A few examples of appraisal values for
SUTHERLAND

• Sutherland after
  Sutherland after Wolstenholme/Shooting/plates I-IV/coloured engravings, 25cm x 33cm/Provenance: Spetchley Park, Worcestershire
• Sutherland after Harris after
  Sutherland after Harris after Alken/Cock Fighting/four coloured engravings, 25cm x 29cm
• English School, 19th
  English School, 19th Century/William Sutherland, Earl of Sutherland/in robes of a Knight Templar/oil on board, 26.5cm x 19.5cm
• Robert Lewis SutherlandEnglish
  Robert Lewis SutherlandEnglish (1863-1932)oil on canvassight: 29 1/2 x 39 1/2 inches
• T Sutherland after Henry AlkenThe
  T Sutherland after Henry AlkenThe Leicestershire Covers:The MeetingBreaking CoverFull CryThe Deathpublished by S & I Fuller Rathbone Place Londona set of four hand coloured prints 22cm x 71cm (8.75" x 27.75")
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) THE VILLAGE, 1925 (TASSI 20) Etching, signed in pencil to margin17cm (6 3/4in), 22cm (8 3/4in)Provenance: Christie's, South Kensington, 16th April 2014, lot 120.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.20.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no. 9.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air of quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Gordon Cooke has linked The Village to Samuel Palmer's etching The Bellman of 1879 (op.cit., unpaginated, see Victoria & Albert Museum collection acc. no.E.1465-1926). In contrast, Roberto Tassi detected the influence of Jean-François Millet and declared that The Village revealed 'a new and absolutely original vision...with tilled fields, weary labourers, their wretched cottages and the evening stillness that weighs on everything.' (op.cit., p. 19) Ronald Alley has explained that the scene depicted was 'based mainly on scenery around Cudham in Kent, but with elements from Warning Camp in Sussex.’ (Ronald Alley, Graham Sutherland, London 1982, p. 58.)
• THOMAS SUTHERLAND (1785 - 1838),
  THOMAS SUTHERLAND (1785 - 1838), AFTER W.J. HUGGINS, "S...Thomas Sutherland (1785 - 1838), after W.J. Huggins, "South Sea Whale Fishery", engravings with hand coloring on paper, image size 14" x 20". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) CRAY FIELDS, 1925 (TASSI 19) Etching, signed in pencil to marginimage size 11.5cm (4 1/2in), 12cm (4 3/4in)Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 55.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.19.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.11.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Gordon Cooke has noted that 'the Cray is a river, rising at St Mary Cray, near Farningham, where Graham Sutherland moved in 1927' (op.cit., unpaginated). Roberto Tassi has remarked that in this work ‘the bewitching atmosphere of [Samuel] Palmer…is clearly in the ascendant here, as we can see from the stars, the tall spikes and line of hop-poles’. (op.cit., p. 20)
• SUTHERLAND, HAND-COLORED WHALING
  SUTHERLAND, HAND-COLORED WHALING ENGRAVING "South Sea Whale Fishery", T. Sutherland after a painting by W. J. Huggins, 1825, London, 21.25"h x 30.75"w (sight), 25"h x 34.5"w (frame)
• 20th Century after T
  20th Century after T SutherlandHunting Scenesa set of four prints 17.75cm x 72cm (7" x 20.5")
• GRAHAM SUTHERLAND, PORTFOLIO (15)
  GRAHAM SUTHERLAND, PORTFOLIO (15) AQUATINTS, 1978 Graham Vivian Sutherland (British,1903-1980) , "Apollinaire: Le Bestiaire ou Cortege d'Orphee" (The Bestiary or the Procession of Orpheus) Standard Edition, on Magnani paper, each pencil signed and numbered 30/75 along lower margins, each blind stamped with artist monogram and printer's stamp, jointly published by Marlborough Fine Art, London and 2RC Editrice, Milan, various sizes, in original cardboard portfolio box, with front plate, edition page, text pages and print dividers, 35"h x 26"w x 2"d (portfolio box)
• 1 piece. Hand-Colored Aquatint.
