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After Rembrandt van Rijn (1606-1669)/Old Bearded Man/wearing a high fur cap/etching, 20.5cm x 16cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

TREVOR PRICE (b. 1966) “Male Intention 1”, coloured etching, signed, inscribed & numbered 14/100 in pencil, 21cm x 21.5cm (image), framed & glazed (48cm x 46cm overall).

SIDNEY TUSHINGHAM (1884-1968) Fish Market, Venice, black & white etching, signed in pencil lower right, 40cm x 18cm, framed & glazed (64.5cm x 37.5cm overall).

Four assorted framed and glazed prints including Syria, Egypt, a $1000 bond dated 2nd March 1863, a Cruikshank hand coloured etching 'Eccentric Excursions', and a small engraving (7).

PLATES TO VIRGIL; an edition of the Vatican Virgil engraved by Bartoli, but his name is not inserted (according to an inscription on the first page). This interesting volume contains approximately fifty-five black and white engravings, each annotated; also a copy of 'Modern Masters of Etching - Frank Brangwyn', published 1924 (2).

A group of assorted decorative pictures and prints, including an abstract landscape after John Piper, on blue background; a Chinese scroll painting of a mountain landscape; an etching of a harbour view and others similar (12)

§ § Terry Frost (British, 1915-2003) 'Orchard Black 1997'colour etchingsigned in pencil, dated '97, 28/3058 x 59cm

Modern British, limited edition etching and aquatint, Study of a pelican, signed, 49/120, 44 x 30cm

WILLIAM LIONEL WYLLIE (1851-1931) EEL BOATS OFF THE TOWER OF LONDON Signed Etching 22cm x 27cm

WILLIAM LIONEL WYLLIE (1851-1931) FANTOME AND SUNBEAM Signed Etching 15cm x 35cm

Ca. 1-200 AD.A carnelian intaglio set in a later gold ring, showcasing a skillfully rendered portrait of the god Mercury. As a prominent figure in Roman mythology and religion, Mercury holds a multifaceted significance within the pantheon. Mercury is commonly associated with communication, commerce, travel, and eloquence, making him a central deity in Roman religious and social contexts. In this particular portrayal, Mercury is depicted facing left, capturing the artist's attention to detail in presenting a distinct and lifelike representation. The gaze of the god is depicted with a nuanced complexity, with the artist employing masterful techniques to convey Mercury's divine presence. The gaze may exude a sense of alertness, intelligence, and an aura of confidence, encapsulating the god's associations with cunning and intellect. The intaglio further accentuates the fine features of Mercury's face, carefully carved with precision and delicacy. Notably, the artist has paid special attention to the depiction of the god's hair, etching intricate details that lend a sense of texture and realism to the composition. Depictions of gods in Roman glyptic art served as a means of visual communication, expressing religious beliefs and asserting cultural identities. These representations not only conveyed the physical characteristics of the deities but also encapsulated their associated attributes, powers, and narratives. Size: D: 17.93mm / US: 7 3/4 / UK: P; 9.89g Provenance: Private UK collection; Ex. old Swiss family collection formed in the 1990s.

JOHN OLSEN, 'Foggy morning, Sydney Opera House', etching and lithograph, 44cm x 59cm, framed.

Elyse Ashe Lord (BRITISH 1900-1971) 'Indian Dilruba', etching colour 22/75, signed in pencil, framed under glass with a James Connell & Co label verso, 22 x 28cm

A SMALL PEN AND INK DRAWING, AN ETCHING ANOTHER PRINT AND A GILT FRAME. 

