BRITISH PRINTS ...
16TH CENTURY - CONTEMPORARY PRINTER’S PROOFS

CATALOGUE OF THE EXHIBITION

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Patrick Hughes, "Keyhole",
etching and aquatint

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Allan Barr (Exhibited 1912-1921)
Cannon St. Station, July 1910, etching 7 x 8 inches. Signed in pencil by the artist.

Claude Francis Barry (1883 - ?)
Palms, etching in blue ink with platetone on wove, 5 13/16 x 3 inches. Signed in pencil by the artist.

Thomas Barker of Bath (1769-1847)
[Two Young Boys] 1813, pen lithograph on sepia wove paper, laid on original cream wove backing sheet (as issued), watermark 1807, from Rustic Figures, edition of 200 (117 subscribers), 8 x 5 11/16 inches. Signed with monogram in the stone.

[Boy with Pitcher], 1813, 7 x 5 3/16 inches. See description above.

[Young Boy with Stick], 1813, 8 x 5 11/16 inches. See description above.

Bernard Baron (French/English, c. 1696-1762) after William Hogarth (1607-1764)
The Right Rev. Benjamin Hoadley, Prelate of the Most Noble Order of the Garter, 1743, etching and engraving, 17 x 12 inches. Signed and titled in the plate by the artist.

Glenys Barton (b. 1944)
Centre, 1995, aquatint in blue ink, printer’s proof 1 of 2 (apart from edition of 35), 5 x 5 inches. signed, titled and dated in pencil by the artist..


John Bellany (b. 1942)
Obsession, etching, printer’s proof, 1 of 2 (apart from edition of 35), 8 5/8 x 7 1/’2 inches. Signed and titled by the artist.

Peter Paul Benazech (b. 1744) after John Webber, R.A. (1752-1793)
View at Bolcheretzkoi, in Kamtschatka, 1784, from Captain Cook’s Third and Last Voyage.on 18th c. watermarked paper, 9 5/8 x 13 inches. signed in the plate.

Richard Parkes Bonington (1802-1828) after Francois Alexander Pernot
(French, 19793-1865)
Chateau de Bottwell, C. 40 iii/iii, llithograph in colors from Vues pittoresques de l’Ecosse, edition of 1826, 9 1/8 x 7 1/16. Bears red collector’s stamp of A. Maroni (Lugt 150b)

Boyd & Evans (b. 1944 and 1945)
The Valley, softground etching, 9 x 9 inches. printer’s proof edition of 2. Signed and titled in pencil by the artists.

John Boydell (1719-1804)
View of Westminster Bridge, 1753, handcolored engraving. Signed in the plate by the artist. Framed.
Charming but with some flaws.

Thomas Shotter Boys (1803-1874)
St. Andre, Chartres , 1839, color lithograph 21 x 14 inches from Voyages Pittoresques et Romantiques dans l’Ancienne France.

Sir Frank Brangwyn, R.A. (1867-1956)
[Busy Street Scene] etching in brown ink, 9 _ x 11 5/8 inches. Signed in pencil by the artist.

[Building Courtyard with Figures], etching in brown ink on laid, 10 x 8. Signed in pencil by the artist.

Gerald Leslie Brockhurst (1890-1978)
Nadejda, 1924, W. 47, F. 47, etching on J. Whatman paper, edition of 76, 5 7/8 x 4 7/16 inches. Signed in the plate and in pencil by the artist.

James Caldwell (1739-1789) after Gavin Hamilton (1730-1797)
Coriolanus from the Boydell 1709-1804) Shakespeare. Engraving on wove. 17 x 23 inches. Signed and titled in the plate. Trimmed to the platemark.

Sir David Y. Cameron (Scottish/English 1865-1945)
Loches, 1902, W. 146, G. 167, Rinder 328. Second state, etching, 10 3/16 x 5 inches. Signed in the plate and in pencil by the artist. sold

St. Aignan Chartres, 1916, R. 463, II/Vi, etching and drypoint on Japan. Total edition of all six states is only 45.9 _ x 4 _ inches. Signed in the plate and signed and titled in pencil by the artist.

