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David Morris (British Contemporary): 'Grape Lane Whitby', artist's proof etching signed and titled in pencil, Tony Hunter (British ?-2015): 'Sunday Doings', watercolour and ink signed, titled on label verso, Patricia Kitson (British Contemporary): Rock Pooling, watercolour signed, artist's address label verso, and Gordon Hurley (British 20th century): Coastal Cottages, watercolour signed, max 30cm x 39cm (4) Condition Report Click here for further images, condition, auction times & delivery costs

'A Cricket Match, Sussex V Kent, Played At Brighton Published 15th November 1836 By R Jarvis Covent Garden' (8cm x 35cm), Victorian steel engraving after Hogarth, a landscape etching by Andrew Watson Turnbull and a cartoon study of an Angler, 4

C Dickens, "Rydal Water English lakes", etching, titled in pencil, A P Huggill, A ruined abbey, monochrome print, and a collection of various etchings (30cm x 25cm) (8)

Susan F Crawford, Glasgow Cathedral. Etching, signed in pencil, in glazed frame with T&R Annan & Sons label verso, 22 x 31cm

Elyshe Ashe Lord, (1900 - 1971) Winter Garden, Coloured Etching, signed in pencil and numbered 5/75, in glazed frame with an Aitken & Dott label verso, 32 x 25cm

Elyshe Ashe Lord, (1900 - 1971) The Doll Woman, Coloured Etching, signed in pencil, in glazed frame, 20 x 18cm

Elyshe Ashe Lord, (1900 - 1971) Flowers From The Winter Garden, Coloured Etching, signed in pencil and numbered 13/75, in glazed frame with an Aitken & Dott label verso, 38 x 34cm

Elyshe Ashe Lord, (1900 - 1971) Mixed Flowers, Coloured Etching, signed in pencil and numbered 75/100, in glazed frame, (glass cracked) 32 x 31cm

Elizabeth Moriarty - Liberty Horses, Zippos Circus, etching, signed, titled and numbered 2/50 in pencil to the margin, 20x20cm

After Rembrandt - Scholar at his desk, etching, 17x15cm

Thomas Hamilton, 7th Earl of Haddington; Sir William Forbes, 6th Bt; Sir James Hunter Blair, etching print after John Kay , 1785. [frame-29x22cm]

A 19th century etching depicting horse and wagons signed George Soper in Pencil.

Henry Batley (1846-1932), etching depicting Ellen Terry (1847-1928) as Lady Macbeth, signed by the artist and actress, 21.5cm x 37cm, housed in a glazed oak frame, two books, Ellen Terry, "The Story Of My Life", Roger Manwell, "Ellen Terry, a Biography" (3)

A MID-17TH CENTURY ETCHING of the East Front of "Old St Paul's Cathedral" London, in the style of Wenceslaus Hollar or Daniel King, 25cm x 18cm, close plain mounted, in slender black frame, together with TWO OTHER ARCHITECTURAL PRINTS, to include the Palace and Amphitheatre of "Caesar", and the Temple and Prospect of Balbec

HENRY WILKINSON "Golden Retriever and English Partridges", limited edition 21 of 100, etching, signed and numbered in pencil, 27.5cm x 37.5cm, mounted in a glazed gilt decorated frame, and a similar Sportsman with "Golden Retriever Retrieving a Phea sant", No.42 of 150, 16.5cm x 19cm, mounted in glazed oak frame (2)

* Della Bella (Stefano, 1610-1664). Temple of Concord and Roman Forum, from the series Sei Grandi Vedute, circa 1656, etching on laid paper, with watermark of bunch of grapes, the rare proof before addition of the printed inscription to lower margin, very small hole towards upper left corner, generally in very good condition, plate size 305 x 273 mm (12 x 10.75 ins), with narrow margins, sheet size 310 x 280 mm (12.25 x 11 ins)Qty: (1)NOTESDe Vesme 835 first state (of 5). According to Jombert 'supérieure à tout ce qui a paru de lui depuis son retour de France' (Essai d'un catalogue de l'oeuvre d'Etienne de la Belle, Paris, 1772, pages 183-184. According to Robin Halwas, the first state of this etching, 'an artist's working proof before addition of inscription, reputedly survives in a unique impression (in Vienna, Albertina)'. See robinhalwas.com/200207-stefano-della-bella-suite-of-six-etchings-of-rome-and-the-roman-campagna, online.

