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Prints | Asian Art | Photography 7 APRIL 2016

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS


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19th & 20th CENTURY PRINTS ISLAMIC, INDIAN & ORIENTAL ART PHOTOGRAPHY 1850-2000 Thursday 7 April 2016

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

Fax: 01285 862461 info@dominicwinter.co.uk


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AUCTION DETAILS DAY OF SALE: Thursday 7 April ON VIEW:

11.00 am

Tuesday 5 April

9.00am-7.00pm

Wednesday 6 April

9.00am-7.00pm

SPECIALISTS IN CHARGE: Prints: Nathan Winter Asian Art: Matthew Farren Photography: Chris Albury Tel: 01285 860006 info@dominicwinter.co.uk All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%. Artist's Resale Right Law ("Droit de Suite") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk for further details.

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

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CONTENTS Commencing at 11am 19th & 20th CENTURY PRINTS 19th Century Prints 20th Century Etchings & Lithographs 20th Century Woodcuts & Wood Engravings Fleece Press Publications & Other Reference

1-20 21-129 130-157 158-171

Approximately 1pm or thereafter ISLAMIC, INDIAN & ORIENTAL ART Traditional & Modern Japanese Prints Oriental Paintings Oriental Antiques Islamic & Indian Paintings

175-198 199-213 214-216 217-238

Approximately 2pm or thereafter PHOTOGRAPHY 1850-2000 Photography Marcus and Gilbert Adams Photography Archive Part II

240-351 352-370

Index of Artists

Cover Illustrations: Front cover; lot 135. Inside front cover; lot 228. Rear cover; lot 249.


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Queen Victoria & Prince Albert. A rare set of 80 of the Queen’s and Prince’s etchings, 1840-44, bound in a full morocco folio album, and presented by Queen Victoria to her lifelong friend and royal biographer Sir Theodore Martin in 1869 £30,000-50,000 : 11 May 2016

FORTHCOMING SALES Wednesday 11 May

Printed Books, Maps & Prints Autographs, Manuscripts & Royal Memorabilia British Topography, Archaeology & County Histories Sports Books including Wisden’s Cricketers’ Almanacks

Thursday 12 May

Motoring, Cycling, Maritime & Railway History Motoring Collectables & Literature, Bicycles & Models

Friday 13 May

Military History including Battle of the Somme Aviation & Naval History, Books, Medals, Arms & Armour Stamps, Coins, Banknotes & Trade Tokens

Wednesday 15 June

Printed Books, Maps & Documents Science, Medicine & Cookery

Thursday 16 June

The Bookbinding Studio of Philip Smith Fine & Decorative Bindings Bookbinding Equipment and Tools

Wednesday 29 June

Fine Art & Antiques

Wednesday 20 July

Printed Books, Maps & Documents Antiquarian & Early Printed Books

Thursday 21 July

Children’s & Illustrated Books, Original Illustrations Modern Literature & First Editions Classical Music including the Ridgewell Collection of Classical Records Film Posters, Rock & Pop Memorabilia

Further entries are invited for all the above sales: please contact the relevant specialist for further advice.

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


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19TH CENTURY PRINTS To commence at 11am

1* Bewick (Thomas, 1753-1828). The Chillingham Bull, 1789, wood engraving on vellum, proof on thin vellum with decorative border, the rare first state taken before the split to the woodblock, some light browning and spotting to outer margins, image size 183 x 242mm (7.2 x 9.5ins), sheet size 299 x 385mm (11.75 x 14.2ins) (1)

ÂŁ1500-2000

5


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2* Bewick (Thomas, 1753-1828). Four printer’s specimen sheet wood engravings of animals, story illustrations, etc., published by W. Davison, Bondgate Street, Alnwick, circa 1820s/30s, consisting of 4 large sheets, each containing 8 groups of multiple wood engraved illustrations with a decorative border (including one duplicate), rubbed and some fraying and soiling to margins, sheet size 450 x 565mm (17.7 x 22.2ins), together with 4 copies of a similar specimen sheet of 6 large wood engravings of a bear, tiger, porcupine, elephant, zebra and dromedary, each with decorative woodcut border, sheet size 580 x 450mm (22.8 x 17.7ins), plus 3 other related prints (a late issue of Bewick’s Chillingham Bull (with vertical hairline crack visible in the plate), an engraved portrait of Thomas Bewick by Frederick Bacon after James Ramsay, published by R. Turner, Newcastle/Colnaghi London, circa 1850, and one other specimen sheet of wood engraved decorative letters, the latter 2 prints with large marginal stains (11)

Lot 3

£150-200

3* Martin (John). Satan viewing the ascent into Heaven, [1825], uncoloured mezzotint from the series for the Paradise Lost of Milton, a fully lettered proof impression, printed by Chatfield & Co., and published by Septimus Prowett, 1825, plate size 255 x 350 mm (10 x 13.75 ins), sheet size 320 x 425 mm (12.5 x 16.75 ins)

4* Martin (John, 1789-1854). Satan contemplating Adam and Eve in Paradise, 1825, mezzotint with etching on thick laid paper, a fully lettered proof, published by Septimus Prowett, 1825, for Milton’s Paradise Lost, Book IV, 502, a good, strongly contrasted impression, plate size 257 x 356 ( xins), together with The Angels Guarding Paradise by Night, 1826, mezzotint with etching, on thick laid paper, a fully lettered proof, published by Septimus Prowett, 1825 for Milton’s Milton’s Paradise Lost, Book IV, 866, a good, dark impression, some light spotting, plate size 257 x 367mm (10.1 x 14 5ins), sheet size 380 x 560mm ( 15 x 22ins)

Reference: Campbell Wees 33. Provenance: From a private collection, Somerset. (1) £200-300

Campbell Wees 35 & 37. (2)

6

£200-300


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5* Martin (John, 1789-1854). Psalm CXXXVII, 1835, mezzotint, a lettered proof, laid down on card, some overall spotting and surface marks, trimmed within plate mark, sheet size 240 x 325 mm (9.4 x 12.7 ins), together with Lewis (Frederick C., 17791856), Sunset at sea after a storm (after Francis Danby), 1826, mezzotint on thick wove paper, a proof impression before letters, some light soiling to margins, a good strong impression, plate size 173 x 283 mm (6.8 x 11.1 ins), sheet size 256 x 357 mm (10 x 14 ins), mounted Campbell Wees 108. (2)

ÂŁ150-200

Lot 5 6* Millet (Jean-Francois, 1814-1875). Le DĂŠpart pour le Travail, 1863, etching in bistre on laid paper, watermarked KFR, circa 1865, a richly inked impression, probably the fifth or sixth state of seven, plate size 382 x 309mm (15 x 12.2ins), sheet size 505 x 416mm (19.8 x 16.4ins), together with another larger version of the same etching, on laid paper, watermarked Michallet, with wide margins, some soiling and overall spotting, creases to margins, plate size 470 x 380mm (18.5 x 15ins), sheet size 625 x 475mm (24.6 x 18.7ins), plus La Precaution Maternelle, 1862 [but later], reproduction on thin wove paper, sheet size 300 x 240mm (11.75 x 9.5ins) Delteil 19. Based on the painting of the same title of 1851. ÂŁ1000-1500 (3)

Lot 6 7


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9* Palmer (Samuel, 1805-1888). Five etched illustrations to Virgil’s Eclogues, [1883], together 5 etchings illustrating Eclogue I, II, IV, VII and X (O fortunate old man!, But see, the weary-pacing oxen, Thy very cradle quickens, the pastured bull to stall, & Pan came, Arcadian tetrarch ever good, as published in An English Version of the Eclogues of Virgil, 1883), plate size 140 x 190mm (5.5 x 7.5ins) and similar, sheet size 208 x 312mm (8.2 x 12.25ins) See Lister (1988) B9. (5)

10* Edwards (Edwin, 1823-79). By the Tow-path, opposite ThamesBank House, Sunbury, 1862, etching on japan paper, unsigned, left blank margin torn and detached, and upper right blank corner torn with a little loss, plate size 100 x 215mm (3.9 x 8.4ins), sheet size 170 x 280mm (6.69 x 11.02ins), laid down on card with printed title label to lower left corner, together with Walton-on-Thames, 1862, etching on japan paper, unsigned, plate size 100 x 215mm (3.9 x 8.4ins), sheet size 160 x 273mm (6.2 x 10.7ins), laid down on card, with printed title label to lower left corner, plus one other unsigned etching, possibly also by Edwin Edwards, showing a view of a Parisian boulevard with rooftops seen through a balcony railing, some marks and short marginal tears and light creases, plate size 236 x 355mm (9.2 x 13.9ins), sheet size 297 x 410mm (11.6 x 16.1ins)

7* Millet (Jean-Francois, 1814-1875). Homme appuyé sur sa beche (Man leaning on a spade), 1848, etching on cream laid paper, with bunch of grapes watermark and indistinct paper manufacturer’s name, plate size 85 x 68 mm (3.4 x 2.75ins), sheet size 143 x 125mm (5.6 x 4.9 ins), mounted on old card Melot 3. Delteil 3. Good impression of this rare early print. (1)

£400-600

(3)

8* Francisco José de Goya y Lucientes (1746-1828). Desgracias acaecidas en el tendido de la Plaza de Madrid, y muerte del Alcalde de Torrejon (plate 21 from the Tauromaquia), 1815-16 [1876], etching with aquatint, lavis and engraving on Arches laid paper, numbered 21 upper right, from the third edition published by E. Loizelet, Paris in 1876, a very good impression, some very light surface soiling, light crease to upper left corner of the sheet, plate size 246 x 354mm (9.75 x 13.9ins), sheet size 315 x 474mm (12.4 x 18.7ins), tab-mounted on old card Delteil 244. Harris 224. (1)

£100-150

£100-150

11* Haden (Sir Francis Seymour, 1818-1910). The Moat House, Sonning, 1866, etching and drypoint on Van Gelder laid paper, as issued in About Etching, published by the Fine Art Society, 1879, plate size 137 x 212mm (5.4 x 8.3ins), sheet size 245 x 320mm (9.6 x 12.6ins), with text and fifteen other various reproductions of etchings, bound in contemporary quarter morocco, top edge gilt, rubbed and scuffed to spine, bookplate of James William Ellsworth to front pastedown, 4to

£300-500

(1)

8

£100-150


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12* Doré (Gustave, 1832-1883 & Bourne, Herbert, 1815-1885). The Triumph of Christianity, 1880, steel engraving on india paper laid down, published by Fairless & Beeforth, Doré Gallery, August 2nd 1880, a rich strong impression, signed in pencil by both artist and engraver, some light marginal spotting, plate size 945 x 640mm (37.25 x 25.25ins) (1)

£100-150

13* Legros (Alphonse, 1837-1911). Sir Charles Holroyd, etching on antique laid paper watermarked with letters M C either side of a shield with lion rampant (probably Dutch early 19th century), one of only six proofs of the second state, a fine impression printed with plate tone, signed in pencil, plate size 310 x 211mm (12.25 x 8.3ins), sheet size 405 x 260mm (16 x 10.25ins), tab-mounted Legros catalogue 511, ii. (1)

£70-100

Lot 12

14* Tissot (James Jacques Joseph, 1836-1902). Apparition Mediunimique, 1885, mezzotint on heavy wove paper, the second state, with lettering, and stamped monogram lower right, lower edge of plate mark neatly restrengthened with archival tissue to verso, plate size 490 x 340mm (19.29 x 13.38ins), sheet size 690 x 525mm (27.16 x 20.66ins) Wentworth 76 ii/ii. The published state of Tissot’s remarkable mezzotint depicting the spectral appearance of his deceased muse and mistress Mrs. Newton (described by the artist’s French friends as ‘la ravissante irlandaise’) at a spiritualist séance, arranged for him by the practitioner William Eglington. The accompanying male figure, named Ernest, is a benign spiritual guide. £500-800 (1)

Lot 13

9


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16* Pennell, Joseph (1857-1926) and others. The Artworker’s Guild, May 5th, 1893. Barnard’s Inn Hall. 6 Lithographs drawn by J. Pennell, F. Short, W.R. Lethaby, H. Paget, A. Mackworth, G. McCulloch, Imp T. Way, [1893], 6 transfer lithographs on laid paper, sheet size 230 x 320mm (9 x 12.5ins), loosely contained in original printed grey-brown wrappers, one or two minor marks, and a small portion of lower outer corner to upper wrapper missing Scarce. A portfolio of 6 transfer lithographs printed by Thomas Robert Way (1862-1913), following a demonstration of the method by him at a meeting of the Artworker’s Guild, at which members of the audience were invited to exercise their skills on stone and transfer paper. The revival of interest in lithography in England was largely due to Whistler, who brought back from Paris the latest technique of artistic lithography. (1) £200-300

15* Herkomer (Sir Hubert von, 1849-1914). Ten etchings for An Idyl, A Pictorial-Music-Play, 1891, a collection of 10 etchings (from the set of 16) printed on vellum, artist’s proofs, each signed in pencil, each mounted on card, plate size 236 x 157mm (9.25 x 6.25ins) and smaller, sheet size 315 x 235mm (12.4 x 9.25ins), plus two signed lithographs by the same artist (12)

£100-150

17* Pennell (Joseph, 1857-1926). Iffley Mill, circa 1891, pen and black ink on india paper, signed in pencil, and numbered 13 lower right, very light scattered spotting (generally in good condition), sheet size 238 x 185mm (9.4 x 7.25ins), laid down on thick wove paper bound in as the frontispiece to ‘The Stream of Pleasure. A Narrative of a Journey on the Thames from Oxford to London’ by Joseph and Elizabeth Robins Pennell, 1891, containing numerous monochrome plates and illustrations, bound in original printed boards, rubbed and some light overall browning, small 4to Limited edition of 65 copies printed on Japan paper, signed by the author and artist, this being number 13 of the first 25 copies containing an original drawing by Joseph Pennell. (1) £200-300

Lot 16

10


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Lot 19

18* Beardsley (Aubrey, 1872-1898). D’Albert (A Vignette), circa 1898, photogravure printed on chine collé (plate II from Six Drawings illustrating Théophile Gautier’s Romance Mademoiselle de Maupin, Leonard Smithers, 1898), initialled AB in the plate lower right, one of 13 proofs on chine collé, some light marks to the surface of the paper, inscribed in a contemporary hand in purple ink to lower margin verso ‘No 13 of 13 Copies’, plate size 115 x 90mm (4.5 x 3.5ins), sheet size 333 x 278mm (13.1 x 11ins) Lasner, Beardsley Checklist 121A (copies on plain paper, vellum, Japanese vellum, and white satin, but not chine collé). (1) £300-500

19 Rothenstein (Will). English Portraits. A Series of Lithographed Drawings by Will Rothenstein, parts III, IV, VII, VIII, IX and XII (from the set of 12), Grant Richards, [1898], 6 original parts, containing twelve lithograph portraits only (from the full set of 24), containing Reverend Creighton, Marchioness of Granby, W.E.H. Leckey, John Singer Sargent, Alphonse Legros, Robert Bridges, Charles Villiers Stanford, George Bernard Shaw, Mrs Meynell, Ricketts & Shannon, R.B. Cunningham Grahame and Henry James, original printed wrappers to each issue, a little rubbed and some fraying and occasional minor loss to spines, slim folio (380 x 255mm, 15 x 10ins) Each part printed in a limited edition of 500 copies. (6)

20* Dicksee (Herbert, 1862-1942). Peace, 1906, etching on vellum, an artist’s proof, published by Frost & Reed (the only state, after which the plate was destroyed), signed in pencil, plate size 350 x 560mm (13.75 x 22ins), with margins, contemporary black and gilt frame, glazed, with original printed label to verso, and additional framer’s label of Edward L. Airey, Blackburn to verso

£100-150

(1)

11

£200-400


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20TH CENTURY ETCHINGS & LITHOGRAPHS 22* Liebermann (Max, 1847-1935). Badende Knaben, 1904, etching on thick wove paper, plate size 180 x 240mm (7 x 9.5ins), sheet size 318 x 450mm (12.5 x 17.75ins), together with six other etchings and lithographs by various artists: Walter Leistikow (Markische Landschaft), Max Klinger (Weiblicher Akt), Leopold von Kalckreuth (Rubenarbeiterinnen), Arthur Kampf (Taubenliebhaber), Hans Herrmann (Dordrecht) & Ludwig von Hofmann (Springende Madchen), all published by the Deutscher Kunstverein zu Berlin, 1904-1905, all unsigned, with printed name and title, and initials DRV to lower margin of each print, occasional minor marginal spotting and one or two light marginal creases, similar sizes, loosely contained in original publisher’s cloth portfolio (7)

£300-500

21* Belleroche (Albert de, 1864-1944). Dolores, 1907, lithograph on wove paper, printed in black, some light soiling and minor marginal fraying, image size 630 x 480mm (24.75 x 18.9ins), sheet size 755 x 545mm (29.75 x 21.5ins) AB 234. (1)

£300-500

23* Zorn (Anders, 1860-1920). Bust, 1916, etching with drypoint on pale cream laid paper, the first state of three, a strong dark impression, signed in pencil, plate size 247 x 178mm (9.75 x 7ins), with margins, framed and glazed (unexamined out of frame) Asplund 272, iii/iii. (1)

Lot 22

12

£500-800


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26* Helleu (Paul Cesar, 1859-1927). Portait de femme en profil, etching with drypoint on laid paper, a very good impression, signed in pencil, and marked ‘1 ere Epreuve’, plate size 318 x 212mm (12.5 x 8.3ins), with margins, framed and glazed (unexamined out of frame) (1)

£300-500

24* Verpilleux (Emile Antoine, 1888-1964). Moonlight, 1914, colour etching and aquatint on thick wove paper, signed and dated in pencil lower right, plate size 264 x 176mm (10.4 x 6.9ins), sheet size 564 x 387mm (22,2 x 15.25ins) (1)

£100-150

25* Henschl (Hugo, 1879-1929). Moonlit landscape with stag by a lake, etching on thick laid paper, signed in pencil, some light spotting and waterstain to left margin, plate size 370 x 470mm (14.5 x 18.5ins), sheet size 495 x 630mm (19.5 x 24.75ins) (1)

27* Helleu (Paul Cesar, 1859-1927). Jeune fille cousant (Madame Helleu), 1892, drypoint etching on heavy laid paper, signed in pencil lower left, some paper discolouration to verso only, plate size 198 x 155mm (7.8 x 6.1ins), sheet size 250 x 179mm (9.8 x 7ins), tab-mounted

£100-150

(1)

13

£200-300


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30* De Jong (Martinus Johannes, 1885-1942). Neethlings Hof, Stellenbosch, Cape, etching on wove paper, signed and titled in pencil, plate size 199 x 257mm (7.85 x 10.1ins), period frame, glazed, with printed label of Burlington Art Galleries, Durban, South Africa, to verso

28* Eggeler (Stefan, 1894-1969). Die Drei Freier, Sechs Radierungen von Stefan Eggeler, Vienna, Frisch & Co. Verlag, 1921, 6 etchings on wove paper, signed in pencil (except the first plate which is unsigned), plate size 105 x 140mm (4.2 x 5.5ins), sheet size 249 x 227mm (9.8 x 8.9ins), some scattered spotting to plates, loosely contained in original publisher’s cloth-backed portfolio boards, with original paper label to upper cover, very slightly rubbed and some minor marks, 4to (1)

(1)

£100-150

£200-300

29* Corinth (Lovis, 1858-1925). Bei den Corinthern. Radierungen, Leipzig, E.A. Seeman, 1920, etched self-portrait, signed in pencil by the artist, 2 colour plates and 4 colour initials, monochrome reproductions, top edge gilt, original vellum-backed boards, spine lightly discoloured, small 4to (266 x 215mm, 10.5 x 8.5ins)

