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

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

Francesco Bartolozzi, R.A. 1727-1815.

William Blake. 1757-1827.

Edmund Blampied, R.E. 1886-1966.

Click on the titles for images.

Sir Muirhead Bone. 1876-1953.

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

America

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. $1,250.

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. Price upon request.

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 canceled 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. $1,500.

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.

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 with full margins. Excellent condition. Signed and numbered in ink. $1,750.

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, #58. Signed and numbered in pencil. A rich impression with plate tone printed on cream laid 'H O Dickinson & Co' countermarked laid paper with deckle edges on three sides. Housed in a 20 7/8 x 17 7/8-inch brown wood frame with incised black decorative lines. $1,550.

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 extremely rare to find early Briscoe proofs. $1,750.

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. $1,750.

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. $1,000.

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. $1,500.

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. 12 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 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.

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 antique laid paper. $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. 1927. Etching. Hurst 196. 9 x 10 (sheet 11 1/4 x 16 5/8). File copy, apart from the edition of 75. Illustrated: Print Collector's Quarterly 25 (1938): 292. A rich impression with tonal wiping. Printed on the full sheet of cream laid paper with deckled edges. Signed and annotated 'file copy' ink. $1,750.

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 deckled edges. It is rare to find the first numbered impression of an edition. $500.

Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 16 3/8 x 12 1/4. Total edition 91). Illustrated: Guichard, British Etchers 1850-1940; Fine Prints of the Year, 1933 and Zigrosser, Six Centuries of Fine Prints. A luminous, richly-inked impression printed 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. Housed in a 28 1/2 x 23 1/4-inch modernist gold leaf frame. Price upon application.

Amanda No. 1 (Marguèrite). 1920. Etching. Fletcher 19. 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 Silk Dress (Anaïs). 1927. Etching. Fletcher 58.v/ix. 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. $1,500.

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. $750.

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. 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. $1,200.

Dorette (Kathleen Nancy Woodward). 1932. Etching. Fletcher 72.v/vii. 9 1/8 x 7 1/4 (sheet 14 3/8 x 10 1/8). Trial proof 5, prior to the published edition of 100 (111 proofs in all). Illustrated: Fine Prints of the Year, 1932; Royal Academy Illustrated, 1932; Print Collector's Quarterly 22 (1935): 74. Printed on cream-colored simili-japon paper with full margins. Signed and annotated '5^th state G.L.B.' and '(1 of 3 proofs thus)' and in pencil. $3,500.

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. $600.

L'Eventail (Anaïs) also called The Fan. 1921. Etching. Fletcher 22. Final state. 6 3/8 x 4 7/16 (sheet 11 1/2 x 9 1/4). Edition 76. An extremely rich, tonal impression printed on cream laid paper with wide margins. Signed in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. Housed in a 19th-century gilt and gesso deep-cove frame; frame measurements are 19 1/2 x 17 3/8 x 3. The frame features an extremely deep cove and extremely high hollow, with three different running ornaments with leaf motifs. $1,750.

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 (Dorette, The Head of a Young Girl). 1942. Lithograph. Fletcher Lithographs 1.ii/vi. 9 x 8 (1544 1/4 x 10 1/8). Edition 30. Before the stone signature was darkened and before additional modeling in the face. A rich impression printed on cream laid paper. Signed in pencil. $2,500.

Jeunesse Dorée (Kathleen Nancy Woodward). (Gilded Youth.) 1942. Etching. Fletcher 80. 10 7/8 x 8 7/8 (sheet 13 7/8 x 10 1/2). Edition 75 in this state (there was also 1 trial and 4 proofs in state I; 2 trials and 2 proofs in state II; and 2 proofs of state 3, plus 4 proofs of the plate). Light toning, otherwise good condition. A very rich impression with subtle plate tone, printed on antique cream laid paper with full margins. Signed, dated and annotated 'Selected for E.A. Scattergood G.L.B.' in pencil. $6,500

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. $750.

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 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. $750.

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. $1,000.

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.

Youth (Standing Nude, Diana.) 1945. Lithograph. Fletcher L4. Stone.ii. 14 3/4 x x 4 3/4 (sheet 15 5/8 x 12). Edition 100. A fine impression on cream wove paper printed in black ink. Signed and dated in reverse in the plate. $500.

The Basque Boy also called Boy with Beret and Fabian. 1944. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4 (sheet 17 1/8 x 13 7/8). Edition 10. Printed on counter-marked 'hand made' wove paper on the full sheet with deckled edges. A fine impression of this very rare lithograph. Signed and dated in pencil. $550.

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. $300.

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. The model for this portrait was the wood engraver, Marquett, whose portrait Brockhurst had etched in 1921 (Fletcher 27). $575.

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. Housed in a 19 1/2 x 16-inch Hogarth style frame. $2,000.

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). $650.

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. One of a few proofs signed by the artist and also by Henry Rushbury. $2,250.

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 housed in an archival French double mat and a 12 3/4 x 11 3/8 Whistler-style gold leaf frame. $1,750.

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.

Culzewn Castle. 1889. Etching. Rinder 48.11 5 13/16 x 9 (sheet 8 1/4 x 13 1/8). Series: The Clyde Set, #19. A fine impression with plate tone on watermarked laid paper. Printed by the famous printer, Frederick Goulding. Signed in pencil by Goulding and by Cameron. $325.

