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Sammlung von 13 Original-Graphiken überwiegend deutscher Künstler des 20. Jahrhunderts. Verschiedene Techniken: (Farb-)Lithographie und Radierung. Blattmaße von 29 x 21 cm bis 64 x 54,5 cm. Alle bis auf 2 signiert sowie teils datiert, nummeriert und bezeichnet. Enthält Arbeiten von: Paul Adolf Seehaus (2, je mit Nachlass-Signatur), Karl Schwesig, Heinrich (Heiggi) Müller (3), Jo J. Lindemann (3) und Günther Stiller sowie 2 unsignierte Porträts unbekannter Künstler und eine signierte Radierung eines nicht identifizierten Künstlers. - Teils etwas gebräunt. Die Radierung von Schwesig mit Defekten. Eine Radierung von Müller stärker fleckig. Teils etwas griffspurig. Insgesamt wohlerhalten. Collection of 13 original prints by mainly German artists of the 20th century. Various techniques: (colour) lithography and etching. All but 2 signed and partly dated, numbered and inscribed. - Contains works by: see above. - Partly somewhat browned. The etching by Schwesig with defects. One etching by Müller more strongly stained. Partly a little bit worn. At all in good condition.

Braque, Georges - - Erik Satie. Léger comme un oeuf. Mit einer Original-Farbradierung von Georges Braque. Paris, Louis Broder, 1957. 26 S., 4 Bll. Kl.-8°. Schwarzes Kalbsleder mit goldgepr. RTitel, aufwendigem geometrischen Mosaik-Dekor in Weiß und Orange auf Deckeln, Kopfgoldschnitt, fliegende Vorsätze in orangenem Glanzpapier. In schwarzer Pp.-Chemise mit transparentem Rücken und schwarzem Pp.-Schuber (diese etwas berieben). Einband signiert: Pierre-Lucien Martin, 1958. Erste Ausgabe. - Monod 10174. - Erstes Werk der Serie "Miroir du poète". - Eines von 100 (GA 120) nummerierten und von Georges Braque im Druckvermerk signierten Exemplaren auf Japon ancien. - Mit der in Schwarz und Orange gedruckten Frontispiz-Radierung von Braque, gedruckt bei Crommelynck et Dutrou. - OUmschlag und Rücken miteingebunden. Sehr gutes Exemplar in aufwendig gestaltetem Einband. With an original colour etching by Georges Braque. Black calf with gilt title on spine, elaborate geometric mosaic decoration in white and orange on covers, top gilt edge, flyleaves in orange glossy paper. In black cardboard chemise with transparent spine and black cardboard slipcase (these somewhat rubbed). Binding signed: P.-L. Martin, 1958. - First edition. - First work of the series "Miroir du poète". - One of 100 (total ed. 120) numbered copies on Japon ancien signed by Georges Braque in the imprint. - With the frontispiece etching in black and orange, printed by Crommelynck et Dutrou. - Orig. wrappers and spine bound in. Very good copy in elaborately designed binding.

Molière - Corneille - - J. M. Moreau Le Jeune - nach. Zwei Alben mit 56 Illustrationen zu den Werken von Molière und P. Corneille. Frankreich, 19. Jh. Verschiedene Techniken: u.a. Radierung und Stahlstich. Blattmaße je ca. 27 x 17 cm. Montiert in zwei späteren braunen Lwd. Kl.-4°. Der erste Bd. enthält die Suite der 30 in den Jahren 1812 und 1813 von Renouard in Auftrag gegebenen Illustrationen zu den Oeuvres de Molière, gestochen nach Moreau Le Jeune von Basq, Ribault, Roger, Simonet, Croutelle, de Ghendt, Girardet, Villerey und Delvaux, sowie ein weiteres, bei De Villiers fratres erschienenes Bl. Der zweite Bd. umfasst 25 Bll. größtenteils Stahlstiche wohl um 1840 erschienen und ebenfalls Illustrationen u.a. nach Moreau Le Jeune für die Oeuvres de Pierre Corneille. Darunter ein Porträt gezeichnet und gestochen von Augustin de Saint-Aubin nach einer Büste von Caffiery. - Bll. teilweise leicht braunfleckig. Im zweiten Bd. 2 Bll. lose eingelegt. Insgesamt in sauberem Zustand. Two albums with 56 illustrations of the works of Molière and P. Corneille. France, 19th century. Various techniques: etching and steel engraving among others. Mounted in two later brown linen cloths. - The first volume contains the suite of 30 illustrations commissioned by Renouard in 1812 and 1813 for the Oeuvres de Molière, engraved after Moreau Le Jeune by Basq, Ribault, Roger, Simonet, Croutelle, de Ghendt, Girardet, Villerey and Delvaux, as well as another sheet published by De Villiers fratres. The second volume contains 25 sheets mostly steel engravings probably published around 1840 and also illustrations a.o. after Moreau Le Jeune for the Oeuvres de Pierre Corneille. Among them a portrait drawn and engraved by Augustin de Saint-Aubin after a bust by Caffiery. - Partly slightly brownspotted. In the second vol. 2 fol. loosely inserted. Overall in clean condition.

