P R I N T S 2 0 0 6Romantic and Neo-Romantic etchings

Wood engravings by Eric Gill and John Buckland Wright

Prints by members of the Brook Green School

Rare items issued by The St. Dominic’s Press

and other material

WOLSELEY FINE ARTS

This catalogue has been prepared in conjunction with the exhibitions to be held at

The London Original Print Fair Royal Academy of ArtsBurlington GardensLondon W1between 22–26 March 2006

and at

Wolseley Fine Arts12 Needham RoadLondon W11 2RPbetween 5–13 April 2006, Wednesday to Saturday only

Please note that items may be ordered on receipt of the catalogue

All works are framed except where statedItems may be reserved but priority is given to firm ordersWorks can be despatched with carriage payable extra at costPayment may be made by sterling cheque drawn on a UK bank or by VISA, Mastercard or AMEX

Prices are subject to change without noticeE & OE

Catalogue written by Rupert OttenDesign by Helen SwansbournePrinted by Disc to Print, London in a edition of 1,000 copiesCatalogue number 64

ISBN 1900883 50 3

IllustrationsFront cover: Samuel Palmer, The Lonely Tower 1879, catalogue no. 7Back cover: Leon Underwood, Granny Ashdown 1922, catalogue no. 44Title page: John Buckland Wright, Double Crown Club Dinner Invitation c.1954, catalogue no. 110

P R I N T S 2 0 0 6

WOLSELEY FINE ARTS12 Needham Road, Westbourne Grove, London w11 2rp

Tel +44(0)20 7792 2788 Fax +44(0)20 7792 2988

E mail: info@wolseleyfinearts.comwww.wolseleyfinearts.com

MMVI

Samuel PalmerGerald Leslie Brockhurst

Graham SutherlandPaul Drury

Robin TannerEdgar Holloway

Ralph Maynard SmithNorman AckroydLeon Underwood

Blair Hughes-StantonGertrude Hermes

Eric GillDesmond Chute

St. Dominic’s PressPhilip Hagreen

John Buckland WrightWalter SickertHenry Moore

ROMANTICS ANDNEO-ROMANTICS

SAMUEL PALMER 1805–1881

1 The Willow 1850Etching third and final state, Lister Iiii,11.7 × 8 cmFrom the 1926 edition issued by theCotswold Gallery in an edition of 75impressionsInitialed by Sir Frank Short, MartinHardie and F.L. Griggs in pencil £900

2 The Sleeping Shepherd (Early Morning)1857Etching fourth and final state, Lister 6iv,12.3 × 10.2 cmAs issued in Etchings of the Art Union ofLondon by the Etching Club 1857 £2,650

3 The Rising Moon (An English Pastoral)1857Etching seventh state of nine, Lister 7vii,14.7 × 22.5 cmAs issued in Etchings of the Art Union ofLondon by the Etching Club 1857 £1,800

4 The Early Ploughman (The MorningSpread upon the Mountains) 1861Etching fifth state of eight, Lister 9v,17.8 × 25.2 cmDedicated to Charles Goulding with the kind regards of FrederickKeppel. £2,200Charles Goulding was the brother ofFrederick Goulding, a master etcher. In1893 Charles joined his brother’s firm toproduce lithographs. Frederick Keppel(1845–1912) was a New York print dealerwho sold the work of Whistler andPalmer.

5 The Early Ploughman (The MorningSpread upon the Mountains) 1861Etching eighth and final state of eight,Lister 9viii, 17.8 × 25.2 cmSigned in pencil £4,000

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6 The Morning of Life 1872Seventh and final state, Lister 10vii,14.5 × 21.5 cmIssued in Etchings for the Art Union ofLondon by the Etching Club 1860–61