  1 piece. Hand-Colored Aquatint. Sutherland, after Wolstenholme. "Fox Hunting Plate 3, 'Distress'd he flies...'" London: Ackermann, n.d. [ca. 1820]. 9 5/8 x 26 inches (244 x 660 mm) - image & text. Generally clean. Framed. See Snelgrove pp. 204/
• Graham Sutherland British,
  Graham Sutherland British, 1903-1980 Study No. 16, Origins of the Land, 1952 Estimate:$5,000-$7,000
• GRAHAM SUTHERLAND, PORTFOLIO (12)
  GRAHAM SUTHERLAND, PORTFOLIO (12) AQUATINTS, 1977 Graham Vivian Sutherland (British,1903-1980), the complete "Bees" Standard Edition, each signed and dated 37/66 along lower margins, including the cardboard portfolio case with pen signed front sheet, pencil numbered edition page, and all accompanying text pages, a joint publication between Marlborough Fine Art Ltd. 6 Albemerle Street London and 2RC Editrice Vicolo degli Astalli 5 Roma, each plate matted and framed, 16.5"h x 13"w (sight), 26"h x 21"w (frame)
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) MAY GREEN, 1927 (TASSI 24) Etching, signed in pencil to margin11cm (4 1/4in), 16cm (6 1/4in)Provenance: Christie's, South Kensington, 16th April 2014, lot 121.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.24.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.16.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: According to Gordon Cooke, this was the only etching which Sutherland made in 1927 (op.cit, unpaginated). He has also explained that it is the last in a series of four etchings, including Cray Fields and St Mary Hatch, ‘which seem to celebrate both religious and rural values, anchoring the scenes to the calendar and particular places.’
• GRAHAM SUTHERLAND, TWO-COLOR
  GRAHAM SUTHERLAND, TWO-COLOR LITHOGRAPH, 1957 Graham Vivian Sutherland (British,1903-1980), "Hanging Form and Owl", on wove paper, pencil signed, dated and numbered 2/25 lower right, printed by Fernand Mourlot, published by Berggruen & Cie, Paris, mounted to cardboard backing, loose and unframed, 20"h x 26"w (sheet)
• Graham Sutherland, OM
  Graham Sutherland, OM (1903-1980)/'La Tour des Oiseaux'/1976/signed in pencil and numbered XXXIV/L, printed by Mourlot, Paris/lithograph in six colours 65cm x 50cm
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) ST. MARY'S HATCH, 1926 (TASSI 22) Etching, signed in pencil to margin12cm (4 3/4in), 18cm (7in)Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 52.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.22.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.13.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note:St Mary's Hatch comes from ‘a series of small, densely worked etchings of rural England, thatched cottages and churches, fields with stooks of corn, the setting sun and the first evening stars, which were intensely poetic evocations of a more or less lost world of innocence and religious piety.’ (Ronald Alley, Graham Sutherland, London 1982, p. 9)
• SIX ENGLISH COLOR LITHOGRAPHS,
  SIX ENGLISH COLOR LITHOGRAPHS, AFTER SUTHERLANDSix English color lithographs, after Sutherland, 5" x 7 1/2". Competitive in-house shipping is available for this lot. Condition: Minor foxing/staining.
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) PECKEN WOOD, 1925 (TASSI 21) Etching, signed in pencil to margin13.5cm (5 1/4in), 18cm (7in)Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 51.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.21.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.10.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Ronald Alley has written about this work that the rural world it depicts ‘is one of the past, the evocation of a mode of village life which had almost completely passed away. The emphasis is on the autumnal fertility of nature, with man living in communion with nature and...the moment depicted is when the sun is setting, or near setting and the stars are beginning to come out.' (Ronald Alley, Graham Sutherland, London 1983, p. 59)
• GRAHAM SUTHERLAND, PORTFOLIO (25)
  GRAHAM SUTHERLAND, PORTFOLIO (25) LITHOGRAPHS 1965 Graham Vivian Sutherland (British,1903-1980), "A Bestiary and Some Correspondences", the complete portfolio, on Arches wove paper, each pencil signed and numbered 2/70 (plus 10 artist's proofs), published by Marlborough Fine Art, London, includes title page, edition page and index of images, in original double-boxed cardboard portfolio, 26"h x 19.5"w (sheet), 28"h x 22"w x 2"d (portfolio box)
• GRAHAM SUTHERLAND 2 SETS OF
  GRAHAM SUTHERLAND 2 SETS OF SKETCHBOOKSGraham Sutherland, United Kingdom (1903-1980). Two sets of sketchbooks in hard covered portfolios, numbered 12/200 and 184/200. Published by Marlborough Fine Art, London. Measures 10"H x 7.75"W x 1.5"H.
• SIDNEY TUSHINGHAM, ARE
  SIDNEY TUSHINGHAM, ARE (1884-1968) MENAI STRAITS; LE LAC D'AMOUR BRUGES two, etchings with drypoint, each of an edition of 75, both signed by the artist in pencil, 19 x 28cm and 19 x 37.5cm (2)
• 1929 and 1930 with maker's marks
  1929 and 1930 with maker's marks and catalogue numbers further marked ''Sutherland / Period 1770'' and ''cement loaded '' each monogrammed ''ih''(?) en suite with the following lot 4 pcs gross weight 126.9 oz troy approximately each. 11'' H x 5'' Dia.