Rainer, Arnulf u.a. - - Odradek. Die Realität des Unverständlichen. Mit 12 (von 13) signierten Original-Radierungen u.a. von Arnulf Rainer, Alfred Hrdlicka und Ernst Fuchs. Burgdorf/Hannover, Steintor Verlag, 1971. Folio. Titelbl. und Graphiken lose eingelegt in roter OLwd.-Kassette mit DTitel (berieben) Eines von 100 Exemplaren. Die Original-Graphiken je signiert, datiert und nummeriert sowie unter Passepartout (je 42 x 31 cm) befestigt. - Es fehlt die Radierung von Friedrich Meckseper. Enthält je eine Radierung von Peter Ackermann, Peter Collien, Michael Coudenhove-Kalergi, WP Eberhard Eggers, Ernst Fuchs, Thomas Häfner, Alfred Hrdlicka, Arnulf Rainer, Kurt Regschek, Markus Vallazza, Woldemar Winkler und Franz Anatol Wyss. Zu der Erzählung "Die Sorge des Hausvaters" von Franz Kafka. - Graphiken unter dem Passepartout-Ausschnitt teils etwas lichtrandig. Insgesamt sehr gut erhalten. With 12 (of 13) signed original etchings by Arnulf Rainer, Alfred Hrdlicka and Ernst Fuchs, among others. Title-page and prints loosely inserted in red orig. cloth box with cover title (rubbed). - One of 100 copies. The original prints each signed, dated and numbered and mounted under passepartout. - The etching by Friedrich Meckseper is missing. Includes one etching each by Peter Ackermann, Peter Collien, Michael Coudenhove-Kalergi, WP Eberhard Eggers, Ernst Fuchs, Thomas Häfner, Alfred Hrdlicka, Arnulf Rainer, Kurt Regschek, Markus Vallazza, Woldemar Winkler and Franz Anatol Wyss. - Graphics partly a little bit light-margined under the passepartout. At all very well preserved.

12 Graphiken verschiedener Künstler mit überwiegend landschaftlichen Motiven. 19.-20. Jh. Mit Radierungen und Holzschnitten sowie Heliogravüren auf Vélin, vereinzelt auf China. Blattmaße von 26 x 37,5 cm bis 42,5 x 50 cm. Überwiegend signiert, teils datiert, betitelt, nummeriert. Vereinzelt punktuell auf Unterlage bzw. unter Passepartout montiert. Enthält u.a. Arbeiten von: Anton Scheuritzel - nach Max Liebermann - Klaus Richter - Rosa Ulsamer - A.Becker - Ludwig Dettmann. - - Teils lagerspurig und etwas unfrisch. Vereinzelt mit Rand- bzw. Einrissen. Ausgezeichnete bis sehr gute und kräftige Drucke mit breitem Rand. - Dabei: Jorge Castillo. Luise und Friederike von Preußen. 1974. Radierung auf Velin. Signiert, datiert u. als "E.A." bezeichnet. 12 prints by various artists with mainly landscape motifs. With etchings and woodcuts as well as heliogravures on wove paper, some on China. Mostly signed, partly dated, titled, numbered. Some mounted on a backing or under a passepartout. - Partly with traces of storage and somewhat unfresh. Occasionally with margins and tears. Excellent to very good and strong prints with wide margins. - With works of artists among others as listed above. - Added: - 1 etching by Jorge Castillo on paper. Signed, dated and inscribed "e.a.".

