A Royal London Celebration.

i thank You God for most this amazing
day:for the leaping greenly spirits of trees
and a blue true dream of sky;and for everything
which is natural which is infinite which is yes
e e cummings

Hear the mellow wedding bells -
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! -how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells -
To the rhyming and the chiming of the bells.

Edgar Allen Poe. The Bells. Stanza 2.

All works are signed in pencil unless indicated otherwise.

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Royalty

Joseph Pennell, N.A. 1857-1926.

Coronation of King George V and Queen Mary in Westminster Abbey. June 22, 1911. 1911. Lithograph. Wuerth 197. 21 x 16 (sheet 25 1/8 x 20). Edition about 30. Slightly toned; otherwise excellent condition. A fine impression printed on cream wove paper. An extremely scarce and important historical image. Signed in pencil. $2,500.

Paul César Helleu. 1859-1927.

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Alexandra of Denmark, Queen of England. c. 1902. Drypoint printed in colors. 21 3/8 x 13 3/4 (sheet 27 1/4 x 18 5/8). An excellent impression with subtle plate tone, printed on white wove paper. Housed in an elegant silk mat and gold leaf frame. Signed in pencil.$5,500.

La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. Montesquiou 8. 21 1/2 x 13 3/4. A rich impression printed on white wove paper with full margins. Signed in pencil in the image. This portrait is the artist's master work. Price upon request.

Lady Caenarvon. c. 1901. Drypoint. 15 1/8 x 10 1/4 (sheet 17 5/8 x 12 5/8). A rich impression printed on white wove paper. Signed, numbered in pencil and annotated 'Tireé à 10, planche detruite'. Edition 10, #3. $3,500.

William Say (1768-1832) after Robert Ker Porter (1777-1842).

Sir Sidney Smith. 1802. Mezzotint. 25 1/4 x 17 (plate). Text: 'Robert Ker Porter pinx.t. W.Say sculp.t. London Published as the Act directs, June 19 1802, by John P. Thompson, Printseller to his Majesty and their Royal Highness's the Duke and Duchess of York; Great Newport Street, and No 51, Dean Street, Soho.' Signed, dated and titled in the plate. Vertical stain under the 'S' in Smith; otherwise apparently fine condition. $550.00

London: The Thames

An omnibus across the bridge
Crawls like a yellow butterfly,
And, here and therem a passer-by
Shows like a little restless midge.

Big barges full of yellow hay
Are moored against the shadowy wharf,
And, like a yellow silken scarf,
The thick fog hangs along the quay.

The yellow leaves begin to fade
And flutter from the temple elms,
And at my feet the pale green Thames
Lies like a rod of rippled jade.

Oscar Wilde. Symphony in Yellow

William Walter Burgess, R.E. 1856-1908.

Series: Bits of Old Chelsea, a collection of forty-one etchings printed for the artist by Frederick Goulding and published in 1894 in an edition of 100. Kegan Paul & Co.: London, 1894.

Chelsea from Cremorne Wharf. c. 1894. Etching. 6 7/8 x 11 3/6 (sheet 9 1/8 x 13 5/16). A rich impression printed in black ink on Japanese vellum. A rich impression printed in black ink on Japanese vellum. Monogrammed with his 'sun symbol' in the plate; signed in pencil. $450.

Old Swan Wharf and Cadogan Pier, Before the Embankment. c. 1894. Etching. 4 3/8 x 10 1/4 (sheet 8 1/8 x 13 5/16). Printed on Japanese vellum. Monogrammed with his 'sun' symbol in the plate; signed in pencil. $250.

[Chelsea Dock]. Etching. 6 7/8 x 11 1/4 (sheet 8 7/8 x 13 3/8). A rich impression with plate tone printed on cream laid paper. Monogrammed with his 'sun' symbol in the plate; signed in pencil. $350.

Sir David Young Cameron, R.A., R.S.A.,R.W.S, R.E. 1865-1945.

