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D B MartinThe Clayton Mills, etching, pencil signed in the margin and titled, 22 x 27cm

Thomas William Daniell'S.W. View of the Fakeers Rock in the River Ganges, near Sultanganj', plate no. IX, etching with aquatint in colours, published by Thomas Daniell; and one further similar - 'The Armenian Bridge, near St Thomas's Mount, Madras', plate no. X (2) 1st: Time stained / discoloration, with band of paler discoloration to margins from a previous mount. Foxing spot to the title tablet. Scattered small dark spots.2nd: Dark brown scuff type mark to the sky near upper margin. Possible margins obscured by mount. Some repaired tears to right side, lower right margin appears trimmed. Scattered small dark spots.

E Hedley Fitton (1859-1929)Church of The Three Kings, St Emilion, Guyenne, etching, faintly inscribed in pencil to the margin, 31 x 35cm

M Oliver Rae'Kings College Chapel, Cambridge', etching, pencil signed in the margin and titled, 36 x 25cm; and three further prints or engravings to include works by or after Thomas Hearne, Hanslip Fletcher and Max Beerbohm, one unframed (4)

Eileen Soper (1905-1990)'The Wheelbarrow Race', etching, pencil signed in the margin, 10 x 17.5cm; and one further - The Tug O'War, also signed in pencil, 10 x 17cm (2)

Frederick Villot after Delacroix'Cavalier', etching, 16 x 12cm; another - two figures at a square piano, 24 x 18cm; together with assorted further prints and lithographs to include portraits of the artist (X5) etc From the estate of the late Dr Simon Lee, formerly Associate Professor of the History of Art, Reading University

Sydney R Jones (1881-1966)'Inner Temple Gardens, London', etching, 33 x 23.5cm

Simon FokkeTheatrical Scene - 'Leeuwendaal hersteld door de Vrede', etching, 20 x 29cm

Pictures and Prints - Victorian sampler embroidered by Emily wells,c.1887 ; a quantity of engravings and a etching including Hampton Court, Hampton Court Palace, Henley on Thames; etc (7)

REMBRANDT HARMENSZ VAN RIJN (1606-1669) 'The Baptism of the Eunuch' etching with drypoint, 18.5cm x 21.5cm

REMBRANDT HARMENSZ VAN RIJN (1606-1669) 'Jan Cornelis Sylvius' signed and dated 1633 within the plate, faint ink monogram in an old hand verso, etching, the sheet 17.5cm x 14.75cm

REMBRANDT HARMENSZ VAN RIJN (1606-1669) 'The Strolling Musicians' etching, 15.5cm x 12.25cm (sheet)

PAULA FITZPATRICK (IRISH CONTEMPORARY)  GHOSTS  Etching, signed lower right, numbered 2/6, 55 x 45cm Condition Report:Available upon request

CONTEMPORARY SCHOOL  THE DRAWING  Etching, signed lower left, dated 1985, 32 x 24cm Condition Report:Available upon request

WILLIAM LIONEL WYLLIE R.A Greenock, signed, etching, 19 x 31cm Condition Report:Available upon request

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE WEST OF IRELAND - 1928 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 12cm x 14.5cm (4.75in x 5.75in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ANAIS; YOLANDE (FLORENCE LAYZELL, MRS HENRY RUSHBURY); HEAD OF A GIRL - 1944 Etching, signed in pencil to marginYOLANDE, Etching, signed in plate, signed in pencil to marginHEAD OF A GIRL, Lithograph, signed with initials in print, signed and dated in pencil Dimensions:plate sizes 14cm x 11cm (5.5in x 4.25in); 11.5cm x 8.5cm (4.5in x 3.5in) 29.5cm x 22cm (11.5in x 8.75in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) MEDITATION Signed lower left, conté and charcoal Dimensions:32.5cm x 26cm (12.75in x 10.25in) Provenance:Provenance: Private British collection Note: Exhibited: Sheffield City Art Galleries, 'A Dream of Fair Women,' 13 December - 1 February 1987, cat. no. 55. Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) UNA - 1929 Etching, signed in pencil to margin Dimensions:plate size 22cm x 16cm (8.75in x 6.25in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE ROYAL SCOTTISH ACADEMY AND NATIONAL GALLERY OF SCOTLAND Etching, signed in pencil to margin, signed to plateDimensions:the image 18.5cm x 36cm (7.25in x 14in)