31* Dufy (Raoul, 1877-1953). Deux femmes nues et cheval sur la plage, circa 1925, etching on chine volant paper, from the edition of 125, signed and numbered 14/125 in pencil, plate size 171 x 111mm (6.75 x 4.3ins), sheet size 226 x 130mm (8.9 x 5.15ins), contemporary gilded metal frame, glazed

(1)

(1)

£200-300

14

£150-200


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32* Kasimir (Luigi, 1881-1962). Hamburg, Binnenalster, colour etching, signed in pencil lower right, plate size 405 x 595mm (16 x 23.5ins), with margins, framed and glazed with original printed label of Kommetersche Kunsthandlung, Hamburg to verso (1)

£150-200

34* Chahine (Edgar, 1874-1947). La femme aux coussins, drypoint etching printed in green on laid paper, signed in pencil lower left, some light soiling, mainly to margins, plate size 299 x 365mm (11.75 x 14.3ins), sheet size 365 x 522mm (14.3 x 20.5ins) (1)

£200-300

35* Dauchez (Andre, 1870-1948). Les Gerbes, etching on thick wove paper, signed in pencil and numbered 12/30, some light scattered spotting, plate size 167 x 241mm (6.5 x 9.5ins), sheet size 223 x 320mm (8.8 x 12.6ins), tab-mounted (1)

33* Chahine (Edgar, 1874-1947). La Basilique de San Marco, Venise, 1923, drypoint etching, an artist’s proof on pale green laid paper, signed and titled in pencil, a few minor marks, plate size 320 x 217mm (12.6 x 8.5ins), sheet size 370 x 237mm (14.6 x 9.3ins), mounted on old card Tabanelli 378. (1)

£200-300

15

£50-80


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Lot 38

36* Rouault (Georges, 1871-1958). Nude Woman & Man with Moustache and Spectacles (from Reincarnations du Pere Ubu), 1955, together with two uncoloured aquatints, each initialled and dated 1929 in the plate, plate size 10 x 7.5cm (4 x 3ins), sheet size 25.5 x 18cm (10 x 7ins), plus Derain (Andre, 1880-1954), Man holding a large bell (from Pantagruel), 1946, colour woodcut, printed in an edition of 275, sheet size 10 x 10cm (4 x 4ins), and Vlaminck (Maurice de, 1876-1958), Usines, lithograph on japan paper, image size 10 x 16cm (4 x 6.25ins), sheet size 23 x 23.5cm (9 x 9.25ins) (4)

Lot 39

£100-150

37* Dielman (Ernest Benham, 1893-1972). Figure composition, softground etching, signed in pencil lower right, some light soiling, plate size 60 x 88mm (2.3 x 3.5ins), sheet size 105 x 140mm (4.1 x 5.5ins) Ernest Benham Dielman was an American artist and sculptor who lived in New York in the 1930s. Little is known about his life or career. (1) £70-100

38* Bone (Sir David Muirhead, 1876-1953). Autumn Evening, Lowestoft, 1934, drypoint etching on wove paper, from the sole edition of 98 signed proofs, a strong rich impression, signed in pencil lower right, plate size 202 x 327mm (8 x 12.9ins), with margins, framed and glazed Campbell Dodgson 453 xiii/xiii. (1)

£200-300

40* Blampied (Edmund, 1886-1966). The Farmer Dentist, 1925, etching with drypoint on pale cream wove paper, from the edition of 100 impressions, a very good clean impression, signed in pencil, plate size 178 x 216mm (7 x 10.25ins), with margins, framed and glazed (unexamined out of frame)

39* Blampied (Edmund, 1886-1966). Fording the Stream, 1914, etching with drypoint on simili-japan laid paper, printed in an edition of 57 impressions, signed in pencil, a strong impression, light plate tone, pale mount stain, small sellotape stain to extreme lower blank margin, and to extreme top margin verso, plate size 125 x 202mm (5 x 8ins), sheet size 215 x 266mm (8.5 x 10.5ins) Appleby 36. (1)

Appleby 106. (1)

£150-200

16

£300-400


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41* Bone (Sir David Muirhead, 1876-1953). War Drawings. From the Collection presented to the British Museum by His Majesty’s Government. Signed Proofs, published by authority of the War Office by Country Life Limited, 1917-18, the complete set of 60 lithographs, each signed in pencil, with small circular blindstamp to lower margin, a few minor marks or light marginal creases (generally in excellent condition), as issued in 6 printed card fascicules each containing a loose contents leaf and 10 prints, sheet size 395 x 520mm (15.5 x 20.5ins), contained in two clothbacked portfolios with ties (partly broken), each with printed title to upper cover, and additional cloth-backed portfolio boards with ties, similarly titled with printed label inside ‘War Drawings, Edition de Luxe. This is one of 50 sets signed by the artist’, with artist’s signature below in ink, some soiling and fraying with a little wear to edges, large folio (560 x 445mm, 22 x 17.5ins) The rare complete set of the Edition de Luxe, limited to 50 sets with each of the 60 lithographic proofs signed by Muirhead Bone in pencil, and with his embossed monogram. Britain’s first official War Artist was not appointed by the War Propaganda Bureau until May 1916, after William Rothenstein, a friend of Bone and a fellow member of the Society of Twelve, proposed that an artist should be sent to the front to record the War. He arrived in August, 1916 at the height of the Somme Offensive (July-November) and toured the battle-fields working rapidly in various media - pencil, pen, charcoal and chalk - producing 150 highly finished drawings of the war in six weeks. In 1917 he returned to France again, concentrating on towns and villages ruined in bombing raids. £700-1000 (1)

17


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Lot 44 42* Pryse (Gerald Spencer, 1882-1956). Belgian cavalry assessing their field position, circa 1915, lithograph on wove paper, printed in rust red, signed in pencil lower right, some minor marks to margins, image size 525 x 750mm (20.75 x 29.5ins), sheet size 560 x 780mm (22 x 30.75ins) (1)

£300-500

46* Wyllie (William Lionel, 1851-1931). Cobles at Newbiggin, Northumberland, etching, signed in pencil lower left, plate size 215 x 493mm (8.5 x 19.4ins), framed and glazed (1)

£200-300

43* Pryse (Gerald Spencer, 1882-1956). A Dressing Station, 1914, lithograph on wove paper, partly printed in colour, signed in pencil lower right, some marks to margins, image size 455 x 635mm (18 x 25ins), sheet size 572 x 765mm (22 x 30.75ins) (1)

£300-500

44* Pryse (Gerald Spencer, 1882-1956). British Transports and Artillery at Le Mans, Place de la Cathedrale, 1914, lithograph on wove paper, signed in pencil lower right, 450 x 650mm (17.75 x 25.6ins), sheet size 510 x 710mm (20 x 28ins) (1)

£200-300

45* Wyllie (William Lionel, 1851-1931 ). Naval convoy heading out, etching on cream laid paper, signed in pencil lower left, a few small worm holes (including two to the image), plate size 205 x 350mm (8 x 13.75ins), sheet size 285 x 455mm (11.2 x 17.5ins), framed and glazed (1)

47* Wyllie (William Lionel, 1851-1931). Boulogne Fishing Luggers, 1921, etching, signed in pencil lower left, plate size 194 x 279mm (7.6 x 10.9ins), framed and glazed etching, signed in pencil lower left, plate size 194 x 279mm (7.6 x 10.9ins), framed and glazed (1)

£100-150

18

£150-200


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48*AR Nevinson (Christopher Richard Wynne, 1889-1946). Assembling Parts, 1917, lithograph on wove paper, one of 100 unsigned impressions, plate 38 from the Building aircraft set of six lithographs by Nevinson, for the series The Great War: Britain’s Efforts and Ideals, commissioned by the British Department of Information and published by the Fine Art Society, London, in 1918, unsigned, image size 402 x 303cm (15.8 x 12ins), sheet size 510 x 379cm Black 17. Published in an edition of 200 signed and 100 unsigned impressions. (1)

19

ÂŁ7000-9000


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49*AR Nevinson (Christopher Richard Wynne, 1889-1946). Banking at 4000 feet, 1917, lithograph on wove paper, one of 100 unsigned impressions from the Building aircraft set of six lithographs by Nevinson, for the series The Great War: Britain’s Efforts and Ideals, commissioned by the British Department of Information and published by the Fine Art Society, London in 1918, image size 402 x 315cm (15.8 x 12.2ins), sheet size 510 x 379cm Black 20. Published in an edition of 200 signed and 100 unsigned impressions. (1)

20

ÂŁ7000-9000


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Lot 50 50*AR Nevinson (Christopher Richard Wynne, 1889-1946). Column on the March, 1917, offset colour lithograph on thin wove, signed in pencil, as issued in the book ‘Modern War: Paintings by C.R.W. Nevinson’, with an introductory essay by P.G. Konody, published by Grant Richards Ltd., London, 1917, one or two very light marginal creases, and three very short closed tears to margin at upper right, sheet size 286 x 221mm (11.25 x 8.7ins), with three other loose monochrome reproductions from the same publication The lower right extreme margins bears the initials only of the artist’s signature repeated twice, once in pencil and secondly in blue ink (the latter missing the W). With these sheets is a contemporary brown envelope covered with various manuscript annotations in pencil and ink, including ‘Nevinson Pictures PH’. (1) £300-500

51 Nevinson (Christopher Richard Wynne, 1889-1946). The Great War, Fourth Year. With an essay by J.E. Crawford Flitch, R.F.A., Grant Richards, 1918, 24 monochrome plates, front endpaper (with etched bookplate AK with design of two stylised butterflies, signed K.C. to lower right corner), and later bookplate of Charles Berman M.D. to front pastedown, front endpaper and half-title detached, original cloth-backed pale brown boards with paper label to upper cover, and remains of paper label to spine, a little rubbed, 4to Limited deluxe edition of 100 copies, this copy numbered 5 and signed by the publisher. Lacking the colour frontispiece and the etching Nerves of an Army to pocket at rear. (1) £100-150

21

Lot 51


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52*AR Nevinson (Christopher Richard Wynne, 1889-1946). Summer, 1924-27, etching and drypoint on laid paper (watermarked F.J. Head), signed in pencil, a good, rich impression, plate size 251 x 354mm (9.9 x 13.85ins), sheet size 307 x 408mm (12.1 x 16ins) Black 111. (1)

ÂŁ4000-6000

22


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54* Baird (Johnstone, late 19th/early 20th century). Destroyers heading out, 1916, colour etching on cream wove paper, published by Dowdeswell & Dowdeswell’s, February 1st, 1916, signed in pencil, and additionally inscribed lower left To Vice-Admiral Sir David Beatty from Johnstone Baird, June 1916, plate size 260 x 378mm (10.25 x 14.9ins), with margins, contemporary black and gilt frame, glazed (1)

£100-150

Lot 53

55*AR Briscoe (Arthur John Trevor, R.E., 1873-1943). Brixham, 1936, etching on laid paper, printed with plate tone, an artist’s proof, signed in ink and marked A.B. 1 lower left, aside from the edition of 50 signed in pencil, a very good impression, in excellent condition, plate size 189 x 253mm (7.4 x 9.9ins), with margins (unexamined out of frame) Hurst 310. (1)

£150-200

56*AR Cameron (David Young, 1865-1945). Provanhall, 1893, etching on laid paper, as published in the Regality Club, Third Series [Glasgow, 1894-99], margins heavily browned and with light glue traces, plate size 158 x 102mm (6.25 x 4.25ins), sheet size 276 x 187mm (10.8 x 7.35ins), together with a reproduction of Cameron’s Newgate (from the London set, 1899), plate size 149 x 119mm (5.9 x 6 3/16 x 4 7/8 (sheet 7 9/16 x 5 7/8)

Lot 54

53* West (Joseph Walter, 1860-1933). ‘Salvage’, 1915, lithograph printed in dark brown-black on thin laid paper, signed and titled in pencil, very light old mount stain, image size 177 x 255mm (7 x 10ins), sheet size 235 x 344mm (9.25 x 13.6ins), tipped-on to backing card

Rinder 189. (2)

This print was reproduced in ‘The Year 1915 Illustrated: A Record of Notable Achievements and Events’, published by Headley Brothers in late 1915, and titled ‘Rescuing Women and Children from a Cellar at Ypres’. (1) £150-200

23

£150-200


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59*AR Cameron (David Young, 1865-1945). Arran, etching with drypoint on thick wove paper, some very light spotting to blank margins, plate size 123 x 250mm (4.8 x 9.8ins), sheet size 280 x 380mm (11 x 15ins) (1)

£100-150

57*AR Cameron (David Young, 1865-1945). The Lion and the Unicorn, 1912, etching with drypoint on japon appliqué, printed in an edition of 200, signed in pencil, plate size 153 x 109mm (6 x 4.25ins), sheet size 227 x 182mm (8.9 x 7.2ins) Rinder 427. (1)

£100-150

60*AR Cameron (David Young, 1865-1945). The Turkish Fort, 1909, etching with drypoint on pale cream japan tissue, signed in pencil, light mount stain, plate size 138 x 262mm (5.4 x 10.3ins), sheet size 200 x 330mm (7.9 x 13ins) Rinder 409. (1)

58*AR Cameron (David Young, 1865-1945). Harfleur, 1903, etching and drypoint on laid paper, a strong dark impression with plate tone, signed in pencil, plate size 310 x 197mm (12.25 x 7.75ins), sheet size 341 x 223 (13.4 x 8.75ins) Rinder 356. (1)

£150-200

61* Griggs (Frederick Landseer, 1876-1938). St. Stephens, circa 1925, pencil on laid paper, with additional vignette repeat of the image to right margin, marked ‘St Stephens’ in pencil to left margin, image size 180 - 270mm (7 x 10.5ins), sheet size 295 x 440mm (11.8 x 17.3ins), together with The Roman Wall at Jewry, Leicester, 1923, soft-ground etching on laid paper by Emery Walker after F.L. Griggs, plate size 157 x 194mm, sheet size 255 x 315mm

£150-200

(2)

24

£200-300


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62* Griggs (Frederick Landseer, 1876-1938). The Cresset, 1915, etching on laid paper, the second and final state, printed in an edition of 38, signed and dated lower right, a good impression with wide margins, plate size 172 x 250cm (6.75 x 9.8ins), sheet size 228 x 325mm (9 x 12.75ins) Comstock 12, ii/ii. (1)

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

£400-600

£500-700

65* Griggs (Frederick Landseer, 1876-1938). The Quay, 1916, etching on laid paper, the third and final state, printed in an edition of 40, a good, clear impression with full margins, signed lower right, additionally titled by the artist lower left and inscribed ‘To Via May 1919’, plate size 170 x 205mm (6.7 x 8ins), sheet size 230 x 267mm (9 x 10.5ins) Comstock 15, iii/iii. (1)

63* Griggs (Frederick Landseer, 1876-1938). Netherton Chapel, 1935, etching on laid paper, printed with tone, the third state (of 5), one of only three proof impressions of this state (according to Comstock), signed in pencil, and additionally inscribed by the artist lower left ‘To John’, some light scattered spotting, mainly to margins, plate size 181 x 155mm (7.2 x 6.1ins), sheet size 220 x 170mm (8.7 x 6.7ins) Comstock 53, iii/v. (1)

£400-600

25

£400-600


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Lot 66

Lot 68

66*AR Drury (Paul, 1903-1987). After Work, 1926, etching on laid paper, from the edition of 75 published by the XXI Gallery, a very good impression, signed and dated lower right, plate size 102 x 142mm (4 x 5.5ins) with margins, framed and glazed (unexamined out of frame) Garton 20, viii/viii. One of Drury’s finest etchings, created while the artist was working alongside his close friend Graham Sutherland at Hayling Island, where they stayed with Drury’s grandmother. (1) £400-600

67 Tanner (Robin, 1904-1988). Illustration for Gray’s Elegy, etching on wove paper, signed with initials in pencil and dated 1981, plate size 136 x 142mm (5.4 x 5.6ins), as issued in Thomas Gray, Elegy written in a Country Churchyard, illustrated by Robin Tanner, published by Robin Garton, 1981, printed at The Old Stile Press, with monochrome illustrations to text, printed in an edition of 100 copies, this being number 76, additionally signed in ink by the artist, all edges gilt, original quarter brown morocco gilt, with dust wrapper, bookplate of Bryan Hall to front pastedown, small 4to (265 x 185mm) Garton 41, ii/ii. (1)

£200-300

68*AR Tanner (Robin, 1904-1988). Kenneth M. Guichard, British Etchers 1850-1940, 1st edition, Robin Garton, 1977, three etchings by Robin Tanner (Wren and Primroses, Full Moon, & The Old Road), each signed in pencil, numerous monochrome illustrations, original quarter blue morocco gilt, large 4to (340 x 265mm)

Lot 67

(1)

26

£200-300


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71*AR Austin (Robert Sargent, 1895-1973). The Stonebreaker, 1925, etching, Dodgson 57.iii, 105 x 134mm (4.1 x 5.3ins), sheet size 134 x 270mm (5.25 x 8.2ins), laid paper, signed and dated, 1926,

69*AR Austin (Robert Sargent, 1895-1973). Highbridge, 1927, copper engraving, signed and dated 1928, plate size 111 x 133mm (4.4 x 5.25ins), framed and glazed Campbell Dodgson 77. (1)

Campbell Dodgson 57, iii. Illustrated in Print Collector’s Quarterly 16 (1929): 336. £150-200 (1)

£150-200

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

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

Beetles 23. (1)

£150-200

27

£300-500


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73*AR Drury (Paul, 1903-1987). Head of a Young Woman, 1930, etching and engraving on wove paper, published in an edition of 100 impressions by the Print Collector’s Club, 1930, signed in pencil, plate size 145 x 120mm (5.7 x 4.7ins), with margins Garton 26, viii/viii. (1)

£200-300

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

74*AR Webb (Joseph, 1908-1962). Dream Barn, 1929, etching on thick laid paper, signed and titled Dream Barn 1st State in pencil, a rich, dark impression, plate size 180 x 300mm (7.1 x 11.8ins), sheet size 266 x 405mm (10.5 x 16ins) Guichard 21. Meyrick (2007), illustration 12. (1)

£400-600

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

£300-500

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

£400-600

77*AR Webb (Joseph, 1908-1962). Black Rabbit Chalk Pit, Arundel, 1928, etching on laid paper, a progress proof (final state), one of 4 proofs only (plate destroyed), before the removal of trees to the upper right corner, signed in pencil, plate size 223 x 302mm (8.8 x 11.8ins), framed and glazed Guichard 16. Meyrick (2007), illustration 7. (1)

28

£300-400


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80* Anderson (Stanley, 1884-1966). The Goose Fair, Albi, 1927, drypoint etching on ivory wove paper, from the published edition of 75 proofs, signed in pencil, additionally inscribed to lower blank margin with title and edition, a very good impression, plate size 233 x 340mm (9.15 x 13.4ins)

78* Walcot (William, 1874-1943). Horseguards, 1923, etching with drypoint on cream wove paper, printed in brown-black with light plate tone, signed in pencil, some light discolouration, plate size 102 x 145mm (4 x 5.75ins), framed and glazed, together with Interior of St. Peter’s, Rome, 1919, etching with drypoint on cream wove paper, printed with plate tone, light mount stain, signed in pencil, plate size 155 x 178mm (6.1 x 7ins), with margins, framed and glazed, plus The Baptistry, Florence, 1920, etching with drypoint on cream wove paper, signed in pencil, some overall toning, plate size 132 x 119mm (5.25 x 4.7ins), framed and glazed (3)

(1)

