The Ferry at Forfar. c. 1930. Etching and drypoint. 9 3/4 x 12 3/4 (sheet 12 1/4 x 17 7/8). Edition 77, #41. Slight toning. A rich impression printed on light tan laid paper. Printed on the full sheet with deckle edges. Signed and numbered in ink. $275.

The Open Window (Baghdad). c. 1923. Etching and drypoint. Edition 40, #6. 6 7/8 x 5 (sheet 11 1/4 x 9 3/16).Printed on pale blue-green watermarked laid paper to suggest evening. Signed and numbered in ink. $175.

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

Ben Ledi. c. 1911. Pencil, conte crayon and watercolor on watercolor board. 14 3/16 x 11 7/16. Related to the etching of the same title (Rinder 424), Cameron's most famous etching. Signed, lower left. $9,500.

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

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

Cambuskenneth. 1904. Etching and drypoint. Rinder 367.iii/iii. 4 5/8 x 7 3/4 (sheet 7 1/2 x 10 1/4). A rich impression with plate tone and drypoint burr, printed on tan 'W.A.C.' watermarked laid paper. Signed in pencil. $275.

The Canongate Tolbooth, Edinburgh. 1906. Etching and drypoint. Rinder 378.ii/iii. 12 9/16 x 5 5/16 (sheet 14 7/8 x 7 1/8). An extremely rich impression with plate tone, printed on Japanese mulberry paper. Signed in pencil. Signed in pencil. $575.

Castle Moyle. 1932. Drypoint. Rinder 497.iii. 6 7/8 x 10 7/8. Edition 220. Signed in pencil. $450.

The Clyde at Symington. 1889. Etching. Rinder 32. 4 1/2 x 8 15/16 (sheet 8 5/8 x 13 3/8). A rich impression printed on white laid paper from an old volume. Signed by Cameron AND the printer, Frederick Goulding. Goulding was the master printer in the UK. At the time, his signature was often valued more than the artist's signature. $450.

Castle Urquhart. 1929. Drypoint with etching. Rinder 484.v. Edition about 85. 9 1/4 x 16 1/2 (13 x 19 1/8). A fine impression with drypoint burr, printed on cream wove paper. Signed in pencil. $750.

Dunure Castle. Oil on canvas. 16 1/2 x 28 3/8 (framed 22 x 34). Signed, lower right. $18,500.

Elcho on the Tay. 1900. Etching and drypoint. Rinder 312.ii. 10 11/32 x 13 5/8. Exhibited at the Painter-Etchers, 1901, #35. Signed in pencil. $850.

Glen Strae. 1927. Etching and drypoint. Rinder 478.iii. 6 7/8 x 16 3/4 (sheet 11 7/8 x 18 1/3). Edition 60, most of which went to America. A rich, tonal impression printed on antique Strasbourg lily 1809 cream laid paper with full margins. This is a large, impressive plate. $850.

Glen Orchy. Watercolor over pencil on paper. 9 1/4 x 13 (sight size). Ex-collection L.Gl Duke. Signed and titled in pencil, lower right. $2,750.

Laleham. 1901. Etching and drypoint. Rinder 313.iii. 7 11/16 x 12 (sheet 9 1/8 x 13 1/4). Exhibited: Painter-Etchers, 1902. A rich impression printed on fibrous laid paper. Collector's seal verso, E.D. Balken (Lugt 843). Signed in pencil. $375.

The Lion and the Unicorn. 1921. Etching. R 427.v. 6 1/8 x 4 5/16). Edition 200. A rich impression printed on the full sheet of cream Japanese vellum. As issued for the Edition de luxe of the Rinder catalogue of Cameron's etchings and drypoints. Signed in pencil. $175.

Loch Eil. 1929-30. Drypoint. Rinder 487.iii/v. 5 x 10 1/8 (sheet 7 5/8 x 117/8). Edition about 50. Printed with plate tone on cream laid paper from an antique volume. Signed in pencil. $350.

Mar's Work, Stirling Castle, No. 2. 1907. Etching and drypoint. Rinder 386.iii/v. 9 7/8 x 6 3/4. Edition 23. A rich impression on Japanese mulberry paper. $325.

Scottish Women's Hospital. 1914. Etching. Not in Rinder. Bookplate. 4 1/8 x 2 3/4. Signed in pencil. Printed on off-white wove paper. A fine impression of this very rare print. $175.

Still Waters. 1906. Drypoint. R 381.iv. 6 x 12 1/8 (sheet 6 15/16 x 13 1/8). Printed on fine laid paper mounted onto wove paper around the sheet edges. An extremely rich impression with plate tone and drypoint burr. Signed in pencil. $550.

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

Tayside. 1890. Etching. Rinder 73. 6 x 11 (sheet 7 5/8 x 12 9/16). An impression with subtle plate tone printed in 'RH' laid paper. A scarce early etching. Signed in pencil. $375.

The Three Vagrants. 1892. Etching. R 149. 5 x 6 1/8 (sheet 5 3/8 x 6 1/8). Edition 10. Printed on cream laid paper, trimmed to the plate on three sides. Signed and titled in pencil. Exhibited: Painter-Etchers, 1893. A fine impression of this extremely rare early image. $500.

The Admiralty. 1899. Etching. Rinder 301. 4 1/2 x 4 3/16 (sheet 5 1/2 x 5 3/16). London set, #12. Edition of 35 sets, with a few individual proofs apart from the set. A rich impression printed on cream laid paper. Signed in pencil. $550.

The Chapel and Founder's Tomb, Charterhouse. 1895. Etching. Rinder 240. 6 1/4 x 4 1/4. Frontispiece for E.P. Wilmot and E.C. Streatfeld, Charterhouse Old and New (London: Nimmo, 1895). Initialed in the plate. A fine impression printed on Japanese vellum. $50.

Gloucester. 1931. Etching and drypoint. Rinder 490.iii. 16 7/16 x 7 7/8 (sheet 19 5/16 x 8 7/8). Edition about 88. Illustrated: Fine Prints of the Year, 1931. Slight mat line; otherwise excellent condition. A rich impression printed on antique laid paper. Signed in pencil. $675.

Kingsgate, Winchester. 1902. Etching. Rinder 340. 6 1/8 x 4 (sheet 10 1/8 x 7 3/8). A good impression printed with plate tone on cream wove paper. As issued in The Complete Angler. Signed in pencil. $175.

Old Bridge, Whitby. 1908. Drypoint. Rinder 403.iii. 7 7/8 x 12 1/2 (sheet 9 x 13 1/2). Edition 21. Printed with rich drypoint burr and plate tone on Japanese mulberry paper. A glowing impression of this extremely rare image. Signed in pencil. $650.

Old Farm, Norington. 1902. Etching. Rinder 331. 3 15/16 x 5 7/8 (sheet 7 x 9 13/16). As published in Walton's Compleat Angler. Winchester Edition, edited by George A.V. Dewar. London: Freemantle & Co., 1902. A fine impression printed on cream wove paper. Initialed in the plate. $75.

St, George's, Hanover Square. 1899. Etching. Rinder 301. 4 1/2 x 4 3/16 (sheet 5 1/2 x 5 3/16). London set, #12. Edition of 35 sets, with a few individual proofs apart from the set. A rich impression printed on cream laid paper. Signed in pencil. $650.

The Belfry of Bruges. 1907. Etching and drypoint. Rinder 392.ii. 14 15/16 x 5 9/32 (sheet 16 1/4 x 7). Belgian set #6. Edition 63. A rich, glowing impression with burr, printed on fine laid paper. Printed on the full sheet with deckle edges.Signed in pencil. $675.

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

Ypres II [Belgium]. c. 1910-1914. Charcoal and watercolor. 9 x 12 (sheet 9 1/16 x 13 3/4). Signed in pencil. $1,750.

Amboise. 1904. Etching and drypoint. Rinder 352.ii. 10 7/16 x 6 1/16 (sheet 12 1/16 x 7 13/16). As published by The Studio in Representative Art of Our Times. A fine impression printed on cream laid paper. Signed in the plate. $125.

Beauvais. 1910. Etching and drypoint. Rinder 412.iii/iii. 10 1/8 x 8 1/8 (sheet 12 1/8 x 9 5/16). Edition 39. A rich impression with drypoint burr printed on Japanese mulberry paper. Signed pencil. $600.

The Chimera of Amiens. 1910. Drypoint. Rinder 415.vii. 9 9/16 x 7 3/16. Illustrated: Guichard, British Etchers, 1850-1940; Holme, Modern Etchings and Drypoints, 1913; Lumsden, The Art of Etching; Salaman, Modern Masters of Etching: D.Y. Cameron; Hind, The Etchings of D.Y. Cameron. Signed in pencil. $1,750.

Cour des Bon Enfants, Rouen. 1897. Etching. Rinder 277.ii/iii. 9 x 12 15/16 (sheet 10 11/16 x 14 1/8). No edition stated. Printed with plate tone on cream wove paper. A glowing impression of this rare image. Signed in pencil. $650 

Une Cour, Rue du Petit Salut, Rouen. ( A Courtyard, Petit Salut Street, Rouen). 1896. Etching. Rinder 233. 5 15/16 x 3 3/8 (sheet 11 x 8 1/2). As published in The Quarto, December 1896. A fine impression printed on cream laid paper. Signed and titled in the plate. $75.

The Crucifix St. Maclou, Rouen. 1898. Etching and drypoint. Rinder 281.i/iii. 11 3/8 x 10 1/2 (sheet 15 1/2 x 10 1/2). Exhibited Painter-Etchers, 1899. A rare proof of the first state. An extremely rich impression with plate tone, printed on simili-Japan paper. Signed and annotated '1st state. 2 proofs only' in pencil. $975.

Hotel de Sens. 1904. Etching and drypoint. Rinder 363.iv. 11 3/16 x 6 1/4 (sheet 12 1/16 x 6 5/16). Paris Set, #3. The Paris Set consisted of 6 images, printed in an edition of 35, with some additional impressions. A rich impression with plate tone printed on cream laid paper. The name commemorates the factthat in the fifteenth century, when this hotel was built for the occupation of the Archbishops of Sens, Paris was under their ecclesiastical jurisdiction. A rich impression of this scarce imnage. Signed in pencil. $600.

Rue Saint Julien le Pauvre. 1904. Etching and drypoint. Rinder 366.ii/iv. 8 3/16 x 6 1/2 (sheet 9 x 7). Paris Set, #6. The Paris Set consisted of 6 images, printed in an edition of 35, with some additional impressions. Repaired paper loss from a hinge, top right, outside the image. Printed with plate tone on off-white laid paper. A very rich impression of this scarce image. Signed in pencil. $525.

