78472 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Francisco de Goya y Lucientes (1746-1828), 1797-1799. Estan Calientes, Plate 13 from Los Caprichos, etching with aquatint, 1797-1799, on wove paper, a very good impression from the Fourth Edition (1878) or later, after the plates were bevelled, plate 21.5 x 15.3 cm (8 1/2 x 6 ins), in good condition, a short tear lower left corner, some pale discolouration and a few soft creases in the margins, sheet 32 x 24.5 cm (12 5/8 x 9 5/8 ins) £200-300QTY: (1)

Collaert (Jan or Hans, 1566-1628). Jupiter, (from the series Septem Planetae), 1581, trimmed to or on plate margin, sheet size 195 x 140 mm (7 3/4 x 5 3/8 ins), laid down on old laid paper, together with other various Old Master prints, including, Agostino Carracci, The Martyrdom of Sait Justina, after Paolo Veronese, first half 17th century, etching on laid paper, upper left corner with slight loss, sheet size 330 x 437 mm, William Byrne and Francesco Bartolozzi, The Calm, after Zuccarelli, published by Darling & Thompson, July 1779 [or slightly later], sheet size 420 x 510 mm, Nicolas Chapron (1612-1656), Blind Isaac and his son Esau, after Raphael, Markantonio Raimondi, Joseph Interpreting his Dreams, after Raphael, View du Chasteau Ste. Anne, after Van der Meulen (worn), Merian, Prospect de la Ville St. Denis (from Topographia Galliae, etc.), Jean Audran (1667-1756), Pierre Rubens, after Van Dyke, Paris, Gaspard Duchange, [1710], plate size 510 x 355 mm (20 x 14 ins), all unframed except the last two works framed and glazed, various sizesQTY: (14)

Attributed to Tommaso Minardi (1787-1871). Pallas Athene, & Diana, circa 1823, two pencil line drawings, both numbered with a decorative flourish in pen and brown ink upper right, Diana '126' and Pallas Athene '82(?)', Pallas Athene further dated and inscribed in pen and brown ink at the upper reverse sheet edge '-18(?)20' / Annata à Lugini', each on fine laid paper with an Encircled Fleur de Lys watermark, some minor foxing and staining towards the sheet edges, each 33 x 22.5 cm (13 x 8.75 ins), in matching mounts and glazed frames (61 x 45.5 cm)QTY: (2)NOTE:Provenance: With Crispian Riley-Smith Fine Art Ltd, his labels verso; Private Collection, Herefordshire, England.It is likely that the artist produced these neoclassical line drawings to be reproduced as etchings with aquatint by Lodovico Prosseda (flourished 1823), whose neoclassical, frieze-like etching with aquatint Hector was executed after a drawing by Minardi and dated 1823, now in the British Museum (accession number 1872,1012.4721). The stylised, linear treatment of the etching is strongly akin to the present stylised drawing.Minardi was an influential figure in the academic world of 19th century Italian art, who was appointed to the chair of drawing at the Accademia di San Luca, a position he held until 1868.

Herkomer (Hubert von, 1849-1914). Woman holding a Lamb, etching on paper, signed in pencil lower right, 25 x 18 cm mount aperture, framed and glazed, together with Marsh Landscape, mezzotint, signed lower right, 29 x 36.5 cm mount aperture, framed and glazed, plus Country Lane with Two Figures, etching, signed lower right, 22 x 30 cm mount aperture, framed and glazed, and A private invitation "Prof Hubert Herkomer requests the honour of a visit from Miss Lloyd & friends to a private view of his pictures at 22 B Ebury Street, Belgravia April 6th, 7th, & 8th from 10 to 6", etching, "Miss Lloyd" written in ink, 18 x 14.5 cm, framed and glazedQTY: (4)

