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David T. Robertson(1886-1944)"Salmon Leap",unsigned,etching,18.5 x 32cms, frame 38.5 x 51.5cms.

Isabel Codrington(1874-1943)"March", "A Quiet Evening" and "The Broken Hedge",signed,etching,paper largest 41 x 28.5cms, unframed. (3)

Keith Grant (Born 1930) - 'Heimaey Eruption', etching with aquatint, signed, titled and dated '75 in pencil, inscribed 'To Tim Heal, with sincere appreciation - Keith Oct 77', unframed, 18cm x 21cm, page size 35.5cm x 34.5cm.NB - This lot may be subject to Artist's Resale Right levy.

Fine framed etching by Jean Baptiste-Camille COROT, 1796-1875 signed Charles Nicholls & Son, Manchester label on reverse

Fine framed etching by Jean Baptiste-Camille COROT, 1796-1875, Charles Nicholls & Son, Manchester label on reverse

A striking hand-carved and etched gourd by artist F.G. Link, featuring a detailed depiction of elephants in their natural habitat. The intricate design showcases a herd of elephants, including a prominently displayed front-facing elephant with outstretched ears, adding depth and character to the piece. The rich, warm-toned gourd is accented with black etching, highlighting the artisan's skill. The top of the gourd retains its natural stem, adding an organic touch to the design. Signed by the artist, this unique artwork captures the beauty of wildlife in a handcrafted medium.Issued: 21st centuryDimensions: 10"HCondition: Age related wear.

This Swarovski Silver Crystal Swan with Cygnets figurine beautifully captures the elegance of a mother swan with her three young nestled on a base. The swan's outstretched wings, detailed feather etching, and signature clear crystal craftsmanship highlight Swarovski's mastery in design. The striking contrast of the clear body with the orange and black beak adds realism to this serene composition. This lot includes the original box, making it a prized addition for Swarovski collectors and admirers of nature-inspired crystal art. Issued: 20th centuryDimensions: 2.50"HCountry of Origin: AustriaCondition: Age related wear.

STONE RIDGE 2Color etching and aquatint, 1983, on wove paper, signed and numbered out of the edition of 65 verso, in pencil, published by Pace Editions, Inc., New York, the full sheet, framed.Sheet 26 5/8 x 39 1/2 inches; 676 x 1003 mm.Frame 35 1/4 x 48 1/4 inches; 895 x 1226 mm.Affixed at few places verso to foam core with some associated faint rippling, some old linen hinge remains at top sheet edge verso, some unobtrusive printer's ink or soiling bottom left, a crease at bottom left sheet edge, a few unobtrusive foxing spots, framed with glass.Affixed at few places verso to foam core with some associated faint rippling, some old linen hinge remains at top sheet edge verso, some unobtrusive printer's ink or soiling bottom left, a crease at bottom left sheet edge, a few unobtrusive foxing spots, framed with glass.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

GUERNICAColor etching and aquatint, 1969, on wove paper, signed and numbered 94/100 in pencil, with full margins, framed.Plate 14 7/8 x 22 1/2 inches; 378 x 572 mm.Sheet 19 1/2 x 28 inches; 495 x 711 mm.Frame 22 7/8 x 29 7/8 inches; 581 x 759 mm.Provenance:Makler Gallery, PhiladelphiaNo condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

BEACH Etching and aquatint, 1987, on Hahnemühle paper, signed and numbered 7/100 in pencil, printed by Aldo Crommelynck, Paris, published by Parasol Press Ltd., New York, framed.Plate 12 x 16 inches; 305 x 406 mm.Frame 20 1/8 x 23 1/4 inches; 511 x 591 mm.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) ⊕ MARCIA DROLATICA (THE PIED PIPER)signed GMayermarton lower right; titled Marcia Drolatica lower leftetching on paper16 x 19cm; 6 1/4 x 7 1/2in (plate)24 x 31.5cm; 9 1/2 x 12 1/4in (sheet)unframedSmall dogear to lower left corner of sheet. Otherwise this work is in good original condition. Unframed.

GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) ⊕ THE DAY TRIPPERSsigned GMayermarton lower rightetching on paper32 x 23.5cm; 12 1/2 x 9 1/4in (plate)53 x 37.5; 21 x 14 3/4in (sheet)unframedThere is some discoloured staining to the upper left. There is wear to all edges of the paper and a small dogear top and bottom left corners. This work is otherwise in good original condition.

GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) ⊕ ANTIOPE FROM 'LOVES OF ZEUS'signed GMayermarton lower rightetching on paper32.5 x 24.5cm; 12 3/4 x 9 3/4in (plate)50 x 37.5; 19 3/4 x 14 3/4in (sheet)unframedExecuted circa 1923, the present work is one of six etchings that Mayer-Marton completed on the theme of the Loves of Zeus featuring Alcmene, Danäe, Europa, Io, Leda, Semele and Antiope.There are small dogears to the upper right, lower right and lower left corners. There is wear to all edges of the paper. Otherwise this work is in good original condition.

