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

Isabel Beatrice Mesham Signed Etching of a Continental Village Scene, signed bottom right, 35.5 x 25.5cm; together with one other print. (2)

Robert R. Greenhalf (b.1950) 'Rotherford Church' limited edition etching numbered 42/75 signed in pencil lower right 19cm x 22cm

Patricia Regnart (20th Century, British School) 'Taynton' limited edition 40/100 etching/aquatint signed and dated 1974 12cm x 45cm

Phil Greenwood (b.1943) 'Reed Gold' limited edition etching signed and numbered 149/200 lower right in pencil 56cm x 50cm

Phil Greenwood (b.1943) 'Lleyn Sunset' limited edition etching and aquatint 171/350 signed and dated 1980 in pencil lower right 52cm x 64cm

Phil Greenwood (b.1943) 'Claremont Park' limited edition etching signed and numbered '206/350' in pencil 41cm x 48cm

Jean Davey-Winter (Contemporary) 'Poppies' limited edition etching, numbered 6/75 signed in pencil lower right 63cm x 50cm

A. Kristina Kelly (20th Century School) 'Tree Trunk' limited edition etching numbered 7/35 signed in pencil lower right 39cm x 48cm

Marcelle Hanselaar (b.1945) 'La Petite Mort'' etching/aquatint signed and dated in pencil lower right unframed, 37cm x 37cm

Marcelle Hanselaar (b.1945) 'Home sweet home (La menagerie)' etching/aquatint (Title according to artists website) signed and dated 2003 in pencil lower right unframed, 45cm x 38cm

Marcelle Hanselaar (b.1945) 'La Petite Mort 9' etching/aquatint signed and dated 2003 in pencil lower right unframed, 41cm x 37cm

Marcelle Hanselaar (b.1945) 'Full Moon Activity' (2001) etching/aquatint signed in pencil and numbered 3/25 lower right 37cm x 28cm

Rowland Hilder (1905-1993) 'Passing shower' limited edition etching numbered 31/175 and signed in pencil lower right 42cm x 60cm

* Both (Jan Dircksz , circa 1618-1652). The Hinny Drover, Via Appia, etching on laid paper, a rare proof before the addition of artist's name to lower left corner and address of Mariette, trimmed to plate margins, some light spotting and marks, sheet size 198 x 272 mm (7.85 x 10.75 ins), hinge-mounted on old card, together with 11 other various etchings, mostly 17th and 18th century including Christian Dietricy (1712-1774), Herd of Cows by a statue of Flora, 1744, etching on laid paper, a good impression, small stain to upper left margin, early 19th century ownership inscription to verso of Joseph Camesing, and other collectors' marks, trimmed to plate margins, sheet size 15 x 19 cm (5.9 x 7.5 ins), Giacomo Piccini, Portrait of Gacopo da Ponte da Bassano Pittore, engraving on laid paper, trimmed to plate margins, etc. (Qty: 12)NOTESHollstein 6; Bartsch volume 5, page 208. From the set of Six Landscapes of the Environs of Rome.

* Piranesi (Giovanni Battista, 1720-1778). Veduta interna del Sepolcro di S. Costanza ..., 1756, etching printed on laid paper, with double ring fleur-de-lys watermark, with full margins, plate size 42 x 55 cm (16.5 x 21.75 ins), sheet size 52 x 75.5 cm (20.5 x 29.75 ins), window-mounted, together with Farjat, (Benoit 1646-1724) , St. Anthony, fine copper engraving on laid paper, with circular watermark, several short closed marginal tears repaired, wide margins, plate size 510 x 355 mm (20 x 14 ins), sheet size 585 x 440 mm (23 x 17.25 ins), plus Bettelini (Pietro, 1763-1829) , Dido and Aeneas, Jupiter and Juno, & Iole and Hercules (after Annibale Carracci), circa 1790-1800, together 3 fine copper engravings on heavy wove paper, after the fresco cycles by Annibale Carracci, in the Palazzo Farnese, Rome, some minor marginal stains, one with upper right blank corner excised, plate size 360 x 275 mm (14.2 x 10.8 ins) and similar, sheet size 505 x 380 mm (20 x 15 ins) and similar, and Cunego (Domenico, 1727-1803) , Nereides Nymphae, & Filius Prodigus, 1771/1770 respectively, two copper engravings on laid paper, after Ghisi and Guercino [from Gavin Hamilton, Schola Italica Picturae, published in 1773], plate size 241 x 408 mm (9.5 x 16 ins) and 266 x 323 mm (10.5 x 12.75 ins) respectively, wide margins to each, and Richeton, (Leon, 1854-1934) . The Sheepfold, moonlight, after Jean-Francois Millet, circa 1880s , etching, printed on vellum, with remarque of a candle holder, signed in pencil lower right, some minor spotting and discolouration, plate size 400 x 483 mm (15.75 x 19 ins), sheet size 417 x 530 mm (16.4 x 20.8 ins) (Qty: 8)NOTESPiranesi: Hind 37. Ficacci 811. State III (of VI), with address Autore a Strada Felice.