Turner (Joseph Mallord William, 1775-1851). The Bridge in Middle Distance, 1808, etching, aquatint and mezzotint on pale cream laid paper, a rare proof (the word Proof printed to lower left corner), with strong contrasts, a few light surface marks, and discolouration to outer blank margins, plate size 207 x 289 mm, sheet size 220 x 308 mm, tab-mounted in large card window-mount (41 x 56 cm), together with Drawing of the Clyde, 1809, etching and mezzotint on pale cream laid paper, a very fine impression of the second state, with wide margins, some light spotting and handling marks, upper outer blank corner torn and repaired, very short closed tear repaired to lower margin, plate size 210 x 289 mm, sheet size 278 x 395 mm, tab-mounted on pale cream card window-mount (41 x 56 cm), plus The Woman and Tambourine, 1807, etching and mezzotint on pale cream laid paper, a good impression, trimmed to plate margins, sheet size 209 x 291 mm, and Bridge and Cows, 1807, etching and mezzotint on pale cream laid paper, with wide margins, some light spotting and wormtrack to lower outer blank margin, plate size 206 x 286 mm, sheet size 295 x 370 mmQTY: (4)NOTE:Finberg 13, 18, 3 & 2 respectively. From Turner's Liber Studiorum, etched in outline by Turner himself, with mezzotint added by Charles Turner (1774-1857) under Turner's direction.

Whistler (James Abbott McNeill, 1834-1903). La Vieille aux Loques (from Twelve Etchings from Nature), 1858, etching and drypoint on off-white laid paper, signed in the plate lower right, the 3rd state (of three), mounted (to sheet edges only) on later card, plate size 210 x 148 mm (8.2 x 5.8 ins), sheet size 252 x 181 mm (9.9 x 7.1 ins), with old typewritten label for the workQTY: (1)NOTE:Kennedy 21, iii/iii.

Palmer (Samuel, 1805-1881). The Rising Moon (An English Pastoral), 1855, etching on chine colleé, the 7th state (of 9), lettered to lower left margin Samuel Palmer and numbered 10 to centre of lower margin, image size 117 x 191 mm (4 5/8 x 7 1/2 ins), plate size 146 x 222 mm (5 3/4 x 8 3/4 ins), framed and glazed QTY: (1)NOTE:Lister E7, vii/ix.Published in Etchings for the Art Union of London by the Etching Club, 1857.

Whistler (James McNeill, 1834–1903). En Plein Soleil, 1858, etching on ivory white laid paper, printed with light plate tone, the third state (of 3), a late impression with the corners clipped, with margins, plate size 98 x 130 mm (3 5/8 x 5 1/8 ins), framed and glazed QTY: (1)NOTE:Kennedy 15; Glasgow 11. From the French Set (Douze Eau-Fortes d'apres Nature).

Palmer (Samuel, 1805-1881). The Morning of Life, 1860-61, etching on chine appliqué laid onto wove paper, the 7th state (of 7), as published in Etchings for the Art Union of London by the Etching Club, [Art-Union of London], 1872, with artist's name, title and numeral 13 etched below the image, mount stain, plate size 14.6 x 21.5 cm (5.75 x 8.5 ins), sheet size 26.1 x 36.8 cm (10.25 x 14.5 ins)QTY: (1)NOTE:Literature: Lister E10

Palmer (Samual, 1805-1881). The Early Ploughman, 1861, etching on pale cream laid paper, with partial shield and crown watermark, the 5th state (of 9), image size 130 x 198 mm (5 1/8 x 7 3/4 ins), sheet size 169 x 252 mm (6 1/2 x 10 ins)QTY: (1)NOTE:Lister 9 (Issued 1868 in Hamiltons Etchings and Etchers book)

Haden (Francis Seymour, 1818-1910). Early Morning, Richmond Park, 1859, etching and drypoint on thin Van Gelder laid paper, with watermark, the third state (of 3), as issued in Etudes a l'Eau-Forte in 1865, in an edition of approximately 180, signed in pencil lower right, plate size 114 x 278 mm (4.5 x 11 ins), sheet size 145 x 310 mm (5.75 x 12.25 ins), window-mounted, together with three other etchings by Seymour Haden: Newcastle in Emlyn (1864), etching on thin laid paper, with the artist's collector's mark in black to lower-left corner (Lugt 1048), a very good clean impression, light mount stain, sheet size 180 x 220mm, window-mounted, Egham (1859), etching with drypoint on laid paper, with watermark, signed in pencil to lower right, with loss to left margin affecting a small portion of the image, sheet size 147 x 242 mm, and Sunset on the Thames (1865), etching with drypoint on wove paper, with margins, sheet size 155 x 233 mmQTY: (4)NOTE:Provenance: Private Collection, Nottinghamshire, England.Schneiderman 25, iii/iii, 57, 21, and 83 respectively, Haden dedicated the first work, Early Morning, Richmond Park to his wife Dasha (her name etched at the base of the large tree trunk to the right). The plate is further inscribed 'The Lark at Heaven's Gate Sings' towards the lower left margin.