Stephen Chambers (b. 1960)
Wind, etching and aquatint in yellows and black. Printer’s proof, edition of 2. 7 5/8 x 6 inches. Signed in pencil by the artist.

John Copley (1875-1950)
Ladies at a Comedy, 1922, Wright 182, lithograph. Edition of 15. Signed in pencil by the artist and annotated “John Copley imp”.

David Cox (1783-1859)
Rural Cottage, 1820, softground etching from Young Artist’s Companion, 1824, 6 x 9 11/16 inches.

Mikey Cuddihy (b. 1952)
Curious Yellow, etching in tones of yellow, 7 x 7 inches. Printer’s proof, edition of 2. Signed, titled and dated in pencil by the artist.

Anthony Dales (b. 1960)
Look of Love, etching, Printer’s proorf, edition of 2, 7 5/8 x 7 inches. Signed, titled and dated in pencil by the artist.

William Daniell (R.A. (1823-1837)
Keifs Castle, Cathnefs, (1815-1831), handcolored etchings, aquatint and engraving, 10 xz 14 inches from Voyage Round Great Britain.

Ardnamurchan Point, Argylshire.


William Daniell
29 Lighthouse on the Stouth Stack, Holyhead (see above).
The Reculvers (see above).

Edward Julius Detmold (1883-1957)
At the Edge of the Lotus Pool, etching with drypoint, 8 x 8 inches. Signed in pencil by the artist.

Denis Dighton (1792-1827)
Naughty Boys, 1821, color lithographs (3 –plates 13, 15, 16 plus original cover, Characteristic Figures by Denis Dighton) on J. Whatman paper watermarked 1821. 9 3/8 x 11 _ inches each. Printed and published at Rowney Forster’s Lithographic Press, London, 1821, Signed in the plate by the artist.

Francis Dodd (1874-1949)
Leon, etching, edition of 100, 7 x 11 4/16 inches. Signed and titled in pencil by the artist.

E. F. Duncan (1803-1882) and John Webb (fl. late 18th-early 19th century) after J. Ferneley (1781-1860)
Fiddlesworth, 1832, handcolored aquatint, published by R. Ackerman, Paper skinned on verso, some paper loss in upper left margin.

William Elliott (1727-1766) after Jean Pillement (French, 1719/28-1808)
The Return of the Fishermen, etching, 17 x 22 5/8 inches. Signed in the plate.

Amanda Faulkner (b. 1953)
Opening Moves, etching and softground in colors. Printer’s proof, edition of 2, 6 1/8 x 7 inches. Signed in pencil by the artist.

Thomas Fielding (1758-1820) after G. Richardson (late 18th c.-early 19thc)
Ruins of Kenilworth Castle, 1819, aquatint in colors, 6 5/16 x 10 1/8 inches. Light staining in the margin.

Samuel Freeman (1773-1857) after Holbein
M. Souch, 1812, stipple engraving in color 6 x 4", signed in the plate.

Ernest George (1839-1922)
Frankfort, 1881, etching 7 13/16 x 5 11/16 inches. Signed in the plate.

Dordrecht, 1882, etching, 5 x 7 inches. Signed in the plate.

John Gibbons (b. 1949)
Angel, etching and handprint in colors. Printer’s proof, edition of 2. 9 x 7 inches. Signed, titled and dated in pencil by the artist.

David Goodfellow (active 1929-1939)
Jardin de Paris, woodengraving, edition of 100, 7 1/8 x 9 7/8 inches. Signed, titled and numbered in pencil by the artist.

William Green (1761-1823)
Egerton Farm in Kent, engraving in colors. 13 _ x 16 inches. Signed and titled in the plate.

Sir Francis Seymour Haden, R.A., (1818-1910)
Kensington Gardens, 1859, S. 3 iii/iii, Etching on cream colored wove paper. 6 3/16 x 4 5/8 inches. Signed in the plate and bearing the artist’s Estate Stamp (Lugt 1048) lower left corner. The artist’s estate stamp is traditionally accepted as an indication of a fine impression that was retained by the artist for his own personal collection.

John Harris III (1811-1865) after Henry Thomas Alken (1785-1851)
The First Steeple-chase on Record, 1839, two plates from a series of four, 10 x 14 inches. Published March 1, 1839 by Ben Brooks, Oxford.