£150-200

£200-300

81* Short (Sir Frank, 1857-1945). Moonlight on The Medway at Chatham, 1920, mezzotint on wove paper, after J.M.W. Turner, signed in pencil, a rich clean impression, plate size 206 x 270mm (8.1 x 10.6ins), sheet size XX x 434mm (XX x 17ins), mounted, together with Sion House, Isleworth, circa 1937, mezzotint on late 18th or early 19th century thick wove paper, after J.M.W. Turner, a very good impression, with some very pale spotting, signed in pencil, plate size 220 x 275mm (8.6 x 10.8ins), sheet size 325 x 390mm (12.7 x 15.3ins), mounted, plus Watermill, 1885, mezzotint proof on chine appliqué, on thick wove paper, after J.M.W. Turner, published by Robert Dunthorne, 1st October 1885, signed in pencil, a strong dark impression, plate size 202 x 280mm (7.9 x 11ins), sheet size 310 x 442mm (12.2 x 17.4ins), mounted

79* Walcot (William, 1874-1943). The Thames from Waterloo Bridge, 1913, etching on cream wove paper, printed with plate tone, from the edition of 100, signed in pencil, plate size 95 x 180mm (3.75 x 7ins) First exhibited at the Fine Art Society, Etchings by William Walcot, 1914. (1) £100-150

Hardie, The Liber Studiorum Mezzontints of Sir Frank Short after J.M.W. Turner, 31, 40 & 3. (3) £200-300

29


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82* Schwabe (Randolph, 1885-1948). Greenwich, 1938, colour lithograph printed on wove paper, published by Contemporary Lithographs Ltd., London, 1938, signed in pencil lower right, sheet size 508 x 660mm (20 x 26ins) (1)

£150-200

84* Le Bas (Rachel Anne, 1923-). The OId Tobacco & Snuff Shop, Haymarket, etching with aquatint, signed, titled and numbered 35/75 in pencil to lower margin, 30.5 x 22cm (12 x 8.75ins), framed and glazed (1)

£100-150

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

85* Hallward (Patience Mary, 1800-1900). Englesham, 1922, lithograph on wove paper, signed, dated, and numbered 1/25 in pencil, image size 195 x 285mm (7.6 x 11.2ins), sheet size 287 x 375mm (11.2 x 14.7ins), together with a collection of 15 other lithographs by the same artist, circa 1920-35, many signed

(1)

(15)

£250-300

30

£200-300


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86* Farrell (Frederick Arthur, 1882-1935). Lords and Commons, etching on wove paper, showing the River Thames at Westminster Bridge with the Houses of Parliament and Big Ben, signed in pencil, Fine Art Trade Guild blindstamp lower left, some light spotting, plate size 225 x 360mm (8.9 x 14.15ins), framed and glazed, with old ownership inscription in pencil to verso J. Browne Sept 1926, together with The Glory of Westminster, etching with drypoint on wove paper, showing the front of Westminster Cathedral, from the edition of 150 impressions (plate destroyed), signed in pencil, with Fine Art Trade Guild blindstamp lower left, plate size 304 x 250mm (11.9 x 9.9ins), framed and glazed, with original printed title label to verso (2)

£100-150

87* Dawson (Nelson Ethelred, 1859-1941). A collection of 42 various etchings and aquatints, including Scarborough in Twilight, Basilica di San Marco, Venice, In a Gondola, & Crossing the Bar, Bideford, and others, including some duplicates and many trial or rejected proofs, many signed, various sizes (40)

Lot 88

£300-500

88* Brightwell (Leonard Robert, 1889-1983). The Bath Club, etching on wove paper, signed and titled in pencil, plate size 212cm x 378mm (8.3 x 14.9ins), sheet size 288 x 458mm (11.3 x 18ins), together with The Family Tree, etching on wove paper, signed and titled in pencil, plate size 257 x 252mm (10.1 x 10ins), sheet size 430 x 318mm (17 x 12.5ins), both mounted (2)

£150-200

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

£500-800

Lot 89

31


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Lot 91

Lot 90

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

£400-600

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

£250-300

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

£250-300

Lot 92

32


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93*AR Cameron (David Young, 1865-1945). Tantallon Castle, 1932, etching with drypoint on laid paper, with unicorn watermark, a strong, dark impression, signed in pencil, plate size 202 x 405mm (8 x 16ins), sheet size 302 x 438mm (12 x 17.25ins) Rinder 499. (1)

£200-300

Lot 95

94*AR Cameron (David Young, 1865-1945). The Baths of Caracalla, 1923, etching and drypoint on thin laid paper, signed in pencil, a strong, dark impression, one or two very light creases towards outer corners, plate size 276 x 428mm (10.9 x 16.8ins), sheet size 327 x 465mm (12.9 x 18.3ins), mounted Rinder 470. (1)

£150-200

95*AR Cameron (David Young, 1865-1945). Belfry of Bruges, 1907, etching with drypoint on laid paper, a strong dark impression, signed in pencil, plate size 381 x 135mm (15 x 5.3ins), sheet size 450 x 160mm (17.7 x 6.3ins) Rinder 392. (1)

£150-200

96*AR Cameron (David Young, 1865-1945). The Little Devil of Florence, 1907, etching with drypoint on thin laid paper, signed in pencil, some light toning to outer margins, plate size 377 x 221mm (14.8 x 8.7ins), sheet size 417 x 266mm (16.2 x 10.5ins) Rinder 401. (1)

£150-200

Lot 96

33


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97*AR Cameron (David Young, 1865-1945). The Broken Crucifix, 1932, etching with drypoint on laid paper, with unicorn watermark, a rich, dark impression, signed in pencil, plate size 305 x 201mm (12 x 7.9ins), sheet size 320 x 220mm (12.6 x 8.7ins) Rinder 500. The last print made by the artist. (1)

£80-120

98*AR Brockhurst (Gerald Leslie, 1890-1978). Ranunculus, 1921, etching on cream wove paper, from the edition of 76 proofs, published September 1921, signed in pencil, plate size 201 x 152mm (7.9 x 6ins), sheet size 318 x 250mm (12.5 x 9.8ins) Wright 25, iv/iv. (1)

£500-700

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

£500-700

Lot 97

Lot 98

Lot 99

34


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Lot 100

Lot 101

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

£400-600

101*AR Brockhurst (Gerald Leslie, 1890-1978). Melisande, 1920, etching on cream laid paper, from the edition of 55 proofs published July 1920, signed in pencil, plate size 139 x 113mm (5.5 x 4.5ins), sheet size 295 x 235mm (11.6 x 9.25ins) Wright 7 ii/ii. Fletcher 7. (1)

£200-300

Lot 102

102* Detmold (Edward Julius, 1883-1957). Deer and Fawn, 1925, etching on japan paper, signed in pencil lower right, with full margins, plate size 205 x 340mm (8.1 x 13.3ins), sheet size 325 x 492mm (12.75 x 19.4ins), framed and glazed (1)

£200-300

35


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Lot 103

Lot 104

103* Strang (William, 1859-1921). Sir Arthur William Steuart Cochrane, Rouge Croix Pursuivant of Arms in Ordinary, 1908, drypoint etching on pale cream wove paper, the second state, printed in an edition of 4 proofs only, signed and marked 2nd state 4 proofs in pencil, plate size 354 x 177mm (13.8 x 6.8ins), period frame, glazed, with original Medici Society label to verso (unexamined out of frame) David Strang (1962) 598. (1)

£100-150

104* Sullivan (Edmund J., 1869-1933). John Galsworthy O.M., 1930, etching on cream laid paper, signed, dated and numbered 37/60 in pencil, a rich, dark impression, plate size 263 x 200mm (10.4 x 7.8ins), with margins, framed and glazed (unexamined out of frame), together with Sauter (Rudolph Helmet, 1895-1977), John Galsworthy, OM, 1930, etching on laid paper, marked in pencil lower right 4th Trial, plate size 212 x 149mm (8.4 x 5.9ins), sheet size 286 x 228mm (11.25 x 9ins), framed and glazed (2)

£100-150

105* Lord (Elyse Ashe, 1900-1971). 5 Dinars!, colour etching on wove paper, signed and titled in pencil, plate size 215 x 195mm (8.4 x 7.6ins), framed and glazed (unexamined out of frame) (1)

£100-150

Lot 105

36


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106* Lord (Elyse Ashe, 1900-1971). Chinese, drypoint etching printed in colours, signed, titled and numbered 63/75, plate size 349 x 214mm (13.75 x 8.5ins), with margins, framed and glazed (unexamined out of frame) (1)

ÂŁ100-150

107* [Laura Knight, 1877-1970]. Printed presentation certificate awarded to Laura Knight at the Amsterdam Olympic Games, 1928, lithographic poster printed in black and gold, on heavy wove paper, designed by Christian van der Hoef, printed by Senefelder, Amsterdam, awarded to Laura Knight in the Fine Art competition, in which she received the silver medal, signed by the president of the Netherlands Olympic Committee and the president of the International Olympic Committee, some light toning and minor marks to margins, with a few light creases, sheet size 745 x 545mm (29.3 x 21.5ins) (1)

ÂŁ150-200

Lot 106

108* Anderson (Anne, 1874-1930). The Thatched Cottage, etching on thick wove paper, signed and titled in pencil, plate size 108 x 152mm (4.25 x 6ins), sheet size 160 x 235mm (6.25 x 9.25ins), together with another colour etching of a landscape with farmstead by the same artist, plate size 152 x 178mm (6 x 7ins), sheet size 210 x 262mm (8.25 x 10.3ins), plus Wright (Alan), The Eternal Salad, etching on thick wove paper, signed and titled in pencil, plate size 139 x 163mm (5.4 x 6.4ins), sheet size 201 x 256mm (7.9 x 10.07ins), and other trial etchings by Anne Anderson and Alan Wright, including 7 various watercolours by the same artists (27)

Lot 107

37

ÂŁ100-200


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109* Thorne (Diana, 1895-1963 ). Skiing, 1938, etching with drypoint on wove paper, from the edition of 250, published by Kennedy & Company, New York in 1938, signed in pencil, platemark to upper margin with some archival restoration, plate size 255 x 355mm (10 x 14ins), sheet size 279 x 375mm (11 x 14.75 ins (1)

£200-300

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

110*AR Brockhurst (Gerald Leslie, 1890-1978). Fabian, 1921, etching on cream laid paper, from the edition of 76 proofs published February 1921, signed in pencil, plate size 175 x 125mm (6.9 x 4.9ins), sheet size 295 x 235mm (11.6 x 9.25ins) Wright 23, iii/iii. Fletcher 23, iii/iii. (1)

£200-250

38

£500-800


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112*AR Brockhurst (Gerald Leslie, 1890-1978). In The Wood, 1920, etching on cream laid paper, one of 106 proofs of the fifth state published December 1925, signed in pencil, plate size 139 x 102mm (5.5 x 4ins), sheet size 286 x 211mm (11.25 x 8.3ins) Wright 14 & 50, v/v. Fletcher 14 & 50. (1)

£300-500

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

£400-600

Lot 112

114* Gill (Eric, 1882-1940). Resurrection, 1934, wood engraving on wove paper, from the edition of 20 published proofs, signed and numbered 10/20 in pencil, light spotting to top margins of sheet, image size 105 x 53mm (4.1 x 2.1ins), sheet size 229 x 164mm (9 x 6.5ins), tab mounted on to card mount, framed and glazed Physick 866. (1)

Lot 113

39

£200-300


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115*AR Copley (John, 1875-1950). Lacrosse Players, etching on laid paper, the fourth state, signed in pencil, some minor marks to margins, and light toning, plate size 348 x 252mm (13.7 x 9.9ins), sheet size 445 x 320mm (17.5 x 12.5ins), framed and glazed Cooke 68. (1)

117*AR Copley (John, 1875-1950). Lacrosse Players, etching on laid paper, a very good dark impression, signed in pencil, plate size 347 x 252mm (13.4 x 9.9ins), with margins, framed and glazed (unexamined out of frame) Cooke 68. (1)

£100-150

£200-300

116*AR Copley (John, 1875-1950). Carmencita, 1936, etching on laid paper, third state, signed and marked ‘3rd st’ in pencil, plate size 251 x 176mm (9.85 x 6.9ins), sheet size 390 x 291mm (15.3 x 11.5ins)

118*AR Copley (John, 1875-1950). Landscape with summer rain, watercolour and pencil on paper, heightened with white bodycolour, 350 x 250mm (13.75 x 9.75 ins, framed and glazed

Cooke 69. (1)

(1) £200-300

40

£200-300


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119* Drummond (Malcolm, 1880-1945). Courtroom scene, 1920, etching on wove paper laid down on card, unsigned, plate size 147 x 96mm (5.8 x 3.75ins), sheet size 185 x 153mm (7.25 x 6ins), framed and glazed

121* Banting (John, 1902-1972). The Spirit of Appeasement, 1942, etching on cream wove paper, published in the portfolio Salvo for Russia, edited by Nancy Cunard and John Banting, with margins, signed, dated, and numbered 70/100, in very good condition (unexamined out of frame), plate size 100 x 75mm (4 x 3ins)

Drummond painted another courtroom scene in 1920 now in the University of Hull Art Collection. (1) £100-150

(1)

122* Feibusch (Hans, 1898-1998). Mandrill and Mangabuis, 1947, colour lithograph on wove paper, printed at The Baynard Press for School Prints Ltd., London, sheet size 492 x 750mm (19.3 x 29.5ins), together with Lamb (Lynton, 1907-1977), The Country House, 1951, colour lithograph on wove paper, published by School Prints Ltd., and Artists’ International Association (for the Festival of Britain), sheet size 492 x 759mm (19.3 x 29.9ins)

120* Nash (Paul, 1889-1946). The Raider on the Moors, 1940, colour lithograph on wove paper, published by the National Gallery for the Ministry of Information, London, some light scattered spotting, image size 385 x 565mm (15.1 x 22.25ins), with margins, framed and glazed Postan L21. (1)

£300-400

£300-500

Numbers 16 and 34 from the first School Prints series. (2)

41

£150-200


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Lot 123

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

Lot 124

£150-200

124* Freedman (Barnett, 1901-1958). Six signed proof lithograph illustrations for Lavengro by George Borrow, 1936, a group of 6 colour lithographs from the illustrated edition of Lavengro by George Borrow, published by the Limited Editions Club, New York, 1936, all proofs before publication, signed in pencil to lower margin, and marked 1st Proof/R, each laid down to backing card painted in mauve, and with a pale wash added by hand to the outer border of the sheet (probably by the artist himself), image size 165 x 93mm (6.5 x 3.7ins), sheet size 190 x 117mm (7.5 x 4.6ins), matching painted green wood frames, glazed (6)

£500-700

125* Hankey (William Lee, 1869-1952). Breton Field Workers, etching with drypoint, signed and with blindstamp lower left, top margin trimmed to platemark, plate size 450 x 555mm (17.7 x 21.8ins), sheet size 465 x 568mm (18.25 x 22.3ins) One of Lee-Hankey’s unusually large scale etchings. (1)

£150-200

Lot 125

42


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127* Lloyd (Reginald J., 1926-). Teach Me to Heare Mermaides Singing, 1996, etching, signed, dated and marked Proof in pencil, together with five other similar etchings by the same artist, each signed and dated 1996, and marked proof, plate size 97 x 118mm (3.8 x 4.6ins), sheet size 343 x 258mm (13.5 x 10.2ins) (6)

£150-200

126* Hankey (William Lee, 1869-1952). Mother and Child seated by a tree, etching on laid paper, signed in pencil, plate size 205 x 168mm (8 x 6.6ins), with margins, framed and glazed (unexamined out of frame) (1)

£150-200

128* Roberts (John Vivian, 1923-2003). Seated Tumbler, 1956, etching on wove paper, signed, titled and dated 1956 in pencil, with margins, plate size 218 x 130mm (8.6 x 5.2ins), unexamined out of frame (1)

£100-150

129* Coker (Peter Godfrey, 1926-2004). East Anglian Shoreline, etching and aquatint, a printer’s proof, signed in pencil, and marked P/P, plate size 398 x 505mm (15.7 x 19.8ins), with margins, framed and glazed (unexamined out of frame) (1)

Lot 127

43

£80-120


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20TH CENTURY WOODCUTS & WOOD ENGRAVINGS AND RELATED DRAWINGS

130*AR Craig (Edward Gordon, 1872-1966). A Mask, 1910, woodcut on wove paper, signed with initials and dated 1924 in ink, image size 89 x 74mm (3.5 x 2.9ins) with margins, framed and glazed, with Leicester Galleries label to verso, and additional label for the exhibiton of works by Gordon Craig at the Leicester Galleries, JulyAugust 1964, where it was numbered 28, and noted it was sold to B.J. Davenport Reproduced as figure 51 in Woodcuts and Some Words by Edward Gordon Craig, 1924. (1) ÂŁ100-150

131* Frank (Hans, 1884-1948). Seagulls, 1923, colour woodcut on japan, signed and dated in pencil lower right, image size 250 x 340mm (9.8 x 13.4ins), sheet size 320 x 430mm (12.5 x 17ins), framed and glazed (1)

Lot 130

Lot 131

44

ÂŁ100-150


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Lot 133 Lot 132

132* Fraser (Claud Lovat, 1890-1921). ‘How strange it seems - & You ?’, 1922, coloured chalks on paper, laid down on a larger sheet of paper, and signed, dated and titled below in ink, sheet size 181 x 155mm (7.1 x 6.1ins), framed and glazed (1)

£200-300

133* Gill (Eric, 1882-1940). Woman climbing floriated phallus (from Chaucer’s Canterbury Tales), wood engraving on pale cream japan paper, signed in pencil, and numbered 9/10, 206 x 114mm (8.1 x 4.5ins) mount aperture, framed and glazed (unexamined out of frame) Physick 510. (1)

£200-300

134* Gill (Eric, 1882-1940). Jesus and the Doctors (from The English Bible - Selections), 1938, wood engraving on cream wove paper, signed in pencil and numbered 13/15, image size 93 x 90mm (3.7 x 3.5ins), with margins, framed and glazed Physick 984. (1)

£300-500

Lot 134

45


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46


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135*AR Raverat (Gwen, 1885-1957). An album of 340 artist’s proofs of woodcuts and wood engravings by Gwen Raverat, circa 1928-1939, compiled by the artist as a record of her output, with handwritten index in ink at the front of the volume, various woodcuts, mostly unsigned, but including 10 signed and one initialled, ranging from illustrations for Daphnis & Chloe to engravings for Sterne’s Sentimental Journey (published by Penguin in 1938), various sizes, all contained in original folio album bound in plain grey cloth, rebacked with original spine laid down, large 4to (335 x 265mm, 13.25 x 10.5ins) A highly important album of examples of Gwen Raverat’s output as a wood engraver between the years 1928 and 1939, compiled by the artist herself, which includes the illustrations for Daphnis & Chloe (Ashendene Press, 1934), the series of 6 prints of rivers commissioned by the General Omnibus Company in 1929, illustrations for Farmers Glory, published by Faber & Faber in 1934, Mountains and Molehills by Frances Cornford, published by the Cambridge University Press in 1934, Four Tales from Andersen, published by Cambridge University Press in 1935, The Runaway, by Elizabeth Anna Hart, published by Macmillan in 1936, various views of Cambridge, and the remarkable pastoral colour woodcut entitled The Golden Age (1937). With a typewritten letter to Gwen Raverat from Margaret Pilkington, Secretary of the Society of Wood Engravers, dated November 13th 1934, giving details of the agreed terms for the commission of prints and commission on orders, as well as a similar proposed price list (dated 1949), a typescript note regarding the production of stage designs for the ballet of Blake’s Book of Job, with music by Vaughan Williams, signed in ink by the artist, and a typewritten note to Gwen Raverat from Robert Gibbings, dated 12 December 1949, giving his opinion as to the price of her woodblock prints. £10000-15000 (1)

