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

*Arms (John Taylor, 1887-1953). The Church of St. Francis and the Natizone, Cividale, 1931, etching on pale cream laid paper, from the published edition of 128 impressions, signed, dated, and inscribed in pencil 'To my friends Kerr and Frances Eby', plate size 18.8 x 25.5 cm (7.4 x 10 ins), sheet size 27.5 x 37.5 cm (10.8 x 14.75 ins), window-mounted Fletcher 238 iii/iii. Number 22 from the Italian Series. (1)

*Austin (Robert Sargent, 1895-1973). The Cathedral, Palma, 1927, etching on cream laid paper, a signed proof printed in brown ink, signed and dated 1928 in pencil, plate size 20.3 x 34.3 cm (8 x 13.5 ins), sheet size 26.7 x 43.5 cm (10.5 x 17.25 ins), window-mounted Campbell Dodgson, 79. Ashmolean Museum, Oxford, Robert Austin, 16 February-16 March 1980, 24. (1)

*Beaumont (Leonard, 1891-1986). Spanish Townscape, etching, signed and numbered 30/75, framed and glazed, together with other various etchings (-)

*Besnard (Albert, 1849-1934). Reverie, 1887, etching and aquatint on cream laid paper, the second state (of 2), printed in an edition of around 75 impressions, signed in pencil, plate size 8.4 x 14 cm (3.3 x 5.5 ins), sheet size 13.5 x 17 cm (5.3 x 6.7 ins), window-mounted, together with Brouet (Auguste, 1872-1941), Joueur d'Orgue, etching on pale blue laid paper, one of only 10 artist's proofs aside from the published edition, signed and number 8/10 in pencil, plate size 9.3 x 10.4 cm (3.7 x 4.25 ins), sheet size 20 x 25.5 cm (7.9 x 14 ins), both window-mounted Godefroy 60, ii/ii & Geffroy 198. (2)

*Beurdeley (Jacques, 1874-1954). Barques de peche au repos (Tamise), etching with drypoint on laid paper, from the published edition of 50, a good impression with plate tone, signed and numbered 45/50 in pencil, plate size 15 x 23 cm (5.9 x 9 ins), sheet size 17.2 x 25 cm (6.75 x 8.7 ins), mounted, together with Bracquemond (Felix, 1833-1914), La Seine au Bas-Meudon, 1868, etching on laid paper, the final state, as issued in the Gazette des Beaux Arts in 1884, light crease to lower right blank margin, plate size 15.7 x 22.8 cm (6.2 x 9 ins), sheet size 18.5 x 27.5 cm (7.25 x 10.75 ins), mounted, plus six other etchings by Edgar Chahine (St.-Germain-L'Auxerrois, 1902), Louis Legrand (Flore artificielle), Leon Lhermitte, and Auguste-Louis Lepère, each mounted Beraldi 187, iv/iv. (8)

*AR Bone (Sir David Muirhead, 1876-1953). The Convent of San Payo, Santiago de Compostela, Spain 1929, drypoint etching on cream laid simili Japan paper, a unique proof of the 10th state, signed in pencil, a few spots, plate size 12 3/16 x 7 ? (sheet 15 1/4 x 10 3/4), mounted Campbell Dodgson/Wright 434, x/xviii. Unique proof of the 10th state, from a total of 18 states made by the artist between 1929 and 1937. The total edition being 102 impressions. (1) NB: This lot may be subject to ARR