£1,700

7 The Lonely Tower 1879Etching sixth and final state, Lister 12vi,19 × 25.3 cmTitled and signed Edgar Holloway imp.

£900Printed by Edgar Holloway from therepaired cancelled plate by order ofDavid Gould in 1973. The plate had beenrestored by Macbeth Raeburn some timeearlier and various attempts had beenmade to print this notoriously difficultplate by others but without success.Holloway, then recognised as not only afine etcher but also a master print maker,spent much time and effort on theproject and produced a few excellentprints, one of which was acquired byRaymond Lister himself and another byRonald Strudwick. David Gould wasinvolved with exposing the faker TomKeating, and when it became known thatKeating had faked some Palmerwatercolours, Gould abandoned the ideaof editioning the print. Holloway madeabout 10 prints and this is the first timethey have been offered for sale.(Illustrated on front cover)

8 Opening of the Fold (Early Morning)1879Etching fifth state of eight, Lister 13v,17 × 23.5 cmSigned in pencilPublished by The Fine Arts Society,London 1880 £2,800

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GERALD LESLIE BROCKHURST 1890–1978

9 Noémie 1926Etching sixth and final state (Wright 57),18.3 × 10.7 cmSigned, edition of 111 £500

10 Anais II 1930Etching eighth and final state (Wright67), 22.6 × 17.5 cmSigned, edition of 111 £900

11 James McBey 1931Etching fifth state of nine (Wright 69),26.7 × 20.8 cmSigned and inscribed, edition of two inthis state, total edition 135 £1,300

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GRAHAM SUTHERLAND 1903–1980

12 May Green 1927Etching (Cooke 30), 11.4 × 16.1 cmSigned with initials, dated and inscribed,total edition 92 £2,000

PAUL DRURY 1903–1987

13 Hayling Island 1923–5Etching tenth state of eleven (Garton 7),8.8 × 18.2 cmSigned, dated and inscribed,edition of 45 £560

ROBIN TANNER 1904–1988

14 Easter 1970Etching (RG 25), 39.3 × 27.1 cmSigned and numbered 8/50 from the1974 edition by the Penn Print Room

£750

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EDGAR HOLLOWAY born 1914

The Self Portraits

15 Self Portrait No. 6 1932Etching M60, 22.7 × 16.4 cmSigned and numbered from the Merivaleedition of 40 printed in 1993 £600

16 Self Portrait No. 7 1936Etching M106, 24.8 × 30.1 cmThree states and an edition of 50 plussome artist’s proofs £1,400

17 Self Portrait No. 10, The Grey Topper1937Touched proof with watercolour washon background over etching M109,17.5 × 15.1 cmUnique, signed £750

18 Self Portrait No. 11 (Top Hat) 1937Etching M110, 29.6 × 20.1 cmEdition approximately eight onlyThe neo-romantic work inspired byPalmer £2,200

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The Neo-romantic Works

19 Brookside 1932Etching M62, 10.2 × 12.4 cmSigned and numbered 24/35 £525

20 Brockle’s Farm, Essex 1936Etching M96, 15.1 × 20.6 cmSigned and numbered 9/35 but fewprints pulled £650

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21 Llanthony Tertia, Capel-y-ffin 1970Etching M161, 22.3 × 15.2 cmSigned, titled and numbered 23/50 £300

22 Offa’s Dyke 1988Etching M257, 20.8 × 29.6 mSigned and numbered 8/50 £350

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23 Orchard Moon 1990Etching M259, 17.7 × 25.3 cmSigned and numbered 25/50 £350

24 The Bride 1990Etching M260, 17.2 × 24.3 cmSigned and numbered 16/50 £350

25 Wolstanbury 1990Etching M261, 17.6 × 26.5 cmSigned and numbered 6/50 £325

26 Capel-y-ffin (Church Gate and Yews)1991Etching M267, 18 × 24.8 cmSigned and numbered 29/50 £375

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RALPH MAYNARD SMITH 1904–1964

Maynard Smith trained as an architect andhad a high-profile career as such culminatingin the design and build of the Shell Centre,London, between 1953–63. However he was asecret artist throughout his life with Palmerbeing a major influence. He made only threeprints, impressions of which are very rare.

