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

Shaw Sparrow, Walter - Angling in British Art, with a signed Norman Wilkinson etching, limited to 120/125, signed by the author, 1923, publ.John Lane The Bodley Head Limited, full cloth boards with gilt lettering

Arthur Briscoe, (1873-1943) - Gravesend Reach, etching, on antique laid paper without watermark, a trial proof impression printed aside from the edition of 75, signed in pencil and inscribed 'Trial' within margin, platemark 17cm x 25cm, in card mount, framed under glass, with exhibition booklet

A folio of Old Master and later pictures and prints, including Johann Ignaz Zimbal (1722-1795), St. John the Evangelist Writing the Apocalypse on Patmos, signed within the plate, s.l., n.d. [c. 1760-70], etching, 29.6 x 20.4cm; Nicolas Mignard (1606-1668), after Annibale Carracci (1560-1609), Anapias and Amphinomus saving their family from an Etna eruption, from Homer's Odyssey, [Avignon]: Pierre Mariette II, 1637, etching and engraving, chipped in places, et al., 26 x 43.5cm; Joseph Vernet (1714-1789), Retour de la Pêche, first state, signed within the plate, s.l., n.d. [18th century], etching, 32.7 x 25.3cm; thirteen early 19th century British portrait stipple engravings, including the artists James Northcote, Joseph Nollekens with his bust of Charles Fox, Benjamin West ,George Romney, James Barry, Joseph Farington, Thomas Stothard, David Wilkie, and other Royal Academicians; William Young Ottley (1771-1836), after Pieter/Peeter Boel (1622-1674), The Wild Boar Hunt, [London, 1828], etching, 19.1 x 32.9cm; India and the British Raj, a commemorative printed silk, to General Lord Wolseley of Cairo on his being awarded the Gold Casket of the Corporation of the City of London, dated April 1883, further British Army portraits; untraced lithograph, Battle of the Locks and Keys, s.l., s.n., n.d. [c. 1830], 30.5 x 40.5cm; 19th century hand-coloured etching of a butterfly, monogrammed RN; pen and ink study of a fisherman and harbour scene; a mid-19th century named-view etching of Cardigan Bay, [Wales], dated 1869; 19th century British and French portrait and landscape etchings, including Corot; proof lithographs printed on India paper, then rolled onto sheets; etc., early 19th century morocco-backed folio, rubbed and tired, (approx. 50)

A 19th century scrap book, containing various cuttings, prints, photographs and ephemera, including an etching by Charles Watson (1846-1927), Chelsea, dated in the plate 1879; other etchings; an engraving, The Right Honourable Viscount Palmerston, Late Prime Minister of England; Christmas and greetings cards; postcards relating to bathing machines; etc, half-bound red morocco

James Macintyre (Irish Bn.1928), by and after, Auld Brig'o'Ayr, etching, 19cm x 25.5cm; other etchings (3)

Henry Percy Huggill (1886 - 1957), by and after, Castle on a Hilltop, etching, signed in pencil, 36cm x 26cm

Group of pictures to include etching by Hazel Arneil, Doorway Sweetheart Abbey, watercolours, oil, etc.

WILLIAM LIONEL WYLLIE RA (British 1851-1931), Duelling ships Battle of Trafalgar, etching, pencil signed lower right, 18cm x 38cm, black frame 45cm x 57cm. #512

WILLIAM LIONEL WYLLIE RA (British 1851-1931), Duelling ships Battle of Trafalgar, etching, pencil signed lower right, 18cm x 38cm, black frame 45cm x 57cm. #512

SIR FRANK BRANGWYN RA RWS (British 1867-1956), The Storm, etching, pencil signed lower left, 18cm x 18cm, gilt frame 29cm x 35cm. #161  Frame has staining, picture itself looks good.

SIR FRANK BRANGWYN RA RWS (British 1867-1956), Browning's House Venice, etching, pencil signed lower right, 70cm x 45cm, frame 108cm x 78cm. #352

WILLIAM LIONEL WYLLIE RA (British 1851-1931), Duelling ships Battle of Trafalgar, etching, pencil signed lower right, 18cm x 38cm, black frame 45cm x 57cm. #512

DY CAMERON, village scene, etching,14 x 18cm, reproduction drawing of Ypres 1917 by DY Cameron, reproduced by T & R Annan & sons, signed DY Cameron in pencil bottom right, another "The Towers of Charterhouse Godalming, with initials DYC in plate, and another of similar with no initials. 