Glen Orchy. c. 1925. Watercolor, pencil and conte crayon on paper. 9 1/4 x 13 (sheet 10 3/8 x 13 1/4). Ex-collection L.G. Duke,purchased at Sotheby's, London '10.12.70'. Mat line; otherwise good condition. Signed and titled in pencil, lower right. Housed in a French mat within subtle wood and gold leaf 18 5/8 x 22-inch frame. $2,250.

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. Frederick Keppel Gallery & Co. Gallery label. Printed on Japanese mulberry paper with small margins with carefully-wiped plate tone and drypoint burr. Unobtrusive 1/4-inch circular stain in the top right-hand corner; otherwise excellent original condition. A superb impression of this extremely rare first state before the added lines in the foreground. Signed in pencil. $1,500.

The Workshop(Stirling). 1905. Etching and drypoint. Rinder 369.ii/iv. 8 3/16 x 12 (sheet 8 5/16 x 12).No published edition. A rich impression with drypoint burr printed on very fine laid paper. Trimmed to the plate along three sides, à la Whistler. A rare state of this very scarce work. Signed in pencil. $1,250.

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.

Thermae of Caracalla. 1923. Etching. Rinder 470.iii. 11 x 1615/16 (sheet 12 3/16 x 18 3/4). Edition about 70. Illustrated: Print Collector's Quarterly (1924): 67; Salaman, Modern Masters of Etching.. Collector's seal, 'NG' lower right from the extensive collection of Neal Greene (not in Lugt). Signed in pencil. A glowing impression printed cream laid paper. Signed in pencil. $950.

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.

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.

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 (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 water stain in the top right-hand image and margin. Signed in the plate. Housed in a double archival mat and a 36 1/2 x 30 1/2 x 1 1/4-inch Hogarth frame with gilded corner ornaments. $1,600.

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. $1,200.

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. 000.

September. 1928. Etching. Garton 24.xiiib. 4 x 5 3/16 (sheet 5 5/8 x 7 1/2). From the first edition of 55 published by XXI Gallery (Garton & Cooke published a lifetime edition of 100 in 1987). Illustrated: Holme, Etchings of Today; Print Collector's Quarterly 16 (1929):99; Calloway, English Prints for the Collector, p. 185. An extremely rich impression printed on old laid paper. Signed and annotated by the artist 'Paul Drury '28, fec. [made] et imp. [printed]' and 'No. 34 Old Japanese Paper'. Annotated 'September'and 'SF. 2186' in another hand. An extrmely beautiful early printing of this important image. $2,500.

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 (2^nd 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

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' 1799 laid paper. Signed, numbered and dated '17.11.31' in ink. 1,250.

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. $950 Another proof, before letterpress, unsigned. $450.

Animals All: WHO WERE THE FIRST TO CRY NOWELL ANIMALS ALL AS IT BEFELL. 1916. Woodcut. Physick 51. 14 7/8 x 16 3/8 (sheet 25 x 27 ). No published edition. Folds and repaired tears in the margins, outside the image. Unobtrusive printing folds in the image. Printed on simili-Japan paper. Unsigned. A strong, well-inked impression of this extremely rare image. Housed in a 26 1/4 x 28 1/2-inch dark brown wood frame. $2,500.

Madonna and Child. 1923. Wood engraving. Physick 216. 4 x 1 3/4. Printed on tan wove paper. Book plate for the Rev. Desmond Chute and The Mistress of Vision. Signed in pencil. $1,750.

Mother and Child. 1923. Wood engraving. Physick 216. 2 5/8 x 1 3/16 (sheet 3 1/4 x 1 3/4). Created as a bookplate for the Rev. Desmond Chute and used as an illustration in the Mistress of Vision by Francis Thompson, Ditchling: St. Dominic's Press, 1918. A fine impression printed on Japanese mulberry paper. Signed in pencil. Housed in an 8 1/2 x 8-inch silver, gold and black hexagonal frame. $1,250.

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 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.' $750.

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.

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 'M^r. and M^rs. 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. $500.

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' in pencil. Housed in an archival French mat and a 12 3/4 x 11-inch gold frame. $1,000.

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). Mounted on a backing sheet. Printed on Japanese mulberry laid paper. Initialed in pencil. Housed in a 12 1/2 x 14 x 2-inch gold wood frame. $1,250.

Toilet. Toilet. (After a drawing by Norval Gray.) 1923. Wood engraving on sycamore, end grain.Physick 256. 4 1/2 x 421/2 (sheet 5 5/8 x 4 1/8). Proof printed on sturdy Japanese mulberry laid paper. Fold in the lower left-hand margin, well outside the image. Unsigned. The initials 'N.G' are for the artist, Norval Gray, who made tte drawing upon which the wood engraving is based). No edition is recorded by Physick. Housed in an 11 x 8 1/2 black wood frame. $600.

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. Illustrated: Salaman, Modern Masters of Etching. Signed and dedicated 'To R.A. Walker' in pencil. $2,000.

