Dominic Winter by Jamm Design Ltd

The John Camfield Collection of British Etchings 1850-1980 16 OCTOBER 2015

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

FINE ART & ANTIQUES Thursday 15 October

Walter Greaves (1846-1930). Band Stand, Cremorne Gardens, pen, ink & watercolour, 275 x 210mm (10.75 x 8.25ins), with original printed ticket for the Royal Cremorne Gardens mounted below the image. Estimate ÂŁ700-1000 For further information please contact Nathan Winter (Pictures) nathan@dominicwinter.co.uk Henry Meadows (Antiques) henry@dominicwinter.co.uk

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THE JOHN CAMFIELD COLLECTION OF BRITISH ETCHINGS 1850-1980 & OTHER PROPERTIES

Friday 16 October 2015

Dominic Winter SPECIALIST AUCTIONEERS AND VALUERS Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk

Fax: 01285 862461 info@dominicwinter.co.uk

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AUCTION DETAILS DAY OF SALE: Friday 16 October, 2015 at 11.00 am ON VIEW:

Tuesday 13 October 9.00am-7.00pm Wednesday 14 October 9.00am-7.00pm Thursday 15 October 9.00am-7.00pm Friday 16 October 9.00am-11.00am

SPECIALIST IN CHARGE: Nathan Winter Tel: 01285 860006 info@dominicwinter.co.uk All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyerâ&#x20AC;&#x2122;s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyerâ&#x20AC;&#x2122;s premium is 19.5%. Artist's Resale Right Law ("Droit de Suite") Lots marked with

next to the lot number may be subject to Droit de Suite.

Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk for further details.

For payment arrangements please refer to information for buyers at rear of this catalogue. We would kindly request that commission bids are submitted by 10.30am on the morning of sale. For directions on how to find us, please refer to map at rear of this catalogue.

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CONTENTS Foreword by John Camfield The Camfield Collection

Lots 1-81

Other Properties: Etchings & Lithographs

Lots 82-154

Illustrated Books & Reference

Lots 155-162

Woodcuts & Wood Engravings

Lots 163-195

Index of Artists

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FOREWORD

In the mid 1950s I was a youth studying at the Brixton School of Building, an institution founded in the early 1900s to train students in all aspects of building including architecture. In those days it was described as the foremost building monotechnic in the country. Architecture became my main focus. The ideals guiding the syllabus were inspired by the Arts & Crafts movement. The library was very wide-ranging and even included early editions of Palladio. So it was inevitable that my eye would be caught by samples of Ruskinian architectural draughtsmanship and then by the crafts of etching and engraving. I became engrossed with the work of William Blake and then the whole of the British Etching revival. Initially, this was a generalized admiration for the period but by my early twenties I had discovered Samuel Palmer, Seymour Haden, D.Y. Cameron, F. L. Griggs and Gerald Brockhurst all of whom had produced stunning etchings with astonishing draughtsmanship. Of course I also researched their antecedents, Rembrandt and Durer, but they were unaffordable for me. I found a visionary quality in the British school that overwhelmed me. Collecting became a wonderful experience especially as I had found, by reading Print Collector’s Quarterly, that there were many byroads to travel and that the greatest names of British etching had followers who were also truly superb. The Palmer school alone yielded amazing talents such as Paul Drury, Joseph Webb, Frederick Griggs, Robin Tanner (from whom I personally obtained prints) and the early Graham Sutherland who is among the most gifted of this pastoral school. There are few better prints than Sutherland’s Village and Pecken Wood. And there is the parallel group inspired by Francis Seymour Haden, including artists such as D.Y. Cameron. Both artists produced immortal plates: Haden’s Sunset in Ireland and Cameron’s Ben Ledi should be represented in every major etching collection. I was astonished by the brilliant virtuosity of Gerald Brockhurst whose Adolescence is surely one of the great plates of all time. This print and Griggs’s The Almonry need to be seen side by side fully to appreciate the achievement of British printmaking in the first half of the twentieth century. What I loved was the absolute mastery of their medium - their work becomes transcendental through the perfection of their craftsmanship. I was lucky to be able to collect at a time when most of these artists were in semi-obscurity. By 1965 print collecting was just beginning to emerge from the great decline in interest following the Crash of 1929 and the Second World War. Some of the prints had rightfully been of huge value in the early ’twenties and I discovered to my joy that most of them were both affordable and in time would come my way - and they did! They came my way because there were still a very few dealers in London in the 1960s and ’70s who shared a deep admiration for the skills and aesthetics of this extraordinary school of printmaking.

John Camfield July 2015

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THE JOHN CAMFIELD COLLECTION OF BRITISH ETCHINGS To commence at 11am

1* Nixon (Job, 1891-1938). Dieppe Harbour, 1929, etching on wove paper, signed in ink, additionally inscribed to reverse by the artist in pencil with name, title, address and price, some mount staining, plate size 252 x 345mm (10 x 13.6ins), sheet size 320 x 430mm (12.5 x 16.9ins), together with Disertori (Benvenuto, 1887-1969), Jupiter, from The Planets, 1924, etching on thick wove paper, proof before letters, signed in ink and titled in pencil Il Pianeta Giove, plate size 400 x 290mm (15.75 x 11.4ins), sheet size 538 x 395mm (21.2 x 15.5ins), plus Bauer (Marius, 1867-1932), Indian Mountains, & A Horseman, together two etchings on heavy laid paper, both initialled in pencil by the artist, and numbered 99 and 20 respectively, with full margins, in very good condition (Wright 74 & 14), and other various etchings, including H. Gordon Warlow, Beauvais Cathedral, Charles Keene, A Woman Knitting, H.J. Harvey, The Jolly Vagabonds, Percival Gaskell, The Cairngorms and C.P. Slocombe, Heidelberg, & The Fairy Glen Bauers: Van Visseling 74 & 14. (10)

ÂŁ400-600

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Lot 2

Lot 3

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Lot 4 2* Palmer (Samuel, 1805-1888). The Bellman, from Il Penseroso, 1879, etching on laid paper, a rich, dark impression from the later edition printed by Frank Short, inscribed in pencil to upper left corner ‘Printed by me F.S.’, and additionally inscribed in pencil to lower left ‘To my friend Nina Griggs. Frank Short’, some light spotting, plate size 193 x 253mm (7.6 x 10ins), sheet size 270 x 387mm (10.6 x 15.25ins) Palmer’s largest plate, considered by Raymond Lister as one of the artist’s two greatest etchings, along with The Lonely Tower. The work is a recollection of Palmer’s time at Shoreham, as he wrote in a letter to Philip Hamerton of 4th August 1879 ‘It is a breaking out of village-fever long after contact - a dream of that genuine village where I mused away some of my best years designing what nobody would care for...’. Printed by Frank Short, then professor of engraving at the Royal College of Art, around 1924, most likely shortly before the Trio edition issued by Short, Hardy and Griggs and published by the Cotswold Gallery in the same year. (1) £800-1200

3* Palmer (Samuel, 1805-1888). The Early Ploughman, 1861, etching on laid paper, a good impression of the eighth state (of 9), margins trimmed, plate size 167 x 253mm (6.6 x 10ins), sheet size 179 x 265mm (7 x 10.5ins), together with The Homeward Star, etching on laid paper (bearing watermark ‘MILL’), the second state (of 4), plate size 133 x 190mm (5.25 x 7.5ins), sheet size 222 x 322mm (8.75 x 12.75ins)

5*AR Cameron (David Young, 1865-1945). Ben Lomond, 1923, etching and drypoint on laid paper, from the published edition of approximately 80, signed in pencil, a rich, dark impression, light mount stain, plate 262 x 415mm (10.3 x 16.3ins), sheet size 323 x 473mm (12.75 x 18.7ins)

Lister 9, viii/ix & 14 ii/iv. (2)

Rinder 468 vi/vi. (1)

£400-600

4* Haden (Sir Francis Seymour, 1818-1910). Shere Mill Pond II (Large Plate), 1860, etching with drypoint on laid paper, plate size 178 x 335mm (7 x 13.2ins), sheet size 208 x 254mm (8.2 x 13.9ins), together with On The Test, etching with drypoint on chine appliqué, a rich, dark impression, plate size 157 x 226mm (6.2 x 8.9ins), plus Kensington Gardens (Large Plate), 1859, etching on laid paper, a very good impression, plate size 205 x 128mm (8 x 5ins), sheet size 243 x 162mm (9.6 x 6.3ins), and 2 other etchings by the same artist: Sunset in Ireland & Newcastle-in-Emlyn, both on laid paper, the first with some light mount staining Harrington 38 (ii), 20, 28 (ii), 51 & 62. (5)

£800-1200

£400-600

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8*AR Cameron (David Young, 1865-1945). The Chimera of Amiens, 1910, etching and drypoint on thin laid paper, signed in pencil, mount stained, plate size 244 x 182mm (9.6 x 7.2ins), sheet size 277 x 211mm (10.9 x 8.3ins), together with Harfleur, 1903, etching and drypoint on laid paper, signed in pencil, plate size 310 x 195mm (12.25 x 7.7ins), sheet size 337 x 205mm (13.25 x 8.1ins), plus The North Porch, Harfleur, 1904, etching and drypoint on laid paper, a trial proof, signed in pencil, plate size 376 x 189mm (14.75 x 7.5ins), sheet size 411 x 226mm (16.25 x 8.9ins)

6*AR Cameron (David Young, 1865-1945). Joannis Darius, 1900, etching with drypoint on cream japan paper, signed in pencil, plate size 325 x 167mm (12.6 x 6.6ins), sheet size 394 x 229mm (15.5 x 9ins) Rinder 309 i/ii. (1)

£400-600

Rinder 415, 356, v & 360, i. (3)

9* Dodd (Francis, 1874-1949). Portrait of D.Y. Cameron, 1923, drypoint etching on laid paper, signed in pencil, and additionally inscribed by the artist to lower left ‘Yes. Self Proofed’, plate size 265 x 256mm (10.4 x 10ins), sheet size 350 x 313mm (13.75 x 12.3ins)

7*AR Cameron (David Young, 1865-1945). Ca d’Oro, 1900, etching with drypoint on japan, some foxing, signed in pencil, plate size 278 x 202mm (10.95 x 8ins), sheet size 305 x 230mm (12 x 9ins) Rinder 310. (1)

£400-600

(1)

£300-500

£400-600

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10* Griggs (Frederick Landseer, 1876-1938). Stoke Poges, 1918, etching on laid paper, one of only 22 impressions of the final state, signed in pencil, a very good impression, plate size 96 x 117mm (3.75 x 4.6ins), sheet size 190 x 255mm (7.5 x 10ins) Comstock 20 vi/vi. One of the rarest of Griggs’ etchings, an idealised interpretation of the timbered south porch of St. Giles Church, Stoke Poges in Buckinghamshire, itself the inspiration for Thomas Gray’s Elegy Written in a Country Churchyard. (1) £1500-2000

Lot 10 11* Griggs (Frederick Landseer, 1876-1938). Sellenger, 1917-22, etching on laid paper, one of only 18 impressions of the fifth state, signed in pencil, numbered VI in pencil lower left, with Dovers House Press stamped monogram to blank margin below signature, plate size 126 x 171mm (5 x 6.75ins), sheet size 237 x 307mm (9.3 x 12ins) Comstock 18 v/vi. (1)

£700-1000

Lot 11

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12* Griggs (Frederick Landseer, 1876-1938). Potter’s Bow, 1924, etching on antique French pale cream laid paper, one of 46 impressions of the seventh state, signed in pencil, with Dovers House Press monogram added in ink to verso, some foxing to central portion, margins trimmed (as usual), plate size 258 x 180mm (10.2 x 7.1ins), sheet size 267 x 188mm (10.5 x 7.4ins) Comstock 33 vii/vii. Provenance: Formerly in the collection of Neil Green, with his inkstamp monogram to lower right corner. (1) £400-600

13* Griggs (Frederick Landseer, 1876-1938). The Barbican, 1920, etching on laid paper, one of a few proofs of the second state (without the cresset or torch pole on top of the tower), signed in pencil, light mount stain, plate size 165 x 174mm (6.5 x 6.8ins), sheet size 340 x 257mm (13.4 x 10.1ins) Comstock 26, ii/iii. (1)

£400-600

Lot 12

14*AR Badmin (Stanley Roy, 1906-1989). Evening Light, near Sevenoaks, 1929, etching on laid paper, from the edition of 40, published by XXI Gallery, signed and titled in pencil, a fine, rich impression, plate size 130 x 166mm (5.1 x 6.5ins), sheet size 191 x 243mm (7.5 x 9.5ins) Beetles 16. (1)