Robin Tanner, (British, 1904-1988) Harvest Festival  Etching 36cm x 31.5cm

Nicholas Grimshaw - An etching entitled 'Structural Memories I', 2007, limited edition numbered 5/30, 34.5 x34.5cm, the frame 54.5cm x 54.5cmLocation:If there is no condition report shown, please requestCatalogue note:While President of the Royal Academy Sir Nicholas Grimshaw made a few etchings each year for the Summer Exhibition. Ordinarily he does not sell his work but some have been given as gifts or donated to charity. Grimshaw graduated from the Architectural Association with honours and has had his own practice ever since. He was elected a Royal Academician in 1994 and was President of the RA from 2004 to 2011. He received the RIBA Gold Medal in 2019. GRIMSHAW, now a global practice, is known for buildings such as the Eden Project and London’s Waterloo Station and the Excel Centre.

L G Robert Beauchamp (American 1923 - 1995) - studying art, an etching signed by the artist in pencil to lower margin, 25 x 18, mounted in glazed frameLocation:If there is no condition report, please request.

Pictures and prints - Margaret M Rudge, British 1885-1972, The Iron Bridge, signed in pencil lower right margin, etching, 22cm x 25cm; David Brown, Blue Bridge, signed, oil on board; mid 20th century American style narrative portrait, gouache, 34cm x 29cm; Another, print on canvas, (4).

AR * Brangwyn (Frank, 1867-1956). London Bridge No. 2, 1903, etching with drypoint on wove paper, signed in pencil to the lower margin, contemporary typed gallery label to verso detailing title, artist and medium, plate size 42.8 x 56 cm (16 3/4 x 22 ins), framed and glazed (70 x 85 cm)QTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Veduta sul Monte Quirinale del Palazzo dell'Eccellentissima Casa Barberini, from the Vedute di Roma, 1749, etching and engraving on heavy laid paper, the second state (of five), a crisp impression, with margins, vertical centre fold, plate size 40 x 62 cm (15 3/4 x 12 1/4 ins), sheet size 52 x 72 cm (20 1/2 x 28 1/4 ins), modern good quality antique-style black and gilt frame, glazedQTY: (1)NOTE:Hind 25 (ii/v); Wilton-Ely 188; Focillon 740; Ficacci 926.

AR * Gross (Anthony, 1905-1984). The Plateau, etching, from the edition of 50 impressions, signed, titled and numbered 17/50 in pencil, plate size 395 x 495 mm (15 1/2 x 19 1/2 ins), with margins, framed and glazed (58.5 x 69 cm)QTY: (1)

* Menpes (Mortimer Luddington, 1855-1938). Venetian waterways with Santa Maria della Salute, etching on watermarked laid paper, signed to lower margin in pencil, plate size 19.9 x 19.6 cm (7 6/8 x 7 6/8 ins), sheet size 23.5 x 36 cm (9 1/4 x 14 1/8 ins), together with 21 etchings by the same artist including: Canal Scene in Venice, etching on watermarked laid paper, signed in pencil to lower margin, image size 14.5 x 19.7 cm (5 6/8 x 7 3/4 ins), sheet size 22.5 x 27.9 cm (8 7/8 x 11 ins), Farmhouse, South Africa, etching on laid paper, titled and signed in pencil to lower margin, showing an exterior scene of a large white farmhouse surrounded by trees, plate size 30 x 46 cm (11 3/4 x 18 ins), sheet size 37.5 x 46.5 cm (14 3/4 x 18 1/4 ins), Mexican Women, etching on wove paper, signed in pencil to lower margin, showing an interior scene a group of woman and children sitting and standing, all wearing broad brimmed and high crowned hats, plate size 17.1 x 22.6 cm (6 3/4 x 8 7/8 ins), sheet size 25.8 x 38.5 cm (10 1/8 x 15 1/8 ins), etc. QTY: (22)

AR * House (Gordon, 1932-2004). Pontardawe Tinworks (Benjamin Evans), 1984, etching with aquatint on J. B. Green R.W.S hand-made paper, signed, titled, dated and numbered 20/30 in pencil, printed by Kelpra Studio, London, plate size 29.5 x 29.5 cm (11 1/2 x 11 1/2 ins), framed and glazed (55 x 52.5 cm)QTY: (1)NOTE:Gerrish 167.Gordon House Editions 1982-1996, pp. 8-11.

