78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

* Newton (Richard). French Discernment; or a Bumling Discovery! William Holland, July 1791, etching with contemporary hand-colouring, one repaired marginal closed tear, laid on later thin card, 275 x 330 mmQTY: (1)NOTE:David Alexander. Richard Newton and English Caricature in the 1790s, number 6.

* Gillray (James). The Introduction of the Pope to the Convocation at Oxford, by the Cardinal Broad-Bottom, Golgotha - i.e. - The Place of the Skulls, H. Humphrey, December 1st 1809, etching with contemporary hand-colouring, trimmed to the neatline, slight creasing, 270 x 375 mmQTY: (1)NOTE:BM 11338. A satire on the approaching election for the Chancellorship of Oxford University. Grenville, dressed as a cardinal, heads a small group processing towards the Devil. Behind Grenville walks the Pope, and he holds up Grenville's robe. Napoleon crouches behind the Pope, holding on to his robes and hiding under his mantle. Sycofantic bishops bow low to the assembled group sweeping the ground with their mitres.

* Gillray (James, attrib.). Bombardinian, Conferring upon State Affairs with one in Office, circa 1779, hand-coloured etching, good margins, slight mount staining, 335 x 255 mmQTY: (1)NOTE:"Another and probably later version of BMSat 5606; the two men have labels coming from their mouths containing words, and are more correctly drawn. The house on the right. is a more important building and its door has a plate inscribed "Lieut: Genl Bombardi. . N° 40". Grey Cooper stands at a different angle, showing more than his profile, his forefinger is laid against his cheek. He is saying "Then - My Led and I - his Ledship introduced the Affair you and I know of". Sir R. Hamilton (Bombardinian) answers "Hum-Aye-Mum". The same quotation from Churchill is engraved under the title. An inscription etched in the lower right corner has been obliterated, the last words seem to resemble "J. Sayers."."--British Museum online catalogue

* Gillray (James). What a Cur'Tis!, H. Humphrey, June 9th 1795, etching with contemporary hand-colouring, toned and mount stained, 300 x 245 mm together with Untitled caricature of Chancellor Edward Thurlow [27th June 1789], etching with contemporary hand-colouring, trimmed to the image and laid on later card, 160 x 125 mm, with War [and] Neither War nor Peace, H. Humphrey 9th March 1783, two hand-coloured etchings, laid on later paper, each approximately 135 x 195 mm, plus A Sun Setting in a Fog; with the Old Hanover Hack Descending, J. Williams June 3rd 1783, etching with contemporary hand-colouring, right-hand vertical margin torn with loss but not affecting the printed image, vertical margins trimmed to the neat line and extended, laid on later brown tissue paper, 240 x 340 mm, and A Paris Beau [and] A Paris Belle, H. Humphrey, February 26th 1794, a pair of etchings with contemporary hand-colouring, trimmed to the plate mark, some staining, A Paris Belle with a small hole affecting the printed image, adhesion scarring to the verso, each approximately 250 x 175 mmQTY: (6)NOTE:BM Satires numbers, 8657, 7540, 6187, 6239, 8430 & 8431.

* Gillray (James). Market-Day, "Sic itur ad astra." S. W. Fores, May 2nd 1788, etching on laid with contemporary hand-colouring and some later enhancement, old printer's fold, some creasing, trimmed to the plate mark, 315 x 445 mm, together with Company Shocked at a Lady getting up to Ring the Bell, H. Humphry, 1804, etching with contemporary hand-colouring, trimmed to the neatline, 250 x 375 mm, with Posting in Scotland, H. Humphrey, May 25th 1805, etching with aquatint and contemporary hand-colouring after C. Lorraine Smith, marginal fraying with slight loss to the upper right corner, trimmed to the neatline, humorous text below the caricature reads "Hald your Haund Mun, hald your haund! en troth mun: e'n gin you na mind yoursel youl just make the Muckle Laird coupeing his creels" 305 x 380 mm, plus eight uncoloured etchings after James Gillray published by H. G. Bohn in 1849, various sizes and conditionQTY: (11)NOTE:BM Satires numbers 7310, 10303 & 10479.

