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Solomon Van Abbé, A.R.E. 1883-1955.

Click on the titles for images.

The Judgement. 1929. Drypoint. 10 1/4 x 10 1/4 (sheet 18 1/4 x 12 3/8). Edition 50, #29. A rich impression printed on 'England' cream laid paper, on the full sheet with deckle edges. Signed and numbered in pencil. Illustrated: Print Collector's Quarterly 26 (1939): 292. $175.

The Law. 1928. Drypoint. 10 1/4 x 10 1/8 (sheet 18 1/2 x 12 1/2). Final trial proof, apart from the edition 50. A rich impression printed on 'J Whatman' cream laid paper, on the full sheet with deckle edges. Signed and annotated in pencil. $175.

A Point of Law. 1929. Drypoint. 10 1/4 x 10 1/4 (sheet 18 1/4 x 12 3/8). Edition 50, #29. A rich impression printed on 'England' cream laid paper, on the full sheet with deckle edges. Signed and numbered in pencil. Illustrated: Print Collector's Quarterly 26 (1939): 292. $175.

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Lawrence Alma-Tadema, OM, RA. 1805-1881.

The Epic of Kings - Stories retold from Firdusi. Retold by Helen Zimmern with prefatory poem by Edmund Gosse. T. Fisher Unwin, London., 1882. First edition. Folio. 339 pages. The decorative binding is an artwork in itself. Full parchment with bevelled edges and elaborate decoration in blue, re, tan and gilt; top edge gilt. Number 130 of 200 copies with the two etchings by Sir Lawrence Alma-Tadema, O.M., R.A. both signed by the artist. $950.

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Stanley Anderson, R.E. 1884-1966.

The Stone-Breaker. c.1940. Line engraving. 7 1/8 x 5 1/2 (sheet 12 3/4 x 10. A rich impression printed on cream wove paper. Signed, titled and annotated in pencil. $1,250.

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Robert Sargent Austin, A.R.A., R.E. 1895-1973.

Alice Lush. 1928. Engraving. Dodgson 80.iv. 13 3/8 x 10 5/16 (sheet 13 3/8 x 10 5/16). Edition 78. Printed in 'Ingres' laid paper. Signed, dated, titled and annotated '4th state' in pencil. A large, sensitive study, with exquisitely-rendered details in the sitter's face and hands. $650.

Bethlehem. 1925. Line engraving. Dodgson 62. 6 x 4 7/8 (sheet 9 1/2 x 7 3/8). Edition 50. A rich impression printed on cream laid paper. Signed and dated in pencil. $500.

Bowley Horse Cart. Etching. 5 x 5 3/16 (8 3/4 x 11). An extremely rare impression printed on cream laid paper. Signed in the plate. $500.

Boy and Calf. 1927. Etching and drypoint. Dodgson 68. iii. 4 5/8 x 5 5/8 (sheet 8 5/8 x 10 13/16). Edition 30 published by the Twenty-One Gallery for 3 1/2 guineas. A rich impression with drypoint burr printed on cream laid paper. Signed and dated in pencil. $675.

Donkeys of Selva (Island of Majorca). 1928. Line engraving. Dodgson 78. 5 x 5 3/16 (7 1/4 x 9 1/2). An early proof before drypoint work printed on tan laid paper. Initialed in the plate. Initialed 'A' lower right margin. $375.

Donkeys of Selva (Island of Majorca). 1928. Line engraving. Dodgson 78.ii. 5 x 5 3/16 (sheet 8 x 10 1/8). The image is toned; otherwise fine condition. Printed with plate tone on cream laid paper. Initialed in the plate; signed and dated in pencil. $375.

Flight Into Egypt. c.1925. Line engraving. Dodgson 61. 6 1/2 x 10 3/8 (sheet 10 1/4 x 17). A rich impression with plate tone printed on cream laid paper. Signed and dated in pencil. $650. cream laid paper. Signed and dated in pencil. $500.

Highbridge. 1928. Line engraving. Dodgson 77. vii. 4 1/2 x 5 1/8 (sheet 8 5/8 x 9 1/8). Edition 75. A fine impression printed on cream laid paper. Signed and dated in pencil. $650.

Man with a Cross. 1924. Etching. Dodgson 46.iv. Edition 40. 5 3/16 x 5 (sheet 6 1/2 x 6 1/4). A rich impression printed on cream laid paper. Signed, dated, titled and annotated in pencil. $500.

The Mill. Lithograph. 10 1/4 x 9 (sheet 13 x 10). Printed on 'JF[Head]' wove paper. Two circular thin spots inherent in the paper manufacture right above the signature; otherwise excellent condition. A fine impression of this scarce lithograph. Signed in the image. $350.

The Mother. 1932. Line engraving. Subsequent to Dodgson. 11 1/2 x 8 5/8 (sheet 14 7/8 x 10 7/8). Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: Fine Prints fo the Year, 1933. A rich impression with plate tone printed on cream laid paper. A large, impressive plate. Signed and dated in pencil. $500.

The Pack Bridge, Aylestone, Leicestershire. 1926. Line engraving. Dodgson 65. 4 13/16 x 4 7/16 (sheet 9 5/8 x 7 5/16). Edition 60. A fine impression printed on cream laid paper. Signed and dated in pencil. $800.

Rain and Smoke, Leverkusen. 1919. Etching and drypoint. Dodgson 8. Unpublished plate, about 20 proofs only. 4 3/8 x 4 3/8 (sheet 10 3/16 x 8 /8). A rich impression with carefully-wiped plate tone printed on cream laid paper. Signed in pencil. An extremely scarce image. $650.

Siena, Evening. 1923. Line engraving. Dodgson 38. 4 3/8 x 4 3/16 (sheet 8 x 7 1/4). A fine impression with plate tone, printed on cream laid paper. Signed, dated and titled in pencil. $750.

The Stonebreaker. 1925. Etching. Dodgson 57.iii. 4 1/8 x 5 5/16 (sheet 8 3/16 x 10 9/16). Illustrated: Salaman, Modern Masters of Etching; Print Collector's Quarterly 16 (1929): 336. A rich impression printed on 'Charles I' tan/cream laid paper. Signed and dated in pencil. $750.

Street in Cologne. 1919. Etching and drypoint. Dodgson 7.ii. 7 1/4 x 4 (sheet 11 3/8 x 9 1/8). Only proof of the second plate. Unpublished. Printed in sepia ink on cream laid paper. Signed, dated and annotated 'second state'. A rare, unique proof. $850.

The Trace Horse. 1921. Etching. Dodgson 25.ii. Edition of 40. 6 1/2 x 8 (sheet 9 x 10 3/4). A rich impression printed with plate tone on cream laid paper. Signed and dated in pencil. $600.

A Woman of Scanno. 1926. Line engraving. 7 7/8 x 6 1/8. Edition 50. Published by the Twenty One Gallery. A very rich impression printed on 'Charles I' laid paper. Illustrated: Salaman, Modern Masters of Etching; Fine Prints of the Year, 1927; Print Collector's Quarterly 16 (1929): 342. Signed and dated in pencil. Housed in a 15 1/2 x 12 5/8-inch brown and black wood frame. $525.

Women at Prayer. 1936. Line engraving. 10 15/16 x 8 7/16 (sheet 13 13/16 x 10 13/16). Subsequent to Dodgson. Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: Fine Prints of the Year, 1936. A rich impression with plate tone printed on white wove paper. Signed and dated in pencil. A large, impressive plate. $500.

Zouteland. 1930. Line engraving. Dodgson 82.xi. 5 1/8 x 5 5/16 (sheet 10 11/16 x 7 1/4). Edition 75, #21. A cleanly-wiped impression printed on cream laid paper. Signed, dated and numbered in pencil. $650.

Drawing

Self Portrait. 1916. Pencil drawing. 8 x 5 1/2 (12 3/4 x 9 7/16). Drawn on cream wove paper. Unsigned. $650.

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Stanley Roy Badmin, A.R.W.S., R.E. 1906-1989.

Burford, Oxfordshire. 1931. Etching. Beetles 25. 5 1/4 x 7 1/2 (sheet 7 5/8 x 10 1/16). Edition 45 published by the Twenty-One Gallery. Exhibited: Royal Society of Painter-Etchers and Engravers, 1931. Illustrated: Guichard: British Etchers. 1850-1940. Unobtrusive vertical fold, lower right. A rich impression printed on Basingwerk Parchment, on the full sheet with deckle edges. Signed in pencil. $1,650.

Evening Light, near Sevenoaks, Kent. 1930. Etching. Beetles 16. 5 1/8 x 6 1/2 (sheet 9 x 11 5/8). Edition 40, #35, published by the Twenty-One Gallery. A rich, tonal impression printed on blue/green laid paper that lends an evening glow. Signed, titled and numbered in pencil. $1,750.

Fallen Mill Sails. 1931. Etching. Beetles 24. 4 1/8 x 4 15/16 (sheet 7 x8). Edition 35, #31. Published by the Twenty-One Gallery in 1931. Exhibited: Fine Art Society, 1933; Royal Society of Painter-Etchers and Engravers, 1981. Illustrated: Guichard: British Etchers. 1850-1940. An extremely rich impression with subtle tonal wiping, printed on cream wove paper. Signed, titled and numbered in pencil. $1,750.

New Hop Poles. 1930. Etching. Beetles 17. 6 x 6 5 1/4 (sheet 11 1/2 x 9). Edition 30, #29, published by the Twenty-One Gallery. Exhibited at the Royal Society of Painter-Etchers and Engravers, 1932(?); Fine Art Society, February 1933, #38, £3.13.6. A rich, tonal impression printed on cream laid paper. Signed, titled and numbered in pencil. $1,450.

Priory Pond Stroud. 1932. Etching. Beetles 32. 5 1/4 x 6 (sheet 8 5/8 x 11 3/8). Edition 30, #29. Published by the Twenty-One Gallery in 1931. Exhibited: Royal Society of Painter-Etchers and Engravers, 1932. An extremely rich impression with subtle tonal wiping, printed on 'Basingwerk Parchment' cream wove paper. Signed, titled and numbered in pencil. $1,750.

Richmond Bridge. 1931. Etching. Beetles 24. 4 3/8 x 6 3/8 (sheet 9 1/2 x 12). Edition 50, #3. Published by the Twenty-One Gallery. Exhibited:Royal Academy ofArts, 1931. Royal Society of Painter-Etchers and Engravers, 1932. Art Institute of Chicago, March - May, 1932. Illustrated: The Studio Nov. 1931, p. 348. A rich, tonal impression printed on cream laid paper with full margins and deckle edges on two sides. Signed, titled and numbered in pencil. $1,750.

Richmond, Yorks. 1935. Etching. Beetles 37. 2 7/8 x 7 1/8 (sheet 7 3/8 x 12 1/2). Edition 50. Published by the Fine Art Society. Exhibited:Royal Academy ofArts, 1931. Royal Society of Painter-Etchers and Engravers, 1935. 5 A rich, tonal impression printed on cream wove paper (possibly Basingwerk Parchment) on the full sheet with deckle edges. Signed in pencil. $1,250.

Sorting Potatoes (Potato Clamps). 1931. Etching. Beetles 31. 4 x 7 (sheet 10 1/2 x 12 1/4). Trial proof, prior to the edition of 25 published by the Twenty-One Gallery. An extremely rich impression with subtle tonal wiping, printed on 'Lalanne' cream laidpaper.with a 'T.L. & Cie (FRANCE) countermark. Signed, titled and annotated 'Edition 25' and 'Trial on Lalanne Thin / Medium ink' in pencil. Accompanied by the artist's name and address portion of the orginal mat (mount). $1,750.

Swinbrook Bridge. 1931. Etching. Beetles 22. 3 11/16 x 5 7/8 (sheet 7 3/8 x 9 7/8). Edition 45, #28. Published by the Twenty-One Gallery. Exhibited: Royal Society of Painter-Etchers and Engravers, 1931; Royal Academy of Arts, 1932. Illustrated: Fine Prints of the Year, 1931. A rich impression with plate tone printed on cream wove paper, probably Basingwerk Parchment. Signed, titled and numbered in pencil. $2,000

Wareham, Dorset. 1934. Etching. Beetles 36. 5 1/4 x 6 1/4 (sheet 9 1/4 x 11 1/4). Edition 50 for the Print Collector's Club. Exhibited: Royal Academy, 1934; Royal Society of Painter-Etchers and Engravers, 1934 and 1979. Printed on tan wove paper. Signed and titled in pencil. $1,250.

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Wilfred Williams Ball. 1853-1917.

San Giorgio, Venice. 1888. Etching. 8 x 17 5/8 (sheet 13 3/4 x 21 5/8). Published by Robert Dunthorne. A rich, glowing impression with careful tonal wiping. Printed on Japanese vellum with full margins. Signed and titled in pencil. $450.

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John Rankine Barclay. 1884-1962.

Sand 1922. Etching. 7 7/8 x 9 7/8 (10 1/16 x 11 1/2). Printed on 'Van Gelder' laid paper. A rare touched proof with pencil in the sky. Signed, titled and dated '9/19/22' in pencil. $850.

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Francesco Bartolozzi, R.A. 1727-1815.

William Cowper Esqr. (After Thomas Lawrence 1769-1830). 1806. Stipple engraving. 11 x 8 (sheet 12 1/8 x 9 5/8). Published by J. Johnson, St. Paul's Church Yard, January 1, 1806. Printed on cream wove paper. Signed, dated and titled in the plate. $125.

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Robert Anning Bell, R.A. 1863-1933.

Battledore (Girls Playing Tennis). 1896. Lithograph. 10 1/2 x 6 5/8 (sheet 10 3/4 x 7 1/2). Printed in sanguine ink on cream wove paper, as published in The Studio volume 10, 1896, with their blindstamp. Signed and titled in the stone. Housed in a handsome gold leaf frame. A charming tennis image. $325.

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William Blake. 1757-1827.

Click on the titles for images.

Job's Comforters. 'And When They Lifted Up Their Eyes Afar Off'. 1823-25. Engraving. Binyon 112.ii; Bindman 632. Image 7 11/16 x 5 7/8; plate 8 5/8 x 6 3/4; sheet 14 7/16 x 10 5/8. Series: Illustrations of The Book of Job, #7. From the original edition of 315 published by John Linnell in 1826; printed on 'J WHATMAN TURKEY MILL 1925' wove drawing paper. (150 "Proof" sets on India paper and sixty-five on French paper were printed in March 1826, at which time the word "Proof" was removed from the plates and 100 sets were printed on drawing paper. Linnell printed a second edition of 100 in 1874). A superb, richly-inked impression printed on the full sheet. Signed in the plate. $3,500.

Then a Spirit Passed Before My Face the Hair of My Flesh Stood Up. (Job iv.15) 1823-25. Engraving. 1323-25. Binyon 114.iii; Bindman 634. Image 8 1/16 x 6; plate 8 9/16 x 6 11/16; sheet 18 1/4 x 13 1/28. Series: Illustrations of The Book of Job, #9. From the 1874 edition of 100 published by John Linnell, printed on laid India paper mounted on white wove paper (after the previous editions totaling 315). A superb, richly-inked impression printed on the full sheet. Signed and dated in the plate. $3,000.

The Creation: 'When the Morning Stars Sang Together and all the Sons of God Shouted for Joy'. 1823-266. Engraving. Binyon 119.iii; Bindman 639. Image 7 5/8 x 5 7/8; plate 8 1/8 x 6 1/2; sheet 16 1/2 x 12 1/4. Series: Illustrations of The Book of Job, #14. From the 1874 edition of 100 published by John Linnell, printed on laid India paper mounted on white wove paper (after the previous editions totaling 315). A superb, richly-inked impression printed on the full sheet. Signed and dated in the plate. $3,000.

The Wrath of Elihu: 'I Am Young, And Ye Are Very Old, Wherefore I Was Afraid.' 1823-25. Engraving. Binyon 117.ii, Bindman 637. Image 7 7/8 x 5 15/16; plate 8 5/8 x 6 5/8; sheet 17 3/4 x 12 3/4. Series: Illustrations of The Book of Job, #12. From the 1874 edition of 100 published by John Linnell, printed on laid India paper mounted on white wove paper (after the previous editions totaling 315). A superb, richly-inked impression printed on the full sheet. Signed and dated in the plate. $3,000.

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Edmund Blampied, R.E. 1886-1966.

Click on the titles for images.

Fine and Not-so-Fine Dining.

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.

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.

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.

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.

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.

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 his wife sitting in a cafe, about to imbibe. $1,250.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

The Centesnarian. 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.

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.

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

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 creamn wove paper. Collector's seal: E.C. Crossett. Signed and numbered in ink. $1,250.

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.

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.

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.

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.

Male Voice Choir. 1925-26. Etching. Appleby 113 (alternate version). 9 x 7 (sheet 12 x 8 1/2). Edition 100, #98.Illustrated: 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.

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.

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.

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.

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. $1,750.

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.

Splashing Through the Surf. 1923. Drypoint. Appleby 95. 7 1/4 x 10 3/16. Edition 100. Illustrated: Print Collector's Quarterly 13 (1926): 91. $750.

The Stranger. 1920. Drypoint. Appleby 66. 9 7/8 x 13 (sheet 13 x 18). 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. $750.

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

The Tumble. 1921. Drypoint. Appleby 80. 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.

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.

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.

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.

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.

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.

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, 1927; 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.

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.

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.

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. $1,250.

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.

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.

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.

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.

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 'FJ Head & Co' laid paper with full margins. Signed in pencil. $675.

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.

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.

Night Time, Dieppe. 1926-27. Drypoint. Appleby 123. 7 7/8 x 11/ Edition 100. Signed in pencil. $975.

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.

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.

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.

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.

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.

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. $1,250.

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. $975.

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

Returning to the Stable. 1920. Drypoint. Appleby 64. 8 3/4 x 12 1/4. Edition 100. $975.

Road to the Farm. 1931-32. Etching. Appleby 149. 10 1/4 x 8 1/8. Edition 100. Illustrated: Fine Prints of the Year, 1929. $975.

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.

Seaweed Harvest, Jersey. 1936. Etching. Appleby 183. 12 x 14 1/4 (sheet 15 1/4 x 20). Edition 125 for The American College Society of Print Collectors. Signed in ink. $1,250.

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.

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.

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. $750.

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. $1,250

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.

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.

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.

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.

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. sSigned in pencil. $775.

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

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.

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.

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.

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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Sir Muirhead Bone. 1876-1953.

For large images, click on the titles in red; for small images, click on Bone.

America

Liberty Statue New York. 1923. Conte crayon and watercolor. 7 1/2 x 10 (sheet 8 5/16 x 10 5/8). Signed and annotated 'Liberty Statue New York. Sketched from a Ferry Boat July 1923.' and 'Muirhead Bone to Mrs David Keppel with kind regards Dec 1925'. $2,500.

Manhattan Excavation. 1923-28. Drypoint. Dodgson 390.xvii/xix. 12 3/8 x 10 1/4 (sheet 15 3/4 x 13 3/4). Edition of 40 in this state (total 151 impressions in 19 states). Begun from nature on June 4, 1923 and finished in 1928. A rich, beautifully inked impression printed on the full sheet with deckle edges. Signed and annotated "XVII" in pencil. This is the most dramatic of Bone's New York etchings. The subject is an immense excavation for the foundation of a new building on Madison Avenue. $8,500.

The Tuscania leaving New York. 1923. Photolithograph. 10 5/16 x 12 1/2 (sheet 11 3/4 x 14). Printed on grey wove paper. Signed, titled and dedicated 'To E[ugene} N[oble]. New York. July 23, 1923' in pencil. $650.

Britain

The Ballantrae Road. 1907 Drypoint. Dodgson 212. 4 7/8 x 7 7/8 (sheet 6 1/4 x 8 7/8). Edition 73 proofs in 15 states. Provenance: The Vincent Price Collection,; Arthur H. Harlow & Co., New York. A rich impression printed on Japanese paper. Signed in pencil. $1,500.

Amey's Eating House, Winchester. 1916. Pencil drawing.13 x 7 1/2 (sight size). One pinhole on the right-hand edge of the drawing, 3 inches from the top; otherwise fine condition. Provenance: Fine Art Society, with their label, verso. Signed, dated and annotated 'Winchester', lower right. Housed in an elegant 22 x 15 1/2-inch gold leaf frame with blue/grey highlights. $1,750.

Arundel, Sussex. 1908. Drypoint. Dodgson 233.ii. 4 9/16 x 6 3/16 (sheet 5 7/16 x 7 1/4). Edition of 40 in this state (total edition 42). Printed on light tan wove paper. Illustrated: Print Collector's Quarterly 9(1922) p. 175. Collector's stamp verso: S. William Pelletier. Signed in pencil. $400.

Fitting Out Basin 1916. Lithograph. 18 x 14 (sheet 20 1/4 x 15). From the set of 6 lithographs, 'Building Ships' from the series: The Great War: Britain's Efforts and Ideals. A rich, dark impression printed on the full sheet of simili-Japan paper. Signed in pencil. $650.

Happisburgh (Haseboro') Church, Norfolk. 1934. Drypoint. Dodgson 447.iv. 9 7/8 x 6 7/8 (sheet 15 3/8 x 10 7/8). Edition 38. A rich impression printed on simili-Japan paper with wide margins. Unobtrusive printing fold in the image upper right. Anotated 'IV 28 proofs thus' and also initialed 'MB' in the upper right-hand corner indicating that this was the artist's own proof. $550.

Hove. 1906. Drypoint. Dodgson 197. 5 7/8 x 8 7/8(sheet 7 3/8 x 10 5/8). Edition of 36 (there were an additional 4 trial proofs). Printed on cream laid Japanese with full margins. Collector's stamp verso: S. William Pelletier. The image was exhibited at the Society of Twelve in 1906. A rich, velvety impression printed with plate tone. Signed in pencil. $500.

The Jetty, Gorleston. 1934. Drypoint. D 463.i/vii. 6 7/8 x 10 3/4 (sheet 10 15/16 x 14 15/16). Three proofs in this state; total edition 99 in 7 states. A rich impression printed on cream-colored wove paper. Titled and annotated by the artist 'I state 3 proofs thus' lower left. Collector's seal verso: S. William Pelletier. Signed in pencil. $650. The image, which is reversed, actually depicts Gorleston Pier. The drypoint is looking east and the river is to the north of the pier. $450.

Leeds. 1905. Drypoint. Dodgson 181.ii. 8 x 11 (sheet 8 5/8 x 13). Edition 34 impressions in 2 states. A rich impression with plate tone printed on Japanese mulberry paper. $750.

Piccadilly Circus -- 1915. 1915. Drypoint. Dodgson 332.vi. 11 13/16 x 14 7/8 (sheet 16 x 22). Edition of 125 in this state. Illustrated: Furst, Original Engraving and Etching: An Appreciation. A rich impression printed on the full sheet of simili-Japan paper. Signed in pencil. $3,750.

Rye, from Camber. 1907. Drypoint. Dodgson 205.i/ii. 6 x 8 (sheet 8 3/4 x 10). Edition 25 in this state (total 38 plus 5 trial proofs). A rich impression with drypoint burr and plate tone printed on Japanese mulberry paper. Signed in pencil. $500.

The Netherlands

Leyden. 1913. Drypoint. Dodgson 308. 9 x 11 1/2 (sheet 10 5/8 x 15 1/2). Edition 25 (1 trial proof). Printed on simili-Japan paper. Signed in pencil. $775.

Italy

Archway, Chioggia. 1915. Drypoint. Dodgson 338.iii/iii. 6 1/8 x 6 7/8 (sheet 7 5/8 x 9 7/8). Edition of 59 in this state (total edition 78. Illustrated: Print Collector's Quarterly 9 (1922): 193. Signed in pencil. A rich impression, with burr and plate tone, printed on cream laid paper from an antique volume. $400.

Canal and Bridge of SS Apostoli, Venice. 1916. Drypoint. Dodgson 351.xx/xxvi. 12 7/8 x 8 7/8 (sheet 15 5/8 x 10 7/8). Edition of 129 proofs in 26 states. A rich impression with drypoint burr, printed on simili-Japan laid paper. Signed, lower right and annotated 'MB' with two circles, upper right, indicating aa superior impression. This and Rainy Night in Rome are Bone's two great Italian prints. $2,750.

Evening, Port of Genoa. 1915. Drypoint. Dodgson 337.i/v. 7 5/8 x 9 15/16 (sheet 9 1/8 x 14). Edition of 45 in five states. An exceptionally rich impression with drypoint burr, printed on antique cream laid paper. A rare proof of the first state. Signed and annotated 'I' in pencil. $650.

Rainy Night in Rome. 1913. Drypoint. Dodgson 299.vi/x. 12 x 8 7/8 (sheet 15 7/8 x 11 1/4). Edition 16 in this state (total 125 proofs in 10 states). A rich impression with burr and tonal wiping. Printed on simili-Japan paper with wide margins. Signed, dated, and titled annotated '6th' in pencil. $2,500.

Rainy Night in Rome. 1913. Drypoint. Dodgson 299.x. 12 x 8 7/8 (sheet 16 x 11 3/4). Edition 125 in 10 states. A rich impression with burr and tonal wiping. Printed on simili-Japan paper with wide margins. Signed, dated, titled Signed, dated, titled and annotated '13' in pencil. $2,250.

The Trevi Fountain, Rome. 1913-28. Drypoint. Dodgson 304.xix. 16 x 10 1/4 (sheet 18 3/4 x 12 1/2). One of thirty-four impressions in this state; total edition 87 proofs. Printed on the full sheet of simili-Japan paper with deckle edges. An extremely rich impression, with burr and plate tone. Annotated '19th' in pencil, lower left; signed in pencil. $1,750.

Tuscan Hill Farm. 1912. Drypoint. Dodgson 284. 5 1/2 x 4 (sheet 11 x 8). Edition 279 (plus 4 trial proofs). Illustrated: Print Collector's Quarterly 9 (1922): 189. Printed on simili-Japan paper. Signed in pencil. $225.

Spain

Dancing on the Apostle's Day, Santiago. 1930. Drypoint. Dodgson 444. 6 5/16 x 7 11/16 (sheet 10 3/4 x 15 7/8). Edition 133. Printed on the full sheet of white laid paper with deckle edges. WITH Jubilee Year, Santiago de Compostela. 1930. Drypoint. Dodgson 39. 13 3/8 x 7 7/8 (sheet 20 x 13 1/4). Edition 133. Printed on the full sheet of white laid paper with deckle edges. Illustrated: Gertrude Bone, Days in Old Spain. Published in the portfolio, Two Drypoints by Muirhead Bone. $2,000 the pair in the original portfolio.

Jubilee Year, Santiago de Compostela 1930. Drypoint. Dodgson 39. 13 3/8 x 7 7/8 (sheet 20 x 13 1/4). Edition 133. Printed on the full sheet of white laid paper with deckle edges. Illustrated: Gertrude Bone, Days in Old Spain. Published in the portfolio, Two Drypoints by Muirhead Bone. The other drypoint in the folder is, Dancing on the Apostle's Day, Santiago. (not included). Signed in pencil. $1,750.

A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412.xxix. 12 1/2 x 8 1/8 (sheet 16 3/4 x 12). Edition 160 in 29 states. Illustrated: Zigrosser: Six Centuries of Fine Prints. A rich impression with velvety drypoint burr. Printed on smooth simili-Japan paper with full margins. Annotated by Bone 'XXIX A Spanish Good Friday (Ronda) (for Morris) in the lower margin. Signed in pencil by Bone. $7,500.

A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412.xviii/xxix. 12 1/2 x 8 1/8 (sheet 15 x 12). Edition 160 in 29 states. Illustrated: Zigrosser: Six Centuries of Fine Prints. A rich impression with velvety drypoint burr. Printed on smooth simili-Japan paper on the full sheet with deckle edges. Annotated by Bone 'xxv' crossed out and replaced by 'xviii' in the lower left-hand margin, an 'A' in the upper left-hand margin and an 'x' in the lower right hand margin, indicating an excellent impression. Signed in pencil by Bone. $8,500.

A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412.xxix. One of only 20 numbered impressions printed from the cancelled plate in 1985. 12 1/2 x 8 1/8 (sheet 22 1/2 x 15). A rich impression, printed on heavy white wove paper, countermark BFK RIVES FRANCE, with wide margins. Inscribed in pencil at extreme lower edge of sheet '8/20' and 'U. of Br(?) School of Art 1985'. Ex-collection William Pelletier. $500.

Sweden

Windy Night, Stockholm. 1935. Drypoint. Dodgson 457.x. 11 7/8 x 7 5/8 (sheet 15 1/2 x 10 7/8). Edition of 80 in this state (total 93 in 10 states). Illustrated: Guichard, British Etchers: 1850-1940. A rich, atmospheric impression with tonal wiping printed on simili-Japon paper. Signed in pencil. $1,750. Housed in a silver leaf frame: $1,850.

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Edward Bouverie-Hoyton. 1900-1988.

Thermae of Caracalla. 1928. Etching. 10 x 13 3/8 (sheet 14 5/16 x 18 7/8). Edition 75. A rich impression printed on light tan laid paper. Published by the Fine Art Society. Signed in pencil. $500.

Vatican City. c.1929. Etching and drypoint. 9 x 12/8 (sheet 11 3/8 x 17 1/4). A rich impression printed on cream laid paper with full margins. The artist also made a color version of the image. Signed in pencil. $400.

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Frank Brangwyn, R.E. 1867-1956.

Breaking Up of the 'Duncan'. 1911. Etching. Gaunt 193. 32 3/8 x 21 3/8 (sheet 27 3/8 x 36 2/8). Edition 125. Glue stains along the sheet edges, well outside the image. A rich, tonal proof printed on white wove Japan paper. Signed in pencil. $2,500.

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Arthur Briscoe, R.E. 1873-1943.

Click on the titles for images.

Watercolours

The Archibald Russell. 1935. Pencil and watercolour on watercolour board. 20 7/8 x 28 5/8. Fine color and . Signed and dated in ink, lower right; titled verso. Housed in a gold leaf frame 28 1/2 x 36-inch gold leaf frame. $3,500.

The Endeavour. c.1935. Pencil and watercolour on watercolour board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. Housed in a 23 1/2 x 36-inch light brown wood frame. $2,500.

Etchings

Abandoned. 1930. Etching. Hurst 277. 8 7/8 x 15 7/8 (sheet 11 3/8 x 17 1/2). Edition 75, #73. A rich impression printed on cream laid paper with a Strasbourg lily watermark, with full margins. Signed and numbered in ink. $1,950.

An Act of God. 1926. Edition 90, #46. Illustrated: Print Collector's Quarterly 25 (1938): 290. A rich impression printed on pale blue/green laid paper from an antique volume, with full margins. Excellent condition. Signed and numbered in ink. $750.

All Hands. 1926. Etching. Hurst 141. 8 1/4 x 15 1/4 (sheet 9 7/8 x 17 5/8). Trial proof, apart from the edition of 75. A beautifully wiped impression with plate tone, printed on laid paper with a Strasbourg lily watermark, on the full sheet with deckle edges. Signed in pencil and annotated 'trial' in ink. The artist's trial proofs are extremely rare. $1,950.

Aloft. 1929. Etching and drypoint. Laver 144; Hurst 256. 9 7/8 x 15 15/16 (sheet 13 3/4 x 19 1/4). Edition 75, #1. Illustrated: Print Collector's Quarterly 26 (1939): 98. Exhibited at the Royal Academy in 1930. A rich impression printed on antique white laid paper from an old volume, with full margins. Excellent condition. Signed and numbered in ink. $1,750.

The Anchor. 1930. Etching. Hurst 268.ii. 7 x 6 3/4 (sheet 10 3/4 x 7 5/8). Edition 275. A rich impression with plate tone printed on antique 'GR' laid paper with a hunting horn countermark. As published in J. Lauer's volume, A complete catalogue of the Etchings and Drypoints of Arthur Briscoe. One spot in the right-hand sheet; otherwise in excellent condition. Signed in ink. $750.