* Baskin (Leonard, 1922-2000). Man with Dead Bird, 1950, etching with aquatint on Arches heavy wove, signed and titled 'Man with Dead Bird', full sheet, plate size 450 x 400 mm (17 3/4 x 15 3/4 ins), sheet size 660 x 500 mm (26 x 19 3/4 ins)QTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.

* Piranesi (Francesco, 1758/59-1810). Veduta del Piedestallo del' Apoteosi di Antonino Pio, e di Faustina sua moglie nella Piazza di Monte Citorio, circa 1776-1779, etching and engraving on heavy wove paper, with margins, a very good dark impression, very light soiling to outer blank margins, plate size 490 x 705 mm (19 1/4 x 27 3/4 ins), sheet size 520 x 735 mm (20 1/2 x 29 ins)QTY: (1)NOTE:Focillon 573; Wilton-Ely 713.

* Piranesi (Giovanni Battista, 1720-1778). Veduta dell'Arco di Settimio Severo, from the Vedute di Roma, 1772, etching and engraving on heavy laid paper, the first state (of 3), an excellent impression, with margins, plate size 47 x 71 cm (18 1/2 x 28 ins), sheet size 54 x 76.5 cm, modern good quality antique-style black and gilt frame, glazedQTY: (1)NOTE:Hind 99 (i/iii); Wilton-Ely 232; Focillon 754; Ficacci 970.

AR * Inshaw (David, 1943-). Silbury Hill at Night, 1994, colour etching, signed, dated, and numbered 33/35 in pencil to lower margin, plate size 45 x 54 cm (17 3/4 x 21 1/4 ins), framed and glazed (68 x 77 cm)QTY: (1)

AR * Holloway (Edgar, 1914-2008). Self Portrait No. 25 Goodbye to all that!, 1994, etching on wove paper, signed and titled in pencil, with a dedication inscribed in pencil 'for Rupert, Christmas '94' lower left, a proof aside from the numbered edition of 50, an excellent impression, plate size 19.8 x 14.8 cm (7 7/8 x 5 7/8 ins), framed and glazed (54 x 43.5 cm)QTY: (1)NOTE:Meyrick 274.

* Sadeler (Aegidius, 1570-1629). Landscape with buildings and figures approaching a bridge, after Pieter Stevens II (circa 1567 - circa 1624), circa 1620's, etching and engraving on thick laid paper, published by Marcus Christoph Sadeler (1614-1660), from the series Eight Bohemian Landscapes, a very good, rich impression, with margins (close-trimmed to lower margin), plate size 160 x 255 mm ((6 1/2 x 10 ins), sheet size 174 x 267 mm (6 3/4 x 10 1/2 ins), together with Van der Cabel ( Adriaen, circa 1631-1705). Landscapes, five etchings of landscapes (including one duplicate and one portrait format title page without lettering), published by Nicolas Robert, and one etched landscape by Jan Both (circa 1615-1652), Landscape with wooden bridge at Sulmona near Tivoli, etching on laid paper, with 'Bothfe' etched to lower left outer margin, from the set of six prints entitled Landscapes of the Environs of Rome (Bartsch, Hollstein 10), trimmed to platemark, sheet size 192 x 269 mmQTY: (7)NOTE:Adriaen van der Cabel or Ary van der Touw (16311705), was a Dutch Golden Age landscape painter and etcher active in France and Italy. He was born and grew up in the small town of Rijswijk, near The Hague. Cabel was also known as Ary. According to Houbraken, he was a student of Jan van Goyen, and his real name was van der Touw (English: of String), but that wasn't grand enough according to Van Goyen, so he changed it to mean of Cable. Cabel moved to Lyon as a young man in 1655 and spent most of the rest of his life there apart from a stint in Rome (1659-66). His work is sometimes confused with that of his brother Engel van der Cabel (1641-after 1695), also known as Ange or Angelo. Engel accompanied his brother on his travels and they both married on the same day. Like his brother, Engel became a member of the Bentvueghels, a long established group of Dutch artists who worked in Southern Europe, painting under the pseudonym of 'Geestigheid'.

* Berardi (Fabio, 1728-circa 1782). Rest on the Flight into Egypt, after Giovanni Battista Tiepolo, 1760, etching on cream laid paper, old central fold, trimmed to plate margins, sheet size 582 x 354 mm (23 x 14 ins), together with Bartolozzi (Francesco, 1728-1815). Costante di Fortuna ad ogni evento, & Villa Nello fanciul come si piglia, after Francesco Zuccarelli, 1762, published by Joseph Wagner, Venice, two etchings and engravings on laid paper, with short margins, one with watermark, one with pinhole to top portion of the printed area, both with small areas of paper residue to corners on the verso, sheet sizes approximately 460 x 340 mm (18.1 x 13.3 ins) plus Frey (Johann Jakob, 1681-1752). The Virgin and Child with Saints John the Baptist, Zeno and Anthony, after Antonio Balestra, 1739, etching and engraving on laid paper, with margins, some repaired closed tears to margins, plate size 556 x 340 mm (31 3/4 x 13 3/8 ins), sheet size 590 x 410 mm (23.2 x 16.1 ins), and Morghen (Raphael, 1758-1833). Angelica and Medoro in vari modi legati insieme di diversi nodi, after Teodoro Matteini, Rome, 1795, engraving on thick laid paper, plate size 490 x 400 mm (19.2 x 15.7 ins), sheet size 550 x 430 mm (21.6 x 16.9 ins) QTY: (5)NOTE:Frey, Virgin and Child: Le Blanc II.252.10; Morghen, Angelica and Medoro: Palmerini, Opere d'Intaglio del Morghen, 133.