* Gillray (James). German Luxury - or - Repos a l'Allemande, H. Humphrey, January 22nd 1800, etching with aquatint, bright contemporary hand-colouring, trimmed to the plate mark, 230 x 315 mmQTY: (1)NOTE: BM Satires 9510. A German officer lies on his back on a truckle bed in a poverty-stricken room. The print probably correlates with the arrival of a German cavalry regiment in England - possibly the corps known as the York Hussars - which was largely composed of German deserters.

* Gillray (James). The Esplanade, H. Humphrey, June 1st 1797, etching with contemporary hand-colouring, trimmed to the plate mark, 265 x 310 mm, together with The Dog Tax, H. Humphrey, April 12th 1796, etching with contemporary hand-colouring, small margins, slight staining, one repaired marginal closed tear, 350 x 250 mm, with Parliamentary Reform - or - Opposition Rats leaving the House they had Underminded, H. Humphrey, May 28th 1797, etching with contemporary hand-colouring, trimmed to the neatline, small areas of adhesion scarring to the verso, 355 x 260 mm, plus A Corner near the Bank, H. Humphrey, September 26th 1797, etching with contemporary hand-colouring, trimmed to the image, slight staining, 340 x 250 mm, and Le Coup de Maitre, H. Humphrey, November 24th 1797, etching with bright contemporary hand-colouring, trimmed to the image and laid on later thick paper, 260 x 360 mm QTY: (5)NOTE:BM Satires numbers 9019, 8794, 9018, 9083 & 9039.

* Gillray (James). The Elements of Skating (2 from the set of 4), Attitude! Attitude is every thing [and]The Consequence of going before the Wind, published by H. Humphrey, November 24th 1805, two etchings with aquatint, each with contemporary hand-colouring, some creasing, both trimmed to the neat line and laid on later paper, each approximately 230 x 330 mm, together with Hounds Finding, H. Humphrey, April 8th 1800, etching with aquatint, contemporary hand-colouring, trimmed to the neat line and laid on later paper, 245 x 345 mm, with Hounds Throwing off, H. Humphrey, 8th April 1800, etching with aquatint, contemporary hand-colouring, heavily toned and stained margins chipped and frayed with loss, repaired marginal closed tears, 250 x 350 mm, plus Cockney Sportsmen Plate 2nd & Plate 4th, Shooting Flying [and] Finding a Hare, H. Humphrey, 12th November 1800, two etchings with aquatint, contemporary hand-colouring, slight marginal staining and fraying, each approximately 250 x 350 mm QTY: (6)

* Gillray (James). Les Trois Magots, H. Humphrey, November 1st 1791, etching with contemporary hand-colouring, thread margins, toned and mount stained, laid on later paper, 355 x 355 mm, together with The Westminster Hunt, S. W. Fores, April 27th 1788, etching on laid with contemporary hand colouring, thread margins, 240 x 345 mm, with Be gone dull care, I prithee begone from me!, H. Humphrey June 16th 1801, etching with contemporary hand-colouring, trimmed to the image, slight staining and dust soiling, 230 x 285 mm, plus National Discourse, W. Humphrey August 9th 1780, etching with contemporary hand-colouring, trimmed to the plate mark, slight dust soiling, faint folds, 220 x 235 mm, and An Old Maid on a Journey, H. Humphrey November 20th 1908, etching with contemporary hand-colouring, small margins, 255 x 385 mm QTY: (5)NOTE:BM Satires numbers 7997, 7308, 9769, 5695 & 10300.

* Aldin (Cecil Charles Windsor, 1870-1935). Ploughing, uncoloured etching, signed by the artist in pencil to the lower right, pencil limited edition 19/100 to the lower left, 260 x 355 mm, mounted, framed and glazed, old title label to verso of frameQTY: (1)

* Gillray (James). Symptoms of Deep-Thinking, "Sinking from Though to Thought, a vast Profound", London: H. Humphreys, March 25th, 1800, etching on wove with contemporary hand-colouring, manuscript annotation to the upper margin, tipped on to later card, light overall toning, 255 x 205 mmQTY: (1)