Russell Sidney Reeve (1895-1970), ‘Waterloo Bridge’ drypoint etching, signed, titled and numbered in pencil. Edition 23/50. Unframed. Black and white etching of a River Thames level view of Waterloo Bridge, London. Reeve was a well-known painter and printmaker, born at Hethersett in Norfolk. He exhibited at the Royal Academy from 1927 and his work is represented in many public collections, including the Victoria and Albert Museum and the Tate Gallery. He worked extensively in East Anglia. 17xm x 26.5cm.

Eileen Alice Soper (British, 1905-1990) – ‘The Donkey Race’ original dry point etching on paper, signed lower right in pencil. Framed and glazed. Original The Abbey Gallery, 2 Victoria Street Westminster label to reverse. Eileen Soper was an English etcher and illustrator of children’s and wildlife books. She produced a series of etchings, mainly of children playing, and illustrated books for other writers, notably for Enid Blyton and Elizabeth Gould. 33cm x 21cm.

James Alphege Brewer (British, 1881-1946), ‘Laon Cathedral’ very large etching of Laon Cathedral, France. Street scene with exterior of Cathedral, pedestrians in the street below. Signed and titled in pencil. Framed and glazed in large wooden backed frame. 45cm x 63cm. Brewer exhibited at the Royal Academy of Art and The Paris Salon. Frame measures 66.5cm x 86cm. Buyer must collect or arrange transportation due to scale of glass pane.

Sir Frank Short RA (British, 1857-1945), ‘The Solway’ (1891) dry point etching, black and white. Signed in pencil lower right. Framed and glazed. 26.5cm x 12cm.

HENRY WILKINSON (1921-2011). Study of a retriever and dead game, signed in pencil lower left, limited edition etching and aquatint on paper, number 71 of 75, framed and glazed, 27 x 31 cm

HENRY WILKINSON (1921-2011). Study of two spaniels putting up game, signed in pencil lower left, limited edition etching and aquatint on paper, number 8 of 100, framed and glazed, 25 x 33 cm

John Stuart Gibson (American, b. 1958). Etching and aquatint depicting a sphere with geometric triangle designs in red and black. Pencil signed and numbered 1/95 along the lower right; editioned 10/30 along the lower left.Sight; height: 20 1/4 in x width: 15 1/4 in. Matted; height 28 1/4 in x width: 23 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

David Rathman (American, b. 1958). Etching and aquatint on paper titled "That’s as Fair as I Know How to Make It." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.

After Pablo Picasso (Spanish, 1881-1973). Etching on paper titled "Femme Vue de Dos" depicting a nude woman facing away from the viewer. Signed in plate along the lower right in reverse.Sight; height: 19 in x width: 14 1/4 in. Framed; height: 26 1/4 in x width: 21 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Rudy Pozzatti (American, 1925-2021). Etching on paper titled "Computer Person II" depicting a profile of a figure surrounded by machinery, 1975. Pencil signed and dated along the lower right; numbered 8/18 along the lower center; titled along the lower left.Sight; height: 11 1/2 in x width: 16 1/4 in. Framed; height: 20 1/2 in x width: 24 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Todd Norsten (American, b. 1967). Group of two artworks including an ink and tape drawing depicting a deer titled "St. Eustace" and an etching depicting a whirlpool. Pieces of tape form a cross above the deer's head between its antlers. The etching is signed and dated 1997 along the lower right; inscribed "Trial Proof" along the lower left.(Deer) Sight; height: 25 in x width: 18 1/4 in. Framed; height: 29 1/2 in x width: 23 1/4 in. (Whirlpool) Sight; height: 16 3/4 in x width: 12 1/4 in. Framed; height: 26 1/2 in x width: 22 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

David Rathman (American, b. 1958). Etching and aquatint on paper titled "Montana's Killing Me." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Signed along the top edge of the print. From a suite of five prints.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 1/2 in.Condition: The item is in great condition with no visible tears, creases, or losses. The paper is floating on the frame; all four margins are visible. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.

