[Sunset Landscape]
1906/1924. Wood engraving, dated “1906”, initialled with date “1924”, editioned 24/150 and annotated in pencil in lower margin, 4.1 x 11cm. Minor crinkles to margins. Annotations include “Only 150 copies printed. Copy 24.”. More
1906/1924. Wood engraving, dated “1906”, initialled with date “1924”, editioned 24/150 and annotated in pencil in lower margin, 4.1 x 11cm. Minor crinkles to margins. Annotations include “Only 150 copies printed. Copy 24.”. More
c1924. Drypoint, signed in pencil on plate mark below image, 26.8 x 43.1cm. Crease to lower right centre of image, folded left and right margins, slight mount burn. More
1924. Engraving, signed in plate lower right, 17.5 x 11cm. Crinkles overall. Ref: Skelton #P296. Eric Gill was a sculptor, typeface designer, stonecutter and printmaker, who was associated with the Arts and Crafts movement. Among his finest achievements are the engravings for the Golden Cockerel Press, owned by close friend..... More
1892/1924. Etching, signed in plate lower left, number “II” and title in letterpress in lower margin, 11.3 x 9.2cm. Minor foxing to margins, slight old mount burn. Edition of 125. Ref: Stella #4. More
c1924. Etching and drypoint, signed in pencil on plate mark below image, 10.9 x 17cm. Minor old mount burn. More
1924. Etching and drypoint, signed in pencil on plate mark below image, 9.2 x 18.3cm. Slight foxing, old mount burn. More
c1924. Drypoint, signed by Wilkinson and titled in another hand in pencil in lower margin, 29.9 x 30.1cm. Slight stain to image lower left. Depicts the Spanish Armada. More
1924. Drypoint, titled, signed and editioned 26/35 in pencil in lower margin, 27.8 x 13.4cm. Held in the National Gallery of Australia collection. More
1924. Wood engraving, signed and dated in block lower right, faded title and other annotation in lower margin, 15.2 x 20.8cm. Slight stain to centre of image, minor crinkles to upper margin. The second of two states. Ref: Bloomfield (ed.), L. Roy Davies: Wood Engravings, 1978, #35, p106, listed with..... More
c1924. Lithograph, signed in pencil in lower margin, 24.2 x 18.3cm. Minor stains overall, repaired paper loss to margin. Held in the National Gallery of Australia collection. More
1924. Etching and pencil study: (a) editioned 13/20, titled, signed and dated in pencil in lower margin, 12.7 x 12.8cm. Slight mount burn; (b) signed and dated lower right, 12.7 x 12.6cm. Perforation and rubbing to image, chips to edges. Mounted together. More
c1924. Etching, monogrammed in plate lower left, editioned 37/50, titled and signed in pencil in lower margin, 20.8 x 22.6cm. Old mount burn. More
1924. Wood engraving, monogrammed in block, titled, signed and dated “1926” in pencil in lower margin, 11.5 x 17.2cm. Illustrated in Bloomfield, L. Roy Davies: wood engravings, 1978, p110, listed with date of 1924. This church was one of the unfinished buildings constructed in Boydtown by wealthy entrepreneur and adventurer..... More
1924. Drypoint and roulette, date and text in plate lower right, signed in pencil in lower margin, 20.1 x 40.4cm. Slight foxing to margins, old mount burn. Text reads “London. Published July 1st 1924 by R. Dunthorne & Son. 5 Vigo Street W.”. More
1924. Etching with foul-biting, signed in plate lower left, annotated “no. 5 [of] 30 proofs”, titled and signed in pencil in lower margin, 32.5 x 22.9cm. Slight foxing to left side of image, missing portions and old paper tape to upper margin, old mount burn. Held in NGA, SLNSW, and..... More
1924. Wood engraving, signed in block lower right, signed and annotated “[an edition of] 100” in pencil in lower margin, 10.1 x 12.5cm. Image held in the National Gallery of Art. Graphic artist, writer and art critic Sir Lionel Lindsay “shared with his siblings an early obsession with drawing and..... More
1924. As issued, letterpress book with French binding (unbound), original boards with partial paper wrappers, and slip case, containing 55 original etchings, some monogrammed in plate, number “265” from an edition of 350 on justification page, title page in French includes author “Octave Mirbeau” and publisher with date “Ambroise Vollard..... More
1924. Colour woodcut, signed in pencil on image lower right, titled in pencil in lower margin, 40.5 x 30.9cm. Slight stains to margins. Ref: Miles #10, lists alternate title: Chinese actor in role of a general; with stated edition of 100, but only 46 were printed. This image was used as..... More
1925. Colour process lithograph with letterpress, with three vignettes each with artist’s name and two dated “1904” lower left in image, all titled below image, 93 x 58.5cm. Repaired tears, missing portions, old folds and tape marks. Linen-backed. Titles read “A try for supper; Pride of the morn; A bush..... More
c1925. Colour woodcut, signature and artist’s seal stamped on image centre right, annotated “no. 14” and signed in pencil in lower margin, 41.6 x 27.6cm. Old mount burn. Urushibara Yoshijirô (‘art name’ of Mokuchu) was influential in the English revival of colour woodblock printing in the 1920s and 1930s. He..... More
c1925. Etching, signed in pencil in lower margin, 12.7 x 17.5cm. Repaired tears to image lower centre and margin, minor foxing, old mount burn. Laid down on acid-free tissue. Ref: Wootton #108. Held in de Young Museum, San Francisco. The daughter of illustrator George Soper, Eileen was only fifteen when..... More
c1925. Lithograph, signed in image lower left, signed in ink on image lower right, 27.9 x 20.6cm. Minor foxing, old mount burn. Framed. More
1925. Drypoint, signed in plate lower left, signed and titled in lower margin, 22.9 x 25.2cm. More
1906/1925. Wood engraving, initialled “C.” in block lower left, dated “1906”, initialled with date “1925”, editioned 51/75 and annotated in pencil in lower margin, 5.8 x 5.7cm. Slight foxing to margins. Annotations include “Only 75 copies printed. Copy 51.”. More