The Admiralty. 1899. Etching. Rinder 301. 4 1/2 x 4 3/16 (sheet 5 1/2 x 5 3/16). London set, #5. 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.

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.

Walter Greaves. 1846-1930.

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Avenue Cremorne Gardens. Pencil, ink and watercolor. 7 7/8 x 10 3/4 (sheet 10 1/2 x 12 3/4. Exhibited at the Parkin Gallery. Signed in the image; titled beneath the image, lower left, in the artist's hand. The image appears to depict Whistler and his wife, Beatrix. $3,500.

Sir Francis Seymour Haden, R.A., P.R.E. 1818-1910.

Battersea Reach. 1863. Etching and drypoint. Schneiderman 48.iv/xii. 6 x 8 7/8 (sheet 7 5/16 x 10 1/4). As published in the Gazette des Beaux-Arts, XVII, 1864. Illustrated: Guichard, British Etchers, 1850-1940. A rich impression printed on cream laid paper. Signed, dated and annotated 'Old Chelsea Out of Whistler's window' in the plate. $650.

Charles Edward Holloway. 1838-1897.

Waterloo Bridge. 1894. Lithograph (auto-lithograph). 7 x 10 1/8 (7 7/8 x 11 4/15). As published in The Studio 4 (1894), with their blindstamp. Signed in the stone. $75.

Joseph Pennell. 1857-1926.

Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably from an old volume. Annotated 'Rome' and 'Charing Cross Bridge from my Window' by the artist. A rich dark proof, printed by the artist himself. Signed and annotated 'imp' in pencil. $4,000.

The City, Evening. 1909. Mezzotint. Wuerth 506. 10 x 14 7/8 (sheet 10 3/4 x 17 5/16). Printed on cream laid paper from an antique volume, numbered '12' in ink, upper left. Irregular bottom margin. Edition about 50. Magnificent, glowing proof with watercolor additions. Signed, titled 'London out of my window' and 'imp' in pencil, indicating a proof printed by the artist. $3,750.

Dark Day on the Embankment. 1909. Etching and aquatint. Wuerth 507. 9 7/8 x 12 3/4 (sheet 11 1/2 x 17 1/4). Edition probably 40. A rich, tonal impression printed by Pennell on cream laid paper from an antique volume. Signed and annotated 'imp' and 'Shot Tower Misty Morning' in pencil by the artist. $3,250.

Lion Brewery, from the Embankment. 1903. Etching. Wuerth 237.i/ii before the plate was reduced. 10 1/2 x 8 (sheet 11 3/8 x 8 1/4). Trial proof, apart from the edition of 20 in this state (total edition about 40). An extremely rich tonal impression printed on laid paper from an antique volume. Signed and annotated 'tr proof' in pencil. $1,950.

Song of the Search Lights (London in War Time). 1920. Resin aquatint. Wuerth 687. 4 x 6 7/8. Printed by the artist on cream wove paper. Signed and annotated 'imp' in pencil. Illustrated: Pennell, Etchers and Etching, 1920. $2,000.

St. Paul's from Bankside. 1905. Etching. Wuerth 393. 9 3/8 x 12 1/2 (sheet 10 x 14 3/4). Edition c. 50. A rich impression printed on laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $750.

Whitehall Court. 1903. Etching. Wuerth 275. 10 1/2 x 8(sheet 12 5/8 x 8 7/8). Edition 12. A rich impression printed on antique blue/green laid paper, probably from France. Printed by the artist. Signed, titled 'Whitehall Court -- with the lights of Charing Cross Bridge' , '12 printed' and annotated 'imp' in pencil. A unique proof with white watercolor highlights in the lights on the bridge and the reflections in the water. $3,500.

Sir Frank Short, R.A., P.R.E. 1857-1945.

The Night Picket Boat at Hammersmith. 1916. Mezzotint. Hardie 125. 11 7/8 x 17 13/16 (sheet 9 1/8 x 11 3/4). Printed on white wove paper with wide margins. A rich, atmospheric impression. A rare impression touched with white watercolour in the moon, the reflections in the water and the lights. Signed in pencil. $3,500.