27 Meeting of Walls 1927Linocut, 15.5 × 20.5cm Signed with initials and numbered 5/20but only 5 prints appear to have beenmade. One is in the FitzwilliamMuseum, Cambridge.Recorded in the RMS archive underreference K153.02 £600

28 Song of the Coppice 1932Linocut, 14.1 × 19 cmStudio stamp, three prints only arethought to existRecorded in the RMS archive underreference K248.00 £600

29 Gathering Storm c.1932Linocut, 14 × 19 cmSigned in the block and numbered 1/20but only three prints are thought to existRecorded in the RMS archive underreference K244.00 £600

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NORMAN ACKROYD born 1938

Ackroyd studied at Leeds College of Art andthe Royal College of Art, 1961–64. He is oneof Britain’s foremost etchers and was made anRA in 1991. He specialises in depicting thewilder part of the British Isles, and issues avolume of new works most years.

30 Kame of Hoy 1996Etching, 14.2 × 21 cmSigned, titled, dated and numbered37/60 £350

31 Stenness 1996Etching, 15 × 20.6 cmSigned, titled, dated and numbered32/60 £375

32 Galway Bay 1998Etching, 17.3 × 21.4 cmSigned, titled, dated and numbered35/90 £350

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33 McDara’s Bay 1998Etching, 17.3 × 23.6 cmSigned, titled, dated and numbered35/90 £350

34 Oranmore – Evening 1998Etching, 18.8 × 25.9 cmSigned, titled, dated and numbered35/90 £350

35 The Bloody Foreland 1998Etching, 18.3 × 26.3 cmSigned, titled, dated and numbered35/90 £350

THE BROOK GREENSCHOOLLeon Underwood started the Brook GreenSchool in his house in Girdler’s Road, BrookGreen, in 1921 as a reaction to the stuffy wayin which art was taught at the Royal Collegeof Art. Amongst his first students were EileenAgar, Blair Hughes-Stanton, Jessie AlistonSmith and Rodney Thomas. The emphasiswas on life drawing and print making. In late1922 Gertrude Hermes became a student andcontinued as a student at the school inpreference to taking up her place at the Slade.As Underwood absorbed African Primitiveand Mexican art, his approach to artdeveloped and so did his teaching at theschool. Henry Moore was a student at theschool in 1931 and produced his firstwoodcuts whilst there (see below). These werepublished in The Island, a magazine initiatedby Underwood but which ran to only three orfour issues.

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LEON UNDERWOOD 1890–1975

Underwood was an outstanding sculptor,painter, print maker, teacher and writer onart. His non-conformist views and impatiencewith not only himself but also his fellowartists in the end held him back from findingthe recognition and fame that now accrues tohis work. Underwood made his first etchingin 1919 and by 1923 had produced a body ofwork that is of unrivalled quality. Havingmastered the techniques of etching he movedon to wood engraving, wood cuts and linocuts, abandoning all these in turn as hemastered them.

36 Winifred 1921Etching, 14.2 × 10.2 cm Signed, inscribed, dated and numbered15/25 £300

37 Head of a Girl 1922Etching,12.4 × 12.1 cm Signed and dated lower right, edition notstated £750

38 St. Sebastian 1921Etching, 11.8 × 8 cmSigned and dated lower right, numberedNo. 23 (edition of 25)The image of St Sebastian is based on aself-portrait £950

39 Mukul Dey 1921Etching, 12.7 × 8.6 cmInscribed and dated in the plate Numbered from the edition of 25 £400

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40 The Egg Dealer 1922Etching, 25.5 × 19.2 cmNumbered no. 10 and authenticated byMary Underwood on reverse datedMarch 1976 £1,200

41 The Goat 1922Etching, 12.8 × 17.6 cm Numbered 10/50 and authenticated by Mary Underwood in pencil dated 12.2.76 £250

42 Self Portrait in a Hat 1922White line engraving and etching,12.3 × 7.5 cm Signed and dated lower rightInscribed White line self portrait,extremely rare £2,000This exceptionally rare self portrait hasbeen made using the experimentalmethod of white-line engraving andetching on copper. Only a handful ofimpressions are known.