An Arrival. 1932. Etching. Laver supplement 66; Hurst 75. 8 x 13 7/8 (sheet 10 1/4 x 15). Edition 75, #23. A rich impression with plate tone printed on antique 'LA' laid paper. Signed and numbered in ink. $975.

The Binnacle. 1930. Etching. Hurst 272 state.iii. 8 7/8 x 15 7/8 (sheet 14 3/8 x 21). Edition 75, #39. Illustrated: Fine Prints of the Year, 1931; Prints II, 2 (1932): 17; Print Collector's Quarterly 25 (1938): 302. A rich, tonal impression printed on 'Whatman Turkey Mill 1830' laid paper. Signed and numbered in ink. $1,950.

The Capstan. 1926. Etching. Laver 49, Hurst 124. 7 x 11 (sheet 9 3/4 x 14 5/8). Edition 75, #64. A richimpression printed on antique laid ledger paper. Signed and numbered in ink. $1,950.

The Helmsman. 1925. Etching. Hurst 130. 7 x 10 7/8 (sheet 11 x 5). Trial proof, apart from the edition of 75 An extremely rich impression printed cream wove paper. An exceptionally rare proof printed by the artist. Signed and annotated 'trial by self' in pencil. $2,500.

The Life Line. 1939.Etching. Hurst 326. 7 7/16 x 11 7/8 (sheet 10 3/4 x 16 13/16). Edition 50, #17. Printed on 'Millbourn British Handmade Pure Rag' paper with a partial watermark. Titled in pencil; signed and numbered in ink. $1,750.

The Look-out, Sunrise. 1925. Etching. Hurst 122. 7 11/16 x 11 3/8 (sheet 9 5/8 x 13 3/8). Edition 75, #21. Printed on Strasbourg Lily watermarked laid paper. Signed and numbered in ink. $1,250.

Low Tide, Brixham. 1927. Etching. Hurst 190. 6 5/16 x 8 3/4 (sheet 7 15/16 x 12 3/4). Edition 75, # 38. A rich impression printed on ' 1815' laid paper. Signed and numbered in ink. $650.

The Main Tack. 1928. Etching. Hurst 211. 13 7/8 x 7 15/16 (sheet 15 3/8 x 10). Edition 75, #55. Signed and numbered in pencil. A rich impression with plate tone. Printed on cream laid 'Hodgkinson & Co' countermarked laid paper. $1,950.

Make Fast, plate 2. 1929. Etching. Laver 146; Hurst 258. 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Illustrated: Print Collector's Quarterly 25 (1938): 300. Printed on ' Gen Dedijon extra ordi.' watermarked cream laid paper. Signed and annotated 'A.B. 2' in ink. It is extemely rare to find early Briscoe proofs. $2,250.

Making a Passage. 1929. Drypoint. Laver 21; Hurst 75. 6 1/4 x 9 1/16 (sheet 7 3/4 x 11 5/16). Edition 75, #60. A dramatic impression with plate tone and drypoint burr, printed on pale cream-colored wove paper. Signed and numbered in ink. $550.

Making Sail. 1927. Etching. Laver 100; Hurst 185. 9 7/8 x 15 7/8 (sheet 12 1/4 x 17 7/8).Edition 75, #1. A dramatic impression with plate tone printed on cream laid paper. Signed and numbered in ink. $1,950.

Mending the Trawl, plate 3. 1926. Etching. Hurst 166. 6 7/8 x 11 3/4 (sheet 9 x 13 1/2). Edition 75, #73. A rich impression with dramatic plate tone, printed on cream laid paper with a foolscap watermark. Signed and numbered in ink. $1,950.

The Old Man. 1925. Etching. Hurst 137. 6 3/8 x 8 5/8 (sheet 9 3/16 x 11 3/4). Edition 75, #1. Signed and numbered in ink. A dramatic impression with plate tone. Printed on fine laid paper, on the full sheet with deckle edges. $1,250.

On the Main Yard. 1925. Etching. Hurst 120. 9 1/16 x 7 (sheet 10 13/16 x 8 9/16). Edition 75, #8. Illustrated: Print Collector's Quarterly 25 (1938): 286. Printed on blue/green Strasbourg Lily laid paper. Signed and numbered in ink. $975.

On the Yard, plate 3. 1929. Etching. Laver 139, Hurst 246. 8 7/8 x 13 7/8 (sheet 11 1/2 x 16 1/4). Trial proof. No published edition. An extremely rich impression with plate tone printed on 'antique laid paper countermarked 'DS&Pine 17940 with a Strasbourg lily watermark. Signed and annotated 'trial' in pencil. An exceptional proof of the greatest rarity. $2,250.

Overhauling the Net. 1926. Etching. Hurst 163. 10 7/8 x 7 1/8 (sheet 14 5/8 x 9 1/2). Edition 75, #13. A dramatic impression with plate tone. Printed on antique laid paper with a fleur-de-lys watermark. Signed and numbered in ink. $1,250.

The Pilot. 1925. Etching. Hurst 128.ii. 612 7/8 x 8 7/8 (sheet 15 x 10 7/8). Trial proof, before the edition of 75. Signed and annotated "Trial proof" in pencil. A very rich impression with plate tone, printed on pale cream-colored wove paper from an old journal. $2,000.

The Roaring Forties.1926. Drypoint. Hurst 103. 5 3/8 x 8 13/16 (sheet 7 3/4 x 10 1/2). Edition 75, #26. Printed on off-white laid paper from a book. A dramatic, carefully wiped impression. Signed and numbered in ink. $550.

The Seine Net. 1925. Etching. Hurst 143.iii. 7 3/16 x 10 15/16 (sheet 9 5/8 x 14 11/16). Trial proof vi, apart from the edition of 75. Fingerprints in the margins; soiling in the margins and in the image; 2 printing folds. A very rich, atmospheric impression printed on Strasbourg lily LVG laid paper from an antique volume. Signed and annotated "trial VI" and "64B" in pencil. $750.

The Shadow of the Mainsail. 1925. Etching. Hurst 298.ii. 6 1/2 x 11 3/4 (sheet 10 1/4 x 15 1/4). Edition 106 for the Print Collector's Club. A rich, atmospherically wiped impression. Printed on off-white wove paper. Signed in pencil. $1,750.

The Squall. 1926. Etching. Hurst 144. 5 3/4 x 8 7/8 (sheet 8 3/4 x 10 7/8). Edition 75, #39. A fine impression with plate tone, printed on cream laid paper on the full sheet with deckle edges. Signed and numbered in ink. $750.

The Trawler. 1926. Etching. Hurst 176. 9 7/8 x 13 7/8 (sheet 11 3/8 x 15 3/4). Edition 75, #71. A fine impression with plate tone, printed on cream laid paper from an antique volume. Signed and numbered in ink. $1,750.

Walking Up the Topsail. 1925. Etching. Hurst 99.ii. 7 15/16 x 10 3/4 (sheet 10 5/16 x 12 1/2). Trial proof, apart from the edition of 75. Signed and annotated "Trial by Carling" in pencil. A rich, atmospherically wiped impression. Printed on laid paper from an antique volume. $2,250.

We're Bound for the Rio Grande. state 2. 1929. Etching. Laver 143, Hurst 251. 9 x 10 (sheet 11 x 12). Edition 75, #3. Illustrated: Print Collector's Quarterly 25 (1938): 298. A rich impression with dramatic tonal wiping, printed on 'Edmeads & Pin' laid paper. Signed and numbered in ink. $1,250.

The Wheel. 1925. Etching. Hurst 196. 9 x 10 (sheet 11 1/8 x 16 3/4). Edition 75, #1. Illustrated: Print Collector's Quarterly 25 (1938): 292. A rich impression with tonal wiping. Printed on the full sheet of cream laid paper with deckle edges. Signed and numbered in ink. $2,500.

The Winkle Picker. 1926. Etching. Hurst 149. 5 3/4 x 8 15/16(sheet 8 7/8 x 10 15/16). Edition 75, #1. Signed and numbered in ink. Printed on the full sheet of cream laid paper with deckle edges. It is rare to find the first numbered impression of an edition. $650.

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Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.

Click on the titles for images.

Images of Women.

Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 17 x 12 1/2). Total edition 91. Illustrated: Guichard, British Etchers 1850-1940; Fine Prints of the Year, 1933 and and Zigrosser, Six Centuries of Fine Prints. A luminous, richly-inked impression on simili-japon paper. Signed in pencil. This is the artist's magnum opus. It was one of the most influential and familiar icons of erotica of the 1930s. Available housed in a 23 7/8 x 17 3/4-inch gold leaf frame. Price upon request

Aglaia (Anaïs ). 1926. Etching. Fletcher 54.vi/viii. 5 7/16 x 4 3/16 (sheet 11 1/2 x 9 1/8). One of three proofs in this state, before the plate was reduced. edition of 111. An extremely rich proof printed on cream wove paper, on the full sheet with deckle edges. Signed and annotated in pencil '6th G.L.B (1 of 3 proofs thus). $375.

Aglaia (Anaïs). 1926. Etching. Fletcher 54. 8 7/8 x 6 3/4 (sheet 15 x 11). Trial proof, apart from the edition of 111. Illustrated: Print Collector's Quarterly 21 (1943): 322. An extremely rich proof printed on cream wove paper, on the full sheet with deckle edges. Annotated'TRIAL' in pencil; signed in the plate. This is a striking portrait of Brockhurst's first wife. $300.

Amanda No. 1 (Marguèrite). 1920. Etching. Fletcher 18. 3 1/2 x 2 3/8 (sheet 9 x 7 1/4). Edition o55. . Arich proof printed with plate tone on on cream laid paper with full margins. Signed in pencil. This is a striking portrait of Brockhurst's first wife. $350.

Anaïs No. 1. 1920. Etching. Fletcher 6.i/ii. 5 7/16 x 8 1/2 (sheet 11 1/2 x 8 1/2). 2 proofs in this state total edition 57 impressions. Printed on cream laid paper, with full margins. Signed, titled and annotated in pencil by the artist, '1st state G.L.B. (2 proofs thus).' $500.

Anaïs No. 2. 1930. Etching. Fletcher 67. 8 7/8 x 6 3/4 (Sheet 15 x 11). Edition 111. An extremely rich proof printed on cream wove paper, on the full sheet with deckle edges. Anais was the artist's first wife. Provenance: the Brockhurst estate. Signed in pencil. $900.

A Ballynakill Woman. 1926. Etching. Fletcher 53. Published state. 5 3/8 x 4 1/8 (sheet 10 5/8 x 8 1/2). Printed on 'ENGLAN[D]' countermarked cream laid paper with full margins. Total edition of 107. Signed in pencil. The woman portrayed was the mother of the two children in The West of Ireland (Fletcher 61). $600.

Le Beguin (Anaïs). 1922. Etching. Fletcher 33.iii./iv. 5 1/2 x 4 5/16 (sheet 11 3/8 x 8 1/2). Edition 76. Illustrated: Print Collector's Quarterly 11 (1024): 435. A rich impression printed on cream laid paper with wide margins. The title of the etching comes from the French-Moorish cap or headband worn by women from Dax in South Western France, the Aquataine. Signed in pencil. $650.

The Black Cloak. (Mrs. Paul Mellon; Mary Mellon). 1943. Etching. Fletcher 81. 9 15/16 x 7 15/16 (sheet 13 x 9). Trial proof, apart from the edition of 75. A fine impression printed on cream countermarked laid paper. Signed and annotated 'artist's proof' in pencil. $800.

The Black Silk Dress (Anaïs). 1927. Etching. Fletcher 58.v/x. 8 3/4 x 6 1/4 (sheet 17 1/8 x 11). 4 impressions in thei state (edition 111). Exhibited at the RE, 1928, no.22. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst; Calloway, English Prints for the Collector, p. 191. A rich impression printed on 'J Whatman' laid paper. Signed and annotated '5th state GLB 4 proofs thus' in pencil. $2,000.

The Black Silk Dress (Anaïs). 1927. Etching. Fletcher 58.v/x. 8 3/4 x 6 1/4 (sheet 17 1/8 x 11). 4 impressions in thei state (edition 111). Exhibited at the RE, 1928, no.22. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst. A rich impression printed on 'J Whatman' laid paper. Signed and annotated '5th state GLB 4 proofs thus' in pencil. $2,000.

The Black Silk Dress (Anaïs). 1927. Etching. Fletcher 58. 8 3/4 x 6 1/4 (sheet 14 1/2 x 9 1/8). Published state. Edition of 111. Exhibited at the RE, 1928, no.22. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst. A very rich impression printed on off-white wove paper. Signed in pencil. $1,750.

Chiquita. 1923-4. Etching. Fletcher 44. Published state. 6 3/8 x 5 5/16 (sheet 11 x 8 3/4). Edition 76 (total 81 impressions). A dramatic impression with subtle plate tone, printed on cream wove paper with full margins. Signed in pencil. $650.

A Connemara Peasant. 1921. Etching. Fletcher 24. 6 7/16 x 4 3/8 (wheet 11 3 /4 x 9 3/16). Edition 76. A rich impression with plate tone printed on cream wove paper with wide margins. Etched from a drawing now in the British Museum. An impression was exhibited at the RE, 1923. Signed in pencil. $375.

Une Dacquoise. (Anaïs) (A Woman from Dax (Landes). 1922. Etching. Fletcher 29.iii. 6 3/8 x 4 1/2 (sheet 11 1/2 x 9 1/8). Edition 76. A rich impression printed on cream wove paper, on the full sheet with deckle edges. The name Dacquoise is given to ladies from the town of Dax in South Western France, the Aquataine. Signed in pencil. $750.

The Dancer (Anaïs). 1925. Etching. Fletcher 52.i/viii. 9 3/4 x 6 1/16 (Sheet 16 5/16 x 9). Edition 107. Early proof before the published state, before the plate was reduced, with the signature in reverse, upper right, before the signature and date were added in the lower left. An extremely rich proof printed on cream 'J. Whatman' paper. Illustrated: Salaman, Modern Masters of Etching: Brockhurst, Print Collector's Quarterly 21 (1934): 319; and Fine Prints of the Year, 1926. Signed in pencil and annotated "1st state G.L.B." in pencil. $1,250.

Elisabeth (Anaïs) also called The London Caster Girl. 1922. Etching. Fletcher 32. 5 5/84 x4 1/4 (sheet 11 1/2 x 9).Edition 76. A rich impression with plate tone, printed on '[F J Hea]d & Co' cream laid paper. Signed in pencil. $750.

Geneviève (Anaïs). 1922. Etching. Fletcher 30.vi/ix. 7 3/4 x 5 7/8 (sheet 11 1/2 x 9 1/4). Only 2 impressions in this state (total 92 impressions). . A rich impression with plate tone, printed on cream wove paper. Signed and annotated '6th state G.L. B. (2 proofs thus) in pencil. $800.

Head of a Girl (Anaïs; Melisande; Head of a Basque). 1944. Fletcher Lithograph 2. Zinc plate.iii/iii. 11 3/8 x 9 3/16 (sheet 16 1/4 x 12 13/16). Edition 25. A fine impression printed on cream wove paper. Pristine condition. This is a portrait of the artist's first wife, Anaïs. Provenance: the estate of Kathleen Nancy Woodward Brockhurst. Signed in pencil. $650.

Noémie marguérite). 1926. Etching. Fletcher 57. 7 1/8 x 4 3/16 (sheet 10 15/16 x 8 7/16). Edition 111 in this state(total 132 impressions). A fine impression printed on cream wove paper. Signed in pencil. $575.

Noémie (Marguérite). 1926. Etching. Fletcher 67.ii/vi proofs. 8 1/8 x 5 15/16 (sheet 11 5/16 x 8 7/8). One of only 4 proofs in this state (total 132 impressions). A fine impression printed on cream wove paper. An extremely rare proof, before the reduction of the plate. Printed on 'Van Gelder Zonen" laid paper. Signed and annotated '2nd state G.L.B. 4 proofs thus' in pencil. $850.

Phémie (Marguérite). 1924. Etching. Fletcher 42. 3 7/8 x 2 7/8 (sheet 10 3/4 x 7 3/4). Edition 76 (total 79 impressions). Exhibited at the R.E., 1924. A fine proof printed on the full sheet of cream wove paper with deckle edges. A dramatic tonal study. $400.

Study for a Decoration (Marguérite). 1926. Etching. Fletcher 46.ii/iii. 6 7/8 x 5 (sheet 11 3/16 x 9 1/16). 5 proofs in this state (total 76 proofs). Illustrated: Salaman, Modern Masters of Etching: Brockhurst. A fine impression printed on cream Van Gelder Zonen laid paper. Signed and inscribed '2nd state G.L.B.'in pencil. $750.

The Three Sisters. 1920. Etching. Fletcher 11.ii. 3 7/8 x 4 7/8 (sheet 9 1/8 x 11). Edition 55 in this state (total 58 proofs). A richly-inked impression printed on cream wove paper with deckle edges (irregular left-hand margin). A scarce early etching by the artist. Signed in pencil. $550.

La Tresse. 1926. Etching. Fletcher 56.vi/vii. 8 1/3 x 6 3/4 (16 1/2 x 12 5/16) Proof before the published edition (total edition 111). La Tresse. 1926. Etching. Fletcher 56.vi/vii. 8 1/3 x 6 3/4 (16 1/2 x 12 5/16) Proof before the published edition (total edition 111). Signed and annotated "6th state G.L.B. (1 of 4 proofs thus") in pencil by the artist. Illustrated: Fine Prints of the Year, 1927;; Salaman, Modern Masters of Etching: Brockhurst; Print Collector's Quarterly 21 (1943): 325. Printed on cream-colored laid paper with full margins. A glowing impression of this rare state. $1,950.

The Two Mélisandes. 1928. Etching. Fletcher 60. 5 3/4 x 3 1/2 (sheet 10 1/2 x 7 1/2). Edition size not stated. Illustrated: Fine Prints of the Year, 1928; ;Salaman, Modern Masters of Etching: Brockhurst; Print Collector's Quarterly 21 (1943): 327. Printed on cream-colored laid paper with full margins. Anaïs Folin, the artist's first wife, is holding their baby daughter. Signed in pencil. $975.

Una (The Young Creole). 1929. Etching. Fletcher 65.iv/x. 8 1/2 x 6 1/4 (sheet 15 3/8 x 10 1/4). Edition of 3 in this state (total 140 impressions). A very rich impression printed on cream wove paper. Signed and inscribed '4th state G.L.B. 3 proofs thus'in pencil. $1,100.

Una (The Young Creole). 1929. Etching. Fletcher 65.x. 8 1/2 x 6 1/4 (sheet 15 3/8 x 10 1/4). Edition of 111 in this state (total 140 impressions). A very rich impression printed on cream wove paper. Provenance: the estate of the artist's widow, Dorette Brockhurst. Signed and inscribed 'Artist's Proof' in pencil. $975.

Ursula. 1926. Etching. Fletcher 55. 5 13/16 x 2 3/4 (sheet 11 5/8 x 8 3/8). Edition of 111. A fine impression on cream wove paper. Signed in pencil. $500.

Mrs. Albert H. Wiggin (Jessie Duncan Hayden). 1932. Etching. Fletcher 74. 9 3/4 x 7 3/8 (sheet 15 1/8 x 10 3/4). Edition 58. A rich impression printed on cream wove paper. Signed in pencil. Jessie Duncan Hayden married Albert Wiggin in 1892; they had two daughters. Wishing to study sculpture, she rented a studio in MacDougal Alley behind the Whitney Museum and began to study under Victor Salvatore. $325.

Zèlie (Marguèrite). 1920. Etching. Fletcher 13. 4 3/8 x 3 3/8 (sheet 9 7/8 x 6 1/8). Edition 40. A rich proof printed with plate tone on on cream wove paper with full margins. Signed in pencil. This is a striking portrait of Brockhurst's first wife. $350.

Images of Men.

The Amberly Boy. No. 2. 1928. Etching. Fletcher 62. 7 5/8 x 5 7/8 (sheet 14 x 10 1/2). Edition 111. Illustrated: Guichard, British Etchers 1850-1940; Holme, Etchings of Today, (London: The Studio, 1929), plate 9; Print Collector's Quarterly 22 (1935): 62. A rich impression with plate tone printed on the full sheet of cream wove paper. Signed in pencil. $1,250.

The Basque Boy also called Boy with Beret and Fabian. 1944. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4 (sheet 7 1/4 x 2 7/8). Edition 10. Printed on countermarked 'hand made' wove paper on the full sheet with deckle edges. A fine impression of this very rare lithograph. Signed and dated in pencil. $900.

Henry Bell, Esq. December, 1930. Etching. Fletcher 68.v. Published state. 8 5/16 x 6 3/16 (sheet 14 3/4 x 10 7/16). Private commission. Edition 55 (68 total proofs). A very rich impression. Signed in pencil. Henry Bell was associated with Lloyds Bank. $500.

Fabian (The Ideal Head). 1921. Etching. Fletcher 23.ii/iii. 7 x 5 (sheet 11 5/16 x 8 5/8). 5 proofs only in this state, before the edition 76 (total 90 impressions). Exhibited at the R.E., 1921. A rich impression printed on fine cream laid paper with wide margins. Scattered foxing around the sheet edges, well away from the image; otherwise excellent condition. Signed and and anotated '2nd state G.L.B.' in pencil, lower left. $650.

Marquett. 1925. Etching. Fletcher 51. 8 7/16 x 6 7/8 (sheet 12 13/16 x 8 7/8). Trial proof, apart from the edition of 106 (total 113 impressions). A rich impression, printed on cream laid paper. Signed and annotated "Trial" and "to light" by the artist in pencil. $375.

James McBey. 1931. Etching. Fletcher 69.ix. 10 1/2 x 7 1/2 (sheet 14 7/8 x 11 3/8). Edition 111. A rich impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931; Print Collector's Quarterly 22 (1935): 70. Signed in pencil. $3,000.

An Old Corsican. 1921. Etching. F 27. 6 5/16 x 4 9/16 (11 1/2 x 9 3/8). Edition 76. A beautiful, rich impression with plate tone, printed on 'J. Whatman' laid paper on the full sheet with deckle edges. Signed in pencil. The model for this portrait was the wood engraver,Marquett, whose portrait Brockhurst had etched in 1925 (Fletcher 51). $550.

Henry Rushbury, A.R.A., R.E., R.W.S., No. 2. 1930. Etching. Fletcher 66. Published state. 10 x 7 3/8 (sheet 14 1/2 x 10 3/4). Edition 111. Illustrated in 'Royal Academy Illustrated' 1930; 'Fine Prints of the Year' 1930; Print Collector's Quarterly 21 (1943): 331. An exceptionally rich impression with printed on cream wove paper. Signed in pencil. $3,500. Housed in a gold leaf frame. $3,650.

A Self Portrait. c. 1932. Ink drawing on wove paper. 3 1/2 x 2 1/4 (sheet 10 x 7). Provenance: the artist's daughter. Unsigned. A unique silhouette. $975.

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Thomas Austen Brown, ADSA, RI, NPS. 1857-1924.

Click on the title for an image.

The Woodman. 1911. Etching with watercolor. 7 7/8 x 5 15/16. Signed and inscribed 'a trial proof 1911' in pencil. $750.

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William Walter Burgess, R.E. 1856-1908.

Series: Bits of Old Chelsea, a collection of forty-one etchings printed for the artist by Frederick Goulding and published in 1894 in an edition of 100. Kegan Paul & Co.: London, 1894.

Franklin's Row. c. 1894. Etching. 4 7/8 x 9 5/8 (sheet 7 7/8 x 12 1/8). A rich impression printed in black ink on Japanese vellum. A rich impression printed in black ink on Japanese vellum. Monogrammed with his 'sun symbol' in the plate; signed in pencil. $300.

King's Road. Etching. 4 7/8 x 10 (sheet 8 1/8 x 13). Printed with plate tone on Japanese vellum. Monogrammed with his 'sun' symbol in the plate; signed in pencil. $250.

Old Swan Wharf and Cadogan Pier, Before the Embankment. c. 1894. Etching. 4 3/8 x 10 1/4 (sheet 8 1/8 x 13 5/16). A rich impression printed in black ink on Japanese vellum. A rich impression printed in black ink on Japanese vellum. Monogrammed with his 'sun symbol' in the plate; signed in pencil. $250.

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Charles William Cain. 1893-1962.

Waiting to Pass. River Tigris. 1924. Drypoint. 4 1/8 x 8 1/2 (sheet 8 1/2 x 12 7/8). Printed on cream wove paper. A brilliant impression in pristine condition. Signed, titled and annotated in pencil. $275.

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Sir David Young Cameron, R.A., R.S.A., R.S.W., R.E. 1865-1945.

Click on the titles for images.

Scotland

After-glow (or Evening) on the Findhorn. 1907. Etching and drypoint. Rinder 399 i/ii. 9 x 8 (sheet 10 3/8 x 9 1/16). State before the renewal of the sun's disk and deepening of shadows before the small figures. Unobtrusive stain in the upper right-hand margin; otherwise excellent condition. A magnificent glowing impression printed on fine Japanese mulberry paper. An extremely scarce image - no published edition. Housed in an elegant carved 17 x 18 1/2-inch silver leaf frame. Signed in pencil. $1,350.

Ben Lomond. 1923. Etching and drypoint. Rinder 468.v/vi. 10 3/8 x 16 (sheet 11 1/2 x 17). Edition about 80. Illustrated: Salaman, Modern Masters of Etching; Print Collector's Quarterly 11 (1923): 63; American Magazine of Art (August, 1929). A rich, tonal impression with drypoint burr, printed on tissue paper mounted onto Japanese mulberry paper. A rich impression with drypoint burr. Signed in pencil. $2,000.

Castle Moyle. 1932. Drypoint. Rinder 497.iii. 6 7/8 x 10 7/8. Edition 220. Signed in pencil. $350.

Castle Urquhart. 1929. Drypoint with etching. Rinder 484.v. Edition about 85. 9 1/4 x 16 1/2 (13 x 19 1/8). A fine impression with drypoint burr, printed on cream wove paper. Signed in pencil. $450.

Glasgow -- on the Clyde at Symington. 1889. Etching. Rinder 32. 4 1/2 x 8 15/16 (sheet 8 5/8 x 13 3/8). A rich impression printed on white laid paper from an old volume. Signed by Cameron AND the printer, Frederick Goulding. Goulding was the master printer in the UK. At the time, his signature was often valued more than the artist's signature. $300.

Dunure Castle. Oil on canvas. 16 1/2 x 28 3/8. Signed, lower right. Housed in a dramatic 22 x 34-inch gold leaf frame.$13,750.

Glen Orchy. Watercolor over pencil on paper. 9 1/4 x 13 (sight size). Ex-collection L.Gl Duke. Signed and titled in pencil, lower right. Housed in subtle wood and gold leaf 18 5/8 x 22-inch frame. $2,250.

Kincardine. 1914. Etching. Rinder 454.vii. 6 7/8 x 12 1/2 (sheet 6 9/16 x 13 7/8). Edition about 60. Exhibited: Society of Twelve, 1916, No. 90; Victoria and Albert Museum; Glasgow; New York. A rich impression with subtle plate tone printed on antique '1807 H SALMON' countermarked laid paper. Signed in pencil. $325.

Nithsdale. 1911. Drypoint. Rinder 435.iv. 6 x 12 1/2 (sheet 8 x 13 3/8). Edition about 50. Printed with plate tone on off-white laid paper. Signed in pencil. $325.

Robert Lee's Workshop. 1905. Etching and drypoint. Rinder 375.i/iii. 11 7/8 x 8 5/8 (sheet 12 3/8 x 9 ). Illustrated: Salamana, Modern Masters of Etching. Printed on Japanese mulberry paper with small margins with carefully-wiped plate tone and drypoint burr. A superb impression of this extremely rare state. Signed in pencil. $1,500.

Tantallon. 1932. Drypoint. R 499.iii. 8 1/16 x 15 7/8. Edition about 80. Illustrated: Fine Prints of the Year, 1932. $650.

Tayside. 1890. Etching. Rinder 73. 6 x 11 (sheet 7 5/8 x 12 9/16). An impression with subtle plate tone printed in 'RH' laid paper. A scarce early etching. Signed in pencil. $325.

The Three Vagrants. 1892. Etching. R 149. 5 x 6 1/8 (sheet 5 3/8 x 6 1/8). Edition 10. Printed on cream laid paper, trimmed to the plate on three sides. Signed and titled in pencil. Exhibited: Painter-Etchers, 1893. A fine impression of this extremely rare early image. $300.

England

The Admiralty. 1899. Etching. Rinder 301. 4 1/2 x 4 3/16 (sheet 5 1/2 x 5 3/16). London set, #5. Edition of 35 sets, with a few individual proofs apart from the set. A rich impression printed on cream laid paper. Signed in pencil. $350.

Aquamanile. 1913. Etching and drypoint. Rinder 441.iii. 10 5/8 x 9 1/2. Edition about 50. Illustrated: Hind, The Etchings of D.Y. Cameron. An aquamanile is a water vessel. This image is modeled after a fourteenth-century brass said to come from Hereford Cathedral. Signed in pencil. $250.

The Five Sisters, York Minster. 1907. Etching and drypoint. Rinder 397.iii/iv. 15 3/8 x 7 1/8 (sheet 16 x 7 1/2) . Edition 30. A very rich impression printed on fine Japanese mulberry paper. A rich, glowing impression with drypoint burr and plate tone. Signed in pencil. This is Cameron's most famous architectural etching. Rinder writes, ", p.217, "This, perhaps the loveliest of the great English windows, is also more than any other a subject for the etcher, as its beauty is less than that of jewel colour, than of a light-interpenetrated design." An extremely rare work. $9,500.

Gloucester. 1931. Etching and drypoint. Rinder 490.iii. 16 7/16 x 7 7/8 (sheet 19 5/16 x 8 7/8). Edition about 88. Illustrated: Fine Prints of the Year, 1931. A rich impression printed on antique laid paper. Signed in pencil. $725.

Newgate. 1899. Etching. Rinder 300.ii/iii. 6 3/16 x 4 7/8 (sheet 7 9/16 x 5 7/8). Series: London set, #11. Illustrated: Salaman, Modern Masters of Etching. Printed with plate tone on off-white laid paper. Signed in pencil. $450.

Old Bridge, Whitby. 1908. Drypoint. Rinder 403.iii. 7 7/8 x 12 1/2 (sheet 9 x 13 1/2). Edition 21. Printed with rich drypoint burr and plate tone on Japanese mulberry paper. A glowing impression of this extremely rare image. Signed in pencil. $350.

St, George's, Hanover Square. 1899. Etching. Rinder 301. 4 1/2 x 4 3/16 (sheet 5 1/2 x 5 3/16). London set, #12. Edition of 35 sets, with a few individual proofs apart from the set. A rich impression printed on cream laid paper. Signed in pencil. $350.

Tewkesbury Abbey. 1915. Etching and drypoint. Rinder 457.vi. 16 1/2 x 8 3/4 (sheet 19 5/8 x 12 3/8). Edition 98. A rich impression with drypoint burr printed on sturdy cream laid paper. Signed in pencil. $450.

Belgium

The Belfry of Bruges. 1907. Etching and drypoint. Rinder 392.ii. 14 15/16 x 5 9/32 (sheet 16 1/4 x 7). Belgian set #6. Edition 63. A rich, glowing impression with burr, printed on fine laid paper. Printed on the full sheet with deckle edges.Signed in pencil. $450.

Damme. 1907. Etching and drypoint. Rinder 391.iii. 10 1/8 x 7 13/32 (sheet 162 1/4 x 9). Belgian set #5. Edition 63. Illustrated: The Studio Volume 44 (1908): 92; W.P. Robins, The Etching Craft London, Bookman's Journal & Print Collector, 1922. A rich, glowing impression with burr, printed on Japanese mulberry paper on the full sheet with deckle edges. Signed in pencil. $500.