* Simon (Jean Pierre, circa 1750-circa 1810). Titania, Queen of the Fairies, Bottom, Fairies Attending (Shakespeare, Midsummer Night's Dream, Act IV, Scene I), mezzotint and aquatint on wove paper , published by J. & J. Boydell at the Shakespeare Gallery, Sept. 29, 1796, a few minor marks and pale toning to margins, margins close-trimmed, sheet size 498 x 635 mm (19.6 x 25 ins), together with: Ryder (Thomas, Senior, 1746-1810, & Ryder, Thomas, Junior). Oberon, Queen of the Fairies, Puck, Bottom and Fairies Attending (Shakespeare, Midsummer Night's Dream, Act IV, Scene I), 1803, etching and stipple engraving on wove paper, published by J. & J. Boydell, at the Shakespeare Gallery, Decr. 1, 1803, some marks and overall discolouration, margins close-trimmed, plate size 495 x 630 mm (19.5 x 24.75 ins), sheet size 504 x 643 mm (19.8 x 25.3 ins), matching later frames, glazedQty: (2)NOTESWeinglass 118 & 119.

* Goya (Francisco de, 1746-1828). Disparate Pobre (Two Heads are Better than One), plate 11 from Los Proverbios, etching with aquatint on pale cream laid paper, from the third edition published in 1891 for the Real Academia, Madrid, in an edition of 100 copies, numbered 11 to top right corner, plate size 245 x 350 mm (9.7 x 13.75 ins), sheet size 310 x 435 mm (12.2 x 17.2 ins), framed and glazedQty: (1)NOTESDelteil 212; Harris 258.

* Hogarth (William, 1697-1764). O the Roast Beef of Old England, &c., 1749, etching and engraving on laid paper, the second state (of 2), by Charles Mosley and William Hogarth, a good strong impression, a few light marks and pale toning to sheet edges, minor vertical hairline crease to centre of the image, plate size 385 x 460 mm (15 x 18 ins), sheet size 475 x 640 mm (18.5 x 25.25 ins), window-mountedQty: (1)NOTESPaulson 180, ii/ii.

* Hollar (Wenceslaus, 1607-1660). Hascomb Hill, etching on laid paper, a good dark impression of the first state, trimmed just inside the plate border, sheet size 80 x 134 mm (3.2 x 5.3 ins), window-mountedQty: (1)NOTESPennington 950 i/iii; New Hollstein (Hollar part II) 461 i/iii.

* Kauffmann (Angelica, 1741-1807). Woman Resting Her Head on a Book, 1770, etching and aquatint printed in brown on off-white laid paper, some light spotting, plate size 192 x 158 mm (7.5 x 6.25 ins), with margins, framed and glazed (unexamined out of frame)Qty: (1)Condition Report: This work is in generally good condition with no major defects.  The sheet is lightly spotted overall.  There is a small circular blemish towards the upper right corner, and a short closed tear towards the lower portion of the right hand margin, which has been restrengthened with paper to verso. There is some light discolouration to the top blank margin, caused by the mounting. The blank margins have been somewhat trimmed, with the sheet size measuring 208 x 177 mm (8.2 x 6.9 ins).NOTESAndresen, Deutsche Peintre-Graveur, 31. Sometimes thought to be a depiction of the artist herself.

* Piranesi (Giovanni Battista, 1720-1778). Carceri d’Invenzione, plate IV, circa 1749 [but later], etching on heavy pale cream laid paper, with plate number (IV) to upper right corner of the image, and signature Piranesi F. to lower right corner of the image, the later re-issue of the second state, probably early 20th century, a very good, strong impression, central horizontal crease where previously folded, plate size 550 x 413 mm (21.5 x 16.25 ins), sheet size 815 x 550 mm (32 x 21.6 ins)Qty: (1)NOTESHind 4.