The Ford. 1915-24. Etching. Comstock 9.iii/vi. 57/8 x 9 1/2 (sheet 7 5/8 x 12). Edition 60 in this state (total 127 proofs). Illustrated: Salaman, Modern Masters of Etching; Calloway, English Prints for the Collector, p. 184. A fine impression on sturdy cream laid paper. With the DHP (Dover House Press) stamp verso. Signed in pencil. Comstock wrote, "This is the best of these three states"(p. 68). The Ford. is the first of a series of imaginary scenes. Griggs described it as 'An imaginary English town before Reformation & the Renaissance had visible effect.'$2,250.

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. With the DHP (Dover House Press) stamp lower right. 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. Ex-collection the American wood engraver, Thomas Willoughby Nason, N.A. (1885-1971). Signed in pencil. Housed in a complimentary 11 1/2 x 10 7/8 wood and champagne gold frame. $1,500. P> 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 DHP (Dover House Press) stamp verso. Trimmed to the image, as is usual with this etching. 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 DHP (Dover House Press) stamp recto. Signed in pencil. $2,000.

Breaking up of the Agamemnon , N^o 1. 1840. Etching and drypoint. Schneiderman 133.viii/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). Illustrated: Kappel, The Golden Age of Engraving; Lumsden, The Art of Etching, 289; Salaman: Modern Masters of Etching: Haden; Salaman, The Great Painter Etchers from Rembrandt to Whistler. A rich impression with plate tone printed in black/brown in on antique cream wove paper. Signed in pencil. $1,250.

Cowdray Castle, with Geese. 1882. Etching and drypoint. Schneiderman 208.iv/v. 6 x 9 1/2 (sheet 9 3/8 12 5/8). A rich impression printed on cream laid paper. Titled 'Cowdray' and dated in the plate, lower left. Mounted on board, mat lines and marginal toning from 2 previous mounts; thie image in good condition. Signed in pencil, lower right margin. Housed in a 14 x 17-inch silk mat with a silver liner. $350.

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 tonE within the mat window area. Provenance: Kennedy Galleries. Signed in pencil. $975.

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.

A Sunset in Ireland. 1863. Etching and drypoint. Schneiderman 47.vii/xiv. 5 1/4 x 8 3/8 (sheet 6 3/4 x 9 1/2). A rich, glowing impression with drypoint burr, printed on fine cream laid paper. Philip Gilbert Hamerton wrote "With the exception of one plate by Claude, this is the finest etching of a landscape subject that has ever been executed in the world." Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Print Collector's Quarterly 1 (1911):20; Salaman: Modern Masters of Etching: Haden. Signed and dedicated 'à Burty' in pencil. $1,500.

A Sunset in Ireland. 1863. Etching and drypoint. Schneiderman 47.vii/xiv. 5 1/2 x 8 1/2 (sheet 6 7/8 x 9 1/2). An extremely rich impression with drypoint burr, printed on Japanese mulberry paper. Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Print Collector's Quarterly 1 (1911):20; Salaman: Modern Masters of Etching: Haden. Signed in pencil. $1,250.

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. Toning in the image; repaired tear in the right-hand corner, well outside the image. A richly-inked impression printed on cream wove paper with full margins. Signed in pencil. $975.

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.

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. $3,000.

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.

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.

A Gale at Port Errol. 1923. Etching. Hardie 215, #46. 13 x 8 3/4 (sheet 16 7 /8 x 11 1/2). Edition 76. #46. Illustrated: Fine Prints of the Year, 1923. A rich wiped impression on antique 'Whatman 1814' countermarked paper. Signed and numbered in ink. $1,250.

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 antique off-white laid paper. Signed and dedicated 'To Martin Hardie' in ink. $1,350.

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' antique laid paper. 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.

Haarlem. 1910. Etching. Hardie 61. 4 3/8 x 6 7/16 (sheet 8 5/16 x 9 1/2). Edition 40, #29. A rich impression printed on antique laid paper. Some toning in the image, otherwise good condition. Signed and numbered in ink. $1,250.

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). $1,350.

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. Housed in a 24 1/2 x 31-inch Whistler-style gold frame. $2,750.

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 antique cream laid paper. 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.

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. $1,500.

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.

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.

France at her Furnaces. 1917. Etching. Hardie 175. 8 x 15 (sheet 10 1/8 x 16 15/16). Edition 76, #A14. A rich impression printed on old laid paper with full margins. Signed and numbered in ink. $1,250.

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 . 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.

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 antique cream laid paper. Signed and numbered in in ink. $1,000.

The East: First Palestine Set - 1919.

Dawn. The Camel Patrol Setting Out. October, 1919. Etching. 8 7/8 x 14 7/8 (sheet 10 1/2 x 16 3/8). Edition 76, #viii. Series: First Palestine Set. Illustrated: Zigrosser, Six Centuries of Fine Prints. An extremely rich impression with drypoint burr and subtle tonal wiping. Printed on antique laid paper. Signed and numbered in ink. $7,500.

Ras-El-Ain. 1919. Etching. Hardie 180. 7 7/8 x 12 7/8 (sheet 9 3/8 x 14 1/2). Edition 76, #A7. A rich impression with plate tone, printed on antique cream laid paper. Signed and numbered in ink. $600.