47


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136*AR Raverat (Gwen, 1885-1957). Swans, 1948, wood engraving printed in colours on thin wove paper, from the edition of 26 impressions, signed, titled and numbered 1 in pencil, image size 235 x 184mm (9.25 x 7.25ins) with margins, framed and glazed (unexamined out of frame), with printed certificate of authentication to verso Selborne & Newman (1996) 554. Rare. (1)

£500-700

137*AR Raverat (Gwen, 1885-1957). The Bird in the Tree, 1940, wood engraving printed in colours on wove paper, an artist’s proof, image size 101 x 114mm (4 x 4.5ins), with margins, framed and glazed (unexamined out of frame), with printed certificate of authentication to verso Selborne & Newman (1996), 547. (1)

£150-200

Lot 136

138* Ginner (Charles Isaac, 1878-1952). A Cornish Cottage, 1919, woodcut with hand-colouring by the artist on laid paper, signed below the image in black ink, image size 191 x 139mm (7.5 x 5.5ins), with margins, framed and glazed (unexamined out of frame) Carey & Griffiths, Avant-Garde British Printmaking (1990), 47. (1)

Lot 137

48

£400-600


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Lot 139

139* Hawkins (Harold Frederick Weaver, Australian, 1893-1977). “Maltese Market”, and “Maltese Cart”, two colour linocuts on japan tissue, each signed Raokin and titled in pencil, image size 14cm by 17.5cm (5.5 x 7ins), sheet size 230 x 307mm (9 x 12ins) Hawkins studied at Camberwell School of Art, but his studies were interrupted by the First World War, when he enlisted and was seriously wounded during the Battle of the Somme. Between 1927 and 1930 he lived in Malta. He emigrated to Australia in 1935, and settled in Sydney, where he lived for the rest of his life. The Malta National Museum of Fine Arts holds a collection of his works and his linocuts have been exhibited in the National Gallery of Australia. A retrospective of his work was held in 1976 at the Art Gallery of New South Wales. £400-600 (2)

140* Howey (Robert Leslie, 1900-1981). Carlton in Cleveland & A Country Lane, two colour woodcuts, each signed titled and numbered in pencil 2/100 and 46/100 respectively, image size 204 245 mm (8 x 9.7 ins) and 206 x 234 mm (8.1 x 9.2 ins) respectively, matching period black wood frames, glazed (2)

£150-200

Lot 140

49


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141* Jones (David, 1895-1974). Shepherds, 1925, [1995], engraving on wove paper, printed with plate tone, numbered in pencil 79/100, plate size 76 x 76mm (3 x 3ins), sheet size 353 x 252mm (13.9 x 9.9ins), tab-mounted, together with Nativity with shepherds, 1921, [but later], woodcut on pale cream japan paper, image size 75 x 96mm (3 x 3.75ins), sheet size 300 x 235mm (11.75 x 9.25ins), tab-mounted, plus six other woodcuts and wood engravings by David Jones, all posthumous printings by Wolseley Fine Arts, circa 1995, mounted The other subjects including Family Before Crucifix & Man in Pub, 1922, Pegasus, 1924, The Bride, 1930, Abraham Lincoln, 1924, etc. £150-200 (8)

142* Kauffer (Edward McKnight, 1890/91-1954). Black Mother and Infant, 1926, watercolour with pen & black ink on pale cream wove paper, laid down on card, signed and dated lower right, mount stain, 290 x 200mm (11.5 x 7.9ins) mount aperture, sheet size 342 x 225mm (13.5 x 8.75ins), framed and glazed (1)

£200-300

144* Leighton (Clare Veronica Hope, 1898-1989). Woodcuts, Examples of the Work of Clare Leighton, With an Introduction by Hilaire Belloc, 1st edition, 1930, 41 woodcuts, printed on india-proof paper, some light spotting to preliminary leaves, original brown cloth gilt, with mounted woodcut illustration to upper cover, a few marks, 4to (320 x 255mm, 12.5 x 10ins) Limited signed edition 309/450. (1)

145* Leighton (Clare, 1898-1989). ‘Cutting, Canadian Lumber Camp’, 1931, wood engraving on off-white Japan paper, signed, titled and numbered 16/30 (English Edition) to lower margin, image size 288 x 212mm (11.5 x 8.25ins), framed and glazed (58.5 x 43cm (23 x 17ins)

143* Leighton (Clare Veronica Hope, 1898-1989). The Farmer’s Year, A Calendar of English Husbandry, 3rd impression, Collins, February 1934, 12 full-page wood engravings, 7 wood engravings to text, wood engraved initials, patterned endpapers, original green cloth gilt, with slight discolouration to lower edge of upper cover, in frayed and slightly chipped dust jacket, oblong folio (1)

£300-500

This engraving is from the smaller English edition of 30. The American edition was 100 impressions. (1) £1000-1500

£200-300

50


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Lot 145

51


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Lot 147 Lot 146

146* Lloyd (Reginald J., 1926-). Earth Dances, 1994, a set of 6 linocuts on laid paper, artist’s proofs, aside from the edition published by the Old Stile Press in 1995, each signed, dated and marked Proof in pencil, image size 210 x 150mm (8.25 x 6 ins or similar), sheet size 316 x 215mm (12.5 x 8.5ins), loosely contained in a folded bifolium containing the printed contents from the published book to one side, signed by the artist at foot, and with a further linocut to the reverse, signed, dated and marked Proof (1)

£100-150

147* Maillol (Aristide, 1861-1944). Goat under an olive tree, 193443, woodcut printed in black, on heavy wove handmade paper, from the edition of 20 proofs published by Philippe Gonin, Paris, for Les Georgiques, by Virgil, with stamped monogram, and numbered 11/xx in pencil, image size 148 x 126mm (5.8 x 4.9ins), sheet size 315 x 243mm (12.5 x 9.5ins), tab mounted to backing board (with Folio Fine Art label to verso), framed and glazed (1)

£70-100

148* Nash (John, 1893-1977). Winter, woodcut on wove paper, signed in pencil, pale mount stain, laid down, image size 165 x 130mm (6.5 x 5ins), sheet size 267 x 210mm (10.5 x 8.25ins) (1)

£100-150

Lot 148

52


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Lot 150

Lot 149

149* Pellew (Claughton, 1890-1966). ‘The Return’, 1927, wood engraving on wove paper, the full sheet, not signed, but titled and dated 1925, a later issue, aside from the published edition of 25, image size 267 x 255mm (10.5 x 10ins), with margins, framed and glazed, with Michael Parkin Gallery label to verso (1)

£200-300

150* Piper (John, 1903-1992). Interior of Coventry Cathedral, November 1940, [1987], woven silk picture by J. & J. Cash Ltd., Coventry, after the painting by John Piper, produced in a limited edition of 500 copies, signed in pencil by the artist, and numbered 100/500 to mount, in mint condition, image size 112 x 142mm (4.4 x 5.6ins), framed and glazed, with original printed brochure, and contained in the original manufacturer’s card box, together with two other woven silk pictures by J. & J. Cash Ltd. (Daffern & Co. Chartered Accountants, 100 Years of Service, 1896-1996 & 2 Bank of England notes, each signed by L. McGibbon and 2 others in blue ball-point pen, mounted together), both framed and glazed in manufacturer’s boxes (3)

£400-600

151*AR Raverat (Gwen, 1885-1957). The Magic Ring, 1939, colourprinted wood engraving on wove paper, signed, titled, and numbered 2 in pencil, image size 190 x 110mm (7.5 x 4.3ins), sheet size 243 x 145mm (9.5 x 5.7ins) One of the illustrations to The Bird Talisman: An Eastern Tale, by Henry Allen Wedgwood, published by Faber and Faber in 1939. £300-400 (1)

Lot 151

53


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Lot 152

Lot 154

Lot 153

54


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152*AR Raverat (Gwen, 1885-1957). The Princess stolen by the gypsies, 1939, colour-printed wood engraving on wove paper, signed, titled The Gipsies, and numbered 2 in pencil, image size 178 x 112mm (7 x 4.4ins), sheet size 243 x 145mm (9.5 x 5.7ins) One of the illustrations to The Bird Talisman: An Eastern Tale, by Henry Allen Wedgwood, published by Faber and Faber in 1939. £300-400 (1)

153*AR Raverat (Gwen, 1885-1957). Boat Race, Cambridge, 1949, wood engraving printed in colours on thin wove paper, the rare first state (before the reduction in size of this image), aside from the edition of 21 impressions, signed, titled and numbered 3 in pencil (with the title crossed out), image size 183 x 236mm (7.25 x 9.25ins), some light creases, mainly to margins, framed and glazed (unexamined out of frame), with printed certificate of authentication to verso Selborne & Newman (1996) 558. The rare first state of this late colour wood engraving, with the heads and shoulders of spectators along the whole width of the lower margin, which was removed in the second published state of 21 impressions. £500-700 (1)

156* Webb (Clifford Cyril, 1895-1972). Ocelot, woodcut on wove paper, signed, titled and numbered 1/50, image size 103 x 138mm (4.1 x 5.45ins), sheet size 159 x 216mm (6.25 x 8.5ins)

154*AR Raverat (Gwen, 1885-1957). Clare Bridge, Cambridge, 1935, wood engraving on thin wove paper, an artist’s proof, a rich dark impression, image size 260 x 149mm (10.25 x 5.9ins), with margins, framed and glazed (unexamined out of frame), with printed certificate of authentication to verso Selborne & Newman (1996), 395. (1)

(1)

£500-700

157* White (Ethelbert, 1891-1972 ). Mediterranean Coastal Town, pencil and black chalk on japan paper, unsigned, 170 x 220mm (6.7 x 8.7ins) mount aperture, framed and glazed, with framer’s label of Laurence Oxley, Alresford to verso, (unexamined out of frame)

155* Tout (Ann, 20th/21st century). The Wenceslas Carol, wood engraving on wove paper, printed by The Letter Press, Cirencester, image size 75 x 100mm (3 x 4ins), with margins, framed and glazed (1)

£100-150

(1)

£50-80

55

£200-300


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FLEECE PRESS PUBLICATIONS & OTHER REFERENCE 159 Fleece Press. The Great Storm of October 1987 and its Aftermath, The Society of Wood Engravers, Fleece Press, 1989, five window-mounted wood-engravings by Claire Dalby, Monica Poole, Peter Reddick, Peter Smith and George Tute, each titled, numbered and signed in pencil by the artist, introductory text sheet, all loosely contained in original dropover box, paper label to upper cover, 4to

158 Chapman (Hilary). The Wood-Engravings of Ethelbert White, with an Introduction by Peyton Skipwith, Fleece Press, 1992, two mounted wood-engravings ‘A Corner of the Forest’ and ‘Forest Pool’, text in original printed wrappers, all loosely contained in original dropover box, paper label to upper cover, 4to Limited edition, one of 200 copies. (1)

£100-150

Limited edition, 194/250. (1)

£100-150

160 Flight (Claude, 1881-1955). Lino-Cuts, A hand-book of linoleum cut colour printing, revised edition, 1948, colour and monochrome illustrations, including an original colour lino-cut by Claude Flight, Crossing the Road, printed from the author’s original baska type blocks in red, cobalt blue and black, in excellent fresh condition, light spotting to endpapers and half-title, original light grey cloth, with design in red to upper cover, with matching dust jacket, a little frayed and rubbed to edges, large 8vo, together with The Art and Craft of Lino Cutting and Printing, 1st edition, Batsford, 1934, colour and monochrome plates and illustrations, original cloth-backed pictorial boards, very slightly rubbed, 8vo (2)

£150-200

Lot 159

161 Freedman (Barnett). Tone, Texture, Light and Shade. A Barnett Freedman Picture Album, Introduced by Ian Rogerson, Fleece Press, 2011, numerous colour illustrations, including an original lithographed illustration and an original lithographed Christmas card contained in rear pocket, original cloth-backed patterned boards, slipcase, folio, limited edition, one of 90 special copies of a total edition of 340, together with Barnett Freedman. The Graphic Art, by Ian Rogerson, Fleece Press, 2006, numerous illustrations, DVD contained in rear pocket, loose lithographic greetings card designed by Freedman for Jack Beddington and loose prospectus for the book (one of 99 copies), original red cloth, 4to, limited edition, one of 500 copies

Lot 160

(2)

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£150-200


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164 Pellew (Claughton, 1890-1966). Claughton Pellew. Five Wood Engravings printed from the original blocks with a biographical note by Anne Stevens, Fleece Press, Wakefield, 1987, five wood-engraved plates, each contained in printed wrappers, text in separate wrapper, all loosely contained in original cloth dropover box, paper label to upper cover, folio

162 Helleu (Paul Cesar, 1859-1927). A Gallery of Portraits, Edward Arnold, 1907, twenty-four colour plates, each with captioned tissue guard, gutta-percha perished, original publisher’s cloth-backed boards, gilt lettered title to upper board, a little rubbed at extremities, folio (1)

Limited edition, one of 150 copies. (1)

£150-200

165 Rogerson (Ian). Agnes Miller Parker, Wood-Engraver and Book Illustrator, 1895-1980, Fleece Press, Wakefield, 1990, numerous illustrations, original cloth-backed patterned boards, slipcase, oblong 4to

£70-100

Limited edition, one of 300 copies. (1)

£100-150

166 Salaman (Malcolm C., editor). Fine Prints of the Year, an Annual Review of Contemporary Etching and Engraving, 14 volumes, a run (1923-1936), volume 1-14, 1924-36, numerous monochrome plates and illustrations, bookplate of Newport Reference Library (discarded) to front pastedown of each volume, all original cloth, some minor marks and a few volumes very slightly frayed to extreme head of spine, most with library classification number to foot of spine, several volumes somewhat faded to spines, 4to, together with three other related volumes (Whitman and Salaman, Print Collector’s Handbook, 1918, Slater, Engravings and Their Value, 4th edition in 12 & Courtney Lewis, The Picture Printer Price List, 1924) (17)

167 Selborne (Joanna & Newman, Lindsay). Gwen Raverat wood engraver, Denby Dale, The Fleece Press, 1996, tipped-in plates, monochrome illustrations, original quarter cloth with marbled boards, paper label to spine, with matching slipcase, folio, limited edition of 300 copies, this being one of 260 copies bound in quarter cloth, together with Stone (Reynolds), The Wood Engravings of Gwen Raverat, 1st edition, Faber & Faber, 1959, numerous monochrome illustrations, some spotting to endpapers, original cloth in rubbed and frayed dust jacket, with several marginal tears, 4to, with a folded poster for the Gwen Raverat exhibition at the Manor Gallery, Royston, 1987, and a proof on tissue paper of the wood engraving by Gwen Raverat entitled Street by Moonlight, Vence (small version), loosely inserted

163 Nash (John). Twenty-One Wood Engravings, Introduced by Allen Freer, Fleece Press, 1993, wood-engraved illustrations, original vellumbacked boards designed by Jane Mansfield, original dropover box, 4to Limited edition, one of 100 copies. (1)

£100-150

£200-300

(2)

57

£150-200


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169 Wright (John Buckland). Baigneuses, Introduced by Christopher Buckland Wright, Fleece Press, Denby Dale, 1995, colour and black and white illustrations, original vellum-backed boards, original dropover box, folio Limited edition, one of 240 copies. (1)

£150-200

168 Ullmann (Anne, ed.). Ravilious at War. The Complete Work of Eric Ravilious, September 1939-September 1942, Fleece Press, Upper Denby, 2002, numerous colour and black and white illustrations, original cloth, paper label to upper cover, oblong folio Limited edition, one of 750 copies. (1)

£300-400

170 Wright (Christopher Buckland). Endeavours & Experiments. John Buckland Wright’s essays in woodcut and colour engraving, together with other blocks remaining in his studio, Fleece Press, Upper Denby, 2004, colour and black and white illustrations, a few tipped-in, original vellum-backed patterned boards, together with a wood-engraving, ‘Cafe Dansant No 2’, titled and dated in pencil, loose in original wrapper, all contained in original dropover box, 4to Limited edition, 60/90, numbered and signed in pencil by Christopher Buckland Wright. £150-200 (1)

171 Yorke (Malcolm). The Inward Laugh. Edward Bawden and his Circle, Fleece Press, Upper Denby, 2005, numerous colour illustrations, original cloth-backed decorative boards, together with an additional suite of four copper-engravings on two sheets, printed by Tony Dyson at the Black Star Press, in original wrappers, all contained in original dropover box, 4to Limited edition, one of 100 special copies. (1)

Lot 169

58

£150-200


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ISLAMIC, INDIAN & ORIENTAL ART


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TRADITIONAL AND MODERN JAPANESE PRINTS For Japanese Printed Books, see April 6 sale Printed Books, Maps & Documents

177* Gekko (Ogata, 1859-1920). Quails Amongst the Grasses, uchiwa nishiki-e, colour woodblock print, printed signature and seal, sheet size 24 x 25cm (9.5 x 10ins), together with two other nature prints by Gekko, plus six colour woodblock prints by various artists, all of natural history subjects, all uchiwa (9)

£150-200

178 No lot 175* Bijin-ga. Twelve portraits of bijin or beautiful women, various artists, early 20th century, chuban tate-e nishiki-e, colour woodblock print, each with printed artist’s signature and seal, contained within original printed wrapper (slightly worn at extremities), sheet size 27 x 20cm (10.5 x 8ins) (1)

179* Hamanishi (Katsunori, 1949-). Stage Contest, 2004, colour mezzotint heightened in gold leaf, numbered 2/70, signed, dated and titled in pencil to lower margin, plate size 29.5 x 18cm (11.75 x 7ins), sheet size 42.5 x 29.5cm (16.75 x 11.75ins) Born in Hokkaido, Katsunori Hamanishi studied painting and graduated from Tokai University with a degree in Art in 1973 and went on to study at the University of Pennsylvania. His work has won him many accolades and is held in the permanent collections of some of the world’s leading museums. (1) £70-100

£150-200

176* Calendars. Scenes of Japanese life, circa 1900, twelve colour woodblocks on crepe paper, each with monthly calendar, 19 x 28cm (7.5 x 11ins), together with two similar defective Japanese woodblock printed calendars (3)

£100-150

60


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180* Hiroshige (Ando, 1797-1858). Ryogoko no yoizuki [Twilight Moon at Ryogoku Bridge] from the series Toto meisho "Famous Views of the Eastern Capital", published by Kawaguchiya Shozo, oban yoko-e nishiki-e, colour woodblock print, printed signature and title, publisher's mark and censor's seal to right margin, slightly toned overall, 25 x 37cm (10 x 14.5ins), framed and glazed, together with four other Japanese woodblock prints, including a diptych depicting a harbour by Hiroshige, all framed and glazed

182* Kasamatsu (Shiro, 1898-1991). Hongo akamon no yuki [Red Gate at Hongo in Snow], published by Watanabe, 2nd edition, oban yoko-e nishiki-e, colour woodblock print on thick Japanese paper, printed signature, artist’s seal, publisher's mark, plate mark 24 x 36cm (9.5 x 14ins), sheet size 26 x 38cm (10 x 15ins), tipped onto card mount

(5)

183* Kawarazaki (Shodo, 1889-1973). Oriental Lily, 1954, oban tate-e nishiki-e, colour woodblock print, artist's seal to lower left, printed title and date to margin, edges partly untrimmed, sheet size 40 x 28cm (17.75 x 11ins)

(1)

£200-300

(1)

£50-80

184* Manner of Kobayashi Kiyochika (1847-1915). RussoJapanese War, triptych, colour woodblock print on three sheets, indistinct printed signature, overall size 38 x 72cm (15 x 28.5ins)