* Piranesi (Giovanni Battista (1720-1778). Catalogo delle Opere date finora alla luce da Gio. Battista Piranesi, circa 1769, etching on laid paper, a good, dark impression, several light creases, some marks, creasing and soiling mainly to blank margins, with a few associated closed tears, plate size 400 x 297 mm (15.75 x 11.75 ins), sheet size 500 x 420 mm (19.7 x 16.5 ins), together with a single sheet portion only of the Pianta di Roma e del Campo Marzo, circa 1774, consisting of the lower portion of the design only, with the 3-line title to the index but not the index itself at foot (some damage)Qty: (2)NOTESFocillon 1. 27 states of this catalogue of Piranesi's works are known. The present example lists up to 90 of the Vedute di Roma, ending with the Avanzi del Tempio del Dio Canopo nella Villa Adriana in Tivoli, which was issued circa 1769.

* Vasi (Giuseppe, 1710-1782). Monastero, e Chiesa di S. Egidio in Trastevere delle Suore Carmelitane, Chiesa e Monastero di S. Maria Annunziata, delle Suore Domenicane Neofite, Monastero, e Chiesa della SS. Annunziata delle Religiose Turchine, & Collegio de Neofiti, from Delle Magnificenze di Roma Antica e Moderna, Rome, 1747-1761, together 4 etchings on laid paper, numbered 147, 150, 157 and 169 respectively, each with narrow margins, plate size 220 x 337 mm (8.7 x 13.3 ins), sheet size 235 x 350 mm (9.25 x 13.75 ins), or very similar, together with: Bolswert (Boetius Adamsz, 1580-1633). Landscapes with Farmhouses after Abraham Bloemaert, 1613-14, 3 etchings on cream laid paper, each with posthorn watermark, being plates 8, 15 and 18 from the set of 20 landscapes by Bolswert after Abraham Bloemaert (Hollstein 338-357 for the set), each with wide margins, plate size 151 x 243 mm (6 x 9.5 ins), sheet size 233 x 317 mm (9.2 x 12.5 ins) or very similar, plus a duplicate of plate 8 from the same series, trimmed to plate margin, and laid down on modern card, and Swanevelt (Herman van, 1600-1655). The Little Waterfall, etching on laid paper (Bartsch 80; Hollstein 106, IV), trimmed to plate margins, and tipped onto old laid backing paper, 182 x 277 mm (7.1 x 10.9 ins), plus other various Old Master prints: 16 etchings on laid paper by Abraham van Diepenbeeck (1596-1675), from Michel de Marolles Tableaux du Temple des Muses (Paris, Nicolas Langlois, 1655), some full sheet, others trimmed to margins and mounted on old card, and 5 others various (Weisbrod after Pieter Bout, Le Chasseur prenant des forces, Ridinger, Die Wilde Sau oder Schwein, William Barnard after John Meheux, View of Hopping Dick's House, mezzotint, Fantetti after Raphael, Extendit Moyses manum contra mare, and Eynhoudts after Rubens (the last two with some damage to margins), various sizesQty: (30)

* Scolari (Stefano, active circa 1650-1687). The Wedding Feast at Cana, etching on two sheets of laid paper, some marks and scattered water stains, trimmed to the image, laid down on old backing paper, sheet size 399 x 644 mm (15.7 x 25.3 ins), together with other various Old Master prints, various, including Wenceslaus Hollar, Spring, and Winter, from The Four Seasons, 1641, etching on laid paper, with watermark, both trimmed inside the plate mark, some overall browning and one or two marks to margins, sheet size 247 x 176 mm (9.75 x 6.9 ins), two further etched portraits of Lady Guildedord and Lord Anthony Denny by Hollar after Holbein, 1647, Sebastien Vouillemont after Raphael, The Supper at Emmaus, 1642, A.V. Hoorn after Rubens, Venus and Mars, Pieter van der Borcht (1530-1608), Adam Naming the Animals (Genesis II, 20), Lucas van Leyden, Saint with a Setsquare (with some damage), Johann Theodore de Bry after Abraham Bloemaert, The Golden Age, etc., mostly 16th & 17th centuryQty: (19)

* Woollett (William, 1735-1785). Jacob and Laban, or Le Grand Pont, after Claude Lorrain, 1783, etching on laid paper, the fifth state, as published by John Boydell, October 29th, 1783, a very good impression with contrast, plate size 560 x 780 mm (22 x 30.75 ins), with wide margins, 19th century black and gilt frame, glazed (unexamined out of frame)Qty: (1)NOTESFagan, Catalogue Raisonné of the Engraved Works of William Woollett, Fine Art Society, 1885, CXVI.