Saint Gervais, Rue des Barres. 1904. Etching. Rinder 364. 10 1/8 x 6 7/32 (sheet 11 1/4 x 6 7/8). Paris Set, #4. The Paris Set consisted of 6 images, printed in an edition of 35, with some additional impressions. A glowing proof printed on Japanese mulberry paper. The full name of the church, St.Gervais et St. Protais, commemorates the legend of twin brothers and giants who suffered for the Christian faith under Nero and were martyred at Milan. A rich impression of this scarce imnage. Signed in pencil. $600.

Saint Laumer, Blois. 1903. Etching and drypoint. Rinder 351.iii. 12 7/8 x 7 1/4 (sheet 15 x 8 13/16). A rich impression with plate tone, printed on Japanese mulberry paper. Illustrated: Salaman, Modern Masters of Etching. Signed in pencil. $600.

Joannis Darius. 1900. Etching and drypoint. Rinder 309.ii. 12 5/8 x 6 1/2 (sheet 13 3/4 x 7 13/16). Illustrated: Print Collector's Quarterly 1 (1911): 83. Exhibited at the Painter-Etchers, 1901. A very rich, tonal impression with drypoint burr, printed on Japanese mulberry paper. Signed in pencil. $1,500.

Thermae of Caracalla. 1923. Etching. Rinder 470.iii. 10 3/4 x 16 7/8. Edition about 70. Illustrated: Print Collector's Quarterly (1924): 67. Signed in pencil. A glowing impression printed cream laid paper.Signed in pencil. $850.

Souvenir d'Amsterdam. 1915-30. Etching and drypoint. Rinder 460.iv/vi. 14 25/32 x 10 5/16 (sheet 13 1/8 x 18 1/8). Edition 60. Illustrated: Print Collector's Quarterly 11 (1924): 53. A rich, tonal impression printed on pale cream watermarked laid paper. Signed in pencil. $1,250.

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

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

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

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

Duck Hunter. 1933. Etching. 12 x 7 7/8 (sheet 16 5/8 x 11). Dated in the plate, lower left; signed in pencil, lower right. A rich impression on cream wove paper. A highly dramatic image. $225.

Brandsby Tower, Yorkshire. c. 1838. Soft-ground etching. Popham 366. 9 7/8 x 7 3/8 (sheet 19 1/8 x 13 1/8). Illustrated: Print Collectors Quarterly 9(1922): 272. A very fine impression from the first edition, as published for the large paper issue of Cotman's Liber Studiorum in 1838. Printed on the full sheet of cream laid paper. Signed and titled in the plate. $225.

Peacocks (Upright Plate). 1905. Etching. Dodgson10.vi. 7 1/4 x 4 1/2 (sheet 10 3/4 x 8 1/8). Illustrated: Print Collector's Quarterly 9 (1923): 339. A fine, richly inked impression with plate tone, printed on simili-Japan paper. Signed in pencil by Edward Julius, and initialed by him for himself and for his late twin brother. $875.

The Spirit of the East. 1923-24. Etching and drypoint. PostDodgson, Centenary Exhibition 40. 55. 9 5/8 x 8 5/8 (sheet 11 3/8 x 9 5/8). Edition 100. A fine, richly inked impression on simili-Japan paper. Signed in pencil. $500.

Click on the title for an image.

Charles Cundall, R.A. 1926. Drypoint. Schwabe 171.v. 18 x 11 3/4. Illustrated: Guichard, British Etchers, 1850-1940. A painter and lithographer, Cundall (1890-1971) had his first one-man show at Colnaghi the year after this portrait was made. $950.

[A Boy Scout]. c. 1927. Drypoint. 5 1/2 x 3 15/16 (sheet 13 3/8 x 8 11/16). A fine impression on the full sheet of pale cream-colored wove paper. Signed in pencil. There are very few etchings of Boy Boy Scouts. $175.

[A Glasgow Alleyway]. c. 1927. Etching and drypoint. 14 1/8 x 7 7/8 (sheet 18 3/8 x 11 5/8). A fine impression printed on 'FJ Head & Co' laid paper, on the full sheet with deckle edges. Signed in pencil. $175.

Lancing College, from Coombes Road. c. 1900. Etching. 7 1/2 x 10 5/8 (sheet 9 7/8 x 14 7/8). Published by W.H. Bergnor and Co., Cheltenham. A fine impression with plate tone, printed on cream paper countermarked 'O.W.P. & A.O.L.' Margins grubby; the image is in good condition. Titled in the plate; signed in pencil. $125.

Scheregate Steps, Colchester (Essex). c. 1921. Etching. 9 1/2 x 6 3/8 (sheet 13 x 9 1/8). Edition 50. A fine proof printed with plate tone, on Japanese mulberry paper. $150.

The Pantheon, Rome. 1922. Etching. 17 1/4 x 21 3/4 (sheet c. 32 x 38). A rich impression printed on white wove paper. Original Arts-and-Crafts wood frame. Signed in pencil. $975.

Amazons on a Breton Beach. 1931. Drypoint. Wright 45.ii. 8 x 13 3/8 (sheet 10 3/4 x 17 1/4). Edition 76, #14. A, extremely rich impression printed on cream 'J Whatman Hand Made' paper. Hinge stains in 3 corners, well outside the image. Illustrated: Salaman, Modern Masters of Etching. Signed and numbered in ink. $1,250.

Bagno della Marchesa. 1930.Drypoint. 10 1/2 x 7 5/8 (sheet 13 3/16 x 8 1/2). Trial proof, apart from the edition of 75. A, extremely rich impression printed on French 1798 countermarked laid paper. Illustrated: FIne Print of the Year, 1930; Guichard, British Etchers. Extensively annotated in ink by Flint: 'Trial: entire background was later reworked. Paper: French 1798.' Signed and dedicated 'To Eve H.Sanders with salutations'. An exceptionally rare proof. $1,850.

The Prison Door, Concarneau. 1929. Drypoint. Wright 15. 9 3/4 x 7 5/8 (sheet 13 x 10). Edition 76, #72. A, extremely rich impression printed on cream laid paper from an antique volume. Numbered in ink, but not signed. $300.

A Rendez-Vous, Vincenzia. 1929. Drypoint. Wright 19.v.9 1/2 x 6 5/8 (sheet 12 1/8 x 9 3/8). Edition 75, #I. An extremely rich impression printed on blue/green laid paper. Signed and numbered in ink. $825.

A Spanish Christening. 1928-29. Drypoint. Wright 13.vi. 8 3/4 x 11 7/8 (sheet 13 1/2 x 15 3/8). Edition 75, #27. An extremely rich impression printed on cream wove paper from an antique volume. Illustrated: Fine Prints of the Year, 1929. Signed and numbered in ink, but not signed. $875.

Amongst the Pines. 1930. Etching. 7 7/8 x 5 3/4 (sheet 15 7/8 x 10 3/4). A rich impression on "L Whatman" countermarked cream-colored laid paper. Signed in pencil. $125.

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

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

The Forest. c. 1930. Mezzotint. 8 x 11 5/16 (sheet 14 x 19 1/4). A rich impression on china paper, applied to a heavy white wove paper. Signed in pencil. A rich impression in pristine condition. $500.

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

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

Low Tide. c. 1930. Aquatint. 7 3/8 x 13 7/8 (sheet 13 1/2 x 20). Printed on cream wove paper. Signed and titled in pencil. $425.

Penmaenpool. c. 1930. Etching. 4 7/8 x 6 7/8 (sheet 8 1/4 x 10 11/16). A rich impression on "England" countermarked cream-colored laid paper, on the full sheet with deckle edges. Signed in pencil. $125.

San Giovanni di Bellagio. 1924. Aquatint. 10 x 14 1/2 (sheet 13 13/16 x 19). Edition 150. llustrated: Fine Prints of the Year, 1924. Signed in pencil. A rich impression on cream wove paper. $450.

Solitude. c. 1922. Aquatint. 12 3/4x 19 1/2 (sheet 15 7/8 x 22). A glowing impression printed in brown ink on china paper laid onto cream white wove paper. Signed in pencil. This is the artist's largest aquatint plate. $550.

Sunrise in the Clearing. c. 1920. Mezzotint. 7 5/ 8 x 11 7/8 (sheet 14 x 19 1/8). A rich impression on china paper, applied to a heavy white wove paper. Signed in pencil. A rich impression in pristine condition. $550.

View of Village with Church and Bridge. c. 1930. Etching. 8 15/16 x 5 7/8 (sheet 10 15/16 x 8 1/2).A very rich impression printed on simili-Japan paper. Four tiny holes in the top margin, well outside the image; one tiny repaired hole in the image, upper right. Signed in pencil. $75.

The Wood on the Common. c. 1920. Etching. 9 3/4 x 6 5/8 (sheet 17 x 10 11/16). Printed with plate tone on 'J. Whatman' cream wove paper. Signed and titled in pencil. $175.

Wood Notes Wild. c. 1920. Mezzotint. 10 1/4 x 12 7/8 (sheet 22 1/4 x 18). A rich impression on warm china paper, applied to a heavy white wove paper. Signed in pencil. Excellent condition. Signed in pencil. $650.

Divine Lovers I. 1922. Wood engraving. Physick 193. 3 1/2 x 3 (sheet 13 x 9 7/8). Edition 480. After a drawing from life. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $350.

The Good Shepherd. (Et alias oves habeo - And I will have other sheep). 1926. Wood engraving. Physick 397. 3 1/16 x 1 1/2 (sheet 13 x 9 7/8). Edition 480. After a carving in relief at Highbury Chapel, Bristol. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $175.

Madonna and Child. 1919. Woodcut. Physick 154. 6 1/2 x 3 7/8 (sheet 13 x 9 7/8). Edition 480. Design for a poster. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $300.

Our Lady of Lourdes. 1920. Woodcut. Physick 154. 11 1/4 x 9 1/2(sheet 13 x 9 7/8). Edition 480. Design for a poster. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. 1 1/4-inch diagonal tear in the left sheet edge, not affecting the image. Unsigned. $300.

Resurrection (2nd state). 1917. Wood engraving. Physick 91. 5 7/16 x 3 1/2 (sheet 13 x 9 7/8). Edition 480. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Monogrammed in the block. $350.

Spoil Bank Crucifix. 1919. Wood engraving. Physick 157. 2 x 3 (sheet 13 x 9 7/8). Edition 480. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Monogrammed in the block. $175.

The Parable of the Fruit Tree. 1927. Line engraving. Dodgson 60.v/vi. 5 7/8 x 3 7/8 (sheet 15 1/16 x 11 1/8). One of 15 proofs before the engraved title. Series: Fables of La Fontaine. Printed on cream wove paper on the full sheet with deckle edges. Signed and dated in pencil. $250.

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

Off Volendam, Holland. c. 1925. Drypoint. 7 7/8 x 11 7/8 (sheet 9 3/8 x 14). Edition probably 75, #73. A rich, tonal impression printed on 'VGZ' cream laid paper with full margins. A rich impression with drypoint burr. Signed and numbered in pencil. $175.

