Bentley, Nicolas (1907 – 1978)Frontispiece.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Asepsis | Zoetrope.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Bill of Rights | Cricket.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Daylight Saving | Everest.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Fingerprints | Gamesmanship.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Habeus Corpus | Industrial Revolution.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Jury | Kilt.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Lucifer | Magna Carta.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Neurology | Orrery.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Postage Stamp | Quakers.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Rugby | Sandwich.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Trade Union | Utopia.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Votes for Women | Water Closet.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
Bentley, Nicolas (1907 – 1978)Xenon | Yarborough.Pencil, pen, ink and watercolour. For ‘British Genius: An Alphabet by Nicolas Bentley’.
BERNARD KAY (1927-2021)
1950s Abstract Watercolours
4pm Thursday 7th December
Bernard Kay trained at Liverpool School of Art and the Royal Academy Schools. In 1954 he won a French government scholarship to work in Paris and studied at the Académie Ranson (painting) and Atelier Friedlander (etching). These works were all made during that time, in December 1954 and January 1955.
These are sold in box frames with UV glass. WORLDWIDE POSTAGE and PACKING £15
Kay, Bernard (1927 – 2021)‘Pink and Black’.Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)‘Moody Blues’.Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£450
Kay, Bernard (1927 – 2021)‘Black over Yellow’.Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)‘Black and Blue’.Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£450
Kay, Bernard (1927 – 2021)‘Soft Red, Black and Green’.Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)‘Yellow, Grey and Black Spires’.Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)‘Suburban Pink and Black’.Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)Abstract Composition III.Ink, watercolour and gouache. Dated, ‘14.1.1955’. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£550
Kay, Bernard (1927 – 2021)‘Trapped Blue’.Ink, watercolour and gouache. Dated, ‘14.1.1955’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£450
Kay, Bernard (1927 – 2021)‘Yellow Horizon’.Ink, watercolour and gouache. Dated, ’21 .12.1954′. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)‘Red Map’.Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)‘Black over Yellow’.Ink, watercolour and gouache. Dated, ‘21.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Kay, Bernard (1927 – 2021)‘Un Melange’.Ink, watercolour and gouache. Dated, ‘13.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£550
Kay, Bernard (1927 – 2021)Abstract Composition II.Ink, watercolour and gouache. Dated, ‘13.12.1954’. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£550
Kay, Bernard (1927 – 2021)‘Gris de Ciel’.Ink, watercolour and gouache. Dated, ‘12.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£550
Kay, Bernard (1927 – 2021)‘Il Pleut sur la Ville’.Ink, watercolour and gouache. Dated, ‘12.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£550
Kay, Bernard (1927 – 2021)Abstract Composition I.Ink, watercolour and gouache. Dated, ‘11.12.1954’. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.
£550
Kay, Bernard (1927 – 2021)‘Construction en Noir’.Ink, watercolour and gouache. Dated, ‘11.12.1954’. Titled verso. Provenance: Artist’s Estate.6×8.5 inches.Framed: 9.25×12 inches.●
Ardizzone R.A., Edward (1900 – 1979)‘Evening in Soho’ (NAP54).Lithograph. 1954. Signed, titled and editioned ’24/30′. Exhibited: ‘Looking at People Exhibition / USSR’, No.14.10.25×9 inches.●
Ardizzone R.A., Edward (1900 – 1979)‘The Cribbage Players’ (NAP50).Lithograph. 1955. Signed, titled and editioned ‘Artist’s Proof’.8×9.75 inches.●
