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IMELLI, (AL.), The Book of Alphabets and Layouts, The Art of Metal Etching for Sign Purposes, Designs Panel Ends Scrolls Descriptive Matter, Ohio U.S.A, The Signs of the Times Publishing Company, 1922.

EDOUARD JULES CHIMOT. FRENCH 1880-1959.Standing nude with distant village. Signed in pencil. Coloured drypoint etching, 6½" x 5¼" plate size.

R.H. CAWTHORNE. BRITISH 20TH CENTURY.The Cross, Chester. Signed and inscribed. Etching 7" x 9".

Continental School (20th century) A portrait of two gentlemen Indistinctly signed and dated '34 in pencil in the margin, etching.16.5 x 18.5cm (framed 38 x 44cm)The print is in very good, original condition. There is some time staining and light browning in the margins of the paper near the mount board, with one or two minor spots of foxing. The print is ornately reframed and glazed. The frame has some scuffs and knocks.

William Lionel Wyllie (British 1851-1931) "H.M.S. Victory at Portsmouth Harbour" Signed in pencil in the margin, etching.23.5 x 51cm (framed 51.5 x 69.5cm)The print is in very good, original condition. There are some minor spots of foxing across the paper. The print is framed and glazed. There is discolouration across the mount and the frame has some scuffs and knocks.

Quality copy of a C19th Scottish Basket hilt Broadsword, etching to blade, steel scabbard with two suspension rings, blade length 82cm

Frank Martin (1921-2005) - 'Two Dancers', etching with aquatint, signed, titled and numbered 3/10 in pencil, unframed 17.5cm x 12.5cm, sheet size 28cm x 20cm. NB - This lot may be subject to Artist's Resale Right levy.

Norman Stevens (1937-1988), 'Stonehenge', etching, signed and dated '78 in pencil, printer's proof, studio blind stamp, unframed, 49cm x 54cm, sheet size 66cm x 70cm, also two etchings by Norman Ackroyd. (3) NB - This lot may be subject to Artist's Resale Right levy.

Victor Pasmore CH, CBE (1908-1998) - 'Black Development', etching with aquatint, signed with monogram in pencil and dated '76, numbered 6/90, framed, 107cm x 43cm, frame size 141cm x 68cm. NB - This lot may be subject to Artist's Resale Right levy.

Ian McKeever (born 1946) - 'Staffa I', etching, signed in pencil and dated '88, 37/50, unframed, plate size 25cm x 20cm, sheet size 58cm x 52cm, also the companion 'Staffa II', also three lithographs with text by a different hand. (5) NB - This lot may be subject to Artist's Resale Right levy.

Bernard Meadows (1915–2005) - 'Frightening Bird', lithograph, signed in pencil and dated '55, numbered 4/10, unframed, 35cm x 26.5cm, sheet size 40.5cm x 29cm, also one other etching by the same hand. (2)NB - This lot may be subject to Artist's Resale Right levy.

Victor Pasmore CH, CBE (1908-1998) - 'Desert Sands', etching with aquatint, signed with monogram in pencil and dated '92, numbered 89/90, framed, 44cm x 44cm, frame size 87.5cm x 70cm. NB - This lot may be subject to Artist's Resale Right levy.

Alan Green (1932-2003) - 'BAT 2- second of five', etching with aquatint, signed in pencil, dated '73, unframed, 54.5cm x 68.5cm, sheet size 69cm x 85cm, also eight other unframed etchings by the same hand. (9) NB - This lot may be subject to Artist's Resale Right levy.

Bernard Meadows (1915-2005) - 'Molloy, Plate 4', etching, signed in pencil and dated '66, numbered 10/20, framed, 9cm x 55cm, frame size 43cm x 80cm. NB - This lot may be subject to Artist's Resale Right levy.