John Postle Heseltine (18443-1929)
Salisbury, Long Bridge, etching, 5 11/16 6 3/8 inches. signed in the plate.

David Hepher (b. 1935)
Peckham Flats, etching, printer’s proof, edition of 2, 7 x 8 inches. Signed and dated in pencil by the artist.

Nicola Hicks (b. 1960)
Granddaughter, etching, printer’s proof, edition of 2, 8 x 5 inches. Signed and dated by the artist.

William Hogarth (1697-1764) page 7
A Rake’s Progress, 1735, plate 7, Shesgreen 34, engraving. Signed in the plate. Lifetime impression from the artist, collector and Hogarth contemporary, F. C. Lewis. (Additional prints available from this series).

Industry and Idleness, 1747, S. 60, Complete set of 12 engravings. Signed in the plate. Lifetime impressions from the collection of F. C. Lewis (see annotation above).

The Four Stages of Cruelty, 1750, S. 77-80. Complete set of 4 engravings. Lifetime impressions from the collection of F. C. Lewis (see above).

William Hogarth (1697-1764) and Luke Sullivan (flourished 1750)
Moses and the Pharoah’s Daughter, 1752, engraving. 16 x 20 inches. Lifetime impression from the collection of F. C. Lewis (see above).

Wenceslaus Hollar (Czech/English, 1607-1677)
Of the Sun and the Wind, etching 1st edition, 10 x 15 inches. Hollar came to London in 1637 with the Earl of Arundel for whom he acted as draftsman. With the exception of a few years, Hollar remained in England for the rest of his life. He is one of the most important artists to have worked in England during this time period.

Portrait of Adriaen Van Venne (Delft Painter, Parthey 1514, ii/ii, etching on laid paper, 6 x 4 5/8 inches.

Carole Hodgson (b. 1940)
In Shadow, softground etching in colors, Printer’s proof, edition of 2, 5 x 6 inches. Signed and titled in pencil by the artist.

Peter Howson (b. 1958)
Bozo, etching and softground, Printer’s proof, edition of 2, 8 5/8 x 7 inches. Signed, titled and dated in pencil by the artist.


Patrick Hughes (b. 1939)
Keyhole, etching and aquatint, 9 x 8 5/8 inches, printer's proof, edition of 2, signed and dated in pencil by the artist.

Derek Hurst (b. 1930)
Drought, etching and aquatint, Printer’s proof, edition of 2, 8 x 9 inches. Signed, titled and dated by the artist.

Neil Jeffries (b. 1959)
Marginal Bask, softground etching, Printer’s proof, edition of 2, 11 7/8 x 12 inches. Signed in pencil by the artist.

Augustus John, R.A. (1878-1961)
Bust of Stephan Granger, Full Face, 1906, Dodgson 16, etching. Edition of 50, 5 x 5 inches. Signed and dated in pencil by the artist.

Allen Jones (b. 1937)
win. 2 Pour les Levres, 1965, S. 37, silkscreen from 11 Pop Artists, Volume II, 80 edition of 200, 30 1/8 x 24 inches. Signed and numbered in pencil by the artist.

Lucy Jones (b. 1965)
Fountain, softground etching in colors and aquatint. Printer’s proof, edition of 2, 7 x 9 inches. Signed in pencil by the artist.

John Key (1742-1826)
Caricatures, etchings and aquatints, series of 9, each approximately 4 x 3 inches, Priced individually.

John Keane (b. 1954)
Pig’s Ear, aquatint in colors, Printer’s Proof, edition of 2, 7 x 7 inches. Signed, titled and dated in pencil by the artist. Version of Mickey Mouse.

John Kirby (b. 1954)
Full Moon, aquatint, printer’s proof, edition of 2, 9 x 5 inches. Signed, titled and dated in pencil by the artist.

Sydney Lee (1866-1949)
Hail Smiling Morn, woodengraving, edition of 55, 10 x 15 inches. Signed, and titled in pencil by the artist.

Tim Lewis (b. 1961)
Island, mezzotint, Printer’s proof, edition of 2, 3 x 6 inches. Signed in pencil by the artist.

