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The Judgment. 1929. Drypoint. 10 1/4 x 10 1/4 (sheet 18 1/4 x 12 3/8). Eidtion 50, #29. A rich impression printed on 'England' cream laid paper, on the full sheet with deckle edges. Signed and numbered in pencil. Illustrated: Print Collector's Quarterly 26 (1939): 292. $950.
The Law. 1928. Drypoint. 10 1/4 x 10 1/8 (sheet 18 1/2 x 12 1/2). Final trial proof, apart from the edition 50. A rich impression printed on 'J Whatman' cream laid paper, on the full sheet with deckle edges. Signed and annotated in pencil. $950.
A Point of Law. 1929. Drypoint. 10 1/4 x 10 1/4 (sheet 18 1/4 x 12 3/8). FEidtion 50, #29. A rich impression printed on 'England' cream laid paper, on the full sheet with deckle edges. Signed and numbered in pencil. Illustrated: Print Collector's Quarterly 26 (1939): 292. $950.
[The Old School]. 1930. Drypoint. 10 1/2 x 10 1/2 (sheet 18 1/8 x 12 5/8). Edition 50, #6. A rich impression printed on 'J Whatman' cream laid paper, on the full sheet with deckle edges. Slight toning on the lower right edge; otherwise fine condition. Signed and numbered in pencil. $250.
The Revoke. 1932. Drypoint. 10 1/4 x 10 3/4 (sheet 16 3/8 x 12 3/8). Edition 60, #10. A rich impression printed on cream laid paper. Wide margins with deckle edges on two sides. Glue stain along the top and side margins, well outside the image. Illustrated: Fine Prints of the Year, 1932. Signed and numbered in pencil. $750.
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The Fowler. Watercolor. 7 7/8 x 11. Executed as a study for the aquatint. On watercolor board, taped to the front mat. Unsigned. Excellent color and condition. $975.
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The Angelus. 1922. Line engraving. 6 1/8 x 8 3/4 (sheet 8 1/16 x 11 3/8). A rich impression printed on cream laid paper with an 'FA' countermark. Signed, dated and titled in pencil. $1,500.
The Cathedral, Palma. 1927. Etching and drypoint. Dodgson 79.iv. Edition of 50 in this state for the 21 Gallery (total edition 68). 8 1/2 x 13 1/2 (11 x 10 1/8). Illustrated: Print Collector's Quarterly 16 (1929): 348.A fine impression printed with plate tone on cream laid paper with deckle edges on three sides. Signed in pencil. $575.
Choristers of Canterbury. 1948. Line engraving. Post Dodgson 140. Edition of 60. 9 3/4 x 7 5/8 (sheet 14 x 10 3/4). Commission for The Friends of Canterbury Cathedral. A fine impression printed with plate tone on off-white laid paper. Signed and dated in pencil. $650.
The Horse of Ostend. 1921. Line engraving. Dodgson 28. Edition of 40. 5 3/4 x 7 1/2 (sheet 8 5/8 x 11). Illustrated: Fine Prints of the Year, 1923. A rich impression printed with plate tone on cream laid paper. Signed and dated in pencil. $650.
The Trace Horse. 1921. Etching. Dodgson 25.ii. Edition of 40. 6 1/2 x 8 (sheet 9 x 10 3/4). A rich impression printed with plate tone on cream laid paper. Signed and dated in pencil. $750.
A Woman of Scanno. 1927. Line engraving. 7 8/8 x 6 1/8 (sheet 12 3/4 x 10 3/8). Edition 50. Published by the Twenty One Gallery. A very rich impression printed on 'Charles I' laid paper. Illustrated: Fine Prints of the Year, 1927; Print Collector's Quarterly 16 (1929): 342. Signed and dated in pencil. $650.
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Evening Light, near Sevenoaks, Kent. 1930. Etching. Beetles 16. 5 1/2 x 6 1/2 (sheet 9 x 11 5/8). Edition 40, #40. Signed and numbered in pencil. A fine impression printed on grey-white laid paper. $1,975.
San Giorgio, Venice. c. 1900. Etching. 8 x 17 5/8 (sheet 13 3/4 x 21 5/8). Published by Robert Dunthorne. A rich, glowing impression with careful tonal wiping. Printed on Japanese vellum with full margins. Signed and titled in pencil. $450.
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[At Dock, Bristol]. c. 1921. Etching and aquatint printed in colors. 7 5/8 x 6 (sheet 12 3/8 x 10). A rich, tonal impression, printed on the full sheet of cream wove paper with deckle edges. St Mary Redcliffe Church is in the background. Signed in pencil. $225.
The Binnen Amstel, Amsterdam. c. 1940. Etching and aquatint printed in colors. 11 1/4 x 8 3/4 (sheet 16 3/8 x 11 1/4). A rich, tonal impression, printed on the full sheet of cream wove paper with deckle edges. Exhibited at the United Society of Artists, 1945. Signed 'H. Banks sc et imp.' in pencil. $375.
On Blackdown Hill (A Dorset Hillside). c. 1921. Etching and aquatint. 6 5/8 x 10 1/4 (sheet 11 x 15). A rich impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. 2 proofs, one titled 'On Blackdown Hill' and the other titled 'A Dorset Hillside'. Signed and titled in pencil. $275.
The Cornfield (probably Dorset). c. 1921. Etching and aquatint. 6 5/8 x 10 1/4 (sheet 11 x 15). A rich impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. Signed and titled in pencil. $250.
[A Doorway, Venice]. c. 1940. Etching and aquatint printed in colors. 10 1/2 x 7 1/8 (sheet 15 1/4 x 11 1/16). A rich, tonal impression, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $275.
Eze, Alpes Maratimes. c. 1921. Etching and aquatint. 7 7/8 x 9 3/8 (sheet 12 15/16 x 3 9/16). A rich impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. Signed and titled in pencil. $250.
Kilve Beach, Somerset. c. 1921. Etching and aquatint printed in colors. 8 x 12 3/16 (sheet 11 1/16 x 15 1/16). A rich, tonal impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $275.
[Moonlight, Roquebrune]. c. 1921. Etching and aquatint. 8 1/4 x 11 3/4 (sheet 11 x 15). A rich impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $200.
Rocquebrune, Alpes Maritimes. c. 1921. Etching and aquatint printed in colors. 6 x 7 5/8 (sheet 10 1/8 x 15 1/8). A rich, tonal impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. Another impression printed in black and white on F J Head laidpaper. Signed, titled and annotated 'trial proof' in pencil. $400 the pair.
Roquebrune, Alpes Maritimes. c. 1921. Mezzotint. 9 x 11 3/8 (sheet 11 1/8 x 15 1/8). A rich, tonal impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil; titled verso. $275.
Sospel, Alpes Maritimes. c. 1921. Etching and aquatint printed in colors. 6 x 9 1/4 (sheet 8 3/4 x 11 1/8). A rich, tonal impression in pristine condition, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $225.
The Window Seat. c. 1922. Etching and aquatint printed in colors. 14 1/8 x 17 5/84 (sheet 15 1/2 x 20 5/8). Shown at the Bristol Savages annual exhibition in 1922. The sitter is probably the artist's daughter. A rich impression in excellent condition, printed on the full sheet of cream wove paper with deckle edges. Signed and titled in pencil. $450.
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The Tee. 1922. Drypoint. 7 13/16 x 9 7/8 (sheet 10 1/2 x 11 9/16). A very rich impression with drypoint burr. Printed on cream laid Van Gelder countermarked paper, with full margins. Signed, titled and dated 9/19/22 in pencil. $1,500.
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The Accusation. 1930. Lithograph. A L 23. 10 7/8 x 15 3/8. Edition 50. Illustrated: Print Collector's Quarterly (24 (1936): 378. $1,250.
Aunt Elizabeth. 1921. Drypoint. A 72. 10 1/4 x 10 5/8 (sheet 18 1/4 x 14). A rich impression with burr printed on white laid paper with wide margins. Signed in pencil. A charming study of the elderly aunt peeling potatoes in a rustic kitchen. $1,250.
Births, Deaths and Marriages. 1929. Drypoint. Appleby 140. 8 x 10 1/4 (sheet 10 3/8 x 15 1/2). Edition 100, #41. Printed on the full sheet of cream laid paper, with deckle edges on all sides.Illustrated: Print Collector's Quarterly 24 (1937): 392. An extremely rich impression, wih burr. Signed and numbered in ink. $1,350.
Camels at a Well. 1927-28. Drypoint. Appleby 130. 8 1/2 x 12. Edition 100. Illustrated: Fine Prints of the Year, 1928. $850.
Le Chef d'oeuvre (The Two Chefs). 1930-31. Drypoint. Appleby 145. 11 3/4 x 9 (sheet 15 1/2 x 11 1/2). Artist's proof, aside from the edition of 100. A fine impression on pale white laid paper, printed on the full sheet with deckle edges. Signed and dated in the plate. Label from Arthur Ackermann & Son Inc., New York, identifying it as an "artist proof etching". $3,500.