* Rembrandt (Harmensz van Rijn, 1606-1669). Self Portrait, Drawing at a Window, 1648, etching and drypoint on laid paper, a good impression of New Hollstein's eighth state (of nine), trimmed to or just inside the plate mark, very short nick to lower sheet edge (without loss), sheet size 157 x 130 mm (6.3 x 10.1 ins), black and gilt frame, glazed, with 18th century handwritten label to verso 'Rembrandt dessinant, portait fait par lui meme', and further handwritten label below 'From my Brother John. 1828. C:D:', further inscribed with bibliographical details from Munz and A.M. Hind in Michael Jaffé's hand (Qty: 1)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997). Hind 229, v. Bartsch/Hollstein 22 v/v. New Hollstein 240 viii/ix. A posthumous impression from the original plate, reworked and strengthened throughout, possibly by Pierre Francois Basan (1723-1797).

* Rembrandt (Harmensz Van Rijn, 1606-1669). Self-Portrait with Raised Sabre, 1634, etching on laid paper, a later impression, with reworking, some marks and discolouration to upper outer corners where glued to backing paper, light diagonal crease across the image, trimmed just inside the platemark, sheet size 122 x 100 mm (9.8 x 3.95 ins) (Qty: 1)NOTESHind 109, iii/iii; New Hollstein 134; Bartsch 18.

* Rembrandt (Harmensz van Rijn, 1606-1669). The Flight into Egypt (Small Plate), 1633, etching on laid paper, with light surface tone, ink stamps to verso of the Kupferstich-Sammlung der Konigl: Museen, Tilgungs-Stempel K.K.C., and Gr. v. Lepell S., plate size 88 x 62 mm, sheet size 92 x 67 mm (3.65 x 2.65 ins), 19th century black and gilt frame, glazed (Qty: 1)NOTESProvenance: W.H.F.K. Graf von Lepell (1755-1826), Prussia (Lugt 1672); bequeathed to Friedrich Wilhelm III, King of Prussia. Kupferstich-Sammlung der Koniglichen Museen, Berlin (Lugt. 1606), with their de-accession stamp (Lugt 2398); Michael Jaffe (1923-1997). Bartsch 52. Hind (1923) 105, ii. New Hollstein (Dutch & Flemish) 117, iv/iv. The posthumous 4th state extensively reworked with mezzotint rocker.

* Reni (Guido, 1575-1642). Virgin and Child, with Saint Claire (after Annibale Caracci), etching on laid paper, trimmed just inside the plate mark, 215 x 182 mm (8.5 x 7.2 ins), modern gilt frame, glazedNOTESProvenance: M.J. Hugill, Esq., with a James Bourlet label bearing his name to verso, and additional typewritten note 'Engraving by Guido Reni of a painting by Annibale Caracci. Bought July 1970.'.

* Tiepolo (Giovanni Battista, 1696-1770). Standing Woman and Seated Man (from Vari Capricci), etching on laid paper, without watermark, a very good impression, with wide margins, in very good condition, plate size 138 x 177 mm (5.4 x 7 ins), sheet size 216 x 254 mm (8.5 x 10 ins), window-mounted (Qty: 1)NOTESProvenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. De Vesme 6; Rizzi 32.

* Van Dyck (Anthony, 1599-1641). Portrait of Pieter Breughel the Younger, circa 1632, etching on laid paper, light overall mount stain, laid down on later backing card, plate size 24.5 x 15.7 cm (9.6 x 6.25 ins), sheet size 31.2 x 21.2 cm (12.25 x 8.3 ins), framed and glazed (Qty: 1)NOTESMauquoi-Hendrickx 2.