Strange Signals. 1919. Etching. Hardie 186. 8 3/4 x 15 1/2 (sheet 10 1/4 x 16 3/4). Edition 76, #A7. Illustrated: Lumsden, The Art of Etching; Salaman: Modern Masters of Etching: McBey. A rich tonal impression printed on antique laid paper. Good original condition apart from scattered foxing and a dark line across the bottom sheet edge, well away from the image. The ink color suggests the desert sands. Signed and numbeted in ink. $9,500.

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 antique laid paper. Signed and numbered in ink. $600.

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.)

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 antique cream laid paper. $1,100.

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 antique cream laid paper. An extremely rich impression printed in sepia ink with plate tone and drypoint burr. Signed and numbered in ink. $850

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 antique laid paper. Signed and numbered in ink. $600.

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.

Gun Fire, Mount of Olives. 1921. Drypoint. Hardie . 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. $850.

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 antique blue-toned paper.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.

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." $2,500.

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 antique pale blue-toned laid paper. Signed and numbered in ink. Housed in an archival French mat and a 20 3/4 x 14 3/4-inch gold leaf frame. Price upon request

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxx. Illustrated: 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 antique pale blue-toned laid paper. Signed and numbered in ink. Price upon request

The Bridge by Night. 1926. Drypoint. Carter 232. 9 1/2 x 5 15/16 (sheet 12 13/16 x 8 1/8). Edition 80, #47. Illustrated: Print Collector's Quarterly 24 (1938): 426. A brilliant impression printed on 'P. Eller' countermarked blue-green French laid paper. Signed and numbered in ink. $3,000.

A Canal. October 1925. Watercolor. 14 x 8 3/4. McBey did a stiking nocturnal view of the bridge in his 1926 drypoint, The Bridge by Night Carter 232. Signed and dated, lower right; titled verso. Housed in a French mat and a 21 1/2 x 16-inch gold leaf frame. $5,000.

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. $1,750.

Distant Salute. 1925. Etching. Hardie/Carter 250. 7 x 15 (sheet 11 3/8 x 18 1/8). Edition 80, #28. Signed and numbered in ink. A fine impression with plate tone, printed on antique cream-colored wove paper with full margins. $1,250.

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 antique laid paper. Signed and numbered in ink. $1,450.

La Giudecca 1926. Etching. 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. $1,250.

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.

A Mirage.> 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A rich impression with subtle tonal wiping. Printed on antique paper with full margins. Signed in ink. This is one of McBey's largest and most dramatic Venetian images. $1,750.

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. $1,350.

Rio della Misericordia. October 1924. Watercolor. 14 x 8 3/4. McBey did a stiking nocturnal view of the bridge in his 1926 drypoint, The Bridge by Night Carter 232. Signed and dated, lower right; titled verso. Housed in a French mat and a 22 x 16 1/2-inch gold leaf frame. $5,000.

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. $1,250.

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/ ink with subtle tonal wiping. Printed on antique laid paper with full margins. Signed and numbered in ink. $1,250.

A Tartane Leaving Venice. 1928. Etching. Hardie/Carter 240. 6 1/2 x 12 1/2 (sheet 10 1/8 x 14 1/8). Edition 80, #12.A rich impression printed in sepia ink on off-white laid paper from an antique volume. Signed and numbered in ink. and annotated 'Lely' in McBey's hand, and 'paper belonged to Sir P. Lely in 1666' in another hand. $2,500.

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 canceled plate. $1,750.

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.

Artist and Model. 1925. Etching. Hardie 223. 8 3/4 x 5 3/4. Edition 500. A fine impression on the full sheet of wove paper. Signed in ink. $650.

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.

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.

Bassin d'Apollon, 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.

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.

Wind. 1918. Mezzotint. 'Nash and Nevinson in War and in Peace', Leicester Galleries catalog 1977 number 79 45; Black, 'C.R.W. Nevinson The Complete Prints', 2014, cat.48. 7 x 7 (sheet 9 1/4 x 11 3/4). Edition 25. A rich tonal impression with velvety blacks and delicate highlights, printed on cream laid paper with full margins. Signed and dated in pencil, lower right. Housed in a elegant 14 x 16-inch carved and beaded gold leaf frame. Price upon request.

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. $7,500.

Looking Down on Downtown. 1921. Etching and drypoint. G 29. 7 7/8 x 5 ¼ (sheet 10 1/2 x 9 1/2). American Set. A view looking down into Hanover Square in lower Manhattan. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 146. Excellent condition apart from remnants of two paper hinges, verso and faint time toning. A very rich, atmospherically wiped impression on laid paper watermarked "England." This extremely scarce image has been offered at public auction (2005). Signed in pencil. $10,000.

Looking Through Brooklyn Bridge. 1921. Drypoint. Leicester Galleries 41; Guichard 27, Black 21. 9 1/4 x 6 7/8 (sheet 13 13/16 x 11 9/16). New York set. A Illustrated: Salaman, Modern Masters of Etching; Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 146; Ackley, Rhythms of Modern Life: British Prints 1914-1939, page 96. Another impression of this image was owned by Sinclair Lewis. A very rich, atmospherically wiped impression printed on laid paper. Signed in pencil. Price upon application.

On the Roof Garden. 1919. Mezzotint. Leicester Galleries 53, Guichard 32, Black 57. 8 1/4 x 4 5/8 (sheet 11 1/2 x 9 1/8). 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. $7,500.