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43 The Three Graces 1921Etching, 19.5 × 14.4 cm Signed, inscribed, dated and numbered 5/14 £1,200

44 Granny Ashdown 1922Etching, 22.5 × 15 cm Signed and dated lower right £1,500It is said that this work was engravedfrom life direct onto the plate. It isconsidered one of Underwood’smasterpieces. (Illustrated on back cover)

45 The Tulip Girl, first state 1921Etching, 17.3 × 12.4 cmSigned, inscribed and dated lower right,a few proofs only £850

46 The Tulip Girl 1921Etching second and final state,17.3 × 12.4 cm Numbered 4/8 £750In the second state the bunch of flowerswas added lower left and there areadditional details to the body and othershading.

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47 The Banjoist 1921Etching, 20.4 × 15.9 cm Signed, inscribed, dated and numbered 3 £1,000

BLAIR HUGHES-STANTON 1902–1981

The following images were made for Pilgrim’sProgress, published by the Cressett Press 1928

48 Christiana Joins Christian 1928Wood engraving 23.7 × 17.6 cmSigned, titled, dated and numbered 7/12 £675

49 Christian and Evangelist 1928Wood engraving 23.7 × 17.6 cmSigned, titled, dated and numbered 7/12 £675

50 Christian and the River of Death 1928Wood engraving 23.7 × 17.6 cmSigned, titled, dated and numbered 7/12 £675

51 Christian and the Three Shining Ones1928Wood engraving 23.7 × 17.6 cmSigned, titled, dated and numbered 7/12 £675

52 Tail Piece 1 1928Wood engraving, 9.7 × 13.7 cmSigned, titled, dated and numbered 7/12 £350

53 Tail Piece 2 1928Wood engraving, 9.7 × 13.7 cmSigned, titled, dated and numbered 7/12 £350

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GERTRUDE HERMES 1901–1983

Hermes attended the Beckenham Art Schoolin 1921 and Leon Underwood’s Brook GreenSchool from late 1922, initially to learncarving. In 1924 she made her first woodengraving. She married Blair Hughes-Stantonin 1926 and was jointly commissioned withhim on the making of the blocks for theCresset Press’s version of The Pilgrim’sProgress (see above). In 1934 she wascommissioned to make a series of copperengravings for The Garden of Caressespublished by the Golden Cockerel Press.These copper engravings were made in asimilar style and perhaps reflect developmentsin her own private life.

54 Lovers I 1934Copper engraving, 4.8 × 7.4 cmSigned and dated, no edition, rare £400

55 Lovers II 1934Copper engraving, 7.4 × 4.8Signed and dated, no edition, rare £400

56 Lovers III 1934Copper engraving, 7.4 × 4.8Signed and dated, no edition, rare £400

57 Lovers IV 1934Copper engraving, 4.8 × 7.4 cmSigned and dated, no edition, rare £400

58 Lovers VI 1934Copper engraving, 7.4 × 4.8Signed and dated, no edition, rare £400

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ST DOMINIC’S PRESSA further group of St Dominic items, someoriginally belonging to the Ditchling weaverBernard Brockelhurst (1904–1996) and somefrom the estates of Fr John Hagreen and PetraTegetmeier.

ERIC GILL

59 The Trinity with Chalice 1914Wood engraving P22, 10.1 × 6.7 cm £250

60 The Trinity with Chalice 1914Wood engraving P22 printed in blackon blue paper, 10.1 × 6.7 cm £250

61 Dumb-Driven Cattle 1915Wodcut P36, 9.2 × 8.3 cmTypeset title and lines from the Devil’s Devices £225

62 No 27. A Man Seated in his Garden 1915Woodcut P37, 8 × 8.3Typeset title MAKING THE BEST OF IT and notes £225

63 The Money Bag and the Whip 1915Wood engraving P38 on thin Japanesepaper, 10.4 × 8.6 cmTypeset title and lines from the Devil’s Devices £225

64 The Purchaser 1915Wood engraving P40, 13 × 8.3 cmTypeset title and lines from the Devil’s Devices £225

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65 The Happy Labourer 1915Wood engraving P42 on thin Japanesepaper, 13.6 × 8.6 cmTypeset title and lines from the Devil’s Devices £225