Ardizzone R.A., Edward (1900 – 1979)‘Lovers Under the Great Beech’ (NAP15).Lithograph. 1956. ‘Artist’s proof’ outside the edition of 12. Signed and titled.11.5×18.25 inches.●
Ardizzone R.A., Edward (1900 – 1979)‘Lovers and a New Moon’ (NAP12).Lithograph. c.1948. These two lovers stand at the bottom of the canal bridge over the Grand Union, connecting Formosa St and Delamere Terrace.7.75×7 inches.●
Ardizzone R.A., Edward (1900 – 1979)‘Old Ladies on a Green’ (NAP57).Lithograph. 1955. Signed, titled and editioned ’22/30′.The sertting is Rodmersham Green, where Ardizzone’s father lived until his death in 1942 and where Edward and his wife retired to in 1972.8×10 inches.●
Ardizzone R.A., Edward (1900 – 1979)‘The Life Class’ (NAP34).Lithograph. c.1958. Signed, titled and editioned ’11/20′. This is the old life room of the RCA in Cromwell Rd.7.75×11.75 inches.●
Sandby R.A., Paul (1731 – 1809)'John Balfour's Coffee House at Edinburgh' (AG49).Etching. 1752. Titled and dated in the plate. The old figure is Alexander Monro Primus. The younger figure may well be a self portrait of Sandby. On the wall is a spoof poster advertising a benefit concert for Monro (it is dated 1st April 1752) and on the right is an engraving after Hogarth, humorously adapted.4.5"x3.5" inches.●
Sandby R.A., Paul (1731 – 1809)‘Head and shoulders portrait of man’ (AG57).Etching. c.1755. Signed in the plate.5×4 inches.●
Sandby R.A., Paul (1731 – 1809)‘Two young ladies’ (AG61).Etching. c.1756. Signed in the plate. These figures also appear in Sandby’s print ‘View from the North Side of Virginia Water … ‘ (AG149).3.75×3.25 inches.●
Sandby R.A., Paul (1731 – 1809)‘A Book of Figures’ (AG55).Etching. 1754. Two exotic characters on the street of London.5×3.75 inches.●
Sandby R.A., Paul (1731 – 1809)‘Caricature Heads’ (AG46).Etching with hand touching. First state, with feathers (or leeks, if he’s supposed to be a Welshman!) drawn into the hat of the standing figure. These feathers / leeks are etched into the second state.6.5×4 inches.●
Sandby R.A., Paul (1731 – 1809)‘Good Entertainment / A New Book of Figures’ (AG51).Etching. c.1755. This man is probably standing outside the famous Turk’s Head Tavern in Soho. He must have been intended as a frontispiece for one Sandby’s collections of figure subjects.4.5×3.5 inches.●
Sandby R.A., Paul (1731 – 1809)‘Two women and two children, one a boy dressed as a soldier’ (AG63).Etching. 1756. Signed and dated in the plate. These figures also appear in Sandby’s print ‘View from the North Side of Virginia Water…’ (AG149).3.75×3 inches.●
Sandby R.A., Paul (1731 – 1809)‘Old man and woman seated on a bench’ (AG32).Etching. 1747. Signed and dated in the plate.6.5×4 inches.●
Sandby R.A., Paul (1731 – 1809)‘Old Woman with a Basket, three figures in the background’ (AG48).Etching. c.1755.4.75×3.5 inches.●
Miniature reproduction plaster casts of the Parthenon Frieze
2pm Friday 15th December
The following is an extract from the British Museum website … ‘These copies of the famous sculptures from the Parthenon were made by John Henning (1771-1851), who came to London from Paisley in Scotland in 1811. Henning was one of the first artists to gain access to Lord Elgin’s collection of marble sculptures from Greece, which were displayed in a makeshift museum on the corner of Park Lane and Piccadilly in London. Henning was struck by the beauty of the sculptures from the Parthenon frieze and asked for permission to draw and model them. Having made careful drawings, he sculpted miniature replicas in ivory. But this proved unsatisfactory, so Henning carved versions in slate as sunken impressions, from which raised versions were then cast in white plaster […] Henning and his son John Henning Junior (1802-57) later became well known for carving a partial replica of the Parthenon frieze around the Atheneum, the gentleman’s club in Waterloo Place, London, in 1828. The previous year they had completed a frieze loosely based on that of the Parthenon for the so-called Screen at Hyde Park Gate’.