Old La Roche. 1907. Etching and drypoint. Rinder 393.iii. 8 1/2 x 10 (sheet 10 5/16 x 11 1/16). Belgian set #7. Edition 63. A rich, glowing impression with burr, printed on Japanese mulberry paper. Printed on the full sheet with deckle edges.Signed in pencil. $550

Ypres II [Belgium]. c. 1910-1914. Charcoal and watercolor. 9 x 12 (sheet 9 1/16 x 13 3/4). Signed in pencil. $1,950.

France

Beauvais. 1910. Etching and drypoint. Rinder 412.iii/iii. 10 1/8 x 8 1/8 (sheet 12 1/8 x 9 5/16). Edition 39. A rich impression with drypoint burr printed on Japanese mulberry paper. Signed pencil. $275.

The Chimera of Amiens. 1910. Drypoint. Rinder 415.vii. 9 9/16 x 7 3/16. Illustrated: Guichard, British Etchers, 1850-1940; Holme, Modern Etchings and Drypoints, 1913; Lumsden, The Art of Etching; Salaman, Modern Masters of Etching: D.Y. Cameron; Hind, The Etchings of D.Y. Cameron; Calloway, English Prints for the Collector, p. 179. Signed in pencil. $1,250.

Old Museum, Beauvais. 1917. Etching and drypoint. Rinder 467.iii. 6 7/8 x 12 1/4 (sheet 8 3/16 x 13 1/16). Edition about 6o.Of these, 36 were sent to New York, the gross proceeds being a gift from the artist tothe Artists' General Benevolent Fund. A rich, glowing impression with burr, printed on antique laid paper with a Pro Patria watermark. Illustrated: Print Collector's Quarterly 14 (1924): 61. Printed on the full sheet with deckle edges. Signed in pencil. $275.

Rue Saint Julien le Pauvre. 1904. Etching and drypoint. Rinder 366.ii/v. 8 3/16 x 6 1/2 (sheet 9 x 7). Paris Set, #6. The Paris Set consisted of 6 images, printed in an edition of 35, with some additional impressions. Repaired paper loss from a hinge, top right, outside the image. $450.

The Wingless Chimera. 1911. Drypoint. Rinder 416.viii. 7 19/32 x 9 13/32. A rich impression with drypoint burr and plate tone printed on Japanese mulberry paper. Exhibited at the Royal Academy in 1911. Signed in pencil. The chimera sits on the neighboring buttress on Amiens Cathed in Cameron's drypoint, The Chimera of Amiens Rinder 415. $750.

Italy

The Doge's Palace. 1902. Etching with drypoint. Rinder 326.ii. 9 7/8 x 15 3/4. No published edition -- extremely scarce. Three unobtrusive stains in the image and three in margins; otherwise fine condition. A rich impression with burr and plate tone, printed on fine laid paper. Signed in pencil. $2,500.

The Palace Doorway (Palace of Joannis Darius).1895. Etching. Rinder 225. 9 3/8 x 15 (sheet 11 x 14 1/8). North Italian Set, #22. A rich impression with burr and plate tone, printed on off-white laid paper. Signed in pencil. $1,750.

The East

Mosque Doorway. 1910. Etching and drypoint. Rinder 413.iv. Edition 42. 16 1/4 x 8 (sheet 17 5/8 x 9 1/4). Illustrated: Guichard, British Etchers: 1850-1940. A rich impression with drypoint burr and plate tone, printed on antique laid paper. This is a very rare image. Signed in pencil. $650.

Street in Cairo. 1910. Etching and drypoint. Rinder 414.v/v. No edition size is stated. 14 3/16 x 8 15/16 (sheet 15 1/2 x 10 5/8). A rich impression with drypoint burr and plate tone, printed on Japanese mulberry paper. This is a very rare image. Signed and titled 'Street Scene Cairo' in pencil. $500.

The Turkish Fort. 1909. Etching and drypoint. Rinder 409. 5 1/2 x 10 3/8. The fort is on the Mokaltam Hills, near Cairo. Signed in pencil. $275.

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George Cattermole. 1800-1868.

Click on the title for an image.

West Bow, Edinburgh. c. 1847. Lithograph by after a drawing by Cattermole. 16 3/4 x 11 9/16 (sheet 21 1/2 x 14). From the portfolio "Scotland Delineated in a Series of Views," originally produced for John Parker Lawson and published by E,Gambart in London and Edinburgh, 1849 - 1854. Lithographed by Day and Son. There were several printings. This is probably from the first edition, volume 1. Printed on heavy off-white wove paper. Signed in pencil by Cattermole. $175.

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Sir George Clausen, R.A. 1852-1944.

Lifting an Inner Tube. 1917. Lithograph. 25 x 20 1/2. Series: "Making Guns" published by the Stationary Office as part of the series, The Great War: Britain's Efforts and Ideals. Edition 200. A fine impression printed on off-white wove paper. Signed in pencil. $850.

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John Constable. 1776 – 1837 (after) by David Lucas (1802 - 1881).

The Cornfield 1832/34. Mezzotint by David Lucas (1802 - 1881) after John Constable. Shirley 36.iv. Christopher Lennox-Boyd vi/vi. London: Republished Feb.y 15, 1853, by Thomas Boys (of the late Firm of Moon, Boyd & Greaves,) Printseller to the Royal Family, 467, Oxford Street - Paris. E.Gambart & C. 9 Rue d'Orleans au Marais,-Depose. Originally Published July 1.1834. Image 22 1/4 x 19 1/2, plate 26 3/4 x 20 3/8, sheet 30 3/4 x 24 3/8. A rich impression printed on sturdy wove paper with full margins, mounted on archival paper. A few unobtrusive scrapes and folds, one horizontally across the center of the image, and a faint waterstain in the top right-hand image and margin. Signed in the plate. Housed in a 35 x 25 inch archival double mat. $1,250.

The Lock – Large Plate . 1832/34. Mezzotint by David Lucas (1802-1881), as directed by John Constable. Reworked and republished final state. Shirley 36.iv.; Christopher Lennox-Boyd vi/vi. Image: 19 1/4 x 22 1/4, plate: 20 1/4 x 26 37/8, sheet: 30 3/4 x 24. Published originally in London: Republished Feb.y 15, 1853, by Thomas Boys (of the late Firm of Moon, Boyd & Greaves,) Printseller to the Royal Family, 467, Oxford Street - Paris. E.Gambart & C. 9 Rue d'Orleans au Marais,-Depose. Originally Published July 1.1834.
Inscription: 'Painted by John Constable. Engraved by David Lucas. To the President and Members of the Royal Academy of Arts, This Landscape Engraved from a Painting by John Constable, Esq R.A., is by permission most respectfully dedicated by their Obedient servant Thomas Boys.'

Scattered foxing in the margins; mat line; toning; otherwise a rich impression. Signed in the plate. Housed in a 35 x 25 inch archival double mat.$1,000.

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John Sell Cotman, 1782-1842.

Abbey Church of the Holy Trinity at Caen. East side of the South Transept. 1820. Etching. Image: 9 1/2x 12 3/4 (sheet 13 3/8 x 19). Series: Architectural Antiquities of Normandy by John Sell Cotman; Accompanied by Historical and Descriptive Notices by Dawson Turner, Esq. F.R. and A.S. Plate 29. Published in London by J. & A. Arch. A fine impression printed on cream wove paper. Signed and titled in the plate. $75.

Abbey Church of the Holy Trinity, Caen. Interior of the Nave, Looking West . 1820. Etching. Image: 9 1/4 x 14 1/2; plate: 10 7/8 x 15 1/2 (sheet 13 3/8 x 19). Series: Architectural Antiquities of Normandy by John Sell Cotman; Accompanied by Historical and Descriptive Notices by Dawson Turner, Esq. F.R. and A.S. Plate 30. Published in London by J. & A. Arch. A fine impression printed on cream wove paper. Signed and titled in the plate. $75.

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Miles Edmund Cotman. 1810-1858.

Early Morning on the Medway. 1846. Etching. 3 1/16 x 5 1/4; plate: 4 1/16 x 5 1/4 (sheet 5 x 7 or larger). Unsigned. As published in Eleven Original Etchings by Miles Edmund Cotman, published by Charles Muskett, Norwich, in 1846. oused in an 11 1/4 x 12 1/2-inch gold leaf frame. $350.

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Edward Julius Detmold (1883-1957).

Peacocks (Upright Plate). 1905. Etching. Dodgson10.vi. 7 1/4 x 4 1/2 (sheet 10 3/4 x 8 1/8). Illustrated: Print Collector's Quarterly 9 (1923): 339. A fine, richly inked impression with plate tone, printed on simili-Japan paper. Signed in pencil by Edward Julius, and initialed by him for himself and for his late twin brother. $400.

Changing Pastures. c. 1926. Etching. 6 15/16 x 14 3/8 (sheet 10 3/4 x 17 3/4). Printed on the full sheet of cream 'AN 1922' 'England' laid paper. Signed in pencil. $550.

Evening. 1926. Etching. 6 x 12 1/8 (sheet 10 1/2 x 15 1/2). Edition 100, #44. Printed on Japanese mulberry paper. Signed and numbered in pencil. $550.

Homecoming of the King. 1926. Drypoint and aquatint. 8 x 13 3/8 (sheet 14 1/2 x 18 7/8). Edition 75, # 21. A fine impression with selective plate tone, printed on the full sheet of Japanese mulberry paper. Signed and numbered in pencil. A large, impressive image. $750.

Summer Solstice. c. 1920. Colour etching and aquatint, printed à la poupée. 20 7/8 x 12 3/4 (sheet 24 x 16 1/2). Edition 12, #7. A fine, richly inked impression on Japanese mulberry paper with fresh, vibrant colors. Signed, numbered and annotated 'E.J.D. imp' in pencil indicating a proof printed by the artist. $7,500.

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Francis Dodd, R.A. 1874-1949.

Charles Cundall, R.A. 1926. Drypoint. Schwabe 171.v. 18 x 11 3/4 (sheet 20 1/2 x 14 5/8). Illustrated: Print Collector's Quarterly 13 (1926): 373; Guichard, British Etchers, 1850-1940. A rich impression printed on the full sheet of cream wove paper. A painter and lithographer, Cundall (1890-1971) had his first one-man show at Colnaghi the year after this impressive portrait was made. Signed in pencil. $1,500.

A[rthur][Edward] Donkin. 1911. Drypoint. Schwabe 72. 14 x 10 5/8 (sheet 20 1/2 x 14 5/8). Edition 67,#31. A rich impression printed on the full sheet of Japanese mulberry paper. Signed and numbered in pencil. $200.

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Paul Drury, R.E. 1903-1987.

Head of a Negro. 1925. Etching. Garton 15.ii. 5 x 4 (sheet 7 3/4 x 6 1/2). Edition about 55 published by XXI Gallery. Numbered '40' in a circle on the verso. Illustrated: Fine Prints of the Year, 1925; Print Collector's Quarterly 16 (1929): 88. A fine impression with plate tone printed on cream wove paper with full margins. Signed, dated and annotated 'fec et imp' (designed and printed) in pencil, indicating a proof printed by Drury. $750.

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Artists' International Association: Everyman Prints

Lowes Dalblac Luard. 1901-1978.

The Rescue. 1940. Lithograph. 12 3/4 x 8 1/8 (sheet 13 3/4 x 9). Printed on cream wove paper. Edition for the Artists' International Association: Everyman Prints. Scattered foxing throughout the print. Unsigned. $75.

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Maria Hampshire Eaton. c. 1860-1940.

St. Paul's. c. 1925. Etching and drypoint.6 3/4 x 5 1/4 (sheet 10 5/8 x 8 7/8). A rich impression printed on cream wove paer. Signed and titled in pencil. $175.

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Alfred Hugh Fisher, A.R.E. 1867-1914.

The Old Brewhouse, Winchester College. c. 1917. Etching. 8 7/8 x 5 7/8 (sheet 12 3/4 x 10). A fine impression printed on cream wove paper. Signed and titled in pencil. $100.

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Sir William Russell Flint, R.A. 1880-1909.

Click on the titles for images.

Amazons on a Breton Beach. 1931. Drypoint. Wright 45.ii. 8 x 13 3/8 (sheet 10 3/4 x 17 1/4). Edition 76, #14. An extremely rich impression printed on cream 'J Whatman Hand Made' paper. Hinge stains in 3 corners, well outside the image. Illustrated: Salaman, Modern Masters of Etching. Signed and numbered in ink. $1,500.

Bagno della Marchesa. 1930.Drypoint. 10 1/2 x 7 5/8 (sheet 13 3/16 x 8 1/2). Trial proof, apart from the edition of 75. An extremely rich impression printed on French 1798 countermarked laid paper. Illustrated: Fine Print of the Year, 1930; Guichard, British Etchers. Extensively annotated in ink by Flint: 'Trial: entire background was later reworked. Paper: French 1798.' Signed and dedicated 'To Eve H.Sanders with salutations'. An exceptionally rare proof. $1,500.

Celinda's Precaution. 1931. Drypoint. Gardner and Clark 52. 7 1/4 x 4 3/4 (sheet 9 1/4 x 7 1/4). Edition 65, #75. A rich impression with drypoint burr printed on 'J Whatman 1827' laid paper. Signed, numbered and annotated in ink. $975.

Ceres' Handmaid (2nd plate). 1930. Drypoint. Wright 34. 7 1/2 x 3 1/2 (sheet 10 3/8 x 6 3/4). Edition c. 65, #27. A rich impression in sep

Eve. 1930. Drypoint. 7 x 10 1/8 (sheet 8 3/4 x 13 1/2). Edition 75, #68. A rich impression in black-brown ink with plate tone and drypoint burr printed on 'Fin de Atelier 1753' laid paper. Signed, numbered and annotated in ink. $2,500.

Priscilla Alone. 1929. Drypoint. 7 x 6 (sheet 9 1/4 x 6). Edition 75, #63. Several unobtrusive foxing spots, one visible in a paper flaw in the right-hand margin just outside the image; otherwise fine condition. A rich impression printed in black/brown ink on ''J Whatman 1827' wove paper. Signed, numbered and annotated 'Paper: John Hall 1827' in ink. $850.

Priscilla Alone. c. 1931. Etching and drypoint. 8 13/16 x 6 3/8 (sheet 12 1/2 x 8 7/8). Edition 75, #64. A rich impression printed in black/brown ink on 'WWarren 1837' laid paper. Signed, numbered and annotated in ink. $975.

The Prison Door, Concarneau. 1929. Drypoint. Wright 15. 9 3/4 x 7 5/8 (sheet 13 x 10). Edition 76, #72. A, extremely rich impression printed on cream laid paper from an antique volume. Numbered in ink, but not signed. $375.

A Rendez-Vous, Vincenzia. 1929. Drypoint. Wright 19.v.9 1/2 x 6 5/8 (sheet 12 1/8 x 9 3/8). Edition 75, #I. An extremely rich impression printed on blue/green laid paper. Signed and numbered in ink. $875.

Spanish Wheelwrights. 1931. Drypoint. Wright 46. 9 3/16 x 12 7/8 (sheet 10 3/4 x 16 3/8). Edition 75, #24. An extremely rich impression printed on 'J Whatman 1799' laid paper. Signed, numbered and dated '17.11.31' in ink. $1,250.

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Arthur Paine Garratt. 1875 - 1955.

The Plumed Hat. c.1912. Drypoint. 10 7/8 x 7 7/8. A rich impression printed with drypoint burr on cream paper with full margins. Extensive pencil additions. Unsigned. The print is housed in a 19 x 16-inch black wood frame with a silver beaded lip. $25.

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George Percival Gaskell. 1868-1934.

Click on the titles for images.

Chepstow Castle. c. 1930. Mezzotint. 15 5/8 x 15 (sheet 24 x 20 1/2). A fine impression with tone printed in warm brown/black ink on chine appliqué mounted on white wove paper, and a backing board. Signed in pencil. $600.

Dawn. c. 1930. Mezzotint. 8 x 9 7/8 (sheet 13 7/8 x 19 3/4). A fine impression with tone printed in dark brown ink on white wove paper. Signed in pencil. $500.

The Lake. 1910. Aquatint. 8 1/4 x 11 1/8 (13 1/4 x 20). A rich impression on heavy wove paper. Signed in pencil. $500.

The Lonely Tower, Roman Campagna. 1924. Aquatint. 10 x 14 1/4 (sheet 13 1/2 x 20). Edition 150. A fine impression with tone printed in dark brown ink on white wove paper. Signed in pencil. $550.

Penmaenpool Bridge. c. 1930. Etching. 4 7/8 x 6 7/8 (sheet 8 x 9 3/4). A rich impression on cream-colored wove paper with full margins. Signed in pencil. $125.

Wood Notes Wild. c. 1920. Mezzotint. 10 1/4 x 12 7/8 (sheet 22 1/4 x 18). A rich impression on warm china paper, applied to a heavy white wove paper. Signed in pencil. Excellent condition. Signed in pencil. $500.

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Eric Gill, R.E. 1882-1940.

Click on the titles for images.

Fine Prints.

Religious Images

Proofs

Adeste Fideles. 1916. Wood engraving. Physick 72. 2 x 2 (sheet 2 3/8 x 2 3/8). As published in Adeste Fideles a Christmas Hymn and elsewhere. Printed on cream wove paper. Signed in pencil. $1,250. Another proof, before letterpress, unsigned. $750. A third proof with letterpress, "Christmas Greetings" $500.

The Blessed Trinity with the Blessed Virgin. 1921. Wood engraving. Physick 181. 3 x 3 5/8 (sheet 3 9/16 x 5 1/8). Based upon a drawing by Elizabeth Gill. Printed on cream wove paper. Unsigned. $575.

Cantet nunc 'lo'. 1916. Wood engraving. Physick 77. 2 x 2 (sheet 2 1/2 x 2 1/2). As published in Adeste Fideles a Christmas Hymn and elsewhere. Printed on cream wove paper. Signed in pencil. $1,250. Another proof printed on fine wove paper. 2 1/16 x 2 1/16 (sheet 2 9/16 x 2 9/16). Originally published in Adeste Fideles a Christmas Hymn and elsewhere. Unsigned. $450 .

Cantet nunc 'lo'. 1916. Wood engraving. Physick 75. 2 1/16 x 2 1/16 (sheet 4 1/8 x 3 1/4). Printed with letterpress as a Christmas card on simili-Japan paper. Unsigned. $400.

Christmas Gifts: Dawn: PAX HOMINIBUS BONAE VOLUNTATIS. 1916. Wood engraving. Physick 80. 2 13/16 x 3 9/16 (sheet 3 1/8 x 3 3/4). As published in The Game volume I, no. 2 and in Nisi Dominus. Printed on cream wove paper. Signed in pencil. $1,250. Another unsigned proof, $500.

Crucifix With a Crown of Thorns (late state). 1922. Wood engraving. Physick 197. 8 x 3 1/8 (sheet 8 13/16 x 3 11/16). Proof printed on Japanese mulberry paper. $1,250.

Madonna and Child. 1924. Three engravings printed in reddish brown ink on copper, all printed on a single sheet of white wove paper. Physick 302. 1 5/ 8 x 7/8. Edition 50, #43. Etched after a drawing by the artist's daughter, Elizabeth. Physick 303. 1 5/8 x 1 3/16. Edition 50, #38. Etched after a drawing by the artist's daughter, Joanna. Physick 304. 1 5/8 x 7/8. Edition 50, #42. Etched after a drawing by the artist's daughter, Petra. Each engraving signed and numbered in pencil. A charming trio of family-themed works. It is rare to find Gill engravings printed in this manner. $2,250.

The Madonna and Child with an Angel: Madonna Knitting. Proof. 1916. Wood engraving. Physick 60. 2 1/4 x 2 1/4 (sheet 4 3/4 x 3 1/4). As published in Mary Sat a'Working and Song of the Dressmaker. Printed on Japanese mulberry laid paper. Unsigned. $550.

The Madonna and Child with an Angel: Madonna Knitting. 1919. Wood engraving. Physick 60. 2 1/2 x 2 1/2 circular (sheet 5 3/8 x 5). Printed on white wove paper. Signed in pencil. $1,750.

Madonna and Child With Arms Outstretched. 1922. Wood engraving. Physick 215. 4 x 1 3/4. Printed on tan wove paper. Used as a design for a Christmas card. Signed in pencil. $1,750.

Madonna and Child with Gallows. 1916. Wood engraving. Physick 82. 2 x 2 (sheet 2 1/8 x 2 1/8). Used for a Christmas card. Printed on Japanese mulberry paper. Unsigned. $350.

Nativity in a Cave. 1916. Wood engraving. Physick 79. 2 5/8 x 2 1/16. Design for a Christmas Card. Proof before the letterpress "A Happy Christmas". Signed in pencil, $1,500.

Nativity with Midwife, St. Joseph Standing. 1913. Wood engraving. Physick 14. 2 1/8 x 2 1/8 (sheet 2 5/8 x 2 3/4). Design for a Christmas Card. Printed on cream wove paper. Laid onto a paper mount along the top sheet edge. Signed and annotated with a '+' in pencil. $750.

Resurrection: EGO SUM RESURRECTIO ET VITA. 1934. Wood engraving. Physick 866. 4 1/8 x 2 1/8 (sheet 5 x 3). Letterpress verso: 'DAVID WHITEMAN PEPLER 23 OCT. 1905 2 SEPT. 1934 DONA EI REQUIEM INVENUMUS EUM IN CAMPIS SILVAE'. Printed as a memorial card, apart from the illustration for The Passion of Our Lord. Extremely scarce in this printing. Printed on cream wove paper. Unsigned. $450.

St. Mark. 1934. Wood engraving. Physick 870. 6 11/16 x 4 1/16 (sheet 7 5/16 x 4 3/4). Printed on bluish-gray wove paper as a holiday card. Printed on the inside reads, 'Happy Christmas and New Year from Mary Gill', typeface. Annotated 'Our love to you, and from all the family,' in pen on the back of the front cover. From the Aldine Bible. Unsigned. $350.

St. Mark. 1934. Wood engraving. Physick 870. 6 5/8 x 4 1/16 (sheet 7 3/8 x 9 1/2). Printed on light gray wove paper as a holiday card. Printed on the outside cover of the card reads, 'Happy Christmas & New Year From Mary Gill'. The image of St. Mark is printed on the inside. Written on the back of the card in ink reads 'My love to you both. I will be waiting. MG.' $1,500.

St. Matthew. 1934. Wood engraving. Physick 869. 6 x 3 1/2 (sheet 8 13/16 x 5 1/4). Issued as a Christmas card from Mary Gill. Annotated, 'My love to you both and the family. MG' in ink. Illustrated for the Aldine Bible. Printed on cream wove 'England 1945' watermarked paper with two sides deckle edges. $450.

Virgin and Child. 1931. Wood engraving. Physick 827. 5 3/4 x 2 3/4 (sheet 8 1/16 x 3 7/16). Proof printed on simili-Japan paper with one side deckle edge. Unsigned. $275.

Another signed proof printed on white wove paper. Initialed, dated and annotated ' from Eric and Mary Gill' in pencil. $975.

Religious Images: Prints Published by Douglas Cleverdon

Chalice and Host: Manducaverunt / Et Saturati Sunt Nimis: Non Sunt Fraudati A Desiderio Suo. 1927. Wood engraving. Physick 490. 2 5/8 x 1 3/4 (sheet 13 1/16 x 9 7/8). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Made for the Reverend Desmond Chute. Unsigned. $175.

Epiphany. 1917. Wood engraving. Physick 84. 1 3/4 x 2 7/8 (sheet 2 x 2 3/4). Originally published in 'God and the Dragon' (S. dominic's Press, 1917). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on off-white wove paper. Printed on off-white wove paper. Unsigned. $350.

The Last Judgement. 1917. Wood engraving. Physick 107. 1 3/4 x 2 1/4 (sheet 13 x 10). Originally published ina bory published in a broad-sheet (S. Dominic's Press, 1917). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929, in an edition of 400 on wove paper. Printed on the full sheet of cream wove paper. Unsigned. $175.

Slaughter of the Innocents. 1914. Wood engraving. Physick 18. 2 3/8 x 1 15/16 (sheet 13 1/16 x 9 15/16). Orignally published as the catalogue cover of an exhibition in aid of Belgian Refugees and Nisi Dominus. Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929, in an edition of 400 on wove paper. Printed on the full sheet of cream wove paper. Unsigned. $100.

Secular Images: Proofs.

Animals All: WHO WERE THE FIRST TO CRY NOWELL ANIMALS ALL AS IT BEFELL. 1916. Woodcut. Physick 50. 2 1/16 x 2 1/16 (5 x 3 7/16). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on simili-Japan paper. Signed in pencil. $1,250.

Castle and Trees. 1923. Wood engraving. Physick 254.i/ii. 2 1/8 x 1 3/8 (sheet 2 9/16 x 1 7/8). Printed on cream wove paper. Unsigned. $350.

Daily Herald Order of Industrial Heroism. 1923. Individual images are, left to right: A Rose Plant in Jericho (Physick 221), The Holy Ghost as Dove (P224), St. Christopher and Chimney Smoke (Physick 220), and Wave (Physick 222). Wood engravings printed in 5 blocks in red and black on one sheet. The dove was replaced by by a star (Physick 223) in the final version. 5 x 7 1/2 (sheet 13 1/8 x 7/8). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929, in an edition of 400 on wove paper. Printed on the full sheet of cream wove paper. Unsigned. $200.

Hair Combing (Portrait of Petra Gill). 1922. Wood engraving. Physick 208. 4 x 2 1/2 (sheet 6 5/8 x 4 1/16). A rare proof printed on Japanese mulberry paper. Unsigned. $2,250.

Man and Girl on Way to Church. 1927. Wood engraving. Physick 427. 7 x 1 1/8 (sheet 8 7/8 x 4). Used as a wedding invitation for Petra Gill and Denis Tegetmeier; January 7, 1930. This invitation is addressed to 'Mr. and Mrs. H.D.C. Pepler'. This image was used in Troilus and Criseyde, and is extremely scarce as an invitation. Printed on cream laid 'MADE IN ENGLAND' watermarked paper with two sides deckle edges. Slight foxing around the edge of the invitation, well outside the image and text. Unsigned. $1,000.

Mother and Child [With Arms Outstretched]. 1936. Wood engraving. Physick 917. 3 3/4 x 2 5/16 (sheet 7 3/8 x 5 1/2). A fine impression printed on Japanese mulberry paper. Signed and numbered '5' and '605' in pencil. $2,000.

Mother and Child [With Arms Outstretched]. Another proof, issued as a Christmas rememberance in 1941. The front cover reads, 'REMEMBERANCE from all at Pigotts CHRISTMAS 1941'. The Mother and Child [With Arms Outstretched] image is on the left hand side inside the card and the text of the right reads, 'The joy of our heart is ceased; our dancing is turned into mourning. The crown is fallen from our head; woe to us, because we have sinned. But thou, O Lord, shall remain for ever; thy throne from generation to generation. Convert us, O Lord, to thee, and we shall be converted; renew our days, as from the beginning.' Unsigned. $850.

Parlers. 1917. Wood engraving. Physick 85. 1 5/8 x 2 1/4 (sheet 4 1/2 x 5 1/16). Printed on Japanese mulberry laid paper. A fine impression of this rare image. Unsigned. $500.

Semicircular Device. 1916. Wood engraving. Physick 77. 1 1/8 x 3 5/8 (sheet 1 13/16 x 4 5/16). Printed on Japanese mulberry laid paper. There is a small hole on the support backing sheet, off of the image sheet, and well away from the image. Initialed in pencil. $975.

Toilet. Proof. 1923. Wood engraving. Physick 256. 4 1/2 x 4 1/2 (sheet 5 5/8 x 4 1/8). Printed on Japanese mulberry laid paper. Unsigned. $500.

Secular Images: Prints Published by Douglas Cleverdon

Cartouche for Colophon. 1929. Woodcut. Physick 613. 2 1/4 x 3 5/16 (sheet 13 1/16 x 9 7/8). Printed for Douglas Cleverdon's Engravings by Eric Gill. Printed on cream wove paper. Unsigned. $75.

Clothes: For Dignity and Adornment. 1927. Engraving on copper. Physick 483. 4 1/2 x 2 3/4 (sheet 13 1/16 x 9 7/8). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $225.

Initial 'S' with Church. 1916. Wood engraving. Physick 62. 1 x 1. Engraved for S. Dominic's press. Device: Chalice and Host with O and A. 1916. Wood engraving. Physick 54. 1 x 1. Originally published in 'Serving at Mass', compiled by Eric Gill (s. Dominic's Press, 1916). Device: Gravestone with Angel: OLD / FREE- / MAN. 1916. Wood engraving. Physick 61. 1 1/4 x 1 1/4. Published in 'Old Free-man,' by Matthew Stephenson (Everard Meynell, London, 1916). Subsequently used in publications of S. Dominic's Press (e.g., in 'The Game,' II, I, January, 1918). Semi-circular Device: 273028292831 / A.D.MDCCCCXVI. 1916. Wood engraving. Physick 77. 1 1/8 x 3 5/8. Made for S. Dominic's Press, but wasn't used. Circular Device: 273028292831 / AD / MCM / XV / I. 1916. Wood engraving. Physick 78. 1 1/2 x 1 1/2. Originally published in 'The Game,' I, 2, December, 1916. A pen beneath '2730' refers to the work of Edward Johnston on pages 27 and 30; a printer's dabber beneath '2829' to H.D.C. Pepler's on pages 28 and 29; and a graver beneath '2831' to Eric Gill's on pages 28 and 31. All five images printed upon the full sheet of cream wove paper. There is slight foxing throughout the sheet, not effecting the images. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Unsigned. $225.

Device: Spray of Leaves. 1917. Wood engraving. Physick 108. 1 x 1 3/8. Printed for a funeral card and subsequently used for other purposes by S. Dominic's press. Device: Stalk with Leaves. 1917. Wood engraving. Physick 109. 7/8 x 1. Printed for a funeral card and subsequently used for other purposes by S. Dominic's press. Device: Initial letter 'O' with Speedwell. 1917. Wood engraving. Physick 110. 1 1/8 x 1 1/8. Printed for a funeral card and subsequently used for other purposes by S. Dominic's press. Device: Paschal Lamb. 1917. Wood engraving. Physick 192. Originally printed in The Game, Volume I, Number 31 and elsewhere. Device: Axe and Block. 1917. Wood engraving. Physick 135. 1 1/2 x 1 1/2. Originally printed in The Game, volume II, Number 1; and Woodwork, by A. Romney Green (S. Dominic's press, 1918). Device: Hangman's Rope. 1917. Wood engraving. Physick 136. 1 1/2 x 2 1/2. Originally printed in The Game, volume II, Number 1; and Woodwork, by A. Romney Green (S. Dominic's press, 1918). All six wood engravings printed on one sheet of cream wove paper, as published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Unsigned. $175.

Dress: 1860. 1921. Wood engraving. Physick 187. 2 3/4 x 2 1/4 (sheet 13 1/16 x 9 7/8). Originally published in 'Dress' (S. Dominic's Press, 1921). The image was based upon an old photograph. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $225.

Dress: 1920. 1921. Wood engraving. Physick 186. 3 3/4 x 3 (sheet 13 1/16 x 9 7/8). Originally published in 'Dress' (S. Dominic's Press, 1921). Made after a drawing by Edward Sullivan for 'The New Utopia,' by H.G Wells. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $225.

Dumb-Driven Cattle. 1915. Wood engraving. Physick 36. 3 3/4 x 3 1/4 (sheet 13 1/8 x 9 15/16). Originally published in 'The Devil's Devices,' by Douglas Pepler (The Hampshire House Workshops, London, 1915). The first 200 copies of the edition of 1,500 were numbered and signed. Two editions of the engravings only (consisting of 15 and 33 sets at 31/6 and 15/- a set respectivly) were issued in the same year. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Initialed in the block. $175.