Douglas Ian Smart, R.E. 1876-1970.

Repairs to S.T. John Wilson.(London) c. 1912. Crayon drawing. 7 13/16 x 8 3/4. Provenance: a collection of Smart etchings, drawings and watercolors. Sketch of a trawler, verso. Signed and titled in ink. $175.

Thames Barge. c. 1915. Russet pencil drawing. 10 3/4 x 14 3/8. Drawn on cream wove paper with deckle edges on two sides. There is a vertical center fold in the paper. Provenance: a collection of Smart etchings, drawings and watercolors. Annotated 'all lower deck grey hull brown deck houses' in brown pencil, lower right. $100.

Thames Shipping. c. 1935. Blue ink drawing. 5 3/4 x 8 15/16. Drawn on tan wove paper from a sketchbook. Provenance: a collection of Smart etchings, drawings and watercolors. Writing and tugboat dawing in pencil, verso. Monogrammed, titled and dated lower left. $125.

Jacques James Joseph Tissot. 1836-1902.

La Galerie du 'Calcutta' (Souvenir d'en Bal à Bord). 1898.Drypoint. Wentworth 25. 10 3/8 x 14 1/4 (sheet 14 5/8 x 19). Edition of 25 in Ten Etchings and 25 separate plates; total edition 50. A rich impression with drypoint burr printed on cream laid paper. Signed in pencil, lower left, and with the artist's red stamp (Lugt 1545) in the image lower right. Price upon request.

William Walcot, R.E. 1874-1943.

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 425. A fine proof with tonal wiping, printed on J. Whatman wove paper. Signed in pencil. $650.

The Thames - Pool of London. c. 1920. Etching and drypoint. 5 7/8 x 11 7/8 (sheet 10 1/4x 16). Edition about 100. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $725.

The Thames from Waterloo Bridge. 1913. Etching. Dickins 12. 3 3/4 x 7 1/16 (sheet 7 x 10 15/16). Edition 100. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $600.

James Abbott McNeill Whistler. 1834-1903.

The 'Adam and Eve', Old Chelsea. 1879. Etching. Kennedy 175.ii. 6 15/16 x 11 7/8 (sheet 9 1/4 x 14 1/2). Illustrated: Illustrated: Beall, American Prints in the Library of Congress; Salaman, The Great Painter-Etchers from Rembrandt to Whistler.; Modern Masters of Etching. A rich impression with plate tone, printed on fine laid paper. Signed with the butterfly in the plate. $3,000.

Black Lion Wharf. 1859. Etching. Kennedy 42.iii. 6 x 8 7/8 (sheet 8 3/8 x 10 1/8). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set), plate 1. Professionally repaired tear in the top margin, outside the image. A rich impression with plate tone, printed on fine laid paper. Signed and dated in the plate. $4,750.

Eagle Wharf (Tyzac, Whiteley & Co). 1859. Etching. Kennedy 41. 5 7/16 x 8 7/16 (sheet 6 3/8 x 8 7/16). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Probably a proof from the 1871 edition of the Thames Set published by Ellis and Green. A rich impression printed in black ink on 'Van Gelder' cream laid paper on the full sheet with deckle edges. Illustrated: Tyler, American Etchings of the Nineteenth Century. Signed and dated in the plate. $5,500.

Early Morning Battersea (Cadogan Pier). 1859. Drypoint. Kennedy 75 only state. 4 1/2 x 6 (sheet 5 3/8 x 6 7/8). Issued as plate 15 in "Sixteen Drypoints or Scenes on the Thames and Other Subjects" (Thames Set #15). Printed in black ink on fine cream laid paper. Unsigned. $1,750.