* Landerer (Ferdinand, 1730/46-1795). The Alchemist, after Martin Johann Schmidt, circa 1765, etching on laid paper, a good impression of this rare print, with margins, light soiling to margins and pale waterstain to lower right outer corner, early collector's signature in brown ink of H. Mothorp and dated 1803 to verso, plate size 317 x 202 mm (12 1/2 x 8 ins), sheet size 337 x 223 mm (13 1/4 x 8 3/4 ins)QTY: (1)NOTE:Nagler 6.

* After Titian (Tiziano Vecellio, 1485/89-1576). Satyrs in a Landscape, after Titian, circa 1515-1560, etching on laid paper, with watermark, with publisher's name above the pond: 'Nicolai Onlegii formis', trimmed to plate margin, sheet size 255 x 415 mm, corner mounted to an 18th-century sheet of cream backing paper, with old numeral '72' inscribed in ink to verso, and price of '2s 6d', together withBoldrini (Nicolo, active 1540-1566). Three Monkeys imitating the Statue of Laocoön, after Titian, circa 1545, woodcut on laid paper, trimmed to image, with some tears and losses to edges of the sheet (upper and lower corners, to right margin, and several small holes or fissures across the image), sheet size 270 x 402 mmQTY: (2)NOTE:For the first work see M. Catelli Isola, Immagini da Tiziano, 51 (attributed to Marco Angelo del Moro); M. Agnesi Chiari, Incisioni da Tiziano, 28 (as Battista del Moro).Boldrini: Rosand and Muraro, Titian and The Venetian Woodcut (1976), 40.

AR * Piper (John, 1903-1992). The Temple of Diana, 1988, etching in colours on Arches paper, printed by Kelpra Studios and published by CCA Galleries, London, signed and numbered 56/100 in pencil, with Kelpra 'K' and CCA Galleries blindstamps, with large margins, gallery label to frame verso, mount aperture 56.4 x 74.5 cm (22 1/4 x 29 1/2 ins), framed and glazed (62.5 x 80 cm)QTY: (1)NOTE:Levinson 408.

* Piranesi (Giovanni Battista, 1720-1778). Veduta della Piazza, e Basilica di S. Giovanni in Laterano..., from the Vedute di Roma, 1774, etching and engraving on heavy laid paper, 1st Paris edition, the first state (of three), with margins, plate size 49 x 70.5 cm (19 1/4 x 27 3/4 ins), sheet size 55 x 75 cm (21 3/4 x 29 1/2 ins), modern good quality antique-style black and gilt frame, glazedQTY: (1)NOTE:Hind 117 (i/iii); Wilton-Ely 250; Focillon 725; Ficacci 988.

* Baskin (Leonard, 1922-2000). Dead Bird, etching on heavy wove paper, artist's proof, signed and inscribed and 'for Pat... for waxing the Belon (?)', some scattered light spots, plate size 152 x 370 mm (6 x 14 1/2 ins), sheet size 385 x 565 mm (15 1/4 x 22 1/4 ins)QTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent. 

* Piranesi (Giovanni Battista, 1720-1778). Pyramide di C. Cestio, from the Vedute di Roma, 1756, etching and engraving on heavy laid paper, from the first Paris edition, the first state (of three), a fine impression, with margins, J. Middleton, Frame Maker, Chelsea SW3 label to frame verso, plate size 39.5 x 53.8 cm (15 1/2 x 21 1/4 ins), sheet size 46 x 61.5 cm (18 x 24 1/4 ins), framed and glazedQTY: (1)NOTE:Hind 36 (i/iii); Wilton-Ely 190; Focillon 745; Ficacci 928.

AR * Conroy (Stephen, 1964-). Self Portrait, 1991, etching on wove paper, signed and numbered 9/50 in pencil, gallery labels to frame verso, plate size 15 x 10 cm (6 x 4 ins), framed and glazed 54.5 x 44.5 cm QTY: (1)NOTE:Exhibited: Portrait of the Artist, Touring Exhibition, February to November 1999 - Abbot Hall Art Gallery, Kendal; Wolseley Fine Arts, London; Pallant House, Chichester; The Victoria Art Gallery, Bath.