The Cowman. 1920. Drypoint. A 56.3 x 9 7/8. Edition 100. $1,250.
Driving Home in the Rain. 1914. Drypoint. Appleby 35. 7 3/8 x 10 1/8 (sheet 11 5/8 x 14 3/8). Edition 40. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 13 (1926): 7; Salaman, Modern Masters of Etching: Edmund Blampied. Printed on cream laid paper with full margins, watermarked "FJH." Excellent condition. This rare print is considered to be Blampied's magnum opus. Price on request.
En Pension. 1929-30. Drypoint. Appleby 142. 8 1/2 x 12 1/8. Edition 199, #72. Collector's seal: E.C. Crossett. $1,750.
Fetch It! 1923. Drypoint. A 57. 10 3/4 x 14 3/4. $950.
Farm Fire. 1926-27. Etching and drypoint. Appleby 121. 7 x 8 7/8. Edition 100. Illustrated: Fine Prints of the Year, 1927. $950.
Galloping. 1923-24. Drypoint. Appleby 165. 8 7/8 x 11 3/4. Edition 100, #35. $950.
Homewards, Evening. 1913. Drypoint. A 20. 4 1/2 x 6 1/2. Editio 70. $950. The pencil study is available for $1,250.
Horses in a Meadow. c. 1914. Pencil drawing. 7 3/4 x 8 (sheet 10 x 15). Study for the etching "In a Meadow" (first plate). Dodgson 26. 1914. Only 1 proof of the etching pulled. Signed in pencil, lower center.$2,000.
A Jersey Milkmaid. 1920. Drypoint. Appleby 60. 9 7/8 x 6 7/8. Illustrated: Print Collector's Quarterly 13 (1926): 83. $1,500.
A Jersey Vraic Cart. 1939. Etching. Appleby 183. 8 9/16 x 11 1/16 (sheet 11 7/16 x 15 5/16). Edition 250 for the Print Club of Cleveland. Printed on the full sheet of J.Whatman laid paper. Signed in ink. $1,250.
The Joy Ride. 1923. Drypoint. A 89. 8 3/4 x 10 3/16. Edition 100. Illustrated: Fine Prints of the Year, 1925; Salaman, Modern Masters of Etching. $1,750
Loading Vraic, St. Malo. 1927. Drypoint. A 122. 6 7/8 x 10. $850.
Lumbermen. 1923. Etching. Appleby 91. 9 x 12. Edition 100. $950.
Madame Dupré 1929-30. Drypoint. A 147. 8 5/8 x 7 1/8. Edition 100. $1,350.
Milking. 1919. Drypoint. Appleby 52. 8 x 6. Edition 75. $950.
Misty Morning. 1928-29. Drypoint. A 137. 8 5/8 x 12. Edition 100. $1,350.
Night Time in a Stable. 1927-28. Drypoint. A 131. 10 1/8 x 12 1/8. Edition 100. Illustrated: Print Collector's Quarterly (1937): 382. $1,250.
The Old Complaint (Three Old Parties). 1929. Drypoint. Appleby 139. 10 1/8 x 7 3/4 sheet 15 5/8 x 10 1/2). Edition 100, #43. An extremely rich impression printed on cream laid paper. Illustrated: Fine Prints of the Year, 1930. Signed and numbered in ink. $1,350.
Politics. 1926. Drypoint. A 108.7 x 9 (sheet 10 1/2 x 15 1/2). $2,250.
Resting. 1923. Drypoint. A 93. 4 3/4 x 6 3/4. Edition 100. Illustrated: Fine Prints of the Year, 1923. $950.
Returning to the Stable. 1920. Drypoint. A 64. 8 3/4 x 12 1/4. Edition 100. $950.
San Sebastian (Lunch Hour). 1926-27. Drypoint. A121. 7 x 8 7/8. Edition 100. Illustrated: Fine Prints of the Year, 1927. $950.
Soup. 1920. Drypoint. A 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. $950.
Speech of the Evening. 1930-31. Drypoint. A 150. 11 x 10 7/8. Edition 100. Illustrated: Print Collector's Quarterly24 (1937): 368. $2,250.
The Stable. 1933. Drypoint. Appleby 96. 5 5/8 x 7 9/16 (sheet 9 7/8 x 12 1/20. Edition 100. A rich impression printed on cream laid paper. Full sheet with deckle edges. Signed in pencil. The chickens in the foreground are a charming touch. $950.
Splashing Through the Surf. 1923. Drypoint. D 84; A 95. 7 1/4 x 10 3/16. Ed. 100. Illustrated: Print Collector's Quarterly 13 (1926): 91. $950.
A Street by Night. 1922. Drypoint. A 128. 8 x 11. Edition 100. Illustrated: Fine Prints of the Year, 1927, Illustrated: Holme, Etchings of Today, (London: The Studio, 1929), plate 7. $1,500.
Summer. 1914. Drypoint. A 46. 6 7/8 x 4 7/8. Edition 77. $950.
Through the Storm. 1923. Drypoint. A 97. 4 x 7. Edition 100. $950.
The Tumble. 1921. Drypoint. D 61; A 80. 7 3/4 x 11 3/4. Edition 100. $1,500.
Under A Paris Bridge. 1930. Lithograph. A L.10. 10 x 15 1/2. Illustrated: Print Collector's Quarterly 19 (1932): 305. A fine impression on tissue-thin paper ; professionally repaired paper loss in the upper right-hand corner. $750.
The Wreck. 1923. Lithograph. A L.13. 10 3/8 x 15 1/2 (sheet 13 3/16 x 19 7/8). Edition size probably 30. A fine impression on cream laid paper. Signed and numbered 24 in pencil. Blampied underplays the drama of the wrecked boat by contrasting it with the carfree postures of the horses and the young man standing by them.
Kersey, from the Church Steps. (Kersey is in Suffolk.) c. 1930. Etching and drypoint. 6 1/4 x 8 5/8 (sheet 8 x 10 1/2). Signed and titled in pencil. Very faint mat line; otherwise good condition. A rich impression printed on off-white wove paper. $225.
For large images, click on the titles in red; for small images, click on Bone. Portraits
Joseph Conrad. 1923. Drypoint. Dodgson 386.vi. 10 15/16 x 6 1/4 (sheet 15 3/4 x 10 15/16). Edition of 71 in this state (total edition 89). An rich, tonal impression printed on simili-Japon paper. Annotated 'vi' in pencil in the lower left margin; signed in pencil. $3,500. Architectural Etchings and Drypoints
Afternoon, Sahagun, Spain. 1929. Drypoint. Dodgson 433. 11 3/4 x 7 1/8. Edition 64. $650.
The Apse, Léon Cathedral, Spain, Second Plate. 1932. Dodgson 441.i/x. One of three proofs in this state (total edition 133 in 10 states). A proof before the plate was cut down and before the signature in the plate. printed on cream simili-Japan wove paper with wide margins. The pencil and crayon study is in the Tate. This is one of Bone's most dramatic architectural etchings. Signed, titled and annotated "trial. 1st state" in pencil. One of two prints published in the portfolio "Old Spain", 1936. Illustrated: Fine Prints of the Year, 1936. $950.
Archway, Chioggia. 1915. Drypoint. Dodgson 338.ii/iii. 6 1/8 x 7 13/16 (sheet 9 7/8 x 14. Edition of 16 in this state, before the plate was reduced. The total edition was 78. Printed on cream laid paper with a partial crown watermark. A velvety, rich impression, with burr and plate tone. Collector's seal verso: S. William Pelletier. Signed in pencil. $550.
Arundel, Sussex. 1908. Drypoint. Dodgson 233.ii. 4 9/16 x 6 3/16 (sheet 5 7/16 x 7 1/4). Edition of 40 in this state (total edition 42). Printed on light tan wove paper. Illustrated: Print Collector's Quarterly 9(1922) p. 175. Collector's stamp verso: S. William Pelletier. Signed in pencil. $550.
Autumn Evening, Lowestoft. Executed in 1934, published in 1937. Drypoint. Dodgson 453.viii/x. 7 7/8 x 12 3/4 (sheet 13 x 18 3/8). Edition of 2 in this state; total edition 92 in ten states. An extremely rich impression with burr and tonal wiping. Printed on white laid paper with full margins. Signed in pencil, and annotated 'VIII - 2' and 'O.G.' by the artist. $750.
Constantinople. 1934. Drypoint. Dodgson 454.ix. 5 5/16 x 11 3/16 (sheet 10 5/8 x 15 1/2). A rich impression printed on the full sheet of white paper with deckle edges on three sides. Total edition 93. Collector's seal verso: Charles Rosenbloom. Signed in pencil. $550.