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) YOUNG WOMANHOOD - 1931 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23cm x 17.5cm (9in x 7in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) CYPRIANO - 1927 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 16cm x 9.25cm (6.25in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: THE BLACK CLOAK (MRS PAUL MELLON) - 1943; PHEMIE; AGLAIA Etching, signed and dated in plate, signed in pencil to marginPHEMIE, Etching, signed in plate, signed in pencil to marginAGLAIA, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 25cm x 20cm (10in x 8in); 10cm x 7.5cm (4in x 3in); 12.5cm x 9cm (5in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) PORTRAIT OF JAMES MCBEY - 1931 Etching, signed, dated and inscribed in plate, signed in pencil to margin Dimensions:plate size 27cm x 19cm (10.5in x 7.5in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE BLACK SILK DRESS - 1927 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 22cm x 15.5cm (8.75in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE MIRROR Etching, signed in plate, signed in pencil to margin Dimensions:plate size 14.25cm x 10cm (5.5in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: IN THE WOODS; THE THREE SISTERS; NOEMIE Etching, signed in plate, signed in pencil to marginTHE THREE SISTERS, Etching, signed in plate, signed in pencil to marginNOEMIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 12.5cm x 15cm (5in x 6in); 10cm x 12.5cm (4in x 5in); 18cm x 10.5cm (7.25in x 4.25in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) VIBA - 1929 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 21.5cm x 17cm (8.5in x 6.75in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: FABIAN (THE IDEAL HEAD); CASPER - 1933; FABIAN; CLYTIE Etching, signed in plate, signed in pencil to marginCASPER, Etching, signed with initials in plate, signed in pencil to marginCLYTIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 19.75cm x 14.5cm (7.75in x 5.75in), 17cm x 12.5cm (6.75in x 5in), 12cm x 10cm (4.75in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: THE DANCER - 1925; BY THE WINDOW; A MOUNTAIN MAN Etching, signed and dated in plate, signed in pencil to marginBY THE WINDOW, Etching, signed in plate, signed in pencil to marginA MOUNTAIN MAN, Woodcut, signed with monogram in print, signed in pencil to margin Dimensions:plate sizes 24cm x 14cm (9.5in x 5.5in); 14cm x 10cm (5.5in x 4in); 12.5cm x 10cm (5in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: DEUX LANDAISES (EVENING) - 1923; XENIA; THE TWO MELISANDES - 1927 Etching, signed in plate, signed in pencil to marginXENIA, Etching, signed in plate, signed in pencil to marginTHE TWO MELISANDES, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 20cm x 15cm (7.75in x 6in); 20cm x 15.5cm (8in x 6in); 15.5cm x 8.5cm (6in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) DORETTE - 1932 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23.25cm x 18.5in (9.25in x 7.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: LA BASQUAISE; GENEVIEVE; BY THE BIDASSOA Etching, signed in plate, signed in pencil to marginGENEVIEVE, Etching, signed in plate, signed in pencil to marginBY THE BIDASSOA, Etching, signed in pencil to margin Dimensions:plate sizes 11cm x 9cm (4.25in x 3.5in); 20.5cm x 15cm (8in x 6in); 20cm x 14cm (7.75in x 5.5in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ALMINA -1924; LE CASAQUIN DE LAINE; THE BLACK SILK DRESS Etching, signed in pencil to marginLE CASAQUIN DE LAINE, Etching, signed twice in plate, signed in pencil to marginTHE BLACK SILK DRESS, Lithograph, signed and dated in plate with printer's stamps to margin, signed in pencil to margin Dimensions:plate sizes 18cm x 13.5cm (7in x 5.25in); 20cm x 14.5cm (8in x 5.75in); 23cm x 16cm (9in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) OLIVER ST. JOHN GOGARTY Etching, signed in plate, signed in pencil to margin Dimensions:plate size 17.75cm x 14cm (7in x 5.5in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