* Piranesi (Giovanni Battista, 1720-1778). Veduta interna del Tempio della Tosse..., from the Vedute di Roma, 1764, etching and engraving on heavy laid paper, the third state (of 5), a rich and dark impression, with large margins, plate size 60.8 x 45.6 cm (24 x 18 ins), sheet size 73 x 55 cm (28 3/4 x 21 1/2 ins), modern good quality antique-style black and gilt frame, glazed QTY: (1)NOTE:Hind 70 (iii/iv); Wilton-Ely 203; Focillon 775; Ficacci 941.

AR * Inshaw (David, 1943-). Silbury Hill, 1992, colour etching, signed, dated, and numbered 19/45 in pencil to lower margin, plate size 30.5 x 35.5 cm (12 x 14 ins), framed and glazed (54 x 58 cm)QTY: (1)

* Testa (Giovanni Cesare, active 1630-1655). The Last Communion of Saint Jerome, after Domenichino, circa 1650-55, etching on laid paper, published by Francois Collignon, Rome, trimmed to platemark, sheet size 548 x 360 mm (21 1/2 x 14 1/8 ins), together with other various Italian and French Old Master prints, mostly 17th and 18th century, including several plates from Valentin Lefebvre (circa 1642-1682), Opera Selectiora after Titian and Veronese (1682), Francois Joullain (1697-1778), Apollon Ecorchant Marsyas, after Veronese, Salvator Rosa (Apollo and The Cumaean Cibyl, a copy in reverse), Panini, Nicolo della Casa, Detail from the Last Judgement, after Michelangelo (damaged), etc. QTY: (50)

* Piranesi (Francesco, 1758/59-1810). Il Santo Padre in atto d'adorazione innanzi al Sacramento..., 1787, etching on paper, after a design by Louis-Jean Desprez (1743–1804), published by Firmin Didot Frères, Paris, a rich impression, central fold (as issued), with margins, mount aperture 88 x 60 cm (34 3/4 x 23 1/2 ins), with Prospetto interiore del Tempio Vaticano veduto nelle sere di Giovedi e del Venerdi Santi..., 1787, etching on paper, after a design by Louis-Jean Desprez, published by Firmin Didot Frères, Paris, central fold (as issued), with margins, mount aperture 86 x 58 cm (33 3/4 x 22 3/4 ins), both in modern good quality antique-style black and gilt frames, glazed. QTY: (2)

AR * Thornton (Valerie, 1931-1991). Divinity School, Oxford, circa 1970, etching with aquatint, signed and numbered 48/50 in pencil, plate size 38.8 x 59.2 cm (15 1/4 x 23 1/4 ins), framed and glazed (69.5 x 89 cm)QTY: (1)NOTE:Provenance: Purchased by the present owner from the Oxford Gallery in 1973.Valerie Thornton was a London-born painter and printmaker, who began her art training in 1949 at the Byam Shaw School of Drawing and Painting. She was a member of the Philadelphia Print Club, the Printmakers Council, and was elected Fellow of the Royal Society of Painters-Etchers and Engravers.

* Orlik (Emil, 1870-1932). Portrait of Max Klinger, 1902, etching in russet ink on wove paper, signed in pencil, additionally signed by the printer Otto Felsing, Garton & Co label to verso, with margins, (1854-c.1920), plate size 29 x 19.7 cm (11 1/2 x 7 3/4 ins), sheet size 41.5 x 31.5 cm (16 1/4 x 12 1/4 ins), window mounted, together with Wiegers (Jan, 1893-1959). Herman Poort, circa 1920, woodcut on papier viergé, with studio stamp lower left, image size 27.5 x 20 cm (10 3/4 x 7 7/8 ins), sheet size 34 x 27.5 cm (13 1/2 x 10 3/4 ins), window mounted, plus Tittle (Walter Ernest, 1883-1966). Jean-Louis Forain, 1923, etching with drypoint on paper, signed in pencil, signed and dated in the plate, gallery label to verso, plate size 23.7 x 29.7 cm (9 1/4 x 16 5/8 ins), framed and glazed (44 x 54 cm), and Müller-Linow (Bruno, 1909-1997). Selbstbildnis, 1980, etching on conjoined paper, signed, dated and numbered 3/20 in pencil, inspired by the work Bone at the Press by Francis Dodd, image size 30 x 27.2 cm (11 7/8 x 10 3/4 ins), window mounted QTY: (4)NOTE:The works by Jan Wiegers, Walter Ernest Tittle and Bruno Müller-Linow were all exhibited as part of Portrait of the Artist, Touring Exhibition, February to November 1999 - Abbot Hall Art Gallery, Kendal; Wolseley Fine Arts, London; Pallant House, Chichester; The Victoria Art Gallery, Bath.