66 Hoc Signum Vincit 1915The Symbol of Christ Crucified (finalstate) P46 on thin Japanese paper,13 × 8.2 cmTypeset title above image in capitals andThe Sign or symbol of CHRIST whoseservice is perfect freedom below image £225

DESMOND CHUTE 1895–1957

67 Purgatory 1919Wood engraving 15.3 × 9.7 cm £125Used in Pertinent and Impertinent,St Dominic’s Press 1926, Taylor and Sewell A139

68 Nativity c.1921Wood engraving 5.1 × 7.7 cm with letterpress £100Used in Cantica Natalia, St Dominic’sPress 1926 Taylor and Sewell A141

69 Nazareth 1921Wood engraving with hand colouring inwatercolour, 11.5 × 7.7 cm £250Used in Cantica Natalia, St Dominic’sPress 1926 Taylor and Sewell A141

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70 Egypt 1921Wood engraving, 8.7 × 9.8 cm £120Used in Songs to Our Lady of Silence, StDominic’s Press 1921, Taylor and SewellA 73 and Cantica Natalia, St Dominic’sPress 1926, Taylor and Sewell A141

71 The Crucifixion c.1922Wood engraving, 5.2 × 7.7 cm £90

72 Tiger, Pelican and Snake 1921Wood engraving based on a drawing byJoanna Gill, 7.8 × 9.3 cm £125Illustration used in The Game Vol.1V,St Dominic’s Press.Provenance: Philip Hagreen and bydescent

73 Holy Rosary 1921Wood engraving from a drawing byJoanna Gill, 7.8 × 9.3 cm £125Illustration used in The Game Vol IV,St Dominic’s Press.Provenance: Philip Hagreen and bydescent

74 Mother and Child 1921Wood engraving based on a drawing byJoanna Gill, 7.8 × 9.3 cm £125Illustration used in The Game Vol. IV,St Dominic’s Press.Provenance: Philip Hagreen and bydescent

75 Parlers 1925Broadsheet No. 5, (Taylor and SewellB5), 30 × 14 cmWith one wood engraving by Mary Dudley Short, sheet with fold,unframed £100

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76 A Penny Pie c.1927Rhyme Sheet No. 6 (Taylor and SewellB16), 30 × 14 cmWith one wood engraving (possibly byPhilip Hagreen), printed in black andgreen and with nine lines of a poem byHilary Pepler, unframed £100

77 The Wren at the Crib c.1924Small Rhyme Sheet, variant (Taylor andSewell B24), 18 × 10 cm, with woodengraving by Mary Dudley Short.Variant, without Rhyme Sheetdedication at the bottom, instead withChristmas Greetings from Hilary and Clare Pepler, sheet folded,unframed £75

78 The Flint c.1928Small Rhyme Sheet No. 6 (Taylor andSewell B29), 18 × 10 cmWith wood engraving by Mary Dudley Short, unframed £75

79 Saint Dominic’s Press, A Bibliography1916–1937By Michael Taylor and Brocard Sewellwith contribution by Susan Falkner andAdrian Cunningham, The WhittingtonPress 1995. Number 33 of 100 specials,signed by Brocard Sewell, Michael Taylorand Susan Falkner, housed in a slip casewith a facsimile of Daisy and Marguerite(A113) and sample sheets from Horaebeatae Virginis (A108) and Lectiones adMatutinam (A131) with three originalwood engravings by Eric Gill and one byDesmond Chute. £650

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PHILIP HAGREEN 1890–1988

80 Virgin and Child (Magnus est Dominus)c.1925Wood engraving, 6.5 × 5.7 cm plusletterpressUsed in Cantica Natalia 1926, Taylor andSewell A141 , and Meditations on OurLady 1929, Taylor and Sewell A176,St Dominic’s Press £75