Evening, Port of Genoa. 1915. Drypoint. 7 5/8 x 9 15/16. Edition of 45 in five states. $450.
Happisburgh (Haseboro') Church, Norfolk. 1934. Drypoint. Dodgson 447.iv. 9 7/8 x 6 7/8 (sheet 15 3/8 x 10 7/8). Edition 38. A rich impression printed on simili-Japan paper with wide margins. Printing fold in the image upper right. Anotated 'IV 28 proofs thus' and also initialed 'MB' in the upper right-hand corner indicating that this was the artist's own proof. $550.
The Jetty, Gorleston. 1934. Drypoint. D 463.i/vii. 6 7/8 x 10 3/4 (sheet 10 15/16 x 14 15/16). Three proofs in this state; total edition 99 in 7 states. A rich impression printed on cream-colored wove paper. Titled and annotated by the artist 'I state 3 proofs thus' lower left. Collector's seal verso: S. William Pelletier. Signed in pencil. $650. The image, which is reversed, actually depicts Gorleston Pier. The drypoint is looking east and the river is to the north of the pier. $500.
Jubilee Year, Santiago de Compostela 1930. Drypoint. Dodgson 39. 13 3/8 x 7 7/8 (sheet 20 x 13 1/4). Edition 133. Printed on the full sheet of white laid paper with deckle edges. From the portfolio, Two Drypoints by Muirhead Bone. The other drypoint in the folder is, Dancing on the Apostle's Day, Santiago. Signed in pencil. $1,750.
Piccadilly Circus -- 1915. 1915. Drypoint. Dodgson 332.vi. 11 13/16 x 14 13/16 (sheet 15 3/8 x 19 5/8). Edition of 125. Illustrated: Furst, Original Engraving and Etching: An Appreciation. Printed on simili-Japan paper, on the full sheeet with deckle edges. This is one of the earlier printings of the final state, prior to the removal of the steel facing. The later impressions were printed on a thinner and whiter paper. This is an extremely rich impression with burr and tonal wiping. Price upon request.
The image is of Piccadilly Circus during World War I. Search lights illuminate the night sky. Electric lamps are obscured on top, in accordance with the war regulations during the winter of 1914-15. This is one of the most dramatic images of wartime London, and is one of Bone's masterpieces.
Rainy Night in Rome. 1913. Drypoint. Dodgson 299. 12 x 8 7/8 (sheet 16 x 11 3/4). Edition 125 in 10 states. A rich impression with burr and tonal wiping. Printed on Japanese-type paper with wide margins. Signed in pencil and dated 1914. $3,750.
Somerset House. 1905. Drypoint. Dodgson 185.iii. 12 x 11 5/16 (17 1/4 X 15 1/2). Very slight mat line; otherwise excellent condition. Edition of 18 in this state (there were also 15 trial proofs in 6 states). A rich, tonal impression with burr printed on fine Japanese mulberry paper. Signed in pencil. $950.
A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412.xviii/xxix. 12 1/2 x 8 1/8 (sheet 15 x 12). Edition 160 in 29 states. Illustrated: Ziggrosser: Six Centuries of Fine Prints. A rich impression with velvety drypoint burr. Printed on smooth simili-Japan paper on the full sheet with deckle edges. Signed, annotated 'xxv' crossed out and replaced by 'xviii' in the lower left-hand margin, an 'a' in the upper left-hand margin and an 'x' in the lower right hand margin, indicating an excellent impression. $9,250.
Strandvägen, Stockholm. 1923 (published in 1925). Drypoint. Dodgson 407.v. 7 3/4 x 9 3/16 (sheet 10 11/16 x 15 1/4). Edition 27 in thies state (total edition 34). Printed on the full sheet of white wove paper with deckle edges. Collector's seal verso: S. William Pelletier. Signed in pencil. $1,250.
Virgil's Farm 1927. Etching. 8 x 11 (sheet 11 x 17 3/16). Edition 75. Printed on cream wove paper with a unicorn watermark. Published by the Fine Art Society for 6 guineas. Pristine condition. Signed in pencil. $550.
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The Press. c. 1920. Woodcut 5/16 x 5 1/16 (sheet 10 1/16 x 7 7/16). Unsigned. Titled in letterpress. Published in Modern Woodcutters, No. 2 (London: Herbert Furst, 1920. A good impression on the full sheet pale cream-colored wove paper, with deckle edges on two sides. $125.
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The Beacon. 1925. Etching. Hurst 105. 5 1/2 x 9 (sheet 6 3/4 x 10 3/8). Edition 75, #25. A beautifully wiped impression with plate tone, printed on greyish tone paper. Signed and numbered in ink $850.
The Heaving Line. 1926. Etching. Laver 66, Hurst 147. 7 3/16 x 11 (sheet 9 1/2 x 12 7/16). Edition 75, #13. Illustrated: Furst, Original Engraving and Etching: An Appreciation. A rich impression with plate tone. Printed on the full sheet of white wove paper with full margins. Signed and numbered in ink. $1,500.
Making a Passage. 1929. Drypoint. Hurst 75. 6 1/4 x 9 1/16 (sheet 7 3/4 x 11 5/16). Edition 75, #60. Signed and numbered in ink. Wrinkling in the margins, outside of the image. A dramatic impression with plate tone, printed on pale cream-colored wova paper. $950.
Making Sail. 1927. Etching. Laver 100; Hurst 185. 9 7/8 x 15 7/8 (sheet 12 3/16 x 17 3/4). Edition 75. Signed and numbered in ink. A dramatic impression with plate tone. Printed on cream laid paper. $2,500.
Off the Horn. 1931. Etching. Laver 161; Hurst 282. 8 1/4 x 15 1/4 (sheet 13 x 19 1/2). Edition 75, #6. Signed and numbered in ink. A dramatic impression with plate tone. Printed on antique greyish laid paper taken from an old book. $1,950.
The Roaring Forties. 1926. Drypoint. Hurst 103. 5 3/8 x 8 13/16 (sheet 7 3/4 x 10 1/2). Edition 75, #26. Signed and numbered in ink. Printed on off-white laid paper from a book. Slight inking miss along the lower left-hand plate edge, and a thin tape remnant along the upper margin. A dramatic, carefully wiped impression. $1,250.
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Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 17 3/4 x 13 1/4). Total edition 91. Illustrated: Fine Prints of the Year, 1933. A luminous, richly-inked impression on simili-Japan wove paper. This is the artist's most important etching. It was one of the most influential and familiar icons of erotica of the 1930's. Signed in pencil. Price upon request.
The model for the image was Kathleen Nancy Woodward Woodward, the artist's fifteen year-old mistress, who was living with the virtuoso etcher at the time. Along with Brockhurst's wife and sister-in-law, she later became involved in Brockhurst's scandalous and acrimonious 1940 divorce.
The Amberly Boy. No. 2. 1928. Etching. Fletcher 62. 7 5/8 x 5 7/8. Edition 111. Provenance: the estate of Kathleen Nancy Woodward Brockhurst. Illustrated: Holme,Etchings of Today, (London: The Studio, 1929), plate 9. Signed in pencil. $1,250.
Anais No. 2. 1930. Etching. Fletcher 67. 8 7/8 x 6 3/4 (Sheet 15 x 11). Edition 111. An extremely rich proof printed on cream wove paper, on the full sheet with deckle edges. Signed in pencil and annotated "anais II" in pencil. $1,250.
The Basque Boy. 1945. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4. Edition 100. Provenance: the estate of Kathleen Nancy Woodward Brockhurst. $900.
Henry Bell, Esq. December, 1930. Etching. Fletcher 68.v. Published state. 8 5/16 x 6 3/16 (sheet 14 3/4 x 10 7/16). Private commission. Edition 55 (68 total proofs). A very rich impression. Signed in pencil. Henry Bell was associated with Lloyds Bank. $800
The Black Silk Dress. 1927. Etching. Fletcher 58. 8 3/4 x 6 1/4 (sheet 14 1/2 x 9 1/8). Trial proof,before the published state. Edition of 111. Signed and annotated 'trial' in pencil. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst. A very rich impression printed on off-white wove paper, on the full sheet with deckle edges. $2,750.
The Dancer (Anais). 1925. Etching. Fletcher 52.i/viii. 9 3/4 x 6 1/16 (Sheet 16 5/16 x 9). Edition 107. Early proof before the published state, before the plate was reduced, with the signature in reverse, upper right, before the signature and date were added in the lower left. An extremely rich proof printed on cream 'J. Whatman' paper. Illustrated: Salaman, Modern Masters of Etching: Brockhurst and Fine Prints of the Year, 1926. Signed in pencil and annotated "1st state G.L.B." in pencil. $2,250.