* Whistler (James Abbott McNeill, 1834-1903). Thames Warehouses, 1859, etching on laid paper, signed and dated in the plate, the fourth 'b' state of five, indistinct watermark, with large margins, some light scattered spotting, minimally secured to mount with tape in two places to sheet verso, plate size 7.4 x 19.9 cm (3 x 8 ins), sheet size 15.5 x 26 cm (6 x 10 1/4 ins), window mountedQTY: (1)NOTE:Kennedy 38; Glasgow 46 (iv b/v).

* Jackson (Russell, 1947-). Quail, 1980, etching on thick wove paper, signed, dated, titled and numbered 5/50 in pencil, with margins, scattered spotting, plate size 20 x 19.5 cm (8 x 7 3/4 ins), sheet size 35.3 x 26 cm, unframed, together with Tawny Owls, 1980, etching on thick wove paper, signed, dated, titled and numbered 5/50 in pencil, with margins, scattered spotting, plate size 15 x 14.8 cm (6 x 6 ins), sheet size 35.5 x 27 cm, unframed, plus Rifleman & Astelia, 1980, etching printed in dark purple on thick wove paper, signed, dated, titled and numbered 5/50 in pencil, with margins, scattered spotting, plate size 24.6 x 13.5 cm (9 3/4 x 5 1/4 ins), sheet size 36.5 x 26.5 cm, unframed QTY: (3)NOTE:Russell Jackson is a New Zealand painter and printmaker. Jackson studied art history at Auckland University and graphic arts at the Auckland University of Technology.

* Mercier (Philippe, 1689-1760). Leçon d'Amour, after Jean-Antoine Watteau, etching and engraving on laid paper, with engraved dedication to the Comte de Caylus to lower margin, plate size 465 x 595 mm (18 1/4 x 23 7/16 ins), with thread margins, sheet size 470 x 610 mm (18 1/2 x 24 ins), several marks and short closed tears to margins, one or two small spots to image, together withLe Prince (Jean-Baptiste, 1734-1781). 'O fortunatos nimium, sua si bona norint Agricolas: Virg. Georg. II [Oh Happy Farmers did they but know the beauty they possess, Virgil, Georgics, Book II], 1768, uncoloured etching with aquatint on laid paper, some light soiling and marks to margins, trimmed near platemark, sheet size 400 x 555 mm (15 3/4 x 21 7/8 ins), plus Massard (Jean, 1740-1822). La Cruche Cassée, after Jean-Baptiste Greuze, 1773, etching and engraving on laid paper, some overall soiling and waterstain to left margin, trimmed to platemark, sheet size 502 x 365 mm (19 3/4 x 14 3/8 ins), and three others similar: J. B. Lucien, Tête d'Ange, after Bouchardon, after Chevalier Lanfranc, Philippe de Larmessin, Le Jeu de Pied de Beuf, after Nicolas Lancret, and Henri Gerard, The Unexpected Bouquet, after Marguerite Gerard (1761-1837) QTY: (5)NOTE:Mercier: Dacier & Vuaflart 263.

* Dürer (Albrecht, 1471-1528). Saint Jerome in His Study, 1514, engraving on laid paper, trimmed just inside the plate mark, an early (possibly 16th century) impression, some staining and several small tears repaired, generally without loss, sheet size 240 x 185 mm (9 1/2 x 7 1/4 ins), laid down on early 19th century English backing card, with ruled outer border in brown ink and pale brown wash, inscribed in ink to foot of the backing sheet 'Etching by Albert Durer - the Picture by the same Artist at Powerscourt', together with Jan Wierix (circa 1549-1615). Melencolia I, after Albrecht Dürer, 1602 [but later], engraving on wove paper, a good impression from a later printing (probably late 18th century or early 19th century), trimmed to plate margin, sheet size 239 x 190 mm (9 1/2 x 7 1/2 ins), plus two other later engravings after Dürer, including The Virgin Seated on a Grassy Bank, 1566, published by Claes Jansz. Visscher, engraving on antique laid paper, trimmed to plate margin, sheet size 116 x 72 mmQTY: (4)NOTE:Saint Jerome: Meder 59. Wierix: Mauquoy-Hendrickx, Estampes des Wierix 1556; Hollstein 2000; Alvin 1576. Virgin Seated on a Grassy Bank: Bartsch 34, Meder 31.

AR * McComb (Leonard, 1930-2018). Model and Student: Royal Academy Schools: Life Drawing Studio 1997, 2002, etching on wove paper, signed, dated and numbered 1/50 in pencil, Royal Academy of Arts Summer Exhibition 2002 label to frame verso, plate size 16.4 x 13.7 cm (6 1/2 x 5 1/4 ins), framed and glazed (55 x 40.5 cm)QTY: (1)NOTE:Exhibited: Royal Academy of Arts Summer Exhibition 2002, 11 June - 19 August 2002; No. 207.

