Samuel Palmer (British, 1805-1881) The Willow Etching, 1850, a fine impression of the second state, with uniform lines in the sky, on japan laid, signed in pencil, with wide margins, 117 x 83mm (4 5/8 x 3 1/4in)(PL)(unframed)
Samuel Palmer (British, 1805-1881) The Herdsman's Cottage or Sunset Etching, 1850, the second final state with Palmer's etched initials lower left, as published in 'The Portfolio', 1872, on thick laid with wide margins, 124 x 102mm (4 7/8 x 4in)(PL); together with 'Opening the Fold' (L.13), 1880, the fifth state with the publication line but the Remarque of flowers removed, on thick wove, 162 x 230mm (6 3/8 x 9 1/8in)(PL)(2)(unframed)
Samuel Palmer (British, 1805-1881) Christmas, or Folding the Last Sheep Etching, 1850, a good impression of the third state of five, with the plate width reduced, on wove, signed in pencil, with wide margins, 124 x 102mm (4 7/8 x 4in)(PL)
Samuel Palmer (British, 1805-1881) The Skylark Etching, 1850, the seventh state of eight, on chine collé, with the engraved signature and number '17' below the image, as published in 'Etchings of the Art Union of London by the Etching Club' in 1857, with wide margins, 120 x 98mm (4 3/4 x 3 7/8in)(PL); together with two others, 'Christmas or Folding the Last Sheep' (L.4), 1850, fourth state of five, with letters 'Christmas, from Bampfylde's Sonnet' and 'S.Palmer' in lower margin, on thick laid, published in 'Samuel Palmer A Memoir' by A.H. Palmer in 1882, with wide margins, 125 x 100mm (PL); 'Sleeping Shepherd; Early Morning' (L.6), 1857, second state of four, with the ploughman and oxen appearing lighter against the sky, on chine collé, with wide margins, 125 x 118mm (PL)(3)
Samuel Palmer (British, 1805-1881) The Morning of Life Etching, 1860, the final seventh state, with letters 'Samuel Palmer. The Morning of Life. 13' in the lower margin, on chine appliqué, with wide margins, 145 x 215mm (5 3/4 x 8 1/2in)(PL); together with two others, 'Weary Ploughman' (L.8), 1858, the fifth state of eight, with two lines of cloud across the left edge of the moon and vertical shading above it, on thick wove, with wide margins, 190 x 260mm (PL) and 'Rising Moon or An English Pastoral' (L.7), 1857, the seventh state of nine, with letters 'Samuel Palmer. 10' in the lower margin, on chine appliqué, with wide margins, 148 x 222mm (PL)(3)(unframed)
Samuel Palmer (British, 1805-1881) The Early Ploughman, or The Morning Spread Upon the Mountains Etching, circa 1861, a good impression of the sixth state of nine, with two horizontal bars of cloud added behind the two mountains, on wove, signed in pencil, inscribed 'Finished State', printed by A.H. Palmer in 1873, with a pencil annotation 'AHP Private Press' and the title in the lower margin, with wide margins, 175 x 250mm (6 7/8 x 9 7/8in)(PL)(unframed)
Samuel Palmer (British, 1805-1881) The Bellman Etching, 1879, a fine impression of the fifth state of six, with the Remarque of a branch in the lower right margin, on laid, signed in pencil, one of 60 impressions published by the Fine Art Society, with their stamp in the lower left margin, with wide margins, 190 x 250mm (7 1/2 x 9 7/8in)(PL)
Samuel Palmer (British, 1805-1881) The Lonely Tower Etching, 1879, a good impression of the fifth state of six, with a small bar of light added to the right of the moon and a lighter area of sky above the trees, on wove, signed in pencil, inscribed 'Trial Proof', with the 'AHP Private Press' blindstamp lower left, with wide margins, with a handwritten note taped to the back of the frame by the original owner, Mr F.G. Stephens, stating that this impression was a gift from the artist in 1880 and with a verse from the Milton poem 'Il Penseroso', 190 x 250mm (7 1/2 x 9 7/8in)(PL)
Robert Bevan (British, 1865-1925) The Horse Mart (Barbican No.1) Lithograph, 1920, on laid, from the edition of 65, with the artist's stamped monogram, with margins, 271 x 378mm (10 5/8 x 14 7/8in) (I)next page
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