Earth Waiting. 1926. Engraving on copper. Physick 360. 4 1/2 x 3 1/2 (sheet 13 x 10). Originally published in 'The Procreant Hymn,' by Powys Mathers (Golden Cockerel Pres, 1926). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $225.

Initial 'S' with Church. 1916. Wood engraving. Physick 62. 1 x 1. Engraved for S. Dominic's press. Chalice and Host with Candles. 1916. Woodcut. Physick 53. 1 1/4 x 1. Hog in a Triangle. 1916. Wood engraving. Physick 58. 1 1/8 x 3/4. DP and Cross. 1916. Wood engraving. Physick 64. 1 1/4 x 3/8. Chalice and Host. 1916. Wood engraving. Physick 65. 1 7/16 x 3/4. All five images printed upon cream laid paper with one side deckle edge (8 x 4 7/8). Unsigned. $175 for the sheet.

Flying Buttresses (Id Quod Visum Placet)[that which pleases just by being seen}. 1926. Engraving on copper. Physick 373. 4 1/2 2 3/4 (sheet 13 1/6 x 9 7/8). Originally published in 'Id Quod Visum Placet,' an essay by Eric Gill (published by the author, Capel-y-iffin, Abergavenny, 1926). The image was based upon a drawing of St. Pierre, Chartres. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929 in an edition of 480. Printed on the full sheet of cream wove paper. Unsigned. $225.

Girl Sleeping. 1925. Wood engraving. Physick 334. 1 1/4 x 3 1/2 (sheet 13 1/16 x 9 7/8). Originally made to be published in The Song of Songs (Golden Cockerel Press, 1925), but was not used. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 192 in an edition of 480. Two foxing spots, well outside the image. Printed on the full sheet of cream wove paper. Unsigned. $150.

The Lion. 1921. Wood engraving. Physick 179. 2 1/4 x 3 (sheet 13 1/8 x 9 7/8). This print is also known as 'She Loves Me Not,'and was made after a museum study. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929 in an edition of 480. Printed on the full sheet of cream wove paper. Unsigned. $225.

My Love among the Lilies. 1925. Wood engraving. Physick 327. 2 x 3 (sheet 13 1/16 x 9 7/8). Originally published in The Song of Songs (Golden Cockerel Press, 1925). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Minimal foxing on the bottom part of the sheet, well outside of the image. Unsigned. $175.

Portrait of: A Lady (Moira, Mrs. Robert Gibbings). 1924. Engraving on copper. Physick 296. 7 x 4 1/2 (sheet 7 3/4 x 5). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929 in an edition of 480. Printed on the full sheet of cream wove paper. Signed in the block. $100.

Sculpture: I. 1923. Wood engraving. Physick 227. 3 x 1 1/2 (sheet 13 1/16 x 9 7/8). This is the second state of the engraving, as indicated by the lines cut into dots in the limbs.

Sculpture: II. 1923. Wood engraving. Physick 228. 3 x 2 (sheet 13 1/16 x 9 7/8). Originally published in Sculpture, by Eric Gill (2nd edition, S. Dominic's Press, 1923). Printed on the title page and cover for Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929.

Skaters. 1926. Engraving on copper. Physick 368.ii. 4 3/8 x 4 1/4 (sheet 13 1/16 x 9 7/8). This is the second state of the engraving, as indicated by the ballet skirts worn by each skater. (In the first state, the skaters were completely nude.) Skaters was based upon a photograph in the 'Daily Mirror' of two men skating. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929, in an edition of 480. (There was also ad edition of 50, presumably signed and numbered, and a hand-colored edition.) Printed on the full sheet of cream wove paper. Unsigned. $275.

Swineherd. 1925. Wood engraving. Physick 337. 2 1/4 x 3 3/8 (sheet 13 1/16 x 9 7/8). Originally made to be published in The Song of Songs, but was never used As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $175.

Toilet: N G. Proof. 1927. Wood engraving on sycamore, end grain. Physick 256. 4 1/2 x 2 1/2 (sheet 13 1/6 x 9 7/8). Made after a drawing in real life. sheet 5 5/8 x 4 1/8). Printed on Japanese mulberry laid paper. Unsigned. $500.

Triangular Device: Cavalry. 1915. Wood engraving. Physick 44. 1 1/4 x 3 1/4. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929.

Triangular Device: Five Stalks of Leaves. 1915. Wood engraving. Physick 39. 3 1/4 x 2. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929.

Triangular Device: Ship. 1915. Wood engraving. Physick 41. 2 x 2 1/2. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929.

All three prints printed on the full sheet of cream wove paper (13 1/8 x 9 15/16). Unsigned. $200.

Drawings by Eric Gill, R.E. 1882-1940.

Secular: Bookplates

Bookplate for A.H.Tandy: A Stag. 1939. Pencil study for the wood engraving. Physick 839. 5 x 3 3/4 (sheet 5 7/16 x 4 15/16). Unsigned. $3,500.

Bookplate for John Vernon. Front: Design and Greek lettering. Verso: Even if this doesn't show 2 squares there's no reason why it shouldn't be better drawn." Monogrammed and dated 30.7.36. Two-sided drawing. Pencil recto and ink verso. 1936. 2 1/8 x 1 1/2. $2,250.

Design for The Good Samaritan. 1937. Drawing for a stone relief for Coventry Hospital. 6 3/16 x 5 (sheet 8 13/16 x 5 3/16). Drawn on a sheet from Essays in Orthodoxy, toned russet on the verso behind the figures. Annotated 'Coventry 2', '5 1/4" = 3'.0", 3.0 app' and dated '17.11.37' in pencil. For the stone relief, see Judith Collins, Eric Gill. The Sculpture, #277, page 212. $4,000.

Head Studies. Pencil drawings. 3 x 3 and 3 x 3 1/4 (sheet 7 5/16 x 4 3/16). Drawn on the cover of the novel Mam'zelle Flamberge, by Paul Féval. Unsigned. $500.

[Infringement of Rule No. 4]. Pen and ink drawing. 4 1/2 x 4 1/8 (sheet 9 x 6 7/8). Horizontal folds. Annotated verso, 'The sugested infringment of Rule No 4 has never been discussed by the Guild in my presence.' Unsigned. $1,250.

Interlaced device. Pencil and ink on brown paper. 1 1/2 x 1 1/2 (sheet 3 x 5). Verso: Pencil and crayon drawing of a woman, probably by Elizabeth Gill. Signed 'Eric' in pencil, top and initialed 'E' in ink, lower left. $500.

Figure Studies: Nude Torso, two Crucifixes, woman's face, Woman at a table. (See Physick 259). Drawn on verso of a catalogue. $2,000.

Oxford Repertory Theatre. 1938. Pencil drawing. 2 5/16 x 2 5/8 (sheet 8 1/16 x 5 1/8). Drawn on the back of a page from Essays in Orthodoxy, with red watercolor. Dated '5.1.38.', titled and annotated '3/4" scale' and 'Just put sporren on and turn head to the way and make masks smaller' in pencil. Unsigned. $3,500.

Poem and cartoon:
Mary had a little Pam.
Original poem and drawing, not previously published. Unsigned. Dated 26/5/27 in ink. $1,250.

Postcard to Ernest F. Detterer. 1927. 3 1/2 x 4 7/16. $250.

[Self-Portrait - Nude]. Pencil drawing. 4 3/16 x 2 1/2 (sheet 7 5/8 x 3 1/2). Drawn on cream wove paper. Size annotations. Unsigned. Price upon request.

Cover for Saint George's Hospital. Pencil, ink and chinese white on paper. 9 5/16 x 5 3/4 (image and sheet). The Gazette, Volume 31, No. 6, June 1936. Initialed and dated, lower right. $4,500.

Religious

A Hart. 1939. Pencil and ink study for the wood engraving used as the Ordination card for Dr. Broomfield and Last Essays. Physick 988. 4 5/8 x 2 1/2 (sheet 7 3/16 x 5 7/8). Drawn on cream wove paper. Initialed, dated and annotated 'Photo same size on wood'; annotated verso, 'wall crucifix for L. Chapel' in pencil. Unsigned. $3,500.

Moses Holding the Tablets of the Law. Pencil drawing. 5 x 1 (sheet 8 3/4 x 5 5/8). Drawn on cream wove paper. Unsigned. $2,250.

Mother and Child - Facing Left. Pencil drawing. 4 1/4 x 1. Another drawing on the verso, Mother and Child- Facing Right. 3 3/4 x 3/4 (sheet 8 3/4 x 5 5/8). Drawn on cream wove paper. Unsigned. $2,250.

Mother and Child - Facing Right. Pencil drawing. 7 1/2 x 2 3/4. A sketch on the verso, Mother - Facing Right. 7 7/8 x 3 (sheet 8 x 5 1/4). Drawn on cream wove paper. Unsigned. $2,750.

Optima Hilari. Pencil drawing. 4 1/8 x 3 1/8. With a pencil study on the verso, [Christ with Upraised Arms]. 4 1/16 x 2 7/8 (sheet 6 x 4 7/8). Drawn on cream laid watermarked paper. Unsigned. $2,750.

St. Thomas's Hands. Pencil drawings. 3 x 4 1/2 (sheet 3 3/8 x 5). Related to Physick 382 and 889. Drawn on tan wove paper. Unsigned. $2,000.

[Seated Monk]. Pencil drawing. 6 5/8 x 2 1/2. Another drawing verso, [Angel and Seated Figure]. 1 1/4 x 1 3/4 (sheet 7 x 4 1/16). Drawn on cream wove paper. Unsigned. $1,250.

Sequence Ending. Ink on 'Arch[es]' countermarked paper. 1 7/8 x 2 3/4 (sheet 6 x 4 7/16). Signed in ink, upper right. Unpublished original work. $1,250.

Letterhead

Letterhead for Ditchling Common, Sussex. 7 x 9. Printed on cream wove paper. Blindstamp, top center, 'Chiswick Press, 20 and 2 Tooks Court, Chancery Lane'. Unsigned. $125.

Device and Receipt. Two sheets: #53. To: PLEASE RECEIVE FROM A.E.R GILL and #54. RECEIVED FROM the sum of .. pounds ... shillings and ...pence. Re... Sheets 5 x 6 5/16. Printed on watermarked laid paper. Unsigned. $125.

Design for paper: 'Fieldwick's Superfine Shag. Ditchling'. Ink on brown wove paper. 2 7/8 x 3 1/8 (sheet 4 5/16 x 5 11/16). Mounted on backing sheet that is annotated verso, 'By Eric Gill from Leonard Baskin Collection given owner to L.B. on 10/12/73' in ink. Unsigned. $1,250.

Keymer and District Land Club Receipt. 1908. Wood engraving. Related to Physick 36. 2 3/4 x 5 1/2 (sheet 3 1/2 x 7). Printed on cream paper with a partial countermark. Unsigned. $75.

Letterheading for Great Maytham, Rolvenden. 1. Single Typeface. Sheet 7 x 5 1/2. 2. 4 Typefaces. Sheet 6 3/8 x 5 1/2. $100.

Letterhead for II Oak Hill Park, Frognal, Hampstead. Sheet 10 x 8. Printed on cream laid Chiswick Press watermarked paper. 2 Sheets, 1 annotated in pencil, 'Res this paper all Caslon' and in ink, 'Caslons old face' twice, and also in ink 'Rearrange this like this:___ Telephone: 4075 P.O. Hampstead.' Unsigned. $225.

Letterhead for William A. Pite, F.R.I.B.A, 116 Jermyn Street, St. James's, London - S.W. 4 1/16x 8 1/8 (irregular trimmed margins). Printed on Royal Bond paper. Pencil annotations by Gill, 'dalou one zize only'. Unsigned. $175.

Letterhead for I, Pump Court, Temple E.C. 7 1/8 x 4 1/2. Printed on cream wove paper. Unsigned. $75.

Letterhead for Reigate and Redhill Open Spaces and Footpaths Preservation Society. Sheet 9 x 7. Printed on cream wove paper. Fold across the middle. Unsigned.

Letterhead for The Serendipity Shop. Pencil and ink. 2 3/4 x 3 3/4 (sheet 4 7/8 x 6 3/16). Drawn on graph paper. Extensively annotated; the second and third lines cut out and inserted from the verso. A fascinating working study. Unsigned. $1,500.

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Colonel Robert Charles Goff, R.E. 1837–1922.

Sussex Downs. c. 1900. Etching and drypoint. 8 x 11 7/8 (sheet 9 3/4 x 14). Edition 25. A rich impression with plate tone printed on 'O.W.P. + A.O.L.' laid paper. Signed in pencil. $175.

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Stephen Frederick Gooden, C.B.E., R.A., R.E. 1892-1955.

The Parable of the Fruit Tree. 1927. Line engraving. Dodgson 60.v/vi. 5 7/8 x 3 7/8 (sheet 15 1/16 x 11 1/8). One of 15 proofs before the engraved title. Series: The Brook Kerith by George Moore. Proof before publication in the 1929 Macmillan edition of 500. Printed on cream wove paper on the full sheet with deckle edges. Signed and dated in pencil. $250.

Pilgrim. 1930. Line engraving. 1 7/8 x 3 7/8 (sheet 3 3/8 x 4 3/16). Printed on cream wove paper with text on the verso, laid onto a card for support. Signed and annotated 'B' in ink. $175.

Fables of La Fontaine: Unsigned proofs from the book edition.

The Acorn and the Pumpkin. 1927. Line engraving. 6 3/16 x 3 1/2 (sheet 10 1/8 x 6 1/8). Edition 525 in the book printing (there were 15 pre-publication proofs). Series: Fables of La Fontaine. As published in the 1931 Heinemann edition of La Fontaine, translated by Sir Edward Marsh, volume II. Printed on cream wove paper on the full sheet with deckle edges. Unsigned. $95.

The Admirable Crichton. 1927. Line engraving. Dodgson 91. 3 3/4 x 2 7/8 (sheet 10 1/8 x 6 1/8). Edition 525 in the book printing (there were 15 pre-publication proofs). Series: Fables of La Fontaine. As published in the 1931 Heinemann edition of La Fontaine, translated by Sir Edward Marsh, volume II. Printed on cream wove paper on the full sheet with deckle edges. Unsigned. $50

The Judge, the Hospitaler and the Solitary. 1927. Line engraving. 4 x 4 (sheet 10 1/8 x 6). Edition 525 in the book printing (there were 15 pre-publication proofs). Series: Fables of La Fontaine. As published in the 1931 Heinemann edition of La Fontaine, translated by Sir Edward Marsh, volume II. Printed on cream wove paper on the full sheet with deckle edges. Unsigned. $75.

The Old man and the Three Youths. 1927. Line engraving. 6 3/16 x 3 1/2 (sheet 10 x 6 1/4). Edition 525 in the book printing (there were 15 pre-publication proofs). Series: Fables of La Fontaine. As published in the 1931 Heinemann edition of La Fontaine, translated by Sir Edward Marsh, volume II. Printed on cream wove paper on the full sheet with deckle edges. Unsigned. $65.

The Shepherd and his Flock. 1927. Line engraving. 3 x 3 3/8 (sheet 10 1/8 x 6 1/8). Edition 525 in the book printing (there were 15 pre-publication proofs). Series: Fables of La Fontaine. As published in the 1931 Heinemann edition of La Fontaine, translated by Sir Edward Marsh, volume II. Printed on cream wove paper on the full sheet with deckle edges. Unsigned. $50.

The Two Friends. 1927. Line engraving. 6 1/4 x 3 1/2 (sheet 10 x 6 1/4). Edition 525 in the book printing (there were 15 pre-publication proofs). Series: Fables of La Fontaine. As published in the 1931 Heinemann edition of La Fontaine, translated by Sir Edward Marsh, volume II. Printed on cream wove paper on the full sheet with deckle edges. Unsigned. $50.

The Wolf and the Sportsman. 1927. Line engraving. Dodgson 89. 2 1/4 x 3 1/4 (sheet 10 x 6). Edition 525 in the book printing (there were 15 pre-publication proofs). Series: Fables of La Fontaine. As published in the 1931 Heinemann edition of La Fontaine, translated by Sir Edward Marsh, volume II. Printed on cream wove paper on the full sheet with deckle edges. Unsigned. $50.

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Joseph Gray. 1890-1962.

Ostend. c. 1930. Drypoint. 13x 8 3/4 (sheet 15 x 10 5/8. Edition60, #18. A rich, tonal impression with drypoint burr, printed on Japanese vellum with full margins. Signed and numbered in pencil. $200.

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Walter Greaves. 1846-1930.

Avenue Cremorne Gardens. Pencil, ink and watercolor. 7 7/8 x 10 3/4 (sheet 10 1/2 x 12 3/4. Exhibited at the Parkin Gallery. Signed in the image; titled beneath the image, lower left, in the artist's hand. The image appears to depict Whistler and his wife, Beatrix. $1,750.

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Frederick Landseer Griggs, R.A., R.E. 1876-1938.

Click on the titles for images.

The Almonry. 1925. Etching. Comstock 34.v/vii. 9 5/8 x 6 5/8 (sheet 12 1/8 x 8 3/8). Edition 82 in this state (total edition 101). A fine impression on white laid paper with fan 'H' countermark. Illustrated Fine Prints of the Year, 1925; Guichard, British Etchers: 1850-1940. With the DP (Dover House Press) stamp verso. Signed in pencil. This is the artist's major etching. Price upon request.

The Barbican. 1920. Etching. Comstock 26.i/iii. 6 3/16 x 6 3/4 (sheet 9 5/8 x 8 3/4). Edition 30 in this state (total edition about 61). A fine impression on blue/green laid paper. Signed and dedicated 'To R.A. Walker' in pencil. $2,000.

Cockayne. 1936-37. Etching. Comstock 55.iv/vi. 8 1/8 x 10 3/4 (sheet 10 1/2 x 13 3/4). Edition 30 in this state (total edition about 70). A rich impression on sturdy hand-made laid paper with full margins. Signed and annotated '4th' in pencil. $2,750.

The Ford. 1915-24. Etching. Comstock 9.vi. 5 7/8 x 9 7/16 (sheet 11 1/2 x 8 1/2). Edition 43 in this state (total 127 proofs). A fine impression on sturdy cream laid paper. Illustrated: Salaman, Modern Masters of Etching; Calloway, English Prints for the Collector, p. 184. 'DP (Dover House Press) stamp in ink, verso. Signed in pencil. $2,000.

Linn Bridge. 1922. Etching. Comstock 29.iii/iv. 6 3/16 x 5 1/16 (sheet 10 7/16 x 17). Edition 40 in this state (total 61 proofs). Illustrated: Print Collector's Quarterly 11 (1924): 107. A fine impression printed on antique cream laid paper. 'DP' (Dover House Press) stamp in ink, lower right. Signed in pencil. $1,750

Lone-End. 1930. Etching. Comstock 42.vi. 7 1/8 x 10 1/4 (sheet 10 x 14 7/16). Edition 90 in this state (total 96 proofs). Illustrated: Print Collector's Quarterly 26 (1939): 70. A fine impression on cream laid paper with wide margins. Stamped 'D.H.P' (Dover House Press) in ink, verso, and numbered '25' in pencil. Signed in pencil. $1,500.

Netherton Chapel. 1935. Etching. Comstock 53.v. 5 11/16 x 4 3/8 (sheet 8 15/16 x 6 1/2). Edition 85 in this state (total 88-89 proofs). Illustrated Fine Prints of the Year, 1936;; Print Collector's Quarterly 26 (1939): 286. A fine impression on white laid paper with a partial crown watermark. Signed in pencil. $1,650. A rich impression with plate tone printed on laid paper from an antique volume. Signed and initialed in pencil. $3,750.

The Palace. 1921. Etching. Comstock 17.v. 5 5/16 x 5 3/16 (sheet 12 1/8 x 9 1/16). Edition 41 in this state (total about 107 proofs). A rich impression printed on antique cream laid paper. One rust spot, inherent in the paper, in the margin outside the imae; otherwise excellent condition. Signed in pencil. $1,650.

Potter's Bow. 1924. Etching. Comstock 33.vii. 9 7/8 x 7 1/8 (image and sheet). Edition 46 in this state (total 73 proofs). Illustrated: Illustrated: Salaman, Modern Masters of Etching ; Fine Prints of the Year, 1924. Printed on French 1740 antique cream laid paper. With the DP (Dover House Press) stamp verso. Trimmed to the image, as is usual with this etching. Signed in pencil. $2,000.

St. Botolph's Bridge (No. 1). 1917. Etching. Comstock 19.iv. 5 3/4 x 4 1/2 (sheet 9 3/8 x 8 5/8). Edition 50 in this state (total 70 proofs in 4 states.) A rich impression with plate tone printed on 'KF' laid paper. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. Housed in a elegant 18 1/4 x 12 1/8-inch gold leaf frame. $1,850.

St. Botolph's Cathedral, Boston. 1925. Etching. Comstock 32.v. 10 1/2 x 7 1/8 (sheet 11 5/8 x 8 1/16). Edition 76 in this state (total 98 proofs). Illustrated: Salaman, Modern Masters of Etching; Guichard, British Etchers: 1850-1940.A rich impression with plate tone printed on antique laid paper. Diagonal printing fold in the sky; otherwise in excellent condition. 'HG' stamp, lower right. Signed in pencil. $2,750.

St. Mary's, Nottingham. 1928. Etching. Comstock 41.iv. 7 1/2 x 10 3/8 (sheet 12 1/2 x 17 7/8). Edition 76 in this state (total 98 proofs). Illustrated: Print Collector's Quarterly 26 (1939): 266. A fine impression on sturdy cream wove paper. With the DP (Dover House Press) stamp verso and numbered '24' in pencil. Signed in pencil. $2,000.

St. Wendred's, March. 1921. Etching. Comstock 27.ii. 9 1/4 x 5 1/4 (12 1/16 x 9) Edition 63 in this state (total 66 proofs). Illustrated: Print Collector's Quarterly 11 (1924): 121. A beautiful impression printed with plate tone on cream laid paper with full margins. With the DP (Dover House Press) stamp recto. Signed in pencil. $2,000.

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Allan Gwynne-Jones, R.A. 1892-1982.

House at Crossroads, Twilight, Froxfield. 1926. Etching. Bassett 113. 6 1/4 x 7 15/16 (sheet 8 x 11 3/4). Printed on beige laid paper. Signed and dated numbered in pencil. $350.

Lambs on a Hillside. 1927. Etching. 8 1/2 x 11 1/2. Two proofs. First state. Signed and dated. Mount annotated, ex-collection Dr. Perth. Paper fold along top right-hand sheet, just into the aimage. Completed state, signed and dated. Collector's seal verson. Both printed on blue-green paper from an antique volume, the finshed state sheet countermarked 'SM'. $650 the pair.

Summer Morning.1926. Etching. Bassett 116 (titled Summer Afternoon.) 8 x 11 1/4 (sheet 9 13/16 x 13 7/8). Proof 49. A rich impression printed with plate tone on laid paper countermarked'J. W. Whatman.' Signed, dated, numbered, titled and annotated 'v. old Whatman' in pencil. $350.

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Sir Francis Seymour Haden, R.A., P.R.E. 1818-1910.

Click on the titles for images.

Battersea Reach. 1863. Etching and drypoint. Schneiderman 48.iv/xii. 6 x 8 7/8 (sheet 7 5/16 x 10 1/4). As published in the Gazette des Beaux-Arts, XVII, 1864. Illustrated: Guichard, British Etchers, 1850-1940. A rich impression printed on cream laid paper. Signed, dated and annotated 'Old Chelsea Out of Whistler's window' in the plate. 350.

Breaking up of the Agamemnon, No 1. 1840. Etching and drypoint. Schneiderman 133.viii/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). A rich impression with plate tone printed in black/brown in on antique cream wove paper. Signed in pencil. $1,250.

Breaking up of the Agamemnon, No 1. 1840. Etching and drypoint. Schneiderman 133.viii/xi. 7 3/4 x 16 3/8 (sheet ). A rich impression with plate tone printed in black/brown on antique wove paper. Sun toning; otherwise fine condition. An historically significant impression dedicated in pencil, lower left" To Stephen Parrish Esq, with the kind regards of F[rederick]. K[eppel]., Septer 25, 1882". Signed in pencil. $1,750

Early Morning, Richmond Park. 1859. Etching. Schneiderman 25.iii.publication in Études à l'Eauforte. 4 3/8 x 10 7/8 (sheet 7 x 13). Illustrated: Keppel. The Golden Age of Engraving. An extremely strong, well-inked impression. Printed on fine wove paper. Very fain mat line; otherwise fine condition. Inscribed in the plate, The Lark at Heaven's gate sings and To Dashaon the tree trunk on the right. Haden's wife, Dasha, was Whistler's sister. A rich impression Signed in pencil. $575.

Egham. 1859. Etching and drypoint. Schneiderman 20. vi/x. 4 15/16 x 7 15/16 (sheet 6 5/8 x 9 3/8). As published in Études à l'eau forte, Number 12. A rich impression with burr, printed on off-white laid paper. One iron oxide spot, inherent in the paper; otherwise excellent condition. Signed in reverse in the plate. $275.

Egham. 1859. Etching and drypoint. Schneiderman 20. viii/x. 4 15/16 x 7 15/16 (sheet 7 13/16 x 10 9/16). Printed on vellum. Signed in pencil. Foxing in the margins; otherwise excellent condtion. $500.

Egham Lock. 1859 and later. Etching. Schneiderman 21.iii/x. 5 13/16 x 8 13/16 (sheet 7 x 10 5/8). As published in the Gazette des Beaux Arts, Number 10 (1864). A rich impression printed on off-white laid paper. Scattered small foxing spots; a repaired tear in the right-hand margin, well outside the image; otherwise fine condition. Signed and titled in reverse in the plate. $275.

Erith Marshes. 1865. Etching. Schneiderman 104.ii/vi. 9 7/16 x 15 (sheet 12 5/16 x 19 3/4). An extremely strong impression with pronounced etched lines. Prior to the extensive area of rust in the plate and prior to the removal of much etched work in the sky. Printed on heavy cream wove paper with full margins and deckle edges. Mild time tone within the mat window area. Weak lower platemark with three small strips of archival tape for support, verso. Signed in pencil. Haden etched this extensive landscape in the company of his friend, the famous French painter-etcher, C.F.Daubigny. The image shows the marshes on the north side of the Thames at Purfleet, opposite Erith, a few miles to the east of London. $650.

Grayling Fishing. 1897. Mezzotint with drypoint. Schneiderman 227.ii/v. 7 1/2 x 11 5/8 (10 x 14 1/8). A rich impression printed in dark brown ink on white wove paper. Gold Medal winner at the Paris Exposition. Signed in pencil. $1,200.

Grim Spain. 1877. Etching. Schneiderman 173.i/ii. 6 X 8 13/16 (sheet 9 5/8 x 12 1/2). A fine impression printed on simili-Japan paper. Printed by Goulding for the Fine Art Society for publication in Frederick Wedmore's Four Masters (London, 1883). Signed and dated in the plate. $275.

Kew Side: A Fragment 1864. Etching. Schneiderman 75b.ii. 5 7/16 x 4 5/8 x 8 7/16 (sheet 11 1/4 x 16 7/8). A proof apart from the published edition in Études à l'eau-forte, Number XI. Stainging in the margins, and one small area in the lower right-hand edge of the image. A rich impression printed on ivory Japanese laid paper. Signed and dtitled in the plate; signed in pencil. $325.

A Lancashire River. 1887. Etching. Schneiderman 203. Undescribed proof between vii and viii, with the clouds touching the hills, but before the blindstamp in state viii. 10 7/8 x 15 3/48 (sheet 15 5/16 x 120 1/2). An extremely strong, well-inked impression. Printed on heavy cream wove paper with full margins . Mild time ton within the mat window area. Provenance: Kennedy Galleries. Signed in pencil. $975.

A Lancashire River. 1887. Etching. Schneiderman 203.viii. 10 7/8 x 15 7/8 (sheet 13 7/8 x 17 7/8). Illustrated: Print Collector's Quarterly 1 (1911): 27. A fine impression printed with plate tone on cream wove paper with full margins. Signed and dedicated in pencil 'To Mr. Charles W. West in pleasant remembrance of 1883'. Professor Charles E. West, like Haden, was interested in photography. 750.

The Mill Wheel. 1874. Etching. Schneiderman 144. iv. 7 x 10 5/16 (sheet 9 13/16 x 12 1/4). Printed on cream wove paper with deckle edges. Signed in pencil. $475.

Mytton Hall. 1859. Etching and drypoint. Schneiderman 19.iii/v. 4 13/16 x 10 5/16 (sheet 5 3/4 x 10 15/16). As published in Études à l'eau-forte XXIV. Illustrated: Guichard, British Etchers, 1850-1940. An extremely rich impression printed on fine laid paper. Signed in the plate. $750.

Old Willesley House. 1865. Etching. Schneiderman 92. iii/iv. 6 7/8 x 9 15/16 (10 1/4 x 13 1/2). Printed on cream wove paper. Signed in pencil. $450.

Shepperton. 1864. Etching. Schneiderman 74b.ii/iii. 5 7/16 x 4 1/16 (sheet 7 3/8 x 5 3/4). Proof apart from the edition published in Études à l'eau-forte Number XI. Illustrated: Guichard, British Etchers: 1850-1940. One-inch tear in the image upper left. A rich impression printed on fine laid paper mounted on Japanese mulberry paper. Signed and titled in yhe plate; signed in pencil. $125.

Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint. Schneiderman 37.v/ix. 7 x 13 1/8 (sheet 10 3/4 x 16 3/8). This state is prior to publication in Études à l'Eau-Forte. Illustrated: Keppel The Golden Age of Engraving; Print Collector's Quarterly 1 (1911): 18; : Guichard, British Etchers, 1850-1940. A rich, brilliant proof with drypoint burr printed on white laid paper. Signed in pencil. $1,500.

A Sunset in Ireland. 1863. Etching and drypoint. Schneiderman 47.xiii/xiv. 5 1/2 x 8 1/2 (sheet 9 x 13). An extremely rich impression with drypoint burr, printed on the full sheet of cream 'D &G Blauw' laid paper with a coat-of-arms watermark. Signed in pencil. $2,250.

"Thomas Haden of Derby". 1864. Etching and drypoint. Schneiderman 53.ii/v. 13 7/8 x 9 7/16 (sheet 16 1/2 x 11 7/16). Printed with plate tone on cream-colored 'BIV' laid paper. Rubbing from a previous mat in the lower margin, well outside the image; otherwise excellent condition. A fine impression of this scarce early state. Signed and titled in the plate. $550.

A Water Meadow. 1859. Etching. Schneiderman 23.iv/v. 6 x 8 7/8 (sheet 8 3/4 x 11 1/16). A fine impression on cream-colored wove paper. $400.

A Water Meadow. 1859. Etching. Schneiderman 23.iv/v. 6 x 8 7/8 (sheet 8 x 10 7/8). Illustrated: Keppel The Golden Age of Engraving,Salaman, The Great Painter-Etchers from Rembrandt to Whistler; Illustrated: Salaman, Modern Masters of Etching: Haden. A rich impression with plate tone printed on 'O.W.L.P. + A.O.L.' laid paper. $400.

Windmill Hill No. I. 1877. Drypoint. Schneiderman 152.v. 6 x 8 3/4 (sheet 87/8 x 11 1/2). A rich impression with plate tone and drypoint burr, printed on simili-Japon paper with full margins. Invisibly-repaired puncture, upper right. Signed in pencil. $400.

Windsor. 1898. Etching. Schneiderman 186.xii. 13 1/4 X 17 1/2 (sheet 18 5/8 x 23 1/4).. Edition of 50 in this state, published by the Fine Art Society. A fine impression printed on cream wove paper with full margins. Signed in pencil. $975.

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Philip Hagreen. 1890–1988

Madonna and Child. c. 1933. Tempera on paper. 16 1/4 x 12. Gift from Ada Bethune to the Catholic Lending Library of Hartford. Some flaking of the gold leaf on the halo, commensurate with age. Unsigned, as usual. Housed in a classic 22 3/4 x 18 3/4 gold frame with a silk mat and a liner. $1,500.