York, Petergate. c. 1921. Etching. 10 x 4 15/16 (sheet 15 7/16 x 9 1/16). Printed on 'J. Green and Sons 1924' countermarked wove paper. Signed and titled in pencil. $125.

The Almonry. 1925-26. Etching. Comstock 34.v/vii. 9 1/2 x 6 1/2 (sheet 11 1/8 x 7 5/8). Edition 82 in this state (total edition 101). A fine impression on white laid paper with full margins. Illustrated Fine Prints of the Year, 1925. With the DP stamp verso (Lugt 760a). Signed in pencil. This is the artist's major etching. Price upon request. .

Ashwell. 1914. Etching. Comstock 7.ii. 8 1/4 x 5 3/4 (sheet 12 1/2 x 7 3/4). Edition 64 in this state (total 69 proofs). A small 3/4-inch circular stain in the top left-hand margin, well outside the image; otherwise fine condition. A rich impression with plate tone on very fine cream laid paper with deckle edges. Proof printed by the artist. Signed, titled and annotated 'imp' in pencil. $1,750.

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

Fen Monastery. 1923. Etching. Wright, Comstock 31.vi but without the numbering. 6 3/8 x 9 5/8 (9 x 12 3/8). Edition 44 recorded impressions in this state (total 86 proofs). A fine impression printed on Liber Angliae series cream laid paper with "DP" stamp, verso. Signed in pencil. $2,000.

The Ford. 1915-24. Etching. Comstock 9.vi. 5 7/8 x 9 7/16 (sheet 11 1/2 x 8 1/2). Edition 43 in this state (total 127 proofs). A fine impression on sturdy cream laid paper. 'DP (Dover House Press) stamp in ink, verso. Signed in pencil. $2,000.

Linn Bridge. 1922. Etching. Comstock 29.iii/iv. 6 3/16 x 5 3/16 (sheet 10 3/8 x 17 3/8). Edition 40 in this state (total 61 proofs). A fine impression on sturdy cream laid paper. 'DP (Dover House Press) stamp in ink, recto. Signed in pencil. $1,750.

Lone-End. 1930. Etching. Comstock 42.vi. 7 1/8 x 10 1/4 (sheet 10 x 14 7/16). Edition 90 in this state (total 96 proofs). A fine impression on cream laid paper with wide margins. Stamped 'D.H.P' (Dover House Press) in ink, verso, and numbered '25' in pencil. Signed in pencil. $2,000.

Netherton Chapel. 1935. Etching. Comstock 53.v. 5 11/16 x 4 3/8 (sheet 8 15/16 x 6 1/2). Edition 85 in this state (total 88-89 proofs). Illustrated Fine Prints of the Year, 1936. A fine impression on white laid paper with a partial crown watermark. Signed in pencil. $1,650.

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

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

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

Tattershall. 1931. Etching. Comstock 44.iii/iv. 9 5/8 x 6 5/8 (sheet 11 1/8 x 7 5/8). Edition 47 in this state (total 101 proofs). Illustrated: Fine Prints of the Year, 1931. A fine impression on cream laid paper. With the DP (Dover House Press) stamp and numbered '47' verso. Signed in pencil. $2,000.

Lambs on a Hillside. 1927. Etching. 8 1/2 x 11 1/2. Two proofs. First state. Signed and dated. Mount annotated, ex-collection Dr. Perth. Paper fold along top right-hand sheet, just into the aimage. Completed state, signed and dated. Collector's seal verson. Both printed on blue-green paper from an antique volume, the finshed state sheet countermarked 'SM'. $950 the pair.

Summer Morning. 1926. Etching. 8 x 11 1/4. Proof 49. Gwynne-Jones did only 11 etchings. This image is derived from a drawing done in Sussex, just after the artist went to the Slade. A rich impression printed with plate tone on laid paper watermarked "J. W. Whatman." Signed, dated numbered and titled in pencil. $650.

Ye Compleat Angler. 1877. Etching. Schneiderman 161.iii. 5 1/2 x 8 1/16 (7 3/4 x 11). As published in Hamerton, Etching and Etchers, 3rd edition, London 1880. Printed on cream laid paper with deckle edges on three sides. Signed in pencil. $375.

Early Morning, Richmond. 1859. Early Morning, Richmond. 1859. Etching. Schneiderman 25. Undescribed proof between ii and iii, before the bird in the sky, and before publication in Études à l'Eauforte. 4 3/8 x 10 7/8 (sheet 10 x 15 3/8). An extremely strong, well-inked impression. Printed on simili-Japon paper with full margins . Mild time tone within the mat window area. Provenance: Kennedy Galleries. Signed in pencil. A very rare state of this dramatic image. $975

Egham. 1859. Etching and drypoint. Schneiderman 20. viii/x. 4 15/16 x 7 15/16 (sheet 7 13/16 x 10 9/16). Printed on vellum. Signed in pencil. Foxing in the margins; otherwise good condtion. $550.

Erith Marshes. 1865. Etching. Schneiderman 104.ii/vi. 9 7/16 x 15 (sheet 12 5/16 x 19 3/4). An extremely strong impression with pronounced etched lines. Prior to the extensive area of rust in the plate and prior to the removal of much etched work in the sky. Printed on heavy cream wove paper with full margins and deckle edges. Mild time tone within the mat window area. Weak lower platemark with three small strips of archival tape for support, verso. Signed in pencil. Haden etched this extensive landscape in the company of his friend, the famous French painter-etcher, C.F.Daubigny. The image shows the marshes on the north side of the Thames at Purfleet, opposite Erith, a few miles to the east of London. $950.

Fulham. 1859. Etching and drypoint. Schneiderman 222. xi/xii. 4 7/16 x 11 (sheet 5 13/16 x 11 7/8). Printed on cream laid paper. Signed in pencil. $650.

Hands Dry-Pointing. 1877. Drypoint. Schneiderman 149.iii/iv. 5 7/16 x 8 3/8 (sheet 7 5/8 x 11 1/8). A rich impression printed on cream laid paper. There was no published edition of this rare image. Paper loss in top left-hand corner, well outside the image; otherwise excellent condition. Signed in pencil. $975.

Grayling Fishing. 1897. Mezzotint with drypoint. Schneiderman 227.ii/v. 7 1/2 x 11 5/8 (10 x 14 1/8). Excellent condition.. A rich impression printed in dark brown ink on white wove paper. Gold Medal winner at the Paris Exposition. Signed in pencil. $1,500.

Kenarth. 1864. Etching and drypoint. Schneiderman 59. ii/iii. 4 1/2 x 6 (sheet 6 1/4 x 7 5/16). As published in Études à l'eau-forte. A rich impression with plate tone printed on cream laid paper. Signed in pencil. $375.

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

Another impression.

A Lancashire River. 1887. Etching. Schneiderman 203.viii. 10 7/8 x 15 7/8 (sheet 13 7/8 x 17 7/8). Illustrated: Print Collector's Quarterly 1 (1911): 27. A fine impression printed with plate tone on cream wove paper with full margins. Signed and dedicated in pencil 'To Mr. Charles W. West in pleasant remembrance of 1883'. Professor Charles E. West, like Haden, was interested in photography. $950.

A Likely Place for a Salmon. Etching and drypoint with extensive additions in pencil and conte crayon. 1869 and later.Schneiderman 129, a proof impression between the third and fourth states (of eight). 4 3/16 x 10 (sheet 5 5/16 x 11). Unidentified collector's mark verso (Lugt 2368b). Signed in pencil. $1,750.00 >

The Mill Wheel. 1874. Etching. Schneiderman 144. iv. 7 x 10 5/16 (9 13/16 x 12 1/4). Printed on cream wove paper with deckle edges. Signed in pencil. $550.

Old Willesley House. 1865. Etching. Schneiderman 92. iii/iv. 6 7/8 x 9 15/16 (10 1/4 x 13 1/2). Printed on cream wove paper. Signed in pencil. $650.

Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint, S 37.vi/ix. 7 x 13 1/8 (sheet 11 7/16 x 17 1/2). Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 1 (1911): 18. A rich impression on light cream-colored wove paper with large margins. Signed in pencil. $1,500.

A Sunset in Ireland. 1863. Etching and drypoint. S 47.vi/xiv. 5 1/2 x 8 1/2. As published in Études à l'eau forte. A rich, glowing impression on light tan laid tissue paper. Signed in pencil. Philip Gilbert Hamerton wrote "With the exception of one plate by Claude, this is the finest etching of a landscape subject that has ever been executed in the world." $2,250.

Sonning Bank. 1865. Etching and drypoint. S 106.iii/v. $950.

Twickenham Church. 1865. Etching and drypoint. Schneiderman 98.iv/v. 5 7/16 x 4 5/8 x 8 7/16 (sheet 11 1/4 x 16 7/8). Printed by Frederick Goulding for Hamerton's The Portfolio III (1872). A rich impression printed on cream laid paper. Signed and dated in the plate. $325.

The Two Sheep. 1869. Etching. Schneiderman 132. v/vi. 4 7/16 x 5 15/16 (5 5/8 x 9). Rich plate tone printed on tan laid paper. Signed in pencil and annotated "Just right or Bon à tirer" (good to print). $450.

A Water Meadow. 1859. Etching. S 23.iv/v. 6 x 8 7/8. A fine impression on cream-colored wove paper. $500.

Windmill Hill No. II. 1877. Drypoint. Schneiderman 153.iii/v. 5 15/16 x 8 7/8 (sheet 8 x 12 11/16). Printed on white laid paper with deckle edges. Signed in pencil. $550.

Windsor. 1898. Etching. Schneiderman 186.xii. 13 1/4 X 17 1/2 (sheet 18 5/8 x 23 1/4).. Edition of 50 in this state, published by the Fine Art Society. A fine impression printed on cream wove paper with full margins. Signed in pencil. $1,250.

Yacht Tavern, Erith. 1865. Etching. Schneiderman 103.iii/iv. 9 1/2 x 14 3/4 (sheet 11 13/16 x 14 3/8). A rich impression on cream-colored wove paper. Very slight mat burn. Annotated "D[rake] 101" in another hand; signed in pencil by the artist. $850.

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

Caerdon Church, North Wales. c. 1894. Etching. 5 13/16 x 7 7/8 (sheet 6 3/4 x 8 5/8). A rich impression printed with plate tone on cream laid paper. Glue stains in the margins, well outside the image. Signed and dated in pencil. $225.

Cartwell Abbey. c. 1894. Etching. 6 15/16 x 9 7/8 (sheet 8 3/16 x 11 1/8). A fine impression with rich plate tone printed on cream laid paper. Signed in pencil, lower left below the plate. Dated and titled in pencil. $225

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

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

Ludlow Castle, Shropshire. c. 1894. Lithograph. 7 x 10 3/4 x 5 1/2 (sheet 9 1/4 x 13 1/2). A fine impression on white 'MBM' laid paper. Signed in the stone, titled in pencil in the lower right-hand margin. $175.