* Baskin (Leonard, 1922-2000). Rembrandt, circa 1960, etching with aquatint on Arches heavy wove, an artist's proof, signed and inscribed 'her favorite for Patricia', some scattered light spots, plate size 450 x 370 mm (17 3/4 x 14 1/2 ins), sheet size 750 x 555 mm (29 1/2 x 22 ins), wood frame, glazedQTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.

AR * Anderson (Stanley, 1884-1966). The Goose Fair, Albi, 1931, etching with drypoint on wove paper, signed in pencil, additionally inscribed in pencil by the artist '1st state 2 proofs -', one of only two impressions made of the first state before the published edition of 75, a fine impression, minimally secured to mount with tape in two places to sheet verso, light mount toning, plate size 23.2 x 34.1 cm (9 1/4 x 13 1/2 ins), sheet size 29 x 43.5 cm (11 1/2 x 17 ins), window mountedQTY: (1)NOTE:Meyrick & Heuser 175 (i/iv).

AR * Tanner (Robin, 1904-1988). The Old Road (Elegy for the English Elm I), 1977, etching on thick laid paper, the third state (of three), signed in pencil, from the edition of about 1000 as published in British Etchers 1850-1940 by K. M. Guichard, published by Robin Garton, 1977, with margins, plate size 29.8 x 23.7 cm (11 3/4 x 9 1/4 ins), sheet size 32.9 x 26.2 cm (15 3/4 x 10 1/4 ins)QTY: (1)NOTE:Garton 36 (iii/iii).

* Verini (Giovanni, active circa 1660). The Birth of Bacchus (The Infant Bacchus Entrusted to the Nymphs of Nysa), after Poussin, circa 1660, etching and engraving on laid paper, published by Giacinto Parbeni, Rome, faint central vertical crease (more visible to verso), with consequent short closed tear to lower margin (without loss), trimmed to plate margin, sheet size 226 x 365 mm (8 7/8 x 14 1/2 ins), together withBaudet (Etienne, 1638-1711). Venus and Cupid, after Poussin, 1665, engraving on laid paper, published by Francois Chereau, Paris, six lines of engraved verse to lower margin, a good, strong impression, with margins, plate size 248 x 292 mm (9 3/4 x 11 5/8 ins), sheet size 267 x 313 mm (10 1/2 x 12 1/4 ins), plusOudran (Gérard, 1640-1703). Saint Frances of Rome Implores Divine Justice, after Poussin, etching on heavy laid paper, the first state (of 2), before the addition of the engraved title Ste Francoisse at foot, an excellent, clear impression, with margins (except lower margin trimmed just inside the plate), plate size 36 x 29 cm (14 1/2 x 11 1/2 ins), sheet size 36.5 x 31 cm (14 1/2 x 12 1/8 ins), andAttributed to Pierre Mariette (1634-1716). Nymphs and Satyrs, after Poussin, etching on laid paper, published by Pierre Mariette, Peris, with engraved inscription to lower margin N. Poussin invent. A Paris chez Pierre Mariette rue St. Jacques a Lesperance, with margins, plate size 278 x 395 mm (11 x 15 5/8 ins), sheet size 285 x 405 mm (11 3/8 x 16 ins), plus four other etchings after Poussin, including Bernard Picart (1673-1733), Pan & Syrinx, 1724 (Le Blanc 78), Anna Snelling, Pyramus & Thisbe after Nicholas Poussin, and Joseph Wood (1720-1763/64), Landscape with Cattle and figures caught in a storm, & Three Travellers resting with two dogs on a winding path outside a town, both after Gaspar Poussin, 1742 & 1743 respectively, all on laid paper in good condition, with margins, various sizes (largest sheet size 33.5 x 43 cm)QTY: (8)NOTE:Verini: Le Blanc, Manuel de l'Amateur d'Estampes, 2; Oudran: Robert-Dumesnil, Peintre-Graveur Francais, 28, i/ii.