‡ GEORGE CHAPMAN limited edition (17/50) etching - entitled 'Graveyard and Monkey Puzzle Tree', signed, 79 x 58cmsProvenance: private collection CardiffComments: framed and glazed, discolouration to paper

COCTEAU, JEAN (1889-1963), "Orpheus", Radierung/Papier, in der Platte signiert, darunter mit Bleistift bezeichnet 'E. A', HxB: Platte ca. 16x12 cm, Passepartoutausschnitt ca. 27,5x19 cm, Außenmaße Rahmen ca. 50x37 cm. Altersspuren. Im Passepartout hinter Glas gerahmt (part. beschädigt).| COCTEAU, JEAN (1889-1963), "Orpheus", etching/paper, signed in the plate, inscribed 'E. A', HxW: plate approx. 16x12 cm, passe-partout cut-out approx. 27.5x19 cm, outer dimensions of frame approx. 50x37 cm. signs of age. Framed behind glass in a passe-partout (partially damaged).

NÄGELE, REINHOLD (1884-1972), "Hochzeitsanzeige", Radierung/Papier, in der Platte monogrammiert 'R. N.', darunter mit Bleistift von Hand signiert, HxB: ca. 8x6,5 cm, Blatt ca. 16,5x14 cm, Außenmaße Rahmen ca. 18x15,5 cm. Gebräunt und Lichtrand. Mit verglastem Rahmen.| NÄGELE, REINHOLD (1884-1972), "wedding announcement", etching/paper, monogrammed 'R. N.', signed by hand in pencil underneath, HxW: approx. 8x6.5 cm, sheet approx. 16.5x14 cm, outer dimensions of frame approx. 18x15.5 cm. Browned and light edge. With glazed frame.

Reginald Green (British 1884-1971): Low Petergate - York, drypoint etching signed in pencil 28cm x 18cm

BOCHNER, MEL (geb. 1940), "Two / 2 Plates", 1993, Farbradierung/ Büttenpapier, unten betitelt, nummeriert '17/20', signiert und datiert, HxB: Platte ca. 22,5x60,5 cm (ca. 47,5x80 cm im Rahmen). Altersspuren. Im Rahmen hinter Glas gerahmt. PROVENIENZ: Privatsammlung Professor Dr. Karin von Maur, Stuttgart, ehemals stellvertretende Direktorin der Staatsgalerie Stuttgart.| BOCHNER, MEL (geb. 1940), "Two / 2 Plates", 1993, color etching/laid paper, titled, numbered '17/20', signed and dated below, hxw: plate approx. 22.5x60.5 cm (approx. 47.5x80 cm in the frame). signs of age. Framed behind glass. PROVENANCE: Private collection Professor Dr. Karin von Maur, Stuttgart, former associate director of the Staatsgalerie Stuttgart.

DALÌ,SALVADOR (1904-1989) "Portrait aux signatures" 1971 Mappenwerk: "Calderón, La vie est un songe", Farbradierung, sig., Ex: 130/250, HxB: 32,5/24,5 cm. Papier gleichmäßig gebräunt, Knitterspuren. HxB: 74/58 cm. | DALÌ,SALVADOR (1904-1989) "Portrait aux signatures" 1971Portfolio work: "Calderón, La vie est un songe", colour etching, sig., Ex: 130/250, HxW: 32,5/24,5 cm. Paper evenly browned, creases. HxW: 74/58 cm.

HUNDERTWASSER, FRIEDENSREICH (1928-2000) "Bärnbacher Andacht" 1987 Radierung und Farbaquatinta auf Velin, signiert, datiert und nummeriert, Ex. 83/380, im unteren Randbereich befindet sich der Eindruck mit Titel und Aufteilung derAuflage, HxB: 18/29,5 cm. Rahmen, HxB: 61/70 cm. | HUNDERTWASSER, FRIEDENSREICH (1928-2000) "Bärnbacher Andacht" 1987Etching and colour aquatint on wove paper (papier vélin), signed, dated and numbered, Ex. 83/380, in the lower margin is the imprint with title and division of theEdition, HxW: 18/29,5 cm. Frame, HxW: 61/70 cm.

