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A signed framed and glazed etching, Groppi Salon du The, Cairo. signed Jones '78. H.52 W.38cm

German K98 rifle bayonet & scabbard by W.K.C. with post war etched blade. Features birds head pommel, with moving locking button, with upturned guard, wear to nickel, black chequered grips with pins. 24.5cm bright plated blade with makers stamp. Post war remembrance etching to ‘3rd Deutsch Eylau Infantry Regt.’ Black painted metal scabbard with surface rust towards end. Overall length 37cm.

1800s George III era naval officer’s sword with ivory hilt. Features lions head pommel with maned backstrap, double chained guard with ribbed ivory hilt, with period wire stitch mend to grip . Cutdown 31cm sword blade is nicely curved and still carries a good cutting edge, with no noticeable stamping or etching to the surface. Very attractive 44cm long naval dirk, most likely later converted to be used as a late 19th century navy dirk.

WW2 German Navy officer’s 2nd pattern dagger, scabbard & knot by Carl Eickhorn of Solingen. Features yellow grip with 2 splits mid-way around hilt but solid, wire wrap intact. Long cotton dagger knot is present. Interlocking button, in working condition. 25.3cm long double blood grooved blade, with very good double naval themed etching to both sides of the blade, maker named to ricasso. Lightning bolt engraved scabbard in good condition.

Four various framed and glazed pictures to include two watercolours and coloured etching. IMPORTANT: Online viewing and bidding only. No in person collections, Mail Boxes Etc couriers ONLY.

EDWARD SHARLAND. Framed, signed in pencil and titled ‘Reims Cathedral’, etching, cathedral interior, 43cm x 23cm. IMPORTANT: Online viewing and bidding only. No in person collections, Mail Boxes Etc couriers ONLY.

AR Cyril Henry Barraud (1877-1965) St Pierre from the Ramparts, black and white etching, signed in pencil to margin 18 x 28cm together with a further unsigned etching of Berthonval Farm by the same artist, both unframed (2)

AR Peter Stevenson (20th Century)Fantasy figure, artist proof etching, signed and dated 1970 in pencil to margin, 15 x 11cm unframed

AR Leonard Griffith Brammer (1906-1994) Whitfield tip, N Staffordshire, black and white etching, signed and inscribed with title in pencil to margin, 18 x 27cm unframed

Helen Robinson (20TH CENTURY) Harbour Scene, black and white etching, signed and dated 1929 in pencil to lower right margin, 23 x 28cm unframed

Charles John Watson RE (1846-1927) A Sussex Mill, black and white etching, signd in pencil to margin, 20 x 16cm unframed

Albany E Howarth (1872-1936) Catherdral, black and white etching, signed in pencil lower right, 25 x 15cm unframed

After Kurt Meyer, Eberhard T 'Study of a Leveret', coloured etching, signed in pencil, 21.5cm x 26.5cm

δ Eduardo Paolozzi (1924-2005)UntitledPhoto-etching, 1974, inscribed 'P.P' in pencil, a printers proof, on wove paper, printed at the White Ink Studio, London, with margins, sheet 650 x 485mm (25 3/5 x 19 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Eduardo Paolozzi (1924-2005)UntitledPhoto-etching, circa 1974, inscribed 'Proof C' in pencil, on wove paper, printed at the White Ink Studio, London, with margins, sheet 490 x 650mm (19 3/8 x 25 3/5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Eduardo Paolozzi (1924-2005)UntitledPhoto-etching, 1974, inscribed 'P.P' in pencil, a printers proof, on wove paper, printed at the White Ink Studio, London, with margins, sheet 630 x 490mm (24 3/4 x 19 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Eduardo Paolozzi (1924-2005)UntitledPhoto-etching, 1974, inscribed 'P.P' in pencil, a printers proof, on wove paper, printed at the White Ink Studio, London, with margins, sheet 650 x 490mm (25 3/5 x 19 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Eduardo Paolozzi (1924-2005)UntitledPhoto-etching, 1974, inscribed 'P.P' in pencil, a printers proof, on wove paper, printed at the White Ink Studio, London, with margins, sheet 655 x 490mm (25 4/5 x 19 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Eduardo Paolozzi (1924-2005)UntitledPhoto-etching, 1974, inscribed 'P.P' in pencil, a printers proof, on wove paper, printed at the White Ink Studio, London, with margins, sheet 650 x 490mm (25 3/5 x 19 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Eduardo Paolozzi (1924-2005)UntitledPhoto-etching,1974, faintly inscribed in pencil in the lower left corner in an unknown hand, on wove paper, printed at the White Ink Studio, London, with margins, sheet 655 x 480mm (25 4/5 x 19in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Louis Icart (French, 1888-1950), Bewilderment, etching with aquatint, signed in pencil, H.47cm W.39cm ARR