*AR Bone (Sir David Muirhead, 1876-1953). The Shot Tower, 1904, drypoint etching on cream laid paper, the 5th and final published state, printed in an edition of 35 impressions, signed and titled in pencil, plate size 17.5 x 22.5 cm (6.9 x 8.8 ins), sheet size 19.7 x 24.6 cm (7.75 x 9.75 ins), laid down on backing card, window-mounted, with printed labels of the Montclair Art Museum, New Jersey, and M. Knoedler & Co., New York Campbell Dodgson 160, 5th state. 'The Shot Tower is Bone's best study of The Thames, and indispensable to a representative collection'. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*AR Bone (Sir David Muirhead, 1876-1953). The East Breast, Greenock, 1900, etching with drypoint on wove paper, one of approximately 30 impressions, signed and titled in pencil, plate size 16.8 x 21.7 cm (6.6 x 8.5 ins), with margins, framed and glazed Acquired from Garton & Cooke. Campbell Dodgson 76. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*AR Bone (Sir David Muirhead, 1876-1953). Old Linlithgow, Scotland, 1901, etching on pale grey-brown paper, one of only two known impressions, inscribed in pencil to lower margin 'Muirhead Bone to J. McG.' and dated Sept. 1902, plate size 12.5 x 7 cm (4.9 x 2.75 ins), framed and glazed Provenance: Charles Jacob Rosenbloom (Lugt 633b). Acquired from Garton & Cooke, circa 1984 (Catalogue 29, Item 10). Dodgson records only one impression of this print which Bone kept himself. There is another impression in the Wiggin Collection of the Boston Public Library. The present work was purchased from T. & R. Annan & Sons of Glasgow in 1913 by G. Mayer. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*Brammer (Leonard Griffiths, 1906-1994). Evening Landscape, Five Towns, 1932, etching and mezzotint on cream wove paper, a signed proof, a rich impression in excellent condition, plate size 16 x 25 cm (6.25 x 9.8 ins), sheet size 26.2 x 36.8 cm (10.3 x 14.5 ins), window-mounted (1)

*AR Brockhurst (Gerald Leslie, 1890-1978). Ranunculus, 1921, etching on cream wove paper, from the edition of 76 proofs, published September 1921, signed in pencil, plate size 201 x 152 mm (7.9 x 6 ins), sheet size 318 x 250 mm (12.5 x 9.8 ins) Wright 25, iv/iv. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*Lievens (Jan, 1607-1674). Bust of a man with thick lips, circa 1640, etching on laid paper, third state (of 3), with all-over cross-hatching, some marks and light waterstaining, small hole below the head of the figure, minor paper loss towards bottom of right margin, trimmed to plate margin on all four sides, 77 x 62 mm (3 x 2.5 ins), 19th century wood frame, glazed, together with another head of a bearded prophet, initialled in the plate J.S. no. 4 lower left, similar size and frame Hollstein 88, iii/iii. Bartsch 308 (as Rembrandt). Hind 353 (as Rembrandt). (2)

*AR Brockhurst (Gerald Leslie, 1890-1978). Phémie, 1923, etching on laid paper, one of 76 proofs published in 1924, signed in pencil, plate size 100 x 74 mm (3.9 x 2.9 ins), sheet size 270 x 200 mm (10.6 x 7.8 ins), together with Anais I, 1920, etching on laid paper, from the edition of 55 proofs published in July 1920, signed in pencil, plate size 138 x 111 mm (4.4 x 5.4 ins), sheet size 235 x 188 mm (9.25 x 7.4 ins), plus Aglaia, 1926, one of 111 proofs published April 1926, signed in pencil, and additionally signed by the artist in ink to lower left, plate size 137 x 105 mm (5.4 x 4.1 ins), sheet size 290 x 215 mm (11.4 x 8.5 ins), each in card passepartout (with Craddock & Barnard pencil annotations) Wright 42 ii/ii, 6, ii/ii, & 54 ix/ix. (3)NB: This lot may be subject to ARR ("Droit De Suite")

*AR Brockhurst (Gerald Leslie, 1890-1978). Corinne, 1925, etching on cream laid paper, one of 106 proofs of the fifth state published December 1925, signed in pencil, plate size 139 x 102 mm (5.5 x 4 ins), sheet size 286 x 211 mm (11.25 x 8.3 ins), together with In The Wood, 1920, etching on wove paper, one of 111 proofs, signed in pencil, plate size 125 x 149 mm (4.9 x 5.8 ins), sheet size 223 x 274 mm (8.75 x 10.75 ins) Wright 50 v/v & 14. Fletcher 50 & 14. (2)NB: This lot may be subject to ARR ("Droit De Suite")

