LIST 549

JUNE 2024


Issued 5pm 4th June

  • ANON (Nineteenth-Century)
    Spanish Majas. Pencil. Circa 1860. 6×4.5 inches. Framed: 12×10 inches.
  • ANON
    ‘Fysshynge wyth an Angle’. Wood-cut. After the illustration in the ‘Boke of Seynt Albans’ (1486). Probably eighteenth / early nineteenth century. Ex. Collection Gustav Parthey (1798-1872). 5×4 inches.
  • Badmin R.W.S. R.E., Stanley Roy (1906 – 1989)
    London: ‘Cheyne Row, Chelsea’ (CB38). Etching. 1935. Artist’s Proof outside of the edition of 50. Signed and titled. 6×6 inches.
  • Bone N.E.A.C., Stephen (1904 – 1958)
    London: ‘River Police’ on the Thames under Hungerford Bridge. Oil on panel. c.1930. Signed. Signed and titled verso. Exhibited: Leicester Galleries. 9.5×13.5 inches. Framed: 15×19 inches.
  • Bone R.W.S. N.E.A.C., Sir Muirhead (1876 – 1956)
    Glasgow; ‘Saint John’s / Sauchiehall Street’. Pencil. Inscribed. c.1910. 7.75×5.5 inches.
  • Brangwyn R.A. R.W.S., Frank (1867 – 1956)
    Russia: ‘Bridge built for Catherine the Great, Moscow’. Pencil, pen and ink. Signed. Titled verso. Illustrated: Frank Brangwyn and Christian Barman, ‘The Bridge’, publ. John Lane, 1926, p.241. 10.5×16.5 inches.
  • Burra, Edward (1905 – 1976)
    ‘Drag Queen’. Etching. 1972. Signed and editioned, 56/75. Exhibited: Blond Fine Art. 12×10 inches.
  • CD (Nineteenth-century)
    East Sussex; Brighton (set on dramatic cliffs!), the Chain Pier. Pencil and watercolour. Monogrammed ‘CD’. Titled verso. Too early to depict the fateful storm of 1896 that destroyed the Pier. So perhaps the storm that caused damage in 1833. 6×8.5 inches.
  • Chinnery, George (1774 – 1852)
    Sketch for a figure composition. Pen, brush and ink. c.1810. 4.25×3 inches.
  • Clennell, Luke (1789 – 1840)
    London; Somerset House from the Thames. Pencil and monochrome wash. Ex. Collection: L.G. Duke (D1075) 5×6.5 inches.
  • Deakins, Tom (born 1957)
    ‘Cedars and Seat’. Oil on board. 1998. Signed and dated, verso. Exhibited: Chappel Galleries. 8×6 inches. Framed: 12.5×10.5 inches.
  • Dodds, James (born 1957)
    Essex; ‘Brightlingsea, Past and Present’. Linocut. Signed, titled and editioned ’28/100′. 17.5×28 inches.
  • Flaxman (After), John (1755 – 1826)
    ‘Illustrazioni dell’ Opere d’Omero e Aeschilus’; an album of 54 drawings after Flaxman’s illustrations to Homer and Aeschylus. Pen and ink. c.1810. This volume is testament to the impact Flaxman’s line illustrations had on artists here, and on the continent. His illustrations to the Iliad were made in Rome, engraved by Piroli and first published in 1793. His illustrations to Aeschylus appeared in 1795 with many editions being printed throughout Europe. We are only showing a selection of images here. More can be sent. Dimensions given are for the album. The drawings match the size of Flaxman’s prints, roughly 8×11 inches. 21.5×16 inches.
  • Hardie R.E., Martin (1875 – 1952)
    France; ‘The Fig Tree, Martigues’. Etching. Drawn on the plate, April 1921. Signed. 7×5 inches.
  • Hare, Augustus (1834 – 1903)
    Italy; ‘Via Appia, Rome’. Watercolour. Inscribed. c.1870. 4.25×13.75 inches.
  • Holland, Dudley (1915 – 1956)
    Dressing. Linocut. c.1930. Proof. 13×9.5 inches.
  • Howitt, Samuel (1756 – 1822)
    Changing Horses outside the Crown Inn. Pen, ink and watercolour. Original washlines under the mount. Exhibited: Morton Morris and Co. where provenance given as ‘Lord Wharton’. 6.25×9.5 inches.
  • Hunter RBA, George Sherwood (1846 – 1919)
    Cornwall; ‘Phyllis, a Newlyn fisher girl / Sketch for Portfolio’. Oil on canvas. Signed and dated, 1893. Signed, titled and dated verso. 10.5×7 inches. Framed: 18.5×14 inches.
  • Ibbetson, Julius Caesar (1759 – 1817)
    ‘Nice China Oranges’. Pen, ink and watercolour. c.1790. Titled under the mount. Exhibited: Morton Morris & Co. 4.5×4 inches. Framed: 14×12 inches.
  • Kapp, Helen (1901 – 1978)
    Ingredients. Pen and ink illustration by the Slade trained artist who exhibited with the Society of Women Artists. Probably for Basil Collier, ‘Take Forty Eggs’, 1938. In 1951 Kapp was appointed Director of the Wakefield Art Gallery (now the Hepworth Wakefield) and in 1961 became the first director of the Abbot Hall Art Gallery. Provenance: John Russell Taylor. 10.5×14 inches.
  • Keene, Charles (1823 – 1891)
    Two Gentlemen on a busy London street. Pen and ink. For ‘Punch’. Provenance: E. L. Franklin. 8.5×5.75 inches. Framed: 16.5×12.5 inches.
  • Kingerlee, John (born 1936)
    Moroccan Arch. Mixed media on paper. Signed. 15.5×11.25 inches.
  • Knight R.A. R.W.S., Dame Laura (1877 – 1970)
    ‘At the Footlights’. Aquatint. 1923. Signed. 8.5×6.25 inches.
  • Macleay R.S.A., Kenneth (1802 – 1878)
    A Young Scot. Watercolour and gouache. 1860. 17×13 inches.
