/4). Edition 100. Illustrated: Print Collector's Quarterly 13 (1926): 91. A rich impression with drypoint burr printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $750

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The Stranger. 1920. Drypoint. Appleby 66. 9 7/8 x 13 (sheet 13 x 18). Edition 100. Illustrated: Lumsden, The Art of Etching. A rich impression with drypoint burr, printed on 'FJ Head & Co' cream laid paper, on the full sheet with deckle edges. Signed in pencil. $750.

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Summer.1914. Drypoint. Appleby 46. 6 7/8 x 4 7/8 (sheet 11 5/8 x 9 3/16). Edition 77. A fine impression printed on cream wove paper on the full sheet with deckle edges. Signed in pencil. $650.

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The Tumble. 1921. Drypoint. Appleby 148. 7 3/4 x 11 11/16 (sheet 9 7/8 x 15 3/8). Edition 100. A rich impression with burr and plate tone on 'Man 1919' 'England' laid paper. Signed in pencil. $975.

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Village News. 1930-31. Drypoint. Appleby 148. 8 3/4 x 12 (sheet 11 3/8 x 17 1/8). Edition 100, #38. A rich impression with drypoint burr, printed on the full sheet of cream laid paper with wide margins. Signed and numbered in pencil. $1,250.

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Wheelbarrow Race. 1925-6. Drypoint. Appleby 114. 8 9/16 x 12 (sheet 12 x 17). Edition 100, #10. An excellent impression with burr, printed with plate tone on the full sheet of 'VGI' laid paper with deckle edges. Signed and numbered in pencil. $1,250.

Farm Images.

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At the Gate. 1914. Drypoint. Appleby 32. 4 x 5 7/8 (sheet 8 1/2 x 11 1/2). Edition 64. A rich impression with drypoint burr, printed on cream laid paper, on the full sheet with deckle edges. A rare early etching. Signed in pencil. $750.

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The Cowman. 1920. Drypoint. Appleby 56. 12 7/8 x 9 7/8 (sheet 18 1/2 x 14 1/8). Edition 100. Printed with plate tone and drypoint burr, on the full sheet of cream laid paper. Signed in pencil. $950.

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Driving Home in the Rain. 1914. Drypoint. Appleby 35. 7 3/8 x 10 1/8 (sheet 12 x 15 3/8). Edition 40. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 13 (1926): 7; Salaman, Modern Masters of Etching: Edmund Blampied. Printed on antique cream laid paper with a unicorn watermark and a 'VGZ' (Van Gelder Zonen) countermark. Excellent condition. Signed in pencil. This rare print is considered to be Blampied's magnum opus. Price on request.

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Farm Fire. 1926-27. Etching and drypoint. Appleby 121. 7 x 8 7/8 (sheet 9 1/8 x 12 1/4). Edition 100, #45. Illustrated: Fine Prints of the Year, 192; Illustrated: Guichard, British Etchers: 1850-1940.A rich impression with drypoint burr, printed on 'DWD Strang' laid paper, on the full sheet with deckle edges. Signed and numbered in ink. $750.

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Flies. 1913. Drypoint. Appleby 17. 4 7/8 x 6 1/8 (sheet 10 3/8 x 15 3/4). Edition 62. Illustrated: Allhusen, Print Collector's Quarterly 13 (1926): 75. A rich impression printed on cream laid paper, on the full sheet with deckle edges. Signed in pencil. $775.

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Fording the Stream. 1914. Drypoint. Appleby 36. 4 7/8 x 7 7/8 (sheet 9 1/4 x 10 3/4). Edition 57. Illustrated: Print Collector's Quarterly 13 (1926) page 81. A rich impression with drypoint burr and plate tone, printed on simili-Japan laid paper. Signed in pencil. $975.

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Galloping. 1923-24. Drypoint. Appleby 165. 8 7/8 x 11 3/4 (sheet 11 3/8 x 18 3/8)/. Edition 100, #35. A rich impression with drypoint burr and plate tone, printed on the full sheet of cream wove paper with deckle edges. Signed and numbered in ink. $850.

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Gathering Turnips. 1913. Drypoint. Appleby 18. 4 7/8 x 6 7/8 (sheet 6 7/8 x 8 1/2). Edition 70. A rich impression with plate tone, printed on cream wove paper. Signed in pencil. $550.

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Horses in a Meadow. c. 1914. Pencil drawing. 7 3/4 x 8 (sheet 10 x 15). Study for the etching "In a Meadow" (first plate). Dodgson 26. 1914. Only 1 proof of the etching pulled. Signed in pencil, lower center. $1,500.

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A Jersey Milkmaid. 1920. Drypoint. Appleby 60. 9 7/8 x 6 7/8 (sheet 15 3/8 x 9 7/8). Illustrated: Print Collector's Quarterly 13 (1926): 83. Illustrated: Print Collector's Quarterly 13 (1926): 83.A rich impression with plate tone, printed on '[What]man 1919' wove paper, on the full sheet with deckle edges. Signed in pencil. $975.