*AR Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, one of 111 proofs published August 1927, signed in pencil, a fine, rich impression, remains of mount hinges to head and foot of extreme left blank margin, plate size 223 x 159 mm (8.75 x 6.25 ins), sheet size 375 x 270 mm (14.75 x 10.6 ins) Wright 58, ix/ix. Fletcher 58. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*Buhot (Felix, 1847-1898). Les Petites Chaumieres, 1878, etching, drypoint, aquatint and roulette on laid paper, an excellent impression, signed with the artist's red owl stamp to centre of lower blank margin (Lugt 977), plate size 10 x 13.7 cm (4 x 5.4 ins), with margins, framed and glazed Bourcard-Goodfriend 149, iv/iv. A scene of old rural cottages in Quinéville, Normandy. Provenance: Acquired from Garton & Cooke in 1988. (1)

*Buhot (Felix, 1847-1898). La Ronde de Nuit, 1878, etching and drypoint on wove paper, signed and inscribed 'planche detruite' by the artist in pencil, with the artist's red owl stamp to centre of lower blank margin (Lugt 977), collector's marks of Alfred Barrion and Andre-Jean Hachette to recto and verso respectively, plate size 13.2 x 14.4 cm (5.25 x 9.6 ins), with margins, framed and glazed Bourcard-Goodfriend 70, ii/iii. Provenance: Alfred Barrion (Lugt 76). Andre-Jean Hachette (Lugt 132). Acquired from Garton & Cooke in 1988. (1)

*Cameron (David Young, 1865-1945). The Fisher's Hut, etching with drypoint on laid paper, signed in pencil, plate size 12.5 x 26 cm (4.9 x 10.25 ins), sheet size 15 x 27.5 cm (5.9 x 10.9 ins), framed and glazed, with old Colnaghi printed label to verso bearing the title in ink (1)

*Cameron (David Young, 1865-1945). The Workshop, 1905, etching and drypoint on thin laid paper, a strong contrasted impression with plate tone, short margins on all sides, signed in pencil, plate size 20.5 x 30.2 cm (8.1 x 11.9 ins), sheet size 22 x 31.5 cm (8.6 x 12.4 ins), mounted Rinder 369 ii/iv. No published edition. (1)

*Cameron (David Young, 1865-1945). Souvenir d'Amersterdam, 1915-30, etching and drypoint on laid paper, published in an edition of 60, a very good impression with plate tone, with margins, signed in pencil, plate size 37.5 x 26.2 cm (14.75 x 10.3 ins), sheet 41 x 29 cm (16.2 x 11.5 ins), mounted Rinder 460, iv/vi. (1)

*Cameron (David Young, 1865-1945). The Avenue, Gargunnock, 1905, etching with drypoint printed in very dark brown ink on simile Japan paper, the third state, a fine impression with plate tone, short margins on all sides (as desired by the artist), signed in pencil and marked 3rd State, plate size 14.5 x 15.7 cm (5.75 x 6.2 ins), sheet size 15.7 x 16.3 cm (6.2 x 6.4 ins), mounted Rinder 373 iii/iv. Exhibited at the Society of Twelve. (1)

*Cameron (David Young, 1865-1945). The Horse Guards, 1899, etching on white paper, printed with plate tone, the third state, signed in pencil, plate size 11.5 x 12.5 cm (4.5 x 4.9 ins), framed and glazed, together with Greendyke Street, 1891, etching, initialled and dated 1891 in the plate, signed in pencil, trimmed to margins, sheet size 10.7 x 15.2 cm (4.25 x 6 ins), framed and glazed Rinder 292 and 88. (2)