Mordecai Moreh (Israeli, 1937), study of a lioness, etching, signed in pencil, numbered 15/18, Judaica interest, H.37cm W.49cm

Ivor Abrahams (British, 1935-2015), Works Past (II), 1976, etching with aquatint, signed in pencil lower right and dated 76, editioned 12/20, blindstamp to lower margin, H.25cm W.20cm, together with another etching with aquatint by the same hand of a garden fountain, signed in pencil, numbered 12/20, H.25cm W.18cm ARR (2)

Rafael Ferrer (American/Puerto Rico, b.1933), Oro, etching the gold intaglio, signed in pencil, numbered 111/200, H.38cm W.29cm

Hand coloured signed etching plus marquetry picture of a castle

A WWI ERA BRITISH ROYAL ARTILLERY OFFICERS SWORD, believed to be the 1821 pattern, with brown metal/leather scabbard, the standard handgrip appears to have Ray skin which is correctly bound, the blade has the star/proved mark and GVR cypher, together with RA markings and etching to 2/3rds of the blade which is approximately 83cm in length, the grip has a brown leather 'Troddel' and the scabbard is in good order

Original vintage advertising poster for a travelling exhibition of Whistler's etchings and lithographs, organised by the Victoria and Albert Museum's Circulation Department. Until its closure in 1977, the Circulation Department was responsible for loan shows that travelled to two categories of venue – to regional museums, art galleries and public libraries, and to art schools and education colleges; thus disseminating art and design across the UK. At the time, it could be considered the oldest such institution for the preparation of travelling exhibitions of museum material in the world, originating as part of the Design Reform initiative centred on the Government Schools of Design at Marlborough House. The poster features an etching by Whistler of himself in 1859. James Abbott McNeill Whistler (1834-1903) was an American artist active during the American Gilded Age and based primarily in the United Kingdom. His most famous painting Arrangement in Grey and Black No. 1 (1871), commonly known as Whistler's Mother, is a revered and often parodied portrait of motherhood. Peter Branfield, born 1952, designed a significant number of posters for the Victoria and Albert Museum. Condition: Good condition, small tear, small stain.. Country of printing: UK, designer: Peter Branfield, size (cm): 73.5x48.5, year of printing: 1970s.

The fall of Robert Walpole.- Anonymous. A Cheap and Easy Method of Improving English Swine's Flesh by a German method of Feeding, satire on the allocation of government posts, etching and engraving with hand-colouring, on laid paper without watermark, sheet 265 x 325 mm. (10 3/8 x 12 3/4 in), several folds with some splitting, trimmed within the plate, some rubbing, surface dirt and light browning, [BM Satires 2604], unframed, 1743; together with three others, including Rylot's 'Casey in the Character of MacHeath', Bowles & Carver's reissue of 'The Old Man, his Son, & his Ass', [BM Satires 4586], and 'The Jack-Boot Kick'd Down, or English Will Triumphant', 1762, all unframed (4).