Une Dacquoise. (Anaïs) (A Woman from Dax (Landes). 1922. Etching. Fletcher 29.iii. 6 3/8 x 4 1/2 (sheet 11 1/2 x 9 1/8). Edition 76. A rich impression printed on cream wove paper, on the full sheet with deckle edges. The name Dacquoise is given to ladies from the town of Dax in South Western France, the Aquataine. Signed in pencil. $950.
Head of a Girl (Anais; Melisande; Head of a Basque). 1944. Lithograph. Fletcher Lithograph 2.iv. Zinc plate. 11 3/8 x 9 3/16 (sheet 16 ¼ x 12 13/16). Edition 25. A fine impression printed on white wove paper. Pristine condition. Provenance: the estate of Kathleen Nancy Woodward Brockhurst. Signed in pencil. $850.
Fabian (The Ideal Head). 1921. Etching. Fletcher 23.ii/iv.7 x 5 (sheet 11 5/16 x 8 5/8). 5 proofs only in this state, before the edition 76. A rich impression printed on cream laid paper with wide margins. $900.
Marquett. 1925. Etching. Fletcher 51. 8 7/16 x 6 7/8 (sheet 12 13/16 x 8 7/8). Trial proof, apart from the edition of 106. A rich impression, printed on cream laid paper. Signed and annotated "Trial" and "to light" by the artist in pencil. $375.
James McBey. 1931. Etching. Fletcher 69.ix. 10 1/2 x 7 1/2 (sheet 14 7/8 x 11 3/8). Edition 111. A fine impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931. Signed in pencil. $3,000.
An Old Corsican. 1921. Etching. F 27. 6 5/16 x 4 9/16. Edition 76. A beautiful, rich impression with plate tone, printed on wove paper with full margins. Signed in pencil. The model for this portrait was the wood engraver,Marquett, whose portrait Brockhurst had etched in 1925 (Fletcher 51). $450.
Phémie (Marguérite). 1924. Etching. Fletcher 42. 3 7/8 x 2 7/8 (sheet 10 3/4 x 7 3/4). Edition 76. A fine impression printed on the full sheet of cream wove paper with deckle edges. A dramatic study. $350.
The Three Sisters. 1920. Etching. Fletcher 11. 3 7/8 x 4 7/8 (sheet 8 13/16 x 9 13/16). Edition 110. A rich impression printed on cream wove paper with full margins. Signed in pencil. $750.
La Tresse. 1926. Etching. Fletcher 56.vi/vii. 8 1/3 x 6 3/4 (16 1/2 x 12 5/16) Proof before the published edition (total edition 111). La Tresse. 1926. Etching. Fletcher 56.vi/vii. 8 1/3 x 6 3/4 (16 1/2 x 12 5/16) Proof before the published edition (total edition 111). Signed and annotated "6th state G.L.B. (1 of 4 proofs thus") in pencil by the artist. Illustrated: Fine Prints of the Year, 1927 and Salaman, Modern Masters of Etching: Brockhurst. Printed on cream-colored laid paper with full margins. A glowing impression of this rare state. $1,750.
The Two Mélisandes. 1928. Etching. Fletcher 60. 5 3/4 x 3 1/2 (sheet 10 1/2 x 7 1/2). Edition size not stated. Illustrated: Fine Prints of the Year, 1928 and Salaman, Modern Masters of Etching: Brockhurst. Printed on cream-colored laid paper with full margins. Anais, the artist's first wife, is holding their baby daughter. Signed in pencil. $1,250.
Albert H. Wiggin Esq.(of New York). 1932. Etching. Fletcher 73. 9 3/4 x 7 7/16 (sheet 14 7/8 x 7 7/16). Edition 58. A fine impression printed on cream wove paper with full margins. Signed in pencil. $950.
Mrs. Albert H. Wiggin (Jessie Duncan Hayden). 1932. Etching. Fletcher 74. 9 3/4 x 7 3/8 (sheet 15 1/8 x 10 3/4). Edition 58. A rich impression printed on cream wove paper. Signed in pencil. Jessie Duncan Hayden married Albert Wiggin in 1892; they had two daughters. Wishing to study sculpture, she rented a studio in MacDougal Alley behind the Whitney Museum and began to study under Victor Salvatore. $950.
Almina. 1924. Etching. Fletcher 48.iv. Edition 78. Signed in pencil. $1,000.
Le Beguin. 1920. Etching. Fletcher 33. Edition 76. Signed in pencil. $750.
By the Window. 1922. Etching. Fletcher 31. Edition 76. Signed in pencil. $750.
Chiquita. 1923-4. Etching. Fletcher 44. Edition 76.Signed in pencil. $750.
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The Woodman. 1911. Etching with watercolor. 7 7/8 x 5 15/16. Signed and inscribed 'a trial proof 1911' in pencil. $750.
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The Forest Pool. 1939. Wood engraving. 5 7/8 x 7 5/8 (sheet 8 3/4 x 11). Edition 200, # 28. Presentation print for The Woodcut Society, Kansas City. An excellent impression prnted on tan simili-Japon paper. Signed and numbered in pencil. Pristine condition in the original presentation folder. $750.
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Aka-Kuf. 1937. Drypoint. 4 1/8 x 8 3/8 (sheet 10 1/16 x 15 1/16). Third Mespotamian set. Printed on cream wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $275.
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. $375.
Waiting to Pass. River Tigris. 1924. Drypoint. 4 1/8 x 8 1/2 (sheet 8 1/2 x 12 7/8). Printed on cream wove paper. A brilliant impression in pristine condition. Signed, titled and annotated in pencil. $275.
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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.
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. $325.
The Chimera of Amiens. 1910. Drypoint. R 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. $1,750.
The Clyde at Symington. 1889. Etching. Rinder 32. 4 1/2 x 8 15/16 (sheet 8 5/16 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. $750.
Elcho on the Tay. 1900. Etching and drypoint. R 312.ii. 10 11/32 x 13 5/8. Exhibited at the Painter-Etchers, 1901, #35. $850.
Holyrood in 1745. 1896. Etching and drypoint. Rinder 231. 13 7/8 x 21 1/4 (sheet 15 5/16 x 21 1/4). One of 85 proofs printed on Japanese vellum, aside from the main edition (there were 60 proofs printed by Goulding and signed by him, and an additional 500 proofs on antique white paper). Published by the Art Union of Scotland. Light struck; otherwise excellent condition. A rich, luminous impression. Signed in pencil. $425.
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.
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. R487.iii/v. 5 x 10 1/8. Edition about 50. $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. .
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.
Old St. Etienne [Caen]. 1907. Etching and drypoint. Rinder 400.iv. 14 7/8 x 7 1/2. A rich impression printed on laid paper with full margins. Signed in pencil. $450.
Ponte della Trinità. 1902-07. Etching and drypoint. Rinder 325.vi. 6 9/16 x 8 5/8 (sheet 8 3/16 x 11 5/8)l A very rich impression with plate tone. Printed on watermarked laid paper, on the full sheet with deckle edges. Signed in pencil. $550.
Scottish Women's Hospital. 1914. Etching. Bookplate. Not in Rinder. Printed on off-white wove paper. A fine impression of this very rare print. $175.
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.
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.
Tantallon. 1932. Drypoint. R 499.iii. 8 1/16 x 15 7/8. Edition about 80. Illustrated: Fine Prints of the Year, 1932. $650.
The Turkish Fort. 1909. Etching and drypoint. R 409. 5 1/2 x 10 3/8. The fort is on the Mokaltam Hills, near Cairo. $225.The Turkish Fort. 1909. Etching and drypoint. R 409. 5 1/2 x 10 3/8. $275.
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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.
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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.
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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. $1,500.
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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 coutermarked 'O.W.P. & A.O.L.' Margins grubby; the image is in good condition. Titled in the plate; signed in pencil. $225.
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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.
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. $2,750.
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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 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. $750.
Moonlight, Orvieto. c. 1922. Mezzotint. 8 3/16 x 7 7/16 (sheet 18 3/16 x 13 1/2). An atmospheric impression with strong contrasts printed in black ink on white wove paper. Signed in pencil. $850.
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. $950.
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.
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. $950.
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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.
Edward, Marsh (translator). Fables of Jean de la Fontaine. London: William Heinemann Ltd., 1931 Signed limited first edition thus, #436/525, Volume 2 only. Vellum boards). 13 original engravings by Gooden. Unsigned. $250.00
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Au Café. 1927 Drypoint. 7 3/4 x 12 5/8 (sheet 10 1/4 x 10 3/16). Illustrated: FIne Prints of the Year, 1928. A rich impression printed on cream wove paper. Signed, dated and titled in pencil. $350.
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The Almonry. 1925-26. Etching. Comstock 34.v/vii. 9 1/2 x 6 1/2 (sheet 11 1/16 x 8 7/16). Edition 82 in this state (total edition 101). A fine impression on cream laid paper with full margins. Very slight toning and mount stain; several unobtrusive foxing spots. With the DP stamp verso. Signed in pencil. This is the artist's major etching. Price upon request.
