William Walcot, R.E. 1874-1943.
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Anthony in Egypt (No, 1) (A Visit to Cleopatra). 1913. Etching with drypoint and aquatint. Dickins 17. 23 3/4 x 18 1/4 (sheet 29 x 25). Edition 50. Printed on cream wove paper laid onto a supporting board. A rich impression of thei rare image. Signed in pencil. $2,500.
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.
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.
The TEMPLE OF BAAL AT PALMYRA, also known as the Temple of the Sun was pseudodipteral, 8 Corinthian columns by 15. Its ornaments were possibly of gilt bronze. Soon after the completion of the temple its plan was completely changed by walling up the traditional front and back doors and opening a doorway on the east wall of the cella. This doorway, though not in the center of the temple, lay on the axis of the Propylea. In many ways the temple, with its pyramid roofs and peripteral design, epitomizes the fusion of Near Eastern and Greco-Roman architectural traditions. Palmyra existed in an oasis of the Syrian desert between Damascus and the Euphrates, and grew wealthy from its prominent role in the Roman caravan trade with the East, springing to fame in the 3rd century AD when its queen Zenobia temporarily broke away from the Roman empire to form a powerful kingdom of her own.
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