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Oliver Hall, R.A., R.E., R.S.W. 1869-1957.

Spain

A Spanish Town. c. 1927. Etching and drypoint. 6 3/4 x 9 3/4 (sheet 9 7/8 x 13 1/2). Edition 40, #22. A fine impression on cream laid paper. Illustrated: Print Collector's Quarterly 15 (1928): 39. Signed and numbered in pencil. $275.

Britain

Bolton Castle: Vista. 1894. Etching. 4 1/4 x 7 7/8 (sheet 5 1/16 x 8 3/4). A fine impression printed with subtle plate tone on fine laid paper. An early state, before the signature and date '1895' in the plate. Signed and dated in pencil. $225.

A Border Castle. c. 1920. Etching and drypoint. 6 15/16 x 11 13/168 (sheet 9 5/16 x 15 3/16). A rich impression with drypoint printed in cream laid paper with full margins. Signed and titled in pencil. $300.

Broughton Moor Pits, . c. 1920. Etching and drypoint. 7 7/8 x 11 13/16 (sheet 10 x 14 3/8). A fine impression on cream wove paper. Signed in pencil. $325

Castle Acre Priory. c. 1920. Etching and drypoint. 7 x 11 7/8 (sheet 9 1/4 x 14 5/8). A rich impression with drypoint burr, printed on Japanese mulberry paper. Provenance: the artist's studio. Unsigned. $175.

[The Dock, Hayling Island, Hampshire]. c. 1927. Etching and drypoint. 6 3/4 x 8 7/8 (sheet 8 1/4 x 10 1/2). Signed in pencil. $250.

[Fishing, Sinah Warren]. c. 1895. Etching. 4 5/8 x 6 1/2 (sheet 6 15/16 x 9 1/4).A rich impression with plate tone, printed on cream laid paper. Horizontal fold; otherwise in fine condition. Signed in pencil. $150.

[Newbiggin]. c. 1895. Drypoint. 6 x 8 7/8 (sheet 9 1/2 x 12 3/16). A fine impression printed with plate tone on cream laid paper. Signed in pencil. $225.

[Road into Town]. c. 1894. Lithograph. 5 5/8 x 8 3/8 (sheet 7 3/8 x 10 1/4). Printed on cream 'MBM' laid paper. Signed in the stone. $75.

[Trees, Hayling Island, Hampshire]. c. 1924. Etching and drypoint. 5 x 7 3/4(sheet 8 1/4 x 11 7/8). A fine impression on cream laid paper watermarked 'FJ Head & Co'. Unsigned. Provenance; the artist's studio. $125.

[A Yorkshire Road]. c. 1924. Etching and drypoint. 5 x 7 1/4(sheet 7 1/2 x 10 1/2). A fine impression on cream laid paper watermarked 'FJ Head & Co'. Signed in pencil. $225.

Spain

Grim Spain. 1927. Drypoint. 8 7/16 x 11 7/8 (sheet 11 x 15 1/8). Edition 50, #2. Illustrated: Fine Prints of the Year, 1927. A rich, luminous impression printed on th full sheet of Japanese mulberry paper. Signed and numbered in pencil. $250.

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Martin Hardie, R.E. 1875-1952.

Click on the titles for images.

The Incoming Tide. 1923. Drypoint. Hardie 94. 4 1/2 x 11 (sheet 7 1/2 x 12 5/8). Edition 78. Illustrated: Fine Prints of the Year, 1923. A rich impression with drypoint burr, printed on 'CR' laid paper with a crown watermark, from an antique volume. Blindstamp: The Rose Collection. Signed in ink. $275.

Salmon Fishers, Port Ling. 1920. Etching and drpyoint. Hardie 77.i/ii. 6 1/2 x 9 (sheet 9 1/4 x 11 3/4). THere were only 8 proofs in state one; some of the burr was removed in state ii, and 70 were printed. An extremely rich impression with drypoint burr, printed by David Strang on cream laid paper. Signed and titled in pencil. $375.

View at Blythburgh. Watercolor and charcoal. 11 1/2 x 15. Signed. Exhibited: Royal Scottish Society of Painters. Excellent color and condition. $550.

Walberswick, from Dunwich. August, 1937. Watercolor. 10 1/4 x 15 5/8. Signed in ink, lower right; titled, signed and dated in pencil, verso. $550.

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James Duffield Harding. 1791-1863.

Click on the title for an image

At Dorking. c. 1836. Lithograph. 15 1/8 x 11 1/8 (sheet 22 1/8 x 15 3/5). Printed on grey paper laid onto heavy wove paper. Printed on grey paper laid onto heavy wove paper. Scattered foxing; otherwise good condition. A richly contrasting impression housed in an archival 24 x 20-inch mat. Titled and monogrammed in the stone. $125.

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Muriel Hare. Active 1925-1939.

Eastern Scene. Eastern Scene. c. 1930. Woodcut printed in colors. 11 x 9 1/16 (sheet 17 x 10 7/8). Edition 25, #5. Printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $275.

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Herbert Johnson Harvey. 1884-1928.

Self-Portrait in Seventeenth-Century Dutch Costume. [Hommage to Rembrandt]. c. 1921. Oil on canvas. 20 x 16 (framed 27 x 22 1/2). Excellent condition. Signed, lower right, just above the table. $5,000.

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William Hogarth, 1697-1764.

The Sleeping Congregation. 1736 (Heath Edition 1822). Etching and engraving. Paulson 140 iv/iv; British Museum Satires 2285. 10 1/2 x 8 3/16 (sheet: 12 7/8 x 9 3/4). Inscription: in plate below image, lower left: 'Invented Engraved & Published October 25: 1736 by W-m Hogarth Pursuant to an Act of Parliament / One shilling"; in plate along right edge: "Retouched& Improved April 21, 1762 by the Author". Probably from The Works of William Hogarth from the Original Plates Restored by James Heath, Esq., R.A.; With the Addition of Many Subjects Not Before Collected: To Which is Prefixed, a Biographical Essay on the Genius and Productions of Hogarth, and Explanations on the Subjects of the Plates by John Nichols, Esq., F.S.A. London. Printed for Baldwin, Cradock & Joy, Paternoster Row by Nichols and Son, Parliament Street — 1822 —. A fine impression printed on cream laid paper. Slight foxing; otherwise good condition. Signed and dated in the plate. $175.

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William Brassey Hole, R.S.A., R.S.W., R.E. 1846-1917.

(after James Abbott McNeill Whistler. 1834-1903).

Whistler in Painting Jacket. (after the painting by Whistler. Gallatin 4). 1897. Photogravure. Gallatin 137. 9 7/8 x 7 1/4 (sheet 12 1/4 x 8 15/16). Published by Virtue & Co. Ltd (publishers of The Art Journal). Titled in the plate, below the image. $190.

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Kenneth Holmes, A.R.C.A. Born 1902.

Watercolours.

Santa Catalina Island. Watercolor. 9 7/8 x 14 3/8. Housed in a 16 x 20-inch French mat. Annotated 'El Catalena isle off Los Angeles' verso. Signed, lower right. $500.

Niagara Falls: Canadian Side. Watercolor. 10 1/2 x 15. A lovely, tonal impression housed in a 18 x 24-inch cream French mat. A misty, tonal impression housed in a 18 x 24-inch cream French mat. Signed lower right. Annotated 'Canadian Side' verso. Signed in pencil. $500.

Utah Valley. Watercolor on watercolor board. 5 1/2 x 8 5/8. Housed in a 16 x 20-inch French mat. Signed and tiled, lower left; annotated 'Utah Valley USA' in pencil, verso. $350.

Utah Valley. Watercolor on watercolor board. 12 x 18. A rich, tonal impression housed in a 18 x 24-inch cream French mat. Signed lower right. $500.

Etchings and Etching Plates

San Giorgio, Maggiore, Venice. 1930. Drypoint. 8 3/16 x 12 1/8. Signed in pencil. Published by James Connell, in an edition of forty proofs. A rich impression printed on cream wove paper with full margins. Signed in pencil. $450.

Town Hall Steps. (Skipton, Yorkshire) 1929. Drypoint. 7 1/2x 10 (sheet 11 7/16 x 15 7/16). Published by James Connell in an edition of sixty proofs only. A very rich impression printed on cream laid paper with full margins. Illustrated: Fine Prints of the Year, 1929. Signed in reverse in the plate, lower left; also humorously signed on the advertising sign to the right of the telephone booth on the corner. Sold with the copper etching plate, 7 5/8 x 10 1/16. The image on the plate is reversed in the etching when the etching is printed. $975 the pair.

Going to the Fields. 1928. Copper etching plate for the drypoint. 7 x 10. $300.

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Albany E. Howarth, A.R.E. 1872-1936.

The Palace of Westminster. c. 1920. Etching and drypoint. 9 1/8 x 11 3/4 (sheet 12 1/8 x 14 3/4). A rich impression with plate tone and drypoint burr printed cream wove paper. Occasional light scattered foxing; otherwise fine condition. Titled in the plate; signed in pencil. $275.

The Strand-on-the-Green, Chiswick, No. 1. 1904. Etching and drypoint. 7 7/8 x 5 5/8 (sheet 11 1/8 x 7 1/2). A rich impression with plate tone and drypoint burr printed cream wove paper. Occasional light scattered foxing; otherwise fine condition. Titled in the plate; signed in pencil. $125.

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Eric Hesketh Hubbard,R.B.A., R.O.I. 1892-1957.

Making the Stack. c. 1930. Etching and drypoint. 6 3/8 x 7 5/7 (sheet 8 1/2 x 10 3/4). Edition 50, #39, fourth state. A very rich impression on cream laid paper watermarked "J Whatman". Signed, numbered and titled in pencil. $225.

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Eleanor Mary Hughes. 1882-1959.

Watercolours.

Mountain Scene with Distant Lake. Watercolor. 10 5/8 x 14 1/2. Signed, lower right. unobtrusive repaired pinholes. $175.

St. Michael's Mount from the Coast. c.1937. Watercolor. 10 3/4 x 14 7/8. Impressed studio stamp, lower left. An evocative tonal study. Good condition. $250.

Etchings: England.

Apple Tree (Fruit Tree Overlooking Farm) (proof). c.1937. Etching. 9 1/8 x 7 13/16 (sheet 15 3/8 x 10 7/16). Printed on the full sheet of laid watermarked paper with deckle edges. Annotated 'proof' in the lower left corner. Stamped signature. $175.

Avalon House, South Place, Penzance: view from the right. c.1937. Etching. 3 5/8 x 4 11/16 (sheet 6 1/8 x 6 9/16). Working proof with pencil additions along the roof line. Printed on wove, watermarked paper with deckle edges on three sides. One foxing spot in the left-hand roof. Tack holes in the margin from drying. Stamped signature. $100.

Avalon House, South Place, Penzance: view from the right. Etching and drypoint. Early proof, before the vertical lines on the white wall, left side and the right-hand roofs. 3 5/8 x 4 11/16 (sheet 6 9/16 x 10 3/8). Printed on wove, watermarked paper with deckle edges. Stamped signature. $100.

Avalon House, South Place, Penzance: view from the right. c.1937. Etching. Proof with vertical lines on the white wall, left side, and the right-hand roofs. 3 5/8 x 4 11/16 (sheet 6 9/16 x 10 3/8). Printed on wove, watermarked paper with deckle edges. Stamped signature. $100.

Avalon House, South Place, Penzance: view from the right. Etching. Proof with vertical lines on the white wall, left side and the right-hand roofs. 3 5/8 x 4 11/16 (sheet 6 9/16 x 10 3/8). Proof with more plate tone. Printed on wove, watermarked paper with deckle edges. Stamped signature. $100.

Cornish Elms.Cornish Elms. c. 1936. Etching. 5 3/8 x 5 3/4(sheet 7 7/8 x 10 1/4). Trial proof. A rich impression printed in cream laid paper. Annotated 'trial proof' in pencil. Stamped signature. $150.

Cottage -- front view. Etching. 3 5/8 x 3 3/8 (sheet 5 1/16 x 5 1/8). Printed on cream-colored laid paper with a partial watermark. A fine impression. Stamped signature. $75.

Cottage -- front view. Etching. 3 5/8 x 3 3/8 (etching sheet 13/16 x 4 5/8; calendar sheet 9 x 7 1/8). The etching is hinged onto a backing board. A sheet of parchment paper is the front mount; a 1937 calendar is affixed to the parchment paper. An orange ribbon, tied in a bow, holds the front and back mount together. Stamped signature. $175.

Cottage -- side view. Etching. 3 1/2 x 4 3/16 (sheet 4 5/8 x 6 1/16). Printed on cream wove paper with deckle edges on three sides. Stamped signature. $75.

Cottage and Barn. Etching. 4 11/16 x 3 5/8 (sheet 10 1/2 x 7 1/4). Printed on the full sheet of laid watermarked paper with deckle edges. Stamped signature. $100.

Cottage and Stone Wall. Etching. 6 15/16 x 8 7/8 (sheet 9 1/4 x 12 9/16). Printed on laid, watermarked paper with deckle edges. Stamped signature. $175.

Cottage With Trees. Linoleum cut. 7 1/8 x 8 1/8 (sheet 10 x 15 3/8). Printed on Japanese mulberry paper with deckle edges. Stamped signature. The artist's linoleum cuts are extremely rare. $300.

Deserted Tin Mine. Etching and drypoint. 6 15/16 x 9 7/8 (sheet 9 x 12 3/8). Printed in the full sheet of 'FJ Head & CO' laid paper with deckle edges. Stamped signature. $200.

Farmhouse with Fields. Etching. 1 11/16x 2 3/4 (sheet 7 3/4 x 6 1/8). Printed on the full sheet of pale cream-colored wove paper with deckle edges. A rich impression in excellent condition. Stamped signature. $100.

Farmyard from the Stone Wall. Etching. 6 x 7 7/8 (sheet 9 3/16 x 12 11/16). Printed on the full sheet of watermarked laid paper with deckle edges. Stamped signature. $175.

Folly Seen Through the Pine Trees. Etching. 3 1/4 x 3 7/16 (sheet 9 1/4 x 6 13/16). Printed on laid paper with deckle edges. Stamped signature. $100.

Four Sycamores: Farm in the Distance. Etching. Second state. 5 15/16 x 3 11/16 (sheet 8 1/2 x 8 9/16). A rich impression on cream-colored wove paper with deckle edges on two sides. Stamped signature. $100.

Four Sycamores: Farm in the Distance. Etching with 1939 calendar affixed to the sheet (12 7/8 x 8 3/4). Stamped signature. $175.

From Below the Farm. Soft-ground etching. 6 13/16 x 4 15/16 (sheet 9 1/4 x 6 5/8). Printed on 'Imitation Steinbach' laid paper. The artist's soft ground etchings are very rare. A fine printing with tonal wiping. Stamped signature. $150.

Mill Wheel with Sycamore. Etching. 7 7/8 x 5 15/16 (sheet 11 7/16 x 9 1/8). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $150.

Old Watermill. Etching. 2 5/8 x 3 7/16 (sheet 3 1/4 x 4 3/8). Three working proofs, printed on cream wove paper. Stamped signature verso. $300 for the set of three:

a. Before the addition of the tree on the left; hint of conte crayon to suggest smoke over the roof, and faint outlines of another tree between the two on the right.

b. Before the addition of the tree on the left; conte crayon over the crees and roof on the left, and faint outlines of another tree branch between the two trees on the right.

c. With the addition of the tree on the left; conte crayon outlines of another tree between the two on the right.

Old Watermill. Etching. 2 5/8 x 3 7/16 (sheet 9 3/16 x 6 7/8). Final state with the addition of the tree on the left and an additional branch on the next tree to the right. Printed on the full sheet of pale cream-colored wove paper with deckle edges. Tied to a separate support board with a brown ribbon tied in a bow. Preparatory for a calendar. Stamped signature. $125.

Old Watermill. Etching. 2 5/8 x 3 7/16 (sheet 9 1/4 x 6 7/8). Final state with the addition of the tree on the left and an additional branch on the next tree to the right. A 1938 calendar is affixed to the etching sheet. Printed on the full sheet of pale cream-colored wove paper with deckle edges. Tied to a separate support board with a brown ribbon tied in a bow. Stamped signature. $175.

Pendant Branches. Etching. 9 7/8 x 7 13/16 (sheet 15 1/2 x 10 5/8). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $200.

Penzance Church from the Harbour over Dry Dock. Etching. 7 1/2 x 7 1/8 (sheet 12 1/2 x 9 1/4). Printed on the full sheet of cream laid paper with deckle edges. Stamped signature. $175.

Pollarded Trees. Pencil study for the etching. 5 x 4 3/8 (sheet 6 3/4 x 6 3/8). Drawn on cream wove paper of the verso of the etching. $125.

Pollarded Trees. Etching. 5 x 4 3/8 (sheet 6 3/4 x 6 3/8). Printed on wove paper with deckle edges on two sides; a corner of the paper missing, outside the image. Stamped signature. $125.

Pollarded Trees. Etching. 5 x 4 3/8 (sheet 6 3/4 x 6 3/8). Printed on cream wove paper in black ink. Working proof touched with white watercolour. Stamped signature. $125.

Pollarded Trees. Etching. 5 x 4 3/8 (sheet 9 7/84 x 7 5/8). Printed on cream wove paper. Printed on the full sheet of cream wove paper, with deckle edges. Tack holes in the margins from drying. A richly inked impression is brown/black ink. Stamped signature. $125.

Quarry. Etching and drypoint. 6 3/4 x 7 3/4 (sheet 9 1/8 x 12 1/2). Printed on the full sheet of pale cream-colored laid paper with an "FJ Head & Co." watermark. A rich impression in excellent condition, on the full sheet with deckle edges. Stamped signature. $175.

Rock Faces. Etching. 10 7/8 x 7 7/8 (sheet 16 x 11 5/8). Printed on the full sheet of cream laid paper with deckle edges. Pencil signature. $250.

Rookery. Etching with 1939 calendar affixed to the sheet 3 3/8 x 4 7/8 (sheet 10 7/8 x 8 3/4). Stamped signature. $175.

Saint Michael's Mount. Etching. 5 15/16 x 7 13/16 (sheet 9 1/8 x 12 3/8). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $200.

Sycamore and Rooftops. Etching. 7 7/8 x 5 3/4 (sheet 12 5/8 x 9 1/16). A rich impression on "England" watermarked pale cream-colored laid paper. Printed on the full sheet with deckle edges. Stamped signature. $175.

Tall Trees. Etching. 9 3/4 x 7 3/4 (sheet 13 7/16 x 9 7/8). Printed on the full sheet of cream-colored laid paper with deckle edges on three sides. Stamped signature. $175.

Three Trees. Etching. 4 15/16 x 5 7/8 (sheet 6 1/4 x 10 3/8). Printed on wove paper with deckle edges. Stamped signature. $175.

Trees Overlooking the Cliffs. Etching. 4 5/8 x 5 7/16 (sheet 6 1/8 x 9 5/8). Printed on laid paper with deckle edges. Stamped signature. $175.

Trees Overlooking the Town. Etching. 7 13/16 x 10 7/16 (sheet 10 1/8 x 15 1/2). Printed on the full sheet of laid, watermarked paper with deckle edges. Stamped signature, annotated "proof" in pencil. $200.

Trees With Two Birds. Etching. 5 15/16 x 6 15/16 (sheet 9 1/16 x 11 7/16). Printed on the full sheet of laid watermarked paper with deckle edges. Stamped signature. $175.

Trewoofe: Old Doorway. 1909. Etching. 2 3/4 x 3 3/8 (sheet 4 3/4 x 5 11/16). Card. Stamped signature. $100.

Windblown Trees. Etching. 3 x 5 3/8 (sheet 5 9/16 x 10 1/4). Printed on wove paper. Stamped signature. $100.

Wood Above the House. Etching. 6 3/4 x 4 7/8 (sheet 9 7/8 x 7 5/8). Printed on laid paper with deckle edges. A extremely rich impression. Annotated verso by the artist, 'Inst[ructions] - put heavy French transport g[round] or 1/2 & 1/2 ground by Blind". Stamped signature. $175.

Woodland Farmyard. Etching and drypoint. First state, before additional drypoint on the buildings and trees. 7 7/8 x 5 7/8 (sheet 12 5/8 x 9 11/16). Printed on the full sheet of "Arc[hes]" laid paper with deckle edges. Stamped signature. $175.

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Clifford R. James. 19th-20th century, (after James Abbott McNeill Whistler. 1834-1903).

The Little White Girl 1922. Mezzotint printed in colors. 20 x 13 (frame 32 x 25). Edition 250. Signed in pencil. Provenance: the estate of Katherine W. Mellon, Stonington, CT. Housed in a gold Whistler-style frame. An extremely large an impressive presentation. The painting is in the National Gallery, London. $1,250.

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Augustus Edwin John, R.A. 1878-1961.

Old Arthy. 1902. Etching. Dodgson 30. 7 7/8 x 5 3/16 (sheet 11 1/2 x 8 1/8). Edition 25, #24. A rich impression with plate tone, printed on cream laid paper. Numbered and signed "Aug E. John" in pencil. $950.

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David Jones. 1895-1974.

Madonna and Child with Saint Dominic and Saint Francis. 1923. Wood engraving. Cleverdon, E39. 1 1/2 x 1 1/4 (sheet 5 3/16 x 3 1/4). Printed on tan wove paper in: Christmas Play, B13; Common Carol Book, B14; and List of Plays, B79. Unsigned. $350.

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Dame Laura Knight, R.A., R.E. 1877-1970.

Click on the titles for images.

Dancing on Hampstead Heath. 1930. Aquatint. Bolling/Withington 47. 10 3/4 x 7 3/4 (sheet 16 x 11). Edition 55. A rich impression with striking contrasts, printed on cream wove paper on the full sheet. Signed, titled and annotated in pencil. $2,500.

Gilding the Lily. 1926. Soft ground etching. Bolling/Withington 47. 11 1/2 x 7 1/2 (sheet 15 1/4 x 10). Edition 20 or 35 (both numbers are given on different proofs; this one annotated '35') plus trials. A rich impression with plate tone printed on cream wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $2,000.

Some Clowns. 1930. Drypoint. Bolling-Withington 65.iii. 13 3/4 x 9 5/8 (sheet 17 5/8 x 12 1/8). Edition 50. Illustrated: Fine Prints of the Year, 1931. A rich impression printed on cream 'England' countermarked paper, on the full sheet with deckle edges. Signed and annotated 'trial proof' and 3rd state' in pencil. $2,000.

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Spanish Dancer No. 2. 1923. Aquatint. Bolling/Withington 19.ii. 10 1/4 1/4 (sheet 16 x 11 3/8). Edition 55 plus trial proofs. An extremely rich impression with striking contrasts, printed on the full sheet of cream laid paper. Signed in pencil. $2,000.

Watching the Aerial Act. 1926. Etching. 11 7/8 x 10 (sheet 15 x 10 5/16). Edition c. 50. A fine impression printed on cream 'Arches' countermarked paper, on the full sheet with deckle edges. Signed and titled in pencil. $1,750.

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William Lee-Hankey, R.E. 1869-1952.

Watercolours

Sorrow. c.1919. Conte crayon and watercolor on watercolor board. 13 7/8 x 17. Signed lower right; titled verso. $2,500.

Three Generations. c.1919. Conte crayon and watercolor on watercolor board. 14 x 15 7/8. Signed lower right; titled verso. $2,750.

Fine Prints

A Corner of the Fishmarket. 1919. Drypoint. Hardie 165. 8 x 6 (sheet 11 7/8 x 9 7/16). Edition 100. A very rich impression on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $500.

Counting the Fish. 1927. Etching. Subsequent to Hardie. 7 5/8 x 9 3/16 (sheet 10 3/8 x 12 1/8). Edition 100. Illustrated: Fine Prints of the Year, 1927. A very rich impression on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $500.

Dawning Intelligence. Drypoint. Subsequent to Hardie. 10 3/4 x 9 1/8 (sheet 16 x 12 3/4) A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $600.

Jeannette of the Market. 1925. Etching and drypoint. Subsequent to Hardie. 9 x 9 3/8 (sheet 13 1/2 x 12 1/2). Illustrated: Fine Prints of the Year, 1925. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $500.

Loup de Mer (Sea Wolf). Drypoint. Subsequent to Hardie. 6 1/8 x 4 15/16 (sheet 11 x 8 5/8). A very rich impression on cream paper with a hand and cross countermark. Printed by the artist. Signed in pencil and with the artist's embossed initial monogram. $225.

Meditation. 1923. Drypoint. Subsequent to Hardie. 8 7/8 x 7 5/16 (sheet 12 7/8 x 9 3/8). Edition 100. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $650.

Le Repos (Slumber). 1926. Etching and drypoint. 9 1/2 x 11 1/2 (sheet 12 1/2 x 14 1/4). Edition 100. A fine impression printed on cream wove paper, with the artist's embossed monogram. Signed in pencil. Printed by the artist. $500.

The Secret. 1920. Drypoint. 6 x 4 (sheet 8 3/4 x 6 1/4). Hardie 171. Edition 100. A rich impression, with burr, printed on cream wove paper. $600.

La Vieille (The Old Woman). 1920. Drypoint. Hardie 186. 8 1/4 x 6 3/8 (sheet 12 1/4 x 9 7/8). A very rich impression on cream wove paper. Printed by the artist. Signed and annotated in pencil and with the artist's embossed initial monogram. $250.

Le Vieux (The Old Man). Drypoint. Subsequent to Hardie. 7 3/4 x 6 3/16 (sheet 12 1/16 x 9 1/2). A very rich impression on cream wove paper. Printed by the artist. Signed in pencil and with the artist's embossed initial monogram. $225.

Widow. 1913-14. Drypoint. Hardie 122. 8 3/4 x 4 7/8 (sheet 11 15/16 x 7 7/8). Edition 50. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $500.

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Frederick Lord Leighton, 1884-1962.

[Pastoral Landscape with Cows]. 1880. Etching. 4 3/4 x 6 13/16 (sheet 7 3/4 x 10 7/16). Printed with plate tone on simili-Japan paper. Bears pencil signature. $50.

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Norman Alfred William Lindsay. Australian. 1879-1969.

Charles. 1926. Drypoint. Bloomfield 283. 10 1/4 x 12 3/8 (sheet 17 1/4 x 18 3/8). Edition 38, #18. Slight mat toning and glue stains along the bottom sheet edge, well outside the image. A rich, glowing impression printed on simili-japon with full margins. Signed, titled and numbered in pencil. $3,500.

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Sidney Mackensie Litten. 1887-1949.

Eiland Marken (Marken Island). 1930. Etching and drypoint. 7 7/8 x 15 (sheet 11 3/4 x 17 7/8). Edition 80. A rich, tonal impression printed on J. Whatman blue/green paper. Signed in pencil. $250.

Spanish Holiday, Granada. Etching and drypoint. 11 7/8 x 8 3/4 (sheet 17 x 11 1/8). Edition 80. A rich, tonal impression with drypoint burr, printed on blue/green paper. Signed, titled, and annotated 'Impressions 80' in pencil. $175.

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Elyse Ashe Lord. 1900-1971.

Angor Vhat. 1930. Woodcut and drypoint printed in colors. 11 x 13 (sheet 15 7/8 x 16 7/8). Edition 75, # 22. A bright, colorful impression printed on Japanese mulberry paper, with an irregular bottom margin. Signed and numbered in pencil. $750.

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Ernest Stephen Lumsden, R.S.A., R.E. 1883-1948.

The Connoisseur: Malcolm Salaman. 1926. Drypoint. Boulet 202. Edition 540, #34. 9/8 x 11 1/2 (sheet 11 3/4 x 13). An extremely rich impression with drypoint burr and plate tone printed on Japanese mulberry paper. Signed, numbered and annotated 'imp' in pencil, indicating a proof printed by the artist. Illustrated: Print Collector's Quarterly 8 (1921): p.112. A penetrating portrait of the famous scholar. %1,500.

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John Martin. 1789-1854.

The Fall of Babylon. 1831. Campbell-Wees 88.Mezzotint with etching. Image: 18 1/2 x 23 3/8; sheet:22 3/4 x 31 3/4 (trimmed to just within the plate mark, which would have been 23 3/8 x 32 1/8. A later impression, with the altered lettering 'The Fall of Babylon by John Martin'. A professionally-repaired tear in the top left margin, extending 1/2 inch into the image; otherwise fine condition. A rich impression printed on chine collé mounted on sturdy white wove paper. Signed and titled in the plate. $3,750.

The Daughter of Pharaoh finding the Infant Moses. 1833. Campbell-Wees 100. Mezzotint with etching. Image: 7 7/16 x 11 7/16; sheet:8 1/8 x 12 1/8).Series: Illustrations of the Bible, plate 9. Trimmed within the plate mark, with the publisher's name trimmed. Signed in the plate. $225.

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James McBey. 1883-1959.

Click on the titles for images.

Scotland

Albert Basin, Aberdeen. 1906. Etching and drypoint. Hardie 50. 5 7/8 x 9 1/2 (sheet 8 3/8 x 11 3/8). Edition 40, #39. Faint mat line; otherwise excellent condition. A richly inked impression with drypoint burr, on antique paper. Signed and numbered in ink. $1,350.

Buchan. 1914. Etching. Hardie 154. 5 x 11 5/8 (6 7/8 x 12 3/4). Edition 50, #19. A rich impression with plate tone, printed on antique laid paper with an armorial watermark. Signed and numbered in ink. $600.

The Fishmarket (Stonehaven). 1915. Etching. Hardie 157. 6 5/8 x 10 3/4 (sheet 7 9 1/8 x 12 1/2). Edition 50, #48. A rich proof with subtle tonal wiping printed on Strasbourg lily laid paper. Signed and titled in ink. $650.

A Gale at Port Errol. 1923. Etching. Hardie 215. 13 x 8 3/4 (sheet 16 1/3 x 1). Edition 76. #A15. Illustrated: Fine Prints of the Year, 1923; Salaman,Modern Masters of Etching. Faint mat line; otherwise excellent condition. A richly inked printed impression on antique 'Mamet' countermarked paper. Signed and numbered in ink. $975.

Old Torry. 1905. Etching. Hardie 51. 5 15/16 x 8 3/8 (sheet 7 15/16 x 8 3/8).Edition 18. A proof with subtle tonal wiping of this exceptionally rare image. Fold in the left-hand edge of the image; otherwise excellent condition. Printed on off-white laid paper from an antique volume. Signed and dedicated 'To Martin Hardie' in ink. $1,950.

Sea and Rain. 1914. Etching. Hardie 153. 6 3/8 x 8 3/8 (sheet 8 7/8 x 11 1/2). Trial proof E, apart from the edition of 50. A rich impression with plate tone. Printed on cream laid paper. Signed and annotated 'E' in ink. $650.

Belgium and the Netherlands

Antwerp. 1923. Etching. Hardie 124. 8 1/4 x 13 (sheet 10 1/2 x 16 1/2). Edition 76, #12. A rich impression with careful tonal wiping printed on 'Porter & Bridges 1895' laid paper from an antique volume. Collector's seal verso: George La Monte (Lugt 1181). Signed and numbered in ink. $950.

Enkhuisen Harbour. 1910. Etching. Hardie 66. 6 7/8 x 8 7/8 (sheet 8 x 10 1/4). Edition 40 proofs, #3. A fine, tonal impression printed on antique laid paper. Signed and numbered 'III' in ink. $1,250.

Grimnessesluis -- A Canal at Amsterdam. 1913. Etching. Hardie 143. 10 7/8 x 5 7/8 (sheet 13 x 7 1/2). Edition 50, #34. A very rich impression printed on antique laid paper. Signed "James McBey Amsterdam August 1913" in a plaque on the left-hand house; signed and numbered in ink. A portrait of Rembrandt looks through a picture frame window on the right-hand house. $1,750.