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A Jersey Vraic Cart. 1939. Etching. Appleby 183. 8 9/16 x 11 1/16 (sheet 11 7/16 x 15 5/16). Edition 250 for the Print Club of Cleveland. Printed on the full sheet of J.Whatman laid paper. Signed in ink. $750.

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Lumbermen. 1923. Etching. Appleby 91. 9 x 12 (sheet 12 3/8 x 18 1/8). Edition 100. A cleanly-wiped impression printed on off-white 'FG Head & Co' laid paper with full margins. Signed in pencil. $675.

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Milking. 1919. Drypoint. Appleby 52. 8 x 6 (sheet 11 1/2 x 9). Edition 75. A rich impression with drypoint burr, printed on cream laid paper, on the full sheet with deckle edges. Mat line; otherwise excellent condition. Signed in pencil. $975.

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Misty Morning. 1928-29. Drypoint. Appleby 137. 8 5/8 x 12 (sheet 11 9/16 x 17). Edition 100, #86.Printed with subtle plate tone on the full sheet of cream laid paper with deckle edges. Signed and titled in pencil. $975.

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Night Time, Dieppe. 1926-27. Drypoint. Appleby 123. 7 7/8 x 11/ Edition 100. A fine impression printed on cream laid paper with full margins. Signed in pencil. $950. Signed in pencil. $975.

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Night Time in a Stable. Edition 100. Illustrated: Print Collector's Quarterly 24 (1937): 382. A rich impression printed on cream wove paper with full margins. Signed in pencil. $975.

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Noonday Rest. 1920. Drypoint. Appleby 62. 8 5/8 x 11 (sheet 10 3/ 8 x 12 5/8). Edition 100. A rich impression with plate tone, printed on cream wove paper with full margins. Signed in pencil. $975.

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Ostend Bathing Machine. 1926. Drypoint. Appleby 119. 6 7/8 x 8 7/8. Edition 100, #99. A rich impression with tonal wiping and drypoint burr. On cream laid paper watermarked ‘David Strang’ (Strang printed the edition). Signed and numbered in pencil. Housed in 14 3/4 x 16 1/4-inch modern brown and gold frame. $750.

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Ostend Horse. 1926-27. Drypoint. Appleby 125. 7 x 815/16 (sheet 9 1/8x 12 1/5). Proof B, apart from the edition 100. A rich impression with tonal wiping and drypoint burr, printed on 'J Whatman' cream laid paper, on the full sheet with deckle edges. Signed and annotated 'B' in pencil. $750.

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Ostend Shrimper. 1926-27. Drypoint. Appleby 126. 7 3/4 x 10. Edition 100, #66. Illustrated: Print Collector's Quarterly 24 (1937): 372. A rich impression with subtle tonal wiping and drypoint burr. Signed and numbered in pencil. Housed in a 17 1/4 x 21 1/4-inch black wood frame. $750.

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Purring and Snoring. 1921. Drypoint. Appleby 77. 7 x 9 3/8 (sheet 9 7/8 x 15 7/16). Edition 100. Illustrated: Salaman, Modern Masters of Etching: Edmund Blampied; Print Collector's Quarterly 24 (1937): 390. Printed on off-white wove paper. A rich impression with full margins. Signed in pencil. $1,250.

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Reflections. 1925. Drypoint. Appleby 109. 7 x 10 3/16 (sheet 10 9/16 x 15 1/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching; Print Collector's Quarterly 24(1937): 388. A rich impression with drypoint burr, printed on 'FJ Head & Co' cream laid paper, on the full sheet with deckle edges. Signed in pencil. $750.

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Resting. 1923. Drypoint. Appleby 93. 4 3/4 x 6 3/4. Edition 100. Illustrated: Fine Prints of the Year, 1923. A rich impression in fine condition. Signed in pencil. $975.

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Returning to the Stable. 1920. Drypoint. A 64. 8 3/4 x 12 1/4. Edition 100. A rich impression printed on cream laid paper with wide margins. Signed in pencil. $975.

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Road to the Farm. Etching. Appleby 149. 10 1/4 x 8 1/8 (sheet 13 1/2 x 10 1/2). Edition 100, #99. Illustrated: Fine Prints of the Year, 1929. Printed on cream wove paper with full margins. Signed and numbered in ink. $975.

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Shore Harvest. 1921. Drypoint. Appleby 78. 9 1/16 x 11 13/16 (sheet 11 3/8 x 17 7/8). Edition 100. A rich impression with drypoint burr, printed on 'FJ Head & Co' cream laid paper with wide margins. Signed in pencil. $975.

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The Stable. 1933. Drypoint. Appleby 96. 5 5/8 x 7 9/16 (sheet 9 7/8 x 12 1/2). Edition 100. A rich impression printed on cream laid paper. Full sheet with deckle edges. Signed in pencil. The chickens in the foreground are a charming touch. $550.