Four framed pictures to include German military etching and bird scene tapestry

A Original etching 'Old Bridge, Dumfries' by Hugh.H. Bannes.Coloured engraving 'Post Glasgow' along with pen drawing of 'Charing Cross by Alan McLean dated 1995.[34x40cm]

Bryan Poole (1953-2002)"Tecomanthe speciosa climber"Signed, inscribed and numbered 31/50, etching, togther with two further etchings by the same hand "Metrosideros Excelsa" and "Iris" 38cm by 50cm, 37cm by 50cm and 49.5cm by 37.5cm respectively (3)

George Chapman (1908-1993)"House on Rocks" (1951)Signed, etching and aquatint, 21.5cm by 24cm

Frederick Arthur Farrell (1882-1935)St Pauls from the riverSigned in pencil, etching; together with a small group of etchings after artists including, Whistler, Maybery, etc (6)

Bryan Poole (1953-2002)"Iris Jermonica bearded Iris"Signed incribed and numbered 25/100, etching together with two further etchings by the same hand "Metrosideros Umbellate" and "Heliconia Caribaea" (3)

After Sebastian Bourdon (1616-1671) French ''Abram and Lot setting out for Canaan''Etching, together with a further work after Bourdon ''Jeremiah being set free by Nebuzar-adan'', 42cm by 56.5cm

After Norman Wilkinson ''A Coal Tramp''Signed in pencil, etching, together with After Edward Sharland (1884-1967) ''The George Inn'', signed in pencil, etching, ''The New Moon'', aquatint, After Sir Frank Short (3)

Claude Rowbotham (1864-1949)''From London Bridge''Etching, together with three further works by the same hand, ''The Pool of London'', ''A Cornish Moore'', Seaside cottages, an etching of Westminster by David Law,and an indisticly inscribed etching of Ghent (6)

Félix Bracquemond (1833–1914) French "Les Taupes"Etching, together with a further etching by Joan Williams "Wayside Shrines", 28cm by 20.5cm and 51.5cm by 57cm respectively (2)

Bryan Poole (1953-2002)"Pseudopanax Crassifolius"Signed, inscribed and numbered 13/150, etching, together with two further etchings by the same hand "Clianthus Punineacs" and "Friends of the Royal Botanical Garden Kew, 10th Anniversary" (3)

Attributed to Lucy Kemp-Welch (1869-1958) Study of a horse Pencil sketch, together with a limited edition etching of a horse, initialled M.B and numbered 42/150, 7.5cm by 8.5cm and 22.5cm by 15cm respectively (2)Provenance: (Sketch) Arthur Lawson Johnston

FRANK SHORT, LATE 19TH CENTURY FRAMED MONOCHROME ETCHING DEPICTING A COUNTRYSIDE FARMING SCENE, SIGNED BOTTOM RIGHT. APPROX. 19.5 X 28CM REASONABLE USED CONDITION

19th century framed monochrome etching, signed in pencil and titled 'Crail Harbour'. Approx. 12cms x 16.5cms reasonable used condition

Sepia trial proof etching, female nude, indistinctly signed in pencil, plate 32cm x 23cm, framedGood condition

Graham Clarke (born 1941), British butterflies, coloured etching, artist's proof, signed in pencil, in cabinet style frame, overall frame dimensions 44cm x 60cmGood condition

John Brunsden, parish church, coloured etching, signed in pencil, no. 22/50, plate 45cm x 60cm, framedPerfect condition

Julian Trevelyan (1910 - 1988), Silo, coloured etching, signed in pencil, no. 17/25, plate 24cm x 35cm, unframedVery good bright original condition, no foxing, creases or paper damage

Peter Paul Rubens, woman and child with candles, original etching circa 1620 - 30, image 22cm x 19cm, mountedSome foxing in the lower margin, general even paper discolouration, mount discoloured

§ Richard Bawden (British, b. 1936), 'The Snowstorm', etching, ed. 32/85, signed in pencil to margin, 40 x 57cm, framed and glazed.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

