1793-1796. Twelve stipple engravings bound in a folio, artist, engraver and titles in English and French, some with plate number, publisher and date in plate below image, 42.2 x 32.5cm (approx. each). Cracks and wear to spine and corners of folio; soiling, insect damage, tears and foxing throughout images. The...
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c1850s. Colour lithograph, text including title in image upper centre and lower left to right, 10.3 x 15.7cm. Minor crease and discolouration to edges. Text includes “Cultivation and preparation of tea. Moore Brothers, 35 King William Street, City, London Bridge. Blades, East & Blades, Chromo. London.”.
1858. Etching, signed and dated in plate centre right, 15.4 x 9cm. Repaired minor paper loss to image upper right, stains to margins, old mount burn. Held in the Art Gallery of NSW collection.
1890. Lithograph, butterfly monogram in image centre left, 16.7 x 17.3cm. Publisher’s line trimmed from upper margin, minor soiling and creases, missing portion to lower right corner. Published by T.R. Way for The Whirlwind: A Lively and Eccentric Newspaper, Nov. 15, 1890 in an edition of 500 to 1,000. The...
1903. Etching and drypoint, signed and dated in plate upper left, signed in pencil in lower margin, 22.6 x 19cm. Repairs to platemark verso.
1907. Etching, signed in pencil in lower margin, 24.7 x 30.4cm. Ref: Gaunt #97, edition of 60.
1909. Colour lithograph, signed and dated in image lower right, text and title in lower margin, 24.6 x 46.4cm. Small stain to image centre right, slight crinkles overall, minor tears to margins. Text reads “Litho. by South China Morning Post, Copyright.” Harold Duke Collison-Morley studied art at the Slade School...
c1919. Woodcut with pochoir, artist’s name, title and text in German in letterpress verso, 23.9 x 17.8cm. Minor discolouration to margins. Text reads “Original holzschnitt, koloriert (coloured woodcut).” Published in Genius, vol. 1, 1919, p132. Pochoir (stencil) is a process of hand-stencilled colour, developed initially as a way of reproducing.....
c1920s. Etching, initialled “A” in plate lower right, editioned 49/50, indistinguishable signature and titled in another hand in pencil in lower margin, 17 x 22cm. Old mount burn. Most likely from a series on French brothels. Provenance: Colin Lanceley estate.
c1920s. Etching, initialled “A” in plate lower right, editioned 49/50, indistinguishable signature and titled in another hand in pencil in lower margin, 21.9 x 16.9cm. Old mount burn. Most likely from a series on French brothels. Provenance: Colin Lanceley estate.
c1920s. Drypoint, monogrammed in plate upper left, signed in pencil in lower margin, titled and annotated “drypoint” in pencil on slip attached to mount verso, 25.3 x 21.5cm. Ref: Konody, Etchings & Drypoints by S. Tushingham, #14.
c1920s. Etching, editioned 1/75 and signed in pencil in lower margin, 20.9 x 27.6cm. Old mount burn.
c1920s. Etching, signed in pencil in lower margin, inscribed “R. Hodges” in ink verso, 10.7 x 32.9cm. Minor old mount burn.
1920. Colour woodcut, titled, initialled and dated in block lower right, signed in pencil on image lower right, 34.5 x26.6cm.
1922. Drypoint, signed in plate upper left, signed and titled in pencil in lower margin, 23.4 x 30cm. Slight foxing overall. Many of Blampied’s subjects are based on his childhood, having grown up on a farm on Jersey Island, off the coast of France. Ref: Wiki.
1925. Drypoint, signed in plate lower left, signed and titled in lower margin, 22.9 x 25.2cm.
1926. Wood engraving, editioned 12/50 and signed in pencil in lower margin, 20.5 x 17.5cm. Soiling and stains to margins. Held in Smithsonian American Art Museum. Dr. Alexander Simeon Masley was the founder of the Art Education Program at the University of New Mexico, then the Department of Art Education...
1926. Wood engraving, editioned 8/50 and signed in pencil in lower margin, 17.7 x 12.7cm. Ref: Alexander Masley website.
1931. Engraving, initialled “L.” in plate lower left, signed and editioned 1/7 in pencil in lower margin, 19.5 x 14.5cm. Slight foxing overall. Framed. Provenance: James Fairfax estate. Ref: Laboureur #433. Held in Bibliothèque Nationale de France. The “flower shop at Trocadero” includes the Eiffel Tower in the background.....
1932. Colour woodcut, monogrammed in block lower left, signed, titled and dated in pencil in lower margin, 25.2 x 27.8cm. Foxing overall, tears to upper margin. A graduate of Cracow Academy of Fine Arts, graphic artist and art educator Edmund Bart?omiejczyk was influenced by Japonisme and Ukiyo-e.
1933. Colour woodcut, artist’s chop in block upper left, titled in Japanese and dated in pencil verso, 17 x 25.1cm. Minor tears and creases to left margin.
1935. Set of 7 lithographs, series name, titled, signed and dated in pencil in lower margin, sizes range from 22 x 14.5cm to 18 x 22cm. Slight foxing to margins. Titles read: 1) Muffin Man; 2) The Pearlies; 3) Chestnut Man; 4) City Policeman; 5) Oxford Street Vendor; 6) Piccadilly Flower Girl; and 7) Hyde Park Orator. This set is uncommon.
1936. Colour woodcut, artist’s chop in block upper left and titled in Japanese in ink in right margin, dated in pencil verso, 16.1 x 26cm. Captions in image include “J.L. Thompson & Co, Dispensing Chemists.”.
1945. Engraving, monogrammed in plate lower right, signed in pencil in lower margin, letterpress on original mount accompanying image, 10 x 7.6cm. Minor foxing to margins. Text on mount reads “An original line-engraving by Stanley Anderson, RA, RE, is published in an edition of two hundred and fifty copies, exclusively...
1954. Set of 12 pochoir prints accompanied with original pages of letterpress in Chinese, English, Russian and French, each image numbered in letterpress in lower margin, text includes list of titles, 24.4 x 24.1cm to 26.2 x 36.7cm. Foxing overall, slight stains, tears and creases to edges of some pages...