*Clausen (Sir George, 1852-1944). Little Meg, 1892, etching on pale blue-grey paper, margins trimmed, sheet size 12 x 8.4 cm (4.75 x 3.3 ins), mounted on thick backing paper, and inscribed to lower edge by the artist to fellow artist Mark Fisher 'For Mark & Mrs Fisher, with greetings', framed and glazed (1)

*Copley (John, 1875-1950). An Old Genovese, 1927, etching on pale grey paper, the second state (only impression in this state), signed in pencil, captioned to lower edge of the sheet, plate size 23.7 x 21.9 cm (9.4 x 8.65 ins), sheet size 40 x 29.6 cm (15.75 x 11.7 ins), window mounted Copley 27. (1)

*AR Anderson (Stanley, 1884-1966 ). Les Arcades, Dieppe, etching, signed, small worm track to lower righthand plate mark, and pin hole towards lefthand margin, plate size approx. 210 x 315 mm (8.25 x 12.5 ins), period frame, glazed (1) NB: This lot may be subject to ARR ("Droit De Suite")

*Anderson (Stanley, 1884-1966 ). La Lieutenance, Honfleur, 1926, drypoint etching on cream wove paper, from the published edition of 60 proofs, signed and titled in ink, plate size 19.7 x 37.7 cm (7.75 x 14.8 ins), sheet size 28 x 45 cm (11 x 17.75 ins), window-mounted, together with Bentley (Alfred, 1879-1923), Near the Braid Hills, Edinburgh, drypoint etching on cream laid paper, watermarked F J Head & Co, signed in pencil, plate size 18.5 x 23 cm (7.25 x 9 ins), sheet size 29 x 36.5 cm (11.5 x 14.3 ins), window-mounted (2)

*Dawson (Nelson Ethelred, 1859-1941). Campanile Tower, Venice, soft-ground etching on laid paper, signed in pencil, plate size 23.8 x 17.3 cm (9.4 x 6.8 ins), sheet size 36.5 x 26.5 cm (14.25 x 10.4 ins), together with 10 other etchings by the same artist, of which 8 are signed in pencil, including In A Gondola, A North Country Fishing Village, Three Fisherwomen from Etaples, Basilica di San Marco, Venice, etc., sheet size 33.5 x 49.5 cm (13.2 x 19.5 ins), and smaller (11)

*AR Evans (Merlyn Oliver, 1910-1973). Eurydice, 1956, etching with drypoint on heavy wove paper, a strong, rich impression, signed, titled and numbered 1/50, plate size 30 x 13.5 cm (11.75 x 5.3 ins), sheet size 36 x 25 cm (14.2 x 9.8 ins), mounted Provenance: Purchased by the current owner from the Redfern Gallery, London, in 1988. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*Forain (Jean-Louis, 1852-1931). Similitudes, 1880, etching and drypoint, a later impression on pale green wove paper, plate size 14.7 x 10 cm (5.8 x 4 ins), sheet size 25.4 x 18.2 cm (10 x 7.2 ins), together with seven other etchings by Forain including Maison Close, L'Ambulante, Les Folies Bergere, Le Bouquet, etc, all later impressions, unsigned, each window-mounted (8)

*Goff (Robert Charles, 1837-1922). Mosque Entrance, Boulag, near Cairo, etching on wove paper, signed in pencil, plate size 30 x 22.7 cm (11.75 x 9 ins), sheet size 41 x 31 cm (16.2 x 12.25 ins) (1)

*Grant (Duncan James Corrour, 1885-1978). Trees in Summer, etching on handmade paper, watermarked New York, signed in ink lower right, some light handling marks, plate size 15 x 20.2 cm (6 x 8 ins), sheet size 23 x 33.5 cm (9 x 13.2 ins), mounted (1)

*Griggs (Frederick Landseer, 1876-1938). The Quay, 1916, etching on antique laid paper, the third state (of 3), from the edition of 40 published proofs, signed 'F.L. Griggs imp' in pencil lower right, plate size 16.6 x 20.3 cm (6.5 x 8 ins), sheet size 23 x 35.5 cm (9 x 14 ins), framed and glazed Comstock 15, iii/iii. (1)