* Wyllie (William Lionel, 1851-1931). Sugar Boats, Greenwich Reach, etching with drypoint on thick cream wove paper, signed in pencil to lower left, plate size 325 x 125 mm (13 x 5 ins), sheet size 190 x 380 mm (7 1/2 x 15 ins), hinge-mounted, together with Barges on the Thames before Southwark Bridge, etching with drypoint, on wove paper, printed with plate tone, a clear and vivid impression, signed lower left, wide margins, plate size 123 x 325 mm (4.9 x 12.75 ins), sheet size 195 x 355 mm (7 1/2 x 14 ins), hinge-mountedQTY: (2)

AR * Pasmore (Victor, 1908-1998). Untitled (from IAA Portfolio), printed at Burleighfield House, Loudwater, published by the United Kingdom National Committee for the International Association of Art, etching with aquatint, limited edition '42/75', monogrammed in pencil to lower right and dated '75', plate size 25.2 x 37.5 cm (9 7/8 x 14 3/4 ins), framed and glazed (51.5 x 71.5 cm)QTY: (1)NOTE:Pasmore was a British artist who pioneered the development of abstract art in Britain in the 1940s and 1950s.

AR * Brockhurst (Gerald Leslie, 1890-1978). Nadia, 1921, etching on laid paper, from the published edition of 55 proofs, signed in pencil, with full margins, additionally inscribed in pencil in a different hand 'Nadia, prf'd state, S.9929', outer blank margins with some handling marks (probably by the printer or artist), laid down (margins adhered) to later card, sheet size 204 x 168 mm (8 x 6 5/8 ins), window mounted, framed and glazed (40.5 x 33.5 cm), verso with printed label of P. & D. Colnaghi & Co. Ltd, London, with added manuscript details of the workQTY: (1)NOTE:Wright 26, x/x.

* Wyllie (William Lionel, 1851-1931). The Thames from Greenwich Park, circa 1924, etching with drypoint on thick cream wove paper, signed in pencil to lower left, good margins, plate size 225 x 372 mm (9 x 14 1/2 ins), sheet size 290 x 450 mm (11 1/2 x 17 3/4 ins), hinge-mountedQTY: (1)

* Lloyd (Reginald J., 1926-2020). Screen Series, Etching 4 & Etching 10, 1996, etchings, both signed and dated 1996 lower right, numbered 6/20 lower left, titled on verso in ink, 15 x 19 cm (6 x 7 3/4 ins), both with studio stamp to verso, framed and glazed (40 x 44 cm), together withSun Valley, 1996, aquatint, artist proof, signed and dated lower right, 11 x 12.5 cm (4 3/8 x 4 7/8 ins), framed and glazed (38 x 29 cm) QTY: (3)NOTE:Sun Valley exhibited at Burton Art Gallery, Bideford, Devon, 1996, no. 144.

AR * Moore (Henry, 1898-1987). Seated Woman, 1979, etching with aquatint on handmade cream wove paper, printed by Michael Rand, published by Raymond Spencer for the Henry Moore Foundation, in an edition of fifty impressions, signed and numbered in pencil 44/50, plate size 225 x 165 mm (8 7/8 x 6 1/2 ins), sheet size 425 x 320 mm (16 3/4 x 12 1/2 ins), corner-mounted to backing cardQTY: (1)NOTE:Cramer 520.