Duke of Cumberland.- Anonymous. John of Gant in love, or Mars on his knees, etching on laid paper without watermark, platemark 245 x 330 mm. (9 1/2 x 13 in), sheet 275 x 405 mm. (10 3/4 x 15 3/4 in), ink stain in the lower right corner, other surface dirt and spotting, handling creases, [BM Satires 3037], unframed, 1749; together with 'The captive prince- or- liberty run mad' published by Elizabeth Darchery, [BM Satires 5979], two others by Robert Dighton, all unframed (4)

Nixon (Attributed to John) Raising the Royal George, satire on the loss of the Royal George with Kempenfeldt and about 1,000 persons on 29 Aug. 1782, etching on laid paper with text-based watermark, annotations in brown ink, platemark 265 x 370 mm. (10 1/2 x 14 1/2 in), sheet 280 x 430 mm. (11 x 17 in), large loss to sheet in the lower left and upper left, several repaired nicks and tears, surface dirt and handling creases, [BM Satires 6042], unframed, 1782; together with 'The Treaty or Shabears Administration', attributed to Pryse Campbell, [BM Satires 3608], S. Butler's 'The Quere? which will give the best heat to a British Constitution Pitt, Newcastle, or a Scotch coal', [BM Satires 3735], a trimmed impression of John Boyne's 'More ways than one or the patriot turn'd preacher', [BM Satires 6661, all unframed, 18th century (4)

Scottish satire.- Anonymous The Mountebank, satire on Lord Bute and his patronage of Scots in London, etching on laid paper with watermark of Strasburg lily, sheet 200 x 330 mm. (7 7/8 x 13 in), trimmed within the platemark, repaired tear going into image lower left, [BM Satires 3853], unframed, 1762; together with a copy after Hogarth's 'Masquerades and Operas' with verse below, [cf. BM Satires 1742], and a 1751 re-issue of John Bowles & Son's 'The Funeral Procession of Madam Geneva', [BM Satires 3121], all unframed (3)

Execution for murder.- Anonymous. Eliz: Jeffryes & Jno. Swan condemn'd at Chelmsford-Assizes for the Murder of Mr. Josh. Jeffryes, etching, sheet 295 x 215 mm. (11 1/2 x 8 1/2 in), some browning and minor surface dirt, trimmed within the platemark, inset on paper mount, [BM Satires 3181], unframed, 1752

Jacobite Rebellion.- Anonymous. An Exact Discription of the Solemn Procession of Councellor Morgan's Ghost to the Rump of the Westminster Independents, etching on laid paper with Pro Patria watermark, sheet 283 x 350 mm. (11 1/8 x 13 3/4 in), several repaired tears and splitting to printers' creases, some running into image, handling creases, some browning and surface dirt, unframed, [BM Satires 2797], 1746; together with Bernard Baron's 'A monument dedicated to posterity in commemoration of the incredible folly transacted in the year 1720', [BM Satires 1629], and George Bickham the Younger's 'A Nurse for the Hess-ns', [BM Satries 3478], all unframed, 1720 and 1756 (3)

Scottish satire.- The Young Pretender.- Mosley (Charles) The Invasion or Perkins Triumph - a Protestant Print. Inscrib'd to all true Lovers of their Religion & Liberty, satire on Prince Charles Edward Stuart, the Young Pretender, and the Scottish Rebellion suggesting that if the rebellion is successful his intention is to impose Catholicism on Britain, etching on laid paper with watermark of Strasburg lily, platemark 200 x 325 mm. (7 7/8 x 12 3/4 in), sheet 240 x 360 mm. (9 1/2 x 14 1/8 in), several printers' creases, some nicks and tears, spotting and browning, [BM Satires 2636], unframed, 1745.