Isabel De B. Lockyer (Grosvenor School)
The Village, linoleum cut in colors on Japan paper, edition of 25, 4 x 7 inches, signed in pencil by the artist.

Near Vevey, 1924, lincoloeum cut in colors on Japan, edition of 10, 7 7/16 x 9 1/16 inches. Signed, titled, dated and numbered in pencil by the artist.

John Loker (b. 1938)
Coastal Roller, etching in colors, 5 x 7 inches. Printer’s Proof, edition of 2. Signed, titled and dated in pencil by the artist.


Louis Manzier (Iate 19th century)
34 Mr. and Mrs. Edwin Edwards , etching, 7 5/8 x 5 _ inches. Signed in the plate by the artist. $ 250.
Edwards was a painter and a printmaker, as well as a friend of J. A. McN. Whistler.

J.L. Marks (Early 19th Century) page 10
Horse Racing, set of 4 handcolored aquatints. 8 1/8 x 13 15/16 inches each. Published June 20, 1836, London. Titled, subtitled, dated and signed in the plate by Marks. The Race from Start to Finish.

William Miller (1796 -1882) after Joseph Mallord Turner, R.A. (1775-1851)
Line Fishing Off Hastings, engraving, 7 x 10 inches. Published by D. Appleton and Co., New York.

William Monk (1863-1937)
Emanuel Lodge, 1892, etching in brown ink on vellum, 6 3/8 x 14 1/8 inches Signed in pencil by the artist.

Henry Moore (1898-1986)
Stonehenge, 1973, lithograph in colors, edition of 60, 11 x 17 7/8 inches, signed in pencil by the artist.

Paul Neagu (b. 1938)
Newhyphen House, 1995, softground etching in colors, Printer’s proof, edition of 2, Signed, titled and dated in pencil by the artist.

George Bernard Bernard O’Neill (1828-1917)
The Fourteenth of February, etching, 5 1/8 x 7 inches. Signed and titled in the plate by the artist.

Edgar Pattison (1872-)
Eastern Shopkeeper, etching in colors, 3 x 4 1/8 inches. Signed and titled in pencil by the artist. Framed. A 19th C. Arab vendor.

John Piper (1903-1992)
James the Less (Westminster), 1964, lithograph in colors, from the 90 portfolio A Retrospective of Churches) Signed in pencil by the artist . Framed.

Arthur Pond (1705-1758) after Parmigiano (Italian, 1503-1540)
[Sibyl], Hake 57, chiaroscuro woodcut in brown and blue, 5 x 4 1/8 inches. sold Signed in the plate.

Sanuel Prout (1783-1852)
Dismasted Greenlander, 1814, softground etching, signed in the plate. Framed.

David Roberts, R.A. (1796-1864)
Tomb of the Memlooks, Cairo, From The Holy Land, Syria, Idumea, Arabia, Egypt &Nubia, Vol III, published by F. G. Moon, 1849, London, lithograph in color, 9 5/8 x 13 9/16 inches mounted on board as issued in the first edition. Signed and titled in the stone. Framed.

Thomas Rowlandson (1756-1827)
Dr. Syntax present at a Coffee=house quarrel at Bath, c. 1820, handcolored etching from Doctor Syntax in Search of Consolation. 8 x 5 inches Framed.

Old Bailey, handcolored etching, from Views of London, 7 x 10 inches. Signed in the plate.

Mabel Royds (Exhibited 1899-1940)
Ghosts, color linocut, 8 7/8 x 7 inches, signed in pencil by the artist.

Tai Shon Scherenberg (b. 1962)
Head in Hands, etching with softground. Printer’s proof, edition of 2.9 x 8 inches. Signed in pencil by the artist.

Allen Seaby (1867-1953)
Three Swans Descending, c. 1928, woodcut in colors, edition of 150. 8 3/8 x 14 3/8 inches. Signed and numbered in pencil by the artist.


Charles Shannon (1863-1937) page 12
The Marble Bath, 1895, D. 36, R. 38, lithograph on laid, 6 5/8 x 4 3/8 inches. Signed in pencil by the artist.

Sir Frank Short R.A. (1857-1954)
Aile Bridge, H. 353, etching with platetone on laid, trial proof, one of 3 or 4 in this state. 7 7/8 x 10 inches.