81 Madonna in Adoration 1930sWood engraving, 5.8 × 7.5 cm £75

82 Our Lady c.1932Woodcut, 16.8 × 11.5 cm £100

ERIC GILL 1882–1940

P numbers refer to Catalogue of the EngravedWork of Eric Gill by John Physick

83 The Thorn in the Flesh 1921Wood engraving P184, 12.1 × 10.1 cmSigned lower right, no edition rare £1,000

84 Invenerunt me Custodes 1930Proof wood engraving P665,8.2 × 6.5 cm £300

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85 Transiliens Colles 1930Proof wood engraving P666,14.8 × 6.7 cm £475

86 Vadam ad Montem 1931Proof wood engraving P757,14.3 × 6.6 cm £450

87 Virgin and Child 1938Wood engraving P980,12.7 × 8.8 cm £425Used as a Christmas card and inscribedGreetings from Eric and Mary Gill in Eric’s Gill’s handwriting, unframed

88 Gloria in ProfundisWood engraving (not listed),12.2 × 7.6 cmSigned lower right £475

The following eight engravings conceived for25 Nudes are all exceedingly rare. There wasno published edition of these prints. Some ofthem contain notes by Gill as to the identityof the models used, and when the originaldrawings on which the engravings are basedwere made. The items come from apresentation album made by Gill and given tohis wife Mary Gill for Christmas 1937. All theprints appear to have been printed by Gillusing a roller to the inked blocks, hence someof the inking is uneven in places.

89 Female Nude Standing 1937Wood engraving P942, 23.6 × 14.5 cmSigned lower right and inscribed B.W(Beatrice Ward) £1,500

90 Female Nude Reclining 1937Wood engraving P943, 23.6 × 14.5 cmSigned lower right £1,500

91 Female Nude Kneeling 1937Wood engraving P947, 23.6 × 14.5 cmSigned lower right £1,250

92 Female Nude Standing 1937Wood engraving P950, 23.6 × 14.5 cmSigned lower right £1,250

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93 Female Nude Standing 1937Wood engraving P952, 23.6 × 14.5 cmSigned lower right £1,250

94 Female Nude Seated 1937Wood engraving P953, 23.6 × 14.5 cmSigned lower right £1,250

95 Female Nude Seated 1937Wood engraving P956, 23.6 × 14.5 cmSigned lower right £1,250

96 Female Nude Seated 1937Wood engraving P959, 23.6 × 14.5 cmSigned lower right £1,500

JOHN BUCKLAND WRIGHT 1897–1954

Buckland Wright was born in New Zealandbut was educated in Britain. In 1925 hemoved to the Continent, first to Brussels andin 1929 to Paris where he remained until theoutbreak of war. L and M references refer toThe Engravings of John Buckland Wrightedited and with an introduction byChristopher Buckland Wright, Scolar Press1990.

97 After Dark Vapours 1929Wood engraving, 11.5 × 9.9 cmSigned and numbered a/p 5/5 £450The rejected design for one of theillustrations to The Sonnets of John Keats,Halcyon Press 1930. Very rare

98 Happy is England 1929/30Wood engraving, 11.5 × 9.9 cmSigned £450The rejected design for one of theillustrations to The Sonnets of John Keats,Halcyon Press 1930. Very rare

99 On First Looking into Chapman’sHomer 1929Wood engraving, 11.5 × 9.9 cmSigned and numbered a/p 4/5 £450For The Sonnets of John Keats,Halcyon Press, 1930

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100 Dancers 1929Wood engraving L51, 12 × 6.4 cmSigned, titled, dated and numbered13/30 but only 23 prints pulled £600

101 Conversation 1932Wood engraving L84, 10.4 × 8.5 cmSigned, titled, dated and numbered22/50 £450

102 Frontispiece Tusschen Vuur en Maan1932Wood engraving, 15.6 × 10.7 cmSigned, dated and numbered 3/10 £500An illustration for Tusschen Vuur enMaan (Between Fire and Moon), byRoland Holst, Halcyon Press 1932

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103 Het Lied Buiten de Wereld (The SongOutside the World) 1932Wood engraving, 15.7 × 10.7 cmSigned, dated and numbered 3/10 £500 An illustration for Tusschen Vuur enMaan (Between Fire and Moon), byRoland Holst, Halcyon Press 1932