  • Morland, George (1763 – 1804)
    Cattle and woman in a barn interior. Pencil and oil on canvas. Provenance: with a, sadly partial, inscription on an old backing, written by a previous owner and documenting how the work had come into their possession, dated 1914 and initialled ‘HCH’. 17.5×23.5 inches. Framed: 21.5×27.5 inches.
  • O’Neill, Hugh (1784 – 1824)
    London; ‘Mill from the Brewery, Lambeth Marsh’. Pencil and monochrome wash. Signed and dated, 1801 (or 7). Inscribed verso. Hugh O’Neill variously signed himself O’Neill, O’Neil, Neill or Neil. 9.25×12.5 inches.
  • Palmer, Samuel (1805 – 1881)
    ‘The Early Ploughman’ or ‘The Morning Spread upon the Mountains’ (Lister E9). Etching. 1860/1861. State 5 of 8. This plate was re-bitten in 1880, it’s sixth state, when Palmer decided to return to it. Provenance: Craddock and Barnard c.1978. See our page of available stock for an impression of the final state, printed by Short, Hardie and Griggs in 1926. 5.25×8 inches.
  • Pearcey, Eilean (1901 – 1999)
    Nakamura Utaemon (1917-2001) the famous Kabuki performer playing Hannyo no Mae in a Noh Drama, Sadlers Wells, 1972. Charcoal. Signed. Exhibited: Rowley Gallery. 14.5×11.5 inches. Framed: 18.5×15.5 inches.
  • Poynter P.R.A., Sir Edward (1836 – 1919)
    Figure Studies; A black child, recto. A seated woman, verso. Chalks. Studio stamped recto and verso. Provenance: Sotheby’s, 8th November 1984; to A and H; private collection. 15×9.5 inches.
  • Raven-Hill, Leonard (1867 – 1942)
    ‘The Old Calf Shed’. Pen, ink and chalk illustration. For ‘The Butterfly: A Humorous And Artistic Monthly’. Inscribed under the mount. Provenance: John Russell Taylor. 6.25×10 inches.
  • Rowlandson, Thomas (1756 – 1827)
    Prisoners being lead into a cave prison. An illustration to … ? Pen, ink and watercolour. c.1800. 13.75×17.25 inches.
  • Schultz, Anton (1894 – 1977)
    USA; Wall Street, New York. Etching. c.1929. Signed. 12×7.5 inches.
  • Serres R.A., Dominic (1722 – 1793)
    Landscape with windmill. Watercolour. Circa 1780. Original wash-line mount. 10.75×9 inches.
  • Sharples, Rolinda (1793 – 1838)
    Bristol School / U.S.A. interest; a young artist with her sketchbook and pencil sitting on a chaise longue. Oil on panel. 1823. Inscribed verso ‘Painted by Rolinda Sharples / 1823 / Lower Harley Place / Clifton’. Provenance: Francis Greenacre, former curator of art at Bristol Museum and Art Gallery and the great authority on the Bristol School; by whom sold to Martin Davies F.S.A., Bristol School collector. The picture is accompanied by a 1992 letter from Francis Greenacre to Martin Davies confirmed the authenticity of the work. 10×8.25 inches. Framed: 14×12.5 inches.
  • Sheringham, George (1884 – 1937)
    A circus arena. Watercolour and gouache. c.1910. Signed. 5.5×8.75 inches.
  • Sickert R.A. N.E.A.C., Walter Richard (1860 – 1942)
    Dieppe; ‘Quai Henri IV’. A woman singing in the Vernet’s Café-chantant. Etching. 1915. Third, published state. Signed. 8×5.25 inches. Framed: 16×12.5 inches.
  • Sutherland O.M., Graham (1903 – 1980)
    ‘Clegyr-Boia II (Landscape in Wales)’ (T.34). Etching and aquatint. 1936. As published in Signature 9 (July 1938). 7.75×5.75 inches.
  • Tindle R.A., David (born 1932)
    France; ‘Paris / The Louvre’. Pen, ink and watercolour. Signed and dated, 1955. 12.5×15.25 inches.
  • Topolski R.A., Feliks (1907 – 1989)
    London; ‘Chez Victor’, Wardour Street. Pencil and crayon. Circa 1965. Signed and inscribed, also ‘le proprietor Monsieur Gilbert France’. 14×20 inches. Framed: 22×27.5 inches.
  • van de Velde (the Younger) (Attributed to), Willem (1633 – 1707)
    Shipping off a rocky coastline. Pencil and monochrome wash. Ex. Collection: Sir Bruce Ingram (1877-1963) his stamp verso. 6.5×12 inches.
  • Ward R.A., James (1769 – 1859)
    A seated postillion. Black and white chalks. Circa 1795. Signed. Exhibited: Julian Hartnoll. 10.75×8.5 inches.
  • Warden, William (1908 – 1982)
    ‘Red Valley’. Oil on canvas. Dated ‘2/7/72’ to the stretcher. Label of authentication signed by the artist’s niece. 9×11.5 inches. Framed: 14.5×17 inches.
  • West P.R.A. (Attributed to), Benjamin (1738 – 1820)
    Studies of hands. Verso: study of a horse. Chalks. Ex. Coll: Major A Tavener. 7.5×9 inches.
  • Wheatley R.A., Francis (1747 – 1801)
    A woman and her basket. Pen, ink and watercolour. Exhibited: Morton, Morris & Co. 6.25×8.5 inches.
  • White N.E.A.C. R.W.S. L.G. S.W.E., Ethelbert (1891 – 1972)
    ‘The Farm Nettle Hollow’. Etching. c.1920. Signed and titled. 5.5×7 inches.
  • Yarrow-Jones, Ernest (1872 – 1951)
    ‘Good Luck’. Pencil, watercolour and gold paint. Signed with monogram. Provenance: Yarrow-Jones Sale, Bonhams, 3rd March 1993. 5×4.5 inches.

