c1930s. Etching, editioned 7/25, titled and signed in pencil in lower margin, 17.7 x 15.1cm. Old mount burn. Emanuel studied etching with Sydney Long during the 1930s. His enthusiasm for this medium is highlighted in his book, The Etchings of Cedric Emanuel, 1980, where he states “I hope I have..... More

c1930s. Etching, editioned 1/25, titled and signed in pencil in lower margin, 20.1 x 24.9cm. Ref: The Etchings of Cedric Emanuel, 1980, plate 40, listed as The Boatsheds, Rushcutters Bay. More

c1930s. Etching, editioned 14/50, titled and signed in pencil in lower margin, 32.5 x 19.5cm. Slight foxing. Illustrated in The Etchings of Cedric Emanuel, #4, with title “Boatshed, Rushcutter’s Bay.” New Zealand-born Cedric Emanuel studied art at the Royal Art Society under Julian Ashton, and learned etching from Sydney Long..... More

1989. Etching, editioned 39/50, titled and signed in pencil in lower margin, 39.2 x 47.5cm. Slight foxing. Framed. This image is held in National Gallery of Australia with a comment on Charles Blackman’s printmaking background: “Born in Sydney on 8 December 1928, where he studied drawing, Charles Blackman was self-taught as..... More

1969. Colour screenprint, annotated “artist’s proof”, titled, signed and dated in pencil with printer’s blind stamp in lower margin, 41.8 x 52.2cm. Slight stains and foxing to margins. Stamp reads “Hand-printed in collaboration with the artist. Paddington Print Studio, Australia.” Illustrated in Bannon, Australian Printmaker: An Aspect of Australian Art..... More

c1980s. Etching, annotated “A/P,” titled and signed in pencil in lower image, 19.8 x 14.8cm. Minor foxing, old mount burn. More

1839. Etching, title in plate below image, 15.9 x 24.4cm (image). Trimmed plate mark, soiling, missing portion to lower right corner of image. Laid down on acid-free paper. Partially obscured text includes “C.D. Wittenoom, Esq’r. Printed by [J.] Henshall, [1, Cloudesley Terrace, Islington].” Ref: NLA. This is a very early..... More

1860/1903. Etching, initialled in plate lower left, 16 x 12.7cm. Published in Twenty-One Etchings…, Astolat Press, London, 1903, in an edition of 150 (ten on vellum, 140 on Japan paper). Ref: Chesson #9; Beraldi #7. More

1917. Lithograph, signed in image lower centre, 35.5 x 46cm. This is no. 66 from the series of 66 lithographs The Great War: Britain’s efforts and ideals, published by the British Ministry of Information, London 1917. Ref: AWM. More

1847. Lithograph, signed and dated in image lower left, 18.5 x 16.3cm. Minor creases, ragged right edge. From Heads of the People: An illustrated journal of literature, whims, and oddities. Held in NGA. “In the crucial decade of the 1840s in New South Wales no other single figure stands out..... More

1862/later printing. Cliché-verre, signed in image lower left, 21.6 x 19.2cm (paper). Minor discolouration and foxing to upper and lower edges of image, slight rubbing, tears and paper loss to corners of border. Ref: Melot #D137. Daubigny, Corot and other artists of the Barbizon school were the first to experiment..... More

1933. Lithograph, signed in image lower left, Studio magazine logo below image, 24.5 x 16.5cm. Slight crinkling. From The Studio magazine, no. 481, vol. CV. More

c1930s–1940/1989. Thirteen (13) etchings housed in blue half-cloth folio, two initialled and dated “1939” in plate lower left or right, each editioned 14/50 and titled in pencil with Wallis’ stamped signature in lower margin, 4.7 x 13.5cm to 21.3 x 32.3cm. Slight fading and foxing to folio cover. Titles of..... More