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. $7,500.

Two 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. $10,000.

The Early Ploughman. Alexander 9 state viii/viii; Lister 9 state ix/ix. 5 1/4 x 7 5/8 (sheet 10 3/8 x 12 1/8). Numbered 'XII' in the lower right-hand margin. A fine impression from the edition of 75 printed by F. L. Griggs and published by A. J. Finberg's Cotswold Gallery in 1926. A rich impression printed on heavy wove paper with wide margins. Mild toning in the image, otherwise good original condition. Initialled beneath the image by Sir Frank Short, Martin Hardie, and F. L. Griggs who had been jointly responsible for the printing of the final edition of five of the artist's plates. $3,500.

The Herdsman's Cottage, or, Sunset. 1888. Etching. Lister 3.ii. Image 3 7/8 x 3; plate 4 7/8 x 4; sheet 9 x 6 3/4). As published in, The Portfolio, 1872. Illustrated: Print Collector's Quarterly 3 (1913): 213. A fine impression printed on cream laid paper, with the etched initials in the lower margin. $1,250.

The Morning of Life. 1860-61. Etching. Lister 10.vii. 5 1/2 x 8 1/2 (sheet 10 1/4 x 14 3/8). Lister writes, "The plate is lettered as follows in the lower margin: Samuel Palmer. 'The Morning of Life' 13. The outstretched arm of the left-hand sheep-washer has been highlighted by burnishing. The edge of the left-hand bank of the stream has been similarly burnished. The highlights of the foreground are intensified. Published as plate 13 in Etchings for the Art Union of London by the Etching Club, 1872." Edition of 450, printed by Frederick Goulding with retroussage; the only issue. Illustrated: Print Collector's Quarterly 3 (1913): 227. A rich impression on white laid india paper. The edges of the wove support sheet gilt. Signed and titled in the plate. As issued, with the complete volume: ETCHINGS FOR THE ART-UNION OF LONDON Twenty Plates by THE ETCHING CLUB LONDON: By the Etching Club , MDCCCLXXII, 1872 [published date: 1872 ]. Rare First edition. $2,750.

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. $550.

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.

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.

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 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, Penzance. 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.

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.

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. $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.

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.

`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 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.

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 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.

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.

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.

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.

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. Slight mat line outside the image; otherwise in good original condition. 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. $1,250.

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

The Headlights Over the Hill. 1927. Mezzotint. Hardie 127. 5 7/8 x 7 7/8 (sheet sheet 9 7/8 x 12). Slight abrasion in the upper right margin, outside the image; otherwise good original condition. A rich, atmospheric impression printed on cream wove paper with wide margins. Signed in pencil. The Headlights Over the Hill. is considered one of Short's finest original mezzotints. $1,500. 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. Signed in pencil. From a watercolour sketch made by Sir Frank Short on Whitby Scaur. $500.

Moonrise on the Bure. 1922. Mezzotint. Hardie 126. 11 x 15 7/8 (sheet 18 3/8 x 23 1/2). A dramatic, tonal impression printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. 1,400.

Nithsdale. 1891. Mezzotint. Strange 154, Hardie 110. 8 1/4 x 12 7/8 (sheet 13 9/16 x 16 5/8). Edition about 50. Printed with plate tone on off-white laid paper. Illustrated The International Studio XLII/No. 165, November 10: 3. Signed in pencil. $975.

The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 18 3/4 x 23 7/8). A rich, glowing impression printed in varying tones of black-brown ink on chine mounted on sturdy white wove paper. Marginal tears and folds, outside the image. Illustrated: Fine Prints of the Year, 1927. Signed in pencil. This is Short's most dramatic mezzotint. $2,750.

A Slant of Light, Polperro Harbour (No. 2). 1901. Mezzotint. Hardie 117. 8 1/8x 10 3/4 (sheet 11 1/8 x 15). No published edition. An extremely rich impression with plate tone printed in black/brown ink. Printed on cream wove paper. An extremely rare image. Signed in pencil. $875.

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.

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.

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 mezzotint. 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 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.

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.

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.

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.

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. $200.

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. Mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 16 3/4). Printed in brown ink on off-white wove paper. Signed in pencil. $275.

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.

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. Another state of the image is illustrated in Zigrosser, Six Centuries of Fine Prints, #387. A rich impression printed on cream laid paper. An extremely scarce image. Signed in the plate. Housed in an elegant French mat and a stunning 14 1/2 x 11 1/2 x 2-inch silver wood frame. $2,500.

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.

Campbell Dodgson, C.B.E., Keeper of Prints and Drawings at the British Museum wrote: " The Great War produced its harvest of etchings and lithographs of trenches, craters, barbed wire, shhattered houses and blasted trees; but most of them were literal representations of things seen. Mr. Percy Smith, with imagination rare among English etchers, and akin to that of the draughtsmen of the northern Renaissance, combines with his sympathetic treatment of the soldier marching or fallen, crippled, maimed and agonised, the vision of an awful Presence, relentless, patient, callous, ecultant' 'awed.' in a single etching that can never be forgotten, by one culminating horror. 'The Dance of Death, 1914-1918," is not a pretty set of etchings, but it is one of the most serious and memorable works of art inspired by the War. Print Collector's Quarterly 8 (1921): 324-25.