£500-700

15*AR Badmin (Stanley Roy, 1906-1989). Richmond Bridge, Surrey, 1931, etching on wove paper, from the edition of 50, published by the XXI Gallery, a fine impression, signed, titled, and numbered 14/50 in pencil, additionally inscribed in pencil by the artist to extreme lower margin ‘A few available about 1935 Exhibited R.A. Published by the 21 Gallery Mill St. W, demolished in war’, plate size 113 x 165mm (4.5 x 6.5ins), sheet size 185 x 240mm (7.25 x 9.5ins) Beetles 24. (1)

£400-600

16*AR Badmin (Stanley Roy, 1906-1989). Burford, Oxfordshire, 1931, etching on Basingwerk Parchment wove paper (watermarked), from the edition of 45, published by the XXI Gallery, signed and numbered 26/45 in pencil, light mount stain, plate size 137 x 194mm (5.4 x 7.7ins), sheet size 184 x 259mm (7.25 x 10.2ins) Beetles 25. (1)

Lot 13

£500-700

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Lot 15

Lot 16

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17*AR Badmin (Stanley Roy, 1906-1989). Fallen Mill Sails, 1931, etching on wove paper, from the edition of 35, published by the XXI Gallery, signed, titled and numbered 6/35 in pencil, additionally inscribed in pencil to lower margin by the artist ‘published by the 21 Gallery Mill St. W.1 (demolished in war) ed. 35’, plate size 106 x 125mm (4.25 x 4.9ins), sheet size 196 x 235mm (7.75 x 9.25ins) Beetles 23. (1)

£500-800

18*AR Brockhurst (Gerald Leslie, 1890-1978). Noemi, 1926, etching on Whatman wove paper, one of 111 proofs published in October 1926, signed in pencil, plate size 183 x 108mm (7.25 x 4.25ins), sheet size 290 x 215mm (11.4 x 8.5ins) Wright 57 vi/vi. (1)

Lot 18

£300-400

19*AR Brockhurst (Gerald Leslie, 1890-1978). Study for a decoration, 1923, etching on cream laid paper, from the edition of 76 proofs published 1924, signed in pencil, plate size 157 x 121mm (6.2 x 4.75ins), sheet size 288 x 210mm (11.3 x 8.25ins) Wright 46 iii/iii. Fletcher 46 iii/iii. (1)

£300-500

20*AR Brockhurst (Gerald Leslie, 1890-1978). James McBey, 1931, etching on cream wove paper, from the edition of 111 proofs, published April 1931, signed in pencil, a fine impression, plate size 267 x 190mm (10.5 x 7.5ins), sheet size 378 x 280mm (14.9 x 11ins) Wright 69 ix/ix. Fletcher 69. (1)

£600-800

21*AR Brockhurst (Gerald Leslie, 1890-1978). Henry Rushbury, 1930, etching on cream wove paper, one of 111 proofs published March 1930, signed in pencil, a fine, rich impression, plate size 252 x 186mm (10 x 7.3ins), sheet size 368 x 274mm (14.5 x 10.75ins) Wright 66, xiii/xiii. Fletcher 66. (1)

£700-1000

Lot 19

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22*AR Brockhurst (Gerald Leslie, 1890-1978). Lassitude, 1923, etching on pale cream laid paper, from the edition of 76 proofs, signed in pencil, a fine strong impression, plate size 140 x 183mm (5.5 x 7.2ins), sheet size 230 x 273mm (9 x 10.75ins) Wright 43 ii/ii. Fletcher 43 ii/ii. (1)

ÂŁ400-600

Lot 20

23*AR Cameron (David Young, 1865-1945). Ben Ledi, 1911, etching with drypoint on japan laid down on wove paper, signed in pencil, plate size 378 x 301mm (14.9 x 11.8ins), sheet size 425 x 342mm (16.75 x 13.5ins) Rinder 424. (1)

Lot 21

ÂŁ400-600

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25*AR Cameron (David Young, 1865-1945). Afterglow on the Findhorn, etching with drypoint on japan tissue, signed in pencil, plate size 230 x 202mm (9 x 8ins), sheet size 260 x 223mm (10.2 x 8.8ins) Rinder 399. (1)

24*AR Cameron (David Young, 1865-1945). Gloucester, 1931, etching and drypoint on laid paper, from the edition of about 88 proofs, signed in pencil, plate size 415 x 198mm (16.3 x 7.75ins), sheet size 488 x 310mm (19.25 x 12.25ins), together with Tewkesbury Abbey, 1915, etching and drypoint on laid paper, from the edition of about 98, signed in pencil, plate size 420 x 223mm (16.5 x 8.75ins), sheet size 485 x 284mm (19.1 x 11.2ins) Rinder 490, iii/iii & 457, vi/vi. (2)

£300-500

26* Hoyton (Edward Bouverie, 1900-1988). Virgil’s Farm, 192628, etching on cream laid paper, signed in pencil, plate size 202 x 276mm (7.9 x 10.9ins), sheet size 310 x 438mm (12.25 x 17.25ins), together with Great Seaside Farm, No. 2, 1925, signed in pencil, one or two light spots, plate size 195 x 258mm (7.6 x 9.65ins), sheet size 310 x 445mm (12.25 x 17.5ins), plus Trevignano, 1927, etching on Van Gelder Zonen laid paper, signed in pencil, plate size 250 x 340mm (9.8 x 13.4ins), sheet size 383 x 526mm (15 x 20.7ins)

£400-600

The second and third works published in editions of 75 proofs. Provenance: Formerly in the collection of Neil Green, with his monogram inkstamp to lower right blank corner. (3) £300-500

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Lot 27

27* Tanner (Robin, 1904-1988). Lesser Celandine, 1943, etching on laid paper, an artist’s proof impression, aside from the edition of 50 published by Penn Print Room in 1974, signed in pencil, additionally inscribed by the artist in pencil to lower margin ‘“Lesser Celandine”: Impression on C18 paper printed in 1974 at Old Chapel Field Press.’, plate size 116 x 137mm (4.5 x 5.4ins), sheet size 230 x 277mm (9 x 10.9ins) Garton 22 ii/ii. (1)

£400-600

28* Tanner (Robin, 1904-1988). The Meadow Stile, 1970, etching on thick wove paper, an artist’s proof impression, signed in pencil, and additionally inscribed in pencil by the artist to lower margin ‘“The Meadow Stile” - Kington Langley. 1970.’, plate size 200 x 149mm (7.9 x 5.9ins), sheet size 368 x 282mm (14.5 x 11.1ins) Garton 24 ii/ii. (1)

£400-600

Lot 28

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29* Tanner (Robin, 1904-1988). August in Wiltshire, etching on thick wove paper, watermarked J Green & Son, the second of 6 artist’s proof impressions, printed at The Old Chapel Field Press in March 1976, signed and dated in pencil, additionally inscribed by the artist in pencil to lower margin ‘“August in Wiltshire”, 1976. Printed at The Old Chapel Field Press, Kington Langley, Wiltshire, March 1976.’, plate size 237 x 296mm (9.25 x 11.6ins), sheet size 330 x 390mm (13 x 15.3ins) Garton 35 iii/iii. (1)

£700-1000

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30* Griggs (Frederick Landseer, 1876-1938). Sarras, 1926-28, etching on cream laid paper, one of 84 impressions of the eighth state, signed in pencil, with stamped monogram of the Dovers House Press to lower margin verso, and numbered in ink 70, some light scattered spotting towards the right-hand side, plate size 194 x 284mm (7.6 x 11.2ins), sheet size 250 x 370mm (9.8 x 14.5ins) Comstock 35 viii/viii. (1)

ÂŁ500-700

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Lot 31

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31* Griggs (Frederick Landseer, 1876-1938). The Almonry, 1925, etching on laid paper, signed in pencil, very light foxing and pale mount stain, inkstamp monogram of the Dovers House Press to lower margin verso, plate size 245 x 170mm (9.7 x 6.7ins), sheet size 298 x 194mm (11.7 x 7.7ins) Comstock 34, v/vii. (1)

£2000-3000

Lot 33

32* Griggs (Frederick Landseer, 1876-1938). St. Ippolyts, 1927, etching on laid paper, the second state (of 4), from the edition of 32 in this state, signed in pencil, and additionally inscribed lower left ‘To Joan’, some light discolouration and marginal spotting, inkstamp monogram of the Dovers House Press to lower margin verso, plate size 135 x 120mm (5.25 x 4.75ins), sheet size 172 x 148mm (6.75 x 5.75ins) Comstock 36, ii/iv. Provenance: This print was presented by the artist to Joan Ayling (1907-1993), a miniature painter who studied at the Birmingham School of Art and the Slade School, and privately with F.L. Griggs, for whom she posed for the figures in his etching of Owlpen Manor (see lot 112). (1) £500-700

33* Griggs (Frederick Landseer, 1876-1938). Cockayne, 1936, etching on laid paper, one of only 3 impressions of the fourth state, signed in pencil, a strong, rich impression, some pale scattered foxing, plate size 205 x 275mm (8 x 10.8ins), sheet size 265 x 378mm (10.5 x 14.9ins) (1)

£700-1000

34*AR Badmin (Stanley Roy, 1906-1989). Shepton Mallet, Somerset, 1930, etching on cream laid paper, from the edition of 50, published by Twenty One Gallery, a fine impression, signed, titled, and numbered 38/50 in pencil, additionally inscribed in pencil to lower margin ‘Shepton Mallet Printed by S.R.B.’, plate size 142 x 73mm (5.6 x 2.9ins), sheet size 240 x 150mm (9.5 x 5.9ins) Beetles 20. (1)

£500-800

Lot 34

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37*AR Brockhurst (Gerald Leslie, 1890-1978). Jeunesse Dorée, 1942, etching on laid paper, an impression from the 1st state (of 3), signed and marked 1st state in pencil, additionally inscribed by the artist to lower margin in pencil, ‘Property of artist. G.L.B.’, plate size 275 x 225mm (10.75 x 8.75ins), sheet size 350 x 280mm (13.75 x 11ins) Wright 79, i/iii. Fletcher 80 i/iii. (1)

£1200-1800

38*AR Brockhurst (Gerald Leslie, 1890-1978). Viba, (Mrs. Bobby Hazleton Ross), 1929, etching on wove paper, from the edition of 111 proofs, published March 1929, signed in pencil, plate size 214 x 172mm (8.4 x 6.75ins), sheet size 345 x 265mm (13.5 x 10.4ins) Wright 63, viii/viii. Fletcher 63. (1)

39*AR Brockhurst (Gerald Leslie, 1890-1978). Nadejda, 1924, etching on wove paper, from the edition of 76 proofs, published 1924, signed in pencil, plate size 152 x 113mm (6 x 4.5ins), sheet size 282 x 219mm (11.1 x 8.6ins)

35*AR Badmin (Stanley Roy, 1906-1989). Oxfordshire Cottage, 1936, etching on cream laid paper, an artist’s proof, aside from the published edition of 40 published by the Fine Art Society, signed, titled and marked A/P, plate size 107 x 158mm (4.4 x 6.25ins), sheet size 202 x 258mm (8 x 10.2ins) Beetles 40. (1)

Wright 47, ii/ii. Fletcher 47. (1)

£300-500

40*AR Brockhurst (Gerald Leslie, 1890-1978). Ranunculus, 1921, etching on cream wove paper, from the edition of 76 proofs, published September 1921, signed in pencil, plate size 201 x 152mm (7.9 x 6ins), sheet size 318 x 250mm (12.5 x 9.8ins)

£250-350

Wright 25, iv/iv. (1)

£600-800

41*AR Cameron (David Young, 1865-1945). Arran Peaks, 1912, etching and drypoint on japan, a trial proof, signed in pencil, plate size 304 x 354mm (12 x 13.9ins), sheet size 320 x 480mm (12.6 x 18.9ins), together with The Tay, etching and drypoint on laid paper, signed in pencil, mount stained, and with overall toning and several spots, plate size 265 x 380mm (10.5 x 15ins), sheet size 317 x 470mm (12.5 x 18.5ins)

36*AR Badmin (Stanley Roy, 1906-1989). The Abbey Barn, Doulting, Somerset, 1929, etching on wove paper, from the edition of 30, published by the XXI Gallery, signed in pencil, additionally titled and numbered 26/30 to lower margin, light mount stain, plate size 113 x 137mm (4.5 x 5.4ins), sheet size 197 x 240mm (7.75 x 9.5ins) Beetles 19. (1)

£600-800

Rinder 436, iv/vi. (2)