104 Achtergelaten (Left Alone) 1931Wood engraving, 15.9 × 10.8 cmSigned, dated and numbered 3/10Illustration for page 39 of Tussen Vuur en Maan, Halcyon Press 1932 £500

105 Achtergelaten (Left Alone) 1932Wood engraving, 15.9 × 10.8 cmSigned, dated and numbered 3/10Illustration for page 47 of Tussen Vuur en Maan, Halcyon Press 1932 £500

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106 Four Seasons: Spring 1934Wood engraving L114, 16.2 × 14.9 cmInscribed Spring No. 1 bon à imprimerand signed with initialsProvenance: The archives of L.C.Boucher Folemprise, the Hague £450

107 Four Seasons: Summer 1934Wood engraving L114, 16.2 × 14.9 cmInscribed Summer No. 2 bon à imprimerand signed with initialsProvenance: The archives of L.C.Boucher Folemprise, the Hague £450

108 Four Seasons: Winter 1934Wood engraving L114, 16.2 × 14.9 cmInscribed Winter No. 4 bon à imprimerand signed with initialsProvenance: The archives of L.C.Boucher Folemprise, the Hague £450

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109 Sunbathers 1940Wood engraving L126, 7 × 12.7 cmSigned, titled, dated and numbered 7/30but only 15 prints pulled £650

110 Double Crown Club Dinner Invitationc.1954The original copper plate incorporatingthree of the four designs used on the105th Double Crown Club AnnualDinner, Girl Scattering Flowers, Artist’sPalette and Still Life of Fruit Bowl, Plate,Knife and Goblets.17.5 × 17.5 cm,together with

Two impressions from this plate, onehand-coloured printed on one sheettogether with impressions of the fourthimage used on the invitation, Sea Horse,12.8 × 7.3 cm

One impression of the four designs onone sheet from the plastic intermediateplate produced by the printers, W.S.Cowell Ltd of the Butter Market,Ipswich, reversing the images

A colour chart showing the three coloursto be used in the final design

One hand-coloured proof taken fromplastic plates hand-coloured of the fourdesigns, one proof hand-coloured of theGirl Scattering Flowers and Sea Horseand one hand-coloured (illustrated ontitle page) and another uncoloured ofGirl Scattering Flowers.

A proof of the invitation card as issuedprinted with overlays in three colours bya lithographic process without the textand one of the invitation with letterpress as issued.

A most interesting group of materialincluding the original copper platedesign for three of the images used.

£2,800

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WALTER SICKERT(1860–1942)

111 A Weak Defence c.1911Etching and engraving 2nd and final state(Bromberg 147), 14.8 × 8.7 cmSigned in the plate, edition of 100 issued byThe Carfax Gallery 1915 £1,200

112 Kitty K, Red Lion Square 1915Etching second and final state (Bromberg164), 17.8 × 12.6 cmSigned lower right, rare £1,800

HENRY MOORE1898–1986

113 Figures Sculpture 1931Cancelled woodblock (Cramer 1)12.5 × 19.8 cm £10,000Literature: The Island 1931,

vol. 1, page 7Henry Moore Catalogue of GraphicWork, Gérald Cramer, Geneva1973. no 1

Moore made only two engravings on wood,both woodcuts, at the start of hisprintmaking career. The print was made foruse in The Island, a quarterly magazinepublished by “The Islanders”, edited by JosefBard and printed by The Hawthorne Press.The Island was conceived by LeonUnderwood in the spring of 1931. Themagazine consisted of original poems, essaysand woodcut illustrations provided by manyof the avant-garde artists of the dayincluding, amongst others, Underwoodhimself, Moore, Eileen Agar, Blair Hughes-Stanton and Gertrude Hermes.There wereonly a few proofs taken in 1931 but anedition of 50 + 10 a/ps was issued in 1966.Although the block has been cancelled byscratching, it remains a highly importantsculptural object from a pivotal time inMoore’s development and a masterpiece ofexpression.

114 Ideas for Sculpture 1969Etching (Cramer 103), 30.8 × 23.8 cmSigned and numbered 47/100. Edition 100+35 artist proofs £1,200

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