Picasso, Pablo - - Robert J. Godet. L'âge de soleil. Mit einer Heliogravüre von Pablo Picasso (Negativdruck der Radierung "Pour Roby"). Paris, aux dépens de l'auteur 1950. 1 S., 78 S., 1 S. Lwd. mit schwarzem RSchild (OUmschlag miteingebunden). Bloch 680. - Cramer 57. - Auf dem Vortitel mit einer kleinen Zeichnung und Widmung von Robert J. Godet. Eins von 1000 Exemplaren. Die schöne Heliogravüre zeigt Picassos Geliebte Françoise und die Mutter seiner Kinder Paloma und Claude. - Papierbedingt etwas gebräunt, sonst gutes Exemplar. With a heliogravure by Pablo Picasso (negative print of the etching "Pour Roby"). On the pre-title with a small drawing and dedication by Robert J. Godet. One of 1000 copies. The beautiful heliogravure shows Picasso's mistress Françoise and the mother of his children Paloma and Claude. - Paper somewhat browned, otherwise good copy.

Wood framed hand colored etching of a street scene with ladies and children. Hand signed in pencil, bottom right. Sight size - 9.5"W x 7.75"H. Frame size - 16"W x 15.25"H. Artist: Jerome MyersIssued: c. 1930Edition Number: 40 of 50 Condition: Age related wear.

Etching in color titled Valley Lake. Signed lower right numbered II/XXV. Sight size 22.25" x 30"

L' Age du Soleil (Pour Roby) is a monochrome restrike etching from the original that Pablo Picasso created in 1950. It is the portrait of a young man made with minimal lines and it was edited in 1968 by The Collector Guild, NYC. Signature and title in reverse on lower part of the plate: Picasso, Pour Roby. Housed in a simple gilded frame with cream matting to emphasize Picasso's simplified portrait. Certificate of Authenticity included. Sight size: 8"L x 9.90"H. Frame size: 15.25"L x 17.25"H x 1"W. Artist: Pablo Ruis PicassoIssued: c. 1968Country of Origin: SpainCondition: Age related wear.

Etching and aquatint by Contemporary landscape artist, Pino Finocchiaro (Italian, b. 1937, of a landscape with a linear house surrounded by red poppies and hard-edge trees partially covering the sun. Signature in pencil on lower left: Pino Finocchiaro. On lower right: 17/150. Sight size: 13.50"L x 14.25"H. Frame size: 20.25"L x 20.90"H x 1"W. Artist: Pino FinocchiaroIssued: c. 2000Edition Number: 17 of 150 Condition: Age related wear.

This abstracted relief etching on gold paper is inspired by the Mesoamerican culture of the Toltec. Marilyn Sica airbrushed in black, red and blue a circle within a rectangle around a metallic central square with Pre-Columbian signs. Housed in a gold frame. Inscribed on lower left: Artist Proof. In lower center: "Toltec". On lower right: Sica. Sight size: 11.75"L x 9"H. Frame size: 16.75"L x 12.75"H x 0.90"W. Artist: Marilyn SicaIssued: c. 1970Edition Number: Artist Proof Country of Origin: United StatesCondition: Age related wear.

This large etching entitled Here's Health Unto His Majesty is based on an original oil painting by British aristocratic genre scene painter Walter Dendy Sadler (1854-1923). British artist James Dobie etched the royal toast with utmost details and an array of rich tones that result in a handsome composition. Signed in the plate. Inscribed on lower center: London Published 1909, Lefevre and Son, King Street, St James Proprietor of the Copyright. Signature in pencil on lower left: Walter Dendy-Sadler. Signature on the lower right: James Dobie. Housed in a black wood frame with a gilded border and an off-white mat. Sight size: 13.55"L x 18"H. Frame size: 23"L x 27.50"H x 0.75"W. Artist: James Dobie (British, 1849-1911)Issued: 1909Country of Origin: EnglandCondition: Age related wear.

This beautiful etching represents an intimate moment between a mother and her young child that she holds in her arms. Printed by reputed Cuban artist and Master Printer Agustin Rolando Rojas, this etching embodies his early realistic artworks made before moving to Canada and the United States. Signature pencil in lower right: A. Rolando Rojas. Title in lower center: Tenderness. On lower left: 15/25. Sight size: 24"L x 29.50"H. Frame size: 33.10"L x 38.70"H x 1.50"W. Artist: Agustin Rolando RojasIssued: c. 2000Edition Number: 15 of 25 Country of Origin: CubanCondition: Age related wear.

Christine Tacq BA (fine artist and author) - Collagraph print, AP etching, 110mm x 160mm, framed and glazed, 230mm x 280mm.  Christine Tacq is a published author and one of her etchings is on display in the British Library.

Lisa Stubbs (printmaker) - Drypoint etching using Tetra Pak, 290mm x 200mm, framed and glazed, 440mm x 320mm.

Sally Booth (artist) - Etching, 120mm x 120mm, framed and glazed, 240mm x 330mm.