NO RESERVE George Jeffreys, 1st Baron Jeffreys.- King James II.- Anonymous. King James the Second's Lord Chancellor endeavouring to save himself by flight, satirical print showing "the Hanging Judge" arrested by constables, with 18th century additions of two figures in wigs just above the crowd, etching, printed chine-collé, plate 330 x 225 mm. (13 x 8 7/8 in), sheet 420 x 280 mm. (16 1/2 x 11 in), some spotting and surface dirt, unframed, [1688 but later]Provenance:[according to inscription on mount] 'Presented to the Society of Antiquaries by Capt. W:H: Smyth Dir. S.A. from B.J. Vulliamy Esq./ 6th April 1850'

An early print of St Albans church plus A Percy Robertson etching and additional early photos etc - NO RESERVE

ROWLAND LANGMAID, PENCIL SIGNED MONOCHROME ETCHING DEPICTING SAILING BOATS OFF AILSA CRAIG, SCOTLAND, APPROXIMATELY 17cm x 32cm

Oil on canvas of ships signed K.S. Plus harbour print and Italian etching

A varied collection of seven graphic works from various artists, 20th C.--From left to right, top to bottom:Ê Paper: 76 x 56 cm (Ossip Zadkine: Guitar player, litho, E.A.)Ê Work: 39 x 25 cm, Paper: 65,5 x 50 cm (Daran: 'La femme d'Aube', etching, ed. 12/74)Ê Work: 59 x 42 cm, Paper: 89,7 x 63 cm (Fernand Lenaerts: 'L'artiste et son modle', etching, ed. 2/V)Ê Work: 34,4 x 29,7 cm, Paper: 65 x 50 cm (Fernand Lenaerts, 'Inscription de l'àme à la pointe sche', drypoint, ed. 3/XV, gedateerd (19)76), with the accompanying exhibition poster (Galerie Albert 1er, Brussels, 7-19 January 1977)Ê Work: 46,5 x 35 cm, Paper: 67 x 50 cm (Pierre-Yves TrŽmois: 'Gorgone', etching/engraving, ed. E.A. XXVII; Provenance: Hilton, Januari 1976 (Galerie Govaerts?))Ê Work: 47 x 40,5, Paper: 72,5 x 50 cm (Van Cauwenbergh: 'Veni, Veni, Venias!', mixed technique, ed. 39/51(?)))Ê Work: 61,3 x 42,7 cm, Paper: 75,5 x 56,5 cm (Pierre-Yves TrŽmois: 'Aphrodite', etching/engraving, ed. 40/80; Provenance: Galerie Govaerts, Hilton, Januari 1976) -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

A Viennese polychrome and gilt plate with 'Die satyrische Poesie', signed JŠger, Austria, 19th C.--Dia.: 19,8 cmÊ The plate inscribed 'Irridens cuspide figo'. Marked with a beehive. With an impressed number '98'.Ê The scene based on an etching and engraving of the 'Les Quatre PoŽsies' series (The Four Poems) by Claude Augustin Duflos (1700-1786) after François Boucher (link). Ê Ê Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Zao Wou-Ki (1921-2013): Untitled, etching and aquatint, dated (19)71, with accompanying literature--Work: 57 x 42Ê Paper: 76 x 56,5 cm Ê Ê Literature: Ê - Zao Wou-ki. Les estampes 1937-1974, Arts et MŽtiers Graphiques, Paris, 1975, nr. 214 (with image: Sans titre. Eau-forte sur cuivre, 3 planches, 4 couleurs, 57,8 x 42,5 cm. 99 Žpreuves sur Arches, signŽes, datŽes et justifiŽes, et 20 Žpreuves d'artiste, signŽes et datŽes; Lacourire et FrŽlaut, Paris, imprimeur et Žditeur).Ê - J. Laude, Zao Wou-ki, La Connaissance, Bruxelles, 1974.Ê Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