Custom portfolio case. 19 x 16 x 1inches. 19 x 16 x 1inches. Letterpress: THE DANCE OF DEATH 1924-1918. ETCHNGS BY PERCY SMITH. ELIZABETH HOUGHTON.

The Dance of Death. 1914-1918. 1921. Portfolio of 7 etchings with drypoint. Sheet: 18 1/2 x 15 1/2. Edition 100. Title page annotated in ink by the artist": "Set No. 36 of 100 proofs only of each plate. Percy Smith." $20,000 the set. Reserved.

1. Death Forbids. 1921. Etching and drypoint. 7 7/8 x 9 7/8 (sheet 10 5/16 x 13 3/8). Series: 'The Dance of Death 1914-1918,' #1. Edition 100. Remnants of glassine hinges; otherwise fine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.

2. Death Marches. 1921. Etching and drypoint. 7 7/8 x 9 7/8 (sheet 10 5/8 x 13 1/4). Series: 'The Dance of Death 1914-1918,' #2. Edition 100, 36. Remnants of 2 glassine and 2 brown paper hinges; otherwise fine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.

3. Death Awed. 1921. Etching and drypoint. 8 x 9 13/16 (sheet 10 1/2 x 14 1/2). Series: 'The Dance of Death 1914-1918,' #3. Edition 100. Illustrated: Print Collector's Quarterly 8 (1921): 324; Illustrated: Lumsden, The Art of Etching; Guichard, British Etchers. Edition 100. Remnants of glassine hinges; otherwise fine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.

4. Death Refuses. 1921. Etching and drypoint. 7 7/8 x 9 13/16 (sheet 10 1/2 x 14 1/2). Series: The Dance of Death 1914-1918, #5. Edition 100. Remnants of glassine hinges and page reinforcements; otherwise pristine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.

5. Death Waits. 1921. Etching and drypoint. 7 7/8 x 9 3/4 (sheet 10 1/2 x 13 1/8). Series: The Dance of Death 1914-1918, #5. Edition 100. Remnants of glassine hinges; otherwise pristine condition. A rich impression with velvety drypoint burr. Printed on cream wove paper. Signed and titled in pencil. Reserved.

6. Death Ponders. 1921. Etching and drypoint. 8 x 9 7/8 (sheet 10 5/8 x 13 1/2). Series: The Dance of Death 1914-1918, #6. Edition 100. Remnants of glassine hinges; otherwise pristine condition. A rich impression with velvety drypoint bu, printed on cream wove paper. Signed and titled in pencil. Reserved.

7. Death Intoxicated. 1921. Etching and drypoint. 7 3/4 x 9 3/4 (sheet 10 1/2 x 13 3/8). Series: The Dance of Death 1914-1918, #7. Edition 100. Remnants of glassine hinges; otherwise pristine condition. A rich impression with velvety drypoint burr. Printed on cream wove paper. Signed and titled in pencil. Reserved.

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. $1,750.

Thiepval Wood. 'Bare ruined choirs where late the sweet birds sang'. 1918. Drypoint. 7 7/8 x 6 3/8 (sheet 10 3/4 x 8 3/4.) Series: Twelve Drypoints of the War 1914-1918. Slightmat line; otherwise good condition. A rich impression with velvety drypoint burr, printed on simili-japon paper. Signed and titled in pencil. $2,000.

Jerusalem 1931. Pencil, ink and watercolor. 9 1/4 x 15 (framed 18 1/2 x 24 1/2). Signed and dated in pencil. Housed in a carved gold leaf frame $1,350.

The Broken Column. 1915. Etching and drypoint. Barclay 153. 10 7/16 x 8 (sheet 17 1/16 x 10 3/4). Exhibited at the Royal Academy and the Royal Society of Painter-Etchers. A rich impression with plate tone on cream laid paper with full margins. Signed in pencil. Housed in a 19 x 16-inch archival mat. $1,000.

The Impercipient. 1923. Etching and drypoint. Barclay 155. 9 1/2 x 9 1/2 (sheet 15 7/8 x 12 3/4). Exhibited at the Royal Academy and the Royal Society of Painter-Etchers. Illustrated: Guichard, British Etchers: 1850-1940. A rich impression with plate tone on cream laid paper with full margins. Signed in pencil. $1,250. Housed in a 12 1/2 x 16-inch archival mat. This is the artist's magnum opus.

Portrait of Frederick Goulding (1842-1909) 1906. Drypoint. David Strang 581. 15 7/8 x 11 3/8 (18 3/8 x 13). A rich impression printed on cream laid paper. Signed and annotated by the artist's son, David. $750.

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.

May Green. 1927. Etching. Tassi 24.iv/vi; Cooke 30. 4 1/2 x 6 3/8 (sheet). Edition 18 in this state (total 93 proofs in 6 states). Published by Twenty-One Gallery, London. Illustrated: Fine Prints of the Year, 1927. A fine impression printed on Fabiano laid paper with a partial watermark. Full margins. A proof in the British Museum is inscribed by the artist, 'Blackheath, May Green.' Signed, annotated 'Fabiano', and 'imp' in pencil, indicating a proof printed by the artist. $5,500.

