The Trees of the Standing Stones, Dunstaffnge
ANN D. ALEXANDER
Scottish, (b. 1890)
Woodcut printed in colors, 1936, edition 50. 7 1/2 x 13 1/2 in. Signed, titled and dated in pencil. A fine impression on thin Japanese paper. Full margins. Very good condition. (Small color specks in the sky; faint discoloration within the previous mat opening.)
SOLD

Summer Dawn - Loch Etive-Side
ANN D. ALEXANDER
Scottish, (b. 1890)
Woodcut printed in colors, 1932, edition unknown (probably 50). 6 1/2 x 10 in. Signed, dated and titled in pencil. This is a fine impression on Japanese paper. The margins are fine and the condition is very good. (There's slight minor toning within an earlier mat opening.) Loch Etive joins the sea between the villages of Connel and Dunstaffnage. Ex-collection: Robert O. Muller.
$1,100

Summer Afterglow, Loch Etive-side IV
ANN D. ALEXANDER
Scottish, (b. 1890)
Woodcut printed in colors, 1933, edition probably 50. 7 x 10 in. Signed, dated and titled in pencil. This is a very fine impression with full margins. The condition is fine apart frame a very faint suggestion of toning within an early mat opening. The artist studied at the Glasgow School of Art and exhibited extensively between 1917 and 1940. Ex-collection: Robert O Muller.
$1,100

Pan in Fulham
STANLEY ANDERSON
British, (1884-1966)
Engraving, 1932, Meyrick & Heuser 203 (iv/IV), edition 50. 7 3/8 x 5 9/16 in. Initialed in the plate on the left. Signed in pencil. This is a superb impression in fine condition. The margins are full. According to the catalogue raisonné, only 10-14 impressions were printed from the intended edition of 50. The plate was lost when Anderson's studio was bombed in 1941.
SOLD

In Full Cry
SYBIL ANDREWS
British/Canadian, (1898-1992)
Linocut printed in colors, 1931, Coppel SA 13, White 13; edition 50. 11 1/4 x 16 1/2 in. (image); 12 7/8 x 171/2 in. (sheet) Signed, numbered "40/50," and titled in pencil. This is a superb impression printed on thin gampi paper (Japanese). The margins are full and the condition is fine. (There are a few subtle reinforced breaks and thin spots in the extreme edges of the sheet, not affecting the image.) This large and dynamic work depicts a fox hunting scene and is a masterpiece of Grosvenor School linocut printmaking. Provenance: Osborne Samuel, London; private collection, Massachusetts. (The print is beautifully framed and this is included in the price.)
SOLD

The Tawny Owl
JEAN ARMITAGE
British, (exhibited 1919-1938)
Woodcut printed in colors, circa 1925, edition 50. 10 3/8 x 8 in. Signed, numbered and titled in pencil. Here we have a fine, luminous impression with full margins. The condition is fine apart from old hinges at the top two corners, a small spot of foxing to the right of the image and a subtle little repair in the lower left corner below the title. The influence of Japanese printmaking is here in evidence. Her work is executed with great skill, especially as seen here. She studied with the illustrator J.D. Batten at the Byam Shaw School of Art and exhibited with the Royal Institute of Painters in Water Colours. This information was provided by the British Museum and they own two example of her woodcuts.
SOLD

The Pack Bridge, Aylestone, Leicestershire
ROBERT S. AUSTIN
British, (1895-1973)
Engraving, 1926, Dodgson 65; edition 60. 4 3/4 x 4 3/8 in. Initialed in the plate and signed and dated in pencil. This is a very fine, rich impression printed on light gray laid paper. The margins are wide and probably full. The condition is quite good. Like F.L.Griggs, Austin was inspired by the English countryside as well as its stone architecture.
$875

Distant Oxford
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1905, Dodgson 195, only state; edition 38. 6 x 8 7/8 in. Signed in the plate, lower left, and signed in pencil, lower right. This is a superb, atmospheric impression printed on Japanese paper. The margins are full and the condition is quite good. Drawn from Hinksey, this exquisite, panoramic view is reminiscent of Rembrandt and his many views of Amsterdam.
$800

The Ballantrae Road
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1907, Dodgson 212 (?/XV), edition 73. 4 15/16 x 8 in. Signed in the plate, lower left. Signed in pencil, lower right. With the initial "B" in the upper right corner of the margin indicating a preferred impression. This is a superb, luminous impression printed on cream Japanese paper. The margins are full and the condition is excellent. This romantic, Rembrandt-like landscape depicts the Ayrshire coast in Scotland.
SOLD

Fisher's Creek, King's Lynn
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1903, Dodgson 155 (ii/II), edition unknown. 4 x 10 in. Signed in the plate, lower left. Signed in pencil, lower right. This is a superb impression of this uncommon, early print. The margins are full and the paper is a cream Japanese. The condition is fine. Ex-collection: P.W. van Doorne (Lugt 4731). King's Lynn is a seaport in Norfolk in the east of England.
SOLD