£250-350

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Lot 37

Lot 38

Lot 39

Lot 40

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Lot 43

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42* Detmold (Charles Maurice, 1883-1908 & Edward Julius, 1883-1957). Long-Eared Bat, 1897, etching on imperial japan paper, initialled in pencil by both artists, and signed in full by E.J. Detmold, plate size 125 x 142mm (5 x 5.5ins), sheet size 233 x 306mm (9.2 x 12ins) Dodgson 9 (only state). (1)

£200-400

43* Griggs (Frederick Landseer, 1876-1938). Lanterns of Sarras, 1932, etching on laid paper, one of 25 impressions of the 3rd state, with the text of Wilfred Rowland Childe’s poem A Gothic Rose etched below the image, signed in pencil, light mount stain, plate size 284 x 184mm (11.2 x 7.25ins), sheet size 472 x 330mm (18.6 x 13ins) Comstock 47 iii/iv. (1)

Lot 44

£1500-2000

44*AR Brockhurst (Gerald Leslie, 1890-1978). Young womanhood, 1931, etching on wove paper, from the edition of 111 proofs, published July 1931, signed in pencil, a fine, rich impression, plate size 231 x 175mm (9.1 x 6.9ins), sheet size 400 x 267mm (15.75 x 10.5ins) Wright 70, vii/vii. Fletcher 70. (1)

£700-1000

45*AR Brockhurst (Gerald Leslie, 1890-1978). La Tresse, 1926, etching on wove paper, from the edition of 111 proofs, published October 1926, signed in pencil, a very good impression, remains of three gummed labels to top edge of the sheet, plate size 212 x 176mm (8.3 x 7ins), sheet size 327 x 256mm (12.9 x 9.9ins) Wright 56, vii/vii. Fletcher 56. (1)

£500-800

Lot 45

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46*AR Brockhurst (Gerald Leslie, 1890-1978). Adolescence, 1932, etching on wove paper, from the edition of 91 proofs, published December 1932, signed in pencil, a fine, rich impression, plate size 370 x 265mm (14.6 x 10.4ins), sheet size 455 x 342mm (17.9 x 13.5ins) Wright 75, v/v. Fletcher 75. (1)

ÂŁ8000-12000

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47* Tanner (Robin, 1904-1988). Hedge Flowers, 1936, etching on 18th-century laid paper, an artist’s proof impression, aside from the edition of 12 published by Garton & Cooke, signed, and additionally inscribed to lower margin by the artist ‘“Hedge Flowers”: Impression printed on 18th century paper.’, plate size 232 x 162mm (9.2 x 6.4ins), sheet size 343 x 258mm (13.5 x 10.2ins) Garton 20. (1)

£400-600

48* Tanner (Robin, 1904-1988). The Cheese Room, 1978, etching on thick wove paper, an artist’s proof impression, aside from the edition of 49 published by Robin Garton in 1978, signed and dated in pencil, additionally titled by the artist and dated to lower left corner, plate size 222 x 285mm (8.75 x 11.25ins), sheet size 320 x 415mm (12.5 x 16.3ins) Garton 38. (1)

£500-700

49* Tanner (Robin, 1904-1988). The Wicket Gate, 1977, etching on wove paper, an artist’s proof impression, aside from the edition of 49 published by Robin Garton in 1978, signed and dated ‘78 in pencil by the artist to lower margin, ‘“The Wicket Gate”. The gate at the entrance of Sydney’s Wood, Kington Langley, used by the diarist, the Rev. Francis Kilvert.’, plate size 172 x 167mm (6.75 x 6.5ins), sheet size 271 x 269mm (10.7 x 10.6ins) Garton 37 iii/iii. (1)

£600-800

Lot 47

Lot 48

Lot 49

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50*AR Brockhurst (Gerald Leslie, 1890-1978). Melisande, 1920, etching on cream laid paper, from the edition of 55 proofs published July 1920, signed in pencil, plate size 139 x 113mm (5.5 x 4.5ins), sheet size 295 x 235mm (11.6 x 9.25ins)

51*AR Brockhurst (Gerald Leslie, 1890-1978). Fabian, 1921, etching on cream laid paper, from the edition of 76 proofs published February 1921, signed in pencil, plate size 175 x 125mm (6.9 x 4.9ins), sheet size 295 x 235mm (11.6 x 9.25ins)

Wright 7 ii/ii. Fletcher 7. (1)

Wright 23, iii/iii. Fletcher 23, iii/iii. (1)

£300-500

£250-350

52*AR Brockhurst (Gerald Leslie, 1890-1978). Dorette, 1932, etching on wove paper, one of 111 proofs, published May 1932, signed in pencil, a strong, dark impression, 234 x 187mm (9.25 x 7.3ins), sheet size 365 x 255mm (14.4 x 10ins) Wright 72, vi/vi. Fletcher 72. (1)

Lot 52

£1200-1800

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Lot 53

Lot 54

53*AR Webb (Joseph, 1908-1962). Rat Barn, 1928, etching on laid paper, signed in pencil, and additionally titled lower left, some light toning and foxing, plate size 178 x 304mm (7 x 12ins), sheet size 235 x 343mm (9.25 x 13.5ins)

54*AR Webb (Joseph, 1908-1962). Dream Barn, 1929, etching on thick laid paper, signed and titled Dream Barn 1st State in pencil, a rich, dark impression, plate size 180 x 300mm (7.1 x 11.8ins), sheet size 266 x 405mm (10.5 x 16ins)

Guichard 17. Meyrick (2007), illustration 11. Provenance: Formerly in the collection of Neil Green, with his inkstamp monogram to lower right corner. (1) ÂŁ500-700

Guichard 21. Meyrick (2007), illustration 12. (1)

ÂŁ500-700

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Lot 55

Lot 56

55*AR Webb (Joseph, 1908-1962). Prison, 1930, etching on laid paper, signed, and titled Prison IInd State in pencil, plate size 178 x 303mm (7 x 12ins), sheet size 245 x 405mm (9.7 x 16ins) Guichard 27. Meyrick (2007), illustration 38. (1)

56*AR Webb (Joseph, 1908-1962). Asylum, 1930-31, etching on laid paper, signed, and titled Asylum 1st State in pencil, a very good impression, plate size 179 x 304mm (7 x 12ins), sheet size 233 x 352mm (9.2 x 13.8ins)

ÂŁ500-700

Guichard 27. Meyrick (2007), illustration 37. (1)

ÂŁ600-800

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57*AR Brockhurst (Gerald Leslie, 1890-1978). Yolande (Mrs Rushbury), 1920, etching on laid paper, signed in pencil, additionally inscribed in pencil to lower margin (apparently in the artist’s hand) ‘Yolande (Mrs Rushbury)’, plate size 113 x 87mm (4.5 x 3.5ins), sheet size 310 x 193mm (12.25 x 7.5ins) with upper outer corner torn away, together with Zélie (Marguerite), 1920, etching on wove paper, from the only edition of 40 proofs, signed in pencil, plate size 113 x 86mm (4.5 x 3.4ins), sheet size 255 x 160mm (10 x 6.25ins), plus La Basquaise, 1920, etching on wove paper, signed in pencil, pale mount stain, plate size 114 x 89cm (4.5 x 3.5ins), sheet size 280 x 217mm (11 x 8.5ins) Wright 12, 13 & 18. (3)

£600-900

58*AR Brockhurst (Gerald Leslie, 1890-1978). Anais I, 1920, etching on laid paper, from the edition of 55 proofs published in July 1920, signed in pencil, plate size 138 x 111mm (4.4 x 5.4ins), sheet size 235 x 188mm (9.25 x 7.4ins), together with Phémie, 1923, etching on laid paper, one of 76 proofs published in 1924, signed in pencil, plate size 100 x 74mm (3.9 x 2.9ins), sheet size 270 x 200mm (10.6 x 7.8ins), plus Aglaia, 1926, one of 111 proofs published April 1926, signed in pencil, and additionally signed by the artist in ink to lower left, plate size 137 x 105mm (5.4 x 4.1ins), sheet size 290 x 215mm (11.4 x 8.5ins), each in card passepartout (with Craddock & Barnard pencil annotations) Wright 6, ii/ii, 42 ii/ii & 54 ix/ix. (3)

£600-900

Lot 57

59*AR Brockhurst (Gerald Leslie, 1890-1978). The West of Ireland, 1928, etching on wove paper, one of 111 proofs of the final state, published July 1928, signed in pencil, a strong rich impression, plate size 122 x 145mm (4.8 x 5.75ins), sheet size 230 x 270mm (9 x 10.6ins) Wright 61 viii/viii. Fletcher 61. (1)

Lot 58

£300-500

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61*AR Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, one of 111 proofs published August 1927, signed in pencil, a fine, rich impression, remains of mount hinges to head and foot of extreme left blank margin, plate size 223 x 159mm (8.75 x 6.25ins), sheet size 375 x 270mm (14.75 x 10.6ins) Wright 58, ix/ix. Fletcher 58. (1)

£500-700

62*AR Drury (Paul, 1903-1987). After Work, 1926, etching on laid paper, from the edition of 75 published by the XXI Gallery, a fine strong impression, with full margins, with several pinholes to outer edges, and one or two minor marginal losses, plate size 102 x 142mm (4 x 5.5ins), sheet size 167 x 208mm (6.5 x 8.2ins) Garton 20, viii/viii. One of Drury’s finest etchings created while the artist was working alongside his close friend Graham Sutherland. (1) £500-800

63*AR Drury (Paul, 1903-1987). March Morning, 1933, etching on wove paper, signed in pencil, a very good impression, plate size 133 x 160mm (5.25 x 6.25ins), sheet size 206 x 232mm (8.1 x 9.15ins), with collector’s stamp of T.P. Hoskins to outer margin verso Garton 30. (1)

60*AR Brockhurst (Gerald Leslie, 1890-1978). In The Wood, 1920, etching on cream laid paper, one of 106 proofs of the fifth state published December 1925, signed in pencil, plate size 139 x 102mm (5.5 x 4ins), sheet size 286 x 211mm (11.25 x 8.3ins) Wright 14 & 50, v/v. Fletcher 14 & 50. (2)

£300-400

£400-600

64*AR Drury (Paul, 1903-1987). The Steeplejack, 1925, & Head of a Negro, 1925, 2 etchings on wove paper, the first from an edition of 65, the second from an edition of about 55 published by the XXI Gallery, each signed in pencil, both in excellent condition, plate size 108 x 90mm (4.25 x 3.5ins) and 127 x 102mm (5 x 4ins) respectively, sheet size 217 x 160mm (8.5 x 6.25ins), and 220 x 170mm (8.7 x 6.75ins) Garton 13 iii/iii & 15 ii/ii. (1)

Lot 61

£300-400

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Lot 62

Lot 63

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65*AR Drury (Paul, 1903-1987). Nicol’s Farm, 1925, etching on antique laid paper (with partial watermark), a strong impression, signed and dated in pencil, a few marks to margins, plate size 111 x 192mm (4.25 x 7.5ins), sheet size 216 x 250mm (8.5 x 9.9ins), stamped T.P.H. to outer margin verso, with owner’s stamp of T.P. Hoskins to outer margin verso Garton 18. (1)

£400-500

66*AR Drury (Paul, 1903-1987). Evening, 1925, etching on laid paper, from the edition of approximately 50 published by the XXI Gallery, signed and dated ‘25 in pencil, pinholes to outer margins, some light scattered foxing, and remains of gummed hinges to outer corners verso, plate size 75 x 100mm (3 x 4ins), sheet size 172 x 226mm (6.75 x 8.9ins) Garton 16, iii/iv. (1)

Lot 65

Lot 66

£700-1000

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67*AR Drury (Paul, 1903-1987). September, 1928, etching on antique laid paper, signed and dated Paul Drury ‘28 fec. et imp., and additionally inscribed by the artist in pencil to lower margin ‘No. 28. Old Japanese Paper. ‘September’’, a fine, rich impression, plate size 102 x 130mm (4 x 5.1ins), sheet size 163 x 204mm (6.4 x 8ins) Garton 24. (1)

£1000-1500

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68* Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching on wove paper, fifth state (of 5), from the edition of 85, published by the XXI Gallery, signed and dated in roman numerals, plate size 138 x 188mm (5.5 x 7.4ins), sheet size 216 x 291mm (8.5 x 11.5ins), light mount stain Cooke, Graham Sutherland Early Etchings, 26, iii/iii. Man 24, v/v. Plate destroyed. (1)