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Sunday Afternoon. 1922. Etching. Appleby 85. 8 7/8 x 11 7/8 (sheet 12 1/2 x 16 3/4). Edition 100. A rich impression printed on 'FJ Head & Co' cream laid paper on the full sheet. Signed in pencil. $850.

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Through the Storm. 1923. Drypoint. Appleby 97. 4 x 6 15/16 (sheet8 1/8 x 10 3/8). 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. $550.

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The Thunderstorm. 1920. Drypoint. Appleby 69b. 9 3/4 x 12 3/4 (sheet 13 5/8 x 18 1/4). Edition 100. A rich impression with drypoint burr and carefully wiped plate tone, printed on 'J Whatman' laid paper, on the full sheet with deckle edges. A large, extremely dramatic image. Signed in pencil. $975.

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The Vraic Season (No 1). 1936. Etching. Appleby 181. 12 x 14 1/4 (sheet 15 1/4 x 20). Edition 125 for The American College Society of Print Collectors (alternatively titled Seaweed Harvest.. Signed in ink. $1,250.

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Weary. 1913. Drypoint. Appleby 29. 4 1/2 x 6 11/16 (sheet 7 13/16 x 8 11/16). Edition 80. An extremely rich impression with drypoint burr printed on simili-Japan paper. Signed in ink. $575.

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Wet Sands. 1920. Lithograph. Appleby Lithographs 6. 9 x 14 1/2 (sheet 11 x 15 5/8). Edition 12. A fine impression on cream wove paper. Signed, dated and dedicated 'To W. Westley Manning' in pencil. $1,250.

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The White Horse. 1921. Drypoint. Appleby 81. 7 7/8 x 9 7/8 (sheet 11 1/2 x 18). Edition 100. A rich impression printed on 'FJ Head & Co' cream paper on the full sheet with deckle edges. Signed in pencil. $975.

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Work in the Fields. 1913. Drypoint. Appleby 31. 8 3/4 x 11 1/4 (sheet 11 5/8 x 14 5/8). Edition 65. Annotated 'HJB #18' in pencil, indicating a proof from the collection of the famous Blampied scholar and collector, Harold J. Bailey, who wrote an article, 'Edmund Blampied: Artist and Philosopher' in the Print Collector's Quarterly 24 (1937). A rich impression with plate tone, printed on the full sheet of cream laid paper withy deckle edges. Signed in pencil. $775.

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The Wreck. 1923. Lithograph. Appleby Lithographs13. 10 3/8 x 15 1/2 (sheet 13 3/16 x 19 7/8). Edition size probably 30. A fine impression on cream laid paper. Signed and numbered 24 in pencil. Blampied underplays the drama of the wrecked boat by contrasting it with the carefree postures of the horses and the young man standing by them. A charming, scarce image. $1,250.

France and the East

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Camels at a Well. 1927-28. Drypoint. Appleby 130. 8 1/2 x 12 (sheet 11 9/16 x 18 1/4). Edition 100, #91. Illustrated: Fine Prints of the Year, 1928. A rich impression with plate tone, printed on the full sheet of cream laid paper. Signed and numbered in pencil. $850.

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Loading Vraic, St. Malo. 1927. Drypoint. Appleby 122. 6 7/8 x 10 (sheet 10 1/8 x 16 1/2). Edition 100, #77. Printed with drypoint burr on cream wove paper with wide margins. Signed and numbered in pencil. $750.

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A Street by Night. 1927. Drypoint. Appleby 128. 8 x 11. Edition 100. Illustrated: Fine Prints of the Year, 1927, Holme, Etchings of Today, (London: The Studio, 1929), plate 7. A very rich impression on white wove paper with full margins. Signed in pencil. $1,250.

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Under A Paris Bridge. 1930. Lithograph. Appleby Lithographs 10. 10 x 15 1/2. Illustrated: Print Collector's Quarterly 19 (1932): 305. Small professionally repaired paper loss from a hinge, in the upper right-hand corner; otherwise excellent condition. A glowing impression on tissue-thin paper. Signed in pencil. $750.

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Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour.
In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography.
In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories.
In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé.
During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful.
In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank notes and a set of postage stamps for the States of Jersey.
After the War and the end of the Occupation he continued to live and work in Jersey. In 1966, he died at the age of 80.
He was a member of:
Royal Society of British Artists, 1938
Royal Society of Painter Etchers and Engravers, 1921

He exhibited at:
Connell & Sons Gallery
Fine Art Society
Glasgow Institute of the Fine Arts
Leicester Gallery
Royal Academy
Royal Society of British Artists
Royal Society of Painter Etchers and Engravers
Royal Hibernian Academy
Royal Scottish Academy
Royal Scottish Society of Painters in Watercolour.

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British Fine Prints.

Allinson Gallery Index.

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