* Heath (William pseud. Paul Pry). March of Intellect, T. McLean, circa 1830, etching on wove with contemporary hand-colouring, 290 x 415 mm, together with The Blues As they were - As they are, April 13th 1831, etching on wove with contemporary hand-colouring, slight spotting, 345 x 245 mm, with A Political Reflection, T. McLean, circa 1829, etching on wove with contemporary hand-colouring, trimmed to the neat line, six old pinholes in the printed margins, slight creasing, 245 x 355 mm, plus A Comfortable thing to be King of Greece, T. McLean March 6th 1830, etching on wove with contemporary hand-colouring, upper right corner trimmed with loss, 245 x 355 mm, and Cawse (John). Devils - Parson Shooting, published by S. W. Fores March 25th 1800, etching on wove with contemporary hand-colouring, slight creasing and dust soiling, occasional marginal closed tears, 250 x 400 mm, with Town Talks a Great Liar, S. W. Fores, March 5th 1812, etching on laid with contemporary hand-colouring, water stained, some marginal fraying, 240 x 350 mm, plus Holland (William, publisher). The Etymology of Alderman, August 1809, an unattributed etching on wove with contemporary hand-colouring, laid on later thin card, 240 x 345 mmQTY: (7)

* Gillray (James). The Lover's Dream, H. Humphrey, January 24th 1795, etching with contemporary hand-colouring, trimmed with loss along the upper margin, crudely replaced in facsimile, closed repaired tear to the title with slight loss to the letters, laid on later card, 285 x 415 mm, together with Flannel Armour - Female Patriotism, - or - Modern Heroes accoutred for the Wars..., published H. Humphrey Novr. 18th 1793, etching on wove with contemporary hand-colouring, stained with crudely repaired marginal closed tears, some causing slight loss to the printed image, old folds, 310 x 355 mm, with "Strike home! and I will bless thee for the Blow!" H. Humphrey, May 14th 1792, etching with contemporary hand-colouring, trimmed to the image, stained, torn with slight loss, some adhesion scarring to the verso, 320 x 240 mm, plus A View of the Hustings in Covent Garden. H. Humphrey, Dec. 15th 1806, etching with contemporary hand-colouring, trimmed to the image, long closed tear affecting the image, crudely repaired on the verso, some adhesion scarring to the verso, 240 x 340 mm, and [A Sale of English Beauties in the West Indies, W. Holland, 16th May 1786] etching with contemporary hand-colouring, trimmed with loss, several repaired closed tears, old folds, dust-soiled, adhesion scarring to the verso, 350 x 525 mmQTY: (5)NOTE:BM Satires, numbers 8610, 8347, 8160, 10619 & 7014

Clarke (Percy). Australian Etchings [so titled on upper cover], [1886?], 12 sepia etchings on thick card stock, some initialed and all titled within the plate to lower margins, plate impressions 65 x 95 mm and similar, armorial bookplate of Davenport, Bridgnorth, Shropshire, to front pastedown, inscribed beneath in ink, 'E. H. Davenport, Decr. 1886', all edges gilt, contemporary brown half morocco, gilt-titled to upper cover and gilt-stamped initials 'E.H.D.' to spine, rubbed, upper joint slightly cracked, oblong 8vo (16.5 x 20.5 cm)QTY: (1)NOTE:Provenance: Edmund Henry Davenport (1839-1890). Born in Worfield, Shropshire, he married Margaret Anne Smith (1850-1930) in St David’s Cathedral, Hobart, Tasmania in 1875. She was the youngest daughter of Captain James Smith and Julia Sophia Stracey. Smith was the Visiting Magistrate for the convict settlements on Tasman’s Peninsula near Hobart. Soon after their marriage they took up residence at Davenport House, Worfield. Later, Edmund became a JP.Percy Clarke (1861-1948) was an Englishman who published a few books relating to Australia, including a first-person account of his travels there, The "New Chum" in Australia (London: J. S. Virtue, 1886). These etchings appear to be rare and likely a complete set, the National Library of Australia holding the same twelve.The etching titles are: Botany Bay looking Eastward; Lake Wangerai, Ballarat; Fitzroy Gardens, Melbourne; Government House, Sydney; Sydney University; Battery Point, Sydney Harbour; A Squatter's Home; Port Philip from the Heads. Vict.; Fern-Tree Gully near Melbourne; Govett's Leap, Blue Mountains; Warratah & Rock Lily; Cross Tree (Xanthorrhea).