Rembrandt Harnenszoon Van Rijn (Dutch, 1606-1669). Etching and drypoint on laid paper titled "The Death of the Virgin" depicting the dormition of the Virgin Mary as the heavens sweep down to her body, surrounded by loved ones and holy figures, 1639. Third state printing. With a figure of fortune watermark.Literature: Bartsch 99; White & Boon 99.Sheet; height: 16 1/2 in x width: 13 in. Mat; height: 20 in x width: 16 in.Condition: No major rips, creases, or restorations. The sheet is toned. There is foxing throughout, visible in the lot listing. Some wear along the edges including a few minute losses along the upper left corner. There is an area of light skimming to the surface along the upper right corner. The sheet is hinged to the matboard backing with three pieces of clear tape along the verso: one along the upper right corner, the upper left corner, and the upper center. A few light areas of handling marks. A watermark is visible under direct light. The work is housed between two matboards. Not framed.

David Rathman (American, b. 1958). Etching and aquatint on paper titled "Butterfly Mornings, Wildflower Afternoons." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 1/4 in x width: 14 in. Framed; height: 21 1/4 in x width: 18 3/4 in.Condition: The item is in good condition with no visible tears, losses, or creases. Four margins are visible. The paper is floating on the matte. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.

Dennis Ray Beall (American, b. 1929). Etching and aquatint titled "Baal" depicting abstract forms in black and white, 1960. Pencil signed and dated along the lower right; titled and editioned A.P. along the lower left.Sight, height: 20 1/2 in x width: 16 in. Framed, height: 26 1/2 in x width: 21 1/2 in.Condition: The sheet is lightly toned. There are networks of foxing throughout. Light wear along the deckled edges. A few light creases along the upper right and left corners. The artwork is floated in frame; it is mounted to foam. Framed under glass; light wear to the frame; not inspected out of frame.

Fred Becker (American, 1913-2004). Etching on paper titled "Insectivore" depicting abstract forms of bugs, 1950. Pencil signed and dated along the lower right; titled along the lower left.Sight; height: 15 3/4 in x width: 11 3/4 in. Framed; height: 25 in x width: 20 1/4 in.Condition: There are no major losses or restorations. Light undulation to the sheet throughout; the sheet is toned. There are a few light handling creases throughout. There is a very small tear along the top center edge. Some wear along the extreme edges. There are two pinholes along the top left and right corners; likely original to production. The sheet is mounted to the matboard with two pieces of framers tape along the verso along the top right and left corners. Framed between non-acidic mats. Framed under glass; some wear to the frame. The paper backing of the frame has been cut along three edges to allow for inspection out of frame.

Group of 12 etchings, watercolors, and drawings including several works by Stefano Della Bella. This groups includes:"Mongisgneur le Marquis a Chevel" depicting an equestrian portrait from "Methode et Invention Nouvelle de Dresser les Chevaux," 1737. Hand colored etching.Stefano Della Bella (Italian, 1610-1664). Etching titled "Two Cavaliers Dueling with Pistols on Horseback" from the series "Divers exercices de cavalerie," ca. 1645-46. Published by Israel Henriet (French, ca. 1590-1661).Silkscreen reproduction print of a French late 12th century painting in the Pierpont Morgan Library. Titled "Christ Appearing to Mary Magdalene (Noli Me Tangere)."After Stefano Della Bella (Italian, 1610-1664). Etching depicting plate 18 from "Various animals (Diversi animali)" depicting a camel viewed from behind with a pyramid.Watercolor on paper painting depicting the interior of a basilica or church.Stefano Della Bella (Italian, 1610-1664). Etching titled "The Colosseum" depicting two herds of animals being directed towards the Roman amphitheater from "Paysages et ruines de Rome," ca. 1646. Published by Francois Langlois (French, 1588-1647).Two watercolor on paper paintings depicting Italian landscapes.Drawing and watercolor painting depicting a group of individuals in a courtyard dancing.Stefano Della Bella (Italian, 1610-1664). Etching titled "Place Royale," depicting an equestrian statue in front of a royal palace, 1642.Pierre-Auguste Renoir (French, 1841-1919). Etching depicting a reclining nude woman.Graphite on paper portrait sketch depicting a well-dressed gentleman.(Sight) height ranges from: 3 in to 16 in; width ranges from: 2 1/2 in to 20 3/4 in. (Framed) height ranges from: 8 in to 24 3/4 in; width ranges from: 7 1/4 in to 28 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Frightened" depicting three nude women walking along a hillside near a body of water, 1912. 2nd state printing. Pencil signed along the lower right. Signed and dated in plate along the lower left.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 386, plate 248.Image; 7 3/4 in x width: 5 3/4 in. Sight; height: 9 1/4 in x width: 6 3/4 in. Framed; height: 17 in x width: 14 in.Condition: There are no visible rips, tears, losses, or restorations. The sheet is slightly toned; there is a slight undulation to the sheet throughout. There is a minute pinhole along the left edge of the sheet. Light wear along the deckled edges of the sheet. There is old framing tape along the top edge of the sheet along the verso. The sheet is affixed to the non-acid mat frame with two pieces of framer's tape along the verso along the top left and right corners. Some pencil inscriptions along the verso: "54/1096," "25,8 x 33," and "G.5258." There is also a crown-shaped watermark in the paper; original to the paper. Light wear to the frame; framed under glass.

Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Mrs. Cleveland II," depicting a portrait of Mrs. Cleveland, President Grover Cleveland's wife, 1899. The etching was done after an oil painting of the same name painted by Zorn. A 6th state printing. Pencil signed along the lower right corner of the print. Titled along the lower left corner of the print and dated in the lower left corner of the sheet.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 226, plate A.146.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909) plate D.144.Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Förlaget, Stockholm, 1928) page 48, plate D.144, plate A.146.Edited Birgitta Sandstrom, "Zorn: I Svart Och Vitt," (Zornmuseet: Mora, Sweden, 2002), page 195, plate A.146."Zorn in America: A Swedish Impressionist of the Gilded Age" (Swedish-American Historical Society, Chicago, 2009), page 142.Image; height: 9 3/4 in x width: 6 1/4 in. Sheet; height: 12 3/4 in x width: 9 3/4 in.Condition:There are no visible rips, losses, or restorations The sheet is unevenly toned. Light wear to the deckled edges. There are two remnants of painter's tape affixed along the upper edge of the verso. The artwork is not framed.

Robert Motherwell (American, 1915-1991). Aquatint and soft-ground etching on Georges Duchene Hawthorne of Larroque handmade paper titled "Red Open with White Stripe," 1978-79. Printed by Catherine Mosley in the artist's studio, Greenwich, with the blind stamp lower right. Published by Brooke Alexander, Inc., New York. A superb, richly-inked impression. Pencil signed and numbered 21/56 along the lower left.Literature: Belknap 207.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 18 1/4 in x width: 35 1/2 in. Framed; height: 27 1/4 in x width: 44 in.Condition: The colors are bold and bright. There are no visible rips, tears, major creases, or restorations when inspected under UV light. Some unevenness to the deckled edges, original to the artist production; there is one minute tear along the lower right edge which may be inherent to the deckled edges, though it is difficult to determine. This spot measures 1/4 inch in length. There is undulation to the sheet throughout. The artwork is floated in the frame; not inspected out of frame. Light wear to the frame throughout; framed under plexiglass.

Sam Gilliam (American, 1933-2022). Lithograph and etching in colors on handmade paper titled "Lattice III" depicting a bloom of bright colors with an overlay of crisscrossing lines in dark blue, 1982. Pencil signed, dated, and titled along the lower edge.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career. From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Sight; height: 32 x width: 44 1/4 in. Framed; height: 39 1/2 x width: 50 1/4 in.Condition: The artwork is in good overall condition. There are no areas of restoration visible under UV light. The colors are bold and bright. Due to the nature of the paper, it is difficult to determine whether or not there are minor losses along the edge. The print is hinged with framer's tape. There is wear to the frame.

David Rathman (American, b. 1958). Etching and aquatint on paper titled "I Forgot It Was Sunday." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print. From a suite of five prints.Unframed; height: 17 in x width: 14 3/4 in. Framed; height: 21 1/4 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.