* Griggs (Frederick Landseer Maur, 1876–1938). Stoke Poges, 1918, etching, a very good impression of the cancelled plate (after the sixth and final state), on laid paper watermarked 1818, platemark 9 x 11.5 cm (3 1/2 x 4 1/2 cm), sheet 16.4 x 19.6 cm (6 3/8 x 7 3/4 ins), together with William Rothenstein (1872-1945), Portrait of Auguste Rodin, 1897, signed in pencil, dedicated in pencil and dated ‘To Mrs Caldinor (?) from her friend W. Rothenstein Oct 03’, Eric Gill, Book-Plate, 1926, engraving on wove paper, with large margins; Louis Auguste Lepère (1849-1918), A Canal Scene with a Windmill, wood engraving on thin Japan with wirelines, signed in pencil, numbered 3/35; together with William Mason*, two wood engravings on tissue-thin Japan, signed in pencil and dated ‘32’; plus M. Rothenstein, two wood engraving vignettes; and a defective copy of Campbell Dodgson, Contemporary English Woodcuts, with 13 original woodcuts, lacking plates 7-10, 12, 14, 16-19, 23-27, sheet size 38.5 x 28.8 cm (15 1/8 x 11 3/8 ins) and smaller (nine prints and a book containing 13 woodcuts)QTY: (9)

* Piranesi (Giovanni Battista, 1720-1778). Altra Veduta degli avanzi del Pronao del Tempio della Concordia, 1774, etching with engraving on heavy laid paper, a very good rich impression, trimmed close to plate mark on all sides, long closed tear (without loss) to extreme right-hand edge of the image, sheet size 47.5 x 70.5 cm (18 3/4 x 27 3/4 ins), the whole sheet inlaid to mounting paper, framed and glazedQTY: (1)NOTE:Hind 110, i/iii; Wilton Ely 243; Focillon 830.

* Piranesi (Giovanni Battista, 1720-1778). Piramide di C. Cestio, from Vedute di Roma, 1756, etching on laid paper, the first state (of 3), before the number 44 added to upper right, a few marks to edges, laid down on modern card, back and gilt frame, glazed, plate size 395 x 540 mm (15 1/2 x 21 1/4 ins), trimmed close to plate mark, sheet size 398 x 553 mm (15 5/8 x 21 3/4 ins)QTY: (1)NOTE:Hind 36, i/iii.

* Piranesi (Giovanni Battista, 1720-1778). Grande Vaso di Marmo di Villa Adriana (Large Marble Vase from Hadrian's Villa) from Vasi, candelabri, cippi, sarcofagi, tripoldi, lucerne,ed ornamenti antichi (Vases, candelabra, funerary monuments, sarcophagi, tripods, lamps and antique ornments), 1778, etching, a fine, early impression on firm laid paper, with wide margins, stitchmarks at top and a soft central crease (inherent to production), minor discoloration and surface dirt at the other extreme three sheet edges, plate size 57 x 37 cm (22 1/2 x 14 1/2 ins), sheet size 79 x 55.5 cm (31 1/8 x 21 5/8 ins) QTY: (1)NOTE:Wilton-Ely 901.From a series of etchings made by Piranesi documenting antiquities excavated in Italy in the 18th century, many of which passed through Piranesi’s own restoration workshop.

* Piranesi (Giovanni Battista, 1720-78). Veduta del Castello dell'Acqua Paola sul Monte Aureo, from Vedute di Roma, 1751, etching on thick laid paper, the second state (of five), a strong impression, laid down to sheet edges on modern card, central fold, narrow margins, plate size 400 x 615 mm (16 x 24 1/4 ins), sheet size 415 x 630 mm (16 1/2 x 25 ins), mountedQTY: (1)NOTE:Hind 21 (ii/v). Wilton-Ely 174. Focillon 736. Ficacci 912.