* Gillray (James). Oh! Listen to the Voice of Love, H. Humphrey, November 14th 1799, etching with contemporary hand-colouring, trimmed to the plate mark, some marginal staining, slight creasing, 220 x 195 mm, together with Lullaby! - sooth him with a Lullaby. H. Humphrey, July 12th 1798, etching with contemporary hand-colouring, trimmed to the image, 195 x 195 mm, with The Dog Tax, H. Humphrey, April 12th 1796, etching with contemporary hand-colouring, slight staining and mount staining, slight marginal fraying and creasing, some adhesion scarring to the verso, 345 x 240 mm, plus Homer singing his Verses to the Greeks, H. Humphrey, June 16th 1797, hand-coloured etching, corners frayed with slight loss to the upper left corner, some marginal fraying, some creasing, small areas of adhesion scarring to the verso, 265 x 340 mm, and Blood on Thunder fording the Red Sea, S. W. Fores, March 1st 1788, hand-coloured etching, trimmed to the plate mark, one marginal closed tear, some adhesion scarring to the verso, 245 x 345 mm QTY: (5)NOTE:BM Satires numbers 9450, 9307, 8794, 9023 & 7278.

* Gillray (James). Exit Liberté à la Francois! - or - Buonaparte closing the Farce of Egalite at St Cloud near Paris..., H. Humphrey, November 21st 1799, etching on wove with contemporary hand-colouring, slight creasing, old descriptive label adhered to the verso, 245 x 350 mm, together with Introduction of Citizen Volpone & his Suite at Paris..., H. Humphrey, November 15th 1802, etching with contemporary hand colouring, trimmed to the image on the vertical margins, crudely extended, 250 x 355 mm, with French Generals Retiring on account of their Health - with Lepaux Presiding in the Directorial Dispensary, H. Humphrey, June 20th 1799, etching with contemporary hand-colouring, trimmed with loss to the upper margin, some adhesion scaring to the verso, 255 x 360 mm, plus The Apples and the Horse-Turds - or Buonaparte among the Golden Pippins..., H. Humphrey, February 24th 1800, etching with contemporary hand-colouring, trimmed inside the plate mark with loss to the right-hand vertical margin, one rust hole affecting the printed image, 260 x 350 mm, and Buonaparte leaving Egypt..., [H. Humphrey, March 8th 1800], etching with contemporary hand-colouring, trimmed to the image, later black water-colour added to the borders, 355 x 265 mm, with We Fly on the Wings of the Wind to save the Irish Catholics from Persecution..., March 6th 1798, etching with contemporary hand-colouring, torn with areas of loss to the image and text, old folds, some creasing, repaired closed tears, laid on later blue paper, 330 x 395 mmQTY: (6)NOTE:BM Satires numbers 9426, 9892, 9403, 9522, 9523 & 9183

* Rajon (Paul Adolphe, 1843-1888). Portrait of Victor Hugo, after Léon Bonnat, 1879, fine proof etching on parchment, plate size 308 x 229 mm (12 1/8 x 9 ins), sheet size 340 x 250 mm (13 1/4 x 10 ins)QTY: (1)

* Gillray (James). The Visit to Piccadilly; - or - A Prussian Reception, H. Humphrey July 12th 1792, etching with contemporary hand-colouring, narrow margins, stained and toned overall, old sellotape staining to the verso, 350 x 245 mm, together with A Peep into Lady W!!!!y's Seraglio, W. Humphrey, April 29th 1782, hand-coloured etching, toned and dust soiled, some creasing, several marginal closed tears, slight adhesion scarring to the verso, 255 x 360 mm, with La Belle Asemblée, H. Humphrey May 12th 1787, hand-coloured etching, some pencil marginalia, water and mount stained, old descriptive label adhered to the verso, 245 x 345 mm, plus The Power of Beauty - St Cecilia Charming the Brute - or - The Seduction of the Welch Ambassador, H. Humphrey, February 1792, etching with contemporary hand-colouring, some dust soiling and surface abrasion, 245 x 345 mm, and The Dagger Scene; - or - The Plot Discovered, H. Humphrey, December 30th 1792, etching with contemporary hand-colouring, some oxidization to the old watercolour, slight overall toning, 370 x 295 mmQTY: (5)NOTE:BM Satires numbers, 8113, 6112, 7218, 8158 & 8147.