Early Morning. 1878. Lithotint. Way 7, Levy 16, Tedeschi, Stratis and Spink 9.iii/iv. 6 1/2 x 10 3/16 (sheet 7 3/8 x 10 11/16). Edition 15 in states i and ii; 'several hundred' in iii and iv, according to Way. A fine impression on cream wove paper, with the legend outside the image trimmed. Printed by Way for inclusion in the July 18, 1878 issue of Picadilly but never issued. Signed with the butterfly in the stone. $5,500.

The Forge. 1861. Drypoint. Kennedy 68.iv. 7 1/2 x 12 1/2 (sheet 9 1/4 x 14). Series: A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects (Thames Set), plate 3. A rich, glowing impression printed on fine Japanese paper. Signed and dated in the plate. $4,750.

The Lime-Burner. 1859. Etching. Kennedy 46.ii. 9 3/4x6 7/8 (sheet 10 15/16 x 7 5/16). Issued as plate 9 in "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Illustrated: Print Collector's Quarterly 1 (1911): 35. Probably from the 1871 edition of the Thames Set published by Ellis and Green. A well-inked, cleanly wiped impression printed on antique cream laid paper. Signed and dated in the plate. $11,500.

Limehouse. 1859. Etching. Kennedy 40.iii. 5 x 7 7/8 (sheet 7 7/8 x 10 1/16). Issued as plate 12 in "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set). A rich impression printed on cream laid paper. Signed and dated in the plate. $5,500.

The Little Putney, No. 1. 1879. Etching. Kennedy 179.ii. 5 1/4 x 8 1/8 (sheet9 7/16 x 12 5/16). A fine impression printed with plate tone on simili-Japan paper. Signed with the butterfly in the plate. $1,750.

Longshoremen. 1859. Drypoint. Kennedy 45. 5 7/8 x 8 3/4 (sheet 7 1/4 x 10 9/16). A rich impression with plate tone, printed on cream colored laid paper. Signed in the plate. $4,750.

Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii. 10 5/8 x 7 5/8 (sheet 14 1/4 x 8 5/16). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Illustrated: Illustrated: Print Collector's Quarterly 1 (1911): 37; Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Salaman, The Great Painter-Etchers from Rembrandt to Whistler and Modern Masters of Etching: Whistler. A rich impression printed on cream laid paper with a rampant winged horse countermark with the letters 'P F'. The scens is the balcony of the Angel Inn at Rotherhithe, looking northwest toward the City; the dome of St. Paul's is visible on the horizon at the far left. Signed in the plate. Price upon request.

Savoy Pigeons. 1896. Lithograph. Way 118; Levy 164; Tedeschi, Stratis and Spink 154. 8 x 5 3/4 (sheet 11 1/8 x 7 3/4). Edition about 3,000. As published in The Studio, June, 1896, with their blindstamp. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $650.

The Tall Bridge. 1878. Lithotint. Way 9; Levy 19; Spink, Stratis, Tedeschi 12.ii. 10 7/8 x 7 1/4 (sheet 11 3/8 x 7 5/8). Proof without the legend below, the letter text having been trimmed, as is commonly the case. Printed by Way for Piccadilly but never issued. The magazine failed and most of the proofs were destroyed. A beautiful, delicate printing with the layered applications of the lithotint washes clearly discernible. Signed with the butterfly in the stone. Accompanied by the Ando Hiroshige (1797-1868) woodblock that was apparently a major influence upon Whistler's image, . Kyobashi and the Bamboo Bank ofthe Sumida River. 1956-58. Japanese woodblock print. 13 1/4 x 5 5/8 (vertical oban. Series: 100 Views of Edo. This is plate 76 in the series of 120. Publisher: Uo-Ei. Later printing. Trimmed margins. Excellent color and condition. Price upon request.

Thames Police (Wapping Wharf). 1859. Etching. Kennedy 44.iii. 8 7/8 x 5 7/8 (sheet 6 13/16 x 9 13/16). Issued as plate 2 of "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set) in 1871 printed by Ellis and Green. Printed on Strasbourg watermarked laid paper. Signed and dated in the plate. $5,500.