William Simpson (1823-1899)
The Camp of the Second Division, Looking East 1855, from The Seat of War in the East (Crimean War), published by Day and Son. lithograph in colors, 11 x 17 inches, signed in the plate.
Simpson did all the drawings for this set, as well as several of the plates. Others who worked with him were J. Needham, J.A Vintner, E. Walker)

The Valley of the Shadow of Death (Caves in the Woronzoff Road Behind the 21 Gun Battery.

Camp of the Naval Brigade, before Sebastopol.

A Christmas Dinner on the Heights before Sebastopol.

Kevin Sinnott (b. 1947)
The Lift, aquatint, Printer’s proof, edition of 2, 7 x 7 5/8 inches. Signed and titled in pencil by the artist.

Jack Smith (b. 1928)
Angela, 1994, etching, Printer’s proof, edition of 2, 7 x 7 inches. Signed, titled, dated and numbered in pencil by the artist.

Andrew Stahl (b. 1954)
In the Head, etching, Printer’s proof, edition of 2, 9 x 10 inches. Signed in pencil by the artist.

John Summerfield (d. 1817) after Peter Paul Rubens (1577-1640)
Rubens and His Wife, 1801, engraving, 18 _ x 19 _ inches. Framed. 70 Summerfield was the favorite pupil of Bartolozzi.

Samuel Dunkinfield Swarbreck (flourished mid-19th century)
Irongate, Glasgow, 1839, lithograph with handcoloring from Sketches in Scotland, 17 x 13 inches. Fine example of early lithography and the image of a busy street scene.

Renny Tait (b. 1965)
Il Santo, etching, Printer’s proof, edition of 2, 9 x 10 inches. Signed in pencil by the artist.

Charles Turner, A.R.A., (1773-1847)
Charles II, King of England, mezzotint on laid, 14 3/8 x 10 3/8 inches. Signed and titled in the plate.

William Walcot (1874-1943)
San Marcos, etching with platetone, 3 7/8 x 5 7/8 inches. Signed in pencil by the artist.

Jonathan Waller (b. 1965)
Night Nurses, aquatint in colors. Printer’s proof, edition of 2. 8 x 6 inches. Signed and titled in pencil by the artist.

Alison Watt (b. 1965)
Medlar, 1995, aquatint in colors. Printer’s proof, edition of 2. Signed, titled and dated in pencil by the artist.

James A. McNeill Whistler (American/British, 1834-1903)
Old Battersea Bridge, 1879, Way 12, First state on chine applique, 8 x 13 inches, signed in the plate and in pencil with the butterfly by the artist.

Alderney Street, Kennedy 238, undescribed state, etching. Titled A Street in London, published in “Gazette des Beaux Arts”, 8 x 5 inches on Imperial Japan. Blindstamp “Im. Cadart”, lower right.

Tatting, K. 112, only state, rare. 5 x 3 inches.

Ethelbert White (1899-1972)
The Weeping Ash, woodengraving, edition of 50, 5 x 7 inches. Signed, numbered and titled in pencil by the artist.
White was both a member of the Royal Watercolor Society and the Society of Wood Engravers. His works are characterized by bold contrasts of black and white.

The Farmer, woodengraving, edition of 50, 5 x 7 inches, Signed, numbered and titled in pencil by the artist.

Unknown 18th Century Artist:
The Alchemist, aquatint and engraving, from the collection of F. C. Lewis, well known 18th century collector and friend of William Hogarth, 4 5/8 x 6 inches.

Unknown 19th Century Artists
Caricature:
A Poor Man Loaded with Mischief for Matrimony, handcolored etching on J. Whatman watermarked paper. 13 x 9 inches.

Eccentricities: A Fortune of Six and Eight Pence, lithograph in colors, 12 x 9 1/8 inches. The man with holes in his stockings thinks it’s “capital” when he inherits approximately.

Portraits:
Louis Pasteur, lithograph in colors, 7 5/8 x 4 inches, signed “T” framed.

Charles Darwin, lithograph in colors, 7 5/8 x 4 inches, unsigned but same artist as above. framed.

Miscellaneous:
Architecture, handcolored engraving, 15 x 9 1/8 inches.



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