Whistler (James Abbott McNeill Whistler, 1834-1903). The “Adam and Eve”, Old Chelsea, London, 1879, etching and drypoint on cream laid paper with light plate tone, one of 92 known impressions, the third state (of three), published by Hogarth and Son, London, 1879, artist’s butterfly signature in the sky above the tower, a few light spots, plate size 175 x 302 mm (6.9 x 12 ins), with margins, period black frame, glazed, with early 20th century printed gallery and title labels of Thos. Agnew & Sons to verso QTY: (1)NOTE:Kennedy, 175; Glasgow, 182, iii/iii

Menpes (Mortimer 1855-1938). Shipping on the River, circa 1889, etching on laid paper, signed in pencil, plate size 160 x 170 mm (6 1/4 x 6 3/4 ins), with margins, together with View of the South Bank near London Bridge, circa 1889, etching, signed in pencil, heavily toned, plus Brangwyn (Frank, 1867-1956). Interior of the House of Lords, 1933, etching, depicting the interior hall, with sunlight shining through windows on the left, scaffolding assembled against the wall to the right (issued in the deluxe edition of The Britsh Empire Panels designed for the House of Lords, by Frank Brangwyn, published in 1933), signed in pencil, 202 x 151 mm (8 x 6 ins), framed and glazed (41.2 x 32cm), and six other various etchings, including one by Menpes, Alice Kirkby Goider, Martin Hardie, etc.QTY: (8)

Menpes (Mortimer Luddington, 1855-1938). Maid of Seville, etching, a richly printed impression, depicting a young girl standing with a shawl over her shoulders looking to the left, signed in pencil to lower right, title and '490' in pencil to lower left, sheet size 34 x 23.2 (13 1/2 x 9 1/8 ins) mounted (52.5 x 37 cm), closed tear to upper left inner mount apertureQTY: (1)

Wyllie (William Lionel, 1851-1931). Barges on the Thames before Southwark Bridge, etching with drypoint on wove paper, printed with plate tone, signed lower left, mount-stained, laid to left and right margins only on later backing paper, plate size 12.3 x 32.5 cm (4.9 x 12.75 ins), sheet size 21.5 x 43.5 cm (8.5 x 17.2 ins), framed and glazedQTY: (1)

Wyllie (William Lionel, 1851-1931). Hot Walls, Portsmouth, 1911, etching on pale cream laid paper, published by W.R. Howell & Co., The Gallery, Bedford Row Chambers, W.C., and printed by Charles Welch, signed in pencil lower left, plate size 20 x 50 cm (8 x 19.75 ins), with margins, gilt frame, glazed, frame size 40 x 68 cmQTY: (1)

British School. A collection of 24 etchings by various artists, mostly early 20th century, including Francis Dodd (1874-1949), Belvedere Road, Lambeth, 1913, etching with drypoint, a fine impression printing with rich burr, on wove paper, signed in pencil lower right, faint light-staining, in very good condition; Malcolm Osborne (1880-1963), Amberley, Sussex & After the Storm – Amberley, both 1912, printed in an edition of 50, Loches Castle, 1913, from the edition of 100, and Carcassonne, all etchings with drypoint , on wove paper, fine impressions, printing with rich burr and plate tone, each signed and one titled, plus other various etchings (including one lithograph) by Edmund Joseph Sullivan, William Palmer Robins, Oliver Hall, Albany Howarth, Eugène Béjot, John Flower, Edward Price Owen, etc., 18 framed, 6 unframedQTY: (24)NOTE:Literature: Malcolm Osborne, Print Quarterly, 1925, nos. 39,40, 46Provenance: Malcolm Osborne: variously with P & D Colnaghi & Co., Bond St, Hewson & Forster, Sheffield, The Unicorn Gallery, Wilmslow

Cameron (David Young, 1865-1945). Gloucester, 1931, etching and drypoint on laid paper, from the edition of about 88 proofs, signed in pencil, plate size 415 x 198 mm (16 1/4 x 7 3/4 ins), with margins, framed and glazed (67 x 44.5 cm)QTY: (1)NOTE:Rinder 490, iii/iii.