[Ludlow Town, Shropshire.] 1895. Etching. 5 7/8 x 9 7/8 (sheet 7 3/8 x 10 1/8). A fine impression with plate tone on 'MBM'laid paper. Signed and dated in the plate; signed and dedicated 'to John Stephenson' in pencil. $225.

Old Bridge at Avila. c. 1927. Etching and drypoint. 4 7/8 x 6 7/8. Edition 50. A fine impression on watermarked "F J Head & Co" laidpaper. Signed, annotated and titled in pencil. $200.

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

[Trees, Hayling Island, Hampshire]. c. 1924. Etching and drypoint. 5 x 7 3/4(sheet 8 1/4 x 11 7/8). A fine impression on cream laid paper watermarked 'FJ Head & Co'. Unsigned. $200.

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

Ilken. (Suffolk). c. 1919. Drypoint. Hardie 71. 5 15/16 x 9 3/8 (sheet 9 1/16 x 11 1/2). Edition 80 printed by David Strong. Exhibited: Royal Society of Painter Etches, 1920. Printed on '[Hand] Made' laid paper. Signed in ink, lower right. $175.

View at Blythburgh. Watercolor and charcoal. 11 1/2 x 15. Signed. Exhibited: Royal Scottish Society of Painters. Excellent color and condition. $950.

Walberswick, from Dunwich. August, 1937. Watercolor. 10 1/4 x 15 5/8. Signed in ink, lower right; titled, signed and dated in pencil, verso. $950.

Wheelwrights, Falaise. c. 1913. Etching. Hardie 57. 5 7/16 x 6 13/16 (sheet 9 1/16 x 11 1/2). Printed on 'Hand[Made]' laid paper on the full sheet with deckle edges. Blind stamp of the Rose collection, lower left. Initialed, lower left in the plate. Signed in pencil, lower right. $175.

At Dorking. c. 1836. Lithograph. 15 1/8 x 11 1/8 (sheet 22 1/8 x 15 3/5). Printed on grey paper laid onto heavy wove paper. Titled and monogrammed in the stone. Scattered foxing; otherwise good condition. A fine impression. $175.

Gertrude Ellen Hayes. born 1872.

Rue Eau de Robec, Rouen. c. 1930. Etching. 11 5/16 x 7 3/8 (14 1/8 x 10 5/16). Good condition apart from light sunstaining. A fine impression on pale cream-colored wove paper.Titled in the plate; signed in pencil. $95.

Shakespeare's Birthplace, Henley Street, Statford-on-Avon. c. 1910. Etching. 6 9/16 x 11 7/8 (sheet 9 7/8 x 15 9/16). A rich impression printed on fine laid paper mounted onto board for support. Some toning, otherwise in good condition. Signed in pencil. $125.

George Hayter. 1792-1871.

Guerilla Bandit. 1824. Etching. Alexander 25. 6 x 6 7/8. From the Rimmel edition of 1879 on India paper. Illustrated: Print Quarterly II.iii (1985): 221. Initialed in the plate. $100.

John Hayter. 1800-1891.

Religious Ecstasy. Ink and watercolor on wove paper. 4 x 3 7/8 (sheet 10 7/8 x 9). Study for the painting. There is an outline drawing of a staff on the verso. Unsigned. $125.

Lime Kiln Cottage (Old Cottage, Cornwall). 1923. Etching. 5 7/8 x 5 7/8 (sheet 10 1/8 x 7 3/4). Signed in pencil. A rich tonal impression printed on cream laid paper, apart from the published edition of 50. A proof was exhibited in London at the Fine Art Society in 1923. $250.

Water Lilies 1922. Wood engraving. 9 x 9 1/16. Edition 25, #15. Signed, dated and numbered in pencil. $850.

Snow 1973. Lithograph and screenprint in colors, from 6 stones, 1 aluminium plate, two screens. Scottish Arts Council 140. 34 1/4 x 28 1/2 (sheet 40 x 33 1/2). Edition 98 (plus 12 artist's proofs), #32. 'Weather' series. Printed on Arjomari mould-made paper, with the Gemini G.E.L. blindstamps, Los Angeles. A fine impression with fresh colours in pristine condition. Signed, dated, titled and numbered in green crayon. Price upon request.

Water Made of Lines and a Blue Wash. 1980. Lithograph printed in colors. 20 x 28 (sheet 26 x 36). Edition 25, #35. Published by Tyler Graphics. Printed on white TGL handmade paper. Signed,dated and numbered in pencil. Price upon request.

O The Roast Beef of Old England, &c. 1749. Engraving. 13 3/4 x 17 3/8 (sheet 15 1/4 x 18 1/8). Engraved by Charles Mosley and William Hogarth. Printed on tan laid paper. In poor condition: scattered pinholes, various paper loss in three corners, two folds in the image, upper right. Published March 6^th, 1749. Signed, dated and titled in the plate. $125.

Essex Watergate, WC2. 1934. Etching. 9 7/16 x 6 (sheet 12 1/8 x 9 5/8). Edition 50, #38. A fine impression printed in cream laid paper, on the full sheet with deckle edges. A dramatic London view. Signed, titled and numbered in pencil. $250.

Autumn Reflections. 1931. Drypoint. 10 x 15. Signed in pencil. Published by James Connell in an edition of sixty proofs. A rich impression printed on cream wove paper with full margins. Signed in pencil. $450.

Pont Neuf, Paris. 1924. Aquatint. 7 3/16 x 10 (sheet 11 5/8 x 14 5/8). Unpublished - very rare. A rich impression printed on cream laid paper. Signed in pencil. $350.

Ponte San Angelo, Rome. 1932. Etching with drypoint. 7 1/2 x 8 3/4 (sheet 10 x 15). Published by James Connell in an edition of 50. A rich impression with subtle tonal wiping. Illustrated: Fine Prints of the Year, 1932. Signed in pencil. $500.

San Giorgio, Maggiore, Venice. 1930. Drypoint. 8 3/16 x 12 1/8. Signed in pencil. Published by James Connell, in an edition of forty proofs. A rich impression printed on cream wove paper with full margins. Signed in pencil. $600.

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

The Flight into Egypt. 1924. Copper etching plate for the drypoint, which was awarded the prestigious Prix de Rome. 7 1/4 x 9 3/8. $300.

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

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

The Cobbler and His Wife c. 1948. Etching. 5 5/8 x 4 5/16 (sheet 11 3/8 x 9 1/8). A fine impression on white laid paper with deckle edges. Signed and titled in pencil. Presentation plate for the Print Collector's Club in 1948. Signed in pencil. $175.

Aiguille de Varens (large plate). Etching. 10 1/16 x 7 13/16 (sheet 16 x 11 3/16). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $125.

Aiguille de Varennes (small plate). Etching and drypoint. First state. 8 7/8 x 5 7/8 (sheet 12 3/4 x 9 7/8). A fine impression on cream-colored paper counterrmarked Arches France, on the full sheet with deckle edges. Before the additional work on the distant town in the foreground. Stamped signature $100.

Aiguille de Varennes (small plate). Etching and drypoint. Second state. 8 7/8 x 5 7/8 (sheet 12 5/8 x 9 3/4). Printed on the full sheet of laid paper with deckle edges. With additional drypoint in the mountain,the town and the foreground.Stamped signature $100; pencil signature $150.

Alpine Buildings. Etching. 11 7/8 x 8 7/8 (sheet 18 1/8 x 11 1/2). Printed on laid, watermarked paper with deckle edges. Stamped signature. $150.

Alpine Village. Etching. 9 7/8 x 11 7/8 (sheet 12 1/2 x 18). Printed on a full sheet of 'FJ Head' laid paper. Stamped signature. $150.

Apple Tree (Fruit Tree Overlooking Farm) (proof). Etching. 9 1/8 x 7 13/16 (sheet 15 3/8 x 10 7/16). Printed on the full sheet of laid watermarked paper with deckle edges. Annotated 'proof' in the lower left corner. Stamped signature. $225.

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

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

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

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

Between the Trees. Etching. 10 7/8 x 7 7/8 (sheet 18 1/4 x 11). Printed on the full sheet of watermarked laid paper with deckle edges. Stamped signature. $175.

Chimney Tops. Etching. 7 3/4 x 6 15/16 (sheet 13 3/4 x 9 3/4). Printed on the full sheet of laid, watermarked paper with deckle edges. Stamped signature. $175.

Church in Cornwall. Etching. 6 1/4 x 8 5/16 (sheet 9 3/16 x 12 3/8). Printed on the full sheet of 'England' laid paper with deckle edges. A unique working proof with extensive pencil annotations by the artist. Stamped signature. $300.

Cornish Elms. Reproduction, reduced in size from the original etching. 3 11/16 x 4 (sheet 5 x 5 1/2). Christmas Card Reproduction. Printed text left inside sheet '"Cornish Elms." From the Original By Eleanor Hughes, R.I.' Printed text right inside sheet, 'Christmas 1936. With the best of good wishes for Christmas and the New Year from Mrs. Eleanor Hughes. Chyangweal, St. Buryan, Cornwall.' Stamped signature. $75.

Cornish Elms. Etching. 5 6/16 x 5 3/16 (sheet 7 15/16 x 10 3/4). Printed on laid, watermarked paper with deckle edges. Annotated 'proof' on the lower left corner; annotated verso, 'E. Hughes, "Cornish Elms" ii/ii (ED. 50)". Stamped signature. $200.

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

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

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

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

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

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

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

Farmhouse with Birds. Etching. 4 1/2 x 5 1/2 (sheet 7 3/4 x 10 3/16). Printed on the full sheet of pale cream-colored laid. A rich impression in excellent condition. Stamped signature. $150.

Farmhouse with Fields: just Above the Farm (Farmhouse With Fields). Etching. 2 3/4 x 3 7/16 (sheet 5 7/16 x 6 5/8). Printed on wove paper. Stamped signature. $100.

Farmyard. Etching. 6 x 7 7/8 (sheet 9 1/8 x 12 3/4). Printed on the full sheet of watermarked laid paper with deckle edges. Stamped signature. $175.

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

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

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

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

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

Landsend (The Cove). Etching. 6 1/4 x 6 1/8 (sheet 12 5/8 x 9 1/4). Printed on the full sheet of laid, watermarked paper with deckle edges. Unique proof touched with watercolour in the top, to the left of the pointed rock. Stamped signature. $175.

Landsend (The Cove). Etching. 6 1/4 x 6 1/8 (sheet 12 5/8 x 9 1/4). Printed on the full sheet of laid, watermarked paper with deckle edges. Annotated "working proof" in the upper left corner. Stamped signature. $150.

Local Pub. Etching. 2 7/8 x 4 1/16 (sheet 4 3/4 x 4 15/16). Printed on wove paper. Stamped signature. $100.