*Gross (Anthony, 1905-1984). The Mule Cart, 1924, etching with drypoint on laid paper, signed, dated and titled in pencil, 14.5 x 26 cm (5.75 x 10.25 ins), sheet size 28.5 x 38.5 cm (11.25 x 15.2 ins), mounted (1)

*Haden (Francis Seymour, 1818-1910 ). Horsley's Cottages, 1865, etching with drypoint, with plate tone, signed in pencil, plate size 17.5 x 25 cm (7 x 10 ins), with margins, a few light spots to upper portion, framed and glazed (1)

*Haden (Francis Seymour, 1818-1910 ). Early Morning, Richmond Park, 1859, etching and drypoint on thin laid paper, the third state (of 3), as issued in Etudes a l'Eau-Forte in 1865, in an edition of approximately 180, plate size 11.4 x 27.8 cm (4.5 x 11 ins), with margins, framed and glazed Schneiderman 25, iii/iii. Provenance: Cleveland Museum of Art. Acquired from Garton & Cooke in 1985 (catalogue 31). Haden dedicated this romantic view to his wife Dasha (her name etched at the base of the large tree trunk to the right). The plate is further inscribed 'The Lark at Heaven's Gate Sings' towards the lower left margin. (1)

*Haden (Francis Seymour, 1818-1910 ). Penton Hook, 1864, etching on old laid paper, a rare touched proof, signed in pencil lower right, a fine impression with full margins, with pencil additions to the main tree trunks, plate size 14.8 x 23.7 cm (5.8 x 9.3 ins), framed and glazed Schneiderman 65, iii/vi. Only 30 impressions were printed, according to the Buffalo catalogue of 1891. Provenance: Acquired from Garton & Cooke. (1)

*Haden (Francis Seymour, 1818-1910 ). Horsley's House at Willesley, 1865, etching and drypoint on thick laid paper, a trial proof, a very good, richly printed impression, signed and inscribed 'D.88' and 'trial proof' by the artist in pencil, light mount stain, plate size 17.6 x 24.8 cm (7 x 9.75 ins), with margins, framed and glazed Schneiderman 89 i/ii. John Callcott Horsley R.A. (1817-1903) married Haden's sister Rose, and lived at Willesley House near Cranbrook in Kent. The house was remodelled in 1864-65 by the architect R. Norman Shaw, and became an artist's colony. Haden produced five etchings at this location (Schneiderman 89-93). Provenance: Acquired from Garton & Cooke in 1985 (Catalogue 31). (1)

*Haden (Francis Seymour, 1818-1910 ). Battersea Reach, 1863, etching with drypoint on laid paper, a good, rich impression on laid paper, the 4th state (of 12) as issued in the Gazette des Beaux Arts in 1864, inscribed in the plate 'Old Chelsea out of Whistler's window', plate size 15 x 22.5 cm (5.9 x 8.8 ins), with margins, framed and glazed Schneiderman 48 iv/xii. Provenance: Acquired from Garton & Cooke in 1985 (Catalogue 31). (1)

*Haden (Sir Francis Seymour, 1818-1910). Five original copper etching plates for Nine Barrow Down, Challow Farm, Wareham Bridge, The Little Boathouse & Haunt of the Mosquito, 1864-1897, together five cancelled copper etching plates, each with manufacturer's stamp to verso of Hughes & Kimber (Limited), generally heavily worn and with cancel lines across each, 15.2 x 22.8 cm (6 x 9 ins), each contained in card envelope, one with old printed label of N.W. Lott & H.J. Gerrish Ltd. Harrington 167, 175, 176, 177 and 243. (5)