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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.
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Early Morning, Richmond. 1859. Early Morning, Richmond. 1859. Etching. Schneidermann 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
Erith Marshes. 1865. Etching. Schneidermann 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. $950.
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.
Grayling Fishing. 1897. Mezzotint with drypoint. Schneidermann 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. $1,400.
A Lancashire River. 1887. Etching. Schneidermann 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.
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.
Sonning Bank. 1865. Etching and drypoint. S 106.iii/v. $950.
Twickenham Church. 1865. Etching and drypoint. Schneidermann 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.
A Water Meadow. 1859. Etching. S 23.iv/v. 6 x 8 7/8. A fine impression on cream-colored wove paper. $500.
Yacht Tavern, Erith. 1865. Etching. Schneidermann 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.
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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.
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A Farm on the Hill Top. c. 1926. Etching. Hardie 113. 6 x 10 1/16 (sheet 9 3/16 x 12 1/2).
Edition 90. A rich impression on cream laid paper watermarked "England". Printed on the full sheet with deckle edges. Done from sketches made at Gisors in October, 1926. Printed by Strang, January 1927 - June, 1929. Signed in ink. $250.
View at Blythburgh. Watercolor and charcoal. 11 1/2 x 15. Signed. Exhibited: Royal Scottish Society of Painters. Excellent color and condition. $1,250.
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Bolton Castle, Yorkshire. c. 1927. Etching. 6 7/8 x 5 1/2. A fine impression on cream laid paper. Signed in pencil. $200.
Bolton Castle: Vista. 1895. Etching. 4 1/4 x 7 3/4. A fine impression on watermarked "MBN" laid paper. Signed and dated in the plate. Signed in pencil. $200. Another impression, before the signature and date in the plate, also signed in pencil. $225.
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
[Dock, Hayling Island, Hampshire]. c. 1927. Etching and drypoint. 6 3/4 x 8 7/8 (sheet 8 1/4 x 10 1/2). A fine impression on cream laid paper. Signed in pencil. $250.
Showery Weather, Broughton Moor [Durham]. c. 1920. Soft-ground etching. 6 7/8 x 10 3/16 (sheet 9 3/16 x 11 7/8). Printed in fine laid paper. Signed and titled in pencil. $300.
[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.
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.
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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.
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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.
Kenneth Holmes, A.R.C.A. Born 1902.
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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.
The Lagoon, Venice. 1930. Drypoint. 8 1/2 x 11 3/4 (sheet 11 3/8 x 15 7/8). Edition 40. A very rich impression with subtle tonal wiping, printed on cream wove paper. Illustrated: Fine Prints of the Year, 1930. Signed in pencil. $500.
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.
The Riva, Venice. 1930. Drypoint. 8 3/8 x 14 3/4. Published by James Connell in an edition of forty proof. A rich impression printed on Millbourn hand made pure rag paper with full margins. $550.
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. Signed in pencil. $750.
Wooden Road. 1925. Etching. 7 15/16 x 11 (sheet 11 x 15 1/2). Published by James Connell, 1927, in an edition of twenty proofs only. A rich impression printed on cream laid paper with full margins. Signed in pencil and dated Xmas/25. $450.
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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. $300.
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France.
Aiguille de Varennes (small plate). Etching. First state of two. 8 7/8 x 5 7/8 (sheet 12 3/4 x 9 7/8). A fine impression on cream-colored paper watermarked Arches France, on the full sheet with deckle edges. Stamped signature. $125.
Aiguille de Varennes (small plate). Etching. Second state of two. 8 7/8 x 5 7/8 (sheet 14 5/8 x 9 5/8). Additional work to the mountain and the village. A fine impression on the full sheet of cream-colored laid paper watermarked "hand made". $225.
England
Cottage. Etching. 3 1/2 x 4 3/16 (sheet 4 7/8 x 6 1/16). Printed on the full sheet of cream-colored wove paper. Stamped signature. $175.
Cottage -- Front. 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. $150.
Farm 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. $250.
Farmhouse. Etching and drypoint. 9 3/4 x 10 3/8 (sheet 11 5/8 x 14 1/8). Printed on the full sheet of pale cream-colored wove paper. A rich impression in excellent condition, apart from pale staining in the top right-hand corner, well outside the image. Stamped signature. $450.
Farmhouse with Fields. Etching. 1 11/16x 2 3/4 (sheet 7 3/4 x 6 1/8). Printed on the full sheet of pale cream-colored wove paper with deckle edges. A rich impression in excellent condition. Stamped signature. $150.
Four Sycamores. 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. $250.
The Mill. Etching. 2 5/8 x 3 7/16 (sheet 9 1/4 x 6 7/8). Printed on the full sheet of pale cream-colored wove paper with deckle edges. A rich impression in excellent condition apart from 2 holes from a hold punch in the top margin, well outside the image. Stamped signature. $150.
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. $325.
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. $300.
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The Royal Albert Bridge, Saltash. 1919. Etching and drypoint. 10 x 7 1/2 (sheet 12 1/4 x 9). Printed on cream wove paper. Fine condition apart from mat burn. A very rich impression, with atmospheric tonal wiping. Signed in pencil. $225.
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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.
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Egyptian Neophron (Neophron Perncnopterus). 1922. Original hand-colored lithograph. 16 1/8 x 12 (sheet 18 1/4 x 15). Royal Academy of Arts (1985) 12 & page 208. First edition, as first issued for John Gould's series, The Birds of Europe, 1837. Signed and titled in the plate. Printed on warm white wove paper with full margins, as issued. Remains of paper tape at the extreme sheet edges; otherwise very fine original condition. An excellent impression with fresh, unfaded hand coloring. $1,500.
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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.
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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.
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. 1928. 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, 1928. A very rich impression on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $850.
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 wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $450.
The First Born. 1905. Color etching and aquatint (on zinc, with a fine muslin ground). Salaman 17. 12 5/8 x 9 7/8 (sheet 15 3/4 x 11 5/8). Edition 55 in color, and 20 in monochrome. Numbered 33. Printed by the artist. A subtle tonal coloration. $2,750.
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. $275.
The Secret. 1920. Drypoint. 6 x 4 (sheet 9 1/2 x 7 1/8). Hardie 171. Edition 100. A rich impression, with burr, printed on cream wove paper with wide margins. $1,350.
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.
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Pheasant and Wistaria. 1935. Wood engraving. 8 13/16 x 5 1/8 (sheet 1 0 1/2 x 7). Edition 200. Presentation print for The Woodcut Society, Kansas City. A rich impression on very fine white laid paper. Two glue stains in the top sheet corners, as initially issued; two small glue stains in the right-hand margin, well outside the image. Original presentation folder. Signed and numbered 200 in pencil. $500.
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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.
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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.
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The Accolyte. 1921. Etching. Lumsden, Barnaby 189.ii. 13 15/16 x 9 1/16 (sheet 17 1/8 x 10 13/16). Edition 45, #14. Signed and numbered in ink. Printed by the artist. A rich impression on white laid paper watermarked "W H" with a windmill. Printed on the full sheet with deckle edges. $400.
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 numbered "2nd". It is thought that his was Blampied's personal proof. Signed "Lumsden imp". A rich impression on off-white laid paper printed on the full sheet with deckle edges. $1,500.
Feeding the Birds. 1921. Etching. Lumsden, Boulet 210.v. 8 5/8 x 14 3/8 (sheet 11 1/4 x 17 3/4). Edition 55, #50 (total edition 50). Illustrated: Salaman: Modern Masters of Etching: Salaman. Signed and numbered in ink. Printed by the artist. A rich impression on white laid paper with a crown watermark and 'D & Co' countermark. Printed on the full sheet with deckle edges. $550.
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 Plane Tree, No. 2. 1908. Etching. Lumsden, Barnaby 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.
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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. $200.
For large images, click on the titles in red; for small images, click on McBey.
The Advance on Jerusalem. Wadi Ali. 1920. Etching. Hardie 198. 8 x 14 (sheet 11 1/4 x 17 15/16). Trial proof 1, apart from the edition of 76. A very rich impression printed on antique laid paper taken from a journal, with the number '43' written in ink on the top corner, verso. Signe, numbered '1' and annotated 'trial proof' in ink. A unique proof before work on the hills and the gorge, before the dust and shadows under the figures and the gun carriage. $975.
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.
Brightlingsea (No. 2).1922. Etching. H 212. 7 3/8 x 11 7/8. Edition 76, #A52. $650.
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.
Dawn. The Camel Patrol Setting Out. October, 1919. Etching. Hardie 181. 8 7/8 x 14 7/8 (sheet 10 1/2 x 16 3/8). Ed. 76, #viii. Illustrated: Zigrosser, Six Centuries of Fine Prints. An extremely rich impression with drypoint burr and subtle tonal wiping. Printed on "W Elgar 1798" countermarked laid paper from an antique volume. Signed in ink. Price upon request.