ÂŁ2000-3000

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69* Sutherland (Graham, 1903-1980). Village, 1925, etching on laid paper, the third state (of 3), published by the XXI Gallery, signed in pencil, a strong, dark impression, trimmed to narrow margins, plate size 175 x 225mm (6.9 x 8.9ins), sheet size 193 x 248mm (7.6 x 9.75ins) Man 23. Cooke, Graham Sutherland Early Etchings, 25, iii/iii. Plate destroyed. (1)

ÂŁ1500-2000

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70* Sutherland (Graham, 1903-1980). Lammas, 1926, etching on antique laid paper, fifth state (of 5), published in an edition of about 85, by the XXI Gallery, signed in pencil, a fine impression, with full margins, plate size 110 x 162mm (4.3 x 7.25ins), sheet size 197 x 322mm (7.75 x 12.7ins) Cooke, Graham Sutherland Early Etchings, 29, v/v. (1)

ÂŁ1200-1800

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71* Sutherland (Graham, 1903-1980). St. Mary Hatch, 1926, etching on laid paper, watermarked Gen de Motret, signed in pencil, from the edition of 95, published by the XXI Gallery, plate size 125 x 183mm (5 x 7.25ins), sheet size 175 x 220mm (6.9 x 8.7ins) Man 26. Cooke, Graham Sutherland Early Etchings, 28, v/v. (1)

ÂŁ1500-1800

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73* Tanner (Robin, 1904-1988). White Violets, 1973, etching on 18th-century wove paper, an artist’s proof impression, aside from the edition of 150 printed for the Print Collectors’ Club, signed in pencil, and additionally inscribed by the artist to lower margin ‘Presentation Plate for The Print Collectors’ Club. 1973. - This impression is printed on C18 paper. Artist’s Proof, no. IX.’, plate size 124 x 100mm (5 x 4ins), sheet size 196 x 155mm (7.75 x 6.1ins) Garton 28. (1)

74* Tanner (Robin, 1904-1988). Christmas Greeting Card for 1929, etching on handmade paper, watermarked J. Green & Son, an artist’s later proof impression, signed in pencil, additionally inscribed by the artist to lower margin ‘This print - My Christmas Greeting Card for 1929 - is for John Camfield. July, 1976.’, plate size 90 x 137mm (3.5 x 5.5ins), sheet size 233 x 181mm (9.2 x 7.1ins), together with Wiltshire Hedger, 1928, etching on wove paper, signed in pencil, additionally titled by the artist to lower margin in pencil ‘Wiltshire Hedger: Final state. 1971.’, plate size 100 x 149mm (4 x 5.9ins), sheet size 201 x 265mm (7.9 x 10.5ins), plus November, 1975, etching on antique laid paper, with hand and flower watermark, signed and dated in pencil, additionally inscribed with the title to lower margin by the artist, plate size 214 x 300mm (8.4 x 11.75ins), sheet size 315 x 403mm (12.4 x 15.9ins)

72* Tanner (Robin, 1904-1988). The Old Thorn, 1976, etching on 18th-century laid paper, an artist’s proof impression, printed by Robin Tanner at The Old Chapel Field Press, signed and dated in pencil, additionally titled and inscribed to lower margin ‘This impression (on C18 paper) was printed for John Camfield at The Old Chapel Field Press, Kington Langley, Wiltshire. 1976’, plate size 101 x 150mm (4 x 5.9ins), sheet size 192 x 247mm (7.5 x 9.75ins) Garton 34. (1)

£400-600

Garton 10, 7, iii/iii & 3. (3)

£700-1000

£300-500

75* Tanner (Robin, 1904-1988). Wren and Primroses, 1935, etching on laid paper, one of a small number of artist’s proof impressions printed in 1935, signed and dated in pencil, additionally title by the artist to lower left corner, plate size 94 x 113mm (3.7 x 4.5ins), sheet size 200 x 228mm (7.9 x 9ins) Garton 19. (1)

£400-600

76* Tanner (Robin, 1904-1988). The Gamekeeper’s Cottage, 1928, etching on antique laid paper, an artist’s proof impression, aside from the edition of 12 published by Garton & Cooke in 1982, a rich, dark impression, signed in pencil, and additionally inscribed to lower margin by the artist ‘Artist’s Proof. No. 2. Printed at Kington Langley, 1976. ‘The Gamekeeper’s Cottage’. First published, 1929. Plate partially reworked, 1975. This proof is of the Final (1975) State.’, plate size 175 x 226mm (6.9 x 8.9ins), sheet size 270 x 328mm (10.6 x 12.9ins)

Lot 73

Garton 8, iv/iv. (1)

£700-1000

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Lot 74

Lot 76

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77* Tanner (Robin, 1904-1988). Twelve Etchings by Robin Tanner, Penn Print Room, 1974, the complete portfolio of 12 etchings on cream wove paper, each signed and numbered 1/50 in pencil, with original printed calligraphic title-page by Robin Tanner, all loosely contained in original brown cloth portfolio Garton 3, 6, 9, 12-13, 21, 23, 25-27 & 30. The set consists of Wiltshire Roadmaker, Martinâ&#x20AC;&#x2122;s Hovel, Wiltshire Woodman, Christmas, Harvest Festival, Autumn, Wiltshire Rickyard, June, Easter, Flowers of May, The Clapper Bridge and The Plough. A fine copy, and a first set printed, of this magnificent portfolio. (1) ÂŁ8000-12000

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78*AR Webb (Joseph, 19081962). Chepstow, 1928, etching on thick laid paper, signed, and titled Chepstow Ist State in pencil, a strong, dark impression, plate size 240 x 406mm (9.5 x 16ins), sheet size 285 x 457mm (11.25 x 18ins) Guichard 14. Meyrick (2007), illustration 6. (1) £500-700

Lot 78

80*AR Webb (Joseph, 1908-1962). The Great Bridge, 1929, etching on wove paper, signed, dated, and inscribed in pencil ‘The Great Bridge, 1st state as published. To my dear friend F. De Courcy Grylls. ‘The Murmuring Stream’,’ plate size 240 x 353mm (9.5 x 14ins), sheet size 320 x 445mm (12.6 x 17.5ins), together with The Glory Hole, Lincoln, 1933, etching on wove paper, signed and dated in pencil, additionally inscribed to lower margin ‘The Glory Hole, Lincoln’ 1st state, plate size 200 x 250mm (7.9 x 9.9ins), sheet size 272 x 330mm (10.7 x 13ins)

79*AR Webb (Joseph, 1908-1962). Boxgrove Priory, Sussex, 1928, etching on laid paper, signed in pencil, old pinholes to extreme corners, head and foot of left margin restrengthened to verso, plate size 178 x 189mm (7 x 7.4ins), sheet size 295 x 231mm (11.6 x 9.1ins) Guichard 18. Meyrick (2007), illustration 8. Provenance: Ex collection of Neil Green, with his inkstamp monogram to lower right blank corner. (1) £400-600

G. 20 & 38. Meyrick (2007), illustration 14 & 21. (2)

£400-600

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81*AR Webb (Joseph, 1908-1962). Shepherd’s Haven (Lambs), 1929, etching on antique laid paper, signed in ink, and additionally titled by the artist in ink to lower blank margin Lambs, some light foxing, mostly to the plate area, plate size 137 x 262mm (5.4 x 10.3ins), sheet size 294 x 457mm (11.5 x 18ins) Guichard 22. Meyrick (2007), illustration 28. Provenance: Ex collection Neil Green, with his inkstamp monogram to lower right blank corner. (1)

£800-1200

ETCHINGS & LITHOGRAPHS: Other Properties

83* Anderson (Alfred Charles Stanley, 1884-1966). Avignon, from the Rhone, 1926, drypoint etching on Millbourn wove paper, from the edition of 75 published by Colnaghi, signed in pencil, plate size 226 x 398mm (9 x 15.75ins), framed and glazed, with James Connell label on thick card mounted to verso

82* Aldin (Cecil, 1870-1935). Hounds in Full Cry, etching with drypoint on wove paper, signed in pencil, and numbered 1/150, plate size 110 x 175mm (4.3 x 6.9ins), sheet size 218 x 265mm (8.5 x 10.5ins), framed and glazed (1)

Meyrick & Heuser, 173. (1)

£200-300

£150-200

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84* Anderson (Alfred Charles Stanley, 1884-1966). The Cooper, 1947, engraving on laid paper, from the edition of 65 published by Colnaghi in October 1947, signed in pencil, additionally inscribed to lower margin with title, and Edition 65 prints, plate size 182 x 149mm (7.25 x 6ins), with margins, framed and glazed Meyrick and Heuser 250. (1)

£200-300

85* Anderson (Alfred Charles Stanley, 1884-1966). The Lacemaker: or, ‘The fruitful ground, the quiet mind’, 1914, engraving on laid paper (watermarked O.W.P. & A.O.L.), from the edition of 50 published by Colnaghi February 1941, signed in pencil, additionally inscribed in pencil to lower blank margin, very light mount stain, plate size 195 x 151mm (7.75 x 6ins), sheet size 350 x 277mm (13.75 x 10.9ins) Meyrick & Heuser 227. (1)

£200-300

Lot 84

86* Ardizzone (Edward, 1900-1979). Shelter Scene, 1941, colour lithograph, printed by the Baynard Press, published by the National Gallery, sheet size 76 x 102cm (30 x 40ins) (1)

£150-200

87* Austen (Winifred Marie Louise, 1876-1964). Grizzlies, 1909, etching with drypoint on wove paper, signed, titled and dated in pencil, pale mount stain, plate size 305 x 477mm (12 x 18.75ins), sheet size 402 x 577mm (15.8 x 22.7ins) (1)

Lot 85

£200-300

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88*AR Austin (Robert Sargent, 1895-1973). Woman Praying, 1928, copper engraving, signed and dated in pencil, and numbered 25 from the published edition of 75, as issued by the XXI Gallery, some light paper toning and pale spotting, plate size 202 x 156mm, framed and glazed Dodgson 76. Ashmolean Museum, Robert Austin (1980) 22. (1)

£200-300

89*AR Austin (Robert Sargent, 1895-1973). Woman tethering a goat, 1928-29, engraving on laid paper, from the published edition of 75, signed and dated 1929, numbered 27/75, plate size 140 x 125mm (5.5 x 5ins), sheet size 305 x 217mm (12 x 8.5ins) Dodgson 81 ix/ix. (1)

£200-300

Lot 88

90AR Brangwyn (Frank, 1867-1956). A Londoner (Type Cockney), 1924, etching on laid paper, signed in pencil, plate size 165 x 93mm (6.5 x 3.7ins), sheet size 282 x 218mm (11.1 x 8.6ins), contained in The Etchings of Frank Brangwyn, R.A., A Catalogue Raisonne by W. Gaunt, The Studio, 1926, numerous illustrations, typescript presentation note to front endpaper, with various signatures of those offering the gift on 12 May 1945, original vellum gilt with card slipcase, 4to, limited edition of 125 copies (this copy unnumbered) Lot 89

(1)

£200-300

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91*AR Brangwyn (Frank, 1867-1956 ). The Zeppelin Raids: The Vow of Vengeance, circa 1915, lithograph on laid paper, signed in pencil, in very good condition, image size 580 x 485mm (22.8 x 19.1ins), with margins, framed and glazed (unexamined out of frame)

92*AR Brangwyn (Frank, 1867-1956 ). St. Saulve, Montreuil, etching on thick wove paper, signed in pencil, excellent condition with good margins, plate size 43 x 32.5cm (17 x 12.75ins), sheet size 57 x 46.2cm (22.5 x 18.25ins), mounted

A signed impression of the poster designed by Brangwyn for the Daily Chronicle, and published in 1916, with the printed text above and below removed. (1) £150-200

(1)

£150-200

93*AR Briscoe (Arthur John Trevor, R.E., 1873-1943). An Arrival, 1932, etching on laid paper, from the edition of 75, signed in ink and numbered 32/75, plate size 203 x 356mm (8 x 14ins), in very good condition (unexamined out of frame), framed and glazed with early label of the Horner Galleries, Sheffield to verso Hurst 75. (1)

Lot 93

£150-200

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Lot 94

Lot 95 94*AR Briscoe (Arthur John Trevor, R.E., 1873-1943). Typhoon, The Burst Topsail, 1924, etching on laid paper, from the edition of 75, signed and numbered 56/75 in ink, a very good impression, plate size 20 x 30cm (7.9 x 11.8ins), framed and glazed

95 AR Briscoe (Arthur John Trevor, 1873-1943). Thames Barge, etching and drypoint on wove paper, signed in ink and numbered 19/75, light overall toning, plate size 140 x 225mm (5.5 x 9ins), with margins, framed and glazed (unexamined out of frame)

Hurst 94. Laver 22. (1)