* Hollar (Wenceslaus, 1607-1677). Portrait of Albrecht Dürer’s Father, after Albrecht Dürer, 1644, & Sir Thomas Wentworth, First Earl of Strafford, after Anthony van Dyck, 1640, etchings, very good impressions, Dürer’s Father the second (final) state, the details printing with crispness and clarity, on laid paper, with narrow to thread margins, platemark 22.3 x 16.3 cm, sheet size 23 x 17 cm, in very good condition, a couple of horizontal creases visible verso, Thomas Wentworth on fine laid paper with a Double Headed Eagle watermark (similar to Heawood 1300, dated 1644), trimmed on or within the platemark, retaining a blank border around the image and text, sheet size 32.1 x 21.6 cm (12 5/8 x 8 1/2 ins), mounted, framed and glazed, 52.5 x 37.5 cm and 56 x 43 cmQTY: (2)NOTE:Portrait of Dürer’s Father: Pennington 1389 ii/ii; New Hollstein (Hollar part III) 692 II/II; Portrait of Thomas Wentworth: Pennington 1508a, New Hollstein 289; the latter formerly with Craddock and Barnard according to label on verso.The Royalist Sir Thomas Wentworth (1593-1641), 'Knight Earle of Strafforde', was executed by Parliament in 1641. Hollar recorded the event in the etching of that year, ‘The true maner [manner] of the execution of Thomas Earle of Strafford’, an impression of which is held by the Metropolitan Museum of Art (Accession Number: 17.3.3280).

* Strang (Ian, 1886-1952). Faubourg de la Madeleine, Albi, etching with hand-colouring, from the edition of 100 proofs, signed, plate size 235 x 338 mm (9 1/4 x 13 1/4 ins), sheet size 280 x 462 mm (11 x 18 1/4 ins), and other etchings by Ian Strang including London Street Scene (100 proofs), Place du Marché, Cahors, 1939, only and last trial proof (inscription by F. G. Strang), signed, Pont Valentre, Cahors, coloured, signed, one of 2 trial proofs, Maison de Consuls, Perigueux, edition of 100 proofs, signed, Place du Bayaa, Salies, edition of 100 proofs, signed, one original pencil drawing of the Tour de la Barbacane, Cordes, signed and dated 1932, plus three unsigned etchings by William StrangQTY: (13)