A varied collection of eleven graphic works from various artists, 20th C.--From left to right, top to bottom:Ê Frame: 52,7 x 46,3 cm (Jacques DoppŽe: 'MŽtiers artisanaux, mixed media)Ê Work: 72,6 x 54,8 cm (Strebelle: Untitled, mixed media on paper)Ê Work: 65 x 50 cm, Frame: 86 x 70 cm (Frans Minnaert: Untitled, mixed media)Ê Work: 12,7 x 9,8 cm, Frame: 21,7 x 19,5 cm (Illegibly signed: Landscape, aquatint)Ê Work: 29,5 x 23,7 cm, Frame: 75,5 x 60,7 cm (Claude Weisbuch: Untitled, etching, first ed. 2/2)Ê Work: about 66,5 x 48 cm, Frame: 86,5 x 68,5 cm (Pierre Devos: The garden, drawing)Ê Work: Dia. 7,5 cm (Paper: 26,7 x 19,9 cm) - 10,7 x 9 cm (Paper: 32 x 24 cm) (After Victor Steyaert: Two wood engravings, dated 1976 and 1977)Ê Work: 56,5 x 36,5 cm, Paper: 66 x 50,5 cm (E. Noel: 'Villefranche', litho)Ê Work: 61 x 41 cm, Paper: 76 x 56,5 cm (E. Noel: Landscape, litho)Ê Work: 56,3 x 44,2 cm, Frame: 69,5 x 60 cm (Jos Hendrickx: 'Bomen', charcoal on paper, dated (19)82) -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Salvador Dali (1904-1989): 'Nus volants et guitariste', etching in colours, ed. 96/250--Work: 40 x 31,8 cmÊ Paper: 66 x 50,5 cmÊ Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

James Ensor (1860-1949): 'La rue du Bon Secours ˆ Bruxelles', etching in colours, [1887]--Work: 13 x 9 cmÊ Frame: 50,2 x 42,7 cm Ê Ê Signed outside the plate. -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

James Ensor (1860-1949): 'Le Christ aux mendiants', etching in colours, dated 1895--Work: 14,2 x 9,3 cmÊ Frame: 50,8 x 42,9 cm Ê Ê Signed inside and outside the plate. -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Louis Icart (1888-1950) coloured drypoint etching, 'Poupee Moderne', signed in pencil, 125/350, 40 x 51cm Condition: Ground paper evenly discoloured, print possibly a little faded but still with fair strength of colour, slight acid staining around the mount, later framing.

Sir Frank Brangwyn, etching, 'Albi', signed in pencil, 35 x 55cm

A GROUP OF FIVE HAND-COLOURED GOLFING CARTOONS, including after Frank Reynolds, each framed; together with A 20TH CENTURY COLOURED ETCHING OF PLACE DU TERTRE AND MONTMARTRE, PARIS, signed and dated 1956, framed. (6)

After Scauvel, etching, Worcester Cathedral, in gilt moulded frame and glazed

§ JOHN BYRNE (SCOTTISH B.1940) PENSIVE ANGELEtching, P/P, signed, titled and editioned in pencil to margin, unframed (Dimensions: 58cm x 47.5cm (22.75in x 18.75in))Biography: An acclaimed illustrator, painter and playwright, John Byrne is one of Scotland's most diverse and accomplished artists. Byrne was born in 1940 in Paisley and attended the Glasgow School of Art from 1958 to 1963. There he quickly excelled and was awarded the Bellahouston Award, the school's most prestigious painting prize. Byrne is also known for writing the award-winning television series Tutti Fruitti and the theatrical trilogy The Slab Boys. Other notable achievements include his album cover designs for The Beatles, Gerry Rafferty and Billy Connolly. His work appears in several collections both in Scotland and abroad, including the Scottish National Portrait Gallery and Kelvingrove Art Gallery. In 2007 Byrne was made a full member of the Royal Scottish Academy and is also an Honorary Fellow of the Glasgow School of Art.

§ PABLO PICASSO (SPANISH 1881-1973) MINOTAURE, UNE COUPE À LA MAIN, ET JEUNE FEMME - 1933Etching on Montval paper with Vollard watermark from the Vollard suite, ed. 250, signed in pencil to margin, unframed (Dimensions: 34cm x 44.5cm (13.5in x 17.5in))Biography: Picasso throughout his life had a prolific output of paintings, sculptures, etchings, and ceramics. His career spanned nearly 80 years and when he died at age 91 in April 1973; he had become one of the most successful and influential artists in history. Picasso is credited, along with Georges Braque, with the creation of Cubism, as well as the co-invention of collage and the invention of constructed sculpture. His personal life also causes much intrigue, having had several wives, mistresses, and muses. Throughout the 1930s and 40s Picasso entertained principally two women, Marie-Therese Walter and Dora Maar. Maar originally a photographer and a painter expressed her art alongside Picasso. The women in Picasso’s life greatly influenced and inspired his artwork. Picasso's work is often categorized into periods, such as the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). The work following these periods tend to be executed in a neoclassical style, eventually showing characteristics of Surrealism. It is obvious that Picasso often changed his style and experimented with different theories, ideas, and techniques throughout his life.