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

Old Boleigh Farm Back View. Etching. 5 7/8 x 7 7/8 (sheet 9 1/4 x 12 5/8). Printed on laid paper with deckle edges. Stamped signature. $175.

Old Boleigh Farm Side View. Etching. 5 7/8 x 6 7/8 (sheet 9 1/4 x 11 3/8). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $175.

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

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

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

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

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

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

Path to the Farm. Etching. 9 7/8 x 7 7/8 (sheet 15 11/16 x 10 3/8). Printed on the full sheet of watermarked laid paper with deckle edges. Stamped signature. $200.

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

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

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

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

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

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

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

Rock Faces. Etching. 10 7/8 x 7 7/8 (sheet 16 x 11 5/8). Printed on the full sheet of cream laid paper with deckle edges. Pencil signature. $150.

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

St. Buryan Farm. Etching. 8 3/4 x 5 13/16 (sheet 12 5/8 x 9 3/4). A rich impression on cream-colored laid paper watermarked "[Ar}ches, France". Printed on the full sheet with deckle edges. Stamped signature. St Buryan is situated in west Penwith in the far south west of Cornwall. $175.

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

Saint Michael's Mount From the Coast. Etching. 6 7/8 x 9 7/8 (sheet 10 5/8 x 15 1/2). Printed on laid paper with deckle edges. Stamped signature. $200.

Single Tree by Farmstead. Etching. 12 x 7 15/16 (sheet 15 5/8 x 10 5/16). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $200.

Sycamores. Linoleum. 7 x 8 (sheet 10 1/2 x 12 1/4). Printed on Japanese mulberry paper with deckle edges. Stamped signature. The artist's linoleum cuts are extremely rare. $300.

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

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

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

Tredavoe: The Approach. (near Newlyn in South Cornwall). Etching. 5 15/16 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed on light tan laid paper. Edition 50, #4. Signed, numbered, and annotated "Tredavoe - 1st State", in pencil $275.

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

Trees Overlooking the Town. Etching. 7 13/16 x 10 7/16 (sheet 10 1/8 x 15 1/2). Printed on the full sheet of laid, watermarked paper with deckle edges. Stamped signature. $225. Another impression annotated "proof" in pencil; stamped signature. $175.

Trees With Two Birds. Etching. 5 15/16 x 6 15/16 (sheet 9 1/16 x 11 7/16). Printed on the full sheet of laid watermarked paper with deckle edges. Stamped signature. $150.

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

Trewoofe II. Etching. 6 1/8 x 7 7/8 (sheet 9 1/4 x 12 3/4). Printed on the full sheet of "J Whatman" laid paper. Signed in pencil verso, annotated "working proof" in pencil; stamped signature. $275.

Trewoofe II. Etching. 6 1/8 x 7 7/8 (sheet 9 3/8 x 12 3/8). Edition 50, #5. Printed on the full sheet of cream laid paper with deckle edges. Signed, numbered, and annotated "Trewoofe II" in pencil. $300.

Two Sycamores. Etching. 10 x 10 5/16 (sheet 17 5/8 x 13 3/8). Printed on the full sheet of "Ingres France" laid paper with deckle edges. Annotated "trial proof" lower left. Stamped signature. $275.

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

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

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

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

Windy Day, Whitley c. 1925. Etching. 5 1/8 x 4 7/16 (sheet 7 1/4 x 5 3/8). A fine impression with rich plate tone printed on cream wove paper with deckle edges. Signed and titled in pencil. $95.

Arthur Jackson. Twentieth century.

Listening In. 1926. Wood engraving. 5 5/8 x 3 1/8 (7 3/8 x 4 15/16). A well-inked impression printed on tan Japanese mulberry paper. A printing fold in the upper right-hand side of the image; two foxing spots. A charming study of a young woman. Signed, dated and titled in pencil. $125.

Portrait of J. Hope Johnstone. 1919. Drypoint. Dodgson 139. 7 x 5 (sheet 11 1/8 x 8 1/2). Edition 55.i/ii. Illustrated: Print Collector's Quarterly 18 (1931): 285. A very rich impression with plate tone, printed on cream 'hand made' laid paper with a partial watermark. Signed "John" and annotated 'undescribed I/ii' in pencil. $1,750.

The Old Haberdasher. c. 1903. Etching and drypoint. Dodgson 36.vii. 7 x 5 31/32 (sheet 10 9/16 x 8 12/16). Edition 25 in this state (total edition 32). A very rich impression with plate tone, printed on cream 'hand made' laid paper. Signed "Aug E. John" in pencil; titled and annotated 'Plate N° 52' and 'Imp N° 12/25' in pencil. $1,250.

Portrait of the Artist (Tête Farouche). 1906. Etching. Dodgson 10.ii. 8 1/2 x 6 11/16 (sheet 10 3/4 x 8 9/16). Edition 25, #25. A brilliant, rich impression with plate tone, printed on cream laid paper with a partial Fortune figure watermark. Illustrated: Lumsden, The Art of Etching. Ex-collection Daniel and Rosalyn Jacobs, with their blinsdtamp, lower right margin corner. Titled, numbered and annotated 'plate No 87' in ink; signed in pencil. Price upon request.

Bareback Rider. 1935. Etching. Bolling 79. 10x 4 7/8 (sheet 15 1/2 x 10 7/16). Edition 109 for The Print Collector's Club. A rich impression printed with atmospheric plate tone on cream laid paper, on the full sheet with deckle edges. Signed in pencil. $2,250.

On the High Wire. 1933. Etching. 9 3/4 x 11 3/4 (sheet 12 1/4 x 18). Ilustrated: Fine Prints of the Year, 1933. A fine impression printed with atmospheric plate tone on cream laid paper. Signed, titled twice, and annotated 'artist's proof' in pencil. $2,750.

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

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

Mountain Sentinels. 1930. Etching and aquatint. 12 1/8 x 15 3/8. Annotated "2nd state 3 proofs." A proof apart from the edition of 100 published by Colnaghi for 7 guineas. Illustrated: Fine Prints of the Year, 1930. $225.

The Brook, Winter. 1919. Drypoint. Hardie 166. 6 1/4 x 9 7/16 (sheet 9 1/2 x 12 3/4). Edition 100. Signed in pencil and with the monogram stamp. A rich impression with burr on off-white laid paper. Printed by the artist. $250.

<The Confession. 1912-18. Drypoint. Hardie 98. 10 7/8 6 3/8. Edition 75. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $950.

A Corner of the Fishmarket. 1919. Drypoint. Hardie 165. 8 x 6 (sheet 11 7/8 x 9 7/16). Edition 100. A very rich impression on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $750.

A Cottage Toilette. 1913. Drypoint. Hardie 112. 7 13/16 x 6 1/2(sheet 11 5/16 x 9 1/16). A very rich impression on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $675.

Counting the Fish. 1927. Etching. Subsequent to Hardie. 7 5/8 x 9 3/16 (sheet 10 3/8 x 12 1/8). Edition 100. Illustrated: Fine Prints of the Year, 1927. A very rich impression on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $575.

Dawning Intelligence. Drypoint. Subsequent to Hardie. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $875

L'Enfant Satisfait (The Satisfied Baby). 1922. Drypoint. Subsequent to Hardie. 81/4 x 6 7/16 (sheet 12 7/8 x 9 7/8). Edition 100. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $250.

Field Workers. 1918. Drypoint. Hardie 154. 6 7/16 x 8 3/8 (sheet 9 x 10 3/4). Edition 75. A very rich impression on cream 'ACM Watercolour' paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $275.

Jeannette of the Market. 1925. Etching and drypoint. Subsequent to Hardie. 9 x 9 3/8 (sheet 13 1/2 x 12 1/2). Illustrated: Fine Prints of the Year, 1925. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $675.

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

The Maiden Praying (Prayers). 1905. Color etching and aquatint (on zinc, with cartridge paper ground). Hardie 19. 13 75/8 x 9 7/8 (sheet 18 x 12 3/8). Edition 75 in color, and 3 or 4 in monochrome. Numbered 50. A rich, tonal impression printed on simili-Japan paper. Monogrammed with the artist's blindstamp. Signed and numbered in pencil. A subtle tonal coloration printed by the artist. $1,500

La Mechante. 1920. Drypoint. Hardie 179. 10 7/8 x 8 13/16 (sheet 16 3/16 x 12 7/16). Edition 100. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. At the lower left is the Church of Etaples, France. Signed in pencil. $975.

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

Mother's Little Boy. Etching and drypoint. Subsequent to Hardie. 11 1/2 x 9 1/2 (sheet 14 7/8 x 12 1/2). A rich impression with plate tone printed on simili-Japan paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $750.

Le Repos (Slumber). 1926. Etching and drypoint. 9 1/2 x 11 1/2 (sheet 12 1/2 x 14 1/4). Edition 100. A fine impression printed on cream wove paper, with the artist's embossed monogram. Signed in pencil. Printed by the artist. $525.

The Ribbon. 1926. Drypoint. Subsequent to Hardie. 7 3/4 x 7 3/8 (sheet 12 1/2 x 10 3/8). A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $575.

The Secret. 1920. Drypoint. 6 x 4 (sheet 9 1/2 x 7 1/8). Hardie 171. Edition 100. Faint mat line; otherwise excellent condition. A rich impression, with burr, printed on cream wove paper with wide margins. $875.

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

Widow. 1913-14. Drypoint. Hardie 122. 8 3/4 x 4 7/8 (sheet 11 15/16 x 7 7/8). Edition 50. A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $975.

Youth No. 2. 1919. Drypoint. Hardie 169. 7 x 4 15/16 (sheet 9 7/8 x 7 3/8). A rich impression printed on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $675.

[Pastoral Landscape with Cows]. 1880. Etching. 4 3/4 x 6 13/16 (sheet 7 3/4 x 10 7/16). Printed with plate tone on simili-Japan paper. Signed in pencil. $95.

Charles. 1926. Drypoint. Bloomfield 283. 10 1/4 x 12 3/8 (sheet 17 1/4 x 18 3/8). Edition 38, #18. A rich, well-inked impression. Printed on simili-Japan with full margins. Signed, titled and numbered in pencil. $3,750.

Scherzo. 1922. Etching, softground, engraving and stipple. Bloomcield 234. 11 1/4 x 12 (sheet 15 1/2 x 16 3/4). Edition 55, #17.Printed on simili-Japan with full margins. Signed, dated, titled and numbered in pencil. $3,750.

Chiesa dei Frari, Venice. (Church of the Friars, Venice). c. 1928. Etching. 9 7/8 x 11 1/2. Edition 870, #34. $450.

Spanish Holiday, Granada. c. 1930. Etching. 11 7/8 x 8 3/4. Edition 80, #29. $175.