A Spanish Good Friday (Ronda)
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1925, Dodgson 412 (xxix/XXIX), total edition 160 (83 in this, the final state) 12 5/8 x 8 1/16 in. Signed in the plate, lower left and signed in pencil. This is a superb impression of the final state. The paper is a sturdy cream colored Japanese with full margins. Fine condition. Inscribed "B" in the upper right corner margin by the artist indicating a very fine impression. This impression is also inscribed to the left below the image, "GB". (This is very unusual and probably stands for Gertrude Bone, the artist's wife.) As the artist has stated, "This dry-point was made, in England, from a sketch done on the spot (Ronda, Spain) Good Friday night, 1925." (See page 22 of Dry points by Muirhead Bone by M.Knoedler & Company, Inc., 14 East 57th Street, New York, 1932.) This exceptional, luminous impression is from the collection of Alan and Marianne Schwartz (Detroit).
SOLD

Tour du Gros Horloge, Evreux
RICHARD PARKES BONINGTON
British, (1802-1828)
Lithograph, 1824, Curtis 19, (ii/II); edition unknown. 13 1/4 x 8 1/4 in. Signed and dated on the stone with the printed signature. This is a fine impression printed on the usual chine appliqué. The margins are full and the condition is very good overall. There's a subtle suggestion of foxing in a couple of spots in the margins and a trace of old hinge adhesive at the top corners. Bonington was a remarkable draughtsman and this is an iconic image for the early history of lithography. He produced other lithographs for Baron Taylor's celebrated "Voyages Pittoresques et Romantiques dans l'Ancienne France" which spanned the years 1820-1878 and this is among the finest. Unfortunately, Bonington died at a very young age.
SOLD

In Old Whitby
SYLVAN G. BOXIUS
British, (b. 1878)
Woodcut (linocut?) printed in colors, circa 1920-30, small edition. 9 1/4 x 7 1/2 in. Signed and titled in pencil. Here we have a fine, beautifully-inked impression printed on a creamy Japanese paper. The margins are narrow but sufficient. The condition is fine. Boxius is one of a multitude of gifted traditional blockprint artists working in England between the wars. His work is consistently good and merits more attention. Whitby is a seaside town in the county of North Yorkshire.
$550

Typhoon - The Burst Topsail
ARTHUR BRISCOE
British, (1873-1943)
Etching, 1924, Laver 22, Hurst 94; edition 75. 7 7/8 x 11 7/8 in. Signed and numbered in ink. Here we have a fine impression with full margins. The condition is fine other than for a very faint suggestion of light toning within an earlier mat opening. This dramatic, early print was very well received when it was made in 1924. Briscoe's thorough knowledge of ships and life at sea helped to solidify his reputation as the preeminent British maritime etcher of the 20th century.
$1,200

The Bowsprit (Plate 1)
ARTHUR BRISCOE
British, (1873-1943)
Etching, 1928, Hurst 209, edition 75. 8 3/4 x 13 3/4 in. Signed, dated and titled in the plate, lower right. Signed and numbered in ink. This is a superb impression printed on antique laid paper with a subtle bluish-green tint. The margins are full and the condition is fine. This was Briscoe's own ship called "Golden Vanity," the name of which appears on the bow. He also did an oil painting of the same subject.
$1,200

La Tresse (Anais)
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1926, Fletcher 56 (iv/VII); edition 111. 8 1/4 x 6 7/8 in. Signed and dated in reverse in the plate, lower left. Signed in pencil. Inscribed below, "4th state G.L.B." in pencil. this is a fine impression with full margins. Fine condition. There were six trials in this state among a total of thirty such proofs. The differences between this state and the final state are minimal. There's a small arch etched on top of the plate over the sitter in the final state. The sitter, Anais Folin, was Brockhurst's first wife.
$1,250

Adolescence
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1932, Fletcher 75 (v/V); edition 90. 14 3/8 x 10 7/16 in. Signed and dated in the plate. Signed in pencil. This is a superb, luminous impression printed on white wove paper. The margins are wide and probably full. The condition is fine apart from just a very faint suggestion of toning within an early mat opening. This iconic image is illustrated and discussed in Great Images of British Printmaking by Raymond Lister (1978), page 61.
SOLD

Figurante
JOHN BUCKLAND-WRIGHT
British, (1897-1954)
Wood engraving, 1932, C. Buckland-Wright L.80, edition 40 (only 15 printed). 3 7/8 x 1 3/4 in. A fine impression on thin Japanese paper. Full margins. Very good condition. Old, original hinges showing through slightly at top corners.
SOLD

Masque of the Red Death (the title of the volume)
JOHN BUCKLAND-WRIGHT
British, (1897-1954)
Wood engraving, 1932, Buckland Wright A-9; edition 175. 6 1/4 x 4 1/4 in. Signed in pencil. This is a fine, rich impression with probably the full margins. The condition is excellent. This is one of thirteen wood engravings in this publication. The edition was printed in 1932 by Halcyon Press in Maastricht.
SOLD

Souvenir d'Amsterdam
DAVID YOUNG CAMERON
Scottish, (1865-1945)
Etching and drypoint, 1915-1930, Rinder 460 (iv/IV), edition 60. 14 3/4 x 10 3/8 in. Signed in the plate, upper left. Signed in pencil, lower right. This is a superb impression printed on light cream laid paper without a watermark. The margins are somewhat narrow on the top and sides but this may well be the full sheet he printed on. The condition is fine apart from a repaired break in the upper right corner of the margin away from the image. This exemplary print is also titled by the artist in the lower margin and further states, in another hand, "Cameron's own collection." There's an unknown collectors mark (initials) on the previous mat which we have yet to identify.
SOLD