Monnickendam Harbour. 1910. Etching. Hardie 64. 7 7/8 x 5 7/8 (sheet 10 7/8 x 8 1/8). No published edition; 4 proofs only. Printed on off-white paper from an antique volume. A fine, tonal proof of this exceptionally rare early image. gned in ink; titled and annotated 'III' in pencil. $1,500.

The Timber Mill 1913. Etching and drypoint.. Hardie 142. 6 x 9 1/4 (sheet 8 1/8 x 10 15/16). Edition 50, #24. A very rich impression printed on fine laid paper from an antique volume. Signed and numbered in pencil. $1,000.

Veere. 1924. Etching. Hardie 218. 8 x 11 7/8 (sheet 9 7/16 x 14 7/16). Edition 76, #32. An atmospheric impression with plate tone, printed on laid paper removed from an antique volume. Signed and numbered in ink. $550.

Veere. 13 May, 1922. Ink and watercolor on paper. 10 1/8 x 16 5/8 (image and sheet). An atmospheric impression of veere on a cloudy gray day. Provenance: Arthur H. Harlow & Co., New York. Numbered '3' in ink, verso. Signed, titled and dated in ink; lower right. $1,750.

England

April in Kent. 1912. Etching. Hardie/Carter 114. 6 1/8 x 11 3/8 (sheet 8 1/8 x 12 3/8). Trial proof E, apart from the edition 40. An extremely rich, tonally wiped impression printed on 'PD'antique laid paper. Signed and annotated 'MB' and 'E' in ink. $650.

Bosham. 1926. Etching. Hardie 226. 6 15/16 x 11 7/8 (sheet 9 x 13). Edition 80, #55. A fine, tonal impression printed on laid paper with a hunting horn in a shield watermark. Signed and numbered in ink. $600.

Thunderstorm Over Boston. July 14, 1930. Ink and watercolor on paper. 10 5/8 x 17 5/8 (sheet 12 x 19 1/4). Signed and dated and titled in ink, lower right; titled verso and annotated 'The Witham' (the latter crossed out). $1,750.

A Flood in the Fens. 1922. Drypoint. Hardie 209. 6 7/8 x 12 1/4 (sheet 9 x 14 1/2). Trial IV, before the edition 76. A rich, tonally wiped impression antique watermarked cream laid paper. Slight 1/2 x 1/16--inch rubbed line in the sky to the left of the tallest figure on the right; otherwise fine condition. Annotated in pencil 'Trial IV' and 'slightly cream' and 'bank clear' and 'keep clean through here'; signed and annotated 'Trial IV' in ink. A unique annotated proof. $600.

Gravesend. August 1928. Ink and watercolor on paper. 13 1/2 x 21. Signed and dated in ink, lower left; and titled in ink, verso. $3,750.

Greetings from 1. Holland Park Avenue, London. 1931. Ink and wash on tan wove paper. 3 1/2 x 3 1/4 (sheet 6 1/8 x 4 7/8 - visible in mat area). Signed, dated, titled and annotated 'XMas 1931' in ink. $850.

Hastings. 1925. Etching. Hardie/Carter 225. 7 3/4 x 9 7/8 (sheet 9 1/4 x 14 1/2). Edition 80, #A6. Two unobtrusive diagonal fold along the lower right/hand corner; otherwise fine condition. A rich, tonally wiped impression printed in black/brown ink on 'A Bugeon'antique laid paper. Signed and numbered in ink. $500.

Lion Brewery. 1914. Etching. Hardie 149. 11 1/2 x 8 1/8 (sheet 13 5/8 x 10 1/8). Edition 50, #7. Illustrated: Salaman,Modern Masters of Etching. A fine impression of this scarce print, printed with plate tone on fine antique laid paper. Signed and numbered in ink. $1,750.

Mersea, Sunset. 1924. Etching. Hardie 222. 8 5/16 x 14 3/8 (sheet 11 x 16 3/4). Edition 76, #A20. Illustrated: Fine Prints of the Year, 1925; Holme, Etchings of Today, (London: The Studio, 1929), plate 26. A rich impression with drypoint burr and plate tone, printed on antique cream colored wove paper. Signed and numbered in ink. $850.

Penzance. 1913. Etching and drypint. Hardie 144. 8 3/4 x 12 sheet 9 1/2 x 14 3/8). Edition 50, #20. A rich impression with plate tone, printed on antique cream laid paper. Signed and numbered in ink. $950.

Surrey Downs. 1915. Etching. Hardie 190. 6 7/8 x 9 7/8 (sheet 7 11/16 x 11 1/8). Edition 76. #4. A rich, tonally wiped impression on cream laid paper from an old volume. Signed and numbered in ink. $450.

The Thames Barge Race: the Start. 1936. Etching. Hardie 272. 7 1/8 x 14 3/8 (sheet 11 5/16 x 18 3/18). Illustrated: Fine Prints of the Year, 1935. Edition 80, #14. A very rich, atmospherically wiped impression printed on cream laid paper with a Strasbourg lily watermark. Signed and numbered in ink. $750.

The Thames Barge Race: the Sarah Winning. 1936. Etching. Hardie 273. 6 3/8 x 17 1/2 (sheet 11 3/16 x 17 1/2). Edition 80, #33.Illustrated: Fine Prints of the Year, 1937; Print Collector's Quarterly 25 (1938): 444. A very rich, atmospherically wiped impression printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.

Spain and Morocco

A Fierce Bull. 1911. Drypoint. Hardie 108. 5 3/8 x 8 (sheet 8 5/16 x 11 7/8). Edition 8. . An exceptional impression with rich drypoint burr printed on antique laid paper. A proof of the utmost rarity.Signed, numbered and titled in ink. $2,150.

The Matador. 1911. Drypoint. Hardie 109. 6 7/8 x 10 7/8 (sheet 7 7/8 x 12). Edition 15. A few scattered foxing marks and slight mat line; otherwise fine original condition. A rich impression with drypoint burr printed on antique laid paper. Signed and dedicated 'To James Greig' in ink. $1,250.

The Picador Incites the Bull. 1911. Drypoint. Hardie 104. 6 1/4 x 9 7/8 (sheet 8 1/4 x 11 7/8). Edition 30, #5. Slight mat line, 1 hinge stain in the lower margin, well outside the image; otherwise fine original condition. A rich impression with drypoint burr printed on antique laid paper. Signed and numbered in ink. $1,250.

Study for Ovation to the Matador (Hardie 110). Watercolor on paper. c. 1911. 19 1/2 x 12 1/2 ( image and sheet). A few unobtrusive foxing spots; otherwise excellent condition. A bright, fresh impression on watercolor paper. Signed in ink, lower right. $5,500.

Sunrise at Tarragona. 1911. Etching. Hardie 103. 5 7/8 x 8 7/8 (sheet 7 7/8 x 12).Edition 30, #3. A rich impression on antique laid paper. An extremely scarce image. Signed and numbered" in ink. $750.

A Moroccan Market. 1913. Etching. Hardie 136. 5 7/8 x 10 7/8 (sheet 8 1/8 x 13). Edition 50, #1. A richy wiped impression with plate tone, printed on antique cream laid paper. Signed and numbered in ink. $750.

War

France

France at her Furnaces. 1917. Etching. Hardie 175. 6 x 8 1/8 (sheet 7 3/8 x 9). Edition 76, #A14. A rich impression printed on old laid paper with full margins. Signed and numbered in ink. $1,500.

Rouen. 1916. Etching. Hardie 172. 6 11/16 x 14 3/8 (sheet 7 13/16 x 15 9/16). Edition 76, #A19. An extremely rich impression printed printed on 'J. Whatman' laid paper from an antique volume. Signed and numbered in ink. $850.

The Seine at Rouen. 1916. Etching. Hardie 173. 6 x 8 13/16 (sheet 7 7/16 x 10). Edition 76, #A3. A rich impression printed on cream wove paper. Signed and numbered in ink. $650.

The Sussex. 1916. Etching. Hardie 171. 8 3/16 x 15 1/8 (sheet 9 3/4 x 16 3/16). Edition 76. Illustrated: Lumsden, The Art of Etching; Illustrated: Salaman,Modern Masters of Etching. A rich impression printed onantique laid paper. Signed and numbered in ink. $950.

France: The Somme Front.

Français Inconnus. 1917. Drypoint. Hardie 176. 6 x 9 7/8 (sheet 7 1/2 x 11 3/8). Edition 76, #A18. A fine impression printed on cream laid paper from an antique volume. Signed and numbered in in ink. $1,250.

The Somme. 1917. Watercolor. 9 1/2 in x 18 3/4. Provenance: Carol Carstairs Gallery; Collection of Victor Spark, New York. s Exhibited: The 18th International Exhibition of Water Colors, The Art Institute of Chicago, 1939. Annotated verso, 'Bapaume Road'. Signed and dated, lower left. $5,500.

The East: First Palestine Set - 1919.

Ras-El-Ain. 1919. Etching. Hardie 180. 7 7/8 x 12 7/8 (sheet 9 x 14 1/2). Edition 76, # 1. A rich impression with plate tone, printed on cream laid paper from an antique volume. Signed and numbered in ink. $700.

Dawn. The Camel Patrol Setting Out. October, 1919. Etching. Hardie 181. 8 7/8 x 14 7/8 (sheet 10 1/2 x 16 3/8). Ed. 76, #viii. Illustrated: Zigrosser, Six Centuries of Fine Prints. An extremely rich impression with drypoint burr and subtle tonal wiping. Printed on antique laid paper. Signed in ink. Price upon request.

The Desert of Sinai (No. 2). 1919. Etching. Hardie 184. 7 7/8 x 13 3/4 (sheet 9 5/8 x 15 1/2). Edition 76. Illustrated: Furst, Original Engraving and Etching: An Appreciation. Printed with plate tone on cream laid paper from an antique volume. Signed and numbered in ink. $750.

Sunset: Wadi-Um-Mukhsheib. 1919. Etching. Hardie 185. 7 x 13 (sheet 8 1/8 x 14 1/14). Edition 76, # A4 (American edition). Series: First Palestine Set. Mat line, well outside the image; otherwise in excellent condition. A rich impression with plate tone printed on laid paper from an antique volume. Signed and numbered in ink. $650.

The other etchings in the First Palestine Set are: The Mid-Day Halt, The Desert of Sinai (No. 1), Strange Signals, A Deserted Oasis. (The Desert of Sinai (No. 1) was issued as a trial proof only.)

Second Palestine Set - 1920.

Palestine. "Blue Bonnets O'er the Border." 1920. Etching and drypoint. Hardie 192. 6 7/8 x 12 3/8 (sheet 10 3/4 x 15 1/4). Edition 76, #6. Series: Second Palestine Set. A cleanly wiped impression with drypoint burr, printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.

Dust, Beersheba. 1920. Etching. Hardie 193. 8 15/16 x 15 3/8 (sheet 11 1/8 x 17 7/8). Edition 76, #21. Series: Second Palestine Set. A fine impression printed on cream laid paper from an antique volume. Signed and numbered in in ink. $1,450.

The Sniper (No. 2). 1920. Drypoint. Hardie 195. 7 3/8 x 11 7/8 (10 13/16 x 14 1/2). Edition 76, # 32. Series: Second Palestine Set. Printed on cream laid paper from an antique volume. An extremely rich impression printed in sepia ink with plate tone and drypoint burr. Signed and numbered in ink. $975.

The First Sight of Jerusalem, Nebi Samwil (No. 2). 1920. Etching. Hardie 197. 11 x 18. Edition 76. Series: Second Palestine Set. Printed with plate tone on antique laid paper with full margins. Signed and numbered in ink and annotated 'Jerusalem' in pencil. $1,300.

The Advance on Jerusalem. Wadi Ali. 1920. Etching. Hardie 198. 8 x 14 (sheet 10 1/4 x 15 1/16). Edition of 76 (plus 8 trial proofs), #13. Series: Second Palestine Set. A very rich impression printed on laid paper taken from an antique volume. Signed and numbered in ink. $950.

The Moonlight Attack, Jelil. 1920. Etching. Hardie 200. 9 x 15 3/8 (sheet 11 x 17). Edition 76 + 8 trial proofs. Series: Second Palestine Set. A rich impression printed on antique laid paper. Signed and numbered in ink. $1,100.

The other etchings in the Second Palestine Set are: The Sniper (No. 1), The First Sight of Jerusalem, Nebi Samwil (No. 1), The Surrender of Jerusalem, Gaza: Prisoners of War, Zero. The Sniper (No. 1) and Gaza: Prisoners of War were issued as trial proofs only.

Third Palestine Set - 1921.

Gun Fire, Mount of Olives. 1921. Drypoint. Hardie 204. 8 x 5 3/4 (sheet 10 x 7 1/4). Edition 54, #33. Series: Third Palestine Set. A rich impression with plate tone printed on antique wove paper. Signed and numbered in ink. $750.

Jerusalem from Olivet. 1921. Drypoint. Hardie 205. 6 5/8 x 14 3/8 (sheet 10 7/8 x 17 1/4). Edition 76, #22. Series: Third Palestine Set. Printed with plate tone on antique ledger paper. Signed and numbered in ink and annotated 'Jerusalem' in pencil. $900.

The Dead Sea. 1921. Drypoint. Hardie 206. 7 13/16 x 11 3/4 (sheet 10 5/8 x 16). Edition 76, #23. Series: Third Palestine Set. A very rich impression with drypoint burr, printed on blue-toned paper from an old volume.Signed and numbered in ink. $700.

Hermon: Cavalry Moving on Damascus. 1921. Etching. Hardie 207. 8 7/8 x 15. (sheet 11 x 17 1/4). Edition 76, number 9. Series: Third Palestine Set. A rich impression with plate tone printed on antique laid paper with a Strasbourg Lily watermark. Signed and numbered in ink. $1,250.

The other etching in the Third Palestine Set is: Bombs! issued as trial proofs only.

Watercolors

Trenches at Gaza. 1917 and 1921 Watercolour. 14 x 22. Signed and annotated 'Gaza 1917 ', and 1921 lower left. Provenance: The Fine Art Society. Housed in an elegant 22 x 29 3/4 gold leaf frame with blue/grey highlights. $4,000.

Mejdel Yaba. 20 September, 1918. Pencil, ink and watercolour on paper. 8 1/8 x 22. Annotated, upper left, "due N at ???' Dated on the ink drawing on the verso. Signed and dedicated on the front "To Paul from James McBey." $4,000.

Acre. 1934. Watercolour. 12 1/2x 18. Signed, dated and titled, lower right. Annotated in pencil verso, 'Acre (Palestine)'. Provenance: The Fine Art Society.

Venice

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 98. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. Price upon request.

The Deserted Palace. 1928. Etching. Hardie/Carter 236.8 1/2 x 10 (sheet 10 1/2 x 12 3/8). Edition 80, #53. A rich impression printed in bistre ink with plate tone on antique French blue-green laid paper. Signed and numbered in ink. $2,000.

Distant Salute. 1925. Etching. Hardie/Carter 250. 7 3/16 x 15 15/16 (Sheet 10 7/8 x 17 1/8). Edition 80, #27. Signed and numbered in ink. One foxing spot, otherwise excellent condition. A fine impression with plate tone, printed on antique cream-colored laid paper with full margins. $1,650.

The Doorway. 1925. Etching. Hardie/Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #52. Illustrated: Guichard, British Etchers, 1850-1940; ; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 99. A rich impression with plate tone. Printed on laid paper from an antique volume. Signed and numbered in ink. $1,450.

La Giudecca 1926. Etching. Hardie/Carter 229. 6 x 12 3/8 (sheet 8 3/16 x 17 7/8). Edition 80, #28. A fine impression on cream-colored paper countermarked 1818. Signed and numbered in ink. $1,000.

Laguna Veneta. 1926. Etching. Hardie/Carter 227. 6 3/4 x 14 3/4 (sheet 11 1/4 x 18 3/8). Edition 80, #42. A rich impression with plate tone printed on antique laid paper with wide margins. Signed and numbered in ink. $1,650.

Molo. 1925. Etching. Hardie/Carter 239. 12 5/16 x 9 5/16 (sheet 15 1/4 x 11 1/2). Edition 76, #21. Illustrated: Fine Prints of the Year 24 (1938): 434; ; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 99. A rich impression with plate tone, printed on 'LOTTERY'laid paper with full margins. Signed and numbered in ink. $1,500.

The Passing Gondola. c. 1926. Etching. Edition 80, #18. Hardie/Carter, page 230. 8 1/2 x 10 1/2 (sheet 11 1/4 x 13). Fine Prints of the Year, 1933. Printed on antique wove paper with subtle plate tone. Signed and numbered in ink. $1,750.

A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 (Sheet 13 3/16 x 19 3/8). Edition 80, #5. A impression on cream-colored wove paper with full margins. Signed and numbered in ink. $1,750.

The Riva at Dusk 1930. Etching. Carter 253. 15 7/8 x 9 3/8 (Sheet 18 3/8 x 11 3/4). Edition 80, #23. Signed and numbered in ink. A fine impression on cream-colored laid paper with full margins. The artist is pictured in the left foreground with his back to the viewer; his wife faces the viewer. This is a charming study of the couple in an outdoor cafe in Venice. $750.

The Riva at Dusk. 1930. Etching. Hardie/Carter 253. 15 7/8 x 9 3/8 (sheet 17 1/2 x 11 5/8). Edition 80, #51. A fine impression on French blue-green laid paper from an antique volume with full margins. Signed and numbered in ink. The color of the paper suggests evening. $850.

Santa Maria della Fava, Venice. 1925. Etching and drypoint. Hardie/Carter 234. 13 x 8 1/2 (sheet 16 11/16 x 11 1/8). Edition 80, #9. Print Collector's Quarterly 24 (1938): 430. A rich tonal impression, printed in black/brown ink on French laid blue/green paper from an antique volume. Signed and numbered in ink. $1,750.

September Sunset. 1928. Etching. Hardie/Carter 241. 8 7/8 x 17 3/4 (sheet 12 1/4 X 20 7/16). Edition 80, #50. Paper thinning in various areas, visible only from the verso, stablized professionally; a few printing folds. A rich impression with subtle tonal wiping. Printed on white laid paper with full margins. Signed in ink. $1,500.

Sotto Portico, Venice. 1928. Etching. Hardie/Carter 235. 12 1/2 x 8 3/4 (sheet 8 1/4 x 11 3/8). Edition 80, #39. A rich impression printed in black/brown ink with subtle tonal wiping. Printed on antique laid paper with full margins. Signed and numbered in ink. $1,750.

A Tartane Leaving Venice. 1928. Etching. Hardie/Carter 240. 6 1/2 x 12 1/2 (sheet 9 5/16 x 14). Edition 80, #43.A rich impression printed in sepia ink on off-white laid paper from an antique volume. Signed and numbered in ink. $2,150.

The White Palace. 1930. Etching. Carter 260. 14 1/2 x 8 1/2 (18 x 10 3/4). Edition 80, #76. Signed and numbered in ink. A rich impression on off-white laid paper from an antique volume. Signed and numbered in ink. $2,250.

U.S.A.: New York

East River, Sunset. 1934. Etching. Hardie/Carter 270. 8 1/8 x 13 3/4 (sheet 11 1/8 x 15 7/8). Edition 80, #16. A rich impression with subtle tonal wiping, printed on cream wove paper. Signed and numbered in ink. $1,500.

New York from Weehauwken. 1941. Etching. Hardie 277. 7 7/8 x 14 7/8. Edition 60, #2. An excellent impression printed on white laid paper. Signed and numbered in ink. With an unsigned proof from the cancelled plate. $1,750.

Sub-Treasury Building, New York. March 10, 1930. Ink and watercolor on paper. 15 1/2 x 9 1/2. Signed, dated and titled in ink, lower right. The lower mat bevel is decorated to emulate cobblestones -- a charming touch. An elegant watercolor with bright, unfaded colors, in pristine condition. $3,500.

Portraits

Margot as Lopokova. 1920. Drypoint. Hardie 189. 11 15/16 x 8 3/8 (sheet 14 x 10 7/16). Edition 76, #40. A fine impression on laid paper from an antique volume. Signed and numbered in ink. $750.

Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 15 1/2 x 7 1/2). Trial I, on a plate that had been used for a first study of Mr. J. Seaman, whose head has been partly scraped out. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial I' in ink; titled and annotated 'trial I' in pencil. A unique proof. $375.

Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 13 1/8 x 9 1/4). Trial III, on a plate that ha been used for a first study of Mr. J. Seaman, whose head appears upside down in the lower right. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial III' in pencil; annotated 'Trial III', 'old' and 'head scraped' in pencil. A unique proof. $375.

Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 12 5/8 x 8 5/8). Trial IV. The sitter's right ear shortened; added work all over thye face and in the background. Mr. Seaman's head removed from the plate. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial IV' in pencil; annotated 'Trial IV', 'ear shortened' and 'White head reinforceded' and 'hair brought down' in pencil. A unique proof. $375.

Joseph Seaman. 1930. Drypoint. Hardie/Carter 262. 9 7/16 x 5 7/8 (sheet 14 1/4 x 10 1/8). Edition 41, #12. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and numbered in ink. $325.

Portrait of Albert H. Wiggin (No. 3). 1930. Drypoint. Hardie/Carter 259. 8 x 7 (sheet 14 x 9). Edition 85, #33. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Dedicated in ink, 'From collector to collector. A.H.W. to Dudley Olcott.' Signed and numbered in ink. $325.

Portraits of James McBey

Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.

James McBey. 1931. Etching. Fletcher 69.ix. 10 1/2 x 7 1/2 (sheet 14 7/8 x 11 3/8). Edition 111. A fine impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931. Signed in pencil. $3,000.

Walter Ernest Tittle. 1883-1969.

James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9 ). An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower left: "Walter Tittle / London." Signed and annotated 'imp' in pencil. $400.

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Mortimer Luddington Menpes, N.E.A.C., R.B..A., R.E., R.I., R.O.I. 1860-1938.

Bassin d'Appolon, Versailles (Fountain of Appollo, Versailles). Drypoint. Menpes 364. 7 1/8 x 9 1/8 (sheet 8 13/16 x 10 7/8). A very rich impression with drypoint burr and plate tone, printed on [Men]pes countermarked laid paper. Signed and annotated 'imp' in pencil indicating a proof printed by the artist. $500.

Whistler Monocle, Left Eye. Drypoint. 7 3/8 x 5 3/4 (sheet 10 x7 7/8). A rich impression with drypoint burr and plate tone, printed cream laid paper with a partial thistle watermark. Signed and annotated 'imp' in pencil, indicating an impression printed by Menpes. $2,500.

Portrait of Whistler with the White Lock, Wearing a Monacle. c. 1880. Drypoint. Menpes 22. 6 1/2 x 5 3/4 (sheet 11 x 8 7/8). A fine impression printed on '[ing]res FRANCE' countermarked laid paper on the full sheet with deckle edges on three sides. Excellent condition. Signed and annotated 'imp' in pencil, indicating an impression printed by Menpes.$2,500.

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Isabel Beatrice Mesham. Born 1896.

[Abstract Composition]. Copper etching plate. 9 x 11. Provenance: a collection of the artist's etchings, aquatints and etching plates. Unsigned. $175.

[St. Mary Church, with Stars, Torquay, Devon]. Etching and aquatint. 8 x 6 (sheet 9 1/8 x 6 3/4). Printed on cream wove paper. Unsigned. Diagonal folds across upper left-hand part and center of the image. Sold with the zinc etching plate, 8 x 6. The image on the plate is reversed in the etching when the etching is printed. $175 the pair.

[Woodland Landscape]. c. 1925. Etching and aquatint. 7 1/4 x 9 7/8 (sheet 9 1/4 x 11 3/4). Printed on cream laid paper. Unsigned. Annotated 'N3)' in ink and 'on a rather deep cream paper as sample, and logs and printed piece of wood rather darker (as to indicator)'. And a proof printed in colors, on cream wove paper, trimmed to just outside the image on the top left. Unsigned; annotated 'I like this' in ink.' $175 for the pair.

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William Hugh Canning Montgomerie. Born 1881.

The Dart. c.1920. Drypoint. Brinton 11. 7 1/2 x 12 7/8 (sheet 10 7/8 x 17). A rich impression with plate tone printed on white wove paper. Signed in pencil. $175.

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Carton Moorepark. 1877-1956.

[Balloons]. c. 1928. Etching. 8 3/4 x 5 5/8 (sheet 13 7/8 x 9 3/4). Printed on cream laid paper. Slightly toned; otherwise in fine condition. Signed in pencil. $125.

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William E.C. Morgan. 1903-1979.

The Bells of Alba. 1927. Line engraving. 5 7/8 x 3 7/8 (sheet 8 1/4 x 9 3/4). Edition 50, #28. Slight toning in the image; otherwise fine condition, printed with plate tone printed on cream laid paper. Signed, dated, titled and numbered in pencil. $250.

Italian Cottage. 1928. Drypoint. 7 1/8 x 5 7/8 (sheet 12 x 9 ). Edition 78, #50. Publishedby the Beaux Arts Gallery, June 1928. A rich impression with drypoint burr, printed with plate tone printed on cream laid paper. Signed, dated, titled and numbered in pencil. $250.

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Claude Muncaster, R.W.S. 1903-1974.

Holy Trinity Church, Bardsea. Watercolor on cardboard. 7 3/4 x 9 1/4. Provenance: studio of the artist's father, Olive Hall. Unsigned. $150.

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John Alexander Ness, R.E. Died 1931.

Old Town Hall, Dunbar. c. 1910. Etching. 11 x 7 5/8 (sheet 17 1/2 x 11 1/8). A fine impressionprinted with plate tone on cream laid paper with full margins. Signed in pencil. $200.

Palace Doorway, Holyrood. c. 1910. Etching. 11 x 7 1/2 (sheet 17 1/2 x 11). A fine impressionprinted with plate tone on cream simili-Japon paper with full margins. Signed in pencil. $200.

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Christopher Richard Wynne Nevinson. 1889-1948.

War

Now Back the Bayonets. 1918. Lithographic poster, printed in red, black and yellow. 29 1/2 x 18 7/8 (image and sheet). Unobtrusive Vertical and horizontal fold marks; otherwise fine condition. An excellent impression with bright, fresh colors, printed on thin wove paper backed by Japanese mulberry paper. Printed by Dangerfield Printing Co. Ltd, London. Signed in the stone. Price upon request.

Making the Engine. 1917. Lithograph. Leicester Galleries 27. 15 7/8 x 12 (sheet 19 7/8 x 15 5/8). Edition 200. One of a set of 6 lithographs entitled "Building Aircraft" published by the Stationary Office as part of the series, The Great War: Britain's Efforts and Ideals. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 115. A rich impression in pristine condition printed on white wove paper. Signed in pencil. Price upon request.

New York Set

From the Ferry. 1921. Drypoint. Leicester Galleries 50, Black 78. 7 3/8 x 4 7/8 (sheet 11 3/4 x 8 3/8). New York set. Printed on cream laid paper with wide margins, and a deckle edge on one side. Signed in pencil. Price upon request.

On the Roof Garden. 1919. Mezzotint. Leicester Galleries 53, Guichard 32, Black 57. 8 1/4 x 4 5/8 . Edition 50. New York set. A richly inked impression printed on " laid paper, with full margins. Nevinson made only 6 mezzotints. A superb impression of this rare print. Nevinson captures the essential spirit of the flapper. Signed in pencil. $5,500.

Temples of New York. 1919. Drypoint. Leicester 44; Guichard 26, Black 55. 7 3/4 x 6. Edition 50. New York set. Trinity Church facade from the back, which faces Wall Street. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 138. Pristine condition. A very rich impression, with burr, printed with plate tone on cream wove paper with full margins. Signed in pencil. $7,000.

Three A.M. - A Corner by Madison Square at Night. 1920. Drypoint. Leicester Galleries 45; Guichard 30; Black 72. 9 7/8 x 6 7/8 (sheet 18 3/8 x 11 1/2). American set. Edition 75. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 140. Pristine condition. A very rich, tonal impression. Printed on cream laid paper, on the full sheet with deckle edges. Signed in pencil. Price upon request.

Portrait

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Geoffrey Badger Moody. 1922. Drypoint. Guichard 38, Black 98. 10 x 7 (sheet 12 5/8 x 9 1/8). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression with drypoint burr, printed on 'FJ Head & Co' cream wove paper. Published by Lefevere and Son and Mssrs. Ernest Brown and Phillips. Signed in pencil. $3,750.

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Fred Newman, 20th Century.

Cornhill and the Royal Exchange. c. 1930. Etching. 5 1/4 x 7 1/4 (sheet 8 3/8 x 11). A rich impression with plate tone, printed on cream wove paper. Signed in pencil. $100.

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Samuel Palmer. 1805-1881.

The Herdsman's Cottage, or, Sunset. 1888. Etching. Lister 3.ii. Image 3 7/8 x 3; plate 4 7/8 x 4; sheet 6 x 4 7/8. As published in, The Portfolio 1872. Illustrated: Print Collector's Quarterly 3 (1913): 213. Printed on the full sheet of cream laid paper, with deckle edges on three sides. With the etched initials in the lower margin, as published. $1,250.

The Willow. 1850. Etching. Lister 1.ii/iv. 4 5/8 x 3 3/16. As published by A. H. Palmer, in The Life and Letters of Samuel Palmer, Painter and Etcher. London: Seeley, 1892. First edition. Octavo, origal gilt-pictorial and lettered blue cloth. Frontispiece portrait, and 22 plates, including the original etching The Willow executed in 1850 for his admission to the Etching Club. This book served as the catalogue raisonné until Lister's catalogue. A scarce book complete with the etching. Light foxing on the etching, outside the image. $1,250.

The Eclogues of Virgil. An English Version.

Samuel Palmer had planned a series of ten etched illustrations to accompany the publication of his translation of An English Version of the Eclogues of Virgil. By the time of his death in 1881, only one etching -- Opening the Fold -- had been completed. Palmer's projected series of etchings for Virgil's Eclogues was unfinished at his death. One plate - 'Opening the fold' - was completed. Four more plates were well advanced and were completed by A. H. Palmer (Samuel's son). There were two editions on large paper and a small paper, published in 1883. The volume contained five original etchings.

The Homeward Star. 1883. Etching. Lister 14.ii/iv. Image 3 15/16 x 5 15/16; plate 5 1/4 x 7 3/8; sheet 8 x 12 1/4. As issued, with lettering, in the second (small paper) edition An English Version of the Eclogues of Virgil The plate was commenced by Samuel Palmer and finished after his death by his son, A.H. Palmer, and issued 1883. A rich, tonal impression printed on cream wove paper. Signed in the plate. $950.

The Sepulchre. 1883. Original etching by Samuel Palmer, completed by his son. Lister 16 ii/iv. Image 3 15/16 x 5 15/16; plate 5 3 16 x 7 3/8; sheet 8 x 12 1/4. As issued, with lettering, in the second (small paper) edition An English Version of the Eclogues of Virgil. The plate was commenced by Samuel Palmer and finished after his death by his son, A.H. Palmer, and issued 1883. A rich, tonal impression printed on cream wove paper. Signed in the plate. $500.

Moeris and Galatea. 1883. Original etching by Samuel Palmer, completed by his son. Lister 17 ii/iii. Image 3 15/16 x 5 15/16; plate 5 3/16 x 7 3/8; sheet 8 x 12 1/4. As issued, with lettering, in the second (small paper) edition An English Version of the Eclogues of Virgil. The plate was commenced by Samuel Palmer and finished after his death by his son, A.H. Palmer, and issued 1883. A rich, tonal impression printed on cream wove paper. Signed in the plate. $650.

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Richard Pearsall, b. 1891.

Click on titles for images.

The Gathering Storm, Toledo.c. 1938. Drypoint. 7 1/4 x 11 1/8 (sheet 10 1/4 x 14 7/16). Edition 75, #13. Illustrated: Fine Prints of the Year, 1938. A very rich impression with plate tone printed on 'Millbourn British Hand Made Pure Rag' cream wove paper. Signed, titled and numbered in pencil. $225.