* Desplaces (Louis, 1682-1739). Achille et Deidamie, from Les Surprises de l'Amour, after Pierre Jacques Cazes, 1721, a very good, black impression on firm laid paper with an indistinct Letters watermark, trimmed to the borderline on three sides and to the text at bottom, sheet size 36 x 43 cm (14 1/4 x 17 ins), together with a collection of mainly French 18th century engravings and etchings, one mezzotint and a few 19th century lithographs, by or after A. Aveline, P. E. Babel, J. P. Le Bas, P. A. Baudouin, R. Bénard, N. Bertin, F. Boucher, C. Briceau, J. D. E. Le Canu, L. Carmontelle, C. M.-A. Challe, A. Chaponnier, P. Q. Chedel, C. N. Cochin, N. Courteille, L. J. D. Delaistre, A. Delf, L. Desplaces, M. Dorigny, P. A. Ducerceau, K. Dujardin, L. C. Dumesnil, P. E. Falconet, E. Fessard, J. C. François, H. Gaugain, Y. M. Gouaz, J. B. Huet, J. M. Moreau le Jeune, E. Julienne, P. Lepautre, C. J. Natoire, J. B. Delafosse, N. de Larmessin, J. B. Oudry, H. Robert, G. Rousselet, J.P. J. de Saint-Quentin, J. B-B. Simonet, P. L. Surugue, P. F. Tardieu, D. Teniers, J. Thouvenin, J. B. Tilliard, E. C. Tournay, C. Vanloo, C. Vernet, P. Vernet, R. Vinkeles, S. Vouet, J. G. Wille, P. A. Wille, and others, most on laid paper, various sizesQTY: (100)NOTE:Quentin Chedel after F. Boucher, Le Dévot Hermite, engraving on laid paper; J.B. Tilliard after F. Boucher, Frontispiece from Le Neptune Orientale, etching, on laid paper with a Birds on Tower watermark; Jean Jean Charles François (1717–1769) after F. Boucher (1717-1769), Head of a Woman, 1769, crayon manner engraving on laid paper; Pierre Lepautre (1660-1744), Vuë et Perspective de la Chappelle du Château Royal de Versailles, engraving on laid paper with an Auvergne watermark; Etienne Fessard (1714-1777) after Charles Joseph Natoire (1700-1777), Chapel of the Found Children: Groupe des Bergers devant une Chaumière, and Second tableau des Soeurs, 1757, on laid paper with an Eagle and Auvergne watermark respectively; Jean Renard after Jacopo Amigoni (1675-1852), Europa, etching; J. Aveline*, Atlas Générale, Frontispiece, 1767, engraving, with a Maltese Cross watermark (Heawood under miscellaneous, dated 1742); and Jacques Philippe le Bas (1707-1773) after David Teniers the Younger (1610-1690), St. Anthony, 1735, engraving, a good impression on wove paper; Routte after J. Barney, Le Couvreur de Chaume*; Jean-Baptiste Huet (1745-1811), Oeuvres de J.B. Huet, plate 6, 1795/1796, etching on laid paper with Initials watermark; After Jean Baptiste Huet (1745-1811) by Claude Briceau (1743-1811), La Conversation des Fermières; crayon manner engraving in sanguine, a 19th century impression on laid paper; Jean Baptiste Delafosse (1721-1806), after Louis Carmontelle (1721-1806), La Malheureuse Famille Calas, 1765, engraving, on laid paper with an Auverge watermark; Carlo Lasinio (1759-1855) after Antoine Delf (active 1800), Le Départ pour Vienne de la Princesse Marie-Thérèse Charlotte fille du Roi Louis XVI, stipple engraving, a late impression; two engravings after Pierre Antoine Baudouin (1723-1769); Le Midi, circa 1778, by Emanuel Jean de Ghendt (1738-1815); and La Soirée des Thuileries, 1774, by Jean-Baptiste Blaise Simonet (1742-after 1813) after Pierre Antoine Baudouin (1723-1769), engraving (a late and discoloured impression); Nicolas de Larmessin IV (1684-circa 1753), after Nicolas Vleughels (1638-1737), Frère Luce, etching and engraving, on laid paper with a Small Tower watermark; La Fourbe Palpable by Johann Jakob Haid; Le Prêtre du Catéchisme, circa 1760, by Elizabeth-Claire Tournay (1731–1773) after Louis Claude Dumesnil (Active 1761–1769)

* Clausen (George, 1852-1944). The Shed, 1921, etching with mezzotint, a rich, atmospheric impression, on the artist’s laid paper watermarked ‘G.C. & Co.’, signed and titled in pencil and inscribed ‘sixth impression’, with margins, faint mount-staining, platemark 12.5 x 17.3 cm, sheet 22.8 x 29.2 cm, mounted, glazed and framed (40 x 47 cm) QTY: (1)NOTE:Literature: Gibson no. 30An impression of The Shed, signed, titled and inscribed in pencil ‘fifth impression’, is held at the British Museum (Museum no. 1928,0130.22)

* Piranesi (Giovanni Battista, 1720-1778). Veduta di fianco in prospettiva del Vaso del Sig. Cav. Giorgio Grenville (Side View in Perspective of the Vase of Sir George Grenville) from Vasi, candelabri, cippi, sarcofagi, tripoldi, lucerne,ed ornamenti antichi (Vases, candelabra, funerary monuments, sarcophagi, tripods, lamps and antique ornments), 1778, etching, a fine, black early impression on firm laid paper, from the Roman edition, 1778, with wide margins, stitch-marks at top and a soft central horizonal crease (inherent to production), a couple of nicks and minor discoloration towards the other sheet edges, plate size 57 x 37.3 cm (22 1/2 x 14 3/4 ins), sheet size 79 x 58.5 cm (31 x 23 ins)QTY: (1)NOTE:Wilton-Ely 902. Ficacci 746.From a series of etchings by Piranesi documenting antiquities excavated in Italy in the 18th century many of which passed through Piranesi’s own restoration workshop.