AKA Patricia Preece (1894-1966)

This small group of work coincides with the Charleston Trust’s wonderful exhibition
Dorothy Hepworth and Patricia Preece: An Untold Story
that continues in Lewes until 8th September.

Shy and reclusive, Hepworth painted under the name of her life-long romantic partner Patricia Preece (1894-1966). In a unique artistic collaboration the two women established themselves as two sides of the same artistic persona; Hepworth making the work, Preece being the ‘face’ – promoting, selling and organising sittings. The exhibition curated by Emily Hill at Charleston, and the corresponding catalogue by Denys Wilcox of the Court Gallery, for the first time puts together a detailed account of the two women’s lives and career; from Slade days, to their move to Cookham, their collaboration, Particia’s marriage to Stanley Spencer and their connections with the Bloomsbury Group. A genuinely remarkable story…

CLICK HERE for information on the Charleston Exhibition

GWEN RAVERAT (1885-1957)



LIST 549

JUNE 2024


Issued 5pm 18th June

  • ANON (Nineteenth-Century)
    GROUP: Egypt; three drawings on the Nile. ‘Sunset on the Nile 9th Jan 1880’, ‘Assouan Dec 22nd 1879 / Range of Hills as seen from Assouan 1879’ and ‘Jebel Aboofayda (sic) on the Nile 11 Dec 1879 / Howadga (sic) on the Nile 11 Dec 1879’. All pencil and chalk. Each inscribed and dated. 5×8.5 inches.
  • ANON (Nineteenth-Century)
    Portrait of a woman. Pencil and watercolour. c.1820. Some surface dirt but the face beautifully preserved and wonderful quality. 8.5×6.25 inches.
  • Austin R.A. R.E., Robert Sargent (1895 – 1973)
    The Tow Rope. Etching. 1920. Signed. 4×9 inches.
  • Blake R.I. R.S.M.A., Frederick Donald (1908 – 1997)
    Abstract architectural. Oil on paper. Signed. 13.75×8.75 inches.
  • Bone R.W.S. N.E.A.C., Sir Muirhead (1876 – 1956)
    Spain; ‘The Apse of Leon Cathedral’ (D.441). Etching. The second plate. 1932. Signed. Used to illustrated Gertrude and Muirhead Bone, ‘Old Spain’, Macmillan & Co., 1936. 14×9.5 inches.
  • Brockhurst R.A. R.E., Gerald Leslie (1890 – 1978)
    ‘The Amberley Boy (No.2)’ (W.62). Etching. 1928. Signed. Edition of 111. 7.5×6 inches. Framed: 15.5×13 inches.
  • Cameron R.S.A. R.E., Sir David Young (1865 – 1945)
    Scotland; ‘Old Houses, Stirling’ (R.148). Etching. 1895. Signed. 9.5×5.5 inches.
  • Cox O.W.S., David (1783 – 1859)
    Wales; a mill at ‘Rhiwlas’, Montgomeryshire. Watercolour. Signed and inscribed. Provenance: 8×12 inches. Framed: 11×15 inches.
  • De Morgan, William (1839 – 1917)
    Figure studies. Pencil and white heightening. Provenance: Christies 21.10 1975: a sketchbook of (approx. 80) De Morgan studies, bought by Abbott and Holder. 2.5×4.5 inches.
  • Easton, Hugh (1906 – 1965)
    Flag dancer. Pencil and watercolour. Circa 1925. By the famous stained glass designer. Verso: A second drawing of a male figure and hand. Signed with the artist’s monogram and dedicated ‘To Rai / from Hugh’. 5.5×3.5 inches.
  • Francia (Circle of), Francois Louis Thomas (1772 – 1839)
    A coastline of shipping. Watercolour. Circa 1820. Very close to Francia and possibly by him. 6.5×12 inches.
  • Gahagen, Lucius (1773 – 1855)