Fan Dancer. Drypoint and woodcut with hand coloring. 11 3/4 x 8 1/3 (sheet 17 3/8 x 12 1/2). Edition 75, #20. Signed and numbered in pencil. A rich impression printed on Japanese mulberry paper. Excellent condition with fresh colors. $650.

Trumpeter VI. Drypoint and woodcut with hand coloring. 9 7/8 x 7 3/8 (sheet 13 7/8 x 13 3/4). Edition 75, #50. Signed and numbered in pencil. A rich impression printed on Japanese mulberry paper. Excellent condition with fresh colors. $650.

Trumpeter VII. Drypoint and woodcut with hand coloring. 8 1/8 x 7 (sheet 13 5/8 x 8 7/8). Edition 75, #39. Signed and numbered in pencil. A rich impression printed on Japanese mulberry paper. Excellent condition with fresh colors. $650.

Trumpeter VIII. Drypoint and woodcut with hand coloring. 10 x 7 3/4 (sheet 13 3/4 x 13 7/8). Edition 75, #45. Signed and numbered in pencil. A rich impression printed on Japanese mulberry paper. Excellent condition with fresh colors. $650.

Portraits of Printmakers

Edmund Blampied (full face). 1922. Etching. Lumsden, Boulet 257.ii. 9 7/8 x 11 7/8 (sheet 12 1/2 x 14 1/4). Only 3 impressions printed, this one annotated "2nd". A brilliant impression with plate tone, printed on antique laid paper with a fleur-de-lys and armorial shield watermark, on the full sheet with deckle edges. The proof was printed by the artist. Signed, titled and annoted in pencil. $1,750.

James McBey. 1920. Etching. Boulet 203.iv. 9 15/16 x 11 11/16 (sheet 12 3/8 x 16). Edition 50 in this state, in a total of 65 proofs. A very rich proof printed by Lumsden on tan wove paper, on the full sheet with deckle edges. Signed, annotated 'imp' and numbered '6' in ink. $1,750.

Great Britain and India.

The Empty Canal (Edinburgh) 1909. Etching. Lumsden, Boulet 173. Edition 30. 5 1/2 x 3 3/4(sheet 7 3/4 x 5). Printed on cream laid paper. Signed and annotated 'imp' in pencil, under the plate. Titled in pencil, bottom of the sheet. $275.

Hauling Stone. 1922. Etching and drypoint. Lumsden, Boulet 242.vii. 8 3/8 x 13 1/2 (sheet 11 1/8 x 15 1/8). Edition 55, #38 (total 57 proofs in 7 states). An extremely rich impression with burr printed on tan wove paper. Printed by the artist himself. Signed, numbered and annotated in pencil. $350.

The Lower Pool 1921. Etching and drypoint. Lumsden, Boulet 219.ii. 13 1/2 x 8 3/8 (sheet 11 1/4 x 17 3/4). Edition 55, #50 (total edition 50). Signed and numbered in ink. Printed by the artist. A rich impression on cream laid paper. Printed on the full sheet with deckle edges. $975.

The Pier (Portobello). c. 1909. Etching. Lumsden, Boulet 77.ii. Edition 35 in this state (total 36 prints). 5 x 7 7/8 (sheet 7 3/16 x 9 13/16). Printed on Japanese mulberry paper. Signed and annotated 'imp' in pencil. $300.

The Plane Tree, No. 2. 1908. Etching. Lumsden, Boulet 59. 5 1/2 x 7 13/16 (sheet 5 13/16 x 8 11/8). Edition less than 10. Signed and numbered 4 in pencil. Printed by the artist. A fine impression on laid paper. An extremely rare image. $350.

Arab Story Teller. c. 1928. Etching and drypoint. 8 3/8 x 13 3/4 (sheet 12 3/16 x 18 3/4). #XXX A. Printed on the full sheet of cream laid paper with deckle edges and with a watermark and 'France' countermark. Printed by the artist with rich plate tone. Exhibited in the Dickinson College Library. Signed and numbered in ink. $175.

Bullock Team. c. 1932. Etching. 5 3/8 x 9 5/8 (sheet 8 1/8 x 12 1/2). A fine impression with plate tone, printed on tan wove paper, on the full sheet with deckle edges. Signed in pencil. $75.

Chateau D'If. (Marseilles) c. 1928. Etching. 9 1/2 x 15 (sheet 12 1/4 x 18 7/8). Numbered XXXVII A in ink, lower left under the plate. Printed on the full sheet of cream laid paper with deckle edges and with a countermark and a 'France' watermark. Signed, titled and numbered in ink. $200.

Iain Macnab. 1890-1967.

The Palace Guard. c. 1956-57. Aquatint. 6 x 7 7/8 (sheet 8 5/16 x 10 3/4). Edition 100, #14. Printed in contrasting tones of brown ink. A rich impression printed on cream laid paper. The artist's own impression with his name and address inscribed on the verso of the sheet. Signed, dated and numbered in pencil. $450.

The Nile in Flood, El Wasta. August 9, 1937. Etching and aquatint. First state. 11 1/8 x 15 3/8 (15 x 18 3/8). A fine impression on cream wove paper. Signed, dated, titled and annotated in pencil. $275.

Scuir of Eigg. c.1920. Drypoint. 9 7/8 x 5 13/16 (sheet 12 3/4 x 9 5/8). A rich impression with plate tone printed on cream wove paper. An Sgurr is a unique lava ridge 2 kilometers in length, that ends in an overhanging rock tower. $200.

The Dean Bridge, Edinburgh. 1904. Etching. Hardie 20. 8 x 4 3/4 (sheet 9 1/2 x 6 1/2). One of two trial proofs, prior to the edition 10. Printed on cream wove paper from an antique volume. A proof with subtle tonal wiping of this exceptionally rare image. Signed and titled in pencil. $1,850.

The Foveran Burn. 1912. Etching. Hardie 124. 6 1/8 x 10 7/8 (sheet 8 1/4 x 11 7/8). Edition 48, #3. Printed on fine cream laid paper from an antique volume. A proof with subtle tonal wiping. Signed and titled in ink. $450.

A Gale at Port Errol. 1923. Etching. Hardie 215, #46. 13 x 8 3/4 (sheet 16 7 /8 x 11 1/2). Edition 76. #46. Illustrated: Fine Prints of the Year, 1923. A rich wiped impression on antique 'Whatman 1814' countermarked paper. Signed and numbered in ink. $850.

Macduff. 1922. Etching. Hardie 210. 11 7/8 x 7 1/2 (sheet 13 1/2 x 9 5/16). Edition 76, #A7. A rich impression with plate tone. Printed on cream laid paper from an old volume. Signed and numbered in ink. $950.

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

Sea and Rain. 1914. Etching. Hardie 153. 6 1/2 x 8 1/2 (sheet 7 5/8 x 9 3/4). Edition 50, #31. A rich impression with plate tone. Printed on cream laid paper with a fleur de lys watermark. Signed and numbered in ink. $550.

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

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

The Squall, Kampen. 1924. Etching. Hardie 219. 7 x 12 (sheet 9 1/4 x 14 1/2). Edition 76, #30. A very rich impression with plate tone, printed on antique laid paper. Three paper losses in the margins, well outside the image; slight toning. Collector's seal: Thomas Simpson (Lugt 2459), who was known to have selected extremely fine impressions. $450.

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

Thunderstorm Over Boston. July 14, 1930. Ink and watercolor on paper. 10 5/8 x 17 5/8 (sheet 12 x 19 1/4). Signed and dated and titled in ink, lower right; titled verso and annotated 'The Witham' (the latter crossed out). $2,750.

The Ebb Tide. 1925. Etching. Hardie 216. 8 7/16 x 13 13/16 (sheet 10 1/2 x 16 3/16). Edition 76, #A9. A very rich impression with plate tone printed on cream laid paper with a grapes watermark. Signed and numbered in ink. $550.

A Flood in the Fens. 1922. Drypoint. Hardie 209. 6 7/8 x 12 1/4 (sheet 9 11/16 x 14 3/4). Edition 76, #A3. A rich, tonally wiped impression on 'Court' watermarked laid paper from an antique volume. Signed and numbered in ink. $550.

Lion Brewery. 1914. Etching. Hardie 149. 11 1/2 x 8 1/8 (sheet 14 7/8 x 8 5/8). Edition 50,#46. A fine impression of this scarce print, printed with plate tone on Strasbourg Lily watermarked laid paper. Signed and numbered in ink. $1,750.

Mersea, Sunset. 1924. Etching. Hardie 222. 8 5/16 x 14 3/8 (sheet 8 7/16 x 17 1/8). Edition 76, #A18. Illustrated: Fine Prints of the Year, 1925; Holme, Etchings of Today, (London: The Studio, 1929), plate 26. Light mat stain; otherwise excellent condition. A rich impression with drypoint burr and plate tone, printed on cream colored wove paper from an antique volume. $850.

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

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

The Thames Barge Race: theSSarah Winning. 1936. Etching. Hardie 273. 6 3/8 x 17 1/2 (sheet 11 3/16 x 17 1/2). Edition 80, #33. A very rich, atmospherically wiped impression printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.

Antwerp. 1923. Etching. Hardie 124. 8 1/4 x 13 (sheet 10 3/4 x 916 5/8). Edition 76, #3. A rich impression printed on 'Porter & Bridges' laid paper from an antique volume. Signed and numbered in ink. $850.

The Carpenter of Hesdin. 1917. Drypoint. Hardie 178. 7 13/16 x 11 15/16 (sheet 9 3/16 x 13 1/2). Edition 76, #50. A very rich impression with drypoint burr, printed on cream laid paper.Signed and numbered in ink. $500.

The Crucifix, Bologne. 1922. Etching. Hardie 168. 6 x 8 1/8 (sheet 7 3/8 x 9). Edition 76, #A14. A rich impression printed on old laid paper. Signed and numbered in ink. $600.

Gerona. 1923. Etching and drypoint. Hardie 213. 7 5/16 x 12 13/16 x 12 3/8 (sheet 10 3/8 x 16). Edition 76. #A3. Signed and numbered in ink. A few unobtrusive foxing specks, otherwise excellent condition. A rich impression with drypoint burr, printed on cream laid paper from an antique volume, on the full sheet. Signed and numbered in ink. $375.

A Norman Port. 1916. Etching. Hardie 169. 6 11/16 x 14 1/2 (sheet 8 1/4 x 15 7/8). Edition 76, #1. An extremely rich impression with plate tone, printed Strasbourg Lily watermarked laid paper from an antique volume. Signed and numbered in ink. $750.

The Quai, Gambetta, Boulogne. 1916. Etching. Hardie 170. 7 1/8 x 11 5/16 (sheet 9 1/4 x 12 5/8). Edition 76, proof B, reserved for the artist. An extremely rich impression with plate tone, printed on old laid paper. Signed and numbered in ink. $850.