* Lound (Thomas, 1802-1861). The River Wensum, King Street, etching on cream wove paper, and 36 other etchings by the artist, all 20th century re-impressions, overall sheet size 20.5 x 15 cm (8 x 6 ins)QTY: (37)

AR * Pacheco (Ana Maria, 1943). Every man wears a head on his shoulder III, 1981, etching and aquatint on handmade paper, from the published edition of 20 impressions, with Retigraphic Society blindstamp to lower right blank margin, signed, titled, dated, and numbered 13/20, plate size 69 x 54 cm (27 1/4 x 21 1/4 ins), sheet size 83 x 66 cm (32 3/4 x 26 ins), mounted to sheet edges on card, framed and glazedQTY: (1)NOTE:Ana Maria Pacheco was born in 1943 and lived in Brazil until 1973, where she experienced the harsh dictatorship imposed in 1964 after a military coup replaced João ‘Jango’ Goulart. In 1973 she was awarded a British Council Scholarship to study at the Slade School of Art in London, where she has since resided. The suite of four prints which make up the series Every Man Wears a Head on his Shoulders (1981) is based on Huxley's The Devils of Loudon read as a commentary on Brazilian politics. The corrupt, eyeless head bearing its shark teeth in this work is illuminated by diagonal shafts of light as if through a prison window.

* Baselitz (Georg, 1938-). Grüne Punkte (1982), drypoint and aquatint printed in green; together with Avigdor Arikha (1929-2010), Two Roses, 1994, soft ground etching printed in black, both printed by the Paul Prouté Gallery, Paris as New Year greetings cards, dated 1993 and 1995 respectively, on firm wove paper with deckle edges at bottom 28.5 x 22.5 cm (11 1/4 x 8 7/8 ins); together with fifteen other New Year's cards from the Prouté gallery, each with an original print by various contemporary artists, including Zao Wou-Ki, Erik Desmazières, Claude Garache, René Carcan (2), Piza (2), Olivier Debré, A. Antonini (2), Tuvia Beeri,(2), Alain Buyse, etc.QTY: (17)

* Piranesi (Giovanni Battista, 1720-78). Veduta del Tempio della Sibilla in Tivoli, from Vedute di Roma, 1761, etching on thick laid paper, the second state (of five), a good impression, laid down on modern card, narrow margins, repaired marginal closed tear to bottom of print, a small open tear to left margin, some abrasions and fraying to margins, restoration to top left of image, plate size 430 x 645 mm (17 x 25 1/2 ins), sheet size 450 x 670 mm (18 x 26 1/2 ins), mounted, together with Obelisco Egizio, from Vedute di Roma, 1759, etching on thick laid paper, the second state (of five), a clear impression, partially laid down on modern card, narrow margins, open tear to bottom right of image, frayed lower margin, some abrasions and fraying to other margins, restoration to lower extreme of image and around title, plate size 550 x 410 mm (21 1/2 x 16 ins), sheet size 570 x 430 mm (22 1/2 x 17 ins), mounted QTY: (2)NOTE:Tempio della Sibilla: Hind 61 (ii/v); Wilton-Ely 194; Focillon 764; Ficacci 932. Obelisco Egizio: Hind 53 (ii/v); Wilton-Ely 164; Focillon 800; Ficacci 902.