NOTE: These are nineteenth century plaster casts, produced in large numbers to satisfy the huge level of interest in the Parthenon marbles. Some have minor scratches and blemishes on their surface. All have been conserved and are sold with a purpose made metal stand.
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Signed and dated, 1819 in the cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Signed in the cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Signed and dated, 1819 in the cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
Henning, John (1771 – 1851)A section of the Parthenon Frieze.Plaster cast. Henning made his slate moulds between 1818 and 1823.2.25×9.5 inches.●
EDWARD BURRA (1905-1976)
WOODCUTS
2pm Monday 18th December
These wood-cuts were printed by Alexander Postan from the original 1920s blocks in 1971 and sold by Observer Art in an edition of 45. The blocks were then given to the Tate.
Burra, Edward (1905 – 1976)‘Souvenir’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.6.25×4.25 inches.
£575
Burra, Edward (1905 – 1976)‘Royal Favourites’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.12×9.25 inches.●
Burra, Edward (1905 – 1976)‘Boy with a Jug’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.6.25×4.25 inches.●
Burra, Edward (1905 – 1976)‘Guitar Player’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.6.25×4.25 inches.
£575
Burra, Edward (1905 – 1976)‘Cafe’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.4×6 inches.●
Burra, Edward (1905 – 1976)‘Two at a Bar’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.6.25×4.25 inches.●
Burra, Edward (1905 – 1976)‘Cup Bearer’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.6.25×4.25 inches.
£575
Burra, Edward (1905 – 1976)‘Fleet’s in’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.6×4 inches.●
Burra, Edward (1905 – 1976)‘Balcony’.Woodcut. c.1929. Re-strike printed by Alexander Postan from the original block and sold by Observer Art in an edition of 45. 1971. The blocks then given to the Tate.6.25×4.25 inches.
£575
GEORGE DU MAURIER (1834-1896)
Drawings for Punch
2pm Tuesday 19th December
Du Maurier, George (1834 – 1896)‘The Philosophy of Criticism’.‘Critic – “Sorr, it’s by taychin the ignorant public what is good or bad, accordin’ to me loights, that I get me livin’ intoirely!” Layman – “and how’s the ignorant public to know whether you are right or wrong?”. Critic (innocently) – “By the coincidence of the popular verdict with moine, or the reverse! but eetherr way I turn an honest penny!”. Pencil, pen and ink. July 3rd 1880. Signed. For ‘Punch’.5×5 inches.●
Du Maurier, George (1834 – 1896)‘Pleasant for Papa’.“Men used to have lots of wives once, Mummy _ but they don’t now!” / “The Christian religion only allows one darling,” / “Yes, it says a man can’t serve two masters, doesn’t it Mummy?”. Pencil, pen and ink. Signed. 1882. For ‘Punch’.5×7.75 inches.●
Du Maurier, George (1834 – 1896)‘Cultchah! / A Little Knowledge is a dangerous thing’.– “Who made the Eljin Marbles Aunt Hippolyte?” / – “Pheidias, dear _ and you must say Elgin, not Eljin… The greek g, or gamma, is always pronounced hard…”. Pencil, pen and ink. Jan 1888. Signed. For ‘Punch’.5.5×4 inches.●
Du Maurier, George (1834 – 1896)Lawn Tennis; ‘A Conscious Martyr’.‘Why are you so cross, Angela?” – “Oh! because I hate selfishness, aunt! And they’re all of them so selfish!”. “What have they done?” _ “Why, they all want to go on the river, just when I want to play lawn-tennis!”_”Well, you needn’t go with them!”_”Of course I needn’t! But how am I to play lawn-tennis all by myself!”‘. Pencil, pen and ink. 1881. Signed. For ‘Punch’.5.25×8 inches.