*AR Brockhurst (Gerald Leslie, 1890-1978). Fabian, 1921, etching on cream laid paper, from the edition of 76 proofs published February 1921, signed in pencil, plate size 175 x 125 mm (6.9 x 4.9 ins), sheet size 295 x 235 mm (11.6 x 9.25 ins) Wright 23, iii/iii. Fletcher 23, iii/iii. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*AR Brockhurst (Gerald Leslie, 1890-1978). Study for a decoration, 1923, etching on cream laid paper, from the edition of 76 proofs published 1924, signed in pencil, plate size 157 x 121 mm (6.2 x 4.75 ins), sheet size 288 x 210 mm (11.3 x 8.25 ins) Wright 46 iii/iii. Fletcher 46 iii/iii. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*AR Brockhurst (Gerald Leslie, 1890-1978). Noemi, 1926, etching on Whatman wove paper, one of 111 proofs published in October 1926, signed in pencil, plate size 183 x 108 mm (7.25 x 4.25 ins), sheet size 290 x 215 mm (11.4 x 8.5 ins) Wright 57 vi/vi. (1)NB: This lot may be subject to ARR ("Droit De Suite")

*Jongkind (Johan Barthold, 1819-1891). Jetée en bois dans le port de Honfleur, 1865, etching on laid paper, printed by Delatre, Paris, and published by Cadart & Luquet, Paris, for the Société des Aquafortistes in 1866, a good impression with plate tone, oval publisher's blindstamp to centre of lower blank margin, plate size 237 x 314 mm (9.3 x 12.4 ins), sheet size 29 x 34.5 cm (11.4 x 13.5 ins), mounted Delteil 12 ii/iii. Melot 12 ii/iii. (1)

*Lalanne (Maxime, 1827-1886). Demolitions pour le percement du Boulevard St. Germain, etching on heavy laid paper, printed by Delatre, and published by Cadart and Chevalier, for the Société des Aquafortistes, plate size 32 x 24 cm (12.5 x 9.5 ins), together with A Neuilly - Bras de Seine avec lavoir, 1864, etching on Whatman wove paper, a proof prior to the first issue, plate size 17.5 x 25 cm (6.8 x 9.8 ins), with margins, plus 8 other etchings by Maxime Lalanne, including Le Bas Meudon, Bords de la Seine, 1884, Le Passage de la Marmite, circa 1863 (first state), Rade de Bordeaux, 1868, Rouen, 1884, Port de la Plataine a Royan, Vue prise du Louvre, Paris, 1882, Tour de Montalban, Amsterdam, 1884, etc, various sizes, each window-mounted (10)

*Langmaid (Rowland, 1897-1956). Shipping on The Thames, by Waterloo Bridge, with Lambeth Shot Tower and Works, etching on handmade paper, watermarked England to lower right corner, signed in pencil, mount stained, plate size 9.2 x 34.5 cm (3.6 x 13.6 ins), sheet size 19 x 45 cm (7.5 x 17.75 ins), old frame, glazed, together with Harding (Frank, late 19th/early 20th century), Dover, etching, signed and titled in pencil, plate size 11 x 30 cm (4.3 x 11.75 ins), with margins, some light discolouration, framed and glazed (2)

*Panneels (Willem, circa 1600-circa 1640). An angel gives Elijah cake and water, etching on paper, published by Frans van den Wyngaerde, trimmed just inside plate margin, sheet size 15.2 x 11.6 cm (6 x 4.5 ins), framed and glazed, together with other Old Master prints, various, mostly 17th century, including Bolswert, Stormy Landscape after Rubens, published by Gillis Hendricx, Antwerp (framed and glazed), Mathias Arteaga, Cathedral Interior after Valdes Leal, circa 1672 (framed and glazed), Wenceslaus Hollar, Portrait of Richard Bernard, 1641, Hans Bol, allegorical landscape engravings published by Edwardus ab Hoeswinkel, Antwerp, Thomas Barker of Bath, landscape with bridge, etching, with added grey wash (framed and glazed), Valentin Lefevre, Holy Family, engraving after Titian, published by Jan van Campen, etc, various sizes, unframed (40)