* Dobie (James, 1849-1923). Circe offering the cup to Ulysses, after Johh William Waterhouse (1849-1917), etching on off-white wove paper, as published in the Magazine of Art, circa 1880s, plate size 25.5 x 15.75 cm (10.2 x 6.3 ins), with margins, period gilt wood frame, glazed, with Maas Gallery printed labels to verso, together with Fata Morgana, after George Frederick Watts (1817-1904), etching on pale cream wove paper by James Dobie after G.F. Watts, as published in the Magazine of Art, 1893, plate size 26 x 18.5 cm (10.25 x 7.4 ins), period ebonised wood and gilt frame, glazed, with Maas Gallery label to versoQty: (2)

* After Gustav Doré (1832-1883). Paolo and Francesca, by Francis Holl, London: Beeforth & Fairless, 1871, etching, engraving, and stipple, depicting Paolo and Francesca loosely enveloped in flowing drapery and carried through the air together, with other damned souls blown in a stream behind them, and Dante and Virgil on a rocky outcrop below, a few light fox spots, Printsellers As sociation oval blindstamp lower left below image, signed in pencil to lower margin by Doré and Holl, image size 43 x 30.5 cm (17 x 12 ins), mountedQty: (1)NOTESA scene taken from Dante's Divine Comedy , Inferno , Canto V.

* After Jean-Jacques Henner (1829-1905). Une Creole, 1888, etching on pale cream laid paper by Mademoiselle Poynot after Henner, printed by A. Salmon & Ardall, Paris, image size 24.9 x 18.6 cm (9.85 x 7.35 ins) with margins, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to versoQty: (1)

* Cameron (David Young, 1865-1945). Isles of Loch Maree, 1923, etching with drypoint in black on thin tissue paper, with plate tone, signed in pencil, plate size 17.5 x 35.2 cm (6.9 x 13.8 ins), sheet size 20.8 x 36.5 cm (8.3 x 14.5 ins), tipped-on to backing cardQty: (1)NOTESRinder (1932) 469, iv/vi.

* Cezanne (Paul, 1839-1906). Guillaumin au Pendu, 1873, etching on cream wove paper, plate size 156 x 117 mm (6.2 x 4.6 ins), sheet size 278 x 188 mm (11 x 7.5 ins), together with: Israels (Joseph, 1824-1911). Huiswaarts (Homeward Bound), etching on cream laid paper, signed in brown ink to lower left, plate size 135 x 95 mm (5.35 x 3.7 ins), sheet size 222 x 156 mm (8.8 x 6.3 ins) plus other 19th century etchings by Richard Redgrave (Ministering Angels, 1857), D.C. Read (The Shepherd, signed in pencil, and In The Mountains), Arthur James Lewis (The Shepherd, Waterfall, 1861 and A Country Walk, 1861), & F. Powell (The Rainbow, 1861)Qty: (9)NOTESCherpin 2 for the first work.

* Daubigny (Charles Francois, 1817-1878). Le Chant du Coq (L'Aube), etching, a proof before letters, plate size 172 x 137 mm (6.75 x 5.4 ins), with margins, framed and glazed, with label of The Little Gallery, 5 Kensington Church Walk, London to verso, together with: Clair de Lune a Val Mondois, 1877, etching on laid paper, the 4th state (of 4), printed by A. Cadart, Paris, and published in the Gazette des Beaux-Arts, in 1878, plate 170 x 236 mm (6.7 x 9.3 ins), sheet size 179 x 268 mm (7 x 10.5 ins), hinged onto 20th century window mount, plus five other various etchings: Stephen Gooden (1892-1955), The Dairy Maid and the Jar of Milk (The Fables of Jean de la Fontaine), 1931, fine impression of the 4th and final state (Dodgson 76), Joseph Pennell (1858-1926), Venice, 1883, etching, as published in The Portfolio, Marcellin Desboutin (1823-1902), Portrait of Puvis de Chavannes, 1895, original etching with drypoint (Clement-Janin 204), 2nd state (of 2), with title, from the edition of 360 on wove paper published by Floury in 1922, Francis Ernest Jackson (1872-1945), Portrait of the Artist's Wife, 1907, lithograph, as published in The Neolith in 1907, and Theo van Rysselberghe (1862-1926), Henri de Regnier, 1898, lithograph on cream laid paper, watermarked Van Gelder Zonen, as published in Pan, volume 4, number 1, 1898, all window-mounted, most with William Weston Gallery label to verso of the mountQty: (7)NOTESDelteil 91 & 127 for the first and second works.