Warning Camp. 1924. Etching. Tassi 9ii.; 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. $2,750.

Alington in Wiltshire (The First Swallow).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. $1,250.

Christmas. 1929. Etching. Garton 9.II. 13 X 11 (sheet 20 X 16 5/8). Edition of 50 from the Penn Print Room edition published in 1974 by McDonald & Nicholson. (The print was originally published in 1929 by MacDonald amp; Nicholson. There was a second edition in 1974 published by the Penn Print Room and a 1982 edition of 12 published by Garton & Cooke, who later issued a posthumous edition of a further 100.) A rich, tonal impression printed on cream cove paper with full margins. Signed and 'numbered 44/50' in pencil. $3,500.

The Gamekeeper's Cottage. 1928. Etching. Garton 8.iv. 6 7/8 x 8 3/4 (sheet 10 3/8 x 13). Final state published in an edition of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 50 in 1929). Signed in pencil. Housed in a 17 3/4 x 20 1/2-inch burled wood and gold frame. $2,750.

After Robin Tanner retired from education, interest in his work grew and he returned to printmaking. A portfolio, Twelve Etchings was published by Joe Grafly at his Penn Print Room in 1974. The complete portfolio comprised of twelve etchings, on various papers, each signed and numbered 37/50 in pencil, with title page and illustrated brochure, published by the Penn Print Room, the full sheets, loose as issued within original brown cloth portfolio, 15 3/8 10 5/8 inches. Titles include: Wiltshire Roadmaker, Martin's Hovel, Wiltshire Woodman, Christmas, Harvest Festival, Autumn, Wiltshire Rickyard, June, Easter, Flowers of May, The Clapper Bridge and The Plough. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

1. Wiltshire Roadmaker. 1928. Etching. Garton 6.iv. 3 7/8 x 5 7/8 (sheet 7 3/4 x 10 1/16). Edition of 50 published by the Penn Print Room in 1974. (There was an earlier edition of 50 published in 1928 by Nicholson. Edition of 12 published in 1984 by Garton and Cooke. Posthumous edition of 112 unsigned etchings published in 1988 by Robin Garton) Printed in black ink on cream laid paper with a hammer and anvil watermark. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

3. Wiltshire Woodman. 1929. Etching. Garton 12. 4 1/2 x 5 3/8 inches(sheet 9 1/8 x 9 3/4). Edition of 50 published by the Penn Print Room in 1974. (There was an earlier edition of 50 published in 1928 by Nicholson. Edition of 12 published in 1984 by Garton and Cooke. Posthumous Memorial Portfolio edition of 112 unsigned etchings published in 1988 by Robin Garton.) Three hinge stains in the top margin, well away from the image. Printed in black ink on cream laid paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

4. Christmas. 1929. Etching. Garton 9. 1 31/4 x 11 (sheet 20 1/4 x 16 3/4). Edition of 50 published by the Penn Print Room in 1974. (There was an earlier edition of 50 published in 1928 by Nicholson. Edition of 12 published in 1984 by Garton and Cooke. Posthumous Memorial Portfolio edition of 112 unsigned etchings published in 1988 by Robin Garton.) Printed in black ink on H J Head cream wove paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

5. Harvest Festival. 1930. Etching.Garton 13.iii. 13 1/2 x 12 1/8 (sheet 20 1/4 x 16 3/4). Edition of 50 published by the Penn Print Room in 1974. (There was an earlier edition of 50 published in 1930 by the XXI Gallery. Edition of 12 published in 1984 by Garton and Cooke. Posthumous Memorial portfolio edition of 112 unsigned etchings published in 1988 by Robin Garton.) Printed in black ink on H J Head cream wove paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

7. Wiltshire Rickyard. 1939. Etching. Garton 21.v/vi. 8 3/8 x 9 1/8 (sheet 14 x 14 5/8). Edition of 50 published by the Penn Print Room in 1974. (There were earlier proofs, but no edition. Edition of 12 published in 1984 by Garton and Cooke. Posthumous edition of 112 unsigned etchings published in 1988 by Robin Garton.) Printed in black ink on H J Head cream wove paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

9. Easter. 1970. Etching. Garton 25.iii. 15 1/2 x 10 3/4 (sheet 20 1/4 x 16 3/4). Edition of 50 published by the Penn Print Room in 1974. (Edition of 12 published in 1984 by Garton and Cooke. Posthumous Memorial Portfolio edition of 112 unsigned etchings published in 1988 by Robin Garton.) Printed in black ink on H J Head cream wove paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

10. Flowers of May. 1972. Etching. Garton 26. 10 5/8 x 7 3/8 (sheet 14 5/8 x 11 1/2). Edition of 50 published by the Penn Print Room in 1974. (Edition of 12 published in 1984 by Garton and Cooke. Posthumous Memorial Portfolio edition of 112 unsigned etchings published in 1988 by Robin Garton.) Printed in black ink on H J Head cream wove paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

11. The Clapper Bridge. 1972. Etching. Garton 27. 7 x 9 3/4 (sheet 11 5/8 x 13 7/8). Edition of 50 published by the Penn Print Room in 1974. (Edition of 12 published in 1984 by Garton and Cooke. Posthumous Memorial Portfolio edition of 112 unsigned etchings published in 1988 by Robin Garton.) Printed in black inkk on 'F J Head" countermarked H J Head cream wove paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

12. The Plough. 1973. Etching. Garton 30. 6 3/8 x 7 1/2 (sheet 11 1/8 x 11 7/8). Edition of 50 published by the Penn Print Room in 1974. (Edition of 12 published in 1984 by Garton and Cooke. Posthumous Memorial Portfolio edition of 112 unsigned etchings published in 1988 by Robin Garton.) Three hinge stains in the top margin, well away from the image. Printed in black ink on cream laid paper. Signed and numbered 37/50 in pencil. The complete set in its original portfolio case is extremely rare. Price upon request.