(1) ÂŁ200-300

ÂŁ150-250

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Lot 96

96 AR Briscoe (Arthur John Trevor, 1873-1943). Command (Third Plate), 1937, etching on laid paper, signed and numbered in ink 26/50, a very good, clean impression, plate size 210 x 350mm (8.25 x 13.75ins), with margins, framed and glazed (unexamined out of frame) (1)

ÂŁ200-300

97AR Briscoe (Arthur John Trevor, R.E., 18731943). Stowing the Mainsail, 1930, etching with drypoint on laid paper, signed and numbered in ink 20/75, plate size 315 x 240mm (12.5 x 9.5ins), with margins, framed and glazed (unexamined out of frame) (1)

ÂŁ300-500

Lot 97

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Lot 98

Lot 99 98AR Briscoe (Arthur John Trevor, 1873-1943). Aloft, 1929, etching on laid paper, signed and numbered in ink 67/75, some spotting and toning, plate size 250 x 400mm (9.75 x 15.75ins), with margins, framed and glazed (unexamined out of frame)

99AR Briscoe (Arthur John Trevor, 1873-1943). Clipper at sea, etching on laid paper, signed and numbered in ink 61/75, some light toning, plate size 200 x 300mm (8 x 12ins), with margins, framed and glazed (unexamined out of frame)

Laver 144. Hurst 256. (1)

(1) ÂŁ200-300

ÂŁ200-300

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100*AR Brockhurst (Gerald Leslie, 1890-1978). A Ballynakill Woman, 1926, etching on laid paper, from the edition of 107 proofs published April 1926, signed in pencil, a very good, dark impression, plate size 137 x 105mm (5.4 x 4.1ins), sheet size 224 x 189mm (8.8 x 7.5ins), with old typewritten label to backing board Wright 53, vii/vii. A portrait of a Connemara peasant, also mother to the two children in Brockhurst’s etching The West of Ireland (see lot 59). (1) £150-200

101*AR Cameron (David Young, 1865-1945). Killundine, 1929, etching and drypoint on laid paper, signed in pencil, a few scattered light spots, plate size 176 x 354mm (6.9 x 13.9ins), sheet size 310 x 468mm (12.25 x 18.4ins), together with Castle Moyle, 1932, etching and drypoint on laid paper (watermarked F.J. Head), signed in pencil, plate size 176 x 278mm (6.9 x 10.9ins), sheet size 233 x 362mm (9.2 x 14.25ins), plus five other etchings by D.Y. Cameron (Robin’s Court, 1907, House Front, Ypres, 1907-13, Appin Rocks, 1913, On the Ourth, 1907 & Loch Eil, 1929-30), each signed in pencil, a few light spots and pale toning (generally in very good condition), various sizes Rinder 483, 497, 385, 396A, 442, 398 & 487 respectively. (7)

£250-350

Lot 100

102*AR Copley (John, 1875-1950). The Apple Tree, 1950, etching with aquatint on pale cream laid paper, signed in pencil, plate size 332 x 262mm (13 x 10.3ins), with margins, framed and glazed Cooke 152. One of the artist’s last etchings, from a sequence of prints produced between 1939 and 1950 recently described as ‘bold, clear and often startling’ (John Copley, The Late Etchings, Fine Art Society, 2010). (1) £300-400

Lot 101

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103* Cowern (Raymond Teague, 1913-1986). A Lane, Toscanella, 1938, etching on cream wove paper, an early artist’s proof, signed, dated and titled in pencil, plate size 181 x 213mm (7.1 x 8.4ins), sheet size 209 x 232mm (8.2 x 9.1ins) (1)

£200-300

104* Flint (William Russell, 1880-1969). Manolita, 1954, drypoint etching on laid paper, from the edition of 135 published by P. & D. Colnaghi for the catalogue raisonné by Harold J. L. Wright, Etchings and Dry Points by Sir William Russell Flint, published in 1957, signed in ink, plate size 190 x 113mm (7.5 x 4.5ins), sheet size 280 x 190mm (11 x 7.5ins), bound as frontispiece to the published book (1)

£200-300

105* Freedman (Barnett, 1901-1958). 15 Inch Gun Turret, H.M.S. Repulse, August 1941, [1942], colour lithograph on wove paper, printed by the Baynard Press and published by the National Gallery, image size 705 x 995mm (27.75 x 39.2ins), sheet size 760 x 1015mm (30 x 40ins), framed and glazed (1)

£200-300

Lot 103

106*AR Frink Elisabeth, (1930-1993). The Reeve’s Tale, 1970, etching with aquatint on thick wove paper, from the Canterbury Tales series published by Leslie Waddington, signed, titled and numbered 39/70 in pencil, plate size 273 x 300mm (10.75 x 11.75ins), sheet size 400 x 590mm (15.75 x 23.25ins) Wiseman 30a. (1)

107 No Lot

Lot 104

£200-300

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Lot 105

Lot 108

108* Gibbings (Robert John, 1889-1958). Clear Waters, 1920, woodcut on wove paper, image size 217 x 120mm (8.5 x 4.75ins), with artist’s signature in ink mounted to lower margin, framed and glazed, together with Hamrun, 1920, woodcut on laid paper, unsigned, image size 150 x 248mm (5.9 x 9.7ins), framed and glazed These two slightly reduced-size reproductions are probably taken from Campbell Dodgson’s Contemporary English Woodcuts, published by The Studio in 1922. (2) £150-200

109* Gray (Joseph, 1890-1962). Battle of Britain series, 1940, a set of 6 drypoint etchings on thick wove paper, each signed in pencil, largest plate size 180 x 260mm (7.1 x 10.25ins), smallest plate size 200 x 63mm (7.9 x 2.5ins), each with wide margins, the largest plate with some marginal creases (otherwise in very good condition) The Scottish etcher Joseph Gray was born in Durham, but moved to Dundee around 1912 to work for the Dundee Courier as an illustrator. He joined the Black Watch Regiment in 1914, and fought in the battles of Neuve Chapelle, Festubert and Loos. His drawings of the Western Front were published in The Graphic. After the war, he turned to etching, moving to London in 1931 in the wake of the Depression. In the later 1930s Gray independently undertook research into camouflage and air defence, and was subsequently recruited by the Royal Engineers as a camouflage officer. He was well-known to his colleagues for his night rambles through the London streets during the Blitz, where he witnessed scenes etched in the Battle of Britain series. The titles are: The First Blitz, The Burning of the City, The Bells of St. Clement’s, Blitz, Dawn, Incendiary and Albemarle Street. (6) £300-400

Lot 109

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112* Griggs (Frederick Landseer, 1876-1938). Owlpen Manor, 1930, etching on thick laid paper, one of 45 impressions of the 3rd state, signed in pencil, with additional presentation inscription to lower left in pencil ‘To Margaret from F.’, with Dovers House Press inkstamp monogram to lower margin verso, and numbered in ink xliii, some light toning and mount stain, plate size 190 x 240mm (7.5 x 9.5ins), sheet size 270 x 350mm (10.6 x 13.75ins), framed and glazed Comstock 46 iii/iii. One of Griggs’s most powerful images, Owlpen Manor in Gloucestershire was purchased in 1925 by the architect and friend of the artist, Norman Jewson, who sensitively restored it. The house was built in 1515, and provided shelter to Queen Margaret, fleeing from the Battle of Tewkesbury. Griggs quoted Tennyson in describing the house as a ‘haunt of ancient peace’, adding in a letter of November 1924: ‘I’ve dreamt of it, & of a rendering that might capture some of that wonderful wistfulness & beauty.’ (1) £700-1000

110* Griggs (Frederick Landseer, 1876-1938). Palace Farm, 1920, etching on laid paper, one of only 6 proofs of the first state, signed in pencil, plate size 125 x 182mm (4.9 x 7.2ins), framed and glazed, with old framer’s label of Gale & Co., Birmingham to verso (unexamined out of frame) Comstock 25, i/iii. (1)

£300-500

113* Haden (Sir Francis Seymour, 1818-1910). Shere Mill Pond (Large Plate), 1860, etching on wove paper, etched signature and date within the image, lower right, right margin with hairline split along plate mark, plate size 178 x 333mm (7 x 13.1ins), sheet size 192 x 346mm (7.6 x 13.5ins), together with Kenarth, 1864, etching on thin laid paper, signed in pencil, plate size 113 x 147mm (4.5 x 5.8ins), sheet size 170 x 210mm (6.75 x 8.25ins), plus six other etchings by Seymour Haden, all unsigned, including Dusty Millers (formerly Edward James Collection), Sonning Bank, Dundrum River, Kidwelly Castle, Calais, and one other Harrington 38 & 64; Schneiderman 37 & 59 for the first two works. (7) £200-300

114* Hunt (William Holman, 1827-1910). A Day in the Country, 1865, etching on india paper, published by Joseph Cundall and Thomas Bosworth in A Selection of Etchings by the Etching Club, a fine impression, a few faint marginal spots, image size 140 x 210mm (5.5 x 8.25ins), framed and glazed, with old label to verso of W. Herbert Yates Framemaker and Guilder, 5 Petersham Road, Richmond, (unexamined out of frame) 111 Griggs (Frederick Landseer, 1876-1938). St. Botolph’s Bridge no. 2, etching on wove paper, from the Centenary Edition of 30 proofs published in 1976, unsigned, plate size 248 x 198mm (9.7 x 7.8ins), with margins, titled and numbered 4/30 in pencil to lower blank margin, framed and glazed Comstock 56. (1)

Bronkhurst App. B21 (volume II, page 279). One of only two etchings of modern subjects, the other being A Morning Song of 1866. (1) £300-500

£150-200

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Lot 112

Lot 114

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115* Knight (Dame Laura, 1877-1970). Footlights, 1923, etching and aquatint on laid paper, from the published edition of 80, signed and titled in pencil, plate size 200 x 150mm (7.9 x 5.9ins), sheet size 275 x 210mm (10.8 x 8.25ins) (1)

£150-200

116* Knight (Dame Laura, 1877-1970). Lilian, drypoint on laid paper, from the edition of 50 published proofs, signed, titled, and inscribed 50 proofs in Edition in pencil, plate size 353 x 249mm (13.9 x 9.75ins), sheet size 467 x 320mm (18.4 x 12.5ins)

117* Legrand (Louis, 1863-1951). Après le tub, drypoint etching, signed with initials, numbered 37/50, with Gustave Pellet publisher’s circular ink stamp in red to lower right, sheet size 41 x 31.5cm (16 x 12.25ins), together with La Toilette, drypoint etching on japon, signed in the image only, sheet size 30.5 x 22.3cm (12 x 8.75ins), mounted, plus Nude washing by a tub, etching on Louis Legrand watermarked paper, numbered 21/30 in pencil, with Gustave Pellet publisher’s circular inkstamp in red to lower right corner, plate size 18 x 22.5cm (7 x 9ins), sheet size 44 x 28.5cm (17.25 x 11.25ins), mounted

(1)

(3)

£300-400

£150-200

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118* Legros (Alphonse, 1837-1911). Les Bouleaux: Bord de l’Eau, Effet du Matin, etching on wove paper (watermarked O.W.P.), one of 38 impressions of the 2nd state, signed in pencil, plate size 127 x 203mm (5 x 8ins), sheet size 192 x 264mm (7.5 x 10.4ins), together with Bord de l’Adur, etching on wove paper (watermarked A.O.L. and O.W.P.), signed in pencil, plate size 113 x 202mm (4.5 x 8ins), sheet size 173 x 256mm (6.8 x 10ins), plus Les Bords de la Liane, etching on laid paper, an impression from the 6th state, plate size 153 x 203mm (6 x 8ins), sheet size 200 x 275mm (7.9 x 10.8ins), and seven other etchings by Legros, including Le Voyageur surpris par l’Orage, Le Voleur de Poires (2nd Plate), St. Pierre et St. Paul a la porte du Bonhomme Misere (5th state), St. Pierre et St. Paul a la porte de M. Richard (3rd state), title page for Fifty impressions of 10 Etchings by Alphonse Legros (5th state), and two others Bliss 325, 392, 240, 226, 139, 145, 175, & 162 respectively. (10)

120* Manning (William Westley, 1868-1954). The Alhambra, Granada, 1936, & Settignano, together two aquatints, each signed in pencil, titled, the first dated February 12 ‘36 to lower right, with good margins, plate size 31.5 x 40.5cm (12.5 x 16ins), and 29 x 40cm (11.5 x 15.75ins), respectively, mounted (1)