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Robert Charles Peter, A.R.E. 1888-1980.

The Old Farm Horse. c.1922-23. Etching and drypoint. 10 1/2 x 9 (sheet 13 1/2 x 11). Excellent condition apart from remnants of brown paper from drying along the margin edges. A rich impression with burr printed on cream wove paper. Exhibited 1922-23 at the Royal Society of Painter-Etchers and Engravers as no 78, priced at 4 guineas. Signed in pencil.$125.

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David Robertson. 1884-1944.

Landscape. c. 1927. Etching. 8 13/16 x 11 5/16 (sheet 11 9/16 x 18 3/16). Edition c. 75, #32A published by the Fine Art Society for 4 guineas. A fine impression with rich plate tone printed on a full sheet of 'Charles I' cream laid paper with deckle edges. Signed and numbered in ink. $150.

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Sir William Rothenstein, R.E., R.A. 1872-1945.

Portrait of Arthur B. Spingarn. c. 1911. Lithograph. 6 x 5 1/2 (sheet 18 1/16 x 11 3/16). Printed on 'Van Gelder Zonen' laid paper with a Fortune Figure watermark. Signed in pencil. $350.

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Theodore Roussel. 1847-1926.

Click on the titles for images.

The Avon on the Road to Bexhill. 1919. Drypoint. Hausberg 115.iv. 4 1/2 x 5 7/8 (sheet 6 3/8 x 8 1/4). About 12 proofs in this state; total printing about 22. A rich impression with plate tone, printed by Roussel himself on cream wove paper. Signed on tab 'Theodore Roussel imp' in pencil on the tab indicating an impression printed by the artist. $750.

Chelsea Palaces (Black-and-White Version) 1888-89. Etching. Hausberg 16.iii. 3 1/8 x 4 11/16 (image and sheet). Edition about 52 in this state (total printing about 54 impressions). There was a color version that was from a different plate. A rich impression with plate tone, printed by Roussel himself on cream laid paper.An early proof, before the plate was retouched in 1925. Trimmed to the plate and tab. Signed on tab 'Theodore Roussel imp' in pencil on the tab indicating an impression printed by the artist. $1,250. Laburnums and Battersea. 1889-90. Etching and drypoint. Hausberg 34.iii/v. 13 1/2 x 8 5/8 (image and sheet). Only one other known impression in this state (total of about 62 known impressions). A rich impression with subtle tonal wiping printed in brown ink on antique cream laid paper. Trimmed to the platemark and tab by Roussel. Signed 'Theodore Roussel imp' indicating a proof printed by the artist. $1,000.

The Corner of Luna Street, Chelsea Embankment. 1888-89. Etching. Hausberg 28.ii. 6 7/16 x x 5 5/8 (sheet 8 3/8 x 6 13/16). Edition 50 in this state (total edition 51). A rich impression with plate tone, printed cream laid paper. Signed in pencil. $1,250.

Penelope, A Doorway,Chelsea. 1888-89. Etching. Hausberg 23. 4 1/4 x 2 11/16 (sheeet 4 1/2 x 2 11/16). Edition about 30. A very rich tonal impression printed on cream laid paper. Trimmed to the platemark in the manner of Whistler and signed on 'Theodore Roussel imp' on the tab. $1,750.

Portrait of Mrs. Arthur Ball. 1895-1900. Drypoint. Hausberg 54.i/ii/ 6 7/8 x 5. A proof before the signature in the plate. Hausberg knew of only one proof in this state (there were about 15 impressions of state ii). A very rich impression with drypoint burr, printed on 'Edmunds & Co 1809' laid paper. Dedication verso- 'Given to Miss Petherow ThR' (Theodore Roussel). Signed 'Theodore Roussel imp' in pencil, indicating a proof printed by the artist. $1,000.

Railway Bridge, Chelsea. 1888-89. Etching. Hausberg 17. 2 11/16 x 4 1/4. About 25 impressions. A rich impression with tonal wiping, printed by the artist on cream wove paper. Trimmed to the platemark and tab. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist of this scarce image. $1,250.

The Sign of the White Horse, Parson's Green. 1906. Etching. Hausberg 68.vii. 4 11/16 x 3 3/16 (image and sheet). Edition about 30 in this state (total about 60 proofs) printed in 7 states. Agnew's label verso. Illustrated: Calloway, English Prints for the Collector, p. 161. A rich impression with plate tone, printed by Roussel himself on cream laid paper. Signed on tab 'Theodore Casimir Roussel imp o' in pencil (Whistler used to indicate superior impressions with a number of 'os'. $1,250.

The Steam Launch, Chelsea Embankment. 1888-89. Etching. Hausberg 18. 3 1/4 x 4 3/4 (image and sheet). Edition about 30. Agnew's label verso. A rich impression with plate tone, printed by Roussel himself on off-white paper. Housed in a reproduction Roussel frame. Signed on tab "Theodore Roussel imp" in pencil. $1,250.

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Henry Rushbury, A.R.A., R.E. 1889-1968.

Click on the titles for images.

Fountains Abbey. 1946. Drypoint. Rushbury 84. 8 7/8 x 12 1/4 (sheet 11 1/8 x 15). Edition 100. A rich impression printed on cream laid paper, on the full sheet with deckle edges. Signed in pencil. $350.

The Walls of Siena. 1923. Drypoint. Schwab, Rushbury 42. 5 x 9 7/8 (sheet 9 3/8 x 15 1/4). Edition 50. A rich impression with drypoint burr printed on cream laid paper with wide margins. Signed in pencil. $350.

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William Say (1768-1832) after Robert Ker Porter (1777-1842).

Sir Sidney Smith. 1802. Mezzotint. 25 1/4 x 17 (plate). Text: 'Robert Ker Porter pinx.t. W.Say sculp.t. London Published as the Act directs, June 19 1802, by John P. Thompson, Printseller to his Majesty and their Royal Highness's the Duke and Duchess of York; Great Newport Street, and No 51, Dean Street, Soho.' Signed, dated and titled in the plate. Vertical stain under the 'S' in Smith; otherwise apparently fine condition. Housed in a stunning 34 x 25 1/2-inch carved, patinated and gilded frame with ormolu corner mounts. $750.00

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Eric Glidden Scott. Australian. 1879-1969.

Canal at Amiens. 1925. Etching. 8 3/4 x 11 3/8 (sheet 11x 13 3/4). Edition 100, #32. A rich, well-inked impression with plate tone printed on cream wove paper. Monogrammed in the plate with a kangaroo and initials, lower left. Signed, titled and numbered in pencil. $300.

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Sir Frank Short, R.A., P.R.E. 1857-1945.

Click on the titles for images.

Etchings

The Anglers Bridge on the Wandle. 1898. Etching. Hardie 311. 5 11/16 x 11 8 7/8 (sheet 8 1/4 10 7/16). A fine impression with plate tone, printed on cream laid paper. Signed in pencil. $400.

The Beach Buoy. 1888. Etching. Hardie 230. 6 3/8 x 10 1/4 (sheet 9 7/16 x 14). A rich impression with plate tone printed on cream laid paper with a partial crown watermark. Signed in pencil. $375.

The Breaking-Up of the Great Eastern, No. 2.1890. Etching. Hardie 247. 7 7/8 x 10 (sheet 11 3/8 x 14 3/8). Only a few impressions were printed. A rich impression with plate tone printed on cream laid paper with full margins. Signed in pencil. An extremely rare and historically significant image. $450.

Bromborough. A Cornfield by the Mersea. 1890. Etching. Hardie 250. 3 3/8 x 7 7/8 (sheet 4 5/8 x 9). Edition 50. A rich impression with subtle wiping, printed on cream laid paper. Signed in pencil. $275. Housed in a reproduction Hogarth frame (14 3/4 x 9 1/2) $375.

Chalk Cliffs at Cuckmere Haven The Seventh Sister. 1936. Soft-ground etching. Hardie 378. 11 7/8 x 8 15/16 (sheet 16 7/8 x 12 7/8). A fine impression printed on cream wove paper. Signed in pencil. $450.

Church Street, Whitstable. 1910. Etching. Hardie 346. 9 1/2 x 13 1/2 (sheet 11 3/8 x 15 1/4). Trial proof, before the addition of the artist's monogram in the shield. Unpublished plate -- rare. A rich impression with plate tone, printed on heavy cream wove paper. Signed and annotated 'Trial proof' in pencil. A large, impressive plate. $650.

The Coast Road, Kingsdown. 1922. Etching. Hardie 362. 4 1/4 x 6 (sheet 5 5/16 x 7). Printed on cream laid paper. Signed in pencil. $225.

The Coast Road, Kingsdown, No. 2. 1922. Etching. Hardie 363. 4 15/16 x 8 (sheet 8 1/16 x 11 3/16). Printed on old laid ledger-type paper. Signed in pencil. $250.

A Fen Country Bridge. 1903. Etching. Hardie 322. 7 5/16 x 11 1/4 (sheet 9 1/2 x 14 5/8). A rich impression with plate tone printed on cream laid paper. Signed in pencil. $650. Housed in a gold leaf and black wood frame (14 1/2 x 19) $750.

Gathering the Flock on Maxwellbank. No. 2. 1892. Soft-ground etching. Hardie 273. A few proofs only -- rare.Printed on Japanese vellum. Signed in pencil. $300.

George's Dock, Liverpool 1890. Etching. Hardie 245. 5 7/8 x 7 3/4 (sheet 8 1/4 x 10 1/8). Two hinge stains in the top sheet edges; otherwise excellent condition. A rich impression with plate tone, printed on cream wove paper wih full margins. Signed in pencil. $350.

The Head of Langston Harbour. 1908. Etching. Hardie 340. No published edition. 7 1/2 x 10 13/16 (sheet 11 1/2 x 14 3/8). Printed on 'O.W.P. & A.O.L.' countermarked laid paper. A fine impression of this very scarce image. Signed in pencil. $375.

King's Lynn. No. 2. 1894. Etching. Hardie 309. 7 7/8 x 10 3/4 (sheet 10 x 13 13/16). A carefully wiped impression with plate tone printed on 'FJ Head & Co' cream laid paper. Signed in pencil. $400.

A Lane in Arundel. 1907. Etching. Hardie 333.iii/iv. 8 3/16 x 9 7/8 (sheet 9 1/8 x 11 3/8). A carefully wiped impression with plate tone printed on cream wove paper. Signed in pencil. $375.

The New Inn, Poole. 1884. Etching. Hardie 195.i/ii. 9 7/8 x 6 3/4 (sheet 16 1/2 x 11 3/16). A proof before lettering; the lettered state was published in English Etchings V (1885): 17. A carefully wiped impression with plate tone printed on cream wove paper. Signed in pencil. $300.

Niagara Falls. 1893. Etching. Not catalogued by Strange. Hardie 294. 4 15/16 x 7 (sheet 7 5/8 x 12 1/2). This was an outdoor sketch on copper from which very few impressions were take: only 12 are known, 9 of which are in museums. Printed with plate tone, printed on antique cream laid paper. Collector's name, address and monogram verso: E.A. Scollin, M.D. Signed in pencil. $320

Old Quay on the Nith. 1891. Etching. Hardie 268.iv. 4 x 6. A rich impression with plate tone, printed on cream wove paper with wide margins. Signed in pencil. $250.

Old Wind Pump in Hayling Island. 1908. Etching. Hardie 339. 9 1/2 x 13 5/8 (sheet12 x 17 1/8). A cleanly wiped impression printed on tan 'VGL' countermarked laid paper on the full sheet with deckle edges. A rare, large impressive image. $400.

Polperro Harbour, with Bridge. 1888. Etching. Hardie 227. 6 x 7 7/8 (sheet 8 1/8 x 10 7/8). A fine impression with plate tone on white laid paper with an armorial watermark. Signed in pencil. $325.

Potato Scales. 1890. Drypoint. Hardie 256. 2 5/8 x 4 3/8 (sheet 5 1/4 x 6 1/4). Outdoor sketch on copper. A few proofs only -- rare. Printed with plate tone on cream laid paper. Signed in pencil. $175.

Prisoners of War. 1890. Etching. Hardie 240. 5 15/16 x 7 3.4 (sheet 7 x 8 11/ 16). Printed with plate tone on off-white laid paper. Two printing folds in the lower margin, the right-hand one just extending into the image. Signed in pencil. $175.

The 'Rising Sun' Kingsdown. 1922. Etching. Hardie 361. 4 1/4 x 5 7/8 (sheet 6 1/4 x 7 7/8). No published edition. Printed on cream laid paper with a partial armorial watermark. Signed in pencil. $250.

Rough Weather at Blatchington. 1925. Etching. Hardie 368. 5 1/2 x 8 9/16 (sheet7 3/16 x 11 1/4). Edition about 50. Illustrated: Fine Prints of the Year, 1924. A rich impression printed on Japanese mulberry paper. Signed in pencil. $400.

The Sea Road into Seaford. 1925. Etching. Hardie 367. 6 3/8 x 9 1/8 (sheet 8 7/8 x 12 1/2). A rich impression with plate tone, printed on cream laid paper with deckle edges on two sides. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $3050.

Seine Boats, St. Ives, Cornwall. 1888. Etching. Hardie 229. 6 7/8 x 7 7/8 (sheet 7 7/8 x 9 1/2). Edition 50. A rich impression with plate tone, printed on cream laid paper. Ex-colletion Edward Bond. Signed in pencil. $300.

The Solway at Midday. 1891. Etching. Hardie 269.iii. 3 3/4 x 9 7/8 (sheet 6 1/4 x 12). Edition 50. A dramatic, tonal impression printed on vellum. Signed in pencil. $275.

A South Coast Road, Pegwell Bay. (Isle of Thanet, Kent, England). 1903. Etching. Hardie 323.i/ii. 5 5/16 x 10 7/16 (sheet 7 3/16 x 11 7/8). Printed with plate tone on cream laid paper. Signed in pencil. $300.

Strand Gate, Winchelsea. 1910. Drypoint. Hardie 367.i/ii. 7 1/8 x 12 1/2 (sheet 9 1/16 x 4 7/16). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Signed in pencil. $200.

"The Street," Whitstable. 1910. Etching. Hardie 348. 9 1/2 x 13 1/2 (sheet 14 7/8 x 21). A rich impression with plate tone, printed on cream wove paper with full margins. Signed in pencil. $400.

Strolling Players, Lydd. 1907. Etching. Hardie 335. 7 x 9 7/8 (sheet 8 1/4 x 11 1/16). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $400.

Winchelsea Marshes. 1910. Etching. Hardie 345. 4 3/8 x 10 3/8 (sheet 7 1/2 x 13 5/8). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression printed with plate tone on laid paper with full margins.Signed in pencil. $305.

Original Lithograph

Putney. 1894. Lithograph. Hardie 383. 5 x 8 (sheet 1/8 x 11 13/16) As published in The Studio 1894, vol. III; with their blindstamp, lower left. Unsigned; dated and titled in the image, lower right. $75.

Original Aquatints

Dawn. 1912. Aquatint. Hardie 160. 6 3/4 x 14 (sheet 9 1/2 x 17 7/8). Exhibited: Painter-Etchers, February 1925. A rich, tonal impression on white wove paper with full margins. Signed in pencil. $500.

High Tide on the Solway. 1932. Aquatint. Hardie 169. 9 1/8 x 12 (sheet 15 1/2 x 19 1/4). Exhibited at the R.A. in 1931. No published edition -- scarce. Printed on the full sheet of white wove paper. A lyrical, tonal impression of this rare image. Signed in pencil. $950.

Morning Haze in Chichester Harbour. 1922. Aquatint. Hardie 166. 9 3/8 x 13 5/8 (sheet 15 1/2 x 21 1/2). Illustrated: W.P. Robins, The Etching Craft; Malcolm Salaman, Modern Masters of Etching: Frank Short. A delicate, carefully wiped impression on white wove paper, with full margins. Signed in pencil. $1,250.

The New Moon. 1918. Aquatint. Hardie 163. 10 1/2 x 16 1/4 (sheet 15 x 17 7/8). A dramatic sensitively wiped impression with plate tone, printed on white wove paper with wide margins. Signed in pencil. The image shows 2 fishermen on the Bure River at Stokesby Ferry, near Acle in Norfolk. $1,750.

The Silver Tide. 1912. Aquatint. Hardie 162.6 x 9 1/8 (sheet 9 x 11 5/8). Edition unknown, probably between 50-100. A rich, tonal impression printed on '[gre]at Britain' countermarked paper. Signed in pencil. The image shows high tide at the head of Bosham Harbour. $500.

A Span of Old Battersea Bridge. 1899. Aquatint with soft-ground etching. Hardie 155. 7 1/2 x 11 5/8 (sheet 10 1/2 x 15). A dramatic, tonal impression printed on simili-japon paper. Illustrated: Lumsden, The Art of Etching Signed in pencil. $975.

Twixt Day and Dawn. 1919. Aquatint. Hardie 165.ii. 9 7/8 x 11 1/2 (sheet 12 3/8 x 16 1/8). A subtly inked impression printed on white wove paper. Signed in pencil. $600.

Original Mezzotints

Evening on the Thames. 1912. Mezzotint. Hardie 122. 8 5/8 x 11 11/16 (sheet 12 x 14 3/4). Edition 45. A rich, atmospheric impression printed on white wove paper with full margins. Signed in pencil. $1,750.

The Headlights Over the Hill. 1927. Mezzotint. Hardie 127. 5 7/8 x 7 7/8 (sheet 9 x 11 3/14. Slight mat line; otherwise excellent condition. A rich, atmospheric impression printed on tan wove paper with wide margins. Signed in pencil. . This is considered one of Short's finest original mezzotints. The automobile is travelling the road from Seaford to New Haven in Sussex. Seaford Head is in the distance and the sea is on the right. $2,250.

The Lifting Cloud. 1902. Mezzotint. Hardie 118. 6 x 9 (sheet 10 5/8 x 15 3/16). A rich impression printed on white wove paper. From a watercolour sketch made by Sir Frank Short on Whitby Scaur. Signed in pencil. $500.

The Night Picket Boat at Hammersmith. 1916. Mezzotint. Hardie 125. 11 7/8 x 17 13/16 (sheet 19 3/8 x 24 1/2). A rich, atmospheric impression printed in black-brown ink on white wove paper with wide margins. A rich, atmospheric impression. This is Short's only war subject. Signed in pencil. $2,000.

Orion over the Thames at Ranelagh. 1914. Mezzotint. Hardie 124. 11 x 16. A rich, atmospheric impression printed on white wove paper with wide margins. This is one of Short's finest original mezzotints. Signed in pencil. $2,500.

The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 19 x 25 1/2). A rich, glowing impression printedin varying tones of black-brown ink on chine mounted on sturdy white wove paper. Illustrated: Fine Prints of the Year, 1927. Signed in pencil. This is Short's most dramatic mezzotint. $2,750.

Solway Fishers (no. 2). 1893. Mezzotint. Hardie 113.ii. 7 3/4 x 10 7/8 (sheet 11 x 14). Edition 100. A dramatic, tonal impression printed in black-brown ink on 'JWhatman Turkey Mill' wove paper. The plate was sold to Robert Dunthorne. Impressions were printed both in sepia and in black ink. Signed in pencil. $975.

When the Weary Moon was in the Wane, Dort. 1893. Mezzotint. Hardie 115. 7 x 9 7/8 (sheet 9 x 12). No published edition -- a rare image. A dramatic, tonal impression printed on Japanese vellum. Signed in pencil. $975.

Reproductive Etchings, Aquatints and Mezzotints

Bridgnorth (after the watercolour by T. Girtin). 1885. Etching. Hardie 172. 6 3/4 x 9 3/4 (sheet 9 x 13 3/4). Edition of 2000, as published in the Portfolio vol. xix, 1888. A dramatic impression printed on ceam wove paper. Monogrammed in the shield, lower left. $75.

Robert Burns (after the oil painting by Alexander Nasmyth, 1758-1840.) 1893. Mezzotint. Hardie 62. 14 1/16 x 10 7/8 (sheet 15 3/4 x 12 1/2). Edition 250 published January 25th 1893 by by Robt. Dunthorne of London and Liverpool. A rich impression with plate tone printed on Japan paper. Signed in pencil. $500.

Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). The painting is on the right. 1889. Mezzotint. Hardie 54.12 5/8 x 19 1/2 (sheet 17 1/8 x 23 3/ 8). Edition 300. A rich proof printed on Japon paper. Exhibited in 1889 at the Exposition Universelle, Paris, where it was awarded a gold medal. Signed in pencil by Watts, Short, and by the printer, Frederick Goulding. $1,750.

Cottage and Harvesters (after a watercolor by Peter De Wint, 1784-1849). 1907. Mezzotint. Hardie 88. 6 5/8 x 10 11/16 (sheet 14 x 19 1/4). Edition 100. A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $300.

Ehrenbreitstein to Coblenz, No. 2 (after the watercolor by J.M.W. Turner, R.A., 1775-1851.) 1913. Preliminary etched state for the m,zzotint. Hardie 95. Image 9 1/2 x 14 3/4; plate 10 7/8 x 15 3/4; sheet 14 3/8 x 20 7/8. ONly a few proofs of the etched state were printed. A fine, glowing proof printed on chine-appliqué mounted on sturdy white wove paper. $250.

Ehrenbreitstein to Coblenz, No. 2 (after the watercolor by J.M.W. Turner, R.A., 1775-1851.) 1913. Mezzotint. Hardie 95. Image 9 1/2 x 14 3/4; plate 10 7/8 x 15 3/4; sheet 12 x 15 3/4. Edition 50. A fine, glowing proof printed on chine applied to sturdy white wove paper. $550.

A Hayfield in Yorkshire (after a watercolor by Peter De Wint, 1784-1849). 1904. Mezzotint. Hardie 80.ii. 8 3/4 x 11 11/13 (sheet 12 5/8 x 15 5/8). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $350.

In the Cotswolds (after an oil painting by Sir Alfred East, R.A., P.R.B.A., 1849-1913). 1908. Mezzotint. Hardie 90. 8 6/16 x 10 5/16 (sheet 11 7/8 x 14 5/16). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $300.

Knaresborough (after a watercolor by Peter De Wint, 1784-1849). c. 1904. Mezzotint. Hardie 80.ii. 7 7/16 x 11 3/8 (sheet 13 3/8 x 18). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $300.

Love and Death (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1900. Mezzotint. Hardie 71 between i and ii. 24 1/2 x 12 (sheet 27 1/4 x 13 3/ 8). Edition 350 in state one. London, Published May 1st 1900 by Robert Dunthorne,5 Vigo Street, London W. Rubbing and discoloration from a previous mat in the margins, well outside the image. A rich proof printed on Japon paper. Signed in pencil by Watts and by Short. $1,400.

A Roman Canal [Lincolnshire] (after the water-colour drawing by Peter De Wint, 1784--1849). 1904. Mezzotint. Hardie 82.ii. 6 3/4 x 15 (sheet 15 4/1 x 22). Published by Robert Dunthorne. A fine impression printed in black on chine-appliqué affixed to white wove paper. $350. Housed in a black and silver wood frame $450.

Rouen (after the drawing and lithograph by R.P. Bonington). 1888. Etching. Hardie 173. 10 1/4 x 7 (sheet 13 7/8 x 9 1/8). Edition of 2000, as published in the Portfolio vol. xix, 1888. A dramatic impression printed on ceam wove paper. Monogrammed in the shield, lower left. $75.

Shap Fells (after a watercolor by Peter De Wint, 1784-1849). c.1902. Mezzotint. Hardie 77. 5 x 12 5/8 (sheet 7 x 15 1/4). Edition 150. A very rich impression, printed on warm chine affixed to a cream Japanese vellum support sheet, as issued. Signed in pencil. $275.

Timber Raft on the Rhine (after the watercolor by J.M.W. Turner). 1898. Mezzotint. Hardie 66. 8 1/4 x 11 11/16 (sheet 10 5/16 x 13 1/2). Edition 100. A rich, tonal impression printed in black ink on simili-Japan paper. Signed in pencil. $450.

A Yorkshire Dell or The Heron’s Pool. (after J.M.W. Turner, R.A., 1775-1851.) 1905. Soft-ground etching and mezzotint. Hardie 85. mezzotint over etching on India paper printed on chine-collé mounted on sturdy wove paper. 10 7/8 x 15 (sheet 14 x 18 1/4). A rich, velvety impression. Signed in pencil. $1,000.

A Yorkshire Road (Wensleydale) (after a watercolor by Peter De Wint, 1784-1849). 1889. Mezzotint. Hardie 69. 4 58 x 11 1/2 (sheet 6 5/8 x 13 5/8). Edition 250. A very rich impression, printed on Japanese vellum support sheet, as issued. Signed in pencil. $275.

Liber Studiorum

In 1807 Turner began his great enterprise of publishing a series of 100 plates known as the Liber Studiorum, inspired, in part, by Claude's own studio record, Liber veritatis (begun in 1635 and continued until his death in 1682). Turner's aim was to document the great variety and range of landscape; some of the subjects were taken from his own existing paintings and watercolours. He employed several engravers, although he supervised the work at every stage, etched some of the plates himself, and made innumerable preparatory drawings. The publication was issued in parts consisting of five plates each and covering all the styles of landscape composition, including historical, architectural, mountainous, pastoral, and marine. The first part appeared in June 1807 and the last in 1819, when Turner evidently lost interest in the project and abandoned it after the publication of 71 plates.

Frank Short worked on the uncompleted Liber Studiorumthrougout his career, completing 47 etched and mezzotinted plates.

Bonneville, Savoy (After the drawing by J.M.W. Turner in the National Gallery). 1887. Mezzotint. Hardie 12.ii. With the publication line. 8 1/2 x 11 1/8 (sheet 12 3/4 x 17 3/8). Printed in shades of brown ink on the full sheet of cream-colored wove paper. Signed in pencil. $275.

Chain of Alps from Grenoble to Chamberi (after the drawing by J.M.W. Tuner in the National Gallery). 1887. Mezzotint. Hardie 7.ii. With the publication line added. 7 x 10 1/8 (sheet 12 7/8 x 17). A rich, tonal impression printed in brown ink on cream wove paper on the full sheet with deckle edges. Signed in pencil. $275.

The Mildmay Sea Piece. (titled Sunset on the Beach on the frontispiece of the 'Twelve Subjects.') (after the oil painting by J.M.W. Turner, R.A., 1775-1851.) 1886. Mezzotint. Hardie 5.ii. With the publication line. 7 1/8 x 10 3/8 (sheet 12 1/8 x 17 1/4). Printed in brown ink on off-white laid paper on the full sheet with deckle edges. A rich impression in excellent condition. Signed in pencil. $275.

Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Preliminary etching for the mezzotint. Hardie 9. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 13/16 x 17. A fine, richly-inked proof printed off-white wove. Signed in the plate. $125.

Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Mezzotint. Hardie 9.ii. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 5/8 x 17 1/2. A fine, richly-inked proof printed on white wove paper. Signed in the plate. This is the finished mezzotint. $250.

A Pastoral. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1896. Mezzotint. Hardie 47. Published state. 8 x 10 3/4 sheet 9 1/2 x 12 5/8. Printed in brown inks on white wove paper. Collector's seal: Neal Green. Signed in pencil. $250.

Raglan Castle (Berry Pomeroy Castle). (After the drawing by J.M.W. Turner in the National Gallery) 1885. Mezzotint. Hardie 10.ii. With the publication line added. 7 5/8 x 10 5/8 (sheet 12 1/4 x 16 1/16). Printed in brown ink on cream wove paper on the full sheet with deckle edges. Signed in pencil. $250.

Scene in the Campagna also known as Woman at a Tank and Hindu Ablutions. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Hardie 4.ii. Preliminary etching for the mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 17 3/8). Printed in brown ink on off-white wove paper. Signed in the plate. $125.

Sheep Washing, Windsor (Windsor Castle from Salt Hill) (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1890. Mezzotint. Hardie 19. 8 1/8 x 10 5/8 (sheet 12 3/16 x 17 1/8). A fine, richly-inked proof printed on off-white wove paper. Signed in the pencil. $300.

Water Mill (after the drawing by J.M.W. Turner.) 1885. Preliminary etched state. Hardie 3.i/ii. Proof before the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8). Printed in brown ink on off-white wove paper with wide margins. Unsigned. $125.

Water Mill. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1885. Mezzotint. Hardie 3.ii. With the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8).A fine, richly-inked proof printed s white wove paper. Signed in pencil. $250.

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Martin Shortis.

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Figures Composition. 1984. Etching and drypoint. 6 1/2 x 5. Three states, two artist's proofs. Each printed on cream wove paper. Each titled, dated, and signed 'Shortis N[ew] Y[ork]' in pencil; the artist's proofs annotated 'AP'. $300 for the group.

Message in the Night. 1986. Etching. 9 1/8 x 11 5/8 (11 1/4 x 15). Printed on the full sheet of cream wove paper. Signed, dated, titled and annotated 'A/P' (artist's proof) in pencil. $175.

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Walter Sickert, R.A., A.R.E. 1860-1942.

La Gaité Montparnasse. c. 1919. Etching. Bromberg 186.iii. 5 3/4 x 4 1/4 (sheet 9 3/16 x6 3/4). No stated lifetime edition. David Strang printed 19 posthumous impressions for the Sickert Trust (1945-47). This is proof #7. Illustrated: Calloway, English Prints for the Collector, p. 163. A rich impression printed on cream laid paper. An extremely scarce image. Signed in the plate. $1,275.

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Joseph Simpson. 1879-1939.

Click on the title for an image.

Self Portrait. c.1933. Drypoint. 11 7/8 x 8 1/2 (sheet 18 3/8 x 11 1/4). Edition75, #39. Signed and numbered in pencil. Tack holes in the outer margins from drying, as usual. A rich impression on cream-colored laid paper with full margins. $600.

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Douglas Ian Smart, R.E. 1876-1970.

Fine Prints, Drawings and Watercolours: England

Barge. Blue ink drawing. 4 1/2 x 7. Drawn on cream wove paper. Provenance: a collection of Smart etchings, drawings and watercolors. Unsigned. $95.

Barge Along the Thames. c. 1950. Blue pencil drawing. 5 9/16 x 9 1/16 (sheet 7 3/8 x 11 1/16). Provenance: a collection of Smart etchings, drawings and watercolors. Drawn on cream laid paper. Unsigned. $125.

{A Country Road}. c. 1921. Pencil drawing. 5 3/16 x 6 11/16. Drawn on watermarked laid paper from a sketchbook. Provenance: a collection of Smart etchings, drawings and watercolors. Signed in pencil, lower right. $125.

Croyland. (Crowland) [Ruins of Croyland Abbey, Lincolnshire]. c. 1924. Watercolor. 10 1/4 x 6 13/16. Painted on heavy cream watercolor paper. Provenance: a collection of Smart etchings, drawings and watercolors. Titled in ink, verso. Signed in ink, lower right. $150.

Lowtide Bosham. c. 1918. Crayon drawing. 5 7/16 x 7 3/8. Drawn on cream watermarked laid paper. Provenance: a collection of Smart etchings, drawings and watercolors. Unsigned. $85.

Smart exhibited an etching of this title at the Royal Academy in 1918.

{Moored Boats}. c. 1935. Pencil drawing. 5 1/8 x 6 3/4. Drawn on tan watermarked laid paper. Provenance: a collection of Smart etchings, drawings and watercolors. Unsigned. $125.

Repairs to S.T. John Wilson. (London) c. 1912. Crayon drawing. 7 13/16 x 8 3/4. Provenance: a collection of Smart etchings, drawings and watercolors. Sketch of a trawler, verso. Signed and titled in ink. $175.

Richmond, Yorkshire. c. 1900. Ink drawing. 10 3/8 x 14 15/16 (sheet 11 x 15 1/2). Drawn on heavy cream wove paper. Provenance: a collection of Smart etchings, drawings and watercolors. Signed, titled, and dated in pencil, lower right. $125.