Terry Willson (born 1948) - 'A Part of Life's Rich and Varied Tapestry', etching with aquatint, signed in pencil, artist's proof, unframed, 61cm x 48.5cm, sheet size 75cm x 56.5cm, also an etching by John Walker and five other various signed prints by different hands. (7)

Barry Guy/Alan Davie - 'Wgg II / 10', screenprint, signed by Barry Guy in pencil, dated 1994, artist's proof, unframed, 79cm x 109cm, also a signed screen print by Henry Mundy / Kelpra Studios and an unsigned etching by Julian Trevelyan. (3) NB - This lot may be subject to Artist's Resale Right levy.

Jack Miller (1945-2004) - 'Monsavon', colour photographic print, unframed, 30.5cm x 39cm, sheet size 51cm x 64cm, also an etching by Edward Paolozzi, a screenprint by Tim Mara and four other prints by various hands. (7)

William Walcot (British, 1874-1943) Arch of San Carlo, Naples drypoint etching on paper, signed in pencil (l.r.), c.1920 7½ x 6¾in (19 x 17cm), frame size 47.5 x 32.5cm

* ANDA PATERSON RSW RGI PAI (SCOTTISH 1935 - 2022), THE TEA BREAK limited edition etching on paper, signed, titled and numbered 2/15 1st statemounted, framed and under glassimage size 25cm x 49cm, overall size 50cm x 73cmNote: Painter and administrator, born in Glasgow, married to the artist James Spence. With him she founded the Glasgow Group in the late 1950s, which did much to promote an interest in contemporary art in the west of Scotland and elsewhere. Paterson studied at Glasgow School of Art, in Spain and Portugal. She was elected RSW in 1966 and to Royal Glasgow Institute of the Fine Arts in 1978, and was a winner of the Anne Redpath and Latimer Awards. She showed in mixed exhibitions in Scotland and abroad and had a solo show at Compass Gallery, Glasgow, in 1971, being included in The Compass Contribution at Tramway, Glasgow, in 1990. Paterson was noted for her unusual pictures of ordinary people, often old, lonely and hard-up, which she treated with sympathy. Her work is held by Scottish Arts Council, Arts Council of Northern Ireland and New York Print Workshop.

* ANDA PATERSON RSW RGI PAI (SCOTTISH 1935 - 2022), UNTITLED limited edition etching on paper, signed, titled indistinctly and numbered 1/5 IImounted, framed and under glassimage size 30cm x 30cm, overall size 58cm x 58cm Note: Painter and administrator, born in Glasgow, married to the artist James Spence. With him she founded the Glasgow Group in the late 1950s, which did much to promote an interest in contemporary art in the west of Scotland and elsewhere. Paterson studied at Glasgow School of Art, in Spain and Portugal. She was elected RSW in 1966 and to Royal Glasgow Institute of the Fine Arts in 1978, and was a winner of the Anne Redpath and Latimer Awards. She showed in mixed exhibitions in Scotland and abroad and had a solo show at Compass Gallery, Glasgow, in 1971, being included in The Compass Contribution at Tramway, Glasgow, in 1990. Paterson was noted for her unusual pictures of ordinary people, often old, lonely and hard-up, which she treated with sympathy. Her work is held by Scottish Arts Council, Arts Council of Northern Ireland and New York Print Workshop.

JAMES ABBOTT MCNEILL WHISTLER (AMERICAN, 1834-1903)Old Westminster Bridge etching 7.5 x 20.2cm Provenance Thomas Agnew & Sons, Old Bond Street, London; Private collection, UK

JAMES ABBOTT MCNEILL WHISTLER (AMERICAN, 1834-1903)The Pool etching 1.5 x 20.2cm Provenance Thomas Agnew & Sons, Old Bond Street, London; Private collection, UK

JAMES ABBOTT MCNEILL WHISTLER (AMERICAN, 1834-1903)The Adam and Eve, Old Chelsea etching 17.5 x 30cm Provenance Private collection, UK