* Lasinio (Conte Carlo, 1759-1838). The Rod of Aaron and the Brazen Serpent, after Benozzo Gozzoli (1420-1497), hand coloured etching with gouache and watercolour on thick paper, laid onto board, 'La Verga D'Aronne, e il Serpente di Bronzo / La Verge D'Aaron, et le Serpent D'Airain' in gold lettering to lower margin, sheet size 54.3 x 85.7 cm (20 3/8 x 33 3/4 ins), mounted (67.6 x 101.6 cm)QTY: (1)NOTE:This engraving is from Pitture a Fresco del Campo Santo di Pisa..., published in Florence in 1812, plate number 21.

AR * Dali (Salvador, 1904-1989). Le Cosmonaute from The Hippies Suite, 1969-70, hand coloured etching on Arches paper, limited edition '79/145' in pencil to lower left, signed in pencil to lower right, embossed signature on paper, some overall toning, sheet size 64 x 44.3 cm (25 1/8 x 17 3/8 ins)QTY: (1)NOTE:Michele & Lopsinger 380b.

AR * Brockhurst (Gerald Leslie, 1890-1978). By the Window, 1922, etching on laid paper, from the published edition of 76 proofs, signed in pencil, with full margins, additionally inscribed in pencil in a different hand 'By the Window S.11126', outer blank margins with some handling marks (probably by the printer or artist), single pale foxing spot to right blank margin, laid down (margins adhered) to later card, sheet size 204 x 169 mm (8 x 6 5/8 ins), window mounted, framed and glazed (40.5 x 32.5 cm), verso with printed label of P. & D. Colnaghi & Co. Ltd, London, with added manuscript details of the workQTY: (1)NOTE:Wright 31, ix/ix.

* Pissarro (Lucien, 1863-1944). The Cab, 1890, etching on Arches, from the published edition of 20 impressions, stamped with the artist's monogram lower right and numbered 7/20, additionally inscribed in a later hand to lower margin 'The Cab 1890' and 'ELB from ELP 29 Sept 1948', mount stained, 8 x 12cm (3 x 5in)QTY: (1)NOTE:Provenance: Collection of Michael and Megan Dawson.

* Hafner (Johann Christoph, 1688-1724). Forest Interior with Swamp, (after Adam Frans van der Meulen), circa 1690-1710, etching on laid paper, published by Jeremias Wolff, Augsburg, lettered to lower margin 'Vendermeulen Invent, Ieremias Wolff excudit aug Vind, Ioh: Chrift Hafner Sculps', some light spotting mainly to edges, small chip to upper edge margin, sheet size 32 x 45.5 cm (12 5/8 x 17 7/8 ins), framed and glazed (52 x 67 cm)QTY: (1)

* Whistler (James Abbott MacNeill, 1834-1903). The Punt, 1861, & Sketching No. 1, 1861, two etchings with drypoint on wove paper, both as issued in Passages from Modern English Poets illustrated by the Junior Etching Club, plate size 120 x 160 mm (4.75 x 6.5 ins), sheet size 165 x 235 mm (6 1/2 x 9 3/8 ins), plus and 45 other etchings by other artists (on 43 sheets), including Charles Keene, John Tenniel, John Everett, Millais, etc., as issued in Passages from Modern English Poets, illustrated by the Junior Etching Club, London: William Tegg, [1861], some leaves now loose, all edges gilt, original publishers red cloth gilt, rubbed and minor fraying to extreme corners, spine a little darkened, 4to (28 x 22 cm)QTY: (1)NOTE:Kennedy 85, iv/iv & 86 iv/iv.

