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Click here to subscribeLuigi Rossini 1790-1857- "Veduta degl`Avanzi del Secondo Piano delle Terme Diocelziane"; published Roma 1823, etching, good impression, laid on to card, 59x52cm: Raphael Morghen 1758-1833- "Theologia"; line engraving, after Bernardino Nocchi 1741-1812 after Raphael 1483-1520, laid on card, 44x40cm (2) (unframed)
After John Frederick I Herring 1795-1865- Jockey and Trainer/The Morning Ride; watercolour on paper, bears inscription `Dooner RA`, 17.5x25cm: Ernest Herbert Whydale, 1886-1952- Cart Horses unloading; etching, signed in pencil, 16.5x18.5cm: Issac Cruickshank c.1756-1811/16- `Scotch Washing`; stipple engraving, signed within the plate, 20x16.5cm: together with two other late 19th and 20th century lithographs of friars, 27.5x20cm., ea., (5)
Alan James Middleton b.1951- "Wray Common, Reigate"; watercolour on paper, signed and dated `73, 23x32.9cm: Paul Bisson, early/mid 20th century- "Pett Level"; etching and aquatint on paper, edition 2/350, bears signature, 28.8x13.2cm: Robert Palmer mid/late 20th century- "Kings College Hospital"; etching on paper, edition 76/150, bears signature and dated `73, 25.9x33cm: Greenwood, late 20th century- Waterlily Pond; aquatint printed in colours, edition 25/350, bears signature, 37.3x43.5cm: After Marjorie Blamey 1919-2005- Goldcrests and winter foliage study; reproduction printed in colours, bears signature within the plate, 33x24cm: together with 3 further prints by the same hand in matching frames, (8) (may be subject to Droit de Suite)
William Lionel Wyllie RA RE 1851-1931- "Eel Boats on The River Thames in front of Tower Bridge"; etching, signed in pencil, 20x25cm: together with one other etching by the same hand titled "Shipping Moored off Sheerness", signed in pencil, 9x33.5cm: Rowland Langmaid 1897-1956 exh 1924-1930- "Old Portsmouth"; etching, signed in pencil, 8.5x33cm: William Strang RA RE RP 1859-1921- "Portrait of J B Clark"; etching, signed and dated 1910 within the plate, signed and inscribed `David Strang imp Final State (of 6) in pencil, 25x17.5cm: together with one other etching by the same hand of a Portrait of Dr Balfour, signed within the plate, 22x16cm., (5) (mounted) (unframed)
Patrick Procktor RWS RE RA 1936-2003- Sadie and Prudence", 1982; aquatint printed in colours, signed and inscribed `Artist`s Proof` in pencil, 24.8x45cm. Provenance: with The Redfern Gallery, London according to label attached to the reverse of the frame: Patrick Procktor RWS RE RA 1936-2003- Garden gateway; aquatint printed in colours, signed and inscribed `AP` in pencil, 34.5x27cm: Late 20th Century- Tomato and pliers; mixed technique print with off-set lithography, printed in colours, etching and roulette, signed, numbered 23/75 and dated 1977 in pencil, 60x75.5cm: Michel Oelman b.1941- "Unexpected Visitor", "Sacred Tree" and "Fishermen`s Bridge"; etchings, three from two suites, "Early One Morning II" and "Jacob`s Ladder", each signed, titled and numbered 15/75, 84/95 and 83/95 in pencil , respectively, 31x29cm., ea., (6) (may be subject to Droit de Suite)
After Rembrandt van Rjin, 18/19th century- Portrait of the artist`s father; mezzotint, 18x15.5cm: J Pass act.1805- "Filaria and Fistularia"; engraving: Edward J Cherry, 19/20th century- Street scene; dry-point etching, signed: Steiger, early 20th century- "Isoa Bella"; lithograph, signed and titled in pencil: Taylor, 18/19th century- "An Algerine Funeral"; engraving: together with a folio of other 18/29 and 20th century prints, engravings, etchings and reproductions by and after various hands, to include the Arch of Constantine; London`s Bombed Churches; Dr Martin luther; Dieux Gaulois; Assembly Rooms Bath; Eaton Hall; Veronica Officinalis and others, (A/F) (a lot) (unframed)
John Bulloch Souter, British 1890-1972- "Reduced Study for Etching Nude Reclining..."; pencil, squared for transfer, with further inscription and dedication for William Mitchell, 16x18cm: together with an etching indistinctly titled "A *** Balcony", and signed in pencil, signed and dated within the plate, a good impression with margins, 26x40cm, (2) Note: John Bulloch Souter, painter, draughtsman, printmaker and restorer. Born in Aberdeen, studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I. Shortly after becoming a portrait painter, painting sitters such as Gladys Cooper, Ivor Novello and Fay Compton. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator also restoring paintings at Windsor Castle. (unframed)
Elisabeth Frink (1930-1993), Anthony and Cleopatra, etching with aquatint printed in colours, 1982, signed in pencil, numbered XXI/XXV, inscribed A/P, an artist’s proof aside from the edition of 175, published by Waddington Graphics, London with their blindstamp, on Arches paper, with full margins, 759 x 565mm (297/8 x 221/4in)
Terry Frost (1915-2003), Five in the Afternoon II (k.121), etching printed in colours, 1990, signed and dated in pencil, numbered 29/30, published by Austin Desmond Contemporary Books, London, printed by Hugh Stoneman at the Print Centre, London, on Somerset wove paper, with full margins, 550 x 370mm (21.75 x 141/2in)
Stanley William Hayter (1901-1988), Untitled (b.&m.326,282,216,217), engraving with etching and linocut, three linocuts printed in colours, 1955-1968, each signed and dated, with various inscriptions, on various wove papers, with full margins, various sizes, with offset lithograph printed in colours, 1955, for Hayter- Peintures Recentes exhibition at the Galerie Denise Rene
Marc Chagall (1887-1985), L’Oiseau blesse d’une fleche, from Les Fables de la Fontaine, etching with handcolouring, 1952, from the edition of 85, published by Teriade Editeur, printed by Maurice Potin, Paris & Raymond Haasen, Paris, on wove paper, with full margins, 318 x 298mm (11.5 x 91/2in)
DDS David Hockney (b.1937), after, An etching and a lithograph for Alecto Ed., collotyope reproduction, 1973, signed and dated, inscribed rep. proof, published by Editions Alecto, London, printed by Cotswold Collotype in an edition of 2000, with the Addenbrooke’s Art for Hospitals blindstamp, on cartridge paper, with full margins, 760 x 492mm (2915/16 x 193/8in)
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![Salvador Dalí (1904-1989), The Beloved [...] from Song of Songs, 1971 (m. & l. 475), etching with stencil and gilding pri](http://lot-images.atgmedia.com/SR/1574/2800104/357-201092175610_468x382.jpg)