Distant Salute. 1925. Etching. C 250. 7 3/16 x 15 15/16 (Sheet 10 7/8 x 17 1/8). Edition 80, #27. Signed and numbered in ink. $1,950.
The Doorway. 1925. Etching. Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #26. A rich impression with plate tone. Printed on laid paper from an old book, on the full sheet. Signed and numbered in ink. $1,750.
Mersea, Sunset. 1924. Etching. Hardie 222. 8 5/15 x 14 3/8. Edition 76. Illustrated: Holme, Etchings of Today, (London: The Studio, 1929), plate 26. $950.
New York from Weehauwken. 1941. Etching. Hardie 277. 7 7/8 x 14 7/8. Edition 60, #2. With an unsigned proof from the cancelled plate. $1,750.
The Riva at Dusk 1930. Etching. Carter 253. 15 7/8 x 9 3/8 (Sheet 18 3/8 x 11 3/4). Edition 80, #23. Signed and numbered in ink. A fine impression on cream-colored laid paper with full margins. This is a portrait of the artist and his wife at a Venetian cafe. $1,950.
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, prited on cream-colored laid paper. $750.
Santa Maria della Fava, Venice. 1925. Etching. H 234. 13 x 8 1/2. Edition 80. Printed on greenish-toned paper. Trimmed to the plate on three sides. Signed in pencil. $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.
The Thames Barge Race: the Start. 1936. Etching. Hardie 272. 7 1/8 x 14 5/8 (sheet 8 1/2 x 16 1/2). Edition 80, #xxxviii. A very rich, atmospherically wiped impression printed on cream laid paper from an old volume. Signed and numbered in pencil. $750.
Venetian Night. 1930. Etching. Carter 254. 10 7/8 x 16 3/4 (sheet 13 1/8 x 19 3/8). Trial proof, apart from the edition of 81. Illustrated: Print Collector's Quarterly 25 (1938):436; Guichard, British Etchers, 1850-1940. Published by P. & D. Colnaghi, London. A rich, tonal impression, printed in black ink on blue-grey laid paper. Signed and inscribed 'Trial Proof XIV' in black ink; annotated "trial xiv n/c XIII" in pencil. Price upon request.
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Picnic 1925. Wood engraving. 9 x 9 1/16. Edition 25, #15. Signed, dated and numbered in pencil. $850.
Scilla, Straits of Messina. 1926. Line engraving. 14 ¾ x 15. Ed. 75. Illustrated: Fine Prints of the Year, 1926. Signed in pencil. $450.
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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.
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Corner of the Moidart. c.1920. Drypoint. 9 3/4 x 5 7/8 (sheet 12 3/4 x 9 1/2). A rich impression with plate tone printed on white laid paper. Loch Moidart is in the Scottish Highlands. $200.
Entrance to the Trossachs. c.1920. Drypoint. 12 x 9 (sheet 16 1/8 x 11 1/4). A rich impression with plate tone printed on white laid paper. The Trossachs are by Loch Lomond. $225.
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.
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On the Way to Market, China. c. 1918. Etching. Menpes 393. 4 7/8 x 8 3/4 (sheet 11 x 15 3/8). Signed and titled in pencil. Printed by the artist. A rich tonal impression printed on cream laid paper watermarked 'Menpes'. $400.
Isabel Mesham was born in Gorey, Ireland, in 1896. A painter and and etcher, she exhibited at the Royal Academy in London, at the Paris Salon, and at the Lisbon Academy.
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[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. $175.
[Castle on a Hill, Lake Below]. Etching and aquatint. 5 7/16 x 7 3/8 (sheet 7 3/16 x 10 3/16). Printed on green wove paper. Unsigned. $175.
[Castle on a Hill, Town Below].
Etching and aquatint. 5 x 6 7/8 (sheet 7 1/8 x 9). Printed on green wove paper. Unsigned. $175.
Coast with Seagulls. Etching and aquatint. 6 7/8 x 8 7/8 (9 1/16 x 11 7/8). Available with the original etching plate . $500 the pair.
[Farm with Windmill]. Etching and aquatint. 6 x 7 13/16 (sheet 8 9/16 x 10 1/2). Printed on cream wove paper. Unsigned. $150.
[Fishing Boats in Harbour]. Etching and aquatint. 5 1/8 x 5 7/8 (sheet 7 x 7 5/8). Printed on cream wove paper. Unsigned. Soiling in left-hand margin, one spot extending into left-hand image. $100.
[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. $175.
[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. 7 3/4 x 5 15/16 (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. $450 the pair.
[Town with Arched Bridge and River]. Etching and aquatint. 5 x 6 7/8 (sheet 9 1/4 x 11 3/8). Printed on cream wove paper. Unsigned. $150.
[Town with Arched Gateway]. Etching and aquatint. 9 x 5 3/4 (sheet 11 1/2 x 8 1/16). Printed on cream wove paper. Paper fold in upper and lower margins, outside the image. Unsigned. $125.
[Town with Boats]. Etching and aquatint. 6 5/8 x 9 1/4 (sheet 8 5/16 x 10 1/16). Printed on cream wove paper. Small tear in upper margins, outside the image, and two diagonal folds in the image. Unsigned. $125.
Town with Steamboat. Etching and aquatint. 7 7/8 x 9 7/8 (sheet 9 1/2 x 11 1/2). Printed on light tan wove paper. Unsigned. Tear in upper right-hand margin, outside the image. $175.
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Making the Engine. 1917. Lithograph. Leicester 27. 15 7/8 x 12 (sheet 19 7/8 x 15 5/8). Edition 200, #35. Printed on white wove paper. Unobtrusive printing crease in the top center margin, extending into the image. Excellent impression and condition. Signed in pencil. $18,000.
One of a set of 65 lithographs entitled "Making Aircraft" 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.
On the Roof Garden. 1919. Mezzotint. L 53, G32. 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. $9,500.
Temples of New York. 1919. Drypoint. L 44; G 26. 7 3/4 x 6 (sheet 11 3/8 x 9 1/8). 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 apart from remnants of brown paper hinges in the top mrgin, verso. A rich impression, with burr, printed with plate tone on cream wove paper. $8,500.
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.
Winter Sunshine. 1927. Etching. 8 5/8 x 7 (sheet 15 1/2 x 10 3/8). Edition 50, #3. A very fine impression with plate tone. Printed on the full sheet of cream laid paper watermarked "England." Illustrated: Fine Prints of the Year, 1930. Signed, titled and numbered in pencil. $300.
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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.
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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. $850. Another proof, with full margins (sheet 16 7/8 x 11). $1,250
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.
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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.
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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.
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Storm Clouds. 1913. Etching and aquatint. c. 1913. Etching and aquatint. 9 3/4 x 13 3/4 (sheet 12 5/8 x 18 1/8). A very rich atmospheric impression on J. Whatman watermarked laid paper, printed on the full sheet with deckle edges. Signed in pencil. $175.
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The Cottage - A Moonlight Scene (after Thomas Gainsborough. 1727-1788). c. 1823.
Mezzotint on wove paper. 5 7/8 x 7 1/8 (sheet 8 5/16 x 9 1/2). Early proof before the engraved names of Gainsborough and Reynolds and before the title in the bottom margin. The image was later published as plate 4 in Gems of Art as issued by W.B. Cooke, London, 1823. Printed on tan paper, trimmed 1/4-inch outside the platemark. A dark rich impression. $125.
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Events over the Railings, Chelsea Embankment. 1888-89. Etching. Hausberg 11. 3 3/4 x 4 5/8 (sheet 4 1/2 x 6 1/4)). Edition about 30. A rich impression with plate tone, printed by Roussel himself on cream laid paper. Signed "Theodore Roussel imp" in pencil. $1,500.
The Corner of Luna Street, Chelsea Embankment. 1888-89. Etching. Hausberg 28.ii. 6 7/16 x x 5 5/8 (sheet 8 3/8 x 6 13/16). Edition 50 in this state (total edition 51). A rich impression with plate tone, printed cream laid paper. Signed in pencil. $2,250.
Penelope, A Doorway,Chelsea. 1888-89. Etching. Hausberg 23. 4 1/4 x 2 11/16 (sheeet 4 1/2 x 2 11/16). Edition about 30. A very rich tonal impression printed on cream laid paper.
Trimmed to the platemark in the manner of Whistler and signed on 'Theodore Roussel imp' on the tab.
$2,000.
For images, click on Rushbury.
Fountains Abbey. 1916. Drypoint and engraving. 8 7/8 x 12 1/4. Edition 100. A rich impression on cream-colored wove paper with rull margins. $225.
Viterbo. 1929. Drypoint. 7 5/8 x 11 3/4. Edition 80, #24. A rich impression on cream-colored wove paper with wide margins. $250.