William Wiley (American, b. 1937). Monoprint on paper with soft-ground etching titled "Rhoom for Error" depicting a cityscape along the left and a stacked checkerboard running through the center dividing the city from the frenetic black and white lines along the right side of the work, 1983. Pencil signed and dated along the lower right. Numbered 6 along the lower left.Provenance: Peter M. David Gallery, Minneapolis, Minnesota; Private Minneapolis collection.Sight; height: 21 in x width: 29 in. Framed; height: 31 3/4 in x width: 38 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Group of three 19th century etchings by James McNeill Whistler and Joseph Pennell including:James McNeill Whistler (American, 1834-1903). Etching and drypoint depicting Battersea Bridge and Chelsea Church, 1879. Fifth state of five.Joseph Pennell (American, 1857-1926). Etching on laid paper titled "A Watergate - Venice" depicting a Venetian canal, 1883. With a partial crowna nd shield watermark. Signed and dated in plate along the left center.Joseph Pennell (American, 1857-1926). Etching on owve paper titled "One the River," 1894. Inscribed in plate.(On the River) Sheet; height: 13 in x width: 9 1/2 in. Matted; height: 14 in x width: 11 in. (Watergate-Venice) Sheet; height: 9 1/2 in x width: 13 1/2 in. Matted; height: 11 in x width: 14 in. (Battersea Bridge) Sight; height: 5 3/4 in x width: 8 1/2 in. Matted; height: 10 3/4 in x width: 13 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

David Rathman (American, b. 1958). Etching and aquatint on paper titled "It's Just my Rough Habits, I Guess." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.

Malcolm Haynie Myers (American, 1917-2002). Etching titled "Magic Forest," depicting an abstract expressionist scene of a figure riding a horse through a forest teaming with creatures, 1961. Pencil signed and dated along the lower right; numbered 10/15 along the lower center; titled along the lower left.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 24 in x width: 26 in. Framed; height: 32 in x 33 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

After Simone Cantarini, called il Pesarese, 17th CenturyThe Rest on the Flight into Egypt bears extensive inscription (on verso)red chalk on paper heightened with white22.2 x 17.3cm (8 3/4 x 6 13/16in).Footnotes:ProvenanceCollection of Ilario Massaron and thence by descent to the present ownerThe present work is after a lost original by Cantarini known through his etching (see: British Museum, acc. no. U,3.41).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Five Carole Walklin pictures to include a linocut titled 'Rural Museum Revisited', an etched and linocut titled 'Summer', an etching with aquatint titled 'The Balbi Boys', and two others Location:

A group of etchings, prints, a watercolour, and a map of France to include an Edward Slocombe river landscape etching, and a watercolour by J E Jameson 'A Quiet Backwater Near Marlow' signed, all in glazed frames (8) Location:

Mixed pictures to include a signed Russell Flint etching entitled 'Roast Chestnuts and Sweet Potatoes', Heintzelman etching and others Location:

W. L. WYLLIE, signed etching "View of Ryde on the Isle of Wight", 10cm x 33cm

F.J. WIDGERY signed etching, 'Overlooking the Island' 18cm x 24cm

A collection of pictures, prints, etc. to include AFTER LOW "Winston", 23.5 cm x 16.5 cm, various Vanity Fair prints to include "Statesman No. 6", "Statesman No. 10", etc., AFTER W. P. FRITH "The road to ruin - Arrest", black and white etching, published, 44 cm x 54 cmm, together with "Ascot", etc. (1 box - 6 loose)

ENGLISH SCHOOL IN THE 19TH CENTURY MANNER A set of five studies of orchids and other botanical studies, watercolours, inscribed with Latin names 23 cm x 35 cm, AFTER T WORLIDGE "Mrs Brookes" printed for John Bowles & Son at the Black House in Cornhill, black and white etching 35 cm x 25 cm together with box of assorted books (2 boxes)

AFTER R STANLEY G DENT "Hospital scene", engraving, signed and dated '34 lower right, 17 cm x 21 cm, AFTER FRANK HARDING "Blackfriars Bridge", black and white etching, signed and titled in pencil lower left and right, 17 cm x 36.5 cm, together with various other decorative pictures, prints, etc. (1 box)

Charles Bartlett; A framed limited edition 6/60 polychrome etching 'Winter Sun' frame size 57 x 54cm.