* Legros (Alphonse, 1837-1911). Le Triomphe de la Mort: Le Depart (The Triumph of Death: Departure), etching on wove paper, signed, titled and notes '454 first state' in pencil to lower margin, some spotting mainly to margins, plate size 34 x 49.5 cm (13 3/8 x 19 1/2 ins), sheet size 40.5 x 55 cm (16 x 21 5/8 ins), together with Le Triomphe de la Mort: Le Combat (The Triumph of Death: Battle), etching on laid paper, signed and titled in pencil to lower margin, some mount staining, plate size 22.4 x 42.5 cm (8 3/4 x 16 3/4 ins), sheet size 30 x 46.5 cm (11 3/4 x 18 1/4 ins), plus The Triumph of Death: Death at the home of the sailor's family, etching on watermarked laid paper, laid onto thin backing paper, signed in pencil to lower margin, two ownership stamps to lower right (Frances Edward Bliss Lugt 988 & L.265, and Charles Julius Knowles L.576), plate size 16.3 x 19 cm (6 3/8 x 7 1/2 ins), sheet size 18.5 x 24 cm (7 1/4 x 9 1/2 ins), and 7 other etchings by the same artist including: Coin d'un Bois (Corner of a Wood), Cabane dans les Marvais (Cabin in the Marsh, with A, Legros ownership stamp L.140a), Portrait of Jules Dalou, etc., 1 signed in pencil to margin, some mount staining and minor spotting, various sizes and two lithographs, all uniformly mounted in cream card (40.5 x 56 cm)QTY: (12)NOTE:Provenance: Francis Edward Bliss (Lugt 988 & 265) author of A Catalogue of Etchings, Drypoints and Lithographs by Professior Alphonse Legros, printed in 1923, emigrated to Santa Barbara, California. Before his departure he sold numerous Legros prints from his collection at Sotheby Wilkinson & Hodge in London at various points throughout 1921-1924.Charles Julius Knowles (Lugt 576) did not use this stamp during his lifetime. After his death collector Francis Bliss, in collaboration with Charles's son, Guy Knowles, produced the stamp and affixed it to any prints in Bliss's collection that knowingly came from the CJ Knowles collection.

* Palmer (Samuel, 1805-1891). The Herdsman's Cottage, or, Sunset, 1850, etching on pale cream laid paper, the second and final state, with printed initials SP lower left, as issued in The Portfolio in 1872, with large margins, 'MBM Portfolio' watermark, very minimal spotting, image size 9.7 x 7.6 cm (3.8 x 3 ins), plate size 12.4 x 10.2 cm (4.8 x 4 ins), sheet size 36 x 26.2 cm (14 1/4 x 10 1/4 ins), mounted QTY: (1)NOTE:Lister E3 ii/ii.

* Khnopff (Fernand, 1858-1921). Un Geste d'Offrande (Un Geste de Respect), 1900, drypoint etching on thin wove paper, printed with light plate tone, an artist's proof, signed an dinscribed 'epreuve d'etat. Un souvenir de Fernand Khnopff. 1920' to lower margin, some light soiling and handling marks to sheet edges, barely discernable crease to upper left corner of the plate area, plate size 200 x 145 mm, sheet size 272 x 182 mm (10 5/8 x 7 3/16 ins)QTY: (1)NOTE:Delevoy Croesë 355.

* Victoria (Queen, 1819-1901 & Albert, Prince, 1819-1861). Islay, by Prince Albert after a drawing by Victoria, 11th September 1840, etching on India wove, showing a dog sitting raising one paw, print size 15 x 9.8 cm (5 7/8 x 3 3/4 ins), sheet size 22.6 x 17.3 cm (8 7/8 x 6 3/4 ins), mounted (31.5 x 25.5 cm), together withVictoria (Queen, 1819-1901). Ada Hohenlohe, 1840, two etchings on India wove, depicting Queen Victoria's 5 year old half-niece Adelheid 'Ada' Hohenlohe-Langenburg, sitting in one and standing in the other, facing away from the artist, one dated 18th September, both with Ada Hohenlohe's name in pencil to margin, print size 11.6 x 7.8 cm (4 1/2 x 3 ins), sheet size 22.7 x 15.9 cm (8 7/8 x 6 1/4 ins), plus 8 other engravings and woodcuts by various artists including: J. Hamilton Douglas, Wyllie, L. Ward, Russell Conway, Christine M. Wells, various sizes, largest 50.5 x 38 cmQTY: (11)NOTE:Queen Victoria and Prince Albert took up etching in 1840 under the tutelage of the Royal portrait painter Sir George Hayter. Both were competent artists and over the rest of the decade Queen Victoria etched some sixty-two plates and Prince Albert twenty-five. Most compositions were based on paintings and drawings in their collection, but some were also based on each other's sketches. The plates were etched at Windsor Castle and some proof impressions were pulled from a small press there. The Queen and Prince Albert never intended these very personal etchings to stray outside of a very tight circle of family and friends. As such, very few etchings by either Royal exist outside of the private collections at Windsor (who have a full set) and the British Museum (who were given a set by King George V). Examples are also owned by the Victoria & Albert Museum as well as a small numbers in private hands.