Christine Tacq BA (fine artist and author) - AP etching, no. 12/30, 190mm x 245mm, framed and glazed, 230mm x 280mm.  Christine Tacq is a published author and one of her etchings is on display in the British Library.

Lisa Stubbs (printmaker) - Drypoint etching, 150mm x 290mm, framed and glazed, 320mm x 440mm.

Christine Tacq BA (fine artist and author) - AP etching, no. 2/30, 100mm x 170mm, framed and glazed, 130mm x 200mm.  Christine Tacq is a published author and one of her etchings is on display in the British Library.

Christine Tacq BA (fine artist and author) - AP etching, 350mm x 420mm, framed and glazed, 430mm x 530m. Christine Tacq is a published author and one of her etchings is on display in the British Library.

Christine Tacq BA (fine artist and author) - AP etching, 350mm x 420mm, framed and glazed, 430mm x 530mm. Christine Tacq is a published author and one of her etchings is on display in the British Library.

John Hoyland R.A. (British 1934-2011) "Fly Away" 1981, signed and marked P/P (Printer's Proof) in pencil in the margin, printed at Kelpra Studio, published by Leslie Waddington, etching and carborundum on wove paper with full margins.sheet size 68.5 x 91.5cm (framed 75 x 98cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There is some minor time staining and creasing around the edges of the sheet. The print is ornately reframed and glazed.

Sir Antony Gormley O.B.E., R.A. (British 1950-) "Domain" Signed and dated '00 in pencil in the margin, marked Studio Proof, published by the Clore Duffield Foundation for their Artworks Awards programme, on BFK Rives Natural 280 gsm paper, etching and aquatint.plate size 75.5 x 60.5cm, sheet size 91 x 77cm (framed 100.5 x 85.5cm)Wilson55 can help with delivery! Click the shipping tab for more details.Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two faint marks and spots of foxing in the margins. There is a minor crease to the paper in the centre of the lower margin. The print is ornately framed and glazed.

Sir Antony Gormley O.B.E., R.A. (British 1950-) "Feeling Material" 2006, signed, titled and marked BAT (Final Proof) in pencil in the margin, on wove paper, published by Sadler's Wells, London, etching, with margins.plate size 49.5 x 35cm, sheet size 61 x 45cm (framed 69.5 x 53cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two faint marks and spots of foxing in the margins. The print is ornately framed and glazed.

Merlyn Evans (British 1910-1973) "Standing Figure" Signed, titled and dated '57 in pencil in the margin, numbered 9/50, etching.101 x 69cm (framed 105 x 73cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some faint marks and spots of foxing in the margins. The print is ornately framed but not glazed.

Property of a Gentleman. William Hogarth (1697 - 1764), An Election Entertainment (Four Prints Of An Election). The complete set of four engravings. Published 1758. Etching and engraving on paper. Dimensions: (Paper) 19 in. (H) x 25 in. (W)

Giovanni Battista Piranesi (1720 - 1778) Two Roman Views. [a] Veduta del Tempio do Antonino e Faustino in Campo Vaccino The Temple of Antoninus and Faustina Original etching from the "Vedute di Roma" Hind 49, iii/vi Rome, 1758 [b] Veduta degli avanzi di due Triclinj che appartenevano alla Casa aurea. Original etching from "Veduta di Roma" Hind 50, iii Rome, 1758. Dimensions: [a] 15.75 in. (H) x 12.25 (W) [b] 20.25 in. (H) x 30.25 (W)

To be sold without reserve. Property of a Gentleman. Percy Roberts, George Riley (pub.) Admiral Lord Nelson K.B. and the Victory of the Nile. Published 25 March 1799 Stipple engraving with etching on wove paper. Dimensions: (Print) 16.75 in. (H) x 11 in. (W) (Frame) 22 in. (H) x 15.5 in. (W)

Property of a Gentleman. Giovanni Battista Piranesi (1770 - 1778) Vasi, Candelabri. [a] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn Marble Tripod found at Ostia by Gavin Hamilton in 1775l. Etching Rome 1778 Wilton Ely 947 [b] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn. Marble topped tripod found at Ostia by Gavin Hamilton in 1775. Etching Rome 1778 Wilton Ely 948 Dimensions: [a] 29 in. (H) x 21 in. (W) [b] 29 in. (H) x 21 in. (W)

Property of a Gentleman. Giovanni Battista Piranesi (1720-1778). [a] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn. Various lamps of bronze and terracotta including a view of a chariot lamp. Etching Published Rome 1778 Wilton Ely 896. [b] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn. Various lamps of bronze and terracotta, one of them representing a small Silenus seated on a Priapus. Etching Published Rome 1778 Wilton Ely 899. Dimensions: 21 in. (H) x 28.25 in. (W)