* Lord (Elyse Ashe, 1900-1971). Lighting Lanterns, etching printed in colours on pale cream thin japan paper, from the published edition of 100 impressions, signed and numbered 35/100 in pencil, plate size 24.7 x 19 cm (9 3/4 x 7 1/2 ins), sheet size 28.8 x 20.6 cm, tipped onto thin backing card at upper corners, in a painted Chinese-style frame and glazed (46.5 x 34 cm), together with Springtime at Loyang #1 [and] #3, two etchings printed in colours on pale cream thin japan paper, from the published edition of 100 impressions, signed and numbered in pencil 43/100 & 45/100 respectively, plate size 35.4 x 26.2 cm (14 x 10 1/4 ins), tipped onto backing card around the edges (both lightly cockled), in uniform painted Chinese-style frames and glazed (53.5 x 42.5 cm), all three versos with printed labels of James Bourlet & Sons Ltd [London], and of Arthur Ackermann & Son Inc, New York, the Ackermann labels with typed or manuscript details of the respective workQTY: (3)

* Lee Hankey (William, 1859-1962). The Kiss, 1917-1918, drypoint, a fine, rich impression printing with burr, on wove paper, with margins, signed and inscribed in pencil ‘William Lee Hankey inv del et imp.’ and with the artist’s blindstamp (Lugt 237a), platemark 25 x 20 cm (9 7/8 x 77/8 ins) sheet 35 x 27 cm (13 3/4 x 10 5/8 ins), together with Le Petit, 1913, etching with aquatint, a trial proof printed in colours, on wove paper, plus The Virgin and Child, circa 1909-1910, soft ground etching with aquatint printed in colours; and Woman with a child on her knee, drypoint with plate tone, 1929; together with six further drypoints printed in black by the artist, five featuring mothers with children and one portrait of Marie Helen, all the prints on wove paper with margins, signed and inscribed in pencil ‘William Lee Hankey inv del et imp.’ and with the artist’s blindstamp (Lugt 237a), sheet sizes 44 x 34.5 cm and smallerQTY: (9)

* Tunnicliffe (Charles Frederick, 1901-1979). The Pasture Gate, etching on thin wove paper, from an edition of 75 impressions, signed and numbered 28/75 in pencil, light mount stain, minor loss to extreme upper left and right blank corners, plate size 223 x 284 mm (8 4/5 x 11 1/5 ins), sheet size 255 x 317 mm (10 x 12 1/2 ins), together with two other 20th-century prints: The Crane, by Lionel Lindsay, wood engraving, issued in an edition of 100 proofs, signed in pencil, and Discretion is the Better Part of Valour, by J. R. G. Exley, etching, signed and inscribed 'To Mr Short', both mountedQTY: (3)

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Ponte Lugano su l'Anione, from Vedute di Roma, 1763, etching on laid paper, a strong impression of the first state (of 4), with the artist's address and price, laid down to sheet edges on modern card, trimmed to, or just inside the plate mark, some marks and small abrasions, sheet size 455 x 660 mm (18 x 26 ins)QTY: (1)NOTE:Hind 68 i/iv.

* Various Artists. Artist's Choice Portfolio, 1987, comprising Michael Heindorf (1949-), The Baron in the Trees, colour lithograph, John Golding, Essai, lithograph, Alf Dunn, In Vacant or in Pensive Mood, colour screenprint & lithograph, Michael Vaughan, Death and the Maiden, etching, and Leonard Rosoman, Ship Series - Man Blown in the Wind, colour lithograph, published in an edition of 48 sets by the Royal College of Art in 1987, each signed and numbered 18/48, sheet size 29.5 x 30 cm (11 5/8 x 11 3/4 ins) and similar, each framed and glazed, together withBlake (Peter, 1932-). Composition, circa 1986, pen and crayon, signed upper left margin, mount aperture 8.5 x 13 cm (3 3/8 x 5 1/8 ins), framed and glazed (21.5 x 25.5 cm), together with a signed copy of Peter Blake by Marina Vaizey, London: Weidenfeld and Nicolson, 1986, ink inscription to half-title 'To Mervyn Peter Blake R.A. Nov 14. 86', together with a copy of an invitation to celebrate the work of Peter Blake on Thursday 28th November 1985QTY: (8)