* Legros (Alphonse, 1837-1911). Le Chateaux des Revenants (The Castles of the Ghosts), etching, signed in pencil to lower right margin, image size 17.3 x 22.5 cm (6 3/4 x 8 7/8 ins), together with Paysage en Bateau (Landscape with Boat), etching, signed in pencil to lower right margin, some minor spotting, image size 20 x 41.7 cm (7 7/8 x 16 3/8 ins), and another by the same artist, Le Petit Bruleur d'Herbe (Little Burner of Grass), etching, signed in pencil to lower right margin, image size 12 x 11.8 cm (4 3/4 x 4 5/8 ins), all in matching wooden frames (59.5 x 44 cm)QTY: (3)

* Tanner (Robin, 1904-1988). The Old Road, Elegy for the English Elm I, 1976, etching on laid William Morris 'Apple' paper, the first state (of three), signed in pencil, title and paper detail in artist's hand in pencil to lower portion of sheet, with margins, plate size 29.8 x 23.7 cm (11 3/4 x 9 1/4 ins), sheet size 40.5 x 33.2 cm (16 x 13 ins), unframed, together with Hedge Flowers, 1936, etching on cream wove paper, a separate impression printed by the artist in September 1983, aside from the published edition of 12 impressions issued in 1982 by Garton and Cooke, signed, titled and additionally inscribed by the artist 'This impression is for Fay & Ray: Fron Fawr. Sept., 1983.', with margins, plate size 23.2 x 16.2 cm (9 x 6 1/2 ins), sheet size 33.7 x 26.5 cm (13 1/4 x 10 1/2 ins), unframedQTY: (2)NOTE:Garton 36 (i/iii - before the area to the left of the road between the tree and hedge is burnished) & 20.

* Brockhurst (Gerald, 1890-1978). Study for a Decoration, 1923, etching on cream laid paper, from the edition of 76 artist's proofs, signed in pencil, mount stained, plate size 15.7 x 12.1 cm (6 x 4.3/4 ins), sheet size 28.8 x 22.2 cm (11.3 x 8 3/4 ins), unframed, plus Anderson (Stanley, 1884-1966). 'Old Father Time', of Wiltshire, 1944, copper line engraving on laid paper, signed in pencil, from the edition of 100 artist's proofs, 'Ed = 100' by the artist lower left in pencil, titled 'Old Father Time, of Wiltshire. (Line-engraving) Edition 100 prints' by the artist to lower sheet edge, tipped-on to backing board at the upper sheet corners recto, plate size 9.5 x 8 cm (3 3/4 x 3 ins), sheet size 23 x 17.8 cm (9 x 7 ins), hinge-mounted, and Spencelayh (Charles, 1865-1958). The Last Night of Hanuka, etching, signed, titled and numbered 7/30 in pencil, plate size 25 x 20 cm (9 3/4 x 8 ins), framed and glazed (55.5 x 45.5 cm), with Lindsay (Lionel, 1874-1961). Zocodover Gate, Toledo, etching with drypoint, signed in pencil, from the edition of 75 proofs, P. & D. Colnaghi label to frame verso, plate size 29.5 x 19.9 cm (11 3/4 x 8 ins), framed and glazed (56.5 x 42 cm), together with a drypoint etching signed 'J. Gavin' of workers operating a press, and two etchings of views of Chelsea, London by Charles William Sherborn, all framed, signedQTY: (7)NOTE:Brockhurst: Wright/Fletcher 46. Anderson: Meyrick and Heuser 243.