To be sold without reserve. Property of a Gentleman. Edward Orme (1774 - 1848). The Funeral Procession of Lord Viscount Nelson Jan. 9th 1806. Published 12 January 1806 Etching, engraving, and aquatint on paper. Dimensions: (Paper) 12.75 in. (H) x 17 in. (W) (Frame) 20 in. (H) x 24.5 in. (W)

Giovanni Battista Piranesi (1720-1778), Veduta della Fontana di Trevi anticamente della Acqua Vergine. The Fountain of Trevi formerly called the Acqua Vergine Original etching from the "Vedute di Roma", Rome 1751. Dimensions: 17 in. (H) x 23 in. (W)

Property of a Gentleman. William Hogarth (1697 - 1764), Industry and Idleness. The complete set of 12 engravings. Published 1795. Etching and engraving on paper.  Dimensions: (Paper) 26 in. (H) x 19.25 in. (W)

Charles Frederick Tunnicliffe (British 1901-1979) "The Stallion" 1928, signed in pencil in the margin, etching.18.5 x 23.5cm (framed 36.5 x 41.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned universally across the sheet and there is some browning around the edges of the print near the mount board. There are some spots of browning across the sheet. The print is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Tom McGuiness (1926-2006) "Fillers" Signed, titled and dated '77 in pencil in the margin, numbered 12/30, etching with aquatint.plate size 7 x 10.5cm (framed 34 x 39.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two minor spots of foxing and some light creases in the margins. The print is ornately framed and glazed.

Gillray (James) Light Expelling Darkness, - Evaporation of Stygian Exhalations,-or- The Sun of the Constitution, rising superior to the Clouds of Opposition, etching with hand-colouring, on cream wove paper without watermark, platemark 350 x 453 mm (13 3/4 x 17 3/4 in), sheet 363 x 483 mm (14 1/4 x 19 in), small marginal nick to the lower right corner, unframed, [BM Satires 8644], Hannah Humphrey, 1795⁂ William Pitt the Younger, as a Roman charioteer, wearing a laurel wreath, is seated in an ornate chariot drawn by the British Lion and the White Horse of Hanover.

Gillray (James) Armed Heroes, vide Military Appearances at St Stephens & at St Cloud's, on ye day of Defiance, etching with original hand-colouring, on cream wove paper, platemark 260 x 362 mm (10 1/4 x 14 1/4 in), sheet 267 x 380 mm (10 1/2 x 15 in), small marginal tear in the lower left corner, pin-holes to upper and lower corners, ink numbering in the upper right corner margin, unframed, [BM Satires 9996], Hannah Humphrey, 1803.⁂ A fully uniformed Addington, astride a dish of Roast Beef of Old England, faces Little Boney across the channel, issued the same day to mark the declaration of war between the two nations on May 18th.

Smith (Percy John Delf, British artist-soldier, printmaker, calligrapher and book designer, 1882-1948) Thiepval Hill from the River Ancre, watercolour over pencil, black chalk, heightened with white, signed and dated in pencil in the lower right corner, further inscribed verso 'Thiepval from the left bank of the Ancre (on the road to Beaumont-Hamel/ Indications of old German Trenches as seen/ on the slopes. The mound of earth/ on the top of the hill is all that remains/ of the Castle and other buildings/ Done Tues: March 22nd 1917/ P.S.', with the artist's London address and updated address inscribed below, minor handling creases to edges, minor browning, unframed, 1917Provenance: Private collection (bought in the late 1990s)⁂ Fully worked-up watercolour relating to Smith's drypoint etching of the same subject, plate VIII from the series "Twelve Drypoints of the War 1914-1918", published by P & D Colnaghi & Co, London, 1925.

Byron (George Frederick) Coming Out of a Country Theatre, original watercolour, pen and black ink, signed and dated '1802' in the lower right corner, 380 x 575 mm (15 x 22 5/8 in), under glass, minor surface dirt, framed, 1802; together with the hand-coloured etching of the same, engraved by Stadler and Lewis, 430 x 600 mm (17 x 23 5/8 in), under glass, some toning and surface dirt, framed, William Holland, 1 November 1802 (2)Provenance:Joel Spitz [his label to the reverse of the watercolour, no. 450] Sale. Christie's, The Joel Spitz Collection of Colour-Plate Books, 27th May 2015, lot 33