* Attributed to Abraham Danielsz. Hondius (1625-1691). Wild Boars, circa 1672, pen and brown ink and grey wash on laid paper, inscribed ‘Hondius’ in pencil lower right, inscribed in pencil verso ‘By – Hondius / a Dutchman and very curious / (supposed to be), JBB' (?), and inscribed on the mount ‘From an album, bought at Ipswich in 1939, / which carried a crest of the Barlow family / and seems at this time to have belonged to Thomas Churchyard / I.A.W.’, sheet 14.3 x 17 cm (slightly unevenly trimmed at bottom), mounted, glazed and framed (53 x 37 cm)QTY: (1)NOTE:Provenance: Barlow Family (from an album decorated with the family crest); the artist Thomas Churchyard (1798-1865) of Woodbridge in Suffolk; purchased in Ipswich in 1939 by Iolo Aneurin Williams (1890-1962), collector and author of Early English Watercolours and Some Cognate Drawings by Artists born not later than 1785 (London: Connoisseur, 1952).The drawing appears to be Hondius’ design for his etching dated 1672 Wild Zwijn, or Wild Boar, measuring the same as our drawing, 14 by 17 cm, from the series Verschillende Dieren, or Diverse Animals (Hollstein, catalogue no. 7). An impression of the print is held by the Rijksmuseum, Museum no. RP-P-1907-2776, who note that the etching was made after Hondius’ own design.

* Bridgwater (H.M., early 20th century). Angel Watching, colour etching on paper, depicting an angel with a cherub watching over a waking figure, artist's monogram lower left, signed in pencil to lower right margin, surrounded by a wide ornate etched aquatint foliate and floral border (printed with central blank space), the main image separately printed in colours and laid down within the border (over the blank area), the whole laid down on card, tiny lifting area to lower right border, small area of possibly adhered paper to right margin (just touching main image), repaired tear to upper right corner of border, with slight chipping to upper edge, mount aperture 28.8 x 22.4 cm (11 3/8 x 8 3/4 ins), gilt framed and glazed (40.5 x 32.5 cm), verso with printed label of W.H. Clifford & Co., Strood, Rochester, and what appears to be an old stencilled auction number (probably Christie's) 528WLQTY: (1)NOTE:H.M. Bridgwater is listed in the Royal Academy Summer Exhibition Catalogue for 1911, where a 'Miss H.M. Bridgwater of Holland Park, London', exhibited a watercolour titled Pandora (no.1048).

AR * Hockney (David, 1937-). Portrait of Richard Hamilton, 1971, etching and aquatint on Hodgkinson handmade paper, published by Petersburg Press, London, signed and dated in pencil, numbered 24/30 (there were also 11 Artist's proofs), with the publisher's watermark, platemark 34 x 26.7 (13 3/8 x 10 1/2 ins), sheet size 45 x 37cm (17 5/8 x 14 1/2 ins), framed and glazed (49.5 x 41 cm)QTY: (1)NOTE:Provenance: Collection of Michael and Megan Dawson.Literature: Scottish Arts Council 126; Museum of Contemporary Art, Tokyo 118.

* Anderson (Stanley, 1884-1966). Birmingham Hospitals Centre, 1938, copper line engraving on cream wove paper, signed in pencil lower right, from an edition of 50, a rare view for Anderson to engrave and a fine impression, large margins, tipped onto backboard, plate size 228 x 348 mm (9 x 13 3/4 ins), sheet size 315 x 465 mm 12 1/2 x 18 1/4 ins), hinge-mounted, with Strang (William, 1859-1921). The Roof of the Cloth Hall, Ypres, 1898, copper line engraving on thin laid paper, signed in pencil lower right (also with a dedication by the same hand), tipped onto backboard, plate size 252 x 150 mm (10 x 6 ins), sheet size 290 x 185 mm (11 1/2 x 7 1/4 ins), hinge mounted, and Dodd (Francis, 1874-1949). Basilica of San Isidoro, Le?n, etching with drypoint on wove paper, a vibrant impression, signed lower left, good margins, laid down to backboard and lower portion of mount, plate size 192 x 288 mm (7 1/2 x 11 1/2 ins), sheet size 272 x 390 mm (10 3/4 x 15 1/4 ins), mounted, with William Walcot’s ‘Bull Fight, Seville’, plus etchings by William Strang, Elizabeth Fyfe, Leslie Ward, Eugène Béjot, H A Freeth, Jacomb-Hood, Frederic Whiting, and Charles Bartlett QTY: (21)

