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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 Hill, Froxfield. 1927. Bassett 120.i/ii. Etching. 8 1/2 x 11 1/2 (sheet 11 5/8 x 15 5/16). Signed and dated. Mount annotated, ex-collection Dr. Perth. Paper fold along top right-hand sheet, just into the image. Unidentified collector's seal verso. Printed on antique blue-green paper. Signed and dated in pencil. $650 the pair.
Lambs on a Hill, Froxfield. 1927. Bassett 120.ii. Etching. 8 1/2 x 11 1/2 (sheet 11 3/8 x 17 3/16). Completed state, signed and dated. Printed on antique blue-green paper countermarked 'SM'. Unidentified collector's seal verso. Signed and dated in pencil. $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.
Gwynne-Jones did only 11 etchings.
Gwynne-Jones was born in Richmond, Surrey. He was educated at Bedales School and then qualified as a solicitor, but never practiced law. Instead, he developed a love of art and began painting watercolours. In 1914 he began a course at the Slade School of Fine Art, but three months later was commissioned into the Cheshire Regiment. He was wounded and awarded the Distinguished Service Order (DSO) at the Battle of the Somme in 1916. He returned to the Slade after demobilisation in 1919 and in 1923 became Professor of Painting at the Royal College of Art. He remained at the Royal College for the remainder of his career, until 1930. ll of his carefully crafted etchings by Allan Gwynne-Jones were created during the period when he was Professor of Painting at the Royal College of Art in London, between the years 1923 and 1930. Allan Gwynne-Jones adopted a dense method of cross-hatching which reflects the techniques of F.L.Griggs and of Samuel Palmer.
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