Duchamp (Marcel) and Andre Breton. Boite Alerte: Missives Lascives, one of 200 copies, comprising a collection of letters, catalogues, objects, postcards and original signed and numbered graphic works (lacking the lithograph by Joan Miró (Mourlot 195)), housed within the original green paper covered cardboard box designed to look like a French post-box (a little rubbed), limitation number stamped on inside of lid, overall size 278 x 190 x 70mm., n.p., 1959.⁂ The present lot contains the following items:i) catalogue for the exhibition.ii) 8 Missives Lascives by Micheline Bounoure, Alain Joubert, Joyce Mansour, Robert Benayoum, Octavio Paz, André Pieyre, Mimi Parent (a black silk stocking in an envelope with transparent window), and one anonymous.iii) a telegram on pink paper by Marcel Duchamp writing as Rrose Sélavy to André Bretoniv) a vinyl 45 rpm two-sided record with recordings of poems by Joyce Mansour and Benjamin Peretv) 6 colour postcards of works by Bellmer, Dali, Gorky, Miro, Svanberg, and Clovis Trouille.vi) 3 original signed and numbered lithographs by Adrien Dax, Marie Toyen, Max Walter Svanbergvii) an original signed and a numbered etching by Jacques Le Marechal.

Gillray (James) The Daily-Advertiser, etching with original hand-colouring, on J Whatman watermarked laid paper, sheet 355 x 257 mm (14 x 10 1/8 in), trimmed within the platemark, sheet tipped at upper edge onto card support, unframed, [BM Satires 8981], Hannah Humphrey, 1797; together with 'Fortune-Hunting', etching with original hand-colouring, 260 x 380 mm (10 1/4 x 14 7/8 in), unframed, [BM Satires 10301], Hannah Humphrey, 1804 (2)

Smith (Percy John Delf) Sixteen Drypoints and Etchings: A Record of the Great War, one of 22 special copies with an original signed etching as frontispiece, 16 collotype plates with captioned tissue-guards, the artist's own copy with his pencil note on front free endpaper "Please return to..." with address and telephone number, original buckram, gilt, covers stained, Soncino Press, 1930; and 4 others by or relating to Percy Smith and his print-making, including another copy of the mentioned, this unnumbered, without the signed frontispiece but also with pencil note "To be returned to Percy Smith...", 4to and 8vo (5)⁂ The signed etching is captioned "Thiepval Wood. "Bare ruin'd choirs where late the sweet birds sang."

Rowlandson (Thomas) Dinners Drest in the Neatest Manner, etching with original hand-colouring, on cream wove paper without watermark, platemark 245 x 350 mm (9 3/4 x 13 3/4 in), sheet 258 x 410 mm (10 1/8 x 16 1/8 in), small marginal nick in the upper right, otherwise minor spotting, unframed, [Not in BM Satires], [Thomas Tegg], 1811; together with a group of 8 further caricatures by Rowlandson, including 'Miseries of Human Life' after Woodward [Not in BM Satires], 'Miseries of London, or a Surly Saucy Hackney Coachman' [Not in BM Satires], 'Kitchin Stuff' [BM 11636], 'An Old Ewe Drest Lamb Fashion' [BM 11633], and 4 others in slightly compromised condition, etchings with hand-colouring, various sizes, all unframed, early 19th century (9)

Gillray (James) Affability, etching and aquatint with original hand-colouring, an excellent impression on cream wove paper, sheet 337 x 235 mm (13 1/4 x 9 1/4 in), trimmed within the platemark, carefully remargined, unframed, [BM Satires 8616], Hannah Humphrey, 1795.⁂ A classic satire on the attempts in the mid 1790s to capitalise on George III's ordinariness, and to establish him as the well-loved Father of his People.

Gillray (James) Middlesex-Election, etching and aquatint with original hand-colouring, on wove paper, sheet 334 x 488 mm (13 1/8 x 19 1/8 in), trimmed within platemark to image, central vertical fold, other folds and handling creases, small nicks and repaired tears, unframed, [BM Satires 10264], Hannah Humphrey, 1804.

Gillray (James) Promis'd Horrors of the French Invasion, or Forcible reasons for negotiating a regicide peace, etching with original hand-colouring, on cream wove paper without watermark, platemark 325 x 435 mm (12 3/4 x 17 1/8 in), sheet 345 x 460 mm (13 1/2 x 18 1/8 in), minor exposure lines, some surface dirt and marginal ink stains, unframed, [BM Satires 8826], Hannah Humphrey, 1796⁂ A satire on the Opposition and the prospects of invasion, with French troops marching with fixed bayonets up St. James's Street, the Palace set ablaze in the distance.