* Millais (John Everett, 1829-1896). The Baby-House, [1872], etching on chine collé, published by the Etching Club in 1872, showing a small girl sitting by a doll's house and an older girl sitting on a chair beside, artist's signature, monogram, and title within image, plate size 14.3 x 18.3 cm (5.5 x 7.25 in), mounted, framed and glazed (35.5 40.5 cm), together with other etchings including: Breaking Up of the Agamemnon & Ye Compleat Angler both by Seymour Haden and an incomplete set of plates from A Selection of Etchings by The Etching Club, (and similar publications), containing etchings by Charles Cope, George B O'Neil, Thomas Cresswick, Richard Redgrave, John C Horsley, Frederick Tayler, and Charles Jacque Eaux-Fortes (1864), containing 20 plates, all loose in original publisher's bindings, folioQTY: (5)

* Pannell (Joseph, 1857-1926). Ships at Night, Changing Shifts, 1916, lithograph on watermarked Ingres laid paper, a proof aside from the published edition of 50, signed in pencil, full sheet, image size 405 x 530 mm (16 x 21 ins), sheet size 485 x 630 mm (19 x 24 3/4 ins), together with Strang (William, 1859-1921). A Love Song, 1908, etching with drypoint on ivory laid paper, printed with plate tone, signed in pencil bottom right, plate size 305 x 227 mm (12 x 9 ins), sheet size 389 x 265 mm (15 1/4 x 10 1/2 ins), and Lee Hankey (William, 1869-1952). Women of Étaples, circa 1928, etching with drypoint on cream japan paper, a rich impression, a proof aside from the published edition of 100, signed in pencil, with artist's blindstamp, full sheet, some toning, plate size 205 x 170 mm (8 x 6 3/4 ins), sheet size 396 x 230 mm (15 1/2 x 9 ins), and further signed etchings by Ian Strang, John Hall Thorpe, William Walker, Margaret Rudge, Dorothy Sweet, and Frederick Marriott, all various sizes and conditionsQTY: (20)

AR * Tanner (Robin, 1904-1988). Hedge Flowers, [1936], etching, 'Robin Tanner The Memorial Portfolio' blindstamp to lower right, numbered '91/100', reissued for The Memorial Portfolio, published by Merivale Editions, 1989, printed in an edition of 100, plate size 23.3 x 16.2cm (9 x 6 1/4 ins), framed and glazed (47 x 39.5 cm)QTY: (1)

To comprise Melbourne House, White-Hall; Old Palace Yard; John Street, Adelphi; Part of Somerset Place; Front of St Martin's Church, Strand; North Front of the Chapel and Hall of Greenwich Hospital; The Admiralty; Inner Temple Court; Carlton House; Privy Garden; Great Court, Somerset Place; New Palace Yard; Lothbury Court, Bank; South West View of St. Martin's Church; North Front of the Bank; The Great Court of the Tower; St. Lawrance's Church & Guild-Hall Seventeen aquatints with etching, hand coloured, published by the artist, published 1793-1800, various sizes, all framed. *CR Some lightly foxed and stained; some grazed within image; `John Street` with a notable crease; `Old Palace Yard` with a wash stain in margin; fair overall.