* Goya (Francisco, 1746-1828). Disparate Furioso (Furious Folly), from Los Proverbios, circa 1815-1823, etching with burnished aquatint, from the 5th edition printed by the Calcografia Real Academia in 1904, plate size 24.7 x 35.9 cm (9.75 x 14.2 ins) (Qty: 1)NOTESHarris 253; Delteil 0207. The 1864 edition is the 3rd edition, without the plate number in the corner, so this issue is post-1864.

* Silhouettes. Portraits of M?oris Tuai and T?tere , and Francis Hall, 1818, together three painted silhouettes, oval head and shoulder portraits, all annotated in contemporary pencil in the same hand, depicting: Tuai, profile to right, annotated 'New Zealand' to upper margin and 'Tooi 1818' to lower margin, 8.5 x 6.3 cm (3.25 x 2.5 in); Francis Hall, profile to right, annotated '1818' above image and 'Mr. Hall Preceptor' below image, 8.2 x 6.5 cm (3.25 x 2.5 in); and T?tere, profile to left, annotated 'New Zealand' to upper margin and 'Titiree 1818' to lower margin, 8.6 x 6.4 cm (3.25 x 2.5 in), mounted together in a worn contemporary portfolio, consisting of card covers each with a mounted etching, and pale pink cloth spine and internal flaps, inside covers lined with pink paper, that to front cover with 2 empty oval apertures and loss to paper, that to rear cover with the 3 silhouettes mounted within oval apertures, overall size of portfolio 29 x 22 cm (11.5 x 8.5 in) (Qty: 1)Provenance: Estate of John Lawson (1932-2019). Possibly formerly belonging to Dr Charles Arundel Overbury Fox (1886-1971), an English collector of early New Zealand and Pacific works of art, whose collection was acquired by John Lawson following his death in Birmingham, England.NOTESAn important set of silhouettes depicting the pioneering New Zealander Tuai (1797-1824), his companion T?tere, and their English friend and teacher Francis Hall. The visit to England of Tuai (or Thomas Tooi), a young Ngare Raumati chief from the Bay of Islands, and T?tere his friend, between February 1818 and January 1819 is well-documented. Tuai was one of the first M?oris to become a global traveller, and his perilous 10 month voyage across the seas on the Kangaroo was arranged by the Reverend Samuel Marsden who worked for the Church Missionary Society in New Zealand. During their stay in England the two M?ori men mixed with the teeming crowds in London, attended fashionable gatherings, worked on farms, visited homes and schools, witnessed the roaring factories of the Industrial Revolution at Ironbridge in Shropshire, visited Kent, and attended church. The Church Missionary Society arranged for James Barry to paint formal oil portraits of both Tuai and T?tere before they left England; these are now in the Alexander Turnbull Library in the National Library of New Zealand, which also holds the only other known silhouette portraits of the two men. Francis Hall, who was their constant travelling companion, appears to have been a sort of father-figure and guardian, as well as teacher, attempting to instruct them in reading and writing, as well as in the scriptures. The pair, however, resisted attempts to convert them to Christianity, and Mr. Hall warned others of the dangers of trying to force it upon them. Both Tuai and T?tere drew images on paper which are believed to be the earliest M?ori ink drawings in existence, and penned letters home about their adventures in England. They dictated their letters to Francis Hall who wrote their words on slate so that they could copy the words onto paper with quill and ink. The 19 letters still in existence represent the first written M?ori expression in English.

Palmer (Samuel, 1805-1881). A Memoir by A.H. Palmer. Also a catalogue of his works, including those exhibited by the Fine Art Society 1881, and an account of the Milton series of drawings, by L.R. Valpy, Fine Art Society, 1882, original etching as frontispiece by Samuel Palmer titled Christmas, pictorial printed title and 12 full-page plates, woodcut illustrations, some light browning to endpapers, inner hinges neatly restrengthened, original morocco-backed black cloth gilt, rebacked with original spine laid down (with a little loss to head and foot of spine, and faded to brown), 4to (Qty: 1)NOTESLister E4, with printed title to lower margin "Christmas, From Bampfylde's Sonnet", the 4th state (of 5).