* Khnopff (Fernand, 1858-1921). Sire Halewyn, 1903, drypoint etching on pale cream wove paper, signed and with indistinct presentation inscription lower right, several diagonal creases, affecting the image area, light mount stain, plate size 170 x 240 mm, sheet size 283 x 365 mm, together withUn Masque, 1899, drypoint etching on cream wove paper, heightened with pale red crayon (to the flower button hole), signed and inscribed 'un souvenir de Fernand Khnopff. 1919', diagonal crease to upper right, touching the image area, some light spotting and handling marks, mainly to blank outer margins and sheet edges, plate size 177 x 100 mm, sheet size 290 x 180 mm (11 3/4 x 7 1/8 ins)QTY: (2)NOTE:Delevoy Croesë 388 & 337.

Tanner (Robin, 1904-1988). Illustration for Thomas Gray's Elegy, 1980, etching, signed with initials in pencil and dated 1981, as published in Thomas Gray, Elegy written in a Country Churchyard, published by Robin Garton, 1981, in an edition of 100, plate size 13.8 x 14.4 cm (5 1/2 x 6 ins), sheet size 25.5 x 18.5 cm (10 x 7 1/4 ins), all edges gilt, original dark brown quarter morocco gilt, with paper wrapper, and publisher's cardboard box, small 4toQTY: (1)NOTE:Garton 41 (ii/ii). This copy numbered 90 of 100 copies, signed by Robin Tanner to the limitation leaf.

* Carter (Frederick, 1885-1967). Pierrot in love with the moon, circa 1911, etching, signed in pencil lower left, 22 x 13.5 cm mount aperture, framed (frame size 39 x 33 cm), together with Legros (Alphonse, 1837-1911). Charity, etching, signed in pencil lower right, 23 x 20 cm mount aperture, framed (frame size 43 x 37.5 cm), plus Manner of Augustus John. The Daffodil Seller, etching, 25.5 x 15.5 cm mount aperture, framed (frame size 38.5 x 28.5 cm) QTY: (3)

* Legros (Alphonse, 1837-1911). Les Mendiants de Bruges (Beggars of Bruges), etching on laid paper, signed, titled and notes 'Second state Proof No 6' in pencil to lower right margin, two ownership stamps to lower margin (Francis Edward Bliss, Lugt 988, L265 & and Achille Chariatte L88a), plate size 20.6 x 34.3 cm (8 1/8 x 13 1/2 ins), sheet size 24.5 x 36 cm (9 5/8 x 14 1/8 ins), together with The Wayfarer, etching on laid watermarked 'Portfolio MBM' paper, ownership stamp to lower margin (Charles Lambert Rutherston L594), plate size 15.2 x 27.6 cm (6 x 10 7/8 ins), sheet size 25.8 x 36 cm (10 1/8 x 14 1/4 ins), plus 9 other etchings by the same artist including: The Poet, Les Bouches Inutiles (The Useless Mouths) with ownership stamp (Bliss L265), Le Lutrin (The Lectern), A woodland study, Breton Peasant, etc., 3 signed in pencil, various sizes, and three lithographs by the same artist, largest image size 27.5 x 44 cm (10 7/8 x 17 1/4 ins), all mounted in cream card (40.5 x 56 cm)QTY: (14)NOTE:Provenance: Achille Chariatte (Lugt 88a). After his death in 1922 his collection of 296 prints were sold over two days by Sotheby, Wilkinson & Hodge in London. On the 30th April & 1st May 1923, they hosted the Catalogue of Old Master Drawings and Modern Etchings from the collection of the late Monsieur A. Chariatte, of 36, Brondesbury Road, NW6. The second day of the sale saw lots 128-296 auctioning Modern Etchings by English and French Artists ..., lots 128-296.Francis Edward Bliss (Lugt 988 & 265) author of A Catalogue of Etchings, Drypoints and Lithographs by Professior Alphonse Legros, printed in 1923, emigrated to Santa Barbara, California. Before his departure he sold numerous Legros prints from his collection at Sotheby Wilkinson & Hodge in London at various points throughout 1921-1924.