Heaney (Alexander J., 1876-1936). A collection of etchings and original drawings, circa 1912-30, including In the Gallery (Bristol), etching, circa 1928, signed in pencil lower right, sheet size 31 x 43 cm, together with Summer, pencil on paper, signed lower right, 25.5 x 30 cm mount aperture, framed and glazed, plus Vogue (design for a front cover), pencil on paper, signed lower right, 38 x 26.5 cm mount aperture, framed and glazed, plus a further 30 etchings (including 15 framed), approximately 25 original pen and ink drawings (including probable illustrations for Punch magazine, book illustrations etc.), 5 sketchbooks (some incomplete), various sizes, a few framed (mostly unframed)QTY: (approximately 60)NOTE:Alexander Heaney was one of a group of talented etchers who emerged from Bristol in the first decades of the twentieth century - his earliest work dating from 1912, illustrating views in and around Bristol. He was elected to the Bristol Savages in 1915 (other members included Stanley Anderson, Harry Banks and Willis Paige), and became its president in 1923.His main body of work comprised etchings and drypoints of life in Bristol from 1912 to 1930 and until recently his work was considered to be non-illustrative. This unusual archive sheds new light on the range of his subjects, some of which are hitherto unknown.For a more comprehensive biography and overview of the artist's output, see https://www.campbell-fine-art.com online, where the artist's etchings and drypoints are described as 'now universally rare'.

Langmaid (Rowland, 1897-1956). St. Paul's, Blackfriars, etching with drypoint, signed and titled in pencil, limited edition of 150, sheet size 22.6 x 28.5 cm (8 7/8 x 11 1/4 cm), mount aperture 17.5 x 21.5 cm, framed and glazed, old labels to verso, frame size 43.5 x 36 cm, together with Wilkinson (Norman, 1878-1971). Fishing boats going out to sea, etching with drypoint, signed in pencil, plate size 17.5 x 28 cm, sheet size 25.5 x 35 cm, plus Manning (William Westley, 1868-1954). Moored boats in Venice, aquatint on paper, signed in pencil, 28 x 36 cm mount aperture, framed and glazed, frame size 45 x 52 cm, Smith (Robert Henry, 19th/20th Century). "The Homeward Bounder", etching, signed in pencil, plate size 21 x 27.5 cm, framed and glazed, frame size 38.5 x 45.5 cm QTY: (4)

Badmin (Stanley Roy, 1906-1989). Addington, Kent, 1928, etching on pale cream Van Gelder laid paper, a fine artist's proof impression (aside from the edition of 40 published by the XXI Gallery), signed and inscribed by the artist in pencil 'Addington, Kent. With the compliments of S. R. Badmin, 1929', with margins, plate size 162 x 273 mm (6.4 x 10.75 ins), sheet size 239 x 352 mm (9 3/8 x 3 7/8 ins), framed and glazed (34 x 44.5 cm)QTY: (1)NOTE:Beetles 2.

Brangwyn (Frank, 1867-1956). The Mill Wheel, Montreuil, 1904, etching, signed in pencil to lower margin, 36.5 x 43 cm mount aperture, framed and glazed QTY: (1)

Badmin (Stanley Roy, 1906-1989). Burford, Oxfordshire, 1931, etching on pale cream handmade wove paper, an artist's proof (aside from the edition of 45 published by the XXI Gallery), this impression inscribed by the artist in pencil 'Trial proof, final st. To Mr & Mrs Francis Smith with best wishes from S.R.B.', a fine impression in excellent condition, plate size 137 x 194 mm (5.4 x 7.7 ins), sheet size 185 x 245 mm (7.25 x 9.7 ins), framed and glazed (31 x 36 cm)QTY: (1)NOTE:Beetles 25.

Badmin (Stanley Roy, 1906-1989). Wareham, Dorset, 1934, etching on cream laid paper, watermarked 'England', from the edition of 50 published by the Print Collectors' Club in 1934, a fine rich impression, signed lower right, plate size 13.5 x 16.2 cm (5.25 x 6.5 ins), sheet size 23.2 x 29 cm (9.2 x 11.5 ins), framed and glazedQTY: (1)NOTE:Beetles 36.