* Ballooning. Wilkinson (R. publisher), Mr Lunardi ascending with the Balloon from the Artilary Ground in Moorfields..., 1784, hand-coloured etching, repaired closed tear, trimmed to the plate mark, slight worming, 315 x 195 mm, mountedQTY: (1)

* Gillray (James). Changing Places - alias; Fox Stinking the Badger out of his Nest, W. Humphrey, March 22nd 1782, etching with contemporary hand-colouring, large margins, slight dust soiling but confined to the margins, occasional marginal closed tears, 255 x 365 mm, together with The Jubilee, published by E. D'Archery, August 2nd 1782, uncoloured etching, large margins, some water staining and rust marks, 250 x 350 mm, with Britannia's Assassination. Or - The Republican Amusement, published by E. D'Archery, May 10th 1782, uncoloured etching, some creasing, old folds, mount stained, 250 x 350 mm, plus A Block on the Whigs - or the New State Whirligig, W. Humphrey May 5th 1783 [but later impression] & A New Administration - or - The State Quacks Administring, W. Humphrey, April 1st 1783 [but later impression], two uncoloured etchings on wove, 'A Block on the Whigs' with some creasing, each approximately 250 x 350 mm, and Junction of Parties, published G. Humphrey April 25th 1783 [but later impression], hand coloured etching on wove, long repaired closed tear affecting the printed image, some creasing, 350 x 255 mm with Regardez Moi, circa 1781, uncoloured etching on wove (watermarked Whatman), some dust soiling, trimmed inside the plate mark, small areas of adhesion scaring to the verso, 265 x 360 mmQTY: (7)NOTE:BM Satires numbers 5964, 6018, 5987, 6227, 6201, 6220 & 5911.

* Cruickshank (George). Treachery - Treachery - Treachery - !!! S. W. Fores, 1815, etching with contemporary hand-colouring, slight staining, marginal fraying with slight loss to the upper margin, 235 x 345 mm, together with The Night Mayor/re, S. W. Fores November 25th 1816, etching after Fuzely with contemporary hand-colouring, slight abrasion to the printed surface, repaired marginal closed tears, laid on later card, 235 x 360 mm, with Miseries of Human Life _ Inviting a Friend (whom you know to be particularly fond of the dish) to partake of a fine hare haunch...., circa 1815, etching with contemporary hand-colouring, 240 x 340 mm, plus Holland (W. publisher). The Scotch Neptune displaying a Signal to Friends in the North, June 1804, etching with contemporary hand-colouring, 250 x 350 mm and Williams (Charles). Political Quadrille, published by Elizabeth Walker, October 1806, etching with contemporary hand-colouring, trimmed to the image with slight loss to the title, slight creasing and staining, 310 x 385 mm, with another nine early 19th-century caricatures by or after Sharpshooter (A. pseud.) John Phillips, Giles Grinagain, J. Taylor, J. L. Marks and G. Cruikshank, various sizes and condition QTY: (14)

* Aldin (Cecil Charles Windsor, 1870-1935). Ready for Mischief, uncoloured etching, signed by the artist to lower right, pencil limited edition 50/100 to lower left, slight mount staining, image size 405 x 280 mm, paper size 265 x 200 mmQTY: (1)

Harold Wyllie (1880-1973) The Needles signed, No. XXX, etching, 13cm x 36cm

Herbert Dicksee RE (1862-1942)WaitingSigned Herbert Dicksee (in pencil to margin) and with Fine Art Guild Trade blindstampEtching21.2 x 43cm; 8¼ x 17in (plate)Provenance:Richard Haworth, Blackburn

Francisco Goya (Spanish 1746-1828)No Te Escaparas (You Will Not Escape)Etching and aquatint, plate 72 from Los Caprichos21.7 x 15.2cm; 8½ x 6in (plate)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

James Abbott McNeill Whistler RBA (American 1834-1903)En Plein SoleilEtching and drypoint10 x 13.4cm; 4 x 5¼in (sheet)

Francisco Goya (Spanish 1746-1828)Ni Asi La Distingue (Even Thus He Cannot Make Her Out)Etching and aquatint, plate 7 from Los Caprichos21.7 x 15.2cm; 8 x 6in (plate)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

Francisco Goya (Spanish 1746-1828)Quien Mas Rendido? (Which of them is the more overcome?)Etching, aquatint and drypoint, plate 27 from Los Caprichos19.6 x 15.1cm; 7¾ x 6in (plate)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

Giovanni Battista Piranesi (Italian 1720-1778)Veduta del Castello dell'Acqua Felice (Wilton-Ely 187)Etching, from Vedute di Roma (Roman edition)40.6 x 61.4cm; 16 x 24¼in (plate); 43.3 x 65.8cm; 17 x 26in (sheet)Provenance:Woolley & Wallis, Salisbury, Old Masters, British & European Paintings, 1 March 2022, lot 177