World.- Wit (Frederik de) Nova Totius Terrarum Orbis Tabula ex officina F. de Wit Amstelodami, first state, double hemisphere world map with California as an island, and the north west coast of North America is unknown, the borders with allegorical scenes representing the four elements, etching and engraving by Romeyn de Hooghe, early hand-colouring and heightened with gold, 490 x 570 mm (19 1/4 x 22 1/2 in), under glass, some repairs visible to central fold, minor toning and surface dirt, framed, [Shirley 444 (state 1)], [Amsterdam, 1668]

Gillray (James) John Bull taking a Luncheon: -or- British Cooks, cramming Old Grumble-Gizzard, with Bonne-Chére, etching with original hand-colouring, on cream wove paper without watermark, sheet 262 x 382 mm (10 1/4 x 15 in), trimmed within the platemark, minor surface dirt, unframed, [BM Satires 9257], Hannah Humphrey, 1798⁂ Excellent impression of Gillray's satirical print illustrating the celebration following Nelson's victory. John Bull, gross and obese, seated at a table covered with the emblems of naval victory, looks towards British admirals, including Nelson, in profile to the left, his face bearing scars.

Smith (Percy John Delf, British artist-soldier, printmaker, calligrapher and book designer, 1882-1948) Marching in line [three variant studies], pencil on various papers, two signed, one dated '1918' with borderlines and inscribed measurements, each sheet approx. 190 x 230 mm (7 1/2 x 9 in) or slightly larger, one with nicks and rough edges, otherwise minor surface dirt, unframed, 1918 (3)Provenance: Private collection (bought in the late 1990s)⁂ Three fine preliminary drawings for a possibly unrealised drypoint etching.

Gillray (James) The King of Brobdingnag, and Gulliver. -Vide. Swift's Gulliver: Voyage to Brobdingnag, etching and aquatint with original hand-colouring, a good impression on wove paper, sheet 342 x 268 mm (13 1/2 x 10 1/2 in), small margins except to lower edge which is trimmed within the platemark, repaired tear to upper centre with other small nicks to edges, minor browning, unframed, [BM Satires 10019], Hannah Humphrey, 1803⁂ George III, half length, stands in profile to the left, holding a tiny Napoleon on the palm of his right hand, and inspecting him through a spy-glass.

Gillray (James) Regardèz-moi, etching with hand-colouring, platemark 280 x 375 mm (11 x 14 3/4 in), sheet 305 x 403 mm (12 x 15 3/4 in), faint careful repair to the upper right corner, vertical fold, marginal nicks and tears, unframed, [BM Satires 5911], 1781⁂ Scarce at auction; we cannot trace another impression being sold. The gentleman instructing the gigantic goose is the great French dancer and ballet master, Gaetano Apollino Baldassare Vestris (1729-1808). By 1781 Vestris's success and vanity had grown to such proportions that he is reported to have said "There are but three great men in Europe - the King of Prussia, Voltaire and I". Gillray's caricature relates to Sandby's etching 'Six guineas entrance and a guinea a lesson', an impression of which was sold in these rooms in 2017.

Smith (Percy John Delf, British artist-soldier, printmaker, calligrapher and book designer, 1882-1948) Collection of 19 original preliminary drawings for "Twelve Drypoints of the War 1914-1918", including five pen and ink with wash, 13 black chalk and pencil, and one etching re-worked with black chalk and pencil, on various papers, some inscriptions and dates, two presented in card slips with 'Return to/ Percy Smith/ 27 Rudell Crescent/ NW3' inscribed to upper covers, various sizes between approx. 100 x 145 mm (4 x 5 3/4 in) and 190 x 250 mm (7 1/2 x 9 7/8 in), occasional minor handling creases and old folds, some surface dirt, slightly rough edges to some, a few laid onto support, all unframed, circa 1914-1918; together with Twelve Drypoints of the War 1914-1918, including 11 drypoint etchings only (of 12), lacking no. "V", 'The Long and Winding Way', all inscribed and signed in pencil, each platemark approx. 150 x 200 mm (5 7/8 x 7 7/8 in), or the reverse, each taped into contemporary mount, some staining to margins, presented in original portfolio case with artist's manuscript label to upper cover and two copies of William Rothenstein's "Note", inscribed in pencil 'Set No. 6', folio, Colnaghi & Co., 1925Provenance: Private collection (bought in the late 1990s)⁂ An important archival collection of working drawings and studies for Smith's "Twelve Drypoints of the War". Including an almost complete set of the drypoints in original portfolio, one of only 12 sets that were printed, of which only 10 were for sale."Percy Delf Smith arrived on the Western Front in late 1916 where he was posted to the Somme with the Royal Marines as a gunner. Shortly after his arrival he began sketching without authorisation. This activity was quickly noticed. Nevertheless, Captain High Boffey, who was Smith's superior, allowed him to continue. Smith however, seemingly unsatisfied with only producing rough sketches, changed his tactics in early 1917. [His parents sent him a] parcel [...] made up of the usual, letters and magazines from home. But within the magazine pages, [they] had managed to smuggle copper etching plates to their son. And so Smith began what he referred to as his 'Thiepval etchings'." Incredibly, it is believed that Smith used steel gramophone needles, a common feature in the trenches, to mark his plates. [Imperial War Museum, "Percy Delf Smith: Making Art as a Soldier on the Western Front"]"Few men living handle the needle to such purpose, and with so sincere an object, as the author of the plates here published" [William Rothenstein, "Note" to Twelve Drypoints of the War 1914-1918, 1925]