    Queen Victoria. Terracotta roundel with painted patina. Inscribed recto ‘Victoria Regina, 1839’. Signed and dated, verso ‘l Gahagen / fecit May 24 / 1839’. Dia.6.5 inches.
  • Grant L.G., Duncan (1885 – 1978)
    Life studies. Brush and Indian ink. Provenance: one of the artist’s sketchbooks from the 1920s. Exhibited: Spink, ‘Duncan Grant and Vanessa Bell – Design and Decotation 1910-1960’, November 1991, No.37 9×12 inches. Framed: 17.5×20 inches.
  • Guthrie, James Joshua (1874 – 1952)
    Sketch for ‘Adam’s Garden’. Oil on board. Inscribed verso. 12.5×15 inches. Framed: 16×18.5 inches.
  • Hall, Oliver (1869 – 1957)
    Estuary and Jetty. Etching. c.1895. Signed. 5.5×7 inches.
  • Hardy, Thomas Bush (1842 – 1897)
    Hampshire; ‘The “Actaeon” – Portsmouth Harbour’. Pencil and watercolour. Signed and dated, 1880. 8.5×20 inches.
  • Henderson R.S.W. R.O.I., Keith (1883 – 1982)
    Egyptian Temple. Graphite and waterclour. Signed. 7.5×4 inches.
  • Highmore (Attributed to), Anthony (1718 – 1785)
    Figure study. Pencil and watercolour. c.1760. 3.5×2.5 inches.
  • Horton R.B.A. A.R.C.A., Percy (1897 – 1970)
    Studio still life with flowers in an earthenware jug. Oil on canvas. c.1925. Artist’s label verso. 14×10 inches. Framed: 19×15 inches.
  • Ihlee, Rudolph (1883 – 1968)
    Life drawing. Pencil. Signed. 8×10 inches.
  • Ince, Joseph Murray (1806 – 1859)
    Oxford; the Radcliffe Camera. Watercolour. c.1835. 10.5×7.5 inches.
  • Kirk, Eve (1900 – 1969)
    London; St Paul’s after the blitz. Oil on canvas. c.1941/42. Signed. Exhibited: Redfern Gallery. Provenance: bearing a label recto of the frame inscribed ‘Lorne Campbell / presented by / his friends in the London Office / of / Australian Consolidated Press / December 1945’. 19×27 inches. Framed: 26.5×34.5 inches.
  • Merriman (Nineteenth Century)
    Lincoln Cathedral. Watercolour. Signed with monogram ‘AM’ and dated, 1882. Inscribed verso ‘Mrs John Merriman’ and a London address. 9.5×13.5 inches.
  • Oliver, Charles William (1911 – 2004)
    ‘Portrait of a Girl’. Oil on panel. Signed and dated, 1949. Titled to an artist’s label verso. Painted while the artist was living in Tranmere and teaching at the Laird School of Art. The building visible outside is the Tranmere Methodist Church, known locally as the ‘Pepperpot’. 15×11.5 inches. Framed: 22×18.5 inches.
  • Piccioni (fl.1830-1860), Felice
    A portrait of a boy and his dog. Chalks. Signed and dated, 1831. Piccioni moved to Belfast where he lived and worked. He was certainly there by 1834, and possibly earlier. So perhaps this sitter is Irish. 10.5×8 inches.
  • Pyne, George (1800 – 1884)
    Oxford; Brasenose, the Front Quad looking towards the Radcliffe Camera. Watercolour. c.1850. 9×11 inches. Framed: 18×19 inches.
  • Raverat S.W.E., Gwen (1885 – 1957)
    ‘Mill Lane, Cambridge’ (SN555). Wood engraving. 1948. Proof. Provenance: an album of Raverat’s prints, compiled by the artist and by descent. 6×4 inches. Framed: 14.5×14.5 inches.
  • Reynolds R.I., Frank (1876 – 1953)
    Portrait in white tie (and red socks). Watercolour. Circa 1910. 9.5×11 inches.
  • Rylands, William Wynne (1738 – 1783)
    ‘Infancy’. Stipple engraving. Published September 3rd 1776. 8×7.5 inches.