* Anderson (Stanley, 1884-1966). Pan in Fulham, 1932, engraving on Millbourn wove paper, signed in pencil, a deep impression, from the edition of 50 artist's proofs, title pencil to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners recto, faint mount staining, plate size 18.6 x 14.2 cm (7 1/4 x 5 1/2 ins), sheet size 29 x 21.5 cm, window mounted, and Austin, (Robert Sargent, 1895-1973). Woman Sleeping, 1931, engraving on wove paper, signed in pencil, with margins, tipped-on to backing board at the upper sheet corners recto, very faint mount staining, plate size 13.7 x 19.2 cm (5 1/2 x 7 1/2 ins), sheet size 28 x 36.5 cm, window mounted, plus Walcot (William, 1874-1943). Cornhill and the Royal Exchange, London, circa 1933-35, etching with drypoint on cream wove paper, signed in pencil, plate size 17.8 x 19.8 cm (7 x 7.3/4 ins), with margins, window mounted, together with two further prints by Louis C Rosenberg and Leslie Moffat Ward, both unframedQTY: (5)NOTE:Pan in Fulham. It is thought that only about 10 to 14 prints were made before the plate was lost when Anderson's studio was bombed in 1941. Meyrick & Heuser 203 (iv/iv).

AR * Clarke (Geoffrey, 1924-2014). Study for Sculpture, 1956, etching and aquatint in colour, an unsigned artist's proof, aside from the published edition of 30 impressions, inscribed in pencil to verso (presumably by the artist): Clarke 1956 [GT Bardfield], plate size 90.5 x 55.5 cm (35 1/2 x 21 3/4 ins), sheet size 97 x 61 cm (38 x 24 ins), framed and glazedQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

* Armitage (Kenneth, 1916-2002). Landscape, 1977, etching on Crisbrook handmade wove paper, from the published edition of 30 impressions, signed, numbered 14/30, and dated in pencil, plate size 25 x 30 cm (10 x 12 ins), sheet size 50.5 x 57.5 cm (19 1/2 x 22 1/2 ins), together with another similar Landscape etching by Armitage, on handmade wove paper, signed, numbered 5/30 and dated 1979, plate size 30 x 37.5 cm (12 x 14 3/4 ins), sheet size 51 x 60 cm (20 x 23 1/2 ins)QTY: (2)

* Menpes (Mortimer Luddington, 1855-1938). Hanging out the Washing, etching on thick paper, signed to lower margin in pencil, image size 13.4 x 15.2 cm (5 1/4 x 6 ins), sheet size 25.5 x 20.2 cm (10 x 8 ins), together with another etching by the same artist, Dresden, Church of St. Sophia, signed in pencil to lower edge, image size 24 x 30 cm (9 1/2 x 11 3/4 ins), sheet size 29 x 46 cm (11 3/8 x 18 1/8 ins), plus six other etchings by the same artist including: Ann Street, Dresden, Musse de Cluny, Port St. Dennis, all but two signed, largest 48 x 61.5 cmQTY: (8)

* Piranesi (Giovanni Battista, 1720-1778). Veduta interna del Tempio della Tosse, from Vedute di Roma, 1764, etching on thick laid paper, the first state (of five), printed with real contrast, with margins, fixed to mount with tape to sheet verso, plate size 62.5 x 46 cm (24 1/2 x 18 ins), sheet size 70.5 x 50.6 cm (27 3/4 x 20 ins), framed and glazed (76 x 59 cm)QTY: (1)NOTE:Hind 70 (i/iv). Wilton-Ely 203. Focillon 775. Ficacci 941.