181* Hokusai (Katsushika, 1760-1849). Kanagawa-oki nami ura [In the well of the Great Wave off Kanagawa], oban yoke-e nishiki-e, colour woodblock print on laid paper, 20th century impression from recut blocks, signed “Hokusai aratame Iitsu hitsu” in the blocks, blue outline, paper slightly toned, plate size 247 x 361mm (9.75 x 14.25ins), sheet size 261 x 386mm (10.25 x 15.25ins), together with Shumboku (Ooka, 1680-1763), Sun over crashing waves, book illustration on two sheets, obon, outline printed in black ink, handcoloured, overall size 223 x 306mm (8.75 x 24ins), tipped onto recent mount (2)

£100-150

(1)

£80-120

61

£200-300


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Lot 185

Lot 187

Lot 186

185* Kunisada (Utagawa, known as Toyokuni III, 1786-1865). Hikawa Shrine at Akasaka, from the series Edo meisho hyakunin bijo [Famous Places of Edo compared with 100 Wonderful Women], published by Hikobei, 1857, oban tate-e nishiki-e, colour woodblock print, inset landscape signed Kunihisa, sheet size 362 x 254mm (14.25 x 10ins), tipped onto later paper, together with seven other colour woodblock prints (8)

£150-200

186* Kunisada (Utagawa, known as Toyokuni III, 1786-1865). Ichikawa Hakuen at the Suzaki Benzaiten, from the series Senja Mode [1000 Shrines Visited], published by Takenouchi Magohachi, circa 1832, oban tate-e nishiki-e, colour woodblock print, depicting a half-length portrait of the Kabuki actor Ichikawa Hakuen out of role, signed Kochoro Kunisada-ga, kiwame seal and publisher's mark, 37.5 x 25.5cm (14.75 x 10ins) (1)

£80-120

187* Kunisada (Utagawa, known as Toyokuni III, 1786-1865). Kabuki actor, circa 1850, oban tate-e nishiki-e, colour woodblock print on paper, depicting a full length portrait of a kabuki actor, printed signature, overall a little rubbed and creased at extremities, 38 x 26cm (15 x 10ins), together with five similar Japanese woodblock prints by various artists (6)

£150-200

188* Kunisada (Utagawa, known as Toyokuni III, 1786-1865). Kabuki actress in dragonfly kimono, circa 1863, oban tate-e nishikie, colour woodblock print depicting a kabuki actress reading, printed signature "oju ki-o Toyokuni ga", background design of breaking waves in another hand with separate printed signature, a little spotting upper left, 38 x 25.5cm (15 x 10ins), together with another colour woodblock print by Kunisda of a kabuki portrait in a fan design, plus fourteen other Japanese woodblock prints (including some duplicates) (16)

£200-300

Lot 188

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191* Kuniyoshi (Utagawa, 1797-1861). Sashû Tsukahara setchû [Monk Nichiren in the Snow at Tsukahara], from the series Kôsô goichidai ryakuzu [Sketches of the Life of the Great Priest], later edition published by Watanabe, oban yoko-e nishiki-e, colour woodblock print on thick Japanese paper, printed signature "Ichiyûsai Kuniyoshi hitsu" and seal, publisher's mark, sheet size 25 x 37cm (10 x 14.5ins), tipped onto later card mount

189* Kunisada II (Utagawa, later called Toyokuni IV, 1823-1880). Three bijin portraits from the series Imayo sanjuno so [The Modern Thirty-two Types], published by Fujiokaya Keijiro, 1859, together three prints, oban tate-e nishiki-e, colour woodblock prints, each with insets designed by Gengyo, each signed 'Toyokuni-ga', date seals and publisher's marks, some overall toning, 36 x 25.5cm (14 x 10ins), together with Utamaro School, a group of 8 shunga prints, early 19th century, oban yoko-e nishiki-e, colour woodblock prints, slightly creased to edges, 25 x 34cm (10 x 13.5ins) (11)

(1)

£100-150

£100-150

192* Omocha-e. Lantern Shop, mid 19th century, omocha-e nishikie, colour woodblock toy-print, depicting a lantern vendor in his stall, mounted onto card, 9 x 14.5cm (3.5 x 5.75ins) (1)

£70-100

190* Kuniyoshi (Utagawa, 1797-1861). Osome hisamatsu from the series Tosei gonin musume [Five Modern Women], published by Echizen-ya Heisaburo, circa 1836, oban tate-e nishiki-e, colour woodblock print on laid paper, signed Ichiyusai Kuniyoshi-ga, censor’s kiwame seal, publsiher’s mark, a little worn to extreme edges, sheet size 377 x 264mm (14.5 x 10.5ins), tipped onto later paper, together with Sawarabi [Early Ferns] from Genji kumo ukiyoe awase [Ukiyo-e Comparisons of the Cloudy Chapters of Genji], published by Ichibei, 1845/6, oban tate-e nishiki-e, colour woodblock print, slight wear, two small holes to lower left, sheet size 363 x 251mm (14.25 x 10.75ins), tipped onto later paper (2)

£100-150

193* Sadahide (Utagawa, 1807-1873). Life in America from Meriken Shinshi [News from America], 1855, book illustration on two sheets, obon sumizuri-e, tipped onto later mount, size overall 21 x 26cm (8.25 x 10ins), together with Minwa (Gosentei, active circa 1810-1825), Soukeu gives a horse to Shokaatsukin who must write his name on the horses face because his own face is as long as that of the horse, 1819, book illustration on two sheets, obon sumizuri-e, tipped onto later mount, a little rubbed, size overall 22.5 x 32.5cm (9 x 12.5ins), plus Attributed to Okumura Masanobu (1686-1764), Three men with pickaxes, from Shinsen o Uchiwa 'Old and New Ghost Stories', circa 1705, book illustration on two sheets, obon sumizuri-e, tipped onto later mount, some dust-soiling, overall size 21 x 28cm (8.25 x 11ins), plus 11 other colour book illustrations by various artists including Yanagawa Shizenobu, Yashima Gakutei and Hokusai

Lot 191

(14)

63

£200-300


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Lot 194

64


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194* Saito (Kiyoshi, 1907-1997). Nude (G), 1966, woodcut in colours, signed in white to print, titled, dated and numbered 17/50 in pencil to lower margin, paper slightly toned, 62.5 x 44cm (24.5 x 17.25ins) mount aperture, framed and glazed Born in Fukushima province, Saito issued his first print series in 1938 “Winter in Aizu”. His later works reflect the time he spent in Paris and merge Japanese tradition with European modernity. See Harada, Minoru. The Life and Works of Kiyoshi Saito. Tokyo: Abe Shuppan, 1990. £700-1000 (1)

195* Settei (Tsukioka, 1710-1771). Watanabe no suna and a daemon, from Ehon yumo sanryushu no mahi, book illustration on two sheets, obon sumizuri-e, tipped onto later mount, size overall, 22 x 28.5cm (9 x 11ins), together with Yoshitsune at sword practice, from Yehon musha tazuna [The Brides of Young Warriors], Osaka, 1759, book illustration on two sheets, sumizuri-e, tipped onto later mount, size overall 25 x 31.5cm (10 x 12.5ins), plus Itcho (Hanabusa, 1652-1724), The quick wittedness of Shiba Onko breaking a jar of water to release a drowning companion, from Yehon zu heu [Picture Book of Studies], 1751, book illustration on two sheets, obon sumizuri-e, tipped onto later mount, size overall, 22.5 x 32cm (9 x 13ins), and Minko (Tachibana), Suzuri-hori [Ink-slab Maker], from Toda saigwa shokunin Burin [Polychrome Pictures of Craftsmen], 1st edition, 1770, book illustration on two sheets, oobon kappazuri-e, woodblock printed and stencil coloured, tipped onto later mount, overall size 23 x 33 cm (9.5 x 13 ins), plus other Japanese black and white book illustrations by various artists including Iskikawa Toyonobu, Utagawa Toyohiro and others (45)

Lot 195

£150-200

196* Manner of Takahashi Shotei (1871-1945). Woman arriving at snowy village, early 20th century, o-hosoban o-hosoban tate-e nishiki-e, colour woodblock pillar print, printed signature and seal to centre left, sheet size 38 x 17cm (15 x 6.75ins), tipped onto contemporary card mount, together with two similar early 20th century pillar prints in the manner of Shotei (3)

£150-200

197* Toyokuni (Utagawa, 1769-1825). Teahouse, ttriptych, oban tate-e nishiki-e, colour woodblock print, three sheets joined together, some dust-soiling and marginal tears, overall size 32 x 70cm (12.5 x 27.5ins) together with Kuniyoshi ((Utagawa, 1797-1861), Memorial Portrait of Actor Ichikawa Danjûrô VIII, published by Ebiya Rinnosuke, circa 1854, oban tate-e nishiki-e, colour woodblock print, signed “Ichiyûsai Kuniyoshi ga”, some creashing and a little creasing, 36 x 24cm (14 x 9.5ins) (2)

£100-150

198* Japanese Prints. A collection of approximately twenty Japanese colour woodblock prints, various dates, including crepepaper prints, prints on silk, diptychs and others, some worn or incomplete, various artists, 32 x 20cm (12.5 x 8ins) and similar (20)

£100-150

Lot 196

65


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ORIENTAL PAINTINGS Chinese Paintings & Himalayan Art Contemporary & including Classical 202* Anglo-Chinese School. Children’s Pastimes, 19th century, gouache on pith-paper, one or two small creases, each lightly tipped onto card mount, 75 x 52mm (3 x 2ins) and similar (5)

£50-80

199* Anglo-Chinese School. A pair of studies of fish, 19th century, a pair of gouaches on pith paper, one heightened with silver, 16.5 x 23cm (6.5 x 9ins) and slightly smaller, both framed and glazed (2)

£300-400

200* Anglo-Chinese School. Flower studies, 19th century, together four gouaches on pith paper, each depicting still lifes of flowers, plants and grasses, some splits and occasional professional restoration, 16 x 22cm (6.25 x 8.75ins) mount aperture, uniformly framed and glazed (4)

203* Chinese Export. Punishments of criminals, late 19th century, eleven watercolours on pith paper, few closed tears, small holes or minor loss (rarely affecting image), 13 x 16cm (5 x 6.25ins), all mounted, plus three similar watercolours on pith paper depicting butterflies and birds

£300-500

(14)

£200-300

204* Chinese Export. Studies of flowers, butterflies and insects, 19th century, together three gouaches on pith paper, one slightly creased, 16 x 25cm (6.25 x 10ins) and similar, each framed and glazed (3)

£200-300

201* Anglo-Chinese School. Mandarin official and his wife, late Qing dynasty, 19th century, a pair of gouaches on paper, showing a Mandarin official of the first order in blue robes of court and his wife in matching robes, 27 x 18cm (10.5 x 7ins), framed and glazed (2)

Lot 205

£200-300

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207* Japanese School. Junks at Sunset, 20th century, watercolour on paper, signed Koho lower left, 24 x 61cm (9.5 x 24ins), framed and glazed

205* Chinese Export. Chinese Noble and his wife, circa 1830’s, reverse painting on glass depicting a Chinese noble seated in a garden with his wife seated next him reading, 40 x 35cm (15.75 x 13.75ins), contemporary gilt-painted ebonised frame (1)

(1)

£100-150

£400-600

206* Chinese School. Three ladies under a blossom tree, late 19th century, gouache on board, mounted as a rank-badge or Mandarin square, 47 x 47cm (18.5 x 18.5ins), framed and glazed (1)

£150-200

208* Kato (Eiso, 1906-1972). Riverside town in the rain, watercolour on paper, showing a busy riverside town during the evening rain, signed lower right, 41 x 31.5cm (16 x 12.5ins) mount aperture, framed and glazed A leading figure in the nihonga style, Eizo Kato’s father was a lacquerware merchant. He studied at Tokyo Fine Arts School where he began entering competitions and winning awards. Though many of his works were lost during air raids on Gifu, a museum has opened in his home town dedicated to his work and that of his brother, Toichi Kato. £300-500 (1)

Lot 207

209* Kato (Eiso, 1906-1972). Hong Kong Harbour by Night, watercolour on paper, heightened with gouache, signed lower right, 23 x 65cm (9 x 25.5ins) mount aperture, framed and glazed (1)

£2000-3000

67


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Lot 212 210* Sunqua (active 1830-1870). Flowers and butterflies, ten gouaches on pith-paper, one or two worn to edges with occasional marginal loss, bound in contemporary album, printed Sunqua label to front pastedown, original brocade silk-covered boards, original ties, worn and rubbed, oblong folio, 22 x 32cm (8.75 x 12.5ins) Little biographical detail is available for Sunqua, despite him being one of the best known Chinese artists of the 19th century. He established studios in Canton and Macao, producing pictures and drawings for the export market. He is perhaps best known for large scale works in oil depicting shipping and trade in the great ports of China. £700-1000 (1)

211* Sunqua (active 1830-1870). Still lifes of flowers, twelve gouaches on pith-paper, one or two worn at edges with loss, one damaged with substantial loss, mounted into original album, Sunqua printed label to front pastedown, original brocade silk-covered boards, rubbed and worn, oblong folio, 25 x 36cm (10 x 14ins) (1)

213* Tibetan School. Scenes from the Life of Buddha, late 19th or early 20th century, thangka, colour pigment on cotton, depicting Sakyamuni Buddha on a lotus throne with scenes from his life below and a number of teachers and other deities surrounding, 77 x 56cm (30 x 22ins), framed and glazed, together with another similar mandala thangka showing scenes from the lift of Buddha

£1000-1500

212* Thai School. Bangkok, 1964, oil on canvas, signed “Dang” lower right, 60 x 45cm (23.5 x 17.75ins), framed (1)

(2)

£200-300

68

£200-300


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ORIENTAL ANTIQUES

Lot 214 214* Divination Bowl. Islamic brass divination bowl, probably Iran, 18th century or slightly earlier, copper alloy, engraved with repousse centre, maker's mark engraved to base, original brass tags, 13cm (5ins) diameter, plus a similar, slightly later Islamic brass bowl Provenance: from a private collection, London (2)

£300-500

216* Turkish Embroidery. An embroidered caligraphic silk panel, 19th century, purple and pale blue silk with silver and silver gilt embroidered wire and fringe, central red silk medalion embroidered with the tugra, 46 x 45cm (18 x 17.5ins), framed and glazed (1)

215 Architectural Plaque. Enrique Linares, Grenada, painted and gilt plaster, captioned to lower edge "No.11, Enrique Linares, Grenada", 33 x 22cm (13 x 8.75ins), framed and glazed (1)

£200-300

69

£500-800


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ISLAMIC & INDIAN PAINTINGS INCLUDING MINIATURES

Lot 217

Lot 218

Lot 219

217* Anglo-Indian School. Portraits of Professions, 19th century, ten gouaches on mica, all slightly darkened to edges, few with slight flaking to paint surface, one or two with a little edge wear to mica, loosely interleaved in later paper sketchbook, 14 x 10cm (5.5 x 4ins) and similar

222* Anglo-Indian School. River boats, mid 19th century, a pair of fine gouaches on mica, depicting boats on the river, 12 x 15.5cm (4.75 x 6ins) and similar

(10)

223* Anglo-Indian School. Modes of Transport, mid 19th century, eight fine gouaches on mica, depicting various modes of transport, including camel, oxcart, pony and trap, and others, 11 x 15cm (4.5 x 6ins) and similar

(2)

£150-200

218* Anglo-Indian School. Portraits of Professions, mid 19th century, ten gouaches on mica, depicting court figures including hookah burdar, chuprassic, waiter, chobdar, performer, gardener, Rajah and others similar, most captioned in English, occasional slight flaking to paint surface, one damaged with loss, 14.5 x 10.5cm (5.75 x 4ins) and similar (10)

£100-150

Provenance: collected by Alexander Duncan (1780-1859); thence by family descent. An exceptional set of Indian mica paintings, unusual both in regards to their quality and subject matter. £300-500 (8)

£150-200

219* Anglo-Indian School. Trades and Professions, 19th century, seven gouaches on mica, depicting tradesmen including an artificial flower maker, turner, painter, pawn seller, lohar or smith, cotton carder and others, each captioned in English in a contemporary hand, occasional slight flaking to paint surface, one or two slightly worn at edges with loss, 16 x 12.5cm (6.25 x 5ins) and similar (7)

£70-100

220* Anglo-Indian School. Trades and Professions, mid 19th century, fifteen fine gouaches on mica, depicting tradesmen and women, one or two with very slight wear to edges, 13 x 10cm (5 x 4ins) and similar Provenance: collected by Alexander Duncan (1780-1859); thence by family descent. (15) £200-300

221* Anglo-Indian School. Court scenes, mid 19th century, a pair of fine gouaches on mica, depicting a courtly procession and an interior scene with a prince and officials watching dancers under a canopy, slight wear to edges with minor loss to paint surface, 15 x 20cm (6 x 8ins) and similar

224* Anglo-Indian School. Trades and Professions, late 19th century, together nine gouaches on mica, depicting various tradespeople at work including the camel driver, two women grinding wheat, musicians and dancers, various sizes 14 x 10cm (5.5 x 4ins) and similar, three individually framed, the remainder framed together in two matching frames

Provenance: collected by Alexander Duncan (1780-1859); thence by family descent. £100-150 (2)

(9)

70

£100-150


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Lot 220

Lot 222

Lot 223

225* Basu Roy Chowudhury (S., 20th century). Indian bird, 1961, watercolour on paper depicting a green bird seated on a branch, signed and dated lower right, 25 x 35cm (9.75 x 13.75ins) mount aperture, framed and glazed (1)

£70-100

226* Chandra (Avinash, 1931-1991). Joy, 1969, monochrome printed note card, signed, dated and limited 16/300 in pencil, additionally signed and dated inside in red ink, 10.5 x 13cm (4 x 4.75ins), together with an exhibition poster for the Lo Giudice Gallery, Chicago, 1969, and an exhibition guide for the October Gallery Chandra exhibition, 1981, together with eight linocut prints by various Indian artists (11)

227* Company School. Indian Birds, circa 1822, together three watercolours on Whatman watermarked paper, depicting studies of Indian birds, each captioned in ink to lower edge, Abbott & Holder label to the verso of each, 23 x 17cm (9 x 6.75ins) mount aperture, matching framed and glazed (3)

£80-120

71

£300-500


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Lot 228

Lot 229

Lot 230

72

Lot 231


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228* Company School. A collection of twenty studies of architectural subjects, mid 19th century, blindstamp, one torn with loss,12 x 14cm (4.75 x 6ins) and similar together with two Anglo-Chinese watercolours on card, and three sketches of European costumes Provenance: collected by Alexander Duncan (1780-1859); thence by family descent. (25) £500-800

229* Deccan School. Muslim Saint, 19th century, gouache on paper, multipleruled border in four colours, a little surface damage and small hole to lower right corner, 20 x 12cm (8 x 4.75ins) mount aperture, framed and glazed (1)

£200-300

230* Deccan School. Royal Progress, possibly Jaipur, 19th century, watercolour and gouache on silk, heightened with gilt, showing a prince returning to his palace, floral border, 88 x 56cm (34.5 x 22ins), framed and glazed (1)

£200-300

231* Hutchinson (A. C.). An album of watercolour sketches including vignettes of India, Mysore, 1837, approximately thirty leaves, numerous vignettes and sketches to both sides, including approximately thirty-eight vignettes of Indian subjects, some captioned in English, Arabic or Urdu, ownership inscription and armorial bearing to first leaf, some insect damage, contents loose, some short closed tears, original paper-covered boards, heavily rubbed and fraying, 30 x 22cm (12 x 8.75ins), contained within modern archive box Subjects include a cobra, a teathered elephant, goats, cows, women collecting water, street vendors, boats, a sedan, an English man with his attendant smoking a pipe (possibly a self-portrait?), and others similar. The front endpaper has an inscription in Hutchinson's hand "Steal not this book for fear of shame, For in't you'll find the owner's name, And when you die the Lord will say, Where is that book you stole away?". The few mentions of Hutchinson in the Asiatic Journal and Monthly Register tell us he arrived in India as a cadet with the Bengal Artillery in 1830, rising through the ranks, being promoted to Major in 1856. £200-400 (1)