Vauxhall Bridge. 1861. Etching. Kennedy 70.ii. 2 5/8 x 4 1/2 (sheet3 5/8 x 7 3/4). A rich impression printed on pale cream laid paper with a partial watermark. Signed and dated in the plate. $1,750.

Dorothy E.G. Woolard, A.R.E., A.R.W.A.

Tower Bridge (London) Soft ground etching. 8 3/16 x 6 1/2 (sheet 14 1/8 x 10 5/8). Variant of an image published by the Print Society, London, 1923. Printed on cream wove paper. Slight foxing in the margins, not affecting the image. Signed and dated in the plate; signed in pencil. $175.

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

Custom House (London). Etching. 9 7/8 x 14 7/8 (sheet 13 7/8 x 8 1/2). A fine impression printed on simili-Japan paper. Signed in pencil. $1,500.

The Pool of London. c. 1915. Etching. 7 7/8 x 15 7/8 (sheet 11 x 14 7/8 x 21 1/4). Printed on the full sheet of simili-Japan paper Signed in pencil. $1,500.

London Town

Sir Muirhead Bone, R.A. 1876-1953.

Piccadilly Circus -- 1915. 1915. Drypoint. Dodgson 332.v. 11 13/16 x 14 7/8 (sheet 16 x 22). Edition of 125 in this state. Illustrated: Furst, Original Engraving and Etching: An Appreciation. A rich impression printed on the full sheet of simili-Japan paper. Signed in pencil. $5,500.

Arthur John Trevor Briscoe, R.E. 1873-1943.

The Orator. 1925. Etching. Hurst 158. 6 5/8 x 10 7/8 (sheet 9 3/16 x 11 3/4). Edition 75, #51. Signed and numbered in ink. A dramatic impression with plate tone. Printed on cream laid paper with an '1838' countermark from an antique volume. Signed and numbered in ink. This magnificent political print shows a man holding forth at Speakers' Corner, Hyde Park, before the General Strike. $750.

William Walter Burgess, R.E. 1856-1908.

Series: Bits of Old Chelsea, a collection of forty-one etchings printed for the artist by Frederick Goulding and published in 1894 in an edition of 100. Kegan Paul & Co.: London, 1894.

Franklin's Row. c. 1894. Etching. 4 7/8 x 9 5/8 (sheet 7 7/8 x 12 1/8). A rich impression printed in black ink on Japanese vellum. A rich impression printed in black ink on Japanese vellum. Monogrammed with his 'sun symbol' in the plate; signed in pencil.$300.

Middle Cheyne Walk; Chelsea. c. 1894. Etching. 6 3/8 x 10 5/8 (sheet 8 1/2 x 12 3/4). A rich impression printed in black ink on Japanese vellum. Signed in pencil, lower left. Monogrammed with his 'sun symbol' in the plate; signed in pencil. $300.

[Pushcart]. Etching. 4 7/8 x 10 (sheet 8 1/8 x 13). Printed on Japanese vellum. Monogrammed with his 'sun' symbol in the plate; signed in pencil. $250.

Sir Francis Seymour Haden, R.A., P.R.E. 1818-1910.

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). Illustrated: Keppel. The Golden Age of Engraving. An extremely strong, well-inked impression. Printed on simili-Japon paper with full margins . Mild time toning within the mat window area. Provenance: Kennedy Galleries. Signed in pencil. A very rare state of this dramatic image. $975.

Kensington Gardens. No. 2 (large plate). 1860. Etching and drypoint. Schneiderman 31.ii/iii. 8 x 5 (sheet 9 3/16 x 5 7/8). Printed with plate tone on off-white laid paper. Signed in pencil. $500.

Edgar Holloway. 1838-1897.

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.

James McBey. 1883-1959.

Greetings from 1. Holland Park Avenue, London. 1931. Ink and wash on tan wove paper. 3 1/2 x 3 1/4 (sheet 6 1/8 x 4 7/8 - visible in mat area). Signed, dated, titled and annotated 'XMas 1931' in ink. $1,500.