£875
Du Maurier, George (1834 – 1896)‘Instinctive Critical Acumen’; “That looks like an old picture, John! _ What is it?” / “It’s Moses Striking the Rock!” / “Ah! I told you it was old … didn’t I, now!”.Pencil, pen and ink. Signed, 1893. For ‘Punch’,8×5.25 inches.●
Du Maurier, George (1834 – 1896)‘The “United Trousers” V. the “Divided Skirts” / (With Mr Punch’s apologies to Lady ..arberton’.Pencil, pen and ink. April 29th 1882. For ‘Punch’.6×4.75 inches.●
Du Maurier, George (1834 – 1896)‘Adding Insult to Injury’.‘Brown (whose prise St Bernard has just snatched a filler of Veal from a butcher’s slab): “HI – come & take your confounded meat away from him – he’s eating the the skewers”‘. Pencil, pen and ink. Signed. Sept 1890. For ‘Punch’,5×7.5 inches.●
Du Maurier, George (1834 – 1896)‘A Sketch from Nature’;‘Jennings and Bellamy, the famous dramatists, planning on of those thrilling plays of plot and passion, in which (as everybody knows) Jennings provides inimitable broad humour, and Bellamy the love-scenes and the tragic deaths. (Bellamy is the shorter of the two)’. Pencil, pen and ink. Signed. 26th June 1880. For ‘Punch’.5×3.75 inches.●
MAX BEERBOHM (1872-1956)
Poet’s Corner
10am Wednesday 20th December
This incomplete set of plates was taken (not by us!) from The Poet’s Corner, published by William Heinemann, 1904. They are sold newly mounted in acid-free museum board.
Purchases made before 1pm on Wednesday 20th December can arrive at UK addresses in time for Christmas.
Beerbohm, Sir Max (1872 – 1956)‘Mr Rudyard Kipling Takes a Bloomin’ Day Aht, on the Blasted ‘Eath, Along with Britannia, ‘Is Gurl’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Dante Gabriel Rossetti, in his Back Garden’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.7.75×12.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Dante in Oxford. Proctor: “Your Name and College?”‘.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Mr Matthew Arnold. To Him, Miss Mary Augusta, his Niece: “Why, Uncle Matthew, Oh Why, Will Not You Be Always Wholly Serious?”‘Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Homer, Going his Round’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Goethe Watching the Shadow of Lili on the Blind’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Henrik Ibsen, Receiving Mr William Archer in Audience’.Plate from ‘The Poet’s Corner’. Publ. William Heinemann, 1904. (Note Stain!).7.75×12.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Lord Byron, Shaking the Dust of England from His Shoes’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Mr Tennyson, Reading “In Memoriam” to His Sovereign’Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.7.75×12.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Mr W. B. Yeats, presenting Mr George Moore to the Queen of the Fairies’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Omar Khayyam’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Paul Verlaine (Usher in Private School at Bournemouth, 1877-1878)’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Mr William Watson, Secretly Ceded by the British Government to Abdul Hamid, but, in the Nick of Time, Saved from the Trap-door to the Bosphorous by the Passionate Intercession of Mr John Lane’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.7.75×12.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Scene: The Board of Trade. Time: Office Hours in the Early ‘Eighties’. Mr Austin Dobson and Mr Edmund Gosse, Composing a Ballade, are Taken Unawares by their President, Mr Jos, Chamberlain’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Robert Browning, Taking Tea with the Browning Society’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.7.75×12.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Walt Whitman, Inciting the Bird of Freedom to Soar’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘Robert Burns, Having Set his Hand to the Plough, Looks Back at Highland Mary’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.7.75×12.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘William Shakespeare, His Method of Work’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Beerbohm, Sir Max (1872 – 1956)‘William Wordsworth in the Lake District, at Cross-Purposes’.Plate from ‘The Poet’s Corner’, Publ. William Heinemann, 1904.12.75×7.75 inches.●
Our Lists introduce 100 works to our large stock of oil paintings, watercolours, drawings and prints each month.
They are usually published in two halves, in the first and third weeks of the month. We treat email enquiries about List pictures in strict order of receipt. Please call if you would prefer to talk to us about anything you see on the website, but we strongly advise sending an email first; we are happy to hold works for a short time while they are being considered, or to give time to make a vist.
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