ARR * Drury (Paul, 1903-1987). September 1928, etching on wove paper, depicting two countrywomen and a small girl picking apples beside a thatched cottage, oast houses, and sheep, the second printing published by Garton & Cooke in 1987, in an edition of 100 impressions, signed in pencil lower right below image and numbered 17/100 lower left, crease to lower blank margin, plate size 10 x 12.8 cm (4 x 5 ins), sheet size 24.5 x 28.5 cm (9.75 x 11.25 ins)Qty: (1)NOTESGarton 24.

* Dunoyer de Segonzac (Andre, 1884-1974). Nu Accroupi, etching on paper, an artist's proof, signed and inscribed 'epreuve d'artiste' in pencil, toned and spotted, plate size 8.1 x 17.2 cm (3.25 x 6.75 ins), with handwritten inscription by the artist in French to verso 'Pour Miss Melville. En souvenir des gentils et exquis divers du Mas Sainte Anne à Saint-Tropez. Très amicalement. A. Dunoyer de Segonzac Juilliet 1948', and circular ink stamp 'A.D.S. Paris', mounted, framed and glazedQty: (1)

* Griggs (Frederick Landseer, 1876-1938). Fen Monastery, 1923, etching on cream laid paper, a very good impression, being one of 44 impressions of the sixth state, signed in pencil lower right, with Dovers House Press stamped monogram to verso, numbered 3 in ink, short margins, plate size 165 x 247 mm (6.5 x 9.8 ins), sheet size 172 x 253 mm (6.8 x 10 ins), window-mountedQty: (1)NOTESComstock 31.vi. With original wrapping paper and label of William Weston Gallery.

* John (Augustus, 1868-1961). Lady with fur tipped cape, etching on cream paper, the first state (of 2), plate size 90 x 76mm (3.5 x 3 ins), with margins, framed and glazed, with Leicester Galleries exhibition label to versoQty: (1)NOTESCampbell Dodgson 39 i/ii. Exhibited: Etchings by W.R. Sickert and Engravings, Etchings & Lithographs by 19th & 20th Century Masters, Leicester Gallery, December 1967, number 87.Condition Report: This print is in generally good condition, with the printing strong and well-defined.  There is, however, some marks and soiling to the sheet of paper, which has been archivally restrengthened to verso, particularly around the lower edges. By holding the paper up to a light, one can see some areas of paper thinning to the lower left and lower right margins, and to the upper left and right corners. There is also a slight crease running into the image to the upper left.  The paper sheet measures 137 x 110 mm.

* Kinney (Troy, 1871-1938). Roshanara - from Nautch of India, Ratan Devi accompanying, etching with drypoint, signed in pencil and numbered 27/50, 22 x 31 (8.75 x 12.25 ins), together with "Rehearsal - Mr Alexander Gavrilov and Miss Geraldine Spencer" and "Footlight - Fantasy from poses by Miss Cecilia d'Andrea and Mr Harry Walters", both signed in pencil and framed & glazed, plus "Doris Niles - Moment in Fandanguillo", etching with drypoint, signed in pencil, 32.8 x 24.8 cm (12.5 x 9.75 ins), and three other drypoint etchings by Kinney: "Sophie Pffariz in Cleopatra from the Dance of Jewesses" limted edition 88/92, "Zephyr - Fantasy" limited edition 87/120 and "Summer Day - Fantasy", all signed in pencil, all framed & glazedQty: (7)

* Liebermann, (Max, 1847-1935), Badende Knaben, 1904. etching on thick wove paper, plate size 180 x 240 mm (7 x 9.5 ins), sheet size 318 x 450 mm (12.5 x 17.75 ins), together with six other etchings and lithographs by various artists: Walter Leistikow (Markische Landschaft), Max Klinger (Weiblicher Akt), Leopold von Kalckreuth (Rubenarbeiterinnen), Arthur Kampf (Taubenliebhaber), Hans Herrmann (Dordrecht) & Ludwig von Hofmann (Springende Madchen), all published by the Deutscher Kunstverein zu Berlin, 1904-1905, all unsigned, with printed name and title, and initials DRV to lower margin of each print, occasional minor marginal spotting and one or two light marginal creases, similar sizes, loosely contained in original publisher's cloth portfolioQty: (7)