Wiiralt (Eduard, 1898-1954). Claude, 1936, etching, signed and titled 'Puulõige 1936' in pencil, image size 16.4 x 12.4 cm (6 1/2 x 4 7/8 ins), framed and glazed (33.5 x 25.4 cm) handwritten note partially glued to verso 'To Captain Shaw in kind memory of Christmas Eve in Germany we passed together. Oldenburg 24.XII.45'QTY: (1)

Holmes (Kenneth, 1906-1994). Shot Tower, Old Waterloo Bridge, drypoint, printed with plate tone, signed in pencil, plate size 23.8 x 37.7cm (9.3 x 13.25ins), with good margins, framed (48 x 63 cm), together with Amstel Bridge, Amsterdam, drypoint, printed with plate tone, signed in pencil, plate size 11.5 x 32.8cm (4.5 x 12.9ins), with good margins, sheet size 22.9 x 44 cm, window mounted, plus: Pissarro (Orovida, 1893-1968), Curves, 1919, etching on wove, some water stains, Trial Proof no. 78, signed 'Orovida' and dated, plate size 20 x 15 cm (7 7/8 x 5 7/8 ins), window mounted, framed and glazed, and Legrand (Louis, 1863-1951), Le Tub, drypoint, with Gustave Pellet publisher's circular ink stamp in red to lower right, plate size 20.8 x 14.3 cm (8 1/8 x 5 5/8 ins), with good margins, window mounted, framed and glazed, with 27 others, including The Prodigal Son, 1882, etching by William Strang, and two etchings of Nudes by Eric Gill, from '25 Nudes', 1938, most framed, various sizesQTY: (31)

Badmin (Stanley Roy, 1906-1989). Old Ash, etching, signed and inscribed by the artist in pencil 'Old Ash. With the compliments of S. R. Badmin', with margins, plate size 14 x 9.8 cm (5 3/8 x 3 7/8 ins), mounted, framed and glazed (36 x 31 cm)QTY: (1)

Fairclough (Wilfred R. E., 1907-1996). Christ Church, Magdalen Bridge & The Gooseman of Nuremburg, etching, depicting Christ Church, Oxford, Magdalen Bridge and Tower and a statue of a man holding two geese under each arm, water pouring from the bills of the geese, all three signed in pencil by the artist to lower margin, image size from 21 x 13.7 cm (8 1/4 x 5 3/8 ins) to 27.5 x 27.5 cm (10 3/4 x 10 3/4 ins) mounted, framed and glazed, largest (46.5 x 36.5 cm), together with Strang (William, 1859-1921). The Errand, [1883], etching, depicting two women, one kneeling in front of a child, the other sitting next to a wheelbarrow on the ground, a landscape with trees and a cottage in the background, image size 15 x 20.1 cm (5 7/8 x 7 7/8 ins), mounted, framed and glazed (35.4 x 39 cm), plus a trial proof Frank Short mezzotint signed in pencilQTY: (5)

Tanner (Robin, 1904-1988). Aldhelmsburgh, etching, printed by the artist on plain cream thick paper, signed to lower margin: Robin Tanner fec. et imp., a touched proof, plate size 30 x 25 cm (11 3/4 x 10 ins), with margins, together with The Old Road: Elegy for the English Elm, 1976, etching, signed in pencil to lower margin, as issued in Kenneth Guichard, British Etchers 1850-1940, published in 1977, plate size 30 x 23.5cm (11 3/4 x 9 1/4ins), framed and glazed (53 x 45.5cm)QTY: (2)

Lloyd (Reginald, James 1926 - 2020). Two Partridges, 1983, etching, depicting two partridges standing next to each other one calling, the other crouching, signed and dated to lower right, 'A/P' in pencil to lower left margin, plate size 10.8 x 12.3 cm (4 1/4 x 4 7/8 ins), framed and glazed (28 x 21.5 cm), together withOwl, 1983, etching, depicting an owl's face, 'proof' written in pencil to lower margin, signed and dated, plate size 10.6 x 12.4 cm (4 1/4 x 4 7/8 ins), framed and glazed (33.5 x 27 cm), plus Garden Figure, 1996, etching, depicting two figures standing in a garden, 'Proof' and 'RJLloyd 1996' in pencil to lower margin, plate size 9.8 x 6.9 cm (3 7/8 x 2 3/4 ins) framed and glazed (37.6 x 29 cm) and two other printsQTY: (5)

Brangwyn (Frank, 1867-1956). King's Lynn, etching, signed in pencil to lower margin, 16 x 17.5 cm mount aperture, framed and glazedQTY: (1)

Brangwyn (Frank, 1867-1956). The Railway Engine, colour lithograph, inscribed in pencil at foot, 'Frank Brangwyn to Mrs. Y. Corydon, 1931', 31.5 x 44 cm mount aperture, framed and glazed, together with another etching 'The Coal Mine' by Frank Brangwyn, unsigned QTY: (2)