£100-150

£200-300

119* Legros (Alphonse, 1837-1911). A Woodland Study, circa 1903, etching on laid paper, signed in pencil, plate size 203 x 320mm (8 x 12.5ins), sheet size 235 x 350mm (9.25 x 13.75ins), together with Holroyd (Charles, 1861-1917), Alphonse Legros, No. 1 (Dodgson 102), etching on cream laid paper, signed and titled in pencil, plate size 250 x 175mm (9.9 x 6.9ins), sheet size 320 x 234mm (12.5 x 9.25ins) (2)

£100-150

121* Martin (John, 1789-1854). The Paradise Lost of Milton, 182527 [but slightly later], 23 mezzotint engravings (from the total of 24), image size 145 x 205mm (5.75 x 8ins) or similar, plate size 180 x 270mm (7 x 10.5ins), each window-mounted (23)

£300-400

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Lot 122 122* McBey (James, 1883-1959). The Ford, 1913, (Hardy 140), etching on laid paper, from the edition of 50 proofs, signed in ink, and numbered XV, plate size 140 x 240mm (5.5 x 9.5ins), sheet size 200 x 277mm (7.9 x 10.9ins), together with Brockhurst (Gerald Leslie, 1890-1978), Marquett, 1925, (Wright 51), etching on Whatman laid paper, from the edition of 106 proofs published December 1925, signed in pencil, plate size 216 x 175mm (8.5 x 7ins), sheet size 415 x 275mm (16.3 x 10.8ins), plus Strang (William, 1859-1921), Portrait of Hans Richter (1843-1916), etching on F.J. Head laid paper, signed in pencil, plate size 400 x 275mm (15.75 x 10.8ins), sheet size 570 x 430mm (22.4 x 17ins), and other various etchings, including Muirhead Bone, Ian Strang, James G. Power, H. Gordon Warlow, Bertram Buchanan, J. Reginald Taylor and J.R.G. Exley (4) (13)

ÂŁ200-300

123* Menpes (Mortimer L., 1860-1938). Bronze Workers, Japan, etching with drypoint on laid paper (watermarked F.J.H.), initialled in pencil, plate size 138 x 175mm (5.4 x 6.9ins), sheet size 225 x 280mm (8.8 x 11ins), together with Interior of St. Marks, Venice, 1910-11, etching with drypoint on Van Gelder Zonen laid paper, signed in pencil, plate size 305 x 210mm (12 x 8.25ins), sheet size 380 x 275mm (15 x 10.8ins), plus Interior of St. Maclou, Rouen, 1912/13, etching and drypoint on thick wove paper, published in an edition of 50, signed, plate size 310 x 160mm (12.25 x 6.25ins), sheet size 345 x 192mm (13.5 x 7.5ins), and one other signed etching of a street with buildings and archway (possibly Mexico), plate size 300 x 190mm (11.75 x 7.5ins), sheet size 386 x 252mm (15.25 x 9.9ins) Morgan 411, 366 & 383 for the first three works. (4)

Lot 123

ÂŁ150-200

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124* Menpes (Mortimer, 1855-1938). A Peddlar of Puebla, 190708, drypoint etching on laid paper, signed in pencil, numbered with the artist’s inventory number 79 in pencil lower left, and additionally titled in pencil to lower margin (in another hand), some mount staining, plate size 150 x 134mm (5.9 x 5.25ins), sheet size 283 x 227mm (11.2 x 8.9ins), together with Patterson (Malcolm, 1873-), Head of a Woman, 1928, etching on laid paper, signed in pencil, and artist’s inventory number 28 lower left, plate size 184 x 127mm (7.25 x 5ins), sheet size 227 x 171mm (9 x 6.75ins), plus 8 woodcuts by Cyril Saunders Spackman (1887-1963), including Edge of the Fir Grove, and Firs, each signed in pencil, 4 titled, including 3 duplicates Morgan 283 (for the etching by Menpes). For Malcolm Patterson, see Grant Waters, Dictionary of British Artists 1900-1950. (10) £100-150

125* Merritt (Anna Massey Lea, 1844-1930). Ophelia, 1880, etching on thick laid paper, plate size 225 x 172mm, sheet size 316 x 241mm (12.5 x 9.5ins), together with 3 other late 19th-century etchings: Sir Frederick Leighton, Athlete wrestling with a python, 1881, Lawrence Alma-Tadema, Childish Affections, circa 1881, and Percy Thomas, Portrait of Henry Wadsworth Longfellow (4)

£150-200

Lot 124

126* Millais (John Everett, 1829-1896). Summer Indulgence, 1861, etching on wove paper, plate mark not visible, sheet size 165 x 235mm (6.5 x 9.25ins) (1)

£100-150

127* Moran (Thomas, 1837-1926). Sunrise, The Pond, Easthampton, 1881, etching on laid paper, plate size 115 x 180mm (4.5 x 7ins), sheet size 241 x 322mm (9.5 x 12.7ins)

Lot 125

(1)

£80-120

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Lot 128

128*AR Nevinson (Christopher Richard Wynne, 1889-1946). French village, 1928-29, lithograph on wove paper, signed in pencil, image size 245 x 346mm (9.7 x 13.4ins), with margins, framed and glazed Black 141. (1)

£1000-1500

129* Osborne (Malcolm, 1880-1963). Vezelay, etching on cream wove paper, signed and titled in pencil, a strong, clean impression, plate size 207 x 320mm (8.2 x 12.6ins), with margins, framed and glazed (unexamined out of frame) (1)

£70-100

130* Palmer (Samuel, 1805-1888). The Herdsman’s Cottage or Sunset, 1850, etching on laid paper, without the initials S P to lower left, light horizontal crease across the sheet affecting the upper edge of the image, plate size 124 x 102mm (4.85 x 4ins) Lister E3. (1)

£100-150

Lot 130

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131* Palmer (Samuel, 1805-1888). The Lonely Tower, 1879, etching on cream wove paper, with plate number 16 added to lower left, a 20th-century impression (probably one of the 21 impressions printed by C.H. Welch in 1962, or the approximately 10 impressions printed by Edgar Holloway in 1972), some foxing and browning to extreme top margin, plate size 190 x 250mm (7.5 x 9.8ins), sheet size 318 x 415mm (12.5 x 16.3ins) (1)

£150-200

133*AR Power (Cyril Edward, 1872-1951). The Gate of Honour, Caius College, Cambridge, etching with drypoint, from the published edition 166, signed, titled, and numbered 22/166 in pencil, plate size 229 x 152mm (9 x 6ins), sheet size 327 x 211mm (12.8 x 8.3ins), framed and glazed (1)

134

£300-400

No lot

132* Pennell (Joseph, 1858-1926). Cheyne Walk, Chelsea, 1906, etching on ivory laid paper, signed and inscribed in pencil to Jonathan Hogg (Chairman of the firm William Hogg & Co., Dublin) ‘Cheyne Row where Whistler lived and painted Mr Hogg’s pictures’, some scattered spotting, plate size 196 x 268mm (7.75 x 10.5ins), with margins, framed and glazed (unexamined out of frame) The Right Honourable Jonathan Hogg (1847-1930) was a businessman and collector, who purchased two watercolours by Whistler: Nocturne in grey and gold - Piccadilly, and Sunrise: gold and grey. (1) £150-200

135 Rhodes (Marion, 1907-1988). A Yorkshire Village, etching, signed in pencil to lower margin, plate size 24 x 36cm (9.5 x 14ins), sheet size 28 x 41cm (11 x 16ins), together with three other etchings by Rhodes, including Bibury, dated 1937, Rome, also dated 1937 and a view of a Buckinghamshire woods, plus a watercolour view of Bolton Abbey also by Rhodes (5)

£100-150

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136* Sandford (Lettice, 1902-1993). Two girls embracing, zinc engraving on handmade wove paper, signed in pencil, and numbered 11/16, plate size 235 x 160mm (9.25 x 6.25ins), sheet size 305 x 215mm (12 x 8.5ins), mounted An unused design for a Golden Cockerel Press book, most likely the Golden Cockerel Greek Anthology, published in 1937. (1) ÂŁ150-200

137* Scott (William Bell, 1811-1890). And the Waters prevailed upon the Earth an hundred and fifty days, 1878, etching on wove paper, plate size 265 x 204mm (10.5 x 8ins), framed and glazed, with Abbott & Holder label to verso (1)

ÂŁ100-150

Lot 136

138* Shannon (Charles Haslewood, 1863-1937). Late Summer, 1917, lithograph printed in red-brown on Ingres laid paper, signed in pencil, one or two minor marginal marks, image size 370 x 380mm (14.5 x 15ins), sheet size 630 x 475mm (24.75 x 18.75ins), together with The Ebb Tide, 1917, lithograph printed in red-brown on Ingres laid paper, signed in pencil, image size 295 x 305mm (11.5 x 12ins), sheet size 630 x 475mm (24.75 x 18.75ins), plus Autumn, 1917, lithograph printed in red-brown, signed in pencil, image size 480 x 325mm (18.8 x 12.8ins), sheet size 555 x 400mm (21.8 x 15.75ins) Delaney 85, 86 & 84 respectively. Printed in editions of approximately 50. (3) ÂŁ200-300

Lot 137

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139* Short (Sir Frank, 1857-1945). Sunrise over Whitby Scaur, 1899, aquatint on vellum, an artist’s proof impression, signed in pencil, plate size 210 x 319mm (8.25 x 12.5ins), with margins, modern frame, glazed, with old label of John Magee, 4 Donegall Square West, Belfast attached to verso Hardie 156. (1)

£100-150

141* Spencer (Unity, 1930-). Figures in a garden, 1952, etching with aquatint on wove paper, signed and dated in pencil, plate size 148 x 120mm (5.8 x 4.75ins), with margins, framed and glazed (unexamined out of frame) (1)

140* Sickert (Walter Richard, 1860-1942). The Old Fiddler, circa 1919, etching on F.J. Head laid paper (with watermarked initials), signed in pencil, mount stained, remains of adhesive to extreme upper blank corners, and lower blank margin, plate size 150 x 114mm (5.9 x 4.5ins), sheet size 265 x 203mm (10.4 x 8ins), framed and glazed, with old label for Chas. A. Jackson, Fine Art Dealer, Carver and Guilder, Picture Frame Manufacturer, Manchester to verso Bromberg 187, ii/ii. (1)

£200-300

142* Sullivan (Edmund J., 1869-1933). John Galsworthy O.M., 1930, etching on cream laid paper, signed, dated and numbered 37/60 in pencil, a rich, dark impression, plate size 263 x 200mm (10.4 x 7.8ins), with margins, framed and glazed (unexamined out of frame), together with Sauter (Rudolph Helmet, 1895-1977), John Galsworthy, OM, 1930, etching on laid paper, marked in pencil lower right 4th Trial, plate size 212 x 149mm (8.4 x 5.9ins), sheet size 286 x 228mm (11.25 x 9ins), framed and glazed

£300-500

(2)

£150-200

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143* Tanner (Robin, 1904-1988). Hedge Flowers, 1936, etching on wove paper, in an edition of 110 by Garton & Co. in 1989 for the Memorial Portfolio, plate size 230 x 162mm (9 x 6.25ins), with margins, framed and glazed (unexamined out of frame) Garton 20. (1)

£100-150

144* Todd (Arthur Ralph Middleton, 1891-1966). The Basket Weaver, etching with drypoint on wove paper, signed in pencil, plate size 200 x 155mm (7.9 x 6.1ins), with margins, framed and glazed (unexamined out of frame), together with Woollard (Dorothy E.C., 1886-1986), Old Buildings, Bristol, etching, signed in pencil, plate size 174 x 111mm (6.8 x 4.3ins), with margins, plus 8 other various etchings etc., including Edgar L. Patteson, Marcel Jacque, Bordass, Carl Rotky, etc. (10)

£100-150

Lot 143

145* Tunnicliffe (Charles Frederick, 1901-1979). Long-eared Owl, Gander, Cockatoo & Canadas in Cheshire, 4 wood engravings, printed from Tunnicliffe’s original blocks by Nicholas McDowall on Zerkhall paper, published in a limited edition of 112 by Gerrish/Larkhall Fine Art, April 2009, sheet size 535 x 380mm (21 x 15ins) and smaller (4)

Lot 144

£200-300

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146* Tunnicliffe (Charles Frederick, 1901-1979). Three Pigs, etching on wove paper, signed and numbered 58/75, plate size 148 x 203mm (5.8 x 8ins), some light spotting, with margins, framed and glazed (unexamined out of frame) (1)