* Palmer (Samuel, 1805-1881). Christmas, or Folding the Last Sheep, 1850, etching on pale cream wove paper, the 4th state (of 5, as published in Samuel Palmer, A Memoir by A.H. Palmer, published by the Fine Art Society in 1882) with printed title to lower margin '"Christmas" From Bampfylde's Sonnet', plate size 124 x 102 mm (4.9 x 4 ins), with margins, framed and glazed (Qty: 1)NOTESProvenance: Given by the author A.H. Palmer to Pellew Mugford (according to later handwritten note to verso); Estate of John Lawson (1932-2019). Lister E4.

* Whistler (James Abbot McNeill , 1839-1903). Billingsgate, 1859, etching on cream laid paper, signed and dated in the plate, as issued in Philip Gilbert Hamerton, The Portfolio, 1878, plate size 152 x 223 mm (6 x 8.75 ins), sheet size 230 x 303 mm (9 x 11.9 ins), framed and glazed (Qty: 1)NOTESKennedy 47.

* McBey (James, 1883-1959). Sunrise at Tarragona, 1911, etching with drypoint on cream laid paper, signed in ink and inscribed to William Hutchison to lower right margin, additionally titled by the artist to upper left margin 'Sunrise at Tarragona', some scattered spots and light soiling to sheet edges, laid down on old backing card, plate size 148 x 225 mm (5.8 x 8.8 ins), sheet size 202 x 302 mm (8 x 11.9 ins), together with another etching by McBey from the Dutch Set, similarly signed and inscribed in ink to William Hutchison, plate size 119 x 163 mm (4.7 x 6.4 ins), plus an original pen and black ink sketch by the same artist depicting a river scene with moored rowing boat and figure, signed and titled in ink to lower right margin Sketch for Fratray [?], image size 137 x 204 mm (5.4 x 8 ins), framed (Qty: 3)NOTESHardie 103.

* Bauer (Marius, 1867-1932). Mecca Pilgrims, 1892, etching on laid paper, signed with initials in pencil, and numbered 40 lower left, some overall paper toning, plate size 86 x 330 mm (3.4 x 13 ins), sheet size 165 x 400 mm (6.5 x 15.75 ins), framed glazed, together with 4 other early 20th century continental etchings: Arthur Paunsen (Abschied), Brouet, Coussens (Le pont de la tournelle), and one other of Vienna (Wien 'Am Hof'), all signed in pencil, various sizes, framed and glazed (Qty: 5)

* Baumer (Lewis, 1870-1963). 'The Apple', 1924, drypoint etching on pale cream japan paper, signed and titled in pencil, plate size 20 x 16.1 cm (7.9 x 6.4 ins), framed and glazed, together with Soper (George, 1870-1942). The Hay Cart, 1921, drypoint etching on pale cream paper, signed in pencil lower right, plate size 19.8 x 28.7 cm (7.8 x 11.3 ins), with margins, framed and glazed, plus Rushbury (Herny George, 1889-1968). St. Martin's in the Fields, 1944, drypoint etching, printed with plate tone, signed in pencil, plate size 29 x 26.5 cm (11.4 x 10.2 ins), framed and glazed, and 2 others: William Douglas Macleod (1892-1963), On the Canal, Venice, etching, signed in pencil, plate size 31.5 x 20.5 cm (12.5 x 8.2 ins), framed and glazed (glass cracked); and an early 20th century pencil study on paper of a young oriental girl, indistinctly signed lower right, laid down on card, sheet size 18.5 x 13.8 cm (7.3 x 5.5 ins), framed and glazed (Qty: 5)

* Bone (Muirhead, 1876-1953). The Apse, Leon Cathedral, Spain, 1932, etching and drypoint on off-white paper, a strong rich impression, signed lower right, plate size with margins 35.5 x 24.7cm (14 x 9.7ins), framed and glazed (Qty: 1)NOTESDodgson 441, x/x. Published in the portfolio Old Spain in 1936.

* Roussel (Theodore, Casimir , 1847-1926). Pierrot en Pied (portrait of the Lady A.C.), 1888, etching on laid paper, with plate tone, trimmed to plate margins, signed in pencil on tab, to lower left, 25.5 x 19 cm (10 x 7.5 ins), antique-style gilt frame, glazed, with printed label of Messrs. Gooden & Fox, Printsellers, Publishers and Dealers in Works of Art, 57, Pall Mall label to verso (Qty: 1)NOTESHausberg 10 i/i. A depiction of Lady Archibald Campbell appearing on stage in the role of Pierrot. Whistler also painted her portrait, and made an oil sketch of her performing in the role of Orlando in Shakespeare's As You Like It in 1884.

