Newcastle in Emlyn
SEYMOUR HADEN
British, (1818-1910)
Etching with touches of drypoint, 1864, Schneiderman 57 (ii/II), edition unknown. 4 1/2 x 5 3/4 in. Signed and titled n the plate, upper right. Signed in pencil below on the right. This is a fine impression printed on off-white laid paper. The margins are substantial and the condition is fine. In this, the second state, the square house has been etched in.
SOLD

A Sunset in Ireland
SEYMOUR HADEN
British, (1818-1910)
Drypoint, 1863, Schneiderman 47 (xiii/XIV), edition unknown. 5 1/2 x 8 1/2 in. Signed in the plate and signed in pencil. This is a superb, rich impression printed on laid paper. The margins are full apart from a small loss in the upper right corner. There's a faint suggestion of toning within an earlier mat opening. This iconic 19th century landscape print is Haden at his best and it echos his admiration for the work of Rembrandt. Provenance: William Weston Gallery, London.
$2,000

A Salmon River, No. II
SEYMOUR HADEN
British, (1818-1910)
Etching and mezzotint, 1884, Schneiderman 214 (iii/IV), edition unknown. 4 5/8 x 6 1/4 in. Signed in the plate, lower left. Signed in pencil. This is a fine, dramatic impression of this rare print. The paper is a sturdy wove with full margins. The condition is fine apart from faint toning within an earlier mat opening.
$900

Kensington Gardens, No. II
SEYMOUR HADEN
British, (1818-1910)
Etching and drypoint, 1860, Schneiderman 31 (iii/III), edition unknown. 8 x 5 in. Signed and dated in the plate, lower left. Signed in pencil. This is a fine impression of this stellar early work. Printed on chine appliqué, the margins are trimmed (well away from the image) and there's a bit of foxing on the verso. Provenance: M.Knoedler, NY (with their label).
$950

Night Moth (Laurels Number One)
STANLEY W. HAYTER
British, (1901-1988)
Aquatint, engraving, soft ground etching, scorper and two silkscreens printed on a zinc plate, 1946, Black/Moorhead 171 (iii/III), edition 300. 5 7/8 x 4 3/8 in. Signed and numbered in pencil. This is a fine impression of the complex, early work. The margins are wide and the condition is fine. This work was printed by Hayter and Atelier 17 and was published in Laurels Number One, Laurel Gallery, New York, May 1947.
$1,400

A Day in the Country
WILLIAM HOLMAN HUNT
British, (1827-1910)
Etching, 1865, Hartnoll 16, edition unknown. 7 1/2 x 10 1/4 in. Unsigned as usual. This is a very fine impression printed on chine appliqué. The margins are full and the condition is very good. (There's a faint suggestion of light toning within an earlier mat opening.) This endearing Pre-Raphaelite print was published in "A Selection of Etchings by the Etching Club," consisting of twelve plates published by Joseph Cundall and Thomas Bosworth in 1865.
$1,400

The Father's Leave-Taking
WILLIAM HOLMAN HUNT
British, (1827-1910)
Etching, 1879, Hartnoll 17, Walker Art Gallery 83; edition unknown. 7 1/2 x 9 7/8 in. Initialed and dated in the plate, lower right. This is a fine impression on Japan paper with the completed image and with the borderline added. The margins are full and the condition is fine. This impression is one of a group of proofs printed before the formal edition of 100 for the Etching Club publication by H. Blair Ansdell. This exceptional Pre-Raphaelite print is from the collection of Mrs. Elizabeth Burt, by adoption, the artist's granddaughter. This uncommon print portrays Hunt's second wife, Edith, holding their daughter, Gladys.
$2,200

Circus Dressing Room
LAURA KNIGHT
British, (1877-1970)
Etching and aquatint, 1925, Bolling/Withington 41, edition 20 plus 5 trial proofs. 13 7/8 x 9 3/4 in. Signed in pencil. This is a superb, rich impression with full margins. The condition is a fine apart from small, soft wrinkles at the edges of the sheet, notably along the left edge. These do not appear near the image. Knight had a passion for the circus and did several works relating to circus life. In the first half of the century she was one of the most highly regarded of British artists and in 1936 she became the first woman to be created a Royal Academician since the original women members Angelica Kauffmann and Mary Moser.
$2,200

Three Graces of the Ballet
LAURA KNIGHT
British, (1877-1970)
Soft ground etching, 1926, Bolling/Withington 43; edition 30. 13 7/8 x 9 3/4 in. Signed in pencil. Here we have a fine, rich impression with full margins. The condition is fine apart from two small, old paper hinges on the left edge of the sheet. Knight produced several prints of women dressing with a focus on clothes, mirrors and make-up within the atmosphere of a theatrical dressing room. This is one of her best prints.
SOLD

Lady with a Shawl
LAURA KNIGHT
British, (1877-1970)
Soft ground etching with aquatint, 1926, Bolling/Withington 45; edition 35. 13 1/2 x 9 7/8 in. Signed in pencil. This is a superb impression in fine condition. The margins are full. (There are two paper hinges at the left edge of the sheet and a small, subtle tape stain in the center, verso, not showing on the front.)
SOLD