Procktor (Patrick, 1936-2003). Aesthete, 1979, etching and aquatint on wove, published by Editions Electo, signed and numbered 76/98 in pencil, plate size 42 x 28 cm (16 1/2 x 11 ins), sheet size 63 x 48 cm (24 3/4 x 18 7/8 ins), mountedQTY: (1)NOTE:Procktor studied painting at the Slade School of Fine Art under Keith Vaughan and William Coldstream, and later had a breakthrough first exhibition at London’s Redfern Gallery in 1963, which famously sold out before opening. The following year, Procktor participated in the “New Generation” show at Whitechapel Gallery alongside Bridget Riley, John Hoyland, and Hockney.

Alfred R. Blundell (20th century) - Canal scene with buildings, possibly Venice, signed black and white etching, also inscribed with presentation details to A Rowe Esq, 11"  x 15.5"; together with three further pictures including an etching of St Paul's Cathedral by E Sharland, and two watercolours, scenes in Wells, Somerset, dated 1918 and 1923 respectively, various sizes (4) - ** One of the scenes at Wells, a watercolour by Ms Lucy Denison, has biographical details about the artist on the reverse of the picture, born in Government House, Hobart, Tasmania, she returned to England with her family in 1861 and lived with her father's brother Archdeacon Denison in the Somerset village of East Brent. She was a skilled Victorian lady painter and exhibited at the Society of Watercolour Artists between 1880 and 1881, painting landscape views mainly in southern England, London and abroad

A Venetian style etched glass mirror, 20th century, floral crest and floral etching, with central bevelled plate, 127 x 80cmPlease refer to department for condition report

After Marguerite Kirmse (English, 1885 -1954). An early 20th century dry-point etching "Sea Urchins". Measures 34cm x 30cm

ANDREW F AFFLECK (BRITISH 1874 - 1935),EDINBURGH CASTLEetching on paper, signed image size 29cm x 47cm, overall size 52cm x 73cm Mounted and framed.

* PABLO PICASSO (SPANISH 1881 - 1973)SCULPTOR, RECUMBENT MODEL, AND SELF PORTRAIT SCULPTURE AS HERCULES (FROM THE VOLLARD SUITE) FROM THE VOLLARD SUITEetching on paper, signed and numbered 278/300image size 26cm x 19cm, sheet size 45cm x 32cm overall size 57cm x 45cm Mounted, framed and under glass.Note: certificate of authenticity is included in this lot.

"Le depart du chasseur"Etching on paperDrawing by Carle Vernet (1758-1836) engraved by Philibert Louis Debucourt (1765-1832) 44x53,5 cm

English School (20th century): Fishing Boat Coming into Large Dock, watercolour unsigned 28cm x 48cm; English School (19th/20th century): Ships Leaving Whitby Harbour, watercolour indistinctly signed; John E Parkin (British 20th century): Beach Scene, watercolour signed together with 'The Shipwreck' after Turner, colour print max 49cm x 69cm; After Braun and Hogenberg: 'Map of Krempe and Rendsburg', hand coloured engraving 18cm x 48cm, Edwin Sarp 'A Bit of Old Leeds (Moot Hall)' coloured print 36cm x 51cm Emanuel Bowen (British 1694-1767) and John Owen (British fl. 1720-1764) after John Ogilby (British 1600-1676): 'The Road from Whitby to Morton' 20cm x 15cm (15) (framed);Dennis Wood (British 20th century): Snowscape, watercolours signed together with etching and pastel max 29cm x 39cm (13)

John BrunsdonWorms HeadA limited edition etching, No. 123/150Signed in pencil to the margin59.5 x 45cm (image size)With Christie's Contemporary Art Certificate**Artist resale rights may apply**

Robert Sargent Austin RA RWS RE, British 1895-1973-Italian Fair, 1923;etching, proof impression, 8.8 x 13.5 cmProvenance: Abbott and Holder, 30 Museum Street, London; A gift from Peter Brooke on the occasion of Sir Nicholas Goodison's 75th birthday, May 2009.Please refer to department for condition report

Domenico Landini, Italian 1783–1835-Veduta del Duomo di Milano; hand-coloured etching with aquatint, held in a parcel gilded and ebonised frame with verre eglomise, 49 x 64 cm Please refer to department for condition report