* Copley (John, 1875-1950). Study of a boy, etching on paper, showing a young boy sitting in a chair, signed in pencil, image size 18 x 22.5cm (7 x 8.75ins), modern frame, glazed, frame size 35 x 37.5cm (13.75 x 14.75ins) (Qty: 1)

* West, Joseph Walter, 1860-1933. 'Salvage', 1915, lithograph printed in dark brown-black on thin laid paper, signed and titled in pencil, very light old mount stain, image size 177 x 255 mm (7 x 10 ins), sheet size 235 x 344 mm (9.25 x 13.6 ins), tipped-on to backing card, together with Legros (Alphonse, 1837-1911). La Peche a la Truite, etching with aquatint on antique laid paper, a rich, dark impression, signed in pencil lower right, pale mount stain, plate size 33.5 x 44.5 cm (13.2 x 17.5 ins), sheet size 40.5 x 54.7 cm (16 x 21.5 ins), plus Montgomerie (William Hugh Canning, 1881-). The Linnhe of Lorne, etching with drypoint, published in an edition of 65 impressions, signed in pencil, publisher's blindstamp to lower left, plate size 31.5 x 54.5 cm (12.25 x 21.5 ins), with full wide margins, mounted, and other early 20th century etchings, including Martin Hardie, The Old Harbour Light, North Queensferry, Dorothy G. Woollard, Place des Cordeliers, Dinan, 8 various etchings by C.H. Baskett (The Dawn Wind, Lymington Marshes, Matching, Essex, The Road to the Uplands, Cremyll Point, Plymouth, Sussex Marshland, A Corner in Bruges & The Steam Plough), Duncan Rhind, street scene, Lettice Sandford, etc., all signed in pencil, various sizes (Qty: 35)NOTESThe first work was reproduced in 'The Year 1915 Illustrated: A Record of Notable Achievements and Events', published by Headley Brothers in late 1915, and titled 'Rescuing Women and Children from a Cellar at Ypres'.

ARR * Drury (Paul, 1903-1987). Head of a Young Woman, 1930, etching and engraving on wove paper, published in an edition of 100 impressions by the Print Collector's Club, 1930, signed in pencil, a very good sharp impression, plate size 145 x 120 mm (5.7 x 4.7 ins) with margins, framed and glazed (Qty: 1)NOTESGarton 26, viii/viii.

* Gross (Anthony, 1905-1984). Chateau Correze, copper etching on thick Arches wove paper, printed by the artist's daughter, Mary West, at the artist's studio, circa 1984 , published by Merivale Editions, in an edition of 500, numbered in pencil 329/500, plate size 152 x 228 mm (6 x 9 ins), sheet size 210 x 295 mm (8.25 x 11.6 ins), mounted (Qty: 1)

* Gwynne-Jones (Allan, 1892-1982). Horses watering in the farmyard, 1928, etching on ivory handmade wove paper, signed lower right, plate size 30.5 x 36.8 cm (12 x 14.5 ins), framed and glazed (Qty: 1)

* Millais (John Everett, 1829-1896). 'The Baby-House', [1872], etching on chine collé, published by the Etching Club in 1872, showing a small girl sitting by a doll's house and an older girl sitting on a chair beside, artist's signature, monogram, and title within image, plate size 14.3 x 18.3 cm (5.5 x 7.25 in), mounted, framed and glazed (Qty: 1)

* Seehaus (Paul Adolf, 1891-1919). Street with tramrails (Strasse mit Schienen) , 1917, etching and drypoint on cream wove japan paper, artist's studio signature 'Seehaus' (by Gertrud Drascher) lower right, titled in pencil to lower left corner of the sheet, some light creases to margins, plate size 90 x 70 mm (3.5 x 2.8 ins), sheet size 358 x 272 mm (14.1 x 10.75 ins) (Qty: 1)NOTESProvenance: Estate of Eduard Rosenbaum (1887-1979), diplomat at the Versailles Treaty negotiations, economist, Syndic of the Hamburg Chamber of Commerce and director of its library, expelled from his post by the Nazi regime in 1933; emigrated to London where he was appointed Librarian and Head of Acquisitions at the London School of Economics. Board Member of the Leo Baeck Institute, London. Rave/Söhn 40 b. Printed in an edition of 25 impressions. Presentation inscription to verso by Gertrud Simka-Drascher to Mr and Mrs Eduard Rosenbaum 'Herrn und Frau Rosenbaum mit den besten Wunschen fur das Neue Jahr, Gertrud Drascher'.