* Campbell (Norah Mary, 1888-1971). Rejected!, 1919, etching, depicting a chaotic scene outside a large stone building, crowds of people with paintings and sculptures, in the foreground two unhappy looking women walk away with pictures under their arms, titled, signed and dated in pencil to lower margin, image size 12.4 x 17.5 cm (4 7/8 x 6 7/8 ins), mounted, framed and glazed (28.5 x 31.5 cm), together with two original pen and ink drawings by the same artist, including: Death of an Orchestra Tragedy by Worthing Council, one signed to lower right, the other unsigned, largest 12.5 x 16.4 cm (4 7/8 x 6 3/8 ins) mount aperture, framed and glazed (31 x 33.5 cm) QTY: (3)

* Rembrandt Harmenszoon van Rijn (1601-1669). Landscape with a cottage and haybarn, late 18th or early 19th-century, counterproof etching on wove, sheet size 115 x 320 mm (4 1/2 x 12 1/2 ins), window mounted, framed and glazed (46 x 56.5 cm), together with:Leyden (Lucas van, 1494-1533). The Milkmaid, late 17th or early 18th-century, reverse engraving on laid with Strasburg lily watermark bearing the arms of Amsterdam, lower right corner excised with infill repair (measuring 8 x 16 mm), plate size 115 x 158 mm, sheet size 118 x 159 mm (4 5/8 x 6 1/4 ins), window mounted, framed and glazed (41.5 x 29.5 cm),Rembrandt Harmenszoon van Rijn (1601-1669). Christ returning from the Temple with his parents, late 19th or early 20th-century, etching on wove, sheet size 95 x 145 mm (3 3/4 x 5 5/8 ins), window mounted, framed and glazed (37 x 41 cm)QTY: (3)NOTE:1. Counterproof etching of Bartsch 225. The original with plate size 129 x 321 mm.2. Reverse engraving of Bartsch 158 which was originally produced in 1510.3. Bartsch 60. The original was produced in 1654.

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Tempio ottangolare di Minerva Medica, from Veduta di Rome, 1764, etching on thick laid paper, the 2nd state (of five), a deep impression, with margins, dust soiling, a few short closed tears (one affecting image), plate size 46.6 x 70.6 cm (18 1/4 x 27 3/4 ins), sheet size 51.5 x 73 cm (20 x 28 3/4 ins), unframed, together with Veduta degli avanzi del Tablino della Casa aurea di Nerone detti volgarmente il Tempio della Pace, from Vedute di Roma, 1774, etching on thick laid paper, a later Regia Calcografia edition of the fourth state (of four), with margins, marks and closed tears to margins, plate size 49 x 72 cm (19 1/2 x 28 1/2 ins), sheet size 63 x 85 cm (24 1/2 x 33 1/2 ins), unframed QTY: (2)NOTE:Hind 74 ii/iv, and 114 iv/iv. Wilton-Ely 207 and 247; Focillon 778 and 751; Ficacci 945 and 985.

* Meryon (Charles, 1821-1868). L'Arche du Pont Notre-Dame, 1853, etching with drypoint on laid paper, with partial watermark, the 4th state (of 7), some light spotting, plate size 153 x 195 mm (6 x 7 3/4 ins), sheet size 295 x 475 mm (11 1/2 x 18 3/4 ins), old card mountQTY: (1)NOTE:Schneiderman 28.

AR * Trevelyan (Julian, 1910-1988). Buffaloes, 1968, coloured etching on wove paper, plate size 35 x 47 cm (13 4/5 x 18 1/2 ins), some toning to sheet, framed, 54 x 66.5 cm (21 1/5 x 25 4/5 ins) QTY: (1)

AFTER GIOVANNI BATTISTA PIRANESI "Veduta del Ponte Lugano", etching, 44 cm x 65.5 cm, together with a large collection of engraved maps, etc.