* Manet (Édouard, 1832-1883). Eva Gonzalès, 1870, etching on cream laid paper, laid onto card, depicting side profile of a woman's face turned to the left, some toning and discolouration to plate area, dried adhesive to edges of sheet margins, plate size 23.5 x 16 cm (9 1/4 x 6 1/4 ins), sheet size 36.4 x 27 cm (14 1/4 x 10 5/8 ins), framed and glazed (49 x 36.5 cm)QTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Vaso antico di marmo di gran mole rappresentante il Sagrifizio d'Ifigenia ... questo vaso si vede nella Galleria delle Statue di Villa Medici (Antique vase of great importance representing the Sacrifice of Iphigenia ... this vase is seen in the Statue Gallery of the Villa Medici), from Vasi, candelabri, cippi, sarcofagi, tripoldi, lucerne,ed ornamenti antichi (Vases, candelabra, funerary monuments, sarcophagi, tripods, lamps and antique ornments), 1778, etching, a fine, early impression on thick firm laid paper, from the Roman edition, before the Paris Edition with numbers, with wide margins, stitchmarks at top and a horizontal drying fold (inherent to production), a few short tears at the sheet edges, minor discoloration towards three sheet edges, plate size 52.5 x 38.5 cm (20 3/4 x 15 1/8 ins), sheet size 78.5 x 55 cm (30 7/8 x 21 5/8 ins)QTY: (1)NOTE:Wilton-Ely 939.From a series of etchings documenting antiquities excavated in Italy in the 18th century many of which passed through Piranesi’s own restoration workshop. Known as the Medici Vase, at the time of publication it was in the sculpture gallery at the Villa Medici, and is now in the Uffizi Gallery in Florence. It is believed to have been made about AD 50 to 100 and shows in carved relief the sacrifice of Iphigenia, flanked by the figures of Ulysses and Agamemnon.

* Piranesi (Giovanni Battista, 1720-1778). Vaso cinerario di gran mole, from Vasi, candelabri, cippi, sarcofagi, tripoldi, lucerne,ed ornamenti antichi (Vases, candelabra, funerary monuments, sarcophagi, tripods, lamps and antique ornments), 1778, etching, a fine, early impression on firm laid paper, watermark Double encircled fleur de Lys (Robison 36), with wide margins, stitchmarks at top and a central drying fold (inherent to production), a soft diagonal crease lower right, minor discoloration and surface dirt at the other extreme three sheet edges, plate size 52.5 x 38 cm (20 3/4 x 15 ins), sheet size 78.5 x 55.4 cm (31 x 21 7/8 ins) QTY: (1)NOTE:Wilton-Ely 923.From a series of etchings made by Piranesi documenting antiquities excavated in Italy in the 18th century, many of which passed through Piranesi’s own restoration workshop.

* Muller (Johann Sebastian, 1715-1785). Ruins of Rome, after Giovanni Paolo Panini, 1753 [or slightly later], etching on laid paper, by J. S. Muller after Panini, trimmed to or just inside the platemark, sheet size 465 x 617 mm (18 1/4 x 24 1/4 ins), together with Montaigu (Domenico, active circa 1750-1776). Veduta del di dentro della Basilica di S. Pietro in Vaticano dagl'ingressi principali della medesima, 1766 [but later], plus Barbazza (Francesco, active 1771-1789). Veduta interna della Basilica Liberiana detta di Sta Maria Maggiore fatta rimodernare dalla Gloriosa memoria di Papa Benedetto XIV, 1771 [but later], two etchings on thick wove paper, each with blindstamp of the Regia Calcografia Roma to lower outer corner, published circa 1870-1900, toning to extreme sheet edges only, plate size 47/5 x 71 cm (18 3.4 x 28 ins), sheet size 60.5 x 84 cm (23 3/4 x 33 ins), framed and glazedQTY: (3)

* Piranesi (Giovanni Battista, 1720-78). Veduta del Ponte Lugano su l'Anione, from Vedute di Roma, 1763, etching on laid paper, a strong impression of the first state (of 4), with the artist's address and price, laid down to sheet edges on modern card, trimmed to, or just inside the plate mark, some marks and small abrasions, sheet size 455 x 660 mm (18 x 26 ins)QTY: (1)NOTE:Hind 68 i/iv.