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Cottage and Harvesters (after a watercolor by Peter De Wint). 1907. Mezzotint. Hardie 88. 6 5/8 x 10 11/16 (sheet 14 x 19 1/4). Edition 100. A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $325.
Dawn. 1912. Aquatint. Hardie 160. 6 3/4 x 14 (sheet 8 7/8 x 16 1/2). A rich, tonal impression on simili-Japan paper with full margins. $650.
Ehrenbreitstein to Coblenz, No. 2 (after the watercolor by J.M.W. Turner, R.A., 1775-1851.) 1913. Mezzotint. Hardie 95. Image 9 1/2 x 14 5/8; plate 10 7/8 x 15 3/4; sheet 12 x 15 3/4. Edition 50. A fine, richly-inked proof printed on chine applied to sturdy white wove paper. This glowing impression is beautifully inked. $750.
A Hayfield in Yorkshire (after a watercolor by Peter De Wint, 1784-1849). 1904. Mezzotint. Hardie 80.ii. 8 3/4 x 11 11/13 (sheet 12 5/8 x 15 5/8). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $350.
In the Cotswolds (after an oil painting by Sir Alfred East, R.A., P.R.B.A., 1849-1913). 1908. Mezzotint. Hardie 90. 8 6/16 x 10 5/16 (sheet 11 7/8 x 14 5/16). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $300.
Knaresborough (after a watercolor by Peter De Wint, 1784-1849). c. 1904. Mezzotint. Hardie 80.ii. 7 7/16 x 11 3/8 (sheet 13 3/8 x 18). A very rich impression, printed on warm chine affixed to a cream wove paper support sheet, as issued. Signed in pencil. $350.
The Lifting Cloud. 1902. Mezzotint. Hardie 118. 6 x 9 (sheet 10 5/8 x 15 3/16). A very rich impression printed on white wove paper. Slight sun toning. From a watercolour sketch made by Sir Frank Short on Whitby Scaur. $550.
Low Tide and the Evening Star, and Rye's Long Pier Deserted (plate #2). 1888. Etching. Hardie 219. 7 3/16 x 10 3/16 (sheet 8 1/4 x 11 5/16). Edition 100. An atmospheric impression with plate tone, printed on fine off-white laid paper with a crown watermark. Fine condition apart from minor paper losses at the sheet edges, well outside the image. Signed by Short and by the famous printer, Frederick Goulding. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. The 'Evening Star' is a ship. This is one of Short's most lyrical and most desireable etchings. $800.
Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Etching. Hardie 9. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 1/2 x 17 1/4. A fine, richly-inked proof printed on chine applied to sturdy white wove paper. Signed in the plate. $150.
Morning Haze in Chichester Harbour. 1922. Aquatint. Hardie 166. 9 3/8 x 13 5/8 (sheet 15 3/8 x 21 7/8). Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. A delicate, carefully wiped impression on white wove paper, on the full sheet with deckle edges.Signed in pencil. A $1,250.
A Quiet Evening on the Ferry over the Blythe. 1890 Etching. Hardie 259. 5 7/8 x 7 8/8 (sheet 7 1/4 x 8 15/16). A rich impression with plate tone, printed on cream laid paper. Signed in pencil. $400.
The Rope Walk, Spittel Bridge, Whitby. 1891. Etching. Hardie 267. 5 15/16 x 5 7/8 (sheet 10 x 10 1/4). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Signed with the shield and titled in the plate. Signed in pencil. $300.
The Sea Road into Seaford. 1925. Etching. Hardie 367. 6 3/8 x 9 1/8 (sheet 8 7/8 x 12 1/2). A rich impression with plate tone, printed on cream laid paper with deckle edges on two sides. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $400.
Shap Fells (after a watercolor by Peter De Wint, 1784-1849). c.1902. Mezzotint. Hardie 77. 5 x 12 5/8 (sheet 7 x 15 1/4). Edition 100. A very rich impression, printed on warm chine affixed to a cream Japanese vellum support sheet, as issued. Signed in pencil. $325.
The Silver Tide. 6 x 9 1/8 (sheet 9 x 11 5/8). A rich, tonal impression printed on '[gre]at Britain' countermarked paper. Signed in pencil. The image shows high tide at the head of Bosham Harbour. $600.
A South Coast Road, Pegwell Bay. 1903. Etching. Hardie 323.ii. 5 7/8 x 10 9/16 (sheet 9 5/8 x 14 9/16). A rich impression with plate tone, printed on cream laid paper. Illustrated: The Studio 38 (1906): 55. Signed in pencil. $375.
St. Mary Redcliffe, Bristol (from the water-colour drawing by John Sell Cotman, 1782-1842). 1888. Etching. Hardie 53. 6 7/8 x 9 7/16 (sheet 9 5/16x 13 5/8). A rich impression with tonal wiping, printed on cream wove paper. As published The Portfolio volume xix, 1888. Signed 'S' on the shield. $125.
Strand Gate, Winchelsea. 1910. Drypoint. Hardie 367.i/ii. 7 1/8 x 12 1/2 (sheet 9 1/16 x 4 7/16). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Signed in pencil. $375.
Strolling Players, Lydd. 1907. Etching. Hardie 335. 7 x 9 7/8 (sheet 8 3/8 x 11 1/16). A rich impression with plate tone, printed on cream laid paper with full margins. Excellent condition. Illustrated: Malcolm Salaman, Modern Masters of Etching: Frank Short. Signed in pencil. $450.
Sunrise O'er Whitby Scaur. 1912. Aquatint. Hardie 156. 8 1/8 x 12 7/16 (sheet 11 x 14 1/2). A tonal, atmospheric impression printed on vellum. Full sheet, with scattered, unobtrusive foxing in the margins. Whitby Scaur is a beach composed of bed-rock. $350.
A Sussex Down (after John Constable, 1776-1837). 1898. Mezzotint. Hardie 67. 5 5/8 x 10 (8 1/8 x 13 1/2). Edition 100. A rich, atmospheric impression printed on cream wove paper with full margins. $275.
Twixt Day and Dawn. 1919. Aquatint. Hardie 165.ii. 9 7/8 x 11 1/2 (sheet 12 3/8 x 15).
A subtly inked impression printed on white wove paper. Signed in pencil. $1,100.
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Self Portrait. c.1933. Drypoint. 11 7/8 x 8 1/2 (sheet 18 3/8 x 11 1/4). Edition75, #39. Signed and numbered in pencil. Tack holes in the outer margins from drying, as usual. A rich impression on cream-colored laid paper with full margins. $600.
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The Stack Yard. 1938. Woodcut printed in colors. 7 3/16 x 10. Edition 200 for The Woodcut Society, Kansas City. A rich impression printed on Japanese mulberry paper. Signed and titled i pencil. Original presentation folder. $350.
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Le Chateau Gaillard. 1908. Drypoint. 7 3/8 x 11 7/8. Exhibited at the Royal Academy. $200.
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The Photographer's Scottie. c. 1924. Etching. Beetles 172. 5 x 7 1/4 (sheet 8 1/2 x 12 1/8). A fine impression with plate tone. Printed on cream wove paper, on the full sheet with deckle edges. Signed in pencil. $675.
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[Plaza]. 1912. Etching and drypoint. 8 3/8 x 12 7/16 (sheet 12 7/8 x 18 1/8). A very rich impression on off-white laid paper. Printed on the full sheet with deckle edges. Signed and dated in pencil. $350.
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Self-Portrait #15 (age 36). 1895. Etching. Strang 282; David Strang 373. 7 7/8 x 5 3/4 (sheet 14 1/2 x 11). As published in Pan II.4. Signed in the plate. There were about 15 pencil-signed proofs in 5 states before the published edition. Strange made 19 self portraits. A good impression on heavy cream wove paper. $450.
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Michaelmas 1928. Etching. Tassi 25.iii. 3 3/8 x 2 3/4 (sheet 7 3/4 x 5 7/8). Edition of 109 for the Print Collector's Club, London. A fine impression printed on off-white laid paper with wide margins. Excellent condition. Signed in pencil. $2,950.
Michaelmas celebrates the annual Feast of the Archangels Michael, Raphael and Gabriel, held on September 29.
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The Old Road: Elegy for the English Elm I. 1976. Etching. Garton 36.iii. 11 7/8 x 9 3/8 (sheet 12 7/8 x 10 1/8). Edition 1,000. As published in 1977 in the deluxe edition of British Etchers, 1850-1940 by Kennerth Guichard. Pristine condition. Signed in pencil. $650.
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The Bull. 1926. Etching. 8 7/8 x 10 13/16 (sheet 10 3/8 x 14 3/8). Edition 75, #45. Illustrated: Guichard, British Etchers. A rich impression printed with plate tone on cream laid paper with a partial crown and fleur de lys watermark. Signed and numbered in pencil. $1,250.