148* Walcot (William, 1874-1943). Kom Ombo, 1928, etching with drypoint on wove paper, signed and numbered 32/75 in pencil, plate size 160 x 205mm (6.3 x 8ins), sheet size 275 x 370mm (10.8 x 14.6ins), together with The Caravan, & Antony’s Palace, 1928, two drypoint etchings with aquatint, both signed, and numbered 47/75 and 42/75 respectively, plate size 177 x 230mm (7 x 9ins) and 171 x 283mm (6.75 x 11.2ins) respectively, both with full margins, all in fine condition

£250-350

(3)

£200-300

147* Walcot (William, 1874-1943). Hospital of St. Mark’s, Venice, 1920, etching drypoint and aquatint on cream wove paper, watermarked J. Green & Son, signed in pencil, plate size 120 x 179mm (4.75 x 7ins), sheet size 240 x 308mm (9.4 x 12.1ins), together with another impression of the same print, signed, somewhat soiled and with short closed tear repair to lower left corner One of the four views that make up Walcot’s Venice set, published in an edition of 415. The others being the Doge’s Palace, San Marco and The Library of San Marco. (2) £150-200

149 Walcot (William, 1874-1943). Villa Quintillii, etching with drypoint, signed in pencil to lower margin, a little scattered spotting, image size 17 x 24.5cm (6.75 x 10ins), framed and glazed (1)

£150-200

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150* Whistler (James Abbott MacNeill, 1834-1903). Little Dordrecht, 1886, etching on laid paper, a later impression, plate size 95 x 130mm (3.75 x 5.1ins), sheet size 135 x 180mm (5.25 x 7.1ins) Kennedy 243. Glasgow online catalogue, 260. (1)

152* Whistler (James Abbott MacNeill, 1834-1903). The Punt, 1861, etching with drypoint on wove paper, as issued in Passages from Modern English Poets illustrated by the Junior Etching Club, plate size 120 x 160mm (4.75 x 6.5ins), sheet size 165 x 235mm (6.5 x 9.4ins)

£200-300

Kennedy 85, iv/iv. (1)

£150-200

153* Whistler (James Abbott MacNeill, 1834-1903). Swan and Iris, 1882, etching and drypoint on wove paper, a good, strong impression, with full margins, plate size 135 x 83mm (5.25 x 3.25ins), sheet size 425 x 355mm (16.75 x 14ins) Kennedy 241 , ii/ii. Glasgow online catalogue 247. An etched interpretation of the unfinished painting by Cecil Lawson (1851-1882), whose widow Constance was the sister of Whistler’s fiancée Beatrice. As published in Edmund Gosse’s Cecil Lawson: A Memoir, published by the Fine Art Society in 1883. (1) £1000-1500

151* Whistler (James Abbott MacNeill, 1834-1903). Sketching, No. 1, 1861, etching with drypoint on wove paper, as published in Passages from Modern English Poets illustrated by the Junior Etching Club, plate size 120 x 166mm (4.75 x 6.5ins), sheet size 168 x 237mm (6.6 x 9.4ins) Kennedy 86, iv/iv. (1)

£150-200

154* Wyllie (William Lionel, 1851-1931 ). Old Waterloo Bridge and Somerset House from the South Bank, etching on wove paper, a few light pressure points towards left hand margin, a clean, strong impression, signed in pencil, plate size 192 x 355mm (7.5 x 14ins), framed and glazed (1)

£200-300

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Lot 153

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ILLUSTRATED BOOKS & REFERENCE 156 Gibbings (Robert John, 1889-1958). Fourteen Wood Engravings by Robert Gibbings from Drawings made on Orient Line Cruises, Golden Cockerel Press, [1932], fourteen wood engravings, printed presentation slip from Orient Line Cruises loosely inserted, dated October 1932, original yellow printed wrappers, stitched as issued, some minor marks to extremities, slim folio (1)

£150-200

157 Guichard (Kenneth M.). British Etchers 1850-1940, 1st edition, Robin Garton, 1977, 3 etchings by Robin Tanner (Wren and Primroses, Full Moon & The Old Road), each signed in pencil, numerous illustrations, top edge gilt, original quarter blue morocco gilt, slightly rubbed, large 4to (1)

158 Helleu (Paul Cesar, 1859-1927). A Gallery of Portraits, Edward Arnold, 1907, twenty-four colour plates, each with captioned tissue guard, gutta-percha perished, original publisher’s cloth-backed boards, gilt lettered title to upper board, a little rubbed at extremities, folio

155 Flight (Claude). Lino-Cuts, A hand-book of linoleum cut colour printing, 1st edition, 1927, colour and monochrome illustrations, including an original colour lino-cut by Claude Flight, Crossing the Road, printed from the author’s original baska type blocks in red, cobalt blue and black, some light handling marks, original light greybrown cloth, with design in red to upper cover, rubbed and some marks, large 8vo, together with The Art and Craft of Lino Cutting and Printing, 1st edition, Batsford, 1934, colour and monochrome plates and illustrations, original cloth-backed pictorial boards, very slightly rubbed, 8vo (2)

£200-300

(1)

£100-150

£150-200

159 Nevinson (Christopher Richard Wynne, 1889-1946). Modern War. Paintings by C.R.W. Nevinson, with an Essay by P.G. Konody, Grant Richards, 1917, lacking the colour frontispiece, 24 monochrome reproductions, original green cloth with printed paper label to spine and upper cover, rubbed and worn to foot of spine and lower corners, in dust jacket (worn with loss to spine and lower corners), 4to Limited edition of 75 copies, originally containing the etching Returning to the Trenches, this copy numbered 48, and signed by the publisher. The etching is not present. Presentation inscription by Nevinson to front endpaper ‘To Robert Mountsier, C.R.W. Nevinson, Feb 8. 1917.’. Robert Mountsier (18881972) was an American journalist, literary agent and later newspaper editor, who acted as D.H. Lawrence’s American agent from October 1920 to 1923. (1) £100-150

Lot 156

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WOODCUTS

160 Nevinson (Christopher Richard Wynne, 1889-1946). Modern War. Paintings by C.R.W. Nevinson, with an Essay by P.G. Konody, Grant Richards, 1917, lacks colour frontispiece, 24 monochrome reproductions, original cloth-backed green boards, with paper label to spine and upper cover, rubbed and marked with some soiling, 4to Presentation copy from P.G. Konody, inscribed to front endpaper: ‘To Walter Barnett from P.G. Konody with best wishes Christmas, 1916’, and additionally inscribed by Nevinson in ink below ‘& my best wishes C.R.W. Nevinson May 18th 1917.’ The dedicatee is most likely to have been H. Walter Barnett (18621934), the Australian professional photographer, who moved to London in 1898, establishing himself as a highly successful portrait photographer, particularly of the artistic world. In 1917 he held an exhibition of his work entitled Warriors All: Exhibition of Portraits of Officers of the British, Overseas and Allied Forces and Ladies Engaged in War Work. (1) £100-150

163 Armitage (Jean, 1895-1988). Swallows & Chiffchaff, a pair of colour woodblock prints, signed and titled in pencil to lower margin, 22 x 16.5cm (8.75 x 6.5ins), framed and glazed Little biographical information is available on Jean Armitage. She attended the Byam Shaw School of Art in London and was taught by John D. Batten (1860-1932). Her work shows the influence of Japanese prints both in style and subject matter. (2) £150-200

161 Ravilious (Eric, 1903-42). The Wood Engravings of Eric Ravilious, Lion and Unicorn Press, 1972, numerous illustrations, original cloth, large folio Printed in an edition of 500 copies. This copy numbered II/50. (1)

£200-300

162 Gill (Eric, 1882-1940). Procreant Hymn, E. Powys Mathers, 2 volumes (original version/alternative version), The Old Stile Press, 2010, 10 copper engraved plates by Eric Gill (5 to each volume) on Velin Arches Blanc paper, printed directly from the original copper plates, edges untrimmed, original patterned boards gilt, with slipcase, 4to (313 x 267mm) Limited edition of 60 numbered copies for sale, this being one of an additional 15 copies hors commerce. (2) £300-400

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166* Barnard (Margaret, 1900-1992). Mountain village, colour woodcut on japan, signed and numbered 1/50 in pencil lower right, image size 270 x 338mm (10.6 x 13.25ins), sheet size 303 x 390mm (11.9 x 15.3ins), framed and glazed (1) £300-500

164* Barnard (Margaret, 1900-1992). The Water Hole, colour woodcut on japan, signed in pencil lower left, image size 203 x 133mm (8 x 5.25ins), sheet size 270 x 160mm (10.7 x 6.25ins) framed and glazed £200-300

165* Barnard (Margaret, 1900-1992). Clouds, colour woodcut on japan, unsigned, image size 175 x 255mm (6.9 x 10ins), sheet size 230 x 313mm (9 x 12.3ins), framed and glazed (1) £200-300

167* Bawden (Edward, 1903-1989). Campions and Columbines, colour linocut on handmade paper, printed by Rampant Lions Press, Cambridge, in 1989, in an edition of 500 copies, and published by Merivale Editions, signed in pencil, and numbered 108/500, sheet size 293 x 205mm (11.5 x 8ins), mounted Greenwood, Edward Bawden Editioned Prints 26. (1)

£150-200

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168* Bresslern-Roth (Norbertine von, 1891-1978). Junger Löwe, 1937, linocut on japan, printed in black, signed and inscribed Handdruck in pencil, image size 170 x 230mm (6.75 x 9ins), sheet size 207 x 260mm (8.2 x 10.25ins) (1)

£200-300

170*AR Craig (Edward Henry Gordon, 1872-1966). Ellen Terry’s Bouquet, circa 1929, woodcut on japan paper, signed in pencil with initials, and dated 1931 lower right, image size 127 x 108mm (5 x 4.25ins), sheet size 307 x 205mm (12.1 x 8.1ins) (1)

£200-300

169*AR Craig (Edward Henry Gordon, 1872-1966). Incorruptible, circa 1899, woodcut on japan paper, signed in ink lower right, image size 142 x 235mm (5.6 x 9.25ins), sheet size 287 x 362mm (11.3 x 14.25ins) (1)

£200-300

171* Dulac (Edmund, 1882-1953). Peony in a Vase, colour linocut, signed and inscribed Original Lino-cut in pencil, image size 123 x 174mm (4.8 x 6.75ins), framed and glazed (unexamined out of frame) (1)

£200-300

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172* Frank (Leo, 1884-1959). Evening River Landscape, colour woodcut, signed and numbered 12 in pencil, image size 250 x 300mm (9.75 x 11.75ins), framed and glazed Unexamined out of frame. (1)

£100-150

173* Lee (Sydney, 1866-1949). Moonlit Shore, woodcut on thin wove paper, signed and numbered No. 36/60 in pencil, image size 187 x 309mm (7.4 x 12.2ins), sheet size 260 x 510mm (10.25 x 20ins), together with The Gate House, woodcut, from an edition of 100 proofs, signed in pencil, plus three other woodcuts by Sydney Lee, including one of two peasants in conversation, another of a French manor house with horses and carts on the road, each signed in pencil, another woodcut by Bernard Rice of a Bosnian Mill, a woodcut by F.M. Green entitled Road to Harbour, Newlyn, and others similar

175* Nash (John, 1893-1977). Winter, woodcut on wove paper, signed in pencil, pale mount stain, laid down, image size 165 x 130mm (6.5 x 5ins), sheet size 267 x 210mm (10.5 x 8.25ins)

(10)

(1)

£100-150

176* O’Connor (John Scorror, 1913-2004). Garden Landscape, colour linocut, signed in red crayon, 465 x 605mm (18.25 x 23.75ins) mount aperture, framed and glazed (unexamined out of frame)

174* Mavrogordato (Julia, 1903-1992). Gone to Ground, colour woodcut, signed, titled, and numbered 5/15, image size 190 x 255mm (7.5 x 10ins), sheet size 264 x 312mm (10.4 x 12.25ins), framed and glazed with original Redfern Gallery label to verso, dated August 1932 (1)

£150-200

(1)

£350-450

£150-200

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178* Pellew (Claughton, 1890-1966). ‘The Interior’, 1925, wood engraving on wove paper, a good dark impression, the full sheet, signed, dated, titled, and numbered 5 from the edition of 30, image size 127 x 139mm (5 x 5.5ins) (1)