232* Indian School. Maharaja (of Jodphur?), possibly Hanwant Singh, early 20th century, oil on canvas, depicting a full length portrait of an Indian prince in a courtyard, holding a tulwar, with a fountain beyond, inscribed lower right, 122 x 76cm (48 x 30ins), framed (1)

£500-800

73


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Lot 233

Lot 234

Lot 237

233* Indian School. Court scene after Moghul School, late 19th or early 20th century, gouache on paper, heightened with gilt, wide decorative border, 34 x 25cm (13.5 x 10ins), framed and glazed

236* Mughal School. Princess reclining on a divan, Delhi, circa 1815, watercolour and gouache on brown paper, heightened with gilt, sheet size 24 x 18cm (9.5 x 7ins)

(1)

(1)

£150-200

234* Jaipur School. Rama, Lakshmana and Hanuman riding on Airavata, 19th century, gouache on paper, heightened with gilt, doubled ruled border in yellow and grey, 24 x 17cm (9.5 x 6.75ins), framed and glazed (1)

237* Mughal School. Young prince with his princess, early 19th century, gouache and opaque watercolour on paper, extensive gilt highlighting, ruled border, some surface wear with a little loss, image size 12 x 7.5cm (4.75 x 3ins), sheet size 23 x 15cm (9 x 6ins), together with a pair of similar miniature paintings on reused manuscript leaves

£200-300

235* Mughal School. Manuchehr slaying Salm, 20th century, gouache on re-used 19th century manuscript leaf, image size 11.5 x 16cm (4.5 x 6ins), sheet size 31 x 17cm (12 x 6.5ins), framed and glazed (1)

£150-200

(3)

£80-120

£50-80

238* Rajasthan School. Prince playing chess, 19th century, oval gouache on green goatskin, depicting a prince seated on a carpet playing chess with female attendants, indistinctly captioned beneath, 24 x 34.5cm (9.5 x 13.5ins), together with three similar oval panels (one worn with slight loss), plus four similar panels on circular panels of black goatskin (8)

Lot 236 74

£200-300


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PHOTOGRAPHY


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PHOTOGRAPHY 240 Algeria. An album containing 96 window-mounted platinum prints, 1910, scenes and views in and around Bou Saada, all photos 8 x 10cm, contemporary cloth, a little rubbed, small folio (1)

£200-300

241 Algeria. An album containing approximately 80 photographs, circa 1890s, including 16 mounted albumen prints of Algeria including street scenes, local types and views, each approximately 21 x 27cm, mounted back to back on stiff card leaves, the remainder albumen prints, gelatin silver prints and some collotypes, mostly British and European views, various sizes, mounted singly and as multiples, a total of 36 leaves, contemporary half morocco gilt, rubbed, 4to (1)

£80-120

Lot 240

242* Anderson (James, 1813-1877). A group of 6 mounted albumen prints, circa 1870, all architectural views in Rome, 2 titled in the lower margin, 'Fontana dei quattro fumi' and 'Arco di Tito', all 38 x 27cm (6)

Lot 241

76

£800-1200


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243* Australia & New Zealand. A group of 32 mostly large-format albumen prints, circa 1880, many by George Valentine, all topographical views in Australia and New Zealand, 18 x 29cm and similar sizes, mostly on old album mounts including some back to back (32)

£150-200

246* Beato (Felice, c. 1825-c. 1907). Two studio portraits of a young Burmese lady, circa 1890, albumen silver prints, full length, one holding a fan and one holding a long cheroot, numbered in white 203 and 207 to lower margins, both 26 x 18.5cm, modern window mats (2)

£200-300

244* Autochromes. A group of 48 autochromes, 1920s, mostly topographical and architectural views in Britain, Europe and one or two in the Middle East, a few studies of wild flowers, etc., 35 3.25 x 4.25 ins and 13 4 x 5 ins, varied condition, some seals broken, contained in 16 original card boxes with Lumiere printed paper labels to upper covers, plus 5 similar format black and white glass plate negatives (53)

£300-500

245* Autochromes, A group of seven autochromes by A. Lumiere & ses fils, Lyons, early 20th c., one of a country house (St Sulpice le Verdon), one of a small rural cottage (sl. damaged), the others of flowers and wooded landscapes, each 9 x 12cm (3.5 x 4.75ins), contained in two worn original printed card boxes, together with a group of twenty larger French glass plate negatives, mostly subjects not from life, some damage (27)

247* Bisson Freres. Two mammoth plate albumen prints of Bourges and Chartres Cathedrals, 1860s, Bisson Freres stamps to lower right corners, contemporary mounts, 44.5 x 37cm and slightly smaller, together with a mammoth plate albumen print of Niagara Falls, circa 1875, probably by George Barker, contemporary mount, mat chipped with loss

£70-100

(3)

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£100-150


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248* Cabinet Cards. A group of approximately 200 assorted cabinet cards, late 19th and early 20th century, mostly studio portraits but including groups and topographical views, mostly with photographer’s credits to mounts (approx. 200)

£100-150

250* Canada. A group of 5 vintage gelatin silver prints by S.N. Parsons, St. John’s, Newfoundland, circa 1926, all relating to the construction of the dock, each 16 x 21cm, contemporary card mounts with adhesion residue to mount margins, pencil credits to versos acknowledging the engineer A.D. Swan, together with 4 others similar, 2 in window mounts and captioned ‘New Dock Works, Esquimalt, B.C., first section of Cofferdam’, and ‘Burntisland Harbour. Cofferdam for New Dock Works 1899’, various sizes but all large format, plus a related Canadian Society of Civil Engineers certificate for Andrew Don Swan and 4 small-format photographs (15)

£100-150

249* Cameron (Julia Margaret, 1815-1879). Queen Esther fainting before King Ahasuerus. See apocryphal Bible, [copyright 11 November 1865], albumen print, minor surface scratches and marks, ‘From Life Julia Margaret Cameron’ inscribed in ink in a usual unidentified hand on original mount beneath image, titled by Cameron in ink in her own larger hand beneath and within gilt rule border, mount soiled and partly damp-stained with evidence of biopredation, image: 331 x 280mm (13 x 11ins), mount: 472 x 399mm (18.5 x 15.75ins) ‘In late 1865, Julia Margaret Cameron began using a larger camera which held a 15 x 12 inch glass negative, rather than the 12 x 10 inch negative of her first camera... This is one of Cameron’s more theatrical depictions of a biblical subject. It shows the moment when Queen Esther faints after begging King Ahasuerus to spare the Jews he has sentenced to death. The makeshift costumes, backdrop and props - including the fireplace poker that serves as a sceptre - evoke the amateur theatricals and tableaux vivants that were popular in Victorian Britain’ (V&A online). The sitters for this photograph were Henry Taylor, Mary Ryan and Mary Kellaway. The striations visible at the top of the image are the result of printing from a damaged negative, an aspect of her working method that is well documented with this photograph cited as one such example in Cox and Ford. However, there are prints made from this negative, including miniature ones, where the striations have been touched up to disappear. Cox and Ford, Julia Margaret Cameron: The Complete Photographs (2003), 167. See back cover illustration. £3000-5000 (1)

251* Canada. A group of 20 photographs of Canada, circa 18801920, a mixture of albumen print and gelatin silver print views including views by Notman of Halifax, Montreal, Quebec, and of logging operations in British Columbia, mostly approximately 20 x 27cm and smaller, some mounted (20)

£100-150

252* Cartes de visite. A group of 100 albumen print cartes de visite, circa 1860s, all portraits of mostly unidentified men and women with photographer credits to versos, including one portrait of Queen Victoria and Prince Albert by Mayall and one of the Prince and Princess of Wales by Ghemar Freres (100)

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£100-150


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253 Cartes de visite. An album containing approximately 100 window-mounted cartes de visite, circa 1860s and slightly later, including over 70 portraits from life, subjects including Queen Victoria, Prince Albert, Queen Victoria and Princess Beatrice, Princess Alice, Prince and Princess of Wales, Princess Victoria, Alfred Lord Tennyson, Robert Browning, John Everett Millais, Holman Hunt, Matthew Arnold, Florence Nightingale, Rosa Bonheur, European royalty, bishops and clerics, etc., 23 mostly Alpine and other topographical views window-mounted at rear, contemporary morocco gilt with brass clasp and decorated upper cover, rubbed, 4to, together with another album containing 52 cartes-de-visite portraits, 1870s, mostly British and European royalty, including multiple portraits of the Prince and Princess of Wales, plus royal children, etc., photographers include Hills and Saunders, United Association of Photography, Mondel & Jacob, Mayall, etc., oval mats, some spotting throughout, contemporary morocco with gilt clasp, some rubbing and wear, spine faded, oblong 8vo (2)

255 Cartes de visite. An album of 110 albumen print cartes de visite, all unidentified portraits including 30 with children, of these 3 by O.G. Rejlander including one of a naked toddler seen from behind on his mother’s lap, other studios include Maull & Polyblank, C. Ferranti, Vandyke & Brown, Robinson & Thompson, G. Watmough Webster, Serroni of Scarborough, etc., plus 12 related cabinet cards, contemporary morocco with gilt clasps, rubbed, 4to, together with a late 19th-century photograph album containing mounted albumen prints, mostly artworks, but including some Italian views and scenes, etc., various sizes, contemporary half morocco, worn, folio, plus 6 hand-tinted Japanese albumen print views mounted on card, each 20 x 25cm (8)

256* Cartes de visite. A group of 10 cartes-de-visite albums, circa 1860s and slightly later, containing several hundred windowmounted cartes-de-visite portraits, topographical views, plus some mounted albumen prints, some albums blank, contemporary bindings, various sizes

£250-350

254* Cartes de visite. A group of approximately 230 cartes de visite, circa 1860s and later, mostly portraits of unidentified sitters, various photographers, together with a group of approximately 40 cabinet cards and 30 stereocards (approx. 300)

£100-150

(a carton)

£150-200

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£150-200


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258* Colour Slides. A large group of over 1,000 35mm colour slides, 1960s/1970s, formerly the property of Neil Hornick and including London theatre performances and related, plus miscellaneous subjects including fashion, natural history, sports, travel, etc. (3 cartons)

£200-300

259* Colour Transparencies. A large collection of approximately 700 colour transparencies by E.F. Denny, circa 1958-65, mostly landscapes and people studies, countries include Italy, Greece, France, the Alps, England, Shetland Isles, etc., all 6 x 6cm, contained in 3 transparency tins, a folder and numerous small transparency boxes, plus a slightly corroded Paterson viewer in original box plus a Boots previewer for 35mm colour slides (a carton)

£150-200

257* Clifford (Charles, 1819-1863). View from the bottom of the Cuesta del Chapiz of Arab mills and the Alhambra, 1862, albumen print, 414 x 306mm (16.25 x 12ins), original mount (a little spotted to extremities including upper blank area of image) with photographer’s blindstamp at foot, ‘C. Clifford / Photo of H.M.’ (1)

£300-500

260* Contemporary Photograph Archive. A large archive of modern photography, circa 1980s and later, much seemingly by Wayne Ford, Swindon School of Art and Design, but including several other contemporary photographers, and some design work, includes black and white and colour prints, slides, contact sheets, negatives, laminated advertising sheets, some framed and glazed (4 cartons)

£200-300

Lot 261

Lot 258

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261* Cuba. A large collection of approximately 160 medium and small-format gelatin silver prints, 1950s and later, subjects include Fidel Castro and Che Guevara, plus views, people, genre subjects etc., mostly by unidentified photographers but 6 with Korda wetstamp to versos, some with inscriptions and annotations also, approximately 20 x 25cm and many smaller

265* Daguerreotypes. Two ninth-plate daguerreotypes, circa 1850, one of a middle-aged man, the other of a middle-aged woman, both half-length, tinted, both cases heavily rubbed, together with 3 ninthplate ambrotypes, two of an unidentified man and one of a young girl, one case split in two, plus a quarter-plate ambrotype of 2 young women, full length, without lid

(approx. 160)

(6)

£700-1000

£100-150

262* Cuba. A group of 64 gelatin silver print photographs of pre and post-Revolutionary Cuba, circa 1950s and early 1960s, including political personalities, trains and aeroplanes, sport, freemasonry, etc., many vintage prints and mostly 20 x 25cm and similar, some with press and other captions to versos (64)

£300-400

266* Early Aviation. A group of 19 diapositive lantern slides of early aviation, circa 1910, mostly with printed captions within the negatives (for postcard use etc.), showing Bleriot, Radley, Latham, Rolls, Barnes, Willows and other aviators with their flying machine in flight and grounded, one slide cracked, all 8 x 8cm, plus 2 related American format lantern slides including one showing an Aeroplane Show in Paris, plus a black and white photographic glass plate negative of a Bristol Boxkite in flight (?over Bristol Downs), circa 1910, 10 x 12.5cm (22)

£100-150

263* Daguerreotype. A quarter-plate daguerreotype of a seated North American family, circa 1850, showing two men and two women, a little spotting, nonpareil mat, leather case over wood with stud fastener and embossed pattern to upper lid, 8 x 11cm (1)

£200-300

264* Daguerreotype. A half-plate daguerreotype of an unidentified seated gentleman, circa 1840s, three-quarter length, arched top, 11 x 16cm, leather case over wooden boards with fasteners, some scratches to lower cover (1)

£200-300

Lot 264 81


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Lot 268

267 Early Snapshots. An album containing 141 Kodak No. 1 snapshots of a British family travelling around the country, circa 188890, 2.5 inch circular images pasted four to a page and back to back on stiff card leaves throughout, some spotting, stitched spine, 4to An unusual early album illustrating the pioneering Kodak No. 1 snapshot camera which was put into circulation in 1888 and replaced by Kodak No. 2 in 1890. The photographs, though somewhat faded, depict town and rural scenes, domestic animal and maritime subjects. (1) £300-500

268* Egypt, Greece, etc. An assorted group of over 30 albumen prints of Egypt, Holy Land, Lebanon, Greece, Malta, Madeira and Bulgaria, circa 1880s, mostly topographical views, including two-part panoramas of Athens and Malta, photographers include Bonfils, Frith and American Colony, various sizes, mostly on old album mounts including some back to back (a folder)

Lot 269

£150-200

269* Egypt. A group of 26 albumen prints by P. Dittrich showing the construction of the Aswan Dam, 1898-1902, all loose, 21 x 27cm (26)

£150-200

270* Egypt. A portfolio of 20 collotype photographs, produced by Schroeder and Photoglob, Zurich, circa 1890, all monuments and ruins, images 21 x 27cm, loosely contained in a pictorial cloth portfolio, rubbed and soiled, folio (1)

£100-150

Lot 270 82


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271 [Eiffel Tower]. La Tour Eiffel [gilt-titled to upper cover], [Paris, 1889], an album of 8 albumen print photographs of the Eiffel Tower at the Exposition Universelle, 1889, each approx. 215 x 280mm (8.5 x 11ins) or the reverse, each with negative number, caption and ‘N.D. Phot.’ credit to lower margin of image, mounted one to a page on four stiff card leaves with printed headings and titles to mounts, images somewhat faded, all edges gilt, original half morocco gilt over cloth, rubbed and a little corner wear, oblong folio (1)

£100-150

272 Erotica. An album containing approximately 150 gelatin silver print photographs, circa 1960s, mostly couples and groups with nudity and sexual activity, some copy prints, mostly approximately 9 x 14cm, corner-mounted as multiples to rectos only, contemporary cloth, rubbed and soiled, oblong folio (1)

£200-300

Lot 275

273 Europe & Malaya. An album containing approximately 65 mounted photographs, late 19th and early 20th century, a mixture of albumen prints and gelatin silver prints, credited photographs and snapshots, including views in Italy, Sicily, Algeria, Istanbul, Malaya photographs include some captioned in the negative, ‘Malay Campong’, ‘Jungle Scene’, ‘Malay Natives’, ‘Bukit Ponto, Padang Rengas’, photographs 20 x 27cm and smaller, mounted singly and as multiples and back to back on stiff card leaves, spotting throughout, contemporary half morocco, rubbed, spine worn, folio (1)

£150-200

274* Europe. A collection of approximately 110 albumen print views, circa 1880s, mostly views in Italy, Greece, France, many captioned in the negative and mostly on individual mounts, approximately 20 x 25cm and similar (approx. 110)

£150-200

275* European Architecture. A group of approximately 260 albumen prints of European architecture and details, circa 1870s, the majority Italy and Venice, some captioned and numbered in the negatives, approximately 20 x 25cm and similar (approx. 260)

£200-300

276* Fiske (George, and others). A group of 20 mostly mounted albumen print views of Yosemite and Yellowstone Park, circa 1880s, the largest 7 images approximately 32 x 25cm and similar, the remainder mostly 15 x 20cm or similar, all but three on old album album mounts, one mount including two views of Niagara Falls and one of Salt Lake City (20)

Lot 276

£300-500

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277* Glass plate negatives. A collection of over 500 glass plate negatives, early 20th century, including British views and scenes, mostly half and quarter plate, some contained in unmarked boxes (2 cartons)

£150-200

278* Good (Frank Mason, 1839-1928). A group of 20 albumen print photographs of Swanage district, Dorset, and Isle of Wight, circa 1865, including Swanage pier and tower, Swanage Bay and volunteer battery, study of trees at Whitecliff Farm, Agglestone Rock near Studland Heath (x 2), Purbeck House grounds, Alum Bay, Isle of Wight, Handfast Point and Old Harry Rocks, etc., mostly 22 x 27cm and similar sizes, contemporary album mounts with neat ink captions beneath except one slightly smaller on modern backing (20)

£700-1000

279* Hollyer (Frederick, 1837-1933). A platinum print of ‘The Mirror of Venus’ after Edward Burne-Jones, circa 1900, 31 x 51cm, contemporary oak frame, glazed (1)

£200-300

280* Hollywood & Celebrities. A monumental archive of colour slides, transparencies and negatives, mostly 1980s and later, mostly celebrity shots, the transparencies often with typed credits and copyright stamp of Action Press, Alpha London, Syndication Internation Ltd., uncounted but in total probably approximately 100,000 images (23 cartons)

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£700-1000


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281 Hong Kong. A photograph album relating to the Royal Navy in Hong Kong and Shanghai, circa 1930, including profiles of ships, parade for the new governor at Hong Kong, 1930, HMS Sepoy depth charge accident and ensuing burial of sailors, 1930, Hong Kong typhoon, street scenes, scenes from a Chinese funeral, etc., a total of approximately 220 gelatin silver print photographs and real photo postcards, various sizes, mounted as multiples and back to back on 24 thick paper leaves, intermittent neat captions to mounts, mounts somewhat chipped and now largely loose, contemporary patterned boards with spine tie, somewhat worn and bowed, oblong folio (1)

283 Hubbard (Gilbert Ernest). Temples of the Western Hills, published by La Librarie Francaise, Peking & Tiensin, 1923, 13 plates (as listed) including 10 real photographs of which 1 is mounted to the upper wrapper, folding map and 4 pages publisher’s adverts at rear, ‘First Thousand copies’ printed to title verso, author’s presentation inscription to half-title, ‘Miss [Kathleen] Fenton, with the author’s best wishes, May 19 1923’, original linen-backed wrappers with mounted photograph to upper wrapper, some soiling and slight wear, spine frayed with a little loss at head and foot, 8vo (18.5 x 14.5cm)