Haec Ubi Regnant [Where These Rule], 1990, a cast bronze medal by D. Chandler for BAMS, etching of a vase-face with lid, rev. circular landscape of man-made objects, including a padlock, hook, rings, etc, 103mm (Attwood 70). Extremely fine, rare £60-£80 --- Edition of 21

TOM MACKENZIE (SCOTTISH 1947-2018)  MIST ON MUNRO  Etching, signed lower right, numbered 3/75, 48 x 63cm   Condition Report:Available upon request

ERNEST LLEWELLYN HAMPSHIRE (ENGLISH 1882-1944)  ST PAUL'S  Etching, signed lower right, 17 x 24cm  To include two acquaints by L. Nosworthy (3) Condition Report:Available upon request

JOHANN GEORG HERTER AFTER REMBRANDT VAN RIJN (GERMAN 1700-1775)  THE RISING OF LAZARUS  Etching, signed lower right, 18 x 13cm Condition Report:Available upon request

TOM MACKENZIE (SCOTTISH 1947-2018)  DRUIM NA CLEOC  Etching, signed lower right, numbered 37/40, 56 x 65cm Condition Report:Available upon request

Louis Icart (1888-1950)Paresse (Laziness),dry point etching on paper, copyright 1925, printed by Les Graveurs Modernes, of a woman lying back on a bear-skin, printed by framed,signed and numbered 139/500 in pencil,47.5 x 38cm. (image) ProvenanceDecades of Design & Clarice Cliff, Fieldings, 27th April 2013 lot 577.The collection of William Billy Kidd and Elizabeth Kidd. LiteratureMichael Schnessell Icart, Schiffer Books, page 55 figure 57 for a comparable example illustrated.

Louis Icart (1888-1950)Levriers de Course II, (Woman with Hounds),dry-point etching on paper, copyright 1929, framedsigned in pencil Louis Icart, 446/500,63 x 37cm (image) ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.

Louis Icart (1888-1950)Vitesse (Speed), dry point etching on paper of a woman with hounds, framedsigned in pencil Louis Icart63 x 37cm (image) ProvenanceEditions Graphiques (Victor Arwas), paper label to backThe collection of William Billy Kidd and Elizabeth Kidd. LiteratureMichael Schnessell Icart, Schiffer, page 94 figure 117 for a comparable etching illustrated

After Henry William Bunbury (1750-1811),'Pot Fair. Cambridge',Etching on paper by James Bretherton, published 1777, later hand coloured,38cm x 47cm,Framed and glazed (at fault)

ÉMILE GALLÉ (1846-1904) LA MYRTILLE DE BOIS PARLANT VASE, CIRCA 1900 green glass decorated with a snail, overlaid and deep acid-etching, moulded LA MYRTILLE DE BOIS, cameo GALLÉ 18cm high

Fitzgerald (Edward) Rubaiyat of Omar Khayyam, illustrated by Willy PoganyLondon, 1930, limited numbered limited edition of 734/750 copies for England, signed by Willy Pogany, dry point etching signed by the artist, twelve tipped in colour plates, mounted monochrome illustrations throughout, 4to., t.e.g., original gilt dec. teal full morocco, original tissue wrappers and card boxCondition:Good condition. some pages un cut

William Lionel Wyllie, RA (1851-1931)'HMS President lying on her permanent mooring on the Thames', black and white etching, signed in pencil bottom right, mounted, framed accompanied by Quarm (Roger) and Wyllie (John) W.L.Wyllie Marine Artist, 1851-1931, Chris Beetles Ltd, 1981, d.w. signed by both Roger Quarm & John Wylie, (2)within mount 32.3 x 22.7cm., overall 48.5 x 38cm.Condition:Toning to paper.

Willi Kissmer (German 1951-2018): nude torso limited edition coloured etching signed in pencil 84/250, 65cm x 35cm

Willi Kissmer (German 1951-2018): Torso study, limited edition coloured etching signed in pencil 81/250, 65cm x 35cm

Willi Kissmer (German 1951-2018): 'White Ribbons', limited edition coloured etching signed in pencil, titled verso 65cm x 35cm