* McBey (James, 1883-1959). The Shower, 1912, etching and drypoint on pale cream laid paper, from the published edition of 40 proofs, signed and numbered XV in ink to lower margin, pale mount stain, plate size 181 x 314 mm (7 x 12.3 ins), sheet size 237 x 366 mm (9.3 x 14.4 ins), framed and glazed, with old gallery label for Graven Image, Celia E. Bailey to versoQty: (1)NOTESHardie, Etchings and Dry Points from 1902 to 1924 by James McBey, 118.

* Menpes (Mortimer, 1855-1938). Studies of George Meredith, circa 1900, etching on laid paper, plate size 23 x 27 cm (9.1 x 10.7 ins), with margins, framed and glazed, with Michael P arkin Fine Art Ltd label to versoQty: (1)NOTESExhibited: Artist and Writers, Michael Parkin Fine Art, October-November 1976, catalogue number 30.

* Palmer (Samuel, 1805-1881). The Homeward Star, 1880-83, etching on pale cream laid paper, the third state (of 4), with lettering removed, printed by F.L. Griggs, with Dover's House Press stamp to lower margin, mount stained, plate size 131 x 187 mm (5.2 x 7.4 ins), sheet size 217 x 250 mm (8.5 x 9.8 ins), framed and glazedQty: (1)NOTESLister E14 iii/iv. The third state, printed in 1924 in an edition of only 20 impressions.

* Sickert (Walter Richard, 1860-1942). Femme de Lettres, 1911-12, etching on cream laid paper, the 7th state (of 7), as published by Carfax & Co in 1915, very pale mount stain, plate size 150 x 180 mm (5.9 x 7 ins), sheet size 222 x 307 mm (8.75 x 12.1 ins), framed and glazed, with Leicester Galleries label to verso for the exhibition Etchings by W.R. Sickert and Engravings, Etchings & Lithographs by 19th & 20th Century Masters, December, 1967, to versoQty: (1)NOTESBromberg 149 vii/vii.

* Renoir (Pierre Auguste, 1841-1919). Baigneuse, 1910, etching on cream laid paper, a later impression from the original plate, plate size 165 x 110 mm (6.5 x 4.3 ins), sheet size 315 x 257 mm (12.4 x 10.1 ins)Qty: (1)NOTESDelteil 23.

* Knight (Laura, 1877-1970). Carting Corn, etching and drypoint on pale cream laid paper, from the published edition of 100 impressions for the Print Collectors' Club issued in 1943, with monogram PC within the plate to lower left corner, signed and titled in pencil, plate size 200 x 315 mm (7.9 x 12.4 ins), sheet size 267 x 407 mm (10.5 x 16 ins)Qty: (1)

ARR * Tanner (Robin (1904-1988). December: Elegy for the English Elm, etching on wove paper, depicting an ancient chapel with bell tower, set in a valley surrounded by large skeletal trees, with an old iron plough in the foreground, the scene lit by a crescent moon, proof copy, signed in pencil to lower margin 'Robin Tanner fec. et imp. 1979' and further inscribed by the artist in pencil '"December": This impression (on Wm. Morris's "Apple" paper, made for him by Joseph Batchelor of Little Chard, Kent) was printed for Gordon Cooke at Kington Langley, Wiltshire in January 1979 R.T.', plate size 29.5 x 24.1 cm (11.75 x 9.5 ins), sheet size 42.5 x 33 cm (16.75 x 13 ins), mountedQty: (1)NOTESGarton 39, ii/ii, for the published edition of 25 impressions issued by Garton & Cooke in 1984. This impression printed by the artist for Gordon Cooke in 1979.

ARR * Tanner (Robin, 1904-1988). The Clapper Bridge, 1972, etching on wove paper, depicting a clapper bridge over the River Leach, with St. Andrew's Church in the background, signed in pencil to lower margin, plate size 17.7 x 24.6 cm (7 x 9.75 ins), framed and glazedQty: (1)NOTESGarton 27 iii/iii. A proof printed before the edition of 12 impressions only published by Garton & Cooke in 1972.