£300-500

The nine photographs in the book have printed credits for Messrs Hartung of Peking (5), Mr J. Patterson (2), Mr M.E. Weatherall, and Mrs Calhoun. Kathleen Fenton, a friend of the vendor, was the wife of Hereward Livingstone Fenton, a planter in Malaya. During the war she was interned and then evacuated to Sydney in 1942, returning to Malaya in 1946. £500-700 (1)

282* Hong Kong. A group of 9 mostly albumen prints of Hong Kong interest, circa 1880s/1890s, including views of sedan chairs and rickshaw on Hong Kong Central Waterfront, Central District from East Point and fan palms in Singapore, each approximately 20 x 26cm, the others somewhat smaller, plus one later gelatin silver print of Queen’s Road Central, circa 1935, all in modern mats, plus a somewhat spotted and faded two-part panorama of Hong Kong harbour, circa 1880, 21 x 70cm, contemporary mount (10)

284* India & Ceylon. A good group of 44 albumen prints of topographical and ethnic interest, circa 1865-1880, including photographs by Bourne, Burke & Baker, mostly 20 x 26cm and similar large sizes, majority on old album mounts and some back to back

£150-200

(44)

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£150-200


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285* India - (George) Victor Pont (1846-1931). A collection of 100 early and large platinotype views of India, mostly circa 1880s but some later, a total of 35 initialled V.P. and numbered in the negative, 65 not initialled or numbered but seemingly taken by Pont also, a total of approximately thirteen duplicates, plus 9 Victor Pont albumen print with initials and negative numbers, plus seven further albumen print views of India including one by E[rnest] Pont, one by Phillips and five blank (one identified W.H. Horton to verso), plus a photograph of Horton Stores, circa 1923, and two small studio portraits of Victor Pont’s son Leon (1883-1982), the majority of platinum prints and most albumen prints 24 x 29cm and similar sizes, a few much smaller, many with pencil identifications to verso, many platinum prints with some spotting or browning, the collection including approximately 13 duplicates

A rare and interesting photographic archive of India with notable early use of the platinum process. Not too much detail is known about Victor Pont, who was a district engineer for the East Indian Railway, while his brother and fellow noted and prizewinning photographer Ernest (1850-1922) worked as an inspector for the same Railway. Photographs identified and dated from captions include: Kunaon: Bjhimthal Lake, about 1885, Annie Pont; A Road near Darjeeling; Primeval Forest near Kalingpong and Tibet Border; Teesta River between Darjeeling and Kalingpong; Benares. The Ghat where they burn the dead before committing ashes into the Ganges, about 1886; Beneares on the Banks of the Ganges; Hindoo Funeral - Cremation of a woman not he banks of the Ganges; New Bathing Ghat; Top of Bathing Ghat, Mirzapur; Bridge, Mirzapur; Grounds of Numair Museum; Ghat at Benares and showing various Temples; Tank at Numair Mausoleum; Gryuthee Bridge, 26.6.1889; Near Mirzapur, about 1890. The bearded Victor is identifiable in two family group photographs in the collection. Provenance: The family of Victor Pont, by direct descent. ÂŁ2000-3000 (approx. 120)

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286 India. An album containing 21 mounted albumen prints, circa 1880s, including architectural views, scenes and people, mostly captioned and credited Del Tufo & Co., Madras, in the negative, 24 x 19.5cm and smaller, plus 4 albumen print photographs of Durban and South Africa at rear, each 14 x 19cm, all mounted singly or as multiples of 2 or 3 to rectos of stiff card leaves, contents largely loose in contemporary cloth, some wear, folio (1)

£150-200

287* India. A group of approximately 220 gelatin silver print photographs, circa 1900/1920s, including photographs of Nasrur, Tibet, photographs of the Kulu Dussera (annual hill festival in the Himalayan valley of Himachel Pradesh), many with brief pencil notes or captions to versos, some with lengthy captions and publisher’s markings up, a small number with credit stamp of H.L. Shuttleworth, some approximately 20 x 25cm and similar but many small format and largely 9 x 11cm and similar some mounted as multiples on five modern boards Henry Lee Hadwen Shuttleworth (1882-1960) worked in the Indian civil service, and was an expert on Western Himalaya, and Tibetan dialects. He was an eminent photographer. The Shuttleworth Collection of papers, photographs, translations of letters and manuscripts on Tibet and Indian Tibet is in the India Office Library (Mss Eur D72). (approx. 220) £300-500

Lot 286

288* India. A group of albumen and gelatin silver print photographs, circa 1890, all topographical and architectural views, including some river scenes and formal occasions, mostly 19.5 x 27cm and similar sizes, mostly mounted back to back on old card mounts, some ink and printed captions beneath (30)

Lot 287

£150-200

Lot 287

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289* Inuit Eskimos. A group of 70 diapositive lantern slides of Inuit life in Greenland and Labrador, 1930s, showing eskimo life and culture, some slides hand coloured, a few cracks and some seals broken, some with English ink captions, 8 x 8cm (70)

88

ÂŁ600-800


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Lot 290

290 Italian Alps. A pair of albums containing albumen prints and photomechanical prints by Photoglob, circa 1890s, a total of 23 views, mostly credited in the negative and each 20 x 25cm, plus 3 panoramic views of mountains (3, 4 and 6-part panoramas with linenised backings), Panorama von Diavolessa, 21 x 79cm, Panorama Fuorcla Surley, 20 x 105cm, and Panorama du Breithorn, 19 x 156cm, all photographs mounted to rectos only of stiff card leaves and mostly in one album, the remaining leaves of the second album blank, matching contemporary half morocco gilt, some edge wear, oblong 4to/4to (2)

£100-150

292* Italy. A group of 4 large-format albumen prints of Italian architecture, circa 1870, one of the colosseum in Rome with blindstamp of Cuccioni, two others with blindstamp of Alinari and one uncredited, each 33 x 45cm and similar, plus an unrelated largeformat gelatin silver print by Helene Binet, 1992, all in modern mats (5)

291* Italy. A group of 30 mounted albumen prints, circa 1870s, all but one architectural and topographical views of Rome, Venice, Naples, 25 x 34.5cm and smaller, most mounts with photographer’s blind stamp credits including Altobelli, Rive, Sommer, etc. (30)

£100-150

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£150-200


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295* Italy - Rome. Sala delle statue (Vaticano), by James Anderson (1813-1877), circa 1870, large-format albumen print with printed title to the lower margin, 38 x 52 cm, framed and glazed (1)

296* Italy. A group of 5 large albumen print views of Rome, circa 1880, 4 exteriors of temples and ruins by Alinari and one of a church interior, individual contemporary mounts, 31 x 42cm and similar, plus 7 unrelated medium-format gelatin silver exhibition prints of Germany, etc., all on individual mounts

293* Italy - Rome. A mammoth plate albumen print by James Anderson (1813-1877), circa 1870, printed title '22 Arco di Tito' to lower margin, closed tear repairs to right blank margins with paper repairs to verso, 53.5 x 40cm (1)

£400-600

(12)

£150-200

£300-500

297 Japan. An album containing 50 colour-tinted albumen prints, circa 1900, scenes, people and views, some captioned in the negative & with pencil titles to mounts, mounted back to back on stiff card leaves, contemporary decorative cloth with spine tie, some fraying and covers partly detached, oblong folio (1)

294* Italy - Rome. A group of 4 mounted albumen prints of Rome by James Anderson (1813-1877), circa 8170, 3 with printed titles in the lower margin, showing the falls at Tivoli, the protestant cemetery and the temple of Vesta, 25.5 x 37 cm and one the reverse (4)

£500-700

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£100-150


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299* Job (Charles, 1853-1930). A group of 8 mostly carbon prints, circa 1920, including Richmond Bridge, bridge at Cambridge, scene with rowing boats, each approximately 25 x 35cm, the others somewhat smaller including Rappalo, Italy, Dr Jenner’s statue in Kensington Gardens, on Lake Geneva, Brighton seascape and the gateway, Rye (mounted on card), 18 x 25cm and similar, some marginal splits (8)

£100-150

300 Keppel & Hart Family. A cartes-de-visite album of the Keppel and Hart family of Norfolk and London, circa 1870s, containing 65 window-mounted cartes de visite and 11 cabinet cards, many identified in ink to versos, contemporary calf with silver gilt clasp and decorative strapwork to upper cover, rubbed and a little wear to spine ends, 4to The album relates to the family of George Keppel (grandson of the 4th Earl of Albermarle) and his wife, Alice Le Neve Hart. (1) £80-120

301* Lantern Slides and Negatives. A group of approximately 70 glass plate photographic negatives, circa 1914-18, approximately 8 x 10.5cm, mostly in contemporary boxes with felt tip inscription giving the contents as British in Tanganyika and Naval Interest in World War I, plus 13 contemporary magic lantern slides of assorted subjects including naval, plus assorted photographs, postcards, etc. (a small carton)

£100-150

298 Japan. An album containing 100 gelatin silver print photographs, early 20th century, mostly family and other group photographs including school children, religious procession, formal groupings, etc., various sizes, pasted or corner mounted and mostly as multiples and back to back on 19 stiff card leaves, Japanese ink captions to mounts, contemporary boards, covers detached and backstrip deficient, some edge wear, 4to (1)

£200-300

302* Lantern Slides - Ireland. A group of 63 hand-coloured photographic lantern slides by York & Sons, circa 1885, including street scenes, people, landscapes, towns, etc., all 8 x 8cm, contained in a contemporary hinged wooden slide box (63)

Lot 299

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£150-200


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306* Lantern Slides. A group of assorted lantern slides including 4 boxes of photographic and mostly non-photographic black and white slides of views, history and religion, the photographic lantern slides including scenes from a missionary in British Guiana and British views, approximately 200 in total, plus 9 mahogany-mounted hand-painted slides including 5 black and white letterpress riddle slip slides, a small quantity of hand-coloured strip slides, a set of 12 hand-coloured lantern slides of Punch of Judy, plus 3 unrelated snapshot albums and 3 lantern slide catalogues

303* Lantern Slides - South Africa. A group of 14 diapositive lantern slides of Cape Diamond and Goldmines, circa 1900, all 8 x 8cm (14)

£100-150

(a carton)

£150-200

304* Lantern Slides - Brazil. A group of 20 diapositive magic lantern slides of Brazil, circa 1900, mostly street scenes (commissioned by the Booth Steamship Company of Liverpool), 8 x 8cm (20)

£100-150

305* Lantern Slides. A group of approximately 25 sets of coloured lantern slides, early 20th century, stories include Red Riding Hood, Alice in Wonderland, Jack and the Beanstalk, Peter Pan, Our LifeBoatmen, Sweep and Whitewasher, Dick Whittington, Nursery Rhymes, etc., mostly 8 slides to a box, though a few slides missing or slightly damaged, 8 x 8cm

307* Lantern Slides. A large collection of over 500 diapositive lantern slides, early 20th century, including views in north of England including Lake District, Africa including wild animals, Middle East, Russia (coloured), etc., mostly contained in 12 period wooden lantern slide boxes, some with captions or partial indexes, plus a small quantity of hand-coloured slides of Gulliver’s Travels, etc.

(approx. 200)

(2 cartons)

£150-200

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£200-300


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308* Lundy Island. A pair of snapshot albums, circa 1930s, containing approximately 330 window-mounted black and white snapshots of the island including geological interest and some wildlife, each 5.5 x 7.5cm, arranged as fours to a page throughout with some blanks at rear of volume 2, contemporary boards, oblong large 8vo, together with a related book by John Lloyd Warden Page and 4 Lundy puffin and Lundy half puffin coins, 1929 (7)

£70-100

Lot 311

309 Madeira. An album of 77 late albumen print and silver print views and snapshots, circa 1890-1900, a total of approximately 75 photographs mounted back to back and sometimes as multiples on 30 stiff card mounts, many full-page (16 x 23cm and similar) and including scenes and views in Madeira (15), Tenerife (11), Las Palmas (6) and South Africa (15), some captioned in the negative and many with brief ink captions to mounts or blank area of images, contemporary cloth, rubbed and damp soiled, oblong 8vo (1)

£150-200

310* Madeira. A pair of large gelatin silver print photographs, circa 1950, the first showing a family group sewing in a field on a hillside overlooking the harbour in the distance, the second showing a group of 3 women and a child sewing in front of stone and thatched huts, images 40 x 50cm, both credited Foto Perestrello, Madeira in ink to lower right margin, framed and glazed (2)

£70-100

311 Malaysia & Singapore. An album containing 31 mostly largeformat gelatin silver prints, circa 1960s, including street scenes, views and people, many 27 x 24cm and similar sizes but some smaller, pasted to card mounts and bound in cloth stud binder, rubbed, folio (1)

£300-400

312 Malaysia. An album compiled by William Henry Hofland, Director of Public Works, Labuan, late 1920s and early 1930s, containing approximately 220 gelatin silver print photographs and snapshots, including scenes from some of the public works, Labuan Dam, hospital and school projects, some photographs of Brunei, formal and social groups, etc., various sizes, mounted as multiples and back to back on 50 stiff card leaves, brief pen or pencil captions to some photographs, and some related typed reports, references etc. loosely inserted, ownership inscription of Hofland to front endpaper, contemporary half morocco gilt, rebacked with original spine relaid, heavily rubbed and some edge wear, 4to (1)

Lot 312

£500-800

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313 Mediterranean. An album containing 60 late albumen prints and collotypes, circa 1900, including views and scenes in Italy, France, Algeria, etc., mostly approximately 20 x 27cm and similar, mounted back to back on stiff card leaves throughout, contemporary half morocco, gilt-stamped ‘Mediterranean Cruise 1903’ to upper cover and with monogram GHW to spine, some wear, oblong folio (1)

319* Miscellaneous photography, 19th and 20th century, including a partly broken album of gelatin silver print views of the Forest of Dean, a part album relating to Woronzow Greig and Mary Somerville including albumen prints of house interiors, a group of 80 photographic specimen prints printed by M. Bozzetto Cartligiano, Vicenza, Italy, circa 1900, various subjects printed from earlier glass plate negatives and with negative numbers to lower corners and credits to verso, Friese-Greene archive copy prints and negatives, British and European views, portraits, design, stereocards, cartes de visite, etc.

£200-300

(2 cartons)

£200-300

320* Miscellaneous photography, 19th century, mostly albumen prints, both loose and on old album pages, together with 3 19thcentury albums, mostly European views, architecture, family scenes, etc. (a large carton)

£100-150

321* Miscellaneous photography, 19th & 20th century, an assorted group of approx. forty albumen and gelatin sliver prints, including Italian sculpture, British and European views, aviation, various sizes including some small format, and many mounted as multiples on old album leaves, plus a mammoth albumen print of King Theodorick by G. A. Czicbna of Innsbruck, c. 1870s, photographer’s credit lower left, image 48 x 34cm (19 x 13.5ins), plus other miscellaneous photography including 20th-century portraits (a carton)

£150-200

314* Middle East & India. A group of 48 albumen and platinum prints, circa 1890s/1900s, including 16 prints with credit ‘Art. G. Lekegian & Cie’ in the negative, mostly topographical and architectural views, some British military interest, many approximately 28 x 22.5cm or similar (48)

£150-200

315* Miscellaneous photography, late 19th and early 20th century, including 5 albums of British and European views, plus an assortment of loose and mounted group photographs including military and topographical interest, various sizes (a carton)

£100-150

316* Miscellaneous photography, 19th & 20th century, including a small quantity of albumen print views of Europe, assorted gelatin silver prints including views, 4 family snapshot albums, plus approximately 500 assorted postcards, some postally used (a carton)

£100-150

317 Miscellaneous photography, late 19th and early 20th century, including 3 late 19th-century albums with mostly British albumen print views, plus a later family snapshot album, 5 cartes-de-visite albums (2 empty), and a postcard album containing approximately 200 mostly Edwardian postcards (a carton)

£150-200

318* Miscellaneous photography, 19th & 20th century, including broken albums, subjects include Japanese and European albumen print scenes and views, portraits, 20th-century world cruise touring photos on large-format sheets, etc., various sizes

322* Modern photography. A large collection of miscellaneous 20th-century photographic prints, including a group of Fernand Dengremont (French commercial photographer of the 1940s), subjects include portraiture, scenes, design, etc., various sizes, some on mounts

(2 cartons)

(a carton)

£200-300

94

£150-200


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324* Mountains. A group of 32 gelatin silver prints of the Alps by F.L. Ashcroft, 1930s, all unmounted and printed on Agfa Bravia paper, images 16.5 x 21cm and larger, together with 3 albumen prints of the Matterhorn and neighbouring peaks, circa 1885, framed and glazed as a triptych, 40 x 85cm overall (33)

£100-150

323 Motorway Construction. An album of 48 vintage gelatin silver print photographs, circa June 1963 to December 1964, all oblique aerial views of the construction of the M4 motorway (Junctions 15), 20 x 25cm or the reverse, pasted back to back on 24 thick paper album leaves with tissue-guards, a few detached and showing credits and some captions and dates to versos, 10 photographs with typed captions attached to lower part of images with old sellotape, now partly peeling away with no obvious damage to photographs, contemporary black synthetic boards with spine tie, oblong folio 325* Mudd (James, 1821-1906). Two extra large display-format carbon prints on drum mounts, circa 1890, depicting two train locomotives manufactured by Beyer, Peacock & Co., Manchester, late 1880s, one for Costa Rica and one for Valencia, some soiling and a few small tears without loss, both with red photo credits lower right, mounted on wooden stretchers, each approximately 80 x 122cm

The captions visible include: Sipson Road looking East, showing first complete area of carriageway in foreground; County Bridge looking West with new County Road in left middle distance; Colnesbrook Culvert looking West and Staines Railway and Thorney Pit; Old Slade Lane looking East to Colnesbrook Culvert; Richings Park looking West showing construction of hardcore access road; Sutton Lane looking East to Richings Park; Sutton Lane looking West to Langley roundabout; Langley roundabout looking East to Sutton Lane & Richings Park (all 9 September 1963); Langley roundabout view looking West, Junction with existing Slough bypass (4 December 1964). This early section of the M4 was opened in 1965, the English section of the motorway being completed on 22 December 1971. £300-500 (1)

These very early enlargements were originally displayed in the Beyer, Peacock & Co. offices in Manchester. £300-500 (2)

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Lot 326 326* Muybridge (Eadweard, 1830-1904). Cap of Liberty, Valley of the Yosemite No. 31, 1872, mammoth-plate albumen print, 1872, 423 x 535mm (16.75 x 21ins), contemporary card mount (1)

£1000-1500

327* Panoramas. A group of 3 albumen print panoramas, the first a two-part panorama of the harbour at Malta, circa 1870, 19 x 46cm, the second of the Rock at Gibraltar, circa 1895, 3 parts, 15.5 x 50cm, mounted with ink caption beneath, the third a two-part panorama of Brindisi by Achille Mauri, circa 1890s, 19.5 x 52cm, contemporary paper mount (3)

£100-150

328* Parkinson (Norman, 1913-1990). Unknown model advertising Revlon for American Vogue, 1958, vintage gelatin silver print, annotated P183.69, Tobago, to verso, image 258 x 267mm, paper 385 x 305mm (1)

96

£300-500


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329* Parkinson (Norman, 1913-1990). Duchess with Walls Icecream and robber, 1959, vintage gelatin silver print, annotated WT1191-16 to verso, image 278 x 240mm, paper size 385 x 305mm (1)

ÂŁ200-300

330* Parkinson (Norman, 1913-1990). Ros Watkins wearing Polly Peck metal foil dress, photograph for Vogue, 1958, vintage gelatin silver print, annotated CV251-5 to verso, 365 x 290mm, together with 2 further vintage gelatin silver prints by Norman Parkinson, the first showing Ursula with Tinka Patterson in the background at Henley Regatta, 1958, annotated P292-66 to verso, 368 x 294mm, the second showing an unknown model advertising for DAKS, 1959, annotated P286-31 to verso, 375 x 290mm, all on paper size 385 x 305mm (3)