Chahine (Edgar, 1874-1947). L'Exode, etching, depicting two men pulling laden carts through the countryside, with a young girl sitting in the back of one, signed lower left,15.8 x 21cm (6 2/8 x 8 2/8ins), mounted, framed and glazed (34.6 x 38cm)QTY: (1)

Prints & Engravings. An extensive collection of approximately 1000 prints, mostly 19th century, engravings, lithographs, etching and maps, including portraits, British and foreign topographical views, genre, classical, Vanity Fair caricatures, natural history, 'Baxter prints', religion and excised sheets from old scrapbooks, various sizes and conditionQTY: (approx. 1000)

David Paton. Calm seascape, ship before calm sea, etching, signed and dated (19)77, 16cm x 25cm, another similar (a pair), and Garfield (Bassingham) watercolours. (5)

Paul Taggart (20th century): monochrome etching, Peacock, numbered 30/50, signed in pencil, with blind stamps, 28 x 23 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

A 19th century etching of a springer spaniel with pheasant; other similar prints; etc.

Charles Meryon, French 1821-1868- Passarelle du Pont-au-Change apres l’incendie de 1621, After Stefano della Bella (1610-1664); etching on paper, printed by Auguste Delâtre, published by Gazette des Beaux-Arts, Paris, the plate 12 x 22.5 cm. Delteil and Wright 50. Schneidermann 65. Provenance: With Thomas Agnew & Sons, London, no.CM1654.; Private Collection, UK.; By descent. Note: View of the temporary footbridge over the river Seine, replacing the Pont-au-Change after the fire of 1621, after della Bella; with turretted buildings (Palace of Justice) seen at left, figures at the edge of the water and in the boat, and a bare tree trunk at right. Please refer to department for condition report

James Abbott McNeill Whistler, American 1834-1903- Longshoremen; etching, Kennedy's only state, signed and dated 'Whistler 1859' (in the plate lower right), the plate 15 x 22.5 cm. Kennedy 45. Provenance: With William Weston Gallery, London [no.2028/1].; Private Collection, UK. Please refer to department for condition report

James Abbott McNeill Whistler, American 1834-1903- Portrait of Axenfeld; etching, signed in pencil with the artist's butterfly monogram (in the lower margin), inscribed ‘Whistler 1860’ (in the plate), further signed and inscribed ‘fine proof’ verso, third state of three, the plate 22.5 x 14.8 cm. Kennedy 64. Provenance: Collection of B. B. MacGeorge (Lugt 394).; Collection of George B. Valderbilt.; With Thomas Agnew & Sons, London,  no.39383.; Private Collection, UK, since 1976.; By descent. Exhibited: London, Thomas Agnew & Sons, 1976, no.101. Note: The present work is a fine example of Whistler's skill as a portraitist. It is one of the earlier etchings associated with the period of his first work in Paris, though it was not produced until after his move to London. It was exhibited at the Royal Academy in 1861. The margin has not been trimmed to form the tab. Please refer to department for condition report

After Tiziano Vecellio, called Titian, Italian c.1485-1576- River landscape with a boy leading a horse, a man seated in the foreground; pen and brown ink on laid paper laid down on cream paper, inscribed 'Titiano' (lower right), 33.4 x 44.2 cm. Provenance: The estate of the late designer Anthony Powell. Note: A 17th-century rendering of the original etching by Titian (see National Gallery, Washington DC no 1972.65.21). See, also, Jane Martineau and Charles Hope, eds., The Genius of Venice, 1500–1600, exh. cat. (London: Royal Academy of Arts, 1983), 341–42, p.44. Please refer to department for condition report