£200-300

177* O’Connor (John Scorror, 1913-2004). Ariel and Miranda, 1992, woodcut on wove paper, from the Portfolio published by the Rocket Press, 1992, signed and numbered 41/65 in pencil, image size 204 x 153mm (8 x 6ins), sheet size 360 x 265mm (14.2 x 10.4ins), together with Cat, 1990, wood engraving, printed by the Rocket Press, signed and numbered 20/75 in pencil, image size 253 x 178mm (10 x 7ins), sheet size 368 x 263mm (14.5 x 10.4ins), plus University Summer, wood engraving printed in black and yellow, signed, titled and numbered 61/65, image size 164 x 102mm (6.5 x 4ins), and Canal, & Canal Boat, 1990, two wood engravings on wove paper, both artist’s proofs, aside from the edition of 70 published by the Rocket Press, each signed, and marked A/P in pencil, image size 175 x 127mm (7 x 5ins) and similar, plus other signed wood engravings by John O’Connor, including cats and rabbits, duplicates of Cat (2), Ariel and Miranda and Canal Boat, each signed in pencil (15)

£200-300

179* Pissarro (Lucien, 1863-1944). Portrait de Camille Pissarro, circa 1900, colour woodcut on grey laid paper, image size 76 x 76mm (3 x 3ins), sheet size 166 x 122mm (6.5 x 4.4ins) (1) £100-150

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180*AR Raverat (Gwen, 1885-1957). The Knight of the Burning Pestle, 1909, woodcut on japan tissue, signed and titled in pencil, image size 104 x 155mm (4.1 x 6.1ins), sheet size 136 x 183mm (5.3 x 7.2ins) Gwen Raverat’s first wood engraving, executed at the age of 24. (1) £400-600

183*AR Raverat (Gwen, 1885-1957). The Bathers, 1920, woodcut on japan, unsigned, image size 152 x 152mm (6 x 6ins), sheet size 184 x 250mm (7.4 x 8.2ins) (1)

£200-300

181*AR Raverat (Gwen, 1885-1957). Creation of Light, 1912, woodcut on japan, signed and titled in pencil, image size 62 x 103mm (2.4 x 4ins), sheet size 67 x 105mm (2.6 x 4.15ins) (1)

£300-400

182*AR Raverat (Gwen, 1885-1957). Boys Bathing, 1919, woodcut on thin laid paper, signed in pencil, image size 102 x 155mm (4 x 6.1ins), sheet size 109 x 158mm (4.3 x 6.2ins)

184*AR Raverat (Gwen, 1885-1957). Bathsheba, 1920, woodcut on japan, signed and titled in pencil, image size 153 x 120mm (6 x 4.75ins), sheet size 173 x 135mm (6.8 x 5.3ins)

(1)

£300-400

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185*AR Raverat (Gwen, 1885-1957). La Place en Hiver, 1923, woodcut on japan, unsigned image size 101 x 153mm (4 x 6ins), sheet size 145 x 215mm (5.7 x 8.5ins) (1)

£200-300

187*AR Raverat (Gwen, 1885-1957). The Witnesses, 1933, woodcut on japan, signed, titled and marked Proof, some light foxing, upper right blank corner with minor loss, image size 148 x 176mm (5.8 x 6.9ins), sheet size 180 x 199mm (7 x 7.8ins) (1)

£300-500

188*AR Raverat (Gwen, 1885-1957). Harvest by the Sea, 1938, woodcut on thick wove paper, unsigned, but inscribed to verso ‘Happy Xmas from Gwen Raverat’ and dated 1956, light scattered spotting, image size 76 x 139mm (3 x 5.5ins), sheet size 115 x 171mm (4.5 x 6.75ins) (1)

186*AR Raverat (Gwen, 1885-1957). Portrait of Jacques Raverat, 1925, woodcut on japan, signed, inscribed ‘second portrait of Jacques Raverat’ and numbered 5/40, image size 100 x 61mm (3.9 x 2.35ins), sheet size 119 x 73mm (4.7 x 2.9ins) (1)

£200-300

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191*AR Raverat (Gwen, 1885-1957). Grand Ballet, 1934, woodcut on thick wove paper, unsigned, with greetings message from the artist to verso ‘I can’t find anything nice to send you this year - this is only a token to show goodwill - Love & best wishes from Gwen Raverat, my new address is The Old Granary, Silver St, Cambridge, Tel. 56178’, some scattered spotting, image size 89 x 89mm (3.5 x 3.5ins), sheet size 205 x 140mm (8 x 5.5ins) (1)

£200-300

189*AR Raverat (Gwen, 1885-1957). The Princess stolen by the gypsies, 1939, colour-printed wood engraving on wove paper, signed, titled, and numbered 14 in pencil, image size 178 x 112mm (7 x 4.4ins), sheet size 243 x 145mm (9.5 x 5.7ins) An illustration to The Bird Talisman: An Eastern Tale, by Henry Allen Wedgwood, published by Faber and Faber in 1939. (1) £300-400

190*AR Raverat (Gwen, 1885-1957). Childe Rowland, 1947, colour wood engraving on laid paper, printed in dark grey, light grey and pale yellow, signed, titled, numbered 9, and marked ‘Monochrome’, image size 185 x 235mm (7.4 x 9.2ins), sheet size 8.4 x 10.1 ins (1)

£300-400

Lot 192

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192* Royds (Mabel Allington, 1874-1941). The Snake Charmer, colour woodcut on laid paper, signed in pencil, image size 132 x 180mm (5.25 x 7.1ins), sheet size 180 x 250mm (7.1 x 9.9ins), together with Lamas Harvest, colour woodcut on laid paper, signed in pencil, image size 136 x 208mm (5.3 x 8.2ins), sheet size 198 x 264mm (7.75 x 10.4ins), plus Chortens, Ladak, colour woodcut on laid paper, signed in pencil, some mount staining and fading, image size 175 x 203mm (6.9 x 8ins), sheet size 333 x 254mm (13.1 x 9.9ins), and two other colour woodcuts by Royds (The Flight Into Egypt, & The Annunciation to the Shepherds), each signed and initialled in pencil respectively, sheet size 260 x 375mm (10.25 x 14.75ins), and 305 x 360mm (12 x 14.25ins) respectively, plus a monochrome lithograph portrat of Hester Frances Royds née Allington, and two original studies of children in black charcoal on paper, unsigned (8)

£300-500

Lot 194

193* Urushibara (Yoshijiro, 1888-1953). Sweet Peas, colour woodcut on laid paper, signed in pencil, and numbered 63 lower left, a strong, clean impression, image size 305 x 203mm (12 x 8ins), sheet size 356 x 242mm (14 x 9.5 ns) (1)

£200-300

194* Urushibara (Yoshijiro, 1888-1953). Carnations in prunus vase, colour woodcut on laid paper, signed in pencil, numbered 69 lower left, a good fresh impression, image size 305 x 204mm (12 x 8ins), sheet size 346 x 241mm (13.6 x 9.5ins) (1)

£200-300

195* Wales (Geoffrey, 1912-1990). Flower Maiden, wood engraving, signed, titled, and numbered 11 from the edition of 50, image size 177 x 124mm (7 x 5.8ins), some light overall spotting, framed and glazed, with old typewritten and printed label to verso (1)

£70-100

Lot 195

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INFORMATION FOR BUYERS AFTER THE AUCTION Online results If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended. Payment The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via the-saleroom.com cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.

METHODS OF PAYMENT Cheque Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted. Cash Payments can be made at the Cashier’s Office, either during or after the sale. Debit Card There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay. Bank Transfer All transfers must state the relevant invoice no. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges. Collection/Postage/Delivery If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made. Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help. We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

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INDEX OF ARTISTS

Aldin, Cecil Anderson, Alfred Charles Stanley Ardizzone, Edward Armitage, Jean Austen, Winifred Marie Louise Austin, Robert Sargent

82 83, 84, 85 86 163 87 88, 89

Badmin, Stanley Roy 14, 15, 16, 17, 34, 35, 36 Barnard, Margaret 164, 165, 166 Bawden, Edward 167 Brangwyn, Frank 90, 91, 92 Bresslern-Roth, Norbertine von 168 Briscoe, Arthur John Trevor 93, 94, 95, 96, 97, 98, 99 Brockhurst, Gerald Leslie 18, 19, 20, 21, 22, 37, 38, 39, 40, 44, 45, 46, 50, 51, 52, 57, 58, 59, 60, 61, 100 Cameron, David Young Copley, John Cowern, Raymond Teague Craig, Edward Henry Gordon Detmold, Charles Maurice Detmold, Edward Julius Dodd, Francis Drury, Paul Dulac, Edmund Flight, Claude Flint, William Russell Frank, Leo Freedman, Barnett Frink, Elisabeth Gibbings, Robert John Gill, Eric Gray, Joseph Griggs, Frederick Landseer

Haden, Sir Francis Seymour Helleu, Paul Cesar Hoyton, Edward Bouverie Hunt, William Holman

5, 6, 7, 8, 23, 24, 25, 41, 101 102 103 169, 170 42 42 9 62, 63, 64, 65, 66, 67 171 155 104 172 105 106 108, 156 162 109 10, 11, 12, 13, 30, 31, 32, 33, 43, 110, 111, 112 4, 113 158 26 114

Knight, Laura

115, 116

Lee, Sydney Legrand, Louis Legros, Alphonse

173 117 118, 119

Manning, William Westley Martin, John Mavrogordato, Julia McBey, James Menpes, Mortimer L. Merritt, Anna Massey Lea Millais, John Everett Moran, Thomas Nash, John Nevinson, C.R.W. Nixon, Job Oâ&#x20AC;&#x2122;Connor, John Scorror Osborne, Malcolm Palmer, Samuel Pellew, Claughton Pennell, Joseph Pissarro, Lucien Power, Cyril Edward

120 121 174 122 123, 124 125 126 127 175 128, 159, 160 1 176, 177 129 2, 3, 130, 131 178 132 179 133

Raverat, Gwen

180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191 Ravilious, Eric 161 Rhodes, Marion 135 Royds, Mabel Allington 192 Sandford, Lettice Scott, William Bell Shannon, Charles Haslewood Short, Sir Frank Sickert, Walter Richard Spencer, Unity Sullivan, Edmund J. Sutherland, Graham

136 137 138 139 140 141 142 68, 69, 70, 71

Tanner, Robin 27, 28, 29, 47, 48, 49, 72, 73, 74, 75, 76, 77, 143, 157 Todd, Arthur Ralph Middleton 144 Tunnicliffe, Charles Frederick 145, 146 Urushibara, Yoshijiro Walcot, William Wales, Geoffrey Webb, Joseph Whistler, James Abbott MacNeill Wyllie, William Lionel

193, 194 147, 148, 149 195 53, 54, 55, 56, 78, 79, 80, 81 150, 151, 152, 153 154

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Conditions of Sale and Business 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account. 3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission. 4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared. 5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due. 6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded. 8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer. 9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to the Auctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions. 11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the best bid, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions. 12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses. 13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.

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DOMINIC WINTER SPECIALIST AUCTIONEERS AND VALUERS Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461

COMMISSION SLIP Please Bid on my behalf at the sale on 16 October 2015 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments are handed to third party shipping companies.

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The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about one per hour from early until late. Several of the trains in each direction are direct and about half the services require a brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of ticket services and discounts.

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

Taxis from Kemble Station (5 miles/10 minutes) Brian's Cabs Cirencester Radio Cars Cirencester Taxis

01285 655299 / 07980 579947 01285 650850 01285 642767

Taxis from Swindon Station (12 miles/25minutes) V-Cars

01793 701701

Cirencester Visitor Information Centre

+44 (0)1285 654180 cirencestervic@cotswold.gov.uk

Catalogue Produced by Jamm Design â&#x20AC;&#x201C; 020 7424 7830 info@jammdesign.co.uk

Photography by Ben Cavanna â&#x20AC;&#x201C; 07968 342013 bencavanna@gmail.com

Cecil V. Shadbolt with Captain Dale / Aerial view of Stamford Hill, 29 May 1882 – the earliest known surviving aerial photograph of Great Britain. One of 27 aerial photographic views of London by Shadbolt, and here offered as part of Shadbolt’s historic lecture archive of 75 ballooning lantern slides, all circa 1882-92. £7,000-10,000 : 15 October

FORTHCOMING SALES Thursday 15 October

Fine Art & Antiques Photography 1850-2000

Wednesday 11 November

Natural History & Sporting Art Printed Books, Maps & Documents

Thursday 12 November

History of Transport, Automobilia, Early Cycling Clocks & Scientific Instruments

Friday 13 November

Military History, Medals, Arms & Militaria History of Aviation, Stamps & Coins

Friday 13 November

Islamic, Indian & Oriental Arts

Wednesday 16 December

Science, Medicine & Cookery Printed Books, Maps & Documents

Thursday 17 December

Modern Literature, Children’s & Illustrated Books Modern Architecture: The Library of Robert Hornung

For further information and consignment advice, please contact the main office or speak to one of our specialists.

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461 www.dominicwinter.co.uk info@dominicwinter.co.uk