  • Shepherd, George (1784 – 1862)
    London; St John Horsleydown. The Hawksmoor / James collaboration bombed during the Blitz and no longer standing. Pencil and watercolour. Signed and dated, 1812. 9.25×6.5 inches.
  • Squirrell R.E. R.W.S., Leonard Russell (1893 – 1979)
    Scotland; the Firth of Forth. Pencil, pen, ink and watercolour. Signed and dated, 1947. 9×16.5 inches.
  • Stephanoff, James (1878 – 1874)
    A Tudor Princess. Pencil and watercolour. c.1840. Ex. Collection: Edward Croft-Murray (1907-1980). 12.5×8 inches.
  • Strang R.A. R.E., William (1859 – 1921)
    ‘The Socialists’ (B.188). Etching. 1891, reworked 1913. Signed. Printed by David Strang (1887-1967). The head of the speaker here is based on Strang’s portrait of Robert Louis Stevenson. 10×12 inches.
  • Swanwick R.I. R.O.I., Harold (1866 – 1928)
    The Isle of Man; harvest field above the sea. Oil on canvas. Provenance: Swanwick Studio Sale, Gorringes 15.5.2013. 7.5×10.5 inches. Framed: 8.5×11.5 inches.
  • Van Rozzem, Ru (1924 – 2007)
    ‘Carnaval de Venice’. Etching with black printed colour. Signed, titled and dated, 1951. 5×7 inches.
  • Varley O.W.S., John (1778 – 1842)
    River barge and fishermen. Brush and monochrome wash. Exhibited: Colnaghi, where provenance given as Mrs J F S Linnell. 2×4 inches.
  • Vaughan, Keith (1912 – 1977)
    Gutsav Mahler VI. Pencil. 1974. Inscribed ‘G.M.VI’. Studio stamp verso. Provenance: the Estate of Professor John Ball. Exhibited: Gallery 27, ‘Keith Vaughan Drawings Retrospective’, Sept. 2010, No.44. 10×7 inches. Framed: 18×15 inches.
  • Verpilleux, Emile Antoine (1888 – 1964)
    London; ‘St Pancras’. Wood-cut. Signed and dated, 1912. Exhibited: Colnaghi. 14×18 inches. Framed: 22×26.5 inches.
  • Vilette, Charles (1885 – 1946)
    France; Paris, ‘Bois-Colombes’. Oil on board. c.1910. Titled verso. Provenance: with Clovis Sagot (1854-1913); Roger Fry; his daughter Pamela Diamand, and by descent; private collection. Exhibited: Grafton Galleries, ‘2nd Post-Impressionist Exhibition’, 1912, No.126 (lent by Clovis Sagot). 21×28 inches. Framed: 25.5×33 inches.
  • Walker A.R.A. R.W.S., Frederick (1840 – 1875)
    Illustration for William Black’s ‘A Daughter of Heth’, 1871. A pair of watercolour and pencil composition studies. c.1870. 4.75×6 inches.
  • Webb, Joseph (1908 – 1962)
    ‘A Master’s House’ (G24). Etching. 1930. Signed, titled and dated. Exhibited: The Art Institute of Chicago, ‘Third Annual International Exhibition of Lithography an Wood Engraving’, 1931/32. 7.25×14 inches.
  • Whistler, James McNeill (1834 – 1903)
    London; Wapping, ‘Thames Police’. Etching. 1859. Fifth State. Published in ‘A Series of Sixteen Etchings of Scenes on the Thames’ (AKA the ‘Thames Set’), Ellis & Green, 1871. 6×9 inches.
  • Wilson (Circle of), Richard (1713 – 1782)
    Figures in a capriccio landscape. Chalks and watercolour. Ex. Collection: Bill Drummond, by whom attributed to Paul Sandby, perhaps with good reason! 5.5×6 inches. Framed: 10.5×12 inches.
  • Wolseley, John (born 1938)
    ‘Cherry Tree’. Oil on board. Exhibited: Mayor Gallery, while in Brook Street (1960s?). 10.5×13.5 inches. Framed: 12×15 inches.