Octagon Gallery on Ludgate Hill. (London). Pencil drawing. 9 15/16 x 7 1/8 (sheet). Drawn on cream laid paper. Provenance: a collection of Smart etchings, drawings and watercolors. Titled in pencil, upper right and lower right. $175.

St. Martin's Church, Ludgate Hill. (London). Pencil drawing. 10 x 9 7/8 (sheet 14 7/8 x 11). Provenance: a collection of Smart etchings, drawings and watercolors. Drawn on cream wove paper. There is a horizontal fold in the center, and there are tack holes in ther four corners from exhibition. Unsigned. $175.

The Octagon Gallery is located on Ludgate Hill in London. The main building in the Gallery is St. Martin's Church, which was designed by Sir Christopher Wren.

Thames Barge. c. 1915. Russet pencil drawing. 10 3/4 x 14 3/8. Drawn on cream wove paper with deckle edges on two sides. There is a vertical center fold in the paper. Provenance: a collection of Smart etchings, drawings and watercolors. Annotated 'all lower deck grey hull brown deck houses' in brown pencil, lower right. $100.

Thames Shipping. c. 1935. Blue ink drawing. 5 3/4 x 8 15/16. Drawn on tan wove paper from a sketchbook. Provenance: a collection of Smart etchings, drawings and watercolors. Writing and tugboat dawing in pencil, verso. Monogrammed, titled and dated lower left. $125.

France and Spain

At Granville. c. 1937. Ink and watercolor. 6 1/2 x 11 1/4. Provenance: a collection of Smart etchings, drawings and watercolors. Painted on laid paper with partial 'Britannia' watermark. Signed and titled in pencil, verso. Dated in pencil, lower right. $200.

Le Château Gaillard, from across the Seine. (France). c. 1908. Pencil drawing. 6 1/2 x 10 7/8 (sheet 7 x 11 5/16). Provenance: a collection of Smart etchings, drawings and watercolors. Drawn on tan wove paper. Signed and titled in pencil, lower right. $175.

Granville. (France). c. 1937. Watercolor. 11 3/16 x 8 1/4. Provenance: a collection of Smart etchings, drawings and watercolors. Painted upon heavy watercolor paper. Signed in pencil, lower left. $150.

The Harbour, Fécamp. c. 1929. Pencil drawing. 6 1/4 x 10 9/16. Provenance: a collection of Smart etchings, drawings and watercolors. Signed and titled in ink; dated in pencil, lower right. Excellent condition. $100.

{Provins}. (France). Pencil Drawing. 11 3/8 x 9. Drawn on wove watercolor paper. Provenance: a collection of Smart etchings, drawings and watercolors. Titled and numbered in pencil, verso. Signed in pencil, lower right. $125.

Toledo Bridge, No. 5. 1911. Etching and drypoint. 7 1/2 x 7 (sheet 10 5/16 x 7 1/2). A rich impression printed on cream wove paper. Monogrammed and dated lower left in the plate. Titled in pencil, lower left. Signed in pencil, lower right. $150.

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Percy John Delf Smith. 1882-1948.

Royal Marine Artillery Camp. The Evening Before the Battle of Messines. 1918. Drypoint. 6 3/8 x 7 7/8 (sheet 9 1/4 x 10 1/2.) Series: Twelve Drypoints of the War 1914-1918. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. $1,500.

Scythers Resting. 1924. Etching. 7 5/8 x 5 3/8 (sheet 11 x 9). Edition 100, #56. A rich impression with plate tone, printed on cream wove paper. Titled verso. Signed and numbered in pencil. $275.

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Eileen Soper. 1905-1990.

Click on the titles for images.

Blowing Bubbles. 1924. Etching. Beetles 67. 4 1/2 x 7. A fine impression with plate tone. Printed on cream laid paper. Signed in pencil. Framed. $500.

The Children's Hour. c. 1924. Drypoint. Beetles 67. 7 1/2 x 6 1/2 (sheet 11 3/4 x 9 1/3). A fine impression with plate tone printed on cream laid paper. Signed and annotated 'Edition 75' in pencil. $400.

Feeding the Chickens. 1922. Etching. Beetles 50. 4 1/2 x 5 3/8 (sheet 7 x 9). A fine impression with plate tone. Printed on cream laid paper with full margins. Signed in pencil. $400.

Follow My Leader. c. 1923. Etching. Beetles 63. 4 1/2 x 6 3/4 . Printed on cream laid paper with full margins. Signed in pencil.Framed. $500.

The Photographer's Scottie. c. 1924. Etching. Beetles 172. 5 x 7 1/4 (sheet 8 1/2 x 12 1/8). A few light foxing spots; otherwise good condition. A fine impression with plate tone printed on cream wove paper, on the full sheet with deckle edges. Signed in pencil. $500.

Tug of War. 1923. Etching. Beetles 61. 4 x 7. A fine impression with plate tone on laid paper. Signed in pencil. Framed. $500.

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Ian Strang, R.E. 1886-1952.

Fishmonger's Hall, London. 1929. Etching and drypoint. 6 7/8 x 10 7/8 (sheet 11 1/2 x 17 3/8). A rich impression with plate tone printed cream laid paper wih wide margins. Signed in pencil. $750.

The Paint Room, Covent Garden Theatre. 1920. Etching and drypoint. 8 x 5 7/8 (sheet 15 3/8 x 10 1/8). A rich impression with plate tone printed on the full sheet of cream laid paper countermarked 'Hand Made'. Signed in pencil. $750.

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William Strang, R.A. 1859-1921

After Work. 1888. Etching and mezzotint. Binyon 114; David Strang 8, William Strang 551. 2 7/8 x 4 (sheet 4 1/4 x 5 7/16). A rich impression printed on cream laid paper. Printed by David Strang. Annotated in pencil, 'David Strang imp' and 'Wm Strang fec. DS'. The artist is the figure seated to the right. $175.

Portrait of Dr. Thomas Graham Balfour. c. 1883. Etching. 8 3/4 x 6 1/4. One unobtrusive foxing spot; otherwise fine condition. Printed with plate tone printed on cream wove paper. Signed in the plate. Housed in a handsome black frame with gold. $175

Fried Fish. 1912. Engraving and drypoint.David Strang 656.ii, William Strang 538.ii. 13 7/8 x 17 4/4 (sheet 15 1/4 x 29 5/8). A rich impression with tonal wiping printed on cream wove paper. Printed by David Strang. Annotated in pencil, 'David Strang imp' [printed]and 'Final st.' [state] and 'Wm Strang fec. DS'. [drew it. David Strang]. $650.

Portrait of Sir Francis Seymour Haden. 1883. Etching. 10 7/8 x 6 7/8 (sheet 14 x 9 7/8). As published in English Etchings part 36, with their blindstamp, lower left. A fine impression with plate tone printed on cream wove paper. Signed and dated in the plate. $350.

Potrait of Alfred, Lord Tennyson. 1897. Etching. Binyon 310. 11 13/16 x 9 3/4 (sheet 17 7/8 x 13 1/4). Printed on 'J.Whatman' laid paper, on the full sheet with deckle edges. Signed in pencil. $1,250.

Self Portrait, No. 4. Etching. David Strang 55, William Strang 724. 5 1/8 x 3 7/8 (7 1/2 x 5 1/16). A rich impression with plate tone, printed on cream laid paper by David Strang. Annotated in pencil 'David Strang imp' and 'Wm Strang fec. DS.' $200.

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Graham Sutherland. 1903-1970.

Cudham, Kent. 1924. Etching. Tassi 15; Cooke 20. 3 1/8 x 4 (sheet 4 3/8 x 6 7/16). Edition of 42, including some artist's proofs. Published by the Twenty-One Gallery in London. A rich impression with plate tone, printed by the artist on antique laid paper. Signed in pencil. $2,750.

Michaelmas. 1928. Etching. Tassi 25.iii; Cooke 31. 3 3/8 x 2 3/4 (sheet 7 3/4 x 5 7/8). Edition of 109 for the Print Collector's Club, London. Published by Twenty-One Gallery, London. Printed by Stanley Wilson. Illustrated: Print Collector's Quarterly 16 (1929): 93. A fine impression printed on off-white laid paper with wide margins. Excellent condition. Signed in pencil. $2,150.

The Village. 1925. Etching. Man 23; Tassi 20.iii. 6 7/8 x 8 7/8 (sheet8 1/2 x 12). Edition 83 in this state (total 99 proofs). Published by the Twenty-one Gallery. A rich, tonal impression printed on cream laid paper. Signed in pencil 'Graham Sutherland imp' indicating a proof printed by the artist. $6,000.

Warning Camp. 1924. Etching. Tassi 9; Cooke 15. 5 1/8 x 6 1/8 (sheet 8 x 10 1/2). Edition of 62 in two states. Published by Twenty-One Gallery, London. A fine impression printed on cream colored laid paper with wide margins. Excellent condition. A scarce early image printed by the artist. Signed in pencil. $2,250.

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Robin Tanner. 1904-1988.

Click on the titles for larger screens.

Alington in Wiltshire (The First Swallow). /A>1927. Etching. Garton 2.iv. 6 3/4 x 8 7/8 (sheet 10 1/2 x 13 1/2). Final state published by in an editon of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 40 in 1927). In states iii and iv, the swallow of the title was removed. In iv,the sky was re-etched and the cross-hatching was slightly finer. Signed in pencil. $1,750.

The Old Road: Elegy for the English Elm I. 1976. Etching. Garton 36.iii. 11 7/8 x 9 3/8 (sheet 12 7/8 x 10 1/8). Edition 1,000. As published in 1977 in the deluxe edition of British Etchers, 1850-1940 by Kennerth Guichard. Pristine condition. Signed in pencil. $650.

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Charles William Taylor. 1878-1960.

Kent. c. 1929. Watercolour. 8 3/4 x 12 1/8 (sheet 9 x 12 1/8). Study for the wood engraving. Irregular lower margin. Fresh, unfaded colors. Signed, lower right. $550.

Kent Hills. c. 1929. Watercolor. 10 x 14 1/4 (sheet 10 5/8 x 15 3/16). Fresh, unfaded colors. Signed, lower right. $550.

Leigh Marsh, Essex. c. 1929. Watercolor. Study for the etching. 11 7/8 x 9 3/4 (sheet 13 5/8 x 10 3/4). Colours toned. Signed, lower left. $550.

Marsh Farm, Essex. c. 1929. Watercolor. 11 3/8 x 9 (sheet 12 1/5 x 19 1/2). Mounting tape on outer margins; 1-inch fold on the left; 2-inch fold on the right; fresh colours. Unsigned. $550.

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May Tremel. 1882-1963.

Wharfedale (Yorkshire). 1929. Etching. 6 7/8 x 13 1/4 (sheet 10 1/2 x 17 3/16). A rich impression with plate tone printed on the full sheet of cream wove paper. Exhibited at the First International Exhibition of Etching at the Art Institute of Chicago in 1932. Original exhibition label. Accompanied by the original etching plate. The etching signed, dated and priced $15 (the 1932 price) in pencil. $850 the pair.

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J.M.W. Turner. 1775-1851.

Bridge and Cows. Published c. June, 1807. Etching and mezzotint. Finberg 2.iii or iv/v. Series: Liber Studiorum. 8 1/8 x 11 3/8 (sheet 11 1/2 x 16 3/4). Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). A fine impression printed in sepia ink, printed on cream wove paper with full margins. Signed with the artists' names in the plate. $500.

The Woman and the Tambourine. c. 1806-07. Published by J.M.W. Turner, ?11 June 1807. Etching and mezzotint. Finberg 3.iii/iv. Series: Liber Studiorum. 8 1/4 x 11 1/2 (sheet 11 5/8 x 17 1/4). Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner C. Turner (Charles Turner. 1773-1857). A richly-inked impression printed in sepia ink on off-white wove paper on the full sheet with deckle edges. With the blindstamp of the 1873 Turner collection sale at Christie's, in the plate just before the text 'Engraved by C. Turner'. Signed with the artists' names in the plate. $550.

Scene on the French Coast. Published J.M.W. Turner, ?11 June 1807. Etching and mezzotint. Finberg 4.ii/iii. Series: Liber Studiorum. Image: 7 3/16 x 10 1/8; plate: 8 3/16 x 11 7/16; sheet 11 1/8 x 14 1/4. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). Margins grubby, commensurate with age. A fine impression printed in black/brown ink, on cream wove paper with full margins. Signed with the artists' names in the plate. $400.

Basle. c. 1806-07. Published by J.M.W. Turner, ?11 June 1807. Etching and mezzotint. Finberg 5.ii/vi. Series: Liber Studiorum. Image: 7 1/4 x 10 1/4; plate: 8 1/4 x 11 1/4; sheet: 10 3/4 x 14 3/8. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). Margins grubby; otherwise good condition. A fine impression printed in sepia ink, on cream laid paper with full margins. Signed with the artists' names in the plate. $450.

Jason. c. 1806-07. Published J.M.W. Turner, ?11 June 1807. Etching and mezzotint. Finberg 6.ii/v. Series: Liber Studiorum. Image: 7 x 10 3/8. plate: 8 1/4 x 11 1/2; sheet: 11 x 15 3/4. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). A fine impression printed in black/brown ink, on cream wove paper with full margins. Drawn, etched and engraved by J.M.W Turner. Signed with the artists' names in the plate. $550.

The Straw Yard. 1808. Published by Charles Turner, 20 February, 1808. Etching and mezzotint. Finberg 7.ii/iv. Series: Liber Studiorum. Image: 7 1/4 x 10; plate: 8 1/8 x 113/8; sheet: 11 1/2 x 15 5/8. rawn, etched and engraved by J.M.W Turner. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). A fine impression printed in black/brown ink, on cream wove paper with full margins. Signed with the artists' names in the plate. $600.

The Castle Above the Meadows. 1808. Published by Charles Turner, 20 February 1808. Etching and mezzotint. Finberg 8.iii/iv. Series: Liber Studiorum. Image: 7 x 10 1/4; plate: 8 x 11 3/8; sheet: 10 1/2 x 14 1/2. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). Margins grubby; the image in fine condition. A fine impression printed in black/brown ink, on cream wove paper with full margins. Signed with the artists' names in the plate. $500.

Dunstanborough Castle. 1808. Published by Charles Turner, 10 June 1808. Etching and mezzotint. Finberg 10.iii/v. Series: Liber Studiorum. Image: 7 1/8 x 10 7/16; plate: 8 1/8 x 11 3/8; sheet: 11 7/8 x 17 3/4. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). A fine proof impression printed in black/brown ink, on cream wove paper with full margins, apart from a paper loss in the top right-hand margin, well outside the image. Signed with the artists' names in the plate. $650.

The Fifth Plague of Egypt. 1808. Published by Charles Turner, 10 June 1808. Etching and mezzotint. Finberg 16.iii. Series: Liber Studiorum. Image: 7 1/16 x 10 3/16; plate: 8 1/8 x 11 3/8; sheet: 11 /4 x 17. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by C. Turner (Charles Turner. 1773-1857). Slight soiling in the margins, well outside the image. A fine impression printed in black/brown ink, on the full sheet of cream wove paper. Signed with the artists' names in the plate. $500.

Hind Head Hill. c. 1808. Published by J.M.W.Turner, 1 January 1811. Etching and mezzotint. Finberg 25.ii/iv. Series: Liber Studiorum. Image: 7 x 10 1/4; plate: 8 3/16 x 11 3/8; sheet: 11 3/16 x 16 5/8. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by Dunkarton (Robert Dunkarton 1744–1811). A fine impression printed in black/brown ink, on the full sheet of cream wove paper. Signed with the artists' names in the plate. $550.

St. Catherine's Hill Near Guilford. c. 1808. Published by J.M.W.Turner, 1 January 1811. Etching and mezzotint. Finberg 33.ii/iii. Series: Liber Studiorum. Image: 7 5/16 x 101/4; plate: 8 3/8 x 11 1/2; sheet: 12 x 17 5/8. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by J.C. Easling (J.C. Easling active 1812-1833).With the blindstamp of the 1873 Turner collection sale at Christie's, in the plate just before the text 'Engraved by J.C. Easling'. A fine impression printed in black/brown ink, on the full sheet of cream wove paper. Signed with the artists' names in the plate. $550.

Crypt of Kirkstall Abbey. c. 1806-07. Published by J.M.W.Turner, 11 February 1812. Etching, aquatint and mezzotint. Finberg 39.iv/iv. Series: Liber Studiorum. Image: 7 1/16 x 10 7/16; plate: 8 1/4 x 11 1/2; sheet: 10 7/16 x 15 3/4. Drawn, etched and engraved (mezzotinted) by J.M.W Turner. A fine impression printed in sepia ink, on cream wove paper with full margins. One of eleven prints from the series that totally by Turner's hand. Signed with the artist's name in the plate. $2,000.

Calm. 1812. Published by J.M.W. Turner, 1 April 1812. Etching, aquatint and mezzotint. Finberg 44.vi/vii. Series: Liber Studiorum. Image: 7 x 10 1/2; plate: 8 1/2 x 12; sheet: 11 1/4 x 17. Drawn, etched and engraved ( by J.M.W Turner. A fine impression printed in sepia ink, on cream wove paper with full margins. One of eleven prints from the series that totally by Turner's hand. Signed with the artist's name in the plate. $2,000.

Rivaux Abbey, Yorkshire. c. 1806-07. Published by J.M.W. Turner, 23 May 1812. Etching and mezzotint. Finberg 51.iii/iv. Series: Liber Studiorum. Image: 7 3/16 x 10 1/2; plate: 8 5/8 x 11 15/16; sheet: 11 1/4 x 16 1/4. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by H. Dawe (Henry Dawe. 1790–1848). A fine impression printed in black/brown ink, on cream wove paper with full margins. Signed with the artists' names in the plate. $550.

East Gate, Winchelsea, Sussex. c. 1807-08. Published by J.M.W. Turner, 1 January 1819. Etching and mezzotint. Finberg 67.iv. Series: Liber Studiorum. Image: 6 7/8 x 10 3/16; plate: 7 7/8 x 11 1/2; sheet: 11 11/16 x 17 1/2. A fine impression printed in black/brown ink, on cream wove paper with full margins. Drawn, etched and engraved by J.M.W Turner. Engraved (mezzotinted) by S.W. Reynolds (Samuel William Reynolds. 1773-1835). With the blindstamp of the 1873 Turner collection sale at Christie's, in the plate just before the text 'Engraved by S.W. Reynolds'. A rich, tonal impression printed on cream wove paper with full margins. Time staining around the sheet edges; otherwise good original condition. Signed with the artists' names in the plate. $600.

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Sidney Tushingham A.R.E. 1884-1968.

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Amalfi. 1926. Drypoint. Connell 83. 9 3/8 X 12 3/8. Edition 75. Exhibited at the Eighth International Print Makers Exhibition, Los Angeles Museum, March 1927. A fine impression printed on cream wova paper with full margins. Signed in pencil. $200.

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Yoshijuro Urushibara. Japanese. 1888-1953.

White Lilies. Woodcut printed in colors. 15 3/4 x 10 1/2 (17 1/2 x 12 3/8). Signed and annotated "No. 35" in pencil. A fine impression with good color, printed on Japanese mulberry paper. $1,250.

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Norman Wade. Twentieth Century.

Durham Cathedral. 1978. Color serigraph. 9 1/2 x 12 1/2 (sheet 12 1/2 x 15). Edition 200, #46. Signed, numbered, and titled in pencil. $125.

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William Walcot, R.E. 1874-1943.

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America: New York.

Battery Park, New York. 1923. Etching with drypoint and aquatint. Dickins 84. 5 5/8 x 5 3/4 (sheet 9 3/4 x 11). New York set #2. A fine impression printed on white paper with an 'A.O. & H.W. D., Inc NEW YORK' countermark. Signed in pencil. $475.

Brooklyn Bridge, New York (small plate). 1923. Etching with drypoint and aquatint. Dickins 86. 8 1/2 x 10 (sheet 12 1/4 x 16).Edition 375. New York set #4. A fine impression printed on white paper with an 'A.O. & H.W D. Inc. NEW YORK' countermark. Signed in pencil. $750.

Forty-second Street NY. 1923. Etching with drypoint and aquatint. Dickins 83. 5 x 7 7/16 (sheet 10 1/8 x 12 7/8). New York set #1. Edition 375. A fine impression with plate tone printed on white paper with an 'A.O. & H.W.D. Inc New York' countermark. Signed in pencil. $475.

Lower Broadway - Downtown New York. 1924. Etching with drypoint and aquatint. Dickins 87. 5 15/16 x 4 5/8 (sheet 10 3/8 x 7 3/4). New York set. A fine impression printed on white paper with an 'A.C. & H.W D. Inc. NEW YORK' countermark. Signed in pencil. $475.

Park Avenue. 1923. Etching with drypoint and aquatint. Dickins 85. 4 3/4 x 7 1/4 (sheet 10 1/4 x 12 1/2). New York set #3. Edition 375. Illustrated: Salaman, Modern Masters of Etching: Walcot. A fine impression with plate tone printed on white paper with an "A.C. & H.W.D. Inc. New York" countermark. Signed in pencil. $475.

United Kingdom: London.

Charing Cross -- The Statue of Charles I. 1919. Etching with aquatint and drypoint. 3 5/8 x 4 7/8 (sheet 9 1/8 x 11 3/8). A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $750.

Loading Barges on the Thames. 1922. Etching with drypoint and aquatint. Dickins 72. 4 5/8 x 13 1/8 (sheet 7 x 13 1/8).Series: The Arteries of Great Britain. Edition 425. A fine proof with tonal wiping, printed on J. Whatman wove paper. Signed in pencil. $500.

Ludgate Hill. 1921. Etching, aquatint and drypoint. Dickins 69. 5 5/8 x 5 1/8 (sheet 13 5/8 x 9 3/4). A fine proof with plate tone, printed on 'J Wha[tman] cream wove paper. Edition of 275 for the UK and 125 for the US. Signed in pencil. $675.

Marsham Street, Westminster. 1936. Etching with aquatint and drypoint. Subsequent to Dickins. 6 7/8 x 9 7/8 (sheet 10 3/4 x 14 9/16). Commissioned by Sir Valentine Crittall for Christmas. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $650.

Portland Place. c.1925. Etching and drypoint. Dickins 194. 6 x 9 3/8 (sheet 8 7/8 x 13). A fine proof with plate tone, printed on cream wove paper. The RIBA, Architectural Association headquarters is in the backgroung). Signed in pencil. $600.

On the Thames - Pool of London. c. 1920. Etching and drypoint. 5 7/8 x 11 7/8 (sheet 10 1/4x 16). Edition about 100. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $725.

The Thames from Waterloo Bridge. 1913. Etching. Dickins 12. 3 3/4 x 7 1/16 (sheet 7 x 10 15/16). Edition 100. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $600.

The Tyne. 1922. Etching and drypoint. Dickins 73. 5 7/8 x 7 7/8 (sheet 9 3/4 x 12 1/2). Series: The Arteries of Great Britain. Edition 425. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $500.

Whitehall -- with the Cenotaph. 1924 Etching with aquatint and drypoint. Dickins 88. 4 3/8 x 5 7/8 (sheet 9 3/8 x 12 1/2). A fine proof printed on cream wove paper with full margins. Signed in pencil. $600.

United Kingdom: Northern Britain.

Glasgow -- on the Clyde. 1922. Etching with drypoint and aquatint. Dickins 75. 3 7/8 x 10 1/2 (sheet 5 5/16 x 11 7/8). Series: The Arteries of Great Britain. Edition 425. A fine proof with tonal wiping, printed on J. Whatman wove paper. Signed in pencil. $500.

The Forth Bridge 1922. Etching and drypoint. Dickins 74. 4 x 10 3/4 (sheet 9 3/4 x 12 1/2). Series: The Arteries of Great Britain. Edition 425. A fine proof with tonal wiping printed on 'HANDMADE JWH[ATMAN]cream wove paper. Signed in pencil. $500.

The Forth Bridge, Firth of Forth. c. 1920. Drypoint. Dickins 50. 5 5/8 x 8 1/16 (sheet 7 1/2 x 12 5/8). A rare, early trial proof, before additional drypoint work on the bridge arches, warships and buildings, and before the barrage balloons in the sky were added. Printed on cream laid paper. Initialed by the artist in pencil; annotated 'Not for sale' in another hand. $750.

York Minster -- the West Front. 1923. Drypoint. Dickins 78. 5 7/16 x 7 3/8 (sheet 9 5/8 x 12 3/4). Edition 275. A fine proof printed on cream wove paper on the full sheet with deckle edges. Signed in pencil. $500.

France, Spain and Italy

Arc San Carlo, Naples. 1921. Etching and drypoint. Dickins 70. 6 3/4 x 6 5/8 (sheet 14 1/8 x 10). Editon 400. A fine impression with plate tone printed in black/brown ink on white wove paper. Blindstamp: the Rose collection. Signed in pencil. $600.

Café de la Paix, place de l'Opéra, Paris. 1913. Etching. Dickins 24. 2 13/16 x 4 (sheet 10 x 8 7/8). Edition 72. A fine impression with plate tone printed in black-brown ink on off-white wove paper. Signed in pencil. $950.

The Doge’s Palace. 1920. Dickins 90. Etching and drypoint. 3 1/2 x 5 (sheet 9 3/8 x 10 1/2). Venice Set, #1. Published by H C Dickins. A rich impression printed on cream wove paper. Signed in pencil. $500.

The Piazza San Marco 1920. Etching with drypoint and aquatint. Dickins 66. 3 7/8 x 5 7/8 (sheet 9 1/4 x 12 1/8). Venice set, # 2. Edition 415. A rich impression printed on cream wove paper. Fold in the margin, well outside the image; otherwise good condition. Signed in pencil. $500.

Segovia Bridge, Madrid. 1924. Etching. Harvey-Lee 128. 5 3/4 x 13 11/16 (sheet 10 3/4 x 17 3/4). Edition 74. Printed on 'J Whatman' cream wove paper. Signed in pencil. $950.

Giudecca No. 2, Venice. 1913. Etching. Dickins 14. 4 3/16 x 7 9/16 (sheet 7 5/8 x 10 5/8). Editon 115. A fine impression with plate tone printed on white wove paper. Signed in pencil. $850.

Historical and Eastern Images

La Bacchante et le jeune Faune. c. 1911. Etching with drypoint and aquatint. Dickins 12. 7 1/2 x 8 3/8 (sheet 11 x 16 1/8). No published edition. Printed with plate tone on 'FJ Head' cream laid paper. A rich impression of this rare early image. Signed in pencil. $750.

The First Wooden Temple of Jupiter or Restoration of one of the first Jupiter Capitolinus, Rome. 1918. Etching, aquatint and drypoint. Dickins 47. 5 1/8 x 7 1/8 (sheet 9 3/16 x 11 5/8). Edition 100. A rich impression printed on white wove paper. Deaccession stamp verso: White Art Museum Duplicate. Signed in pencil. $750.

The Pageant of Ludlow: The British Chief Caractacus, a Prisoner Before the Roman General Osterius in 50 AD. 1934. Etching, aquatint and drypoint. 7 3/4 x 9 1/4 (sheet 14 3/8 x 14 3/8). Printed in brown ink on white wove paper. Unobtrusive foxing. Signed in pencil. $350

The Temple of Baal. 1918. Etching, aquatint and drypoint. Dickins 72. 8 5/8 x 13 1/8 (sheet 11 x 17 1/2). A rich impression printed on warm white J. Whatman wove paper. Signed in pencil. $750.

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Herbert Gordon Warlow, A.R.E. 1885-1942.

Farmyard. c. 1925. Etching and drypoint. 5 1/2 x 11 (sheet 10 x 15 1/4). Edition 75, #54. A rich impression with plate tone printed on cream wove paper. Signed and numbered in pencil. $150.

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Thomas Robert Way. 1861-1913.

Click on the title for an image.

J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $2,500.

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Norman Wilkinson. 1873-1943.

The Roaring Forties. c. 1930. Etching and drypoint. 8 3/4 x 13 3/4 (sheet 11 1/2 x 17 1/2). A rich impression with drypoint burr printed on 'J Whatman' cream wove paper. Signed and titled in pencil. $550.

The Sea Boat's Crew. c. 1930. Etching and drypoint. 8 7/8 x 12 1/8 (sheet 11 3/4 x 16 7/8). A rich impression with drypoint burr printed on cream wove paper. This is a large, dramatic plate. Signed in pencil. $600.

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William Lionel Wyllie, R.A., R.I., R.E. 1851-1931.

War

London

London Bridge, London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 9 7/8 x 17 1/4). A rich impression with drypoint burr printed on cream-colored simili-japon paper. Signed in pencil. $975.

Custom House (London). Etching. 9 7/8 x 14 7/8 (sheet 13 7/8 x 8 1/2). A fine impression printed on simili-Japan paper. Signed in pencil. $1,500.

The Pool of London. c. 1915. Etching. 7 7/8 x 15 7/8 (sheet 11 x 14 7/8 x 21 1/4). Printed on the full sheet of simili-Japan paper Signed in pencil. $1,250.

St. Paul's. c. 1920. Etching. 13 7/8 x 10 (sheet 16 5/8 x 13 7/8). Printed on the full sheet of simili-Japan paper. Signed and title in pencil. $1,250.

The Thames, London. 1924. Etching. 6 3/8 x 14 3/4 (framed 13 x 21 1/4). A fine impression printed on cream paper. Housed in a black wood frame. Signed in pencil. $1,250.

The Thames and the Tower of London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 10 1/4 x 17 1/4). A rich impression with drypoint burr printed on cream-colored simili-japon paper. Signed and titled in pencil. $975.

Westminster, Flood Tide. c. 1924. Etching. 9 x 13 3/4 (sheet 13 3/8 x 17 5/8). A fine impression printed on cream wove paper. Signed in pencil. $1,250.

The North of England and Scotland

Fishing Boats. c. 1928. Etching, drypoint and aquatint. 9 x 6 7/8 (sheet 13 5/8 x 11 1/4). A rich impression with plate tone and drypoint burr printed on cream wove paper. Signed and annotated 'trial proof' in pencil. $575.

Fishing Boats off Ryde. 1927. Etching and drypoint. 6 3/4 x 14 7/8 ( 11 3/8 x 17 7/8). A rich impression with drypoint burr printed on cream laid paper with full margins. Signed and titled in pencil. $975.

Herring Fishers, Fisherrow. c. 1928. Etching and drypoint. 8 x 16 ( 14 1/8 x 19 3/4). A rich impression with plate tone printed on 'JWhatman 1928' cream paper. Signed and titled in pencil. $975.

Slipping the Tow Ropes. c. 1928. Etching and drypoint. 8 5/8 x 14 7/8 (12 3/8 x 17 5/8). A rich impression with subtle tonal wiping printed on 'ENGLAND' cream wove paper. Signed in pencil. $1,150.

Trawler Fleet. c. 1928. Etching and drypoint. 3 1/2 x 4 (sheet 9 x 18 1/8). A rich impression with plate tone and drypoint burr printed on cream laid paper. Signed and annotated 'to R Dunthorne' (the well-known print publisher) in pencil. $975.

Whitby from the North-West. c. 1928. Etching and drypoint. 4 1/4 x 12 3/4 (sheet 9 3/8 x 17 ). Printed with subtle plate tone on cream laid paper. Signed in pencil. $1,150.

Yorkshire Cobles. c. 1928. Etching and drypoint. 4 3/8 x 12 7/8 (sheet 7 5/8 x 17 1/4). A rich impression with plate tone printed on cream wove paper. Signed and annotated 'to R Dunthorne' (the well-known print publisher) in pencil. $975.

World War I

Our Fathers, To The Memory of the nameless Killed and Wounded. 1913. Set of 4 etchings. Each 12 1/4 x 8 1/4. Poem by Captain Ronald A. Hopwood. R.N. Each etching in fine condition, on the full sheet of cream wove paper. Each signed in pencil lower left. $1,250 the set.

Mediterranean Series. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.

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Allinson Gallery Index.

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