Ziegler (J.C.), Circle of. A Visitor to John Bull for the Year 1799, or, The Assess'd Taxes taking their leave!!, an original watercolour, possibly the preliminary design, inscribed and initialled 'TR', and a good impression of the original print presently attributed to Ziegler, etching with hand-colouring, each sheet approx. 265 x 365 mm (10 3/4 x 14 3/8 in), both laid onto card supports, associated spotting, surface dirt, and pale discolouration to the watercolour, both unframed, the print published by William Holland, [BM Satires 9280], 1799; together with an impression of Willian Holland's 'The Bedfordshire Hannibal taking the oath of eternal enmity!!!', which appears to be to be in same hand, etching with hand-colouring, 300 x 390 mm (11 3/4 x 15 1/4 in), unframed, [BM 9191], 1798 (3)⁂ The original watercolour has signs of pencil under-drawing, and notable differences to the published print, suggesting it is possibly a preliminary study for the print, rather than a copy after. Andrew Edmunds had suggested a possible attribution to the author of the etching being Ziegler, however it is not known whether Andrew had seen the present watercolour bearing the initials 'TR'.

* PETER HOWSON OBE (SCOTTISH b. 1958), MUSLIM WOMAN limited edition etching on paper, signed, titled, dated '96 and numbered 44/50mounted, framed and under glassimage size 33cm x 25cm, overall size 60cm x 50cmNote: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.

* STEFAN WEWERKA (GERMAN 1928 - 2013), LAON limited edition etching on paper, signed, titled and numbered 8/25 in pencilmounted, framed and under glassimage size 23cm x 27cm, overall size 53cm x 44cm

Michael Hunter eight costumes of Twelfth Night limited edition 10/150 etching, signed, 21.25in x 16.5in

A collection of nine prints: Isaac Maimon serigraph (as shown), Pooh Bear etching by Sowa & Reiser, Alexander Chen print, two Alfred Gockel seriolithographs titled 'Afternoon Jam Session', Adam Scott Rote print on paper titled 'Promo-Salton Sea', one indistinctly signed serigraph of New York in Winter & three Emille Bellet signed prints, further images upon request

A 19t C. NAVAL SWORD IN A BRASS MOUNTED LEATHER SCABBARD, THE WIRE BOUND SHAGREEN HANDLE ABOVE FOLIATE ETCHING AT THE TOP OF THE DOUBLE EDGED BLADE

SIR DAVID WILKIE (1785-1841), THE SEDAN CHAIR, THREE CHILDREN AND THEIR DOG, ETCHING. 11.5 x 8cms.

A collection of art and artist related reference books, William Holman Hunt, Pre-Raphaelitism, volumes I & II, Ellis Kirkham Waterhouse, Three Decades of British Art, 1740-1770, Jules George, War Artists in Afghanistan, Beyond the Wire, Walter Shaw Sparrow, A Book of British Etching from Francis Barlow to Francis Seymour Haden, Roy Strong, The English Icon, Elizabethan and Jacobean Portraiture, Marco Folin, Courts and Courtly Arts in Renaissance Italy, Arts, Culture and Politics, 1395-1530, E.H.H. Archibald, Dictionary of Sea Painters, William Secord, A Breed Apart, The Art Collection of the American Kennel Club and the American Kennel Club Museum of the Dog, Alan Russett, Dominic Serres R.A. 1719-1793, War Artist to the Navy, The Royal Society of British Artists 1824-1893 and the New English Art Club 1888-1917 (11)