ARR * Tanner (Robin, 1904-1988). Wiltshire Roadmaker, 1928, etching on wove paper, depicting a labourer and his tools, seated beside a wooden signpost before an ancient barn, signed in pencil to lower margin below image, plate size 10 x 14.8 cm (4 x 5.75 ins), sheet size 23 x 28 cm (9 x 11 ins), mountedQty: (1)NOTESGarton 6, iv/iv. From the edition of 12 impressions only published by Garton & Cooke in 1984.

* Strang (William, 1859-1921). 'The Citadel', etching with drypoint on cream wove paper, signed in pencil, plate size x 354 mm (10 x 13.9 ins), with margins, window-mounted, together with : Legros (Alphonse, 1837-1911). La Vallée, etching with drypoint on pale cream laid paper, from the only state printed in an edition of 74 impressions, signed in pencil, plate size 102 x 225 mm (4 x 8.8 ins) with margins, plus other various etchings, including Douglas Ion Smart (1879-1970), Thames Barges, etching on off-white wove paper, a first proof, signed in pencil, plate size 125 x 175 mm (4.95 x 6.95 ins), with margins, framed and glazed, woodcuts by T. Sturge Moore and Charles Shannon, Alfred Rethel (1816-1859), Ein Todtentanz aus dem Jahr 1848 (A Dance of Death for the Year 1848), complete set of six wood engravings (Leipzig, Georg Wigand, 1849), etcQty: (22)

* Walcot (William, 1874-1943). The Caravan, 1928, etching with drypoint and aquatint on cream wove paper, signed and numbered 37/75 in pencil, plate size 17.7 x 22.7 cm (7 x 9 ins), sheet size 27.5 x 36.7 cm (10.75 x 14.5 ins), mounted, together with: Kom Ombo, 1928, etching with drypoint and aquatint on cream wove paper, signed in pencil, a proof aside from the published edition of 75, this impression marked 'hp. 6', plate size 16 x 20.5 cm (6.25 x 8 ins), sheet size 26.7 x 39.8 cm (10.5 x 15.75 ins), mounted, The House of Sallust, 1920, etching with drypoint and aquatint on cream wove paper, signed in pencil, single fox spot, limited edition 250 UK and 50 US copies, plate size 15 x 20 cm (6 x 7.75 ins) with margins, mounted, framed and glazedQty: (3)

* Walcot (William, 1874-1943). Arc San Carlo, Naples, 1921, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, plate size 17.7 x 16.7 cm (7 x 6.5 ins) with margins, mounted, framed and glazed, together with: St. Peter's, Rome, 1919, etching on cream wove paper, signed in pencil, some pale toning, small mark to lower left corner, plate size 15.1 x 17.4 cm (6 x 6.75 ins) with margins, mounted, framed and glazed, 42nd Street, New York, etching with drypoint on cream wove paper, signed in pencil, toned, plate size 13.3 x 18.5 cm (5.25 x 7.25 ins) with margins, mounted, framed and glazed, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins), plus 3 framed and glazed reproductions of etchings by WalcotQty: (7)

* Walcot (William, 1874-1943). C ornhill and the Royal Exchange, London, circa 1933-35, etching with drypoint on cream wove paper, signed in pencil, plate size 17.7 x 19.8 cm (7 x 7.75 ins) with margins, mounted, framed and glazed, together with: Trafalgar Square, London, 1924, etching with drypoint and aquatint on cream wove paper, signed in pencil, some pale toning, plate size 9 x 18.2 cm (3.5 x 7 ins) with margins, mounted, framed and glazed, Fleet Street, 1931, etching on cream wove paper, signed in pencil, toned, 3 cm closed tear in lower blank margin, plate size 16 x 22.5 cm (6.25 x 9 ins), sheet size 23.4 x 29.1 cm (9.25 x 11.5 ins), mounted, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (4)

* Walcot (William, 1874-1943). Durham Cathedral, etching on cream wove paper, signed in pencil, some light spotting, plate size 16.8 x 20.2 cm (6.5 x 8 ins), sheet size 25.7 x 31.3 cm (10 x 11.25 ins), mounted, together with: WWI Warship and Submarine on the Firth of Forth, etching on cream wove paper, signed in pencil, one or two pale fox spots, plate size 9 x 12 cm (3.5 x 4.75 ins) with margins, mounted, framed and glazed, The Portico, Newcastle Central Station, 1922, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, toned, plate size 9.5 x 14.7 cm (3.75 x 5.75 ins), with margins, mounted, framed and glazed Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (4)