*Larkins (William Martin, 1901-1964). Copenhagen Place, Limehouse, 1925, fine pen and black ink over pencil showing the backs of old houses with stacks of beer casks, inscribed with title lower left, some minor surface soiling, sheet size 10.5 x 21 cm (4.2 x 8.25 ins), framed and glazed PRovenance: Acquired from Garton & Cooke in 1985. Larkins produced an etching of the same title focused on the central portion of this drawing in 1925. (1)

*Luard (Lowes Dalbiac, 1872-1944). Heavy cart horse, etching, signed, numbered 12/80, and inscribed To Catherine 1932 in pencil to lower margin, plate size 12.7 x 17.7 (5 x 7 ins), with margins, framed and glazed (1)

*Lucas (David, 1802-1881). The Glebe Farm, Weymouth Bay, Dorsetshire, Old Sarum, View on the River Stour, Sir Richd. Steele's Cottage, Hampstead Road, & Opening of Waterloo Bridge (from English Landscape Scenery by John Constable), six mezzotint engravings by David Lucas after John Constable, on thick wove paper, plate size 17.5 x 25 cm and similar, sheet size 29 x 41 cm and similar, together with other various 19th and early 20th century engravings and etchings, including Kirkstall Abbey on the River Aire by John Bromley after J.M.W. Turner, 1826, 3 engravings after John Martin published by James Virtue, a signed wood engraving by Leslie Benenson of Balcombe House, 1970, a signed etching with drypoint by Alfred Ehlers of women in a box at the theatre, 1910, an etching by Alphonse Legros entitled The Wayfarer, William Strang, Lucien Boucher, an etching by Nikolaas Eekman entitled Vliegers, signed and marked Epreuve d'artiste, Brunet-Debaines, a lithograph by Eugene Carriere entitled L'enfant au chien, signed and titled, etc., various sizes (65)

*McBey (James, 1883-1959). April in Kent, 1912, drypoint etching on laid paper, from the edition of 5 letttered and 40 numbered proofs, signed and numbered XXXIX in ink, a very good, clean impression, plate size 15.4 x 28.5 cm (6 x 11.25 ins), with margins, framed and glazed, together with Zaandijk, 1910, etching on paper, from the edition of 41 proofs, signed and numbered XXVII in ink, some light discolouration, plate size 10.4 x 17.7 cm (4.1 x 7 ins), with margins, framed and glazed Hardie 114 & 73. (2)

*McBey (James, 1883-1959). Ebbesfleet, 1912, drypoint etching on antique laid paper, from the only edition of 40 proofs, signed and numbered VII in ink, a fine impression, plate size 18 x 30.2 cm (7.1 x 11.8 ins), with margins, framed and glazed Hardie 115 (only state). Provenance: Acquired from Garton & Cooke in 1988. (1)

*McBey (James, 1883-1959). The Deserted Palace, 1928, etching printed with warm brown ink on pale blue antique laid paper (with bunch of grapes watermark) , with plate tone, from the published edition of 80 proofs, signed and numbered XXXV in ink, a fine impression, plate size 21 x 25.3 cm (8.25 x 10 ins), with margins, framed and glazed Hardie 236. Provenance: Acquired from Garton & Cooke. (1)

*Menpes (Mortimer, 1855-1938). Cathedral Doorway, drypoint etching on thick wove paper, a rich warm impression, printed with plate tone, signed in pencil, plate size 25 x 20 cm (9.8 x 7.9 ins), sheet size 38.7 x 28.6 ins (15.25 x 11.25 ins), together with Strang (William, 1859-1921), Rudyard Kipling, etching on Arches laid paper, an unsigned proof, printed by David Strang (signed by David Strang in pencil lower left), printed with plate tone, closed tear to left margin (repaired) touching image, signed and inscribed in ink to lower right corner of the image by Rudyard Kipling 'very sincerely always, Rudyard Kipling', now somewhat faint, plate size 35 x 25 cm (13.75 x 9.8 ins), sheet size 45 x 32 cm (17.75 x 12.6 ins), plus other various etchings, wood engravings, and lithographs, including Ian Strang, Legros, Frank Benson, Leonard Squirrell, Orovida Pissarro, W. Giles, etc., some signed, various sizes (40)

