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 Convent of San Payo, Santiago de Compostela
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1929, Dodgson 434( xviii/XVIII); total edition of 102. 12 1/4 x 7 1/4 in. Signed in the plate, lower right, and signed in pencil. A fine impression printed on a sturdy cream wove paper. The margins are substantial and the condition is very good. (There's a horizontal crease in the lower margin, well away from the image.) Bone's amazing skills are on full display here with this mesmerizing study in foreshortening.
$1,300

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

Mizzen Topmast Crosstrees
ARTHUR BRISCOE
British, (1873-1943)
Etching, 1931, Hurst 283, edition 75. 13 7/8 x 10 in. Signed, dated and titled in the plate. Signed and numbered in ink. This is a fine impression printed on cream laid paper. The margins are full. The condition is very good apart from a subtle bit of foxing in the lower left corner of the margin and extremely faint toning within an early mat opening.
$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

The Chimera of Amiens
DAVID YOUNG CAMERON
Scottish, (1865-1945)
Etching with drypoint, 1910, Rinder 415 (v/VII), edition unknown. 9 5/8 x 7 1/4 in. Signed in the plate in the upper left corner. Signed in pencil below, lower right. This is a superb impression printed on off-white laid paper. The margins are probably full but the left side is narrow measuring 3/8". This memorable work was certainly inspired by Meryon's "Le Stryge" from 1853. Cameron visited France in 1910 following a trip to Egypt. A chimera is a fire breathing monster of Greek mythology and a combination of various parts of different animals.
$1,500

Saint Mark's, No. 3
DAVID YOUNG CAMERON
Scottish, (1865-1945)
Etching and drypoint, 1900, Rinder 311 (iv/IV), edition unknown. 10 1/2 x 7 1/2 in. Signed in the plate, lower right. Signed in pencil. Here we have a fine impression of this engaging, intricate print. The paper is a thin Japanese and the margins are modest but this is probably the full sheet as printed. The condition is fine. This is the third of three prints by Cameron of St. Mark's in Venice. The first of the three was included in his North Italian Set.
$800

The Family
PAUL DRURY
British, (1903-1987)
Etching, 1950-51, Garton 66 (iv/IV); edition 50. 5 5/8 x 7 in. Initialed in the plate and signed and dated in pencil. A fine, luminous impression printed on wove paper. The margins are full and the condition is excellent. This plate was published in an edition of 50 for the Print Collectors Club, 1952.
$800

Sparks Wharf (London)
AILEEN MARY ELLIOTT
British, (1896-1966)
Etching and drypoint, 1925, small edition. 5 3/8 x 6 5/8 in. Signed and dated in the plate, lower right. Signed in pencil. This work was printed by the artist and is so inscribed. Here we have a fine impression with full margins. The condition is fine other than for old hinges at top, recto. Etched in the style and spirit of Whistler, this lovely print is mentioned in Guichard's book on British Etchers, page 37. Her well crafted etchings appeared in Fine Prints of the Year.
$450

La Berceuse
ETHEL GABAIN
British, (1883-1950)
Lithograph, 1915, Wright 169, (iii/III), edition 24 in this state; total of 51 impressions. 12 3/4 x 9 1/2 in. Signed in pencil. A fine impression in fine condition. Full margins.
$900

Un Joli Laid ('Chow')
ETHEL GABAIN
British, (1883-1950)
Lithograph, 1914, Wright 156, edition 24. 11 3/4 x 10 in. Signed in pencil. A fine impression in very good condition with full margins. Some rippling in the margins.
$900

Une Fille de Marie
ETHEL GABAIN
British, (1883-1950)
Lithograph, 1914, Wright 149, edition 24. 11 x 14 in. Signed in pencil. A fine impression in fine condition. Full margins. Other works by Gabain arecurrently available.
$900

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

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

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.
$2,500

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