* Squirrell (Leonard Russell, 1893-1979). 'The Shadowed Corner - Marseilles', etching with aquatint, signed and titled in pencil to lower margin, some light overall toning, plate size 27.5 x 34.5 cm (10.75 x 13.5 ins), with margins, framed and glazed, together with Rushbury (Henry George, 1889-1968). Horse Guards, Whitehall, etching with drypoint, signed in pencil, plate size 22 x 28 cm (8.7 x 11 ins), framed and glazed, plus Blampied (Edmund, 1886-1966), Wheelbarrow Race, etching, with plate tone, on cream laid paper, signed in pencil, plate size 30.5 x 22 cm (8.6 x 12 ins), framed and others, and other various British etchings, including Winifred Austen (1876-1964), Female Mallard Duck and Ducklings, signed, James Henry Dowd (1883-1956), Children on a Beach, signed, Leonard Robert Brightwell (1889-1983), The Babes in the Wood, Tom Maxwell (-1937), Albert Bridge, Glasgow, Philip Kappel, Off Hatterac (some creasing and unframed), Anthony Michael Dyson (1931-), Cutty Sark, etching on paper, signed and numbered 111/175, Ken White (1943-), Baptist Hill, signed and numbered 21/100, Michael Chaplin, Five Rise Lock, signed and numbered 8/185, Yoshijiro Urushibara (1888-1953), In the Docks, 1924, colour woodcut after Frank Brangwyn, signed and dated, etc., all except one framed and glazed (Qty: 15)NOTESIn the Docks, cut and printed by Urushibara after a watercolour by his friend and collaborator Frank Brangwyn was published in the portfolio Ten Woodcuts (John Lane, 1924) in an edition of 270. Chapman & Horner, Yoshijiro Urushibara: A Catalogue Raisonné (2017), UB37.

ARR * Peri (Peter Laszlo, 1898-1967). Mother and child, 1944, etching with heavy plate tone, numbered 2/100, signed and dated lower right, image size 35 x 25cm (13.75 x 9.75ins) with margins, framed and glazed (Qty: 1)NOTESPeter Laszlo Peri (1898-1967) was born in Budapest, lived in Berlin in the 1920s, during which time he exhibited with László Moholy-Nagy. He emigrated to Britain in the 1930s due to his communist politics and Jewish parentage.

* Bartlett (Charles, 1921-2014). 'Autumn Reeds', colour etching, signed, titled and numbered 4/150 in pencil, some pale foxing to blank margins, plate size 36.2 x 46.7 cm (14.25 x 18.4 ins), sheet size 58.5 x 68.5 cm (23 x 27 ins), framed and glazed, together with other various modern and contemporary artists' prints, including two colour etchings of nude female torsos by Willi Kissmer (1951-2018), each signed and numbered 150 and 197 of 250 impressions in pencil, two small etchings of female figures by Antia Klein (1960-), each signed and dated '98 and '97 and numbered 41/150 and 45/150 respectively (the latter with some marks and soiling, a study of a female nude by Shenda Amery, signed and dated '82, two colour etchings by Inge Clayton (1942-2010), entitled Andante, con motto, Allegro, signed, dated '94, titled and numbered 4/20 in pencil, and 'On Special Offer', signed, dated '93, titled and numbered 24/35, each with printed label of the Anna-Mei Chadwick gallery, London to verso, an etching with aquatint by Thomas Newbolt, titled Procession IV, signed, dated 1996, titled and numbered 2/30, a Robert Lenkiewicz colour poster for Project 18 - The Painter with Women, 1994, signed by the artist, a colour etching by Greenwood, titled Springfield, dated '73, a colour etching by Richard O'Connell, titled On the Beach, and dated 1973, and a watercolour and black ink drawing by Montse Roldos, signed, all framed and glazed (Qty: 13)