*Menpes (Mortimer, 1855-1938). Westminster Abbey, drypoint etching on wove paper, a signed proof, plate size 22.5 x 31.3 cm (8.8 x 12.4 ins), framed and glazed, together with Wyllie (William Lionel Leonard, 1851-1931).Sugar Boats off Greenwich, drypoint etching on cream wove paper, signed in pencil, plate size 12.5 x 32.7 cm (5 x 12.8 ins), framed and glazed, plus six other etchings, various, including Marjorie Sherlock, Fred Farrell, Johnstone Baird, R. Muller etc, all framed and glazed (8)

*AR Bone (Sir David Muirhead, 1876-1953). The Shot Tower, 1904, drypoint etching on off-white laid paper, signed and titled in pencil, plate size 17.5 x 22.5 cm (6.9 x 8.8 ins), with margins, framed and glazed (1)NB: This lot may be subject to ARR ("Droit De Suite")

*Meryon (Charles, 1821-1868). Chateau de Chenonceau, 1864, etching on wove paper, plate size 12 x 18.5 cm (4.75 x 7.25 ins), with margins, framed and glazed, together with Flameng (Leopold, 1831-1911), Charles Meryon sur son lit, 1858, soft-ground etching, plate size 22 x 27.5 cm (8.7 x 10.8 ins), with margins, framed and glazed, plus Bracquemond (Felix, 1833-1914), Charles Meryon, 1853, heliogravure on paper, plate size 19.5 x 14.5 cm (7.7 x 5.7 ins), with margins, framed and glazed Provenance: Acquired from Garton & Cooke. Schneidermann 62. (3)

*Haden (Francis Seymour, 1818-1910 ). The Little Boathouse, 1877, drypoint etching on antique white laid paper, the third state (of 4), signed in pencil, light mount stain, plate size 14.9 x 22.3 cm (5.9 x 8.75 ins), with margins, together with Ludlow Castle, 1869, etching with plate tone on laid paper (with F J Head & Co watermark), the only state, plate size 13.9 x 21.3 cm (5.5 x 8.4 ins), with full margins, both framed and glazed Schneiderman 157, iii/iv & 130. Provenance: Acquired from Garton & Cooke. (2)

*Haden (Francis Seymour, 1818-1910 ). Shepperton, 1864, etching on thin laid paper, a proof aside from the edition published in Etudes a l'Eau-Forte, signed and numbered 71 in pencil, plate size 13.8 x 12 cm (5.4 x 4.75 ins), with margins, together with Kew Ait, 1864, etching on laid paper, printed with plate tone, watermarked O.W.P., third state (of 4), signed in pencil, plate size 15 x 13 cm (5.9 x 5.1 ins), with full margins, both framed and glazed Schneiderman 74b, ii/iii & 76b, iii/iv. Provenance: Acquired from Garton & Cooke in 1985 and 1986 respectively (catalogues 31 and 35). (2)

*Haden (Francis Seymour, 1818-1910 ). Firs (a study), 1868, etching on thick laid paper, printed with plate tone, the first state (of 2), signed in pencil lower left Seymour Haden Imp., plate size 25.3 x 17.5 cm (10 x 6.9 ins), a very good, clean impression, with margins, framed and glazed Schneiderman 116, i/ii. Provenance: Acquired from Garton & Cooke in 1985 (catalogue 31). (1)

*Haden (Francis Seymour, 1818-1910 ). Kilgaren Castle, 1864, etching on laid paper, as issued in Haden's Études à l'eau-forte, plate size 11.4 x 15 cm (4.5 x 5.9 ins), sheet size 15.2 x 20.5 cm (6 x 8 ins), framed and glazed Schneiderman 60 i/i. Provenance: Acquired from Garton & Cooke in 1985. (1)