Joseph Pennell. 1857-1926.

The Admiralty. 1903. Etching. Wuerth 266. 11 x 8 (sheet 14 1/2 x 9 5/8). Edition probably 50. Pennell printed this rich impression with dramatic tonal wiping, printed on antique cream laid paper. Signed and annotated 'imp' in pencil. $350.

Albert Hall.1903. Etching. Wuerth 267.ii. 3 3/8 x 5 1/2 (sheet 6 3/8 x 9 3/8). A rare working proof with the figures added in pencil. Four printing folds, the artist's fingerprints in the margins. Printed on off-white laid paper by the artist. Signed, titled and annotated 'imp' in pencil. $375.

The Barber Shop. 1905. Etching. W 392. 10 7/8 x 8 9/16 (sheet 14 3/8 x 10 3/4). Edition probably 25. Printed on cream wove paper. Signed in pencil. Annotation on verso, in Pennell's hand, "Cote (report of imp. lithos)." Doodles on the front in the same crayon, probably by Pennell. A charming, Whistleresque image. Printed by Pennell. Signed in pencil. $450.

Cab Stand, Street in Bloomsbury. 1893. Etching. Wuerth 158. 6 5/8 x 9 5/8 (sheet 8 x 10 1/8). A rich, tonal impression printed on Japanese mulberry paper. A charming, and exceptionally rare image. Signed, titled and annotated 'cab/stand 3 printed (destroyed)' in pencil. $1,250.

Church of St. Mary-le-Strand [London]. 1906. Etching. Wuerth 421. 6 x 3 5/8 (sheet 8 1/2 x 5 3/4). The plate has been reduced from 10 x 8. THe original etching includes both the Church of St. Mary-Le-Strand and St. Clement Danes. The plate was cut into sections. The image above actually shows the Church of St. Clement Dane's. Pennell had previously etched that Church in the same year (Wuerth 411). Extremely rare proof and example of Pennell's working technique. Printed on simili-Japan paper. Signed and titled in pencil. $175.

Leadenhall Market II. 1903. Etching. Wuerth 254.10 7/8 x 8 3/8 (sheet 12 1/8 x 9 3/4). Faint mat line, otherwise excellent condition. A rich, tonal impression printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $450.

Park Lane. 1904. Etching. W 290.iii. Plate reduced to 5 1/16 x 3 1/2 (sheet 7 3/4 x 6 1/4).Printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $175.

Primitives: Copying Botticelli. National Gallery (The Two Madonnas). 1891. Etching. Wuerth 155. 6 7/8 x 4 15/16 (sheet 10 x 6 13/16). Edition probably 35. Sun toning, otherwise fine condition. Signed, titled and dedicated by Pennell in ink, 'To the Mr & Mrs. Blum "The Day before Xmas" in the National Gallery London drawn, etched and printed by Joseph Pennell."' A unique presentation proof for E.C. Blum, the curator of The Brooklyn Museum. $1,250.

St. Bartholomew's Gate. 1907. Etching. Wuerth 448. 9 3/8 x 8 1/2 (sheet 12 1/2 x 10 7/16). Edition probably 75. A subtle impression with plate tone, printed on cream laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $325.

Fred Newman. 20th Century.

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.

Under Canon St. Station. 1904. Etching. Wuerth 309. 8 1/2 x 11 (sheet 9 7/8 x 14 1/2). Trial proof before the edition of approximately 25. Printed on cream laid paper from an antique volume with the page number '450' in ink in the right-hand margin. Excellent condition apart from a rust spot from iron in the paper, top center, outside the image. Signed and annotated 'imp' and 'trial proof' and titled 'Under Charing Cross' in Pennell's hand. A rich impression of this very rare image, printed by the artist, and especially interesting for the difference in Pennell's and Wuerth's titles. $650.