* Brunsdon (John, 1933-2014). Pass near Coniston, colour etching, signed, titled, and numbered 114/150, some light handling marks and minor soiling to blank margins, plate size 59 x 44 cm (23.25 x 17.4 ins), sheet size 77.5 x 58.5 cm (30.5 x 23 ins), together with Tremadoc Bay, colour etching, signed, titled and numbered 59/100 in pencil, plate size 59.5 x 44.8 cm (23.5 x 17.6 ins), sheet size 79 x 56.5 cm (31 x 22.25 ins), plus Derwent Water, colour etching, signed, titled and numbered 70/75 in pencil, some light marks and minor light toning, plate size 45 x 60 cm (17.75 x 23.5 ins), sheet size 58 x 79 cm (23 x 31 ins) (Qty: 3)

* Brunsdon (John, 1933-2014). Stonehenge, colour etching w ith aquatint, signed, titled, and numbered 'Artist Proof 1/10' in pencil to lower margin below image, small water-stain to lower left blank corner, plate size 44.5 x 59.5 cm (17.5 x 23.5 in), mounted, framed and glazed (glass cracked to lower left corner) (Qty: 1)

* Eccleston (Harry Norman, 1923-2010). Boomps-a-Daisy 1950, etching on paper, showing the Theatre Royal, Bilston, numbered 5/30 and titled, signed and dated in margin, additionally inscribed 'To Bentley', image size 19 x 12.5cm (7.5 x 5ins), framed and glazed, together with two later etchings by the same artist from the Caponfield Suite, 1980, numbers 8 and 10, image size 49.5 x 36cm (19.5 x 14ins), both signed and titled, sheet size 76 x 56cm (30 x 22ins, unframed (Qty: 3)

Albrecht Durer (1471-1528), St Jerome in Penitence (B. 61; M. Holl. 57), etching, after the 1496 original, inscribed in pencil to the back 1512, 29cm x 21cm, framed

Henry George Walker (1876-1932), OHMS When You are Ready, I am, etching, circa 1914, signed in the plate, 21cm x 16cm, framed

Robin Tanner (1904-1988), Flowers of May (Garton 26), etching 1972, signed, 27cm x 19cm, unframed

Joan Williams (1922-2002), Sahara, aquatint and etching, 1972, signed and numbered 13 of 30, 37cm x 50cm, framed

Valerie Thornton (1931-1991), Pisa IV, etching and aquatint, 1980, signed and numbered 32 of 75, 23cm x 15cm, framed

ANTHONY GROSS (1905-1984). Extensive French rolling landscape with buildings 'Paysage du lot', signed in pencil lower right, limited edition etching on paper, 69 / 200, framed and glazed, 26 x 36 cm

JULES DE BRUCKYER (1870-1945). 'The Church of St. Nichols Gand', inscribed, signed in pencil lower right, etching on paper, framed and glazed, 49 x 35 cm

ANDRE DERAIN (1880-1954). French school, modernist study of two women bathing in a stream, signed in pencil lower right, limited edition etching on paper, 4 of 15, framed and glazed, 19 x 13 cm

NORMAN C. JAQUES (b. 1922). 'Ghost Town of The West, U.S.A.', signed in pencil lower right, limited edition coloured etching and aquatint on paper, no. 2 of 15, framed and glazed, 40 x 44 cm

PETER HOWSON (b.1958). A study from the series by the artist of tramp studies who reside in London tube stations 'Chalk Farm', signed and dated 1998 in pencil lower right, limited edition etching on paper, 14 / 25, framed and glazed, 36 x 30 cm

BORIS O'KLEIN (1887-1983). French school, two comical dog studies, both inscribed in pencil, both signed in pencil lower right, etching and aquatints on paper, framed and glazed 19 x 45 cm and 15 x 44 cm

PETER HOWSON (b.1958). A study from the series by the artist of tramp studies who reside in London tube stations 'Caledonian Road', signed and dated 1998 in pencil lower right, limited edition etching on paper, 7 / 25, framed and glazed, 36 x 30 cm

Charles Bird - St Peter's Hospital - A 19th Century etching depicting the hospital with two women walking outside, signed in pencil to the corner. No. 46. Framed and glazed. Together with another Charles Bird etching on paper depicting a mother and child walking through an arch. Signed, no. 13. Measures 70 cm x 53 cm.

Framed three panel black and white etching of birch trees and cattle on the edge of a forest, unsigned

Brian Pearce book 'The artist and his work' by Janet Axton, copy no. 49, with a signed limited edition etching, 2000 and sleeve.

George Dannatt (1915 - 2009) limited signed edition etching no. 2/10, 'Dartmoor, August 1996' signed in pencil, framed and glazed, overall size 43cm x 34cm.