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.

Basle. c. 1806-07. Published by J.M.W. Turner, 11 June 1807. Etching and mezzotint. Finberg 5.ii/vi. Series: Liber Studiorum Part I. 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. With the blindstamp im the lower right-hand margin of the 1873 Turner collection sale at Christie's. Signed with the artist's and mezzotinter's names in the plate. $650.

Junction of the Severn and Wye. c. 1806-07. Drawn, etched and engraved (mezzotinted) by J.M.W Turner. Published by J.M.W. Turner, June 1811. Etching. aquatint and mezzotint. Finberg 28.i/iii. Series: Liber Studiorum Part VI. Image: 7 1/8 x 10 3/8; plate: 8 1/4 x 11 1/2; sheet: 9 5/16 x 13 9/16. A fine impression printed in sepia ink, on ivory wove paper with full margins. One of eleven prints from the series that is totally by Turner's hand. Signed with the artist's name in the plate. This is the rare first state. $3,500.

Ville de Thun Published January 1, 1819. Drawn and etched by J.M.W Turner. Engraved (mezzotinted) by engraved by Thomas Hodgetts (active 1801/1846). Etching and mezzotint. Finberg 59.iii/iii. Series: Liber Studiorum Part XII. Image: 7 x 10 3/8; plate 8 3/16 x 10 3/8; sheet: 9 3/8 x 12 5/16. A fine impression printed in black/brown ink, on cream wove paper. Signed with the artist's and mezzotinter's names in the plate. $750.

Christ and the Woman of Samaria. c. 1810-15. Published by J.M.W. Turner, 1 January 1819. Etching and mezzotint. Finberg 79.v/v. Series: Liber Studiorum. Image: 7 1/4 x 10 3/8; plate: 8 1/8 x 11 3/8; sheet 12 x 17 1/2. Drawn and etched by J.M.W Turner. Engraved(mezzotinted) by S.W. Reynolds (Samuel William Reynolds 1773-1835). A fine impression printed in black/brown ink, on cream wove paper with full margins and deckle edges on two sides. This is an impression that J.M.W.Turner retained for his private collection and that was auctioned by his executors in 1873. All impressions included in this sale bore the Turner Sale Blindstamp, found in the lower center of the plate. Signed with the artist's and mezzotinter's names in the plate. $750.

Glaucus and Scylla. c. 1810-15. Printed about 1870. Etching and mezzotint. Finberg 73. Series: Liber Studiorum. Image: 7 x 10 1/4; plate: 8 x 11 3/8; sheet 10 3/8 x 17 5/8. A fine impression printed in black/brown ink, on cream wove paper with full margins. Drawn and etched and engraved by J.M.W Turner. Engraved(mezzotinted) by William Say. 1768-1832. This is an impression that J.M.W.Turner retained for his private collection and that was auctioned by his executors in 1873. All impressions included in this sale bore the Turner Sale Blindstamp, found in the lower center of the plate. Unsigned. Annotated in pencil below the platmark, "One of 25 Selected Impressions printed for Mr. E.G. Rawlinson." There were no lifetime impressions. $950.

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.

Chelsea Old Church. 1924. Etching, drypoint and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. $400.

Loading Barges on the Thames. 1922. Etching with drypoint and aquatint. Dickins 72. 4 5/8 x 13 1/8 (sheet 9 1/2 x 15 1/2).Series: The Arteries of Great Britain. Edition 425. A fine proof with tonal wiping, printed on J. Whatman wove paper. Signed in pencil. $450.

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. $400.

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.

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.

The Tyne. 1922. Etching with drypoint and aquatint. Dickins 75. 3 7/8 x 10 1/2 (sheet 9 3/16 x 15 9/16). Series: The Arteries of Great Britain. Edition 425. A fine proof with tonal wiping, printed on 'J. Whatman 'Hand made' paper. Signed in pencil. $400.

San Marco (St. Mark's). 1920. Etching with drypoint and aquatint. Dickins 66 Harvey-Lee 91 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. $400.

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

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.

Joseph Webb, A.R.E. 1908-1962.

St. Mary's, Harrow-on-the-Hill. 1933. Etching. 6 7/8 x 11 7/8 (sheet 9 1/2 x 14 1/2). Guichard 43. 1st trial proof, before the later addition of the sky. A rich impression printed on antique cream laid paper. Signed, dated, titled and annotated in pencil. $850.

William Lionel Wyllie, R.A., R.I., R.E. 1851-1931.

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 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.

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.