AMENDMENT - Please note this lot has a revised description and estimate.Follower of Adriaen Jansz. van Ostade,Dutch 1610-1685-A study of a woman with her child;pen and brown ink and grey wash on laid paper, with William Esdaile's collection stamp (L.2617, lower right), 10.1 x 5.4 cm.Provenance:Collection of William Esdaile, 1758-1837 (Lugt 2617).;Collection of Bindon Blood, d.1855 (Lugt 3011).;Collection of Dr Fleischer.;Anon. sale, Sotheby’s, London, 19 June 1973, lot 60 (as ‘Attributed to Adriaen van Ostade’).;With Alfred Brod Gallery, London.;Private Collection, UK, since 1965.;By descent.Literature:Dusseldorf, C.G. Boerner exh. cat., 1965, no.6, as Adriaen van Ostade ‘Mutter und Tochter’.; Bernhard Schnackenburg, ‘Adriaen van Ostade, Isack van Ostade: Zeichnungen und Aquarelle’, Hamburg, 1981, p.217, no.F104 (Falsche Zuschreibungen).Exhibited: Dusseldorf, C.G. Boerner, 1965, no.6 (illustrated), as by Adriaen van Ostade.Note: The present work is by an unknown draughtsman and is presumably a late 17th / early 18th-century copy after a lost original by Adriaen van Ostade. Furthermore, it may be a loose interpretation of the mother and child figure group in his etching ‘Saying Grace’ (B.34)Similar drawings which are by the hand of van Ostade are reproduced in Schnackenburg’s book (nos 157 and 328). This intimate and confidently rendered sketch can further be compared on stylistic grounds with several by the artist in the Pierpont Morgan Library, New York and in the Louvre, Paris. According to Lugt, William Esdaile owned, amongst his large and illustrious collection of Old Master works on paper, at least 31 drawings by Adriaen van Ostade, which were sold in London on 18-25 June 1840, after his death.Please refer to department for condition report

Rembrandt Harmensz. van Rijn, Dutch 1606-1669- A beggar in a high cap, standing and leaning on a stick; etching, 1631, a fine, clear impression of this rare print, watermark Coat of Arms (cf Churchill 288), with narrow to thread margins almost all round, 15.6 x 11.8 cm. Provenance: Collection of Akram Ojjeh.; Anon. sale, Christie's, London, 30 November 1999, lot 114 (£1,840).; The estate of the late designer Anthony Powell. Literature: Hind 15; Bartsch, Hollstein 162.Please refer to department for condition report

Rembrandt Harmensz. van Rijn, Dutch 1606-1669- Studies of the head of Saskia and others; etching, 1636, on laid paper, without watermark, with thread margins, the sheet 15.5 x 12.8 cm. Bartsch, Hollstein 365, Hindt 145, (mounted, unframed). Provenance: Anon. sale, Christie's, London, 12 April 1989, lot 211.; The estate of the late designer Anthony Powell. Please refer to department for condition report

Francesco Bartolozzi, RA, Italian 1727-1815- Landscape, from an original drawing by Pietro Berrettini da Cortona (1597-1669); etching and engraving printed in black ink on paper, published by John Boydell, Engraver in Cheapside, March 21st 1763, 24 x 34.5 cm. Provenance: Private Collection, UK.; By descent. Please refer to department for condition report

Jacques Callot, French 1592-1635- The Pont Neuf and the Tour de Nesle, Paris; etching on laid paper, inscribed 'Callot fec.' (lower right), c.1630, the plate 16.8 x 34 cm. Meune 714, Lieure 668 ii/iv. Provenance: With Thomas Agnew & Sons, London.; Private Collection, UK.; By descent. Exhibited: London, Thomas Agnew & Sons, ‘Old and Modern Master Prints’, 27th June-28th July 1989, no.25. Note: A good, well printed impression before the publisher Silvestre's name has been added. With small margins all around the plate mark. Examples of the first and second states of this print are rare (the first extremely rare). Before the additions of Silvestre's name and privilege, they are, as it were, pre-publication proofs, remarkable, as here, for the richness of the impression. The Tour de Nesle, which dominates the subject, was part of Philip Augustus' fortifications of the city, guarding the point where the river broke the surrounding wall. It was destroyed in 1663. This print, and one Callot made of the opposite bank of the Seine including the Louvre, were known under the title 'Les Deux Grandes Vues de Paris'. Callot drew the scenes during his visit to Paris in 1629 and the plates were etched after his return to Nancy in 1630. Lieure comments: 'Pour les deux vues de Paris, les deux premiers états sont les plus beaux et les plus recherchés'.Please refer to department for condition report

Parry (Linda) William Morris Textiles, 4to, cloth, illus., New York, 1994, with d.w; Chakra (Narisa) Terence Cuneo: Railway Painter of the Century, obl., 4to, cloth, illus., 1990, presentation copy signed and inscribed by Cuneo, with d.w; Holme (Charles) Modern Etching and Engraving, 4to, cloth, illus., The Studio 1902; and other books on the Decorative Arts. (11)

William Lionel Wyllie (1851-1931) : Boats at sea, dry point etching, signed in pencil, 39 cm x 23 cm, framed.

William Lionel Wyllie (1851-1931) : Shipping on the Tyne at Newcastle, dry point etching, signed in pencil, with margins, 22 cm x 38 cm, framed.