James Abbott McNeill Whistler RBA (American 1834-1903)ChelseaEtching and drypoint12.3 x 20.5cm; 4¾ x 8in (image)

Francisco Goya (Spanish 1746-1828)No Grites, Tonta (Don't Scream Stupid)Etching and aquatint, plate 74 from Los Caprichos21.6 x 15.4cm; 8½ x 6in (plate)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

James Abbott McNeill Whistler RBA (American 1834-1903)BillingsgateEtching15.2 x 23.7cm; 6 x 9¼in (plate)

James Abbott McNeill Whistler RBA (American 1834-1903)Battersea Dawn (Cadogan Pier)Etching and drypoint11.3 x 15.2cm; 4½ x 6in (plate)

Giovanni Battista Piranesi (Italian 1720-1778)The Round Tower (Wilton-Ely 28)Etching and engraving, from Carceri d'Invenzione, first edition54.5 x 41.5cm; 21½ x 16¼in (plate)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

Francisco Goya (Spanish 1746-1828)La Filiacion (The Filiation)Etching and aquatint, plate 57 from Los Caprichos21.9 x 15.4cm; 8½ x 6in (plate)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

AN ASSORTMENT OF FRAMED PICTURES AND PRINTS TO INCLUDE A PENCIL SIGNED LEAF OMID ELHAM LEAF ETCHING PRINT ETC

Herbert Dicksee (British, 1862-1942), signed etching, 'Hope', plate mark, 41.5cm x 28.5cm, published 1929 with blind stamp and signiature to lower left, framed and glazed, 70cm x 56cm.

Martin Tobias (1932 - 2024), Seaward, embossed colour etching, signed in pencil, no. 99/250, plate 60cm x 44cm, 83cm x 63cm overall, framed

Frank Martin (British, 1921 - 2005), etching, study of a semi nude lady kneeling against a sofa, 72cm x 83cm overall, framed

This elegant cut-to-clear red glass decanter stands 11.25"H and features intricate floral and grape designs, showcasing exceptional craftsmanship. The piece includes a matching stopper with complementary detailing, adding to its refined aesthetic. A fine example of European glass artistry, this decanter is a beautiful addition to any collection or as a decorative centerpiece.Dimensions: See DescriptionCondition: Age related wear. As is, as found. Small chip on stopper base. Some imperfections around etching.

MARIE LAURENCIN (FRENCH 1885-1956) LES JOUEUSES DE FLÛTE (MARCHESSEAU 2) Etching with aquatint, 1904, a fine richly inked impression Signed and dated in pencil, the edition was 10, on wove paper, with full margins Sheet: 30.2 x 23cm (11 7/8 x 9 in) Provenance: Collection Henri M. Petiet, Saint-Prix (with his ink stamp verso)  Condition Report: In good condition apart from pale paper discolouration, two small water stains at extreme left edge of sheet recto, a crease at lower left tip of sheet, other very minor defects, hinged along edges of sheet with Japan paper verso.Condition Report Disclaimer

C H Blair (19th century), hand coloured etching 'Convalescent.' By Alex. Ansted, 1892. 27.5cm x 39cm

Model railway accumulation, OO and N gauge, with locomotive body and chassis spares, brass etching kits, N gauge track, scenic materials, etc., generally excellent to good. Contents unchecked for completeness or correctness and untested. Viewing recommended. Qty approx. 50+ (3B)

GROUP OF ASSORTED PICTURES, including Stanley Berkley etching - pigs falling from a log, 21.5 x 40.5cms; pair of watercolours - country riverscapes, indistinctly monogrammed, 16 x 34.5cms; after Duck colour prints - prize cock 'Roxy Lad', 22 x 17cms; 19th century oval watercolour - extensive landscape, unsigned, 18.5 x 14cms, etc.Provenance: private collection Denbighshire

A 19th century etching depicting High Street, Bristol, 26 cm x 41 cm.

Albany E Howarth (British 1872-1936) : Bamburgh Castle, drypoint etching, a fine impression printed in sepia, signed in pencil, with the blindstamp of The Fine Art Trade Guild, with margins, 40 cm x 55 cm, framed.