George Vertue (British, 1684-1756) Thomas Hardy Earl of Arundel and Surrey and Aletha Talbot Countess of Arundel and Surrey with their family, dated 1743, engraving, unframed, figures include [left to right] Lady Katherine daughter of Henry Lord Maltravers / Alethea Talbot Countess of Arundel and Surrey / Thomas Howard Earl of Arundel and Surrey / Sr Henry ord Maltravers Knt of ye Bath / Thomas Howard Esq. Ob. S. P. / Gilbert Howard Esqr. Ob. S. P. / Sr William Howards Ld. Stafford Knt Bath ancestor to the pt. Earls Stafford. / Charles Howard ob. S. P. / a Dwarf Domestick together with another rendition of the same plate at a later date, with an ink inscription ÔÔthis copy was givenÉÉ..me by his Grace the Duke of Norfolk, in whose profession the original plate É.. 2nd August 1763Õ, featuring Hans Holbein the YoungerÕs portrait of Thomas Howard, Third Duke of Norfolk (1473-1554) etching engraving, mounted on linen, after Sir Anthony Van Dyke original oil painting (2) the first approx plate size 425 x 568mmCondition: Wear commensurate with age, viewing recommended in person.The print was a commission from the Duke of Norfolk and never sold publicly, according to Walpole. Similar later examples can be seen in the British Museum Archive. Museum number: P,2.148

Michael Chaplin RE, Boathouse on Ullswater, signed in pencil lower right, dated '83, inscribed with title and numbered 51/200, etching. 13 x 17 cm (PL).

After Wenceslaus Holler (1607-1677), bust of a young man, an etching after an original work by Holbein. 13.5 x 9 cm (PL), margins trimmed, together with a further three works after Holler "Mulier Diepana", "Mulier Hibernica" and "Oni Maioris Sive Pretoris". Each +/- 9.5 x 6 cm (PL) (4), all unframed. (see illustration).

After E.P. Burrow (British School early 20th century), The chapel From Brewhouse Yard Eton, signed in pencil lower right, etching. 28 x 20 cm (SH), together with a further four prints, one depicting the long chamber at Eton in the mid 19th century, a map of Rutland, engraving with later hand colouring, a map of Northamptonshire engraving with later hand colouring and a copper plate engraving a view of Eton College in Buckinghamshire, engraved for the modern universal British traveller. All various sizes by different hands (5). (see illustration).

After Rev E.P. Owen (British, early 19th century),A battle scene,Etching on paper (published 1822),13cm x 21cm,Mounted with a further 19th century etching on paper depicting the Battle of Shrewsbury,12.5cm x 13.5cm,Framed and glazed,46.5cm x 35cm overall

Walter Richard Sickert (British, 1860-1942),'Noctes Ambrosianae',Etching on paper,Signed and titled in the print,The plate 22.5cm x 25.5cm,Framed and glazed CONDITION REPORT:The print in framed under glass and has not been removed for inspection.  The paper appears to have darkened slightly over time, but is still relatively bright showing no obvious foxing.  The print shows a minor undulation across the surface.  The corners of the print each shows a bright white dot approximately 5mm diameter.  It is not clear how these dots have been produced or if they're are part of the original work.  The frame appears to be structurally sound.

Hubert Von Herkomer (1849-1914). Gwenddydd, dry point etching, signed, 15cm x 15cm, and another, labels verso Phillips 46/2, handwritten label and title to one. (2)

After C Fitzgerald. Town scenes with timber framed buildings, indistinctly titled, artist signed coloured etching, a pair, 24cm x 32cm.

Anthony Gross (1905-1984), Landscape with Praying Mantis, etching, signed in pencil lower right, numbered 58/250, H.35cm W.45cm

Victor Brauner (Romanian, 1903-1966), Tire d'Arc, 1962, etching, signed in ink lower right, H.25cm W.30cm ARR

Roland Langmaid R.N. (British, 1897-1956), The Mother of Parliaments, etching, signed in pencil, H.15cm W.39cm. Provenance: Deightons Strand Gallery, Charing Cross, London