ÂŁ200-300

Lot 329

331 Parkinson (Norman, 1913-1990). Ros Watkins wearing Susan Small on plinth, photograph for Vogue, 1959, vintage gelatin silver print, annotated P230-45 to verso, 260 x 255mm, together with 3 further gelatin silver prints by Norman Parkinson, the first Sue Kinnear wearing Susan Small with mirror, 1959, annotated WT20020 to verso, 285 x 290mm, the second of Dorian Leigh with guitar in Monte Carlo, advertising Susan Small, August 1957, annotated P121-4 to verso, 250 x 250mm, the last also of Dorian Leigh for Vogue, Monte Carlo, 1957, annotated P121-1 to verso, 250 x 250mm, all with paper size 385 x 305mm (4)

Lot 330

97

ÂŁ200-300


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332* Parkinson (Norman, 1913-1990). A good group of British Airways subjects, circa 1950, all vintage gelatin silver prints showing grounded aircraft and crew from various angles, 6 with Norman Parkinson wetstamps to verso and some with John Stroud Collection and Aviation Picture Library to versos, mostly 19 x 24cm or the reverse and similar sizes (38)

ÂŁ2000-3000

333* Photographic Furniture. A hand-painted wooden box, late 19th century, with painted front and rear panels showing flowers and a kingfisher, the hinged lid with hand-painted monogram TSB to outer lid and pond lilies to inside lid, brass carrying handles, the inside of the box containing 3 photograph albums, 2 folio photograph albums containing albumen print views of Great Britain, one volume with inscription of Thomas S. Buck, 1877, half morocco, some wear and spine lifting, the second volume with hand-painted wooden boards and leather spine, the third empty carte-de-visite album with clasp and monogram plaque for Buck to upper cover, 4to, box with some surface scratches and marks, lock and key present, 41cm wide x 32cm high x 21cm deep (1)

ÂŁ100-200

98


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335* Ponting (Herbert, 1870-1935). Captain Oates with some of the Siberian ponies in the “Terra Nova”, December 1910, gelatin silver contact print, surface dings and oblique crease to top righthand corner, pencil inscribed to verso with photographer’s ink stamps ‘Photographed by Herbert G. Ponting FRGS British Antarctic Expedition 1910’ and ‘Herbert G. Ponting FRGS copyright’, 9 x 12cm

334* Pictorialism. A large carbon print of Streatley [Luton, Bedfordshire] by F. Thurston, circa 1910, showing an old man with a walking stick walking away down a village lane with trees and cottages, 42 x 57cm, framed and glazed with wooden mat, photographer’s credit and title printed to lower mat (1)

£100-150

(1)

£400-600

336* Russia. A group of approximately 90 gelatin silver print snapshot photographs of Russia, circa 1912-18, including military interest, people and scenes, many with pencil captions to verso in English and some with the name of the presumed photographer of many or all of these photographs F[lorence] Farmborough, many also numbered to versos in red felt tip, mostly approximately 8.5 x 11cm but some smaller and larger, together with an assorted collection of approximately 200 postcards, many postally used and some addressed to Florence Farmborough Florence Farmborough (1887-1978) was an author, photographer, nurse, teacher and university lecturer. After growing up in Buckinghamshire she originally went to live in Russia in 1908, and worked as a governess for a family in Kiev. Two years later she moved to Moscow, where she was employed as English tutor. On the outbreak of the Great War in 1914, she qualified and worked as a Red Cross nurse with the Imperial Russian Army, and saw service at both the Galician and the Romanian fronts. During her time as a nurse she kept a diary and habitually took a large plate camera around with her, though the photographs here would mostly be using a small portable camera. Extracts from the diaries were eventually used as the source material for her book, ‘Nurse at the Russian Front’, published in 1974. She also worked as a reporter for The Times and for BBC Radio. Following the October Revolution and the disbandment of her Red Cross unit, she returned to England in 1918. £500-800 (a small carton)

Lot 335

Lot 336

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Lot 340 338 Scotland. An album containing approximately 120 albumen print views of Scotland, circa 1860s and 1870s, including carte-de-visitesize views in Aberdeenshire, Edinburgh, Forfarshire, etc., plus half and full-page plate view, some credited in the negatives, ink captions to mounts, mostly mounted as multiples to rectos of paper mounts throughout, ownership signature and bookplate of James Colquhoun, Rossdhu, Luss, dated 1871, contemporary half calf gilt, covers rubbed and marked, folio, together with a late 19th-century photograph album containing 22 half and full-plate albumen print views of Scotland, remaining leaves blank, contemporary half morocco, some wear, folio (2)

339* Space. Apollo 12 70-mm Photographic Catalog, July 1970/Apollo 13 Photographic Data Package, December 1970/Apollo 14 Photography 70-mm, 35-mm, 16-mm, and 5-in. Frame Index, Parts 2 & 3, August 1971/Apollo Mission 14 Lunar Photography Indexes, June 1971, all published NASA, numerous b & w illustrations from photos, folding index plate loosely inserted into second volume, three large folding sheets stapled into final part, all original printed wrappers and stapled as issued, 4to (final volume slim narrow folio), together with other related lunar ephemera

337 Scotland. An album containing 35 albumen print views, circa 1890, including views of Edinburgh, yachting on the Clyde, planting potatoes in Skye, spinning wool in Skye, the herring season at Aberdeen, etc., mostly credited to James Valentine or George Washington Wilson in the negative, images 19 x 29cm and mounted to rectos only of stiff card leaves, contemporary padded morocco, rubbed and some wear, oblong folio (1)

£200-300

(8)

£70-100

340* Stereoscopic Daguerreotype. British Grenadier Officer stereoscopic daguerreotype in Claudet-patent stereoviewer, 1850s, hand tinted, red tunic to right image only, arched top, paper passepartout, gilt credit stamp to upper cover, some solarisation, viewer somewhat distressed and tacks from hinges to upper lid now missing

£70-100

(1)

100

£2000-3000


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341* Stereoscopic Daguerreotype. A stereoscopic daguerreotype of statuary depicting a female nude with clutching figure by James Pradier, circa 1855, some spotting and solarisation to both images, authentication printed label initialled by the photographer to right margin, seal tear upper right, 8.5 x 17.5cm (1)

£200-300

343* Stereoscopic Ambrotypes. A pair of stereoscopic ambrotypes of rooms with Roman statuary at the Crystal Palace Great Exhibition, 1851, one with cracked glass to right image and split seal with sellotape repair, Gladwell, City Stereoscopic Depot large printed label to verso, the second with small glass crack to uppe right corner not affecting image, both 8 x 17cm (2)

£300-500

342* Stereoscopic Daguerreotypes. Two stereoscopic daguerreotypes of statuary at the Crystal Palace Great Exhibition, 1851, one of ‘a bathing nymph’ (by John Lawlor), the other of ‘Sabrina’ by W.C. Marshall, printed label of Gladwell, City Stereoscopic Depot to versos, some solarisation to edges and spotting to left image of second daguerreotype, both 8 x 17cm (2)

£400-600

344* Stereoviews - Mining. A group of 26 stereographic photographs of mining in South Africa by G.B. Neilson, circa 1900, some spotting to mounts (26)

101

£150-200


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345* Stereoviews. A group of approximately 200 assorted stereoviews, mostly late 19th and early 20th century, publishers include Underwood & Underwood, etc., subjects include Jerusalem, Boer War, Scandinavia, married life, geology, etc., together with 4 hand-held stereoviewers (1 broken) (a carton)

£100-150

346* Stieglitz (Alfred, 1864-1946). Nearing Land, vintage photgravure on tissue, original paper mount present but detached, 21.5 x 17.5cm From Camera Work XII, 1905. (1)

£300-400

347* Sutcliffe (Frank Meadow, 1853-1941). The Dock End, Whitby (from the Railway Station), 1880, contemporary carbon print on card, signed in pencil ‘FM Sutcliffe’ lower right above image negative number ‘174’, 235 x 285mm, framed and glazed (1)

£600-800

348 Third Afghan War, 1919. An album containing approximately 160 window-mounted POP. photographs, circa 1919, many as real photo postcards, showing military camps, trains, buildings, rural areas, etc., uncaptioned and displayed three to a page, contemporary cloth, rubbed, narrow folio, together with a wallet of approximately 100 related negative transparencies (2)

£400-600

Lot 346

Lot 347

Lot 348 102


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350* Valor Company Ltd. A group of 15 mounted gelatin silver print photographs of the construction and early workshop workings of Aston Brass Company Ltd, Rocky Lane, Birmingham, circa 1924/1926, 2 photographs showing female factory workers at Rocky Lane in 1924, images 23 x 28cm and similar, mounted on contemporary card, some with brief ink captions, plus 15 related vintage and later including further prints of factory workers, Valor heaters and machinery, plus a small folder of colour drawings and copies of electric Valor heater, circa 1960, plus 2 shop display maquette models of Valor heaters (one with minor damage) (a small archive)

349* Tolstoy (Leo, 1828-1910). Albumen print cabinet card by Scherer & Nabholz, Moscow, circa 1900, three-quarter length, seated, minor spotting, together with a half-length cabinet card photograph of Victor Hugo by Chalot, circa 1870s (2)

£150-200

351* World Travel. A photograph album of a military family in South Africa travelling to Northern China, Japan, South America, Western Siberia, circa 1900-20, mostly gelatin silver prints of various sizes including some military and family interest, plus local types and views while on travels, including a good selection of Kazakhs from Ormsk region and Irkutsk in Siberia, a total of approximately 200 images, mounted as multiples and uncaptioned throughout, contemporary cloth, oblong 4to

£150-200

(1)

Lot 351 103

£400-600


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MARCUS AND GILBERT ADAMS PHOTOGRAPHY ARCHIVE PART II (Arthur) Walton Adams (1842-1934) was a photographer who worked in Southampton and Reading. He was the co-inventor of the dryplate process. His son, Marcus Adams (1875-1959), established a reputation as a leading child photographer. In 1919 he joined up with Bertram Park (1883-1972) and his wife Yvonne Gregory (1889-1970) to form the 'Three Photographers'. In 1926, Marcus Adams took first official photographs of the Duchess of York and Princess Elizabeth (future Queen Mother and Queen Elizabeth II) and continued up to 1956 in a sitting with Princess Anne. His son, Gilbert Adams (1906-1996), assisted in his early years but later established his own highly successful career as a photographer, specialising in photographing the ballet. All the following lots come from the estate of Gilbert Adams’ late widow, Rosalind Thuillier. See Rosalind Thuillier, Marcus Adams, Photographer Royal (1985).

352* Marcus Adams Archive. A collection of photographs relating to the Adams family, including many portraits of Marcus Adams, of his wife, his father Walter Adams, of people who worked with him and of Gilbert Adams’ wife, various processes and sizes (a large folder)

£100-150

353* Marcus Adams Archive. A large collection of photographs by Marcus and Gilbert Adams, Bertram Park and Yvonne Gregory, mostly studio portraits, various processes and sizes (a carton)

£300-400

354* A similar lot (a carton)

£300-400

355* A similar lot (a carton)

£300-400

Lot 352

Lot 353

Lot 356 104


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356* Camera. Marcus Adams’ custom-made travelling camera, on a base with casters and riser rods for height adjustment, Tessar lens 1:45 f = 25cm with shutter and iris, glass viewing screen and two plate holders, together with various lenses and shutters including brass bound Dallmeyer soft focus lens no. 100799 and brass bound Dallmeyer triple acromatic lens no. 10107, with various other camera parts and a slide viewer including colour slide of Marcus Adams This travelling camera designed and used by Marcus Adams is described and illustrated in Rosalind Thuillier, Marcus Adams: Photographer Royal (1985), pp. 45-46. (camera & 2 cartons) £500-800

357* George VI (King, and family). A large group portrait of King George VI and Queen Elizabeth with their two daughters Princesses Elizabeth and Margaret, in the entrance to the Music Room, Buckingham Palace, photographed by Marcus Adams, 1939, bromoil gelatin silver print, a few old small water splash marks discernible, 76 x 53.5cm, framed and glazed (glass partly cracked), printed details of the occasion to verso (1)

Lot 359

£100-150

Lot 360 358* Nudes. A small group of approximately 60 glass plate negatives of male and female nudes, presumed by Gilbert Adams, contained in 5 negative card boxes, the whole contained in a small wooden storage cabinet marked ‘MA’ (approx. 60)

£100-150

359* Nudes. A good collection of male and female nudes from the Adams, Park & Gregory Studio, mostly gelatin silver prints including approximately 75 medium and large format plus many smallerformat studies, many mounted as multiples on approximately 70 card mounts (a carton)

£300-400

360* A similar lot (a carton)

£300-400

361* Ballet & Theatre. A very good collection of approximately 80 mostly gelatin silver print photographs of ballet and theatre interest, mostly Gilbert Adams and Bertram Park, various sizes and including some exhibition prints and one Gevaluxe print by Park, plus some contact prints and negatives (a folder)

Lot 361

£300-500

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362* British Royalty. A good group of approximately 50 gelatin silver prints by Marcus Adams, Bertram Park and Studio, mostly relating to King George VI and Queen Elizabeth and their young family, including approximately 20 in modern mats, plus 2 related albums (an archive)

£300-500

Lot 363

363* Writers & Artists. A group of approximately 60 mostly gelatin silver print photographs by Gilbert Adams and others, relating to St Ives and including Peter Lanyon, Terry Frost, etc., plus views in St Ives and portraits of writers, various sizes, 8 items framed and glazed (approx. 60)

365* Portraiture. A large collection of over 100 large-format portraits of children from the Adams Studio, mostly gelatin silver prints including exhibition prints in modern mats

£300-500

(approx. 100+)

364* Portraiture. A large collection of over 100 large-format portraits from the Adams Studio, mostly gelatin silver prints of largely unidentified men and women, including exhibition prints in modern mats (approx. 100+)

£300-500

366* Portraiture. A large assorted collection of portraiture from the Adams Studio, a mixture of larger and smaller-format mostly gelatin silver prints of unidentified men, women and children

£300-500

(2 cartons)

Lot 364

Lot 365 106

£200-300

Lot 366


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367* Architecture. A large collection of approximately 600 architectural studies, mostly gelatin silver prints of English ecclesiastical architecture, 22 x 28 cm, on contemporary mounts loosely contained in Walton Adams portfolios, plus a quantity of architectural photographs by other photographers (3 cartons)

£300-500

368* Adams Studio. A miscellaneous collection of Adams Studio photographs, mostly medium and smaller formats, including some family photographs, negatives and related (a carton)

£200-300

Lot 367

369* Adams Studio. A miscellaneous collection of Adams Studio photographs, various subjects, media and sizes, a few items framed and glazed (a carton)

£200-300

370* Adams Studio. A similar lot

Lot 368

(a carton)

107

£200-300


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

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

108


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INDEX OF ARTISTS Anderson, Anne Anderson, Stanley Austin, Robert Sargent

108 80 69, 70, 71

Badmin, Stanley Roy Baird, Johnstone Banting, John Beardsley, Aubrey Belleroche, Albert de Bewick, Thomas Blampied, Edmund Bone, Sir David Muirhead Brightwell, Leonard Robert Briscoe, Arthur John Trevor Brockhurst, Gerald Leslie Cameron, David Young Chahine, Edgar Coker, Peter Godfrey Copley, John Corinth, Lovis Craig, Edward Gordon

72 54 121 18 21 1, 2 39, 40 38, 41 88 55 89, 90, 91, 92, 98, 99 100, 101, 110, 111, 112, 113 56, 57, 58, 59, 60, 93, 94, 95, 96, 97 33,34 129 115, 116, 117, 118 29 130

Dauchez, Andre Dawson, Nelson Ethelred De Jong, Martinus Johannes Detmold, Edward Julius Derain, Andre Dicksee, Herbert Dielman, Ernest Benham Dore, Gustav Drummond, Malcolm Drury, Paul Dufy, Raoul Edwards, Edwin Eggeler, Stefan Farrell, Frederick Arthur Feibusch, Hans Flint, William Russell Frank, Hans Fraser, Claud Lovat Freedman, Barnett Gekko, Ogata Gill, Eric Ginner, Charles Isaac Goya, Francisco de Griggs, Frederick Landseer Haden, Sir Francis Seymour Hallward, Patience Mary Hamanishi, Katsunori Hankey, William Lee Hawkins, Harold Frederick Weaver Helleu, Paul Cesar Henschl, Hugo Herkomer, Hubert von Hiroshige, Ando Hokusai, Katsushika Howey, Robert Leslie

35 87 30 102 36 20 37 12 119 66, 73 31 10 28 86 122 123 131 132 124 177 114, 133, 134 138 8 61, 62, 63, 64, 65 11 85 179 125, 126 139 26, 27 25 15 180 181 140

Kasamatsu, Shiro Kasimir, Luigi Kauffer, Edward McKnight Kawarazaki, Shodo Knight, Laura Kunisada, Utagawa Kunisada, Toyokuni III Kuniyoshi, Utagawa

182 32 142 183 107 185, 186, 187, 188 189 190, 191, 197

Lamb, Lynton Le Bas, Rachel Anne Legros, Alphonse Leibermann, Max Leighton, Clare Veronica Hope Lewis, Frederick Lloyd, Reginald Lord, Elyse Ashe

122 84 13 22 143, 144, 145 5 127, 146 105, 106

Maillol, Aristide Martin, John Millet, Jean-Francois Minko, Tachibana Minwa, Gosentei

147 3, 4, 5 6, 7 195 193

Nash, John Nash, Paul Nevinson, Christopher Richard Wynne Palmer, Samuel Pellew, Claughton Pennell, Joseph Piper, John Power, Cyril Edward Pryse, Gerald Spencer Raverat, Gwen Roberts, John Vivian Rothenstein, Will Rouault, Georges Sadahide, Utagawa Saito, Kiyoshi Sauter, Rudolph Helmet Schwabe, Randolph Settei, Tsukioka Short, Sir Frank Shumboku, Ooka Strang, William Sullivan, Edmund Tanner, Robin Thorne, Diana Tissot, James Jacques Joseph Tout, Ann Toyokuni, Utagawa Verpilleux, Emile Antoine Vlaminck, Maurice de

Itcho, Hanabusa

195

Walcot, William Webb, Clifford Cyril Webb, Joseph West, Joseph Walter White, Ethelbert Wyllie, William Lionel

Jones, David

141

Zorn, Anders

109

148 120 48, 49, 50, 51, 52 9 149 16, 17 150 83 42, 43, 44

135, 136, 137, 151, 152, 153, 154 128 19 36 193 194 104 82 195 81 181 103 104 67, 68 109 14 155 197 24 36 78, 79 156 74, 75, 76, 77 53 157 45, 46, 47 23


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

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


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#

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

COMMISSION SLIP Please Bid on my behalf at the sale on 7 April 2016 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

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


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

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

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

01285 655299 / 07980 579947 01285 650850 01285 642767

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

01793 701701

Cirencester Visitor Information Centre

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

Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk

Photography by Ben Cavanna – 07968 342013 bencavanna@gmail.com


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THE BOOKBINDING STUDIO OF PHILIP SMITH Thursday 16 June 2016

The Divine Comedy of Dante Alighieri, by Tom Phillips, 3 vols. Magnificent impasto maril onlay designer bindings by Philip Smith

For further information please contact: Colin Meays | colin@dominicwinter.co.uk Susanna Winters | susanna@dominicwinter.co.uk


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Dominic Winter  

Prints | Asian Art | Photography | 7 April 2016_High Res

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