Sue Lewington - Late 20th century 'Love Birds' limited edition hand coloured etching. Numbered 78/200. Signed in pencil underneath the artwork. Bought from the Montpellier Gallery in Cheltenham. Framed, mounted and glazed, measuring approx. 32.5cm x 28cm.Sue studied at Harrow School of Art in the 1960s and worked as a freelance illustrator before moving to West Penwith in Cornwall in 1975. She then taught printmaking at Penzance School of Art, in 1989 Sue moved to St Martins on the Isles of Scilly where she ran her own gallery.

Collection of six early 20th century Bristol interest black and white etchings. Comprised of 'The Departure of Cabot - Redcliffe', 'Judge Jeffrey's at Guildhall', 'Old Bristol Bridge', 'Carol Singers - Christmas Street', 'The London Mail - High Street' and 'Press Gang - Lewin's Mead'. Each etching measuring approx. 12cm x 8cm. Unframed.

Anthony R Dawson - 1997 'Early Spring, Hidcote' hand coloured etching, limited edition to 15/80. An RWA exhibition piece. Signed by the artist in pencil underneath the artwork. Framed, mounted and glazed, measuring approx. 30.5cm x 25cm.

John Crome, etching of views in Norfolk, Founder of The Norwich Society of Artists and a Biographical Memoire by Dawson Turner 1838, published by Mr Freeman, having 17 etchings (incomplete from full set of 32)

Two Art Deco reproduction prints by Georges Pavis and Armand Vallee, together with an indistinctly signed etching of two nude women, 30 x 22cm, all with details on labels and all framed and glazed (3).

John Bellany CBE RA (1942-2013), etching, ‘Serendipity’, signed in pencil, limited edition 2/48, unframed, 30 x 30cm. Condition - good

William Walcot (1874-1943), etching, ‘Fleet Street, London’, signed in pencil, 18 x 23cm. Condition - fair

Frank Brangwyn (1867-1956), etching, ‘Gate of Saint Vincent, Avila’, signed in pencil, 40 x 31cm. Condition - good

THREE BOXES AND LOOSE ASSORTED PRINTS ETC, to include an etching by John G. Mathieson depicting a landscape, an indistinctly signed etching of Piccadilly at night, 19th century topographical prints, L.S. Lowry open edition prints, Cash's woven pictures etc

This lovely figurine features four baby lovebirds sitting on a branch and was part of the Feathered Beauties theme. The faceted clear crystal lovebirds are perched on a frosted three-pronged arch branch. Their Fire Opal crystal beaks add a vibrant pop of color to the flock, while their Jet black eyes on a white background convey an inquisitive charm. Designed by Adi Stocker, this piece is marked with the Swarovski acid etching for authenticity. Includes the original Swarovski box.Artist: Adi StockerIssued: 1996-2011Dimensions: 4"LCountry of Origin: AustriaCondition: Age related wear.

This lot features a limited edition book titled A Little Boy in Search of God: Mysticism in a Personal Light by Isaac Bashevis Singer and Ira Moskowitz, published by Doubleday & Company in 1976. This special edition is numbered 125/150 copies and is signed by both the celebrated author and the artist. Included is an original hand-colored etching by Ira Moskowitz, signed and numbered 125/150, depicting Jewish spiritual themes. The book offer a unique exploration of Jewish mysticism, enriched by Singer's evocative narrative and Moskowitz's intricate illustrations. Housed in a protective slipcase, this collector's edition is highly sought after for its artistic and literary significance. Issued: 1976Dimensions: 7.25"L x 1"W x 11"HCondition: Age related wear.

Sheila SLOSS (1950-2010) Transient Print, signed and inscribed, numbered 12/30, image size 25 x 36cm, 48 x 57.5cm framed. 'Printmaking is my chosen language of expression. Manipulation of the media and photographic imagery convey ideas about the process of living a life. The works are not deliberately autobiographical but symbolise many people’s views. They describe time by abstracting a related series of images: elements of a scene, a person at various ages or scraps of past and present. The majority of my recent work incorporates photo etching but I am fascinated by, and use, all printmaking techniques.'

Rachael KANTARIS (1967) Playa Coyote  Etching & aquatint, signed, titled and numbered 7/10, plate 37 x 50cm, framed 75 x 86cm.

Alfred EAST (1849-1913) St Ives Etching, plate size 30 x 37cm, 52 x 62cm framed. Shipping is available from £32.50 to a UK Mainland address.