The Thief. 1929. Etching. 5 7/8 x 8 7/8 (sheet 11 1/2 x 9 1/4). Edition 75, #12. Illustrated: Fine Prints of the Year, 1929. A rich impression printed with plate tone on cream 'F.J. Head' laid paper. Signed and numbered in pencil. $1,250.
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Amalfi. 1926. Drypoint. Connell 83. 9 3/8 X 12 3/8. Edition 75. Exhibited at the Eighth International Print Makers Exhibition, Los Angeles Museum, March 1927. A fine impression printed on cream wova paper with full margins. Signed in pencil. $300.
The Old Post Office Yard, Falmouth. c. 1920. Etching and drypoint. Konody 19. 7 13/16 x 19 7/8 (sheet 11 3/8 x 15 3/4). Edition 50. A fine impression printed on cream laid paper with full margins. Signed in pencil. $325.
Perry's Fruit Shop, Old Falmouth. c. 1920. Etching and drypoint. Konody 23. 7 1/8 x 10 7/8 (sheet 11 3/8 x 16 3/8). Edition 40. A fine impression printed on cream laid paper with full margins. Signed in pencil. $350.
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Beeston Church. 1923. Pen lithograph. Schwabe 80. 9 1/8 x 13 1/2 (sheet 10 3/8 x 16). Edition 35, #12. A fine impression printed on Japanese mulberry paper. Full margins with deckle edges on three sides. Signed, titled and numbered in ink. $225.
This small church near Sheringham has a square tower in a walled churchyard, approached by a winding road.
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Iris, Compositae and Juniper Branches in a Fish Vase. Woodcut printed in colors. 16 3/8 x 11 7/8 (18 1/8 x 12 1/4). Signed and numbered "No. 116" in pencil. A fine impression with good color, printed on Japanese mulberry paper. $975.
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The Baptistry, Florence. 1920. Etching, aquatint and drypoint. Dickins 64. 5 13/16 x 4 3/4 (sheet 13 1/8 x 8 5/8). A rich impression printed on Whatman wove paper. Signed in pencil. $725.
The Forth Bridge, Firth of Forth. c. 1920. Drypoint. Dickins 64. 5 5/8 x 8 1/16 (sheet 7 1/2 x 12 5/8). A rare, early trial proof, before additional drypoint work on the bridge arches, boats and buildings, and before the gliders in the sky were added. Proof before the edition of 100 published by H.C.Dickins. Printed on cream laid paper. Initialed by the artist in pencil; annotated 'Not for sale' in another hand. $1,500.
Loading Barges on the Thames. 1922. Etching with drypoint and aquatint. Dickins 72. 4 5/8 x 13 1/8 (sheet 7 x 13 1/8).Series: The Arteries of Great Britain. Edition 100. A fine proof with tonal wiping, printed on J. Whatman wove paper. Signed in pencil. $975.
Marsham Street, Westminster. 1936. Etching with aquatint and drypoint. 6 7/8 x 9 7/8 (sheet 10 3/4 x 14 9/16). Commissioned by Sir Valentine Crittall. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $975.
Newcastle Central Station. 1921. Etching and drypoint. 3 3/4 x 5 7/8 (sheet 8 1/2 x 10 3/4). Inscribed and lettered impression. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $575.
The Pageant of Ludlow: The British Chief Caractacus, a Prisoner Before the Roman General Osterius in 50 AD. 1934. Etching, aquatint and drypoint. 7 3/4 x 9 1/4 (sheet 14 3/8 x 14 3/8). Printed in brown ink on white wove paper. Unobtrusive foxing. Signed in pencil. $575.
The work is from a set of 6 etchings done with Frank Brangwyn. The Pageant of Ludlow was produced to celebrate the tercentenary of the production of Milton's Comus at Ludlow Castle. The six etchings illustrate that masque. Three etchings wre done by Frank Brangwyn and three by William Walcot.
Piccadilly Circus. Rebuilding Swann and Edgar. c. 1926. Etching and drypoint. 5 3/16 x 8 (sheet 8 x 10 1/2). Inscribed and lettered impression. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "To my friend Capt. Coventon W. Walcot, XMas 1935" in pencil. $725.
On the Thames - Pool of London. c. 1920. Etching and drypoint. 5 7/8 x 11 7/8 (sheet 10 1/4x 16). Edition about 100. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $975.
The Quadrangle, St. Bartholomew's Hospital, London. 1938. Drypoint. 6 x 9 7/8 (sheet 7 3/4 x 12). Commissioned by Sir Valentine Crittall for Christmas, 1938. A fine impression with tonal wiping, printed on cream wove paper. Signed in pencil. $700.
The Strand and Charing Cross. 1919. Etching with aquatint and drypoint. 3 5/8 x 4 7/8 (sheet 9 1/8 x 11 3/8). A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $900.
The Temple of Baal. 1918. Etching, aquatint and drypoint. 8 5/8 x 13 1/8 (sheet 11 x 17 1/2). A rich impression printed on warm white J. Whatman wove paper. Signed in pencil. $950.
Westminster Abbey and the Houses of Parliment. 1919. Etching with aquatint and drypoint. Dickins 55. 3 5/8 x 5 (sheet 9 1/8 x 11 5/82). A fine proof printed on cream wove paper on the full sheet with deckle edges. Signed in pencil. $990.
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A Symphony. Portrait of James Abbott McNeill Whistler. 1877. Chromolithograph. As published in Vanity Fair, January 12, 1878. Signed in the image. A delightful caricature of the master. $300.
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J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $3,500
La Lieutenance, Honfleur. c. 1915. Etching. 8 3/4 x 13 3/4 (sheet 11 x 17 1/2). Printed on the full sheet of 'J Whatman' countermarked cream laid paper with deckle edges. $1,250.
Print collections purchased.
To order, to report broken links or to be placed on the email list, please contact Jane Allinson (allinson@earthlink.net) or send a fax to (860) 429 2825. Thank you for visiting this website.George Percival Gaskell. 1868-1934.
Eric Gill, R.E. 1882-1940.
Stephen Frederick Gooden. 1892-1955.
James Arden Grant, A.R.E. 1887-1974.
Frederick Maur Landseer Griggs, R.A., R.E. 1876-1938.
Allan Gwynne-Jones, R.A. 1892-1982.
Sir Francis Seymour Haden, R.A., P.R.E. 1818-1910.
James Duffield Harding. 1791-1863.
Martin Hardie, R.E. 1875-1952.
Oliver Hall, R.A., R.E., R.S.W. 1869-1957.
Harold B. Herbert. 1891-1945.
David Hockney. Born 1937.
Eric Hesketh Hubbard,R.B.A., R.O.I. 1892-1957.
Eleanor Mary Hughes. 1882-1959.
Leigh Harrison Hunt, M.D. 1858-1937.
Dame Laura Knight, R.A., R.E. 1877-1970.
Edward Lear. 1812-1888.
Sydney Lee, R.A., R.E. 1866-1949.
William Lee-Hankey, R.E. 1869-1952.
Sir Lionel Arthur Lindsay. Australian. 1874-1961.
Sidney Mackensie Litten. 1887-1949.
Elyse Ashe Lord. 1900-1971.
Ernest Stephen Lumsden, R.S.A., R.E. 1883-1948.
William Douglas Macleod. 1892 - 1963.
James McBey 1883-1959.
Alan McNab. Born 1901.
W. Westley Manning, A.R.E. 1868-1954.
John G. Mathieson. Flourished 1920's.
Mortimer Menpes, R.E. 1860-1938.
Isabel Beatrice Mesham. Born 1896.
Christopher Richard Wynne Nevinson. 1889-1948.
John Nicholson, A.R.E. 1891-1951.
G.M.Palin. Twentieth century.
Samuel Palmer. 1805-1881.
Robert Charles Peter, A.R.E. 1888-1980.
E. Philip Pimlott, A.R.E. 1871-1960.
Willie Rawson. Exhibited 1913-14.
Samuel William Reynolds. 1773-1835.
Theodore Roussel. 1847-1926.
Henry Rushbury, A.R.A., R.E. 1889-1968.
Sir Frank Short, R.A., P.R.E. 1857-1945.
Joseph Simpson. 1879-1939.
Eric Slater. Born 1896.
Douglas Ian Smart. 1876-1970.
Eileen Soper. 1905-1990.
Ian Strang. 1886-1952.
William Strang, R.A. 1859-1921
Graham Sutherland. 1903-1970.
Robin Tanner. 1904-1988.
Charles Frederick Tunnicliffe, R.A., R.E. 1908-1978.
Sidney Tushingham A.R.E. 1884-1968.
Francis Sydney Unwin. 1885-1925.
Yoshijuro Urushibara. Japanese. 1888-1953.
William Walcot, R.E. 1874-1943.
Sir Leslie Ward. 1851-1922.
Thomas Robert Way. 1861-1913.
William Lionel Wyllie, R.A., R.I., R.E. 1851-1931.