Rouen. 1916. Etching. Hardie 172. 6 11/16 x 14 3/8 (sheet 7 13/16 x 15 9/16). Edition 76, #A19. An extremely rich impression printed printed on 'J. Whatman' laid paper from an antique volume. Signed and numbered in ink. $750.

The Seine at Rouen. 1916. Etching. Hardie 173. 6 x 8 13/16 (sheet 7 7/16 x 10). Edition 76, #A3. A rich impression printed on cream wove paper. Signed and numbered in ink. $750.

The Sussex. 1916. Etching. Hardie 171. 8 3/16 x 15 1/8 (sheet 9 3/4 x 16 3/16). Edition 76, #7. Illustrated: Lumsden, The Art of Etching. A rich impression printed in 'J Whatman' laid paper from an antique volume. Signed and numbered in ink. $950.

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxx. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. $13,500.

The Bridge by Night. 1926. Drypoint. Carter 232. 9 1/2 x 5 15/16 (sheet 12 13/16 x 8 1/8). Edition 80, #47. A brilliant impression printed on 'P. Eller' countermarked blue-green French laid paper. Signed and numbered in ink. $4,750.

The Deserted Palace. 1928. Etching. Hardie/Carter 236. 8 1/2 x 10 (sheet 11 7/8 x 13 9/16). Edition 80, #78. A rich impression printed in bistre ink with plate tone on antique paper with a fleur-de-lys watermark. Signed and numbered in ink. $2,000.

Distant Salute. 1925. Etching. Hardie/Carter 250. 7 3/16 x 15 15/16 (Sheet 10 7/8 x 17 1/8). Edition 80, #27. Signed and numbered in ink. One foxing spot, otherwise excellent condition. A fine impression with plate tone, printed on antique cream-colored laid paper with full margins. $1,950.

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

La Giudecca 1926. Etching. Carter 229. 6 x 12 3/8 (sheet 8 3/16 x 17 7/8). Edition 80, #28. A fine impression on cream-colored paper countermarked 1818. Signed and numbered in ink. $1,850.

Glass Blowers, Murano 1930. Etching and drypoint. Hardie/Carter 243. 5 x 6 (sheet 6 1/4 x 8). Edition 80, #47. A rich impression with drypoint burr, printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.

A Mirage. 1928. Etching. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928; Holmes, Etchings of Today. A rich impression with subtle tonal wiping. Printed on antique paper with full margins. Signed in ink. This is one of McBey's largest and most dramatic Venetian images. $2,750.

Molo. 1925. Etching. Hardie/Carter 239. 12 5/16 x 9 5/16 (sheet 15 1/4 x 11 1/2). Edition 76, #21. A rich impression with plate tone, printed on 'LOTTERY'laid paper with full margins. Signed and numbered in ink. $1,500.

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

A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 (Sheet 13 3/16 x 19 3/8). Edition 80, #5. A impression on cream-colored wove paper with full margins. Signed and numbered in ink. $1,950.

Rio dei Greci. 1926. Etching. Hardie/Carter 228. 10 1/2 x 6 3/4 (sheet 13 x 8). Edition 80, #A2. Collector's seal: Albert Henry Wiggin, industrialist and benefactor to the Boston Public Library. A rich impression, printed in black ink on cream laid paper from an antique volume. Signed and numbered in ink. $950.

The Riva at Dusk 1930. Etching. Carter 253. 15 7/8 x 9 3/8 (Sheet 18 3/8 x 11 3/4). Edition 80, #23. Signed and numbered in ink. A fine impression on cream-colored laid paper with full margins. The artist is pictured in the left foreground with his back to the viewer; his wife faces the viewer. This is a charming study of the couple in an outdoor cafe in Venice. $1,950.

The Riva at Dusk. 1930. Etching. Hardie/Carter 253. 15 7/8 x 9 3/8 (sheet 17 1/2 x 11 5/8). Edition 80, #51. A fine impression on French blue-green laid paper from an antique volume with full margins. Signed and numbered in ink. The color of the paper suggests evening. $1,950.

Santa Maria della Fava, Venice. 1925. Etching and drypoint. Hardie/Carter 234. 13 x 8 1/2 (sheet 13 1/2 x 8 1/2). Edition 80, #48. A rich tonal impression, printed on French blue/green paper from an antique volume. Trimmed to the plate on three sides, à la Whistler. Signed and numbered in ink. $1,500.

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

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

Venetian Night. 1930. Etching. Carter 254. 10 7/8 x 16 3/4 (sheet 11 3/4 x 17 1/2). Edition 81. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 6, 1916, p. 115. Published by P. & D. Colnaghi, London. A brilliant impression, printed in black ink on cream laid paper from an antique volume. Signed and numbered in ink. Venetian Night is considered to be the artist's master etching. Price upon request. Another impression.

Venetian Night. 1930. Etching. Carter 254. 10 7/8 x 16 3/4 (sheet 12 x 17 1/2). Edition 81, #iv. Signed and numbered in ink. A rich, glowing impression on pale greenish-toned laid paper from an old book.Venetian Night is considered to be the artist's master etching. $13,000.

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

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

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

Dust, Beersheba. 1920. Etching. Hardie 193. 8 15/16 x 15 3/8 (sheet 11 1/8 x 17 7/8). Edition 76, #A3. A fine impression printed on cream laid paper from an antique volume. Signed and numbered in in ink. $1,500.

Ras-El-Ain. 1919. Etching. Hardie 180. 7 7/8 x 12 7/8 (sheet 9 5/16 x 14 3/8). Edition 76, #A7. A fine impression printed on cream laid paper with a Strasbourg lily watermark. Signed and numbered in in ink. $600.

Strange Signals. 1919. Etching. Hardie 186. 8 7/8 x 15 3/4 (sheet 10 1/4 x 17). Edition 76. Illustrated: Lumsden, The Art of Etching; Salaman: Modern Masters of Etching: McBey. A rich impression on antique laid paper. Signed in ink. $5,500.

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

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

San Luis Obispo. 1944. Etching. Carter 283. 6 7/16 x 14 1/8 (sheet 9 1/4 x 15 7/16). Edition 48, #30. Signed and numbered in ink. A delicate impression with carefully wiped plate tone, printed on cream-colored laid paper. $375.

Sub-Treasury Building, New York. March 10, 1930. Ink and watercolor on paper. 15 1/2 x 9 1/2. Signed, dated and titled in ink, lower right. The lower mat bevel is decorated to emulate cobblestones -- a charming touch. An elegant watercolor with bright, unfaded colors, in pristine condition. $3,750.

Artist and Model. 1925. Etching. Hardie 223. 8 3/4 x 5 3/4. Edition 500. A fine impression on the full sheet of wove paper. Signed in ink. This is a delightful self-portrait. It is the frontispiece to the catalogue raisonne of the artist's early work by Martin Hardie. Etchings and Dry-Points by James McBey. 1902-1924. London, 1925. $750.

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

A Studio (Earl's Court). 1914. Etching. Hardie 147. 6 3/4 x 10 15/16 (sheet 8 1/2 x 12 5/8). Edition 40, #30. A very rich impression printed on cream laid pape from an antique volume. Signed and numbered in ink. $2,000.

[Abstract Composition]. Copper etching plate. 9 x 11. Provenance: a collection of the artist's etchings, aquatints and etching plates. Unsigned. $275.

Coast with Seagulls. Etching and aquatint. 6 7/8 x 8 7/8 (9 1/16 x 11 7/8). Unsigned. $125.

[Fox and Magpie]. Etching and aquatint. 5 7/8 x 8 7/8 (sheet 6 13/16 x 19 5/16). Printed on pale cream wove paper. Fine impression. Unsigned. $175.

[Frogs with Spawn]. Etching and aquatint. 8 3/8 x 6 3/8 (sheet 10 3/16 x 7 13/16). Printed on green wove paper. Unsigned. $150.

[Hillside Town.]. Etching and aquatint. 5 x 6 7/8 (sheet 7 1/8 x 9). Printed on light green wove paper. Unsigned. $75.

[Lake Garda]. c. 1925. Etching and aquatint. 6 7/8 x 9 7/8 (sheet 8 1/8 x 11 1/8). Abrasion, lower left; otherwise fine condition. Printed on cream wove paper. Unsigned. $75.

[Mountain Lake]. Etching and aquatint. 5 3/8 x 7 7/8 (sheet 9 3/16 x 10 5/16). Printed on green wove paper. Unsigned. $125.

[St. Mary Church, Torquay, Devon]. Etching and aquatint. 7 3/4 x 5 7/8(sheet 9 7/8 x 7 3/8). Printed on pale green wove paper. Unsigned. Diagonal fold, visible from the verso. Annotated in ink, verso "Our Lady Help of Christians and St. Denis R.C.Church. St Marychurch, Torquay by Isabel Mesham" $150.

[St. Mary Church, with Stars, Torquay, Devon]. Etching and aquatint. 8 x 6 (sheet 9 1/8 x 6 3/4). Printed on cream wove paper. Unsigned. Diagonal folds across upper left-hand part and center of the image. Sold with the zinc etching plate, 8 x 6. The image on the plate is reversed in the etching when the etching is printed. $275 the pair.

[Two Frogs]. c. 1925. Etching and aquatint with watercolor. 6 7/8 x 8 13/16 (sheet 8 7/8 x 9 15/16). Printed on cream wove paper from a book. Unsigned. $125.

[Woodland Landscape]. c. 1925. Etching and aquatint. 7 1/4 x 9 7/8 (sheet 9 1/4 x 11 3/4). Printed on cream laid paper. Unsigned. Annotated 'N3)' in ink and 'on a rather deep cream paper as sample, and logs and printed piece of wood rather darker (as to indicator)'. And a proof printed in colors, on cream wove paper, trimmed to just outside the image on the top left. Unsigned; annotated 'I like this' in ink.' $275 for the pair.

By the Lake Etching amd aquatint. 4 7/8 x 7 7/8 (sheet8 3/8 x 10 1/2). Edition 75, #6. Printed on cream laid paper with an anvil watermark. Signed, titled, and numbered in pencil. $175.

A PORTFOLIO OF TWENTY-FOUR WOOD-ENGRAVINGS.

1985. Edition 45 numbered 1-45 and an additional I-XV not for sale. This is number #40. Each has a 'PNT' blindstamp. Printed on Japanese Hosho paper by Ian Mortimer. In the catalogue notes that follow the titles of entries 17-24 are new titles created at this time. All dimensions are in millimetres, height first. $2,000 for the portfolio box of 24 wood engravings.

For images, click on PORTFOLIO.

2. ABSTRACT NO 1, 1924. 102 x 31. $125.

5. BIRDS, 1923 164 x 132 $100.

6. DECORATION, 1923. 38 x 3 1/2. $130.

8. PATTERN PAPER NO 24, 1928. 40 x 80. $130.

10. PARADISE, 1928. 136 x 93. $200.

12. DESIGN 1, 1929. 101 x 38.

The first design for A Song about Tsar Ivan Vasilyevitch, his young body-guard, and the valiant merchant, Kalashnikov, this illustration appears on the verso of the title page. In the book it is printed in black on grey paper with an over-printing of a red border and a red strip highlighting the front of the throne. Nash's semi-abstract design of a throne complements the opening verses of the poem in which the Tsar is holding court with his bodyguards. $125.