§ MOYNA FLANNIGAN (SCOTTISH B.1963) MR. LUCKYScreenprint, P/P I, aside from an edition of 40, signed, titled and editioned in pencil to margin, unframed and a further signed etching by the artist 'The Blind House 2' (Dimensions: 43cm x 45.5cm (17in x 18in)) (Qty: 2)Biography: Moyna Flannigan lives and works in Edinburgh. She trained at Edinburgh College of Art and the Yale University School of Art, and has taught at both ECA and the Glasgow School of Art. She has exhibited extensively internationally and her work is included in public collections across Europe. She painted in an abstract style for a period, before returning to a figurative approach around 1995. She is probably best-known for her portraits, but has recently started to work with collage elements too. Flannigan does not rely on preparatory drawings or working from models, preferring to develop her visual ideas directly on the canvas.

§ SALVADOR DALI (SPANISH 1904-1989) LA NAISSANCE DE VENUSColour etching, 24/150, signed and numbered in pencil to margin, unframed (Dimensions: 76.5cm x 57cm (30in x 22.5in), full sheet)Biography: Salvador Dali was a Spanish surrealist artist, whose worked is characterised by bizarre, dream-like imagery, and a very high level of technical skill and precise draughtsmanship. Trained in more classical methods, he was drawn to the avant-garde, and joined the surrealist group in 1929, ultimately becoming one of its leading figures. His visual work spanned many mediums including painting, printmaking, photography, film, sculpture and design, and he also wrote fiction, poetry and criticism. In his art, he was pre-occupied with ideas of the subconscious, sexuality, religion and dreams. There are two museums dedicated to his work, in Florida and Spain, and his works are featured in prestigious museums and galleries across the globe.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) TOBYEtching and aquatint, P/P, signed, titled and editioned in pencil to margin, unframed (Dimensions: 50cm x 56.5cm (19.75in x 22.25in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) MEADOWEtching, A/P, signed, titled and editioned in pencil to margin (Dimensions: 35cm x 49cm (13.75in x 19.25in), plate size)Biography: Ian Fleming studied printmaking while at Glasgow School of Art, and even managed to sell two of his prints while still a student. After graduating, when working with Charles Murray, he encountered the engraving technique, a process he would go on to become extremely skilled in. While working as a lecturer at the Art School, he was introduced to the artist and designer, William Wilson; they became great friends and a strong influence on each other’s work. In his teaching career he taught both Robert Colquhoun and Robert MacBryde, and ultimately became Head of Gray’s School of Art in Aberdeen. Fleming is known for his high-skilled technique, creating detailed etchings and engravings, often of Glasgow and the Scottish Highlands.