• GOUACHE SCENIC DESIGN - Fragment of
  GOUACHE SCENIC DESIGN - Fragment of a Set Design by Robert Ironside from the Sadler's Wells Ballet 1952 production 'Sylvia' by Sir Frederick Ashton starring Margot Fonteyn note on back gives provenance given by Mrs. Resov to Miss Temped at Tait Gallery
• THOMAS SUTHERLAND (1785-1838) AFTER
  THOMAS SUTHERLAND (1785-1838) AFTER DEAN WOLSTENHOLME (1757-1837) 'SHOOTING' A set of four, plate I 'Going Out', Plate II 'Game Found', Plate III 'Dogs brought the Game & Reloading' and Plate IV 'Refreshing', aquatints, each image 25cm x 33cm (4)
• Thomas Sutherland/Grouse
  Thomas Sutherland/Grouse Shooting/Wild Duck Shooting/Pheasant Shooting/Partridge Shooting/four coloured aquatints, 33cm x 79cm
• Portrait Miniature of John
  Portrait Miniature of John Douglas Sutherland Campbell (1845-1914), 9th Duke of Argyll, c.1870 gouache on oval ivory panel in gilt metal slip 2.4 x 2 in — 6.2 x 5.1 cm
• SYDNEY LEE, RA (BRITISH 1866-1949),
  SYDNEY LEE, RA (BRITISH 1866-1949), A MOUNTAIN FORTRESS, SION, 1914, AQUATINT, FRAMED, 26-1/2 X 29 INCHESSydney Lee, RA (British 1866-1949), A Mountain Fortress, Sion, 1914, Aquatint, Framed, 26-1/2 x 29 inches
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) THORN CROSS, 1955 (TASSI 66) Lithograph, 84/100, signed and numbered in pencil to marginsheet 66cm (26in), 50cm (19 3/4in)Provenance: Redfern Gallery, London, 1967.Duke's, Dorchester, 17th September 2015, lot 130.
• Graham Sutherland (1903-1980)
  Graham Sutherland (1903-1980) aquatint Orpheus No 7 from Apollinaire: Le Bestiaire ou Cortege D'Orph?e 1978/79 signed in pencil 72/75 19 x 29.5in. Estimate ?400-600 FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?400
• Thurston Laidlaw Shoosmith (British
  Thurston Laidlaw Shoosmith (British 1865-1933)/Landscape/signed/watercolour, 26cm x 33cm and/John A Tysom/Winter near Waldringfield/signed/watercolour, 22.5cm x 32.cm
• A WWI military medal group to
  A WWI military medal group to Private S. Martin 1/7A and S-HDRS-T.F. comprising trio and George V military medal together with a death plaque for William Martin Argyll & Sutherland cap badge gold plated pocket watch given to Samuel Martin and a large wrist watch engraved for W.Martin. 3226 Argyll & Sutherland Highlanders Estimate ?400-500 FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?750
• Graham Sutherland (1903 - 1980)
  Graham Sutherland (1903 - 1980) lithograph signed LL and LR dated ''17-10-48'' within image unframed tears at margins is: 22 1/4'' w. x 15 1/2'' h. ; along with an unframed woodblock print by Cheung Yee (b. 1936) red on black edition 4 of 30 titled ''Heaven & Earth '' dated 1968 signed LR unframed sheet size: 22 1/2'' h. x 17 1/2'' w.
• GRAHAM SUTHERLAND 'BEES' 12
  GRAHAM SUTHERLAND 'BEES' 12 ETCHINGS / AQUATINTSGraham Sutherland, United Kingdom (1903-1980). Collection of 12 etchings and aquatints in color, featuring the life cycle of bees and highlighting the relationship among the queen, the workers and drones within the hive. Joint publication between Marlborough Fine Art and 2RC Editrice, printed in 1977. All are signed in pencil lower right. Paper measures 22.25"H x 17.75"W; 15.75"H x 12.25"W visual. Includes 'Expulsion and Killing of an Enemy', 'Figure of Eight Dance'', 'Bee and Flower', 'Bee keeper', 'Fight Between Workers and Drones', 'Hatching', Hatching II', 'Metamorphosis', 'Nuptial Flight', 'Primitive Hive', 'The Court', 'Wild Nest'.
• Samuel Metford (1810-1896) cut
  Samuel Metford (1810-1896) cut and bronzed paper silhouette Portrait of Edmund and Catherine Lloyd of Fairfield House Thornbury and eight of their children with a distant view of Thornbury Castle and the River Severn seen through the window circa 1853-55 signed and inscribed verso 14 x 23.5in Estimate ?300-500 Overall some even discolouration of the ground paper along with some scattered fox marks and other small specks of dirt but in general in fair to good condition signed lower left under glass in an old oak frame with old label with details of sitters applied verso. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?950