14. DESIGN 3,1929. 38 x 101. $130.

20. DESIGN WITH STEPS, c. 1923. 34 x 38. $115.

22. MEADOW GARDEN, c. 1928. 89 x 138.

It is tempting to suggest that this design was conceived as part of the Abd-er-Rhaman in Paradise suite. Although no precise textual equivalent can be found, the text is full of descriptions of celestial gardens which could have inspired Nash's design. Its horizontal format is at variance with the three published large illustrations, but it is comparable in size. The rather florid cutting is also in keeping with this group of engravings, the treatment of the waterfall in Paradise is similar to the cutting used here. $165.

24. BRYONY AND CONVOLVULUS. 38 x 83. $165.

Banking at 4,000 Feet. 1917. Lithograph. Leicester Galleries 23. 15 7/8 x 12 3/8(sheet 20 x 15 5/8). Edition 200, #28. One of a set of 6 lithographs entitled "Building Aircraft" published by the Stationary Office as part of the series, The Great War: Britain's Efforts and Ideals. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 114; Ackley, Rhythms of Modern Life: British Prints 1914-1939, page 69. Printed on off-white wove paper. Signed and numbered in pencil. Price upon request.

Making the Engine. 1917. Lithograph. Leicester Galleries 23. 15 7/8 x 12 (sheet 19 7/8 x 15 5/8). Edition 200, #35. One of a set of 6 lithographs entitled "Building Aircraft" published by the Stationary Office as part of the series, The Great War: Britain's Efforts and Ideals. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 115. Printed on white wove paper. Unobtrusive printing crease in the top center margin, extending into the image; otherwise an excellent impression and condition. Signed in pencil. $15,000.

Swooping Down on a Taube. 1917. Lithograph. Leicester Galleries 28. 15 3/4 x 11 3/4(sheet 19 5/8x 15). Edition 200, #32. One of a set of 6 lithographs entitled "Building Aircraft" published by the Stationary Office as part of the series, The Great War: Britain's Efforts and Ideals. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 113; Ackley, Rhythms of Modern Life: British Prints 1914-1939, page 24. Printed on off-white wove paper. Signed and numbered in pencil. Sold.

In the summer of 1919, Nevinson visited Manhattan. On the suggestion of Frederick Keppel, he made a series of New York images.

43rd Street at Night. 1921. Mezzotint. Leicester 52, Guichard 45. 7 7/8 x 5 (sheet 11 9 1/16 x 9 1/16). New York set. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 141. A richly inked impression printed cream laid paper, with full margins. Nevinson made only 6 mezzotints. A superb impression of this rare print. Signed in pencil. Price upon request.

From the Ferry. c. 1919. Drypoint. Leicester Galleries 50. 7 3/8 x 4 7/8 (sheet 11 1/4 x 8 3/8). New York set. Printed on cream laid paper with wide margins, and a deckle edge on one side. Signed in pencil. $9,500.

Looking Down on Downtown. 1921. Etching and drypoint. Leicester Galleries 46, Guichard 29. 7 7/8 x 5 1/4 (sheet 11 1/2 x 9 1/2). New York set. A view looking down into Hanover Square in lower Manhattan. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 146. A very rich, atmospherically wiped impression on laid paper watermarked 'England'. Signed in pencil in the plate. Price upon request.

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

Lower Broadway. 1919. Etching and drypoint. Leicester Galleries 47, Guichard 31. 7 7/8 x 5 1/4 (sheet 11 1/2 x 9 1/2). New York set. A view looking down into Hanover Square in lower Manhattan. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 146. A very rich, atmospherically wiped impression on laid paper watermarked 'England'. Signed in pencil in the plate. Price upon request.

On the Roof Garden. 1919. Mezzotint. Leicester Galleries 53, Guichard 32. 8 1/4 x 4 5/8 (sheet 13 15/16 x 11 1/16). Edition 50. New York set. A richly inked impression printed on "F J Head" watermarked paper, on the full sheet with deckle edges. Nevinson made only 6 mezzotints. A superb impression of this rare print. Nevinson captures the essential spirit of the flapper. 8,500.

The Stock Exchange. 1921. Etching and drypoint. Leicester Galleries 51; Guichard 32. 10 1/4 x 8 3/8 (sheet 11 1/8 x 11 5/8). Edition 50. American set. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 146. An extremely rich impression with plate tone. Printed on cream colored laid paper watermarked "England" on the full sheet with deckle edges. Signed in pencil. Price upon request.

Temples of New York. 1919. Drypoint. Leicester 44; Guichard 26. 7 3/4 x 6. Edition 50. New York set. Trinity Church facade from the back, which faces Wall Street. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 138. Pristine condition. A very rich impression, with burr, printed with plate tone on cream wove paper with full margins. Signed in pencil. $7,500.

Third Avenue (Under the Elevated Railroad) 1920. Drypoint. Leicester Galleries 42; Guichard 33. 7 7/8 x 6 (sheet 11 5/8 x 8 7/8) . New York set. Illustrated: Ackley, Thythms of Modern Life: British Prints 1914-1939, page 97. Pristine condition. A rich impression, printed with plate tone on cream laid paper with deckle edges. Signed in pencil. Price upon request.

Two A.M. (Metropolis). also called 3 A.M. - A Corner by Madison Square at Night. 1921. Drypoint. Leicester Galleries 45; Guichard 30. 9 7/8 x 6 7/8 (sheet 18 5/16 x 11 1/2). American set. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 140. Pristine condition. A very rich, tonal impression. Printed on cream laid paper, on the full sheet with deckle edges. Signed in pencil. Price upon request.

Under Brooklyn Bridge 1921. Drypoint. Leicester Galleries 40; Guichard 27. 7 x 5 (sheet 11 3/8 x 9) . New York set. Illustrated: Salaman, Modern Masters of Etching;Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 139. Pristine condition. A very rich impression, printed with plate tone on cream laid paper with deckleedges. Signed in pencil. Price upon request.

From an Office Window. 1918. Mezzotint. Leicester Galleries 76. 9 15/16 x 6 15/16 (sheet 11 9/16 x 9). Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 125; Ackley, Rhythms of Modern Life: British Prints 1914-1939, page 100. A richly inked impression printed cream laid paper, with full margins. Nevinson made only 6 mezzotints. A superb impression of this rare print. Signed in pencil. Price upon request.

Venice Night. Drypoint. G 94. 5 1/2 x 7 1/8 (7 9/16 x 9 7/8). A fine, tonal impression on pale cream laid paper. Signed in pencil. Nevinson's foreshortened perspective of the mooring poles at the Salute in Venice is highly innovative. $2,500.

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

Catherine Maud Nichols, R.E., 1847-1923.

Lismore Castle. c. 1925. Drypoint. 6 1/2 x 9 13/16 (sheet 8 7/8 x 11 3/8). A rich impression printed with plate tone, on cream-colored laid paper with deckle edges on 3 sides. Signed in pencil. $175.

On the Dal, Srinagar. c. 1923. Linoleum cut printed in colors. 4 3/8 x 6 5/8. Signed and titled in pencil. Mounted on cream-colored museum board with blue outlines. $175.

Nanga Parbat. c. 1923. Linoleum cut printed in colors. 4 3/8 x 6 5/8. Signed and titled in pencil. Mounted on cream-colored museum board with blue outlines. $175.

The Herdsman's Cottage, or, Sunset. 1888. Etching. Lister 3.ii. Image 3 13/16 x 3; plate 4 7/8x 4; sheet 6 1/2 x 8 1/2. Initialed, lower left, As published in Hamerton, Etching and Etchers, 1888. Printed on the full sheet, with a small paper loss in the top left-hand corner. Good condition apart from sun staining. Illustrated: Print Collector's Quarterly 3 (1913): 213. A fine impression on pale cream-colored laid paper, with a triangle watermark. $650. Another proof, with full margins (sheet 16 7/8 x 11). $850

The Willow. 1850. Etching. Lister 1.ii/iv. 4 5/8 x 3 3/16. As published by A. H. Palmer, The Life and Letters of Samuel Palmer, Painter and Etcher. London: Seeley, 1892. First edition. Octavo, origal gilt-pictorialand lettered blue cloth; corners bumped, other light wear. Frontispiece, plates, including an original etching by Samuel Palmer. Includes a catalogue of the exhibited works and etchings of Samuel Palmer. Illustrated: Print Collector's Quarterly 3 (1913): 209. $650.

Norman and the Swan. 1932. Wood engraving. 4 x 4 1/4 (sheet 12 1/8 x 7 7/8). Edition 25, #2. A rich impression on simili-Japan paper. Signed, dated, titled and numbered in pencil. The image is a wry variant of the famous Leda and the swan myth. $600.

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

The Day's Thirst. 1927. Mezzotint. 16 5/16 x 12 5/8 (sheet 22 1/2 x 18). Edition 75, #4. Illustrated: Fine Prints of the Year, 1927. A rich impression with plate tone printed on white wove paper. Signed and numbered in pencil. $650.

The End of the Day. 1927. Mezzotint. 9 7/8 x 15 1/8 (sheet 15 x 21 1/2). Edition 75, #8. Illustrated: Holme, Etchings of Today, (London: The Studio, 1929), plate 32. Signed and numbered in pencil. A glowing impression printed on cream wove paper with full margins. $600.

The Evening Hour. 1926. Mezzotint. 15 1/2 x 12 1/2 (sheet 22 1/2 x 18). A rich impression with plate tone printed on white wove paper. Excellent condition apart from grubbiness in the margins. A glowing impression on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1926. Cost in 1926 was 4 guineas. $700.

The Old Farm Horse. c. 1930. Etching and drypoint. 10 1/2 x 9 (sheet 13 1/2 x 11). Excellent condition apart from remnants of brown pape from drying along the margin edges. A rich impression with burr printed on cream wove paper. $350.

St. Paul's from Ludgate Hill, London. 1910. Etching. 15 7/8 x 10 3/8 (sheet 10 1/2 x 13 5/16). Published April 4, 1910 by Frederick F. Dennis, 418 Chancery Lane, W.C. A rich impression printed on cream laid paper countermarked 'O.W.P.& A.O.L.' Signed and numbered '11' in pencil. $450.

Autumn. 1981. Etching printed in colors. Levinson 331. 15 3/4 x 12 3/4. Series: The Seasons. Printed at Kelpra with their blindstamp, published by CCA Galleries, London. Printed on the full sheet of Arches wove paper. One of 10 artist proofs, aside from the numbered edition of 100. Signed and inscribed 'A/P' in pencil. $3,500.