Swan and Cygnets
WILLIAM GILES
British, (1872-1939)
Woodcut printed in colors, 1911, edition 50. 12 1/4 x 15 1/4 in. Signed in the block with his monogram and signed in pencil, lower right. This is a superb impression of this outstanding color print. The margins are full. The condition is fine. This work is illustrated as plate 2 in Malcolm Salaman's Masters of the Colour Print (1928).
$2,600

Castle on a Hill in Winter
WILLIAM GILES
British, (1872-1939)
Relief etching printed from multiple zinc plates, circa 1915-20, edition unknown. 12 7/8 x 9 7/8 in. Signed in pencil, lower right, and inscribed "18" in pencil, lower left. This is a fine impression of an uncommon print. The margins are substantial and the condition is quite good. There's a crease in the lower left margin not affecting the image and mild toning in the margins from an early mount. This exceptional color print was probably based on his sketching trips in Denmark, Germany or Sweden. Giles was one of the outstanding students of Frank Morley Fletcher and he excelled in making his sophisticated color prints. Frankly, it is rather difficult to spot the difference between Giles' early woodcuts and the more sophisticated metal relief etchings. The best discussion of his work to date is Malcolm Salaman's 1928 volume, Masters of the Colour Print IV, published by the Studio, London.
$1,800

Convolvulus
WILLIAM GREENGRASS
British, (1896-1970)
Linocut printed in colors, 1937, edition 30. 9 3/4 x 10 1/4 in. Unsigned. This is a fine impression printed on thin Japanese paper. The margins are full. The condition is excellent. Greengrass enrolled at the Grosvenor School of Modern Art in 1930 and he studied with Claude Flight. He was a curator at the Victoria & Albert Museum in London. This print is illustrated on page 173 in Rhythms of Modern Life, British Prints 1914-1939 (2008) by Cliff Ackley, et al.
$4,500

Palace Court
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1933, Comstock 49 (iii/III), edition 75. 10 1/16 x 7 1/16 in. Signed in pencil. This is a superb impression printed on white laid paper. The margins are trimmed by the artist around the platemark with a little more on the bottom to accommodate the signature. The condition is fine. A total of five impressions exist of the first two states. According to Griggs, this was an imaginary scene. "It is a kind of essay on East Anglian building - of mediaeval kinds..."
$1,850

Cockayne
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1936-1937, Comstock 55 (iv/VI); thirty impressions in this state. 8 1/16 x 10 3/4 in. Initialed in the plate, lower right. Signed in pencil and below to the left, "4th." This is a superb, luminous impression with wide margins. The condition is excellent. This distinctive plate depicts old London. The Boston Public Library owns a large pen and ink drawing (1912) of the subject, made as an illustration for "Shakespeare's England." The total edition from this plate is unknown.
$2,000

Amstelodamum, No.1
SEYMOUR HADEN
British, (1818-1910)
Etching, 1863, Schneidermann 41A, (v/VI), exact edition unknown. 4 x 4 5/8 in. Signed in the plate and in pencil. A fine impression of this scarce print. 1/2 margins all around. A small, inconspicuous thin spot.
$575

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

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

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

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 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

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

Nymphs Bathing
WILLIAM E. C. MORGAN
British, (1903-1979)
Engraving, 1928, edition 83. 7 7/8 x 11 1/16 in. Signed, dated, numbered and titled in pencil. This is a superb, rich impression of this exquisite print. The margins are full and the condition is excellent. Morgan achieved fame here in the US with exhibitions in Chicago. Lessing Rosenwald purchased nine of his prints and the British Museum had acquired ten of them by 1932.
$900

The Brook
WILLIAM E. C. MORGAN
British, (1903-1979)
Engraving, 1930, edition 50. 7 1/2 x 6 1/2 in. Signed, titled and dated in pencil. Inscribed "Proof B." This is a superb impression with full margins. The condition is excellent. Four of Morgan's prints were reproduced in Fine Prints of the Year, including this one. We did locate an online catalogue of engravings compiled by Robert Meyrick but the prints are not assigned any numbers. This is described as "an ongoing project."
$800