* Walcot (William, 1874-1943). Houses of Parliament and Westminster Bridge, London, etching with aquatint on cream wove paper, signed in pencil, plate size 16 x 30 cm (6.25 x 11.75 ins) with margins, mounted, framed and glazed, together with: Chelsea Old Church, London, 1924, etching with drypoint on cream wove paper, signed in pencil, limited edition of 100 for the Print Collectors’ Club (plus 7 proofs) with monogram upper left corner, plate size 9.4 x 14.8 cm (3.75 x 5.75 ins), sheet size 9.25 x 12.5 ins), Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, slightly creased to lower blank margin, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (3)

* Walcot, (William, 1874-1943), Kom Ombo. 1928, etching and drypoint on wove paper, signed and numbered 25/75 in pencil, plate size 160 x 205 mm (6.3 x 8 ins), sheet size 270 x 395 mm (10.6 x 15.5 ins), mounted, together with: The Caravan , 1928, drypoint etching with aquatint, on wove paper, from the edition of 75, published by the Fine Art Society, signed, and numbered 25/75 in pencil, plate size 177 x 230 mm (7 x 9 ins), sheet size 275 x 385 mm (10.75 x 15.2 ins), mountedQty: (2)

ARR * Clarke (Graham, 1941-). Quite Cricket, aquatint printed in colours on thick handmade paper, with circular Graham Clarke blindstamp to lower left corner, and with oval blindstamp of Alex Gerrard Fine Art Ltd. to lower right corner, published in an edition of 400 impressions, signed, titled and numbered 268/400 in pencil, plate size 345 x 540 mm (13.5 x 21.25 ins), sheet size 440 x 640 mm (17.3 x 25.2 ins), framed and glazed, together with: Left Right oops!, hand-coloured etching with aquatint, published by Alex Gerrard Fine Art Ltd. in an edition of 250 impressions, signed, titled and numbered 119/250 in pencil, oval blindstamp of Alex Gerrard Fine Art Ltd. to lower left corner, circular Graham Clarke blindstamp to lower right corner, plate size 340 x 537 mm (13.5 x 21.2 ins), sheet size 435 x 630 mm (17.1 x 24.8 ins), framed and glazedQty: (2)

* Corneille (Pierre, 1922-2010). Femme et Chat, 1977, colour etching and aquatint, from the published edition of 100 impressions published by Edition Suede, with publisher's blindstamp to lower left corner, signed, dated, and numbered 70/100 in pencil, sheet size 64 x 49.5 cm (25.2 x 19.5 ins), framed and glazedQty: (1)

* Lloyd (Reginald J., 1926-). Sunrise with crocuses and snowdrops, 1996, etching on thick wove paper, with pencil signature, date, and 'proof' to lower margin below image, image size 14.8 x 20.1 cm (5.75 x 8 ins), sheet size 25.9 x 39 cm (10.25 x 15.25 ins), together with 8 other etchings by R.J. Lloyd, comprising 4 Girl and Screen series (artist's proofs, except one 2/20 copies), 3 identical of a ram, and one of a kingfisher, all artist's proofs, all signed, together with Greg (Barbara, 1900-1983) . Landscape with sheep, woodcut on japanese tissue, showing sheep under spreading trees, signed in pencil to lower margin, image size 10 x 16.4 cm (4 x 6.5 ins), sheet size 15 x 27.2 cm (6 x 10.75 ins)Qty: (10)

* Thornton (Valerie, 1931-1991). Queen's College, Oxford, colour etching on pale cream heavy wove paper, signed, titled and numbered 37/50 in pencil, mount stained, plate size 40 x 52 cm (15.75 x 20.5 ins), sheet size 56.5 x 67 cm (22.25 x 26.5 ins)Qty: (1)

19th Century etching, Lavenham Mill, Suffolk, signed indistinctly to mount, housed in a glazed oak frame, the etching 18cm x 26cm

Five unframed woven silk pictures by A Perez, and others; together with a small quantity of unframed watercolours; an etching of Venice; and a pencil sketch of a bloodhound.