JOHN WALTER WOLSELEY (AUSTRALIAN B.1938) UNTITLED C.1965Etching and aquatint (Dimensions: 29cm x 39.5cm (11.5in x 15.5in))Provenance: The vendor was a friend of the artist, and acquired it directly. Biography: John Wolseley is a painter, printmaker and installation artist, whose work is inspired by the natural splendour of Australia. Wolseley was born in Somerset, England and studied at St Martins School of Art for a year in 1957, before attending the Byam Shaw School of Art, London, in printmaking from 1958-63 and later in Paris between 1961-63. In 1976, he travelled to Australia where he travelled extensively through the outback, and ultimately settled. He has made countless journeys around Australia trying to understand 'how the geology contributes to the spirit of the place'. This question, along with the Australian terrain and native flora and fauna, continues to inspire Wolseley and his art. In 1991, he received an Australia Council Fellowship which enabled him to spend eight months in the Simpson Desert, acting as a cartographer of sand dune- an experience which also had a great impact on his artwork. He has been the artist in residence at Deakin University, Bendigo, the Joye Art Foundation, the Art Gallery of Western Australia and George Cottage Launceston and has taught painting in Northern Territory Communities since 1978. Wolseley has also been involved in both solo and group exhibitions across Australia. He has won many awards for his work, including the Geelong Gallery Capital Permanent Acquisition Award, the Art Gallery of New South Wales Trustees watercolour prize, and the Alice Prize. He received a bicentennial commission from the Art Gallery of New South Wales in 1988, the Australia Council Grant in 1998 and an Honorary PhD in Science from Macquarie University in 2005. His work can be found in public and private Australian collections, as well as in collections in England and Yugoslavia.

§ PABLO PICASSO (SPANISH 1881-1973) MODÈLE ET GRANDE TÊTE SCULPTÉE - 1933Etching on Montval paper with Picasso watermark from the Vollard suite, ed. 250, signed in pencil, unframed (Dimensions: 44.5cm x 34cm (17.5in x 13.5in), full sheet)Biography: Picasso throughout his life had a prolific output of paintings, sculptures, etchings, and ceramics. His career spanned nearly 80 years and when he died at age 91 in April 1973; he had become one of the most successful and influential artists in history. Picasso is credited, along with Georges Braque, with the creation of Cubism, as well as the co-invention of collage and the invention of constructed sculpture. His personal life also causes much intrigue, having had several wives, mistresses, and muses. Throughout the 1930s and 40s Picasso entertained principally two women, Marie-Therese Walter and Dora Maar. Maar originally a photographer and a painter expressed her art alongside Picasso. The women in Picasso’s life greatly influenced and inspired his artwork. Picasso's work is often categorized into periods, such as the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). The work following these periods tend to be executed in a neoclassical style, eventually showing characteristics of Surrealism. It is obvious that Picasso often changed his style and experimented with different theories, ideas, and techniques throughout his life.

§ BRYAN PEARCE (BRITISH 1929-2007) HARBOUR - 199160/75, signed, numbered and dated in pencil to margin (Dimensions: 19.5cm x 14.5cm (7.67in x 5.75in))Biography: Bryan Pearce is recognised as one of the U.K.’s leading naïve artists. Born in Cornwall, he suffered from severe health problems and attended a special needs school during the 40’s and 50’s. Encouraged to paint and draw Pearce attended Leonard Fuller’s St.Ives School of Painting from 1953 to 1957. As an artist Pearce depicted his home town and surrounding landscape and on the suggestion of the sculptor Denis Mitchell he joined the Newlyn Society of Artists in 1959. He held his first solo exhibition at the Newlyn Gallery near Penzance in 1959 and subsequent major shows at the Museum of Modern Art in Oxford in 1975 and the Royal Cornwall Museum in Truro in 2000. In his later life he produced a series of prints in small numbered editions and our etching dates from this period.

§ IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) DREAM OF TIREE - 1992Etching, A/P, signed, titled, editioned and dated in pencil to margin (Dimensions: 39.5cm x 50cm (15.5in x 19.75in), plate size)Biography: Ian Fleming studied printmaking while at Glasgow School of Art, and even managed to sell two of his prints while still a student. After graduating, when working with Charles Murray, he encountered the engraving technique, a process he would go on to become extremely skilled in. While working as a lecturer at the Art School, he was introduced to the artist and designer, William Wilson; they became great friends and a strong influence on each other’s work. In his teaching career he taught both Robert Colquhoun and Robert MacBryde, and ultimately became Head of Gray’s School of Art in Aberdeen. Fleming is known for his high-skilled technique, creating detailed etchings and engravings, often of Glasgow and the Scottish Highlands.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) YELLOWEtching and aquatint, P/P, signed and editioned in pencil to margin (Dimensions: 73cm x 97cm (28.75in x 38.25in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.