Large Italian Drawings

Pollitzer trained as an acrhitectural draughtsman. He is best known or his 1930s glass work; for Pilkingtons, where he worked on the Queen Mary, and for large exhibitions such as the British Empire Exhibition in Glasgow and the World’s Fair in New York, 1939. Pollitzer lived and working in Cyprus in the 1950s, but moved to Italy in 1957. From his home in Positano he made regular pilgrimages to Rome and Venice when these drawings were made.



A selling exhibition of First World War prints in collaboration with



28th JUNE – 5th JULY

As ever we would encourage you to visit this wonderful event. More than thirty dealers will be taking part this year, all within easy walking distance of each other. Details of exhibitions and talks are already on the website – CLICK HERE. NB many of the talks are recorded and made available online. So those of you who are not in London can still take advantage!


In addition to the traditional offering, London Art Week has teamed up with Trois Crayons, an organisation that promotes the study (and enjoyment!) of drawing in all its forms. London Art Week exhibitors will each be contributing one work to a mixed exhibition curated by Trois Crayons at the Frieze galley space, 9 Cork Street, London W1S 3LT.

Abbott and Holder will also be contributing a further five works to a second display Trois Crayons are curating at the same address. This will include dealers from all over the world who do not normally exhibit in London. It really will be an apportunity to see some of the finest works on paper on the market, covering 500 years.




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.

Images: These are intended as an indication of the work – please telephone or email  if you have any questions about the photograph’s relationship to the original. We are always happy to send further photos – frames, versos, inscriptions, something to give scale – so please do ask.

Postage: Most works can be packed and posted, inland and abroad. Quotes can be sent.

Approval Service: We are happy to send works on approval, but this is subject to discussion.



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