The Underground Station. 1893. Etching. Wuerth 167. 10 1/8 x 4 1/2 (sheet 12 1/8 x 14 3/4). Series: Easter Set, #17. Trial proof before the edition of 15. Printed on cream laid paper. Signed, dated and annotated 'trial proof' in Pennell's hand. A rich impression of this extremely rare image. $975.

West Door, St.Paul's. 1903. Etching and aquatint. Wuerth 272. 11 x 8 3/4 (sheet 13 3/16 x 10). Edition probably 50. A dark tonal impression with detailed wiping by the artist. Signed and annotated 'imp' in pencil. $750.

Douglas Ian Smart, R.E. 1876-1970.

Octagon Gallery on Ludgate Hill. (London). Pencil drawing. 9 15/16 x 7 1/8 (sheet). Drawn on cream laid paper. Provenance: a collection of Smart etchings, drawings and watercolors. Titled in pencil, upper right and lower right. $175.

St. Martin's Church, Ludgate Hill. (London). Pencil drawing. 10 x 9 7/8 (sheet 14 7/8 x 11). Provenance: a collection of Smart etchings, drawings and watercolors. Drawn on cream wove paper. There is a horizontal fold in the center, and there are tack holes in ther four corners from exhibition. Unsigned. $175.

The Octagon Gallery is located on Ludgate Hill in London. The main building in the Gallery is St. Martin's Church, which was designed by Sir Christopher Wren.

Ian Strang, R.E. 1886-1952.

Harley Street. 1928. Etching and drypoint. Strang 147. 9 7/8 x 13 3/8 (sheet 12 3/4 x 19 3/4). Edition 75. Illustrated: Fine Prints of the Year, 1928; Print Collector's Quarterly 18 (1931): 144. A rich impression printed on [Ar]ches cream laid paper, on the full sheet with deckle edges. Signed and annotated in pencil. $750.

William Walcot, R.E. 1874-1943.

Charing Cross -- The Statue of Charles I. 1919. Etching with aquatint and drypoint. 3 5/8 x 4 7/8 (sheet 9 1/8 x 11 3/8). A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $750.

Chelsea Old Church. 1924. Etching, drypoint and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. $650.

Ludgate Hill. 1921. Etching, aquatint and drypoint. Dickins 69. 5 5/8 x 5 1/8 (sheet 13 5/8 x 9 3/4). A fine proof with plate tone, printed on 'J Wha[tman] cream wove paper. Edition of 275 for the UK and 125 for the US. Signed in pencil. $675.

Marsham Street, Westminster. 1936. Etching and aquatint. Subsequent to Dickins. 6 7/8 x 9 7/8 (sheet 10 3/4 x 14 9/16). Commissioned by Sir Valentine Crittall for Christmas. A fine proof with tonal wiping, printed on cream wove paper. Signed in pencil. $975.

The National Gallery & St. Martin's-in-the-Fields. Etching and drypoint. Subsequent to Dickins. 4 1/16 x 6 3/48 (sheet 8 3/4 x 10 1/4). A fine proof with tonal wiping, printed on 'J Whatman' cream wove paper. Signed in pencil. $650.

Regent Street - the Quadrant. 1917. Etching, drypoint and aquatint. 3 7/8 x 4 15/16 (sheet 9 3/4 x 12 2/8).Edition 126. A fine proof with tonal wiping, printed on 'F.J.Head & Co' cream wove paper. Signed in pencil. $650.

Portland Place. c.1925. Etching and drypoint. Dickins 194. 6 x 9 3/8 (sheet 8 7/8 x 13). A fine proof with plate tone, printed on cream wove paper. The RIBA, Architectural Association headquarters is in the backgroung). Signed in pencil. $600.

The Quadrangle, St. Bartholomew's Hospital, London. 1938. Etching, drypoint and aquatint. 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.

Whitehall -- with the Cenotaph. 1924 Etching with aquatint and drypoint. Dickins 88. 4 3/8 x 5 7/8 (sheet 9 3/8 x 12 1/2). A fine proof printed on cream wove paper with full margins. Signed in pencil. $600.

Allinson Gallery Index.

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