Ariadne
SYDNEY LEE
British, (1866-1949)
Woodcut printed in colors, circa 1904, Meyrick 28, edition 50. 9 5/8 x 8 7/8 in. Initialed in the block, lower left. Signed in pencil. This is a fine impression of this rare print. The margins are substantial and this appears to be the full sheet as printed. The condition is fine apart from some discoloration in the lower right corner in the margin only. The catalogue illustrates six color variations of this captivating image. Meyrick states," Ariadne, daughter of King Minos of Crete, fell in love with Thesus, who had traveled to Crete to kill the Minotour. When she gave him a sword and thread to guide him through the Labyrinth, he promised to marry her. After he killed the beast they sailed for Athens, but on the way Thesus abandoned Ariadne on Naxos."
$2,500

Preparing the Meal
WILLIAM LEE-HANKEY
British, (1869-1952)
Etching and drypoint, 1920s-1930s, Subsequent to Hardie, edition probably about 50-100. 11 5/8 x 9 5/8 in. Signed in the plate with the monogram, lower right. signed in pencil below the image and with the embossed stamp of the artist. This is a fine impression of this large work. The paper is a cream wove with full margins. The condition is excellent. This is a very nice example of his work.
SOLD

The Lesson
WILLIAM LEE-HANKEY
British, (1869-1952)
Etching and drypoint, 1920s, edition probably 50-75. 6 1/2 x 8 3/8 in. Initialed in the plate, lower right. Signed in pencil below. The artist's embossed stamp is also just below the image. This is a fine impression in fine condition. The margins are full. Lee-Hankey's endearing and beautifully drawn portraits of mother and child are among the best prints he produced.
$500

The Summer Moon
WILLIAM LEE-HANKEY
British, (1869-1952)
Etching and aquatint on zinc with cartridge paper ground, 1905, Hardie 21; edition 75 in color and 25 in monocrome. 11 3/4 x 9 7/8 in. Signed in the plate with the artist's monogram, lower right. Signed in pencil. This is a superb, luminous impression with full margins. The condition is very good other than for a faint suggestion of a mat line from an earlier mount. The artist studied at the Royal College of Art and during the early years of the 20th century he was working in France, notably in Brittany and Normandy. He maintained a studio at the Etaples art colony. In 1912, he established the School of Colour Printing in Hammersmith with Nelson Dawson.
SOLD

The Shop Window
ISABEL DE BOHUN LOCKYER
British, (1895-1980)
Linocut printed in colors, 1930, edition 50. 8 1/8 x 6 3/4 in. Signed, titled, numbered and dated in pencil. This is a superb impression printed on Japanese paper. The margins are full and the condition is fine. (There's some stray printing ink in the outer right margin.) Lockyer was not associated with the Grosvenor School even though she was a very talented linocut artist in her own right. She was friendly with Claude Flight who invited her to exhibit some of her prints at his annual linocut exhibitions in the 1930s. She was largely independent and often exhibited with the Society of Painter-Gravers in Colour from 1925 to 1938. The Shop Window is one of her finest works.
SOLD

Low Tide (London)
ERNEST S. LUMSDEN
British, (1883-1948)
Etching, 1921, Lumsden 221; edition 50. 9 1/4 x 13 3/8 in. Signed and dated in the plate. Signed and numbered in ink. This impression printed by the artist and is so inscribed, "imp." Here we have a superb, atmospheric impression printed on a fine 19th century sheet of laid paper (watermarked "Stacey Wiseman 1885"). The margins are full and the condition is excellent. Lumsden's London views are rare as he etched only seven such subjects. This exceptional print shows St. Paul's and the city as seen from Southwark. Lumsden's book, The Art of Etching, is a landmark publication first published in 1925. It's been a starting point for most British print enthusiasts over the years, myself included.
$1,250

Edinburgh Tenements
ERNEST S. LUMSDEN
British, (1883-1948)
Etching, 1934, Lumsden 333, edition 10. 13 x 8 1/2 in. Signed in pencil and inscribed "7". This is a fine impression of this rare, late work. The margins are full and the condition is fine other then for faint staining and toning along the edges of the sheet, verso. Lumsden's book, The Art of Etching, is a landmark publication first issued in 1925. It's been a starting point for many British print enthusiasts over the years.
SOLD

The Passing Gondola
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1926, Hardie/Carter 230; edition 80 plus 11 trials proofs. 8 3/8 x 10 1/2 in/ Signed and dated in the plate, lower left. Signed and numbered in ink. This is a superb impression with full margins. The condition is fine. (There are remains of white linen tape hinges at the top corners or the margin.) Here we have a nice example of McBey's work in Venice.
SOLD

September Sunset
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1928, Hardie/Carter 241, edition 80 plus 12 trial proofs. 8 7/8 x 17 7/8 in. Signed and dated in the plate, lower left. Signed and numbered in ink below. This is a fine, luminous impression printed on cream laid paper with an elaborate fleur-de-lis watermark. The margins are full. The condition is very good apart from a couple of small repaired tears in the margin edges and some light toning within an earlier mat opening. The catalogue describes the view as follows, "Venice is seen from the Canale di San Marco near the Public Gardens. Towards the center on the left is San Giorgio Maggiore, and beyond, to the right, dimly glittering in the light of the setting sun, the Salute."
SOLD

The Pool
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1914, Hardie/Carter 150, edition 50 plus several trial proofs. 9 1/2 x 14 1/8 in. Signed and dated in the plate, lower right. Signed and numbered (VIII) in ink. This is a fine impression from the published state with wide (full?) margins. The condition is very good apart from very faint toning within an earlier mat opening. This Whistlerian London view shows the Pool of London from a warehouse near the south end of the Tower Bridge looking north.
$950