* Daltrey (Susan, 1964-). Self Portrait, 1989, etching with drypoint on wove paper, signed, dated and numbered 3/5 in pencil, gallery label to frame verso, plate size 33 x 32 cm (13 x 12 1/2 ins), framed and glazed (64.5 x 54.5 cm), plus Le Deunff (Anne-Catherine, 1964-). Self Portrait (La Victorieuse), 1993, etching with aquatint on paper, signed, titled and numbered 1/20 in pencil, gallery label to frame verso, plate size 12.1 x 10.1 cm (4 3/4 x 4 ins), framed and glazed (53.5 x 43.5 cm), and Joseph (Jane, 1942-). Self Portrait, Edinburgh, 1995, etching with drypoint on wove paper, signed, dated, titled and numbered 5/6 in pencil, plate size 9.9 x 7.8 cm (3 7/8 x 3 ins), sheet size 24.5 x 16.5 cm (9 1/2 x 6 1/2 ins), window mounted, together with Bellaart (Gerard, 1946-). Portrait of the Artist, 1977, etching on wove paper, signed and numbered 1/20 in pencil, additionally inscribed 'G. B. AET 31', plate size 19.7 x 12.3 cm (7 3/4 x 4 3/8 ins), window mounted, and another work by Anne-Catherine Le Deunff entitled Double Self Portrait, etching on paperQTY: (5)NOTE:The first four works were all exhibited as part of Portrait of the Artist, Touring Exhibition, February to November 1999 - Abbot Hall Art Gallery, Kendal; Wolseley Fine Arts, London; Pallant House, Chichester; The Victoria Art Gallery, Bath.

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Campidoglio di fianco, 1757, etching and engraving on heavy laid paper, from the first Paris edition, the fourth state (of six), with margins, a rich impression, plate size 40 x 69 cm (15 3/4 x 27 1/4 ins), sheet size 50 x 77 cm (19 3/4 x 30 1/4 ins), framed and glazedQTY: (1)NOTE:Hind 39 (iv/vi); Wilton-Ely 189; Focillon 747; Ficacci 927.

AR * Tanner (Robin, 1904-1988). Full Moon, 1973, etching on pale cream heavy wove paper, signed in pencil to lower margin, plate size 24.5 x 18.9 cm (9 5/8 x 7 3/8 ins), sheet size 36.5 x 26 cm (14 3/8 x 10 1/4 ins), framed and glazed (45 x 35 cm)QTY: (1)

AR * Gross (Anthony, 1905-1984). Landscape with Praying Mantis, etching with drypoint on wove paper, signed, titled and numbered 20/250, plate size 34.5 x 45 cm (13 1/2 x 17 3/4 ins), framed and glazed (64 x 72.5 cm)QTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Teatro di Marcello, from the Vedute di Roma, 1753, etching and engraving on heavy laid paper, from the first Paris edition, the fifth state (of seven), with margins, plate size 40 x 54 cm (15 3/4 x 21 1/4 ins), mount aperture 42 x 56.5 cm (16 1/2 x 21 3/4 ins), framed and glazedQTY: (1)NOTE:Hind 33 (i/iii); Wilton-Ely 157; Focillon 818; Ficacci 895.

* Baskin (Leonard, 1922-2000). The Great Tree, 1961, etching with aquatint on Arches heavy cream wove, an artist's proof, signed and inscribed 'for Pat', the full sheet, plate size 455 x 370 mm (18 x 14 1/2 ins), sheet size 760 x 560 mm (30 x 22 ins), plus Love Me, Love My Dog, 1957, wood engraving on cream wove Japanese paper, signed and titled lower left 'Love me, love my Dog', in pencil, plate size 184 x 155 mm (7 1/2 x 6 1/4 ins) sheet size 275 x 292 mm (10 3/4 x 11 1/2 ins), window mounted on card QTY: (2)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.Love me, love my Dog: Plate 167 from The Wood Engravings of Leonard Baskin 1948-1959, 1961

* Testa (Giovanni Cesare, circa 1630-1655). The Prophecy of Basilides, after Pietro Testa, circa 1650, etching on laid paper, with watermark of a fleur-de-lys within a double-rule circle, trimmed to plate mark, small loss to extreme left margin, plate size 384 x 710 mm, together with other various 17th century etchings after Pietro Testa, including: The Suicide of Dido, etching with engraving, published by Giovanni Giacomo de Rossi, [Rome], close-trimmed, small nick to extreme lower blank margin, sheet size 363 x 464 mm, Jupiter, Io and Juno, by Pietro Santi Bartoli after Pietro Testa, etching on laid paper, trimmed to image, sheet size 285 x 434 mm, Young Man favoured by Fortune and hindered by Time and Envy by Francois Collignon (1609-1687) after Pietro Testa, 1656, etching on laid paper with watermark, lettered to lower right corner Pietro Testa delneavit, close-trimmed, sheet size 355 x 233 mm, The Education of Achilles, by Giovanni Cesare Testa after Pietro Testa, 1650-55, etching on laid paper with watermark, published by Giovanni Giacomo de Rossi, trimmed to plate mark, sheet size 275 x 407 mm, The Resurrection, by Francois Collignon after Pietro Testa, Allegory of the Rest on the Flight into Egypt, by Giovanni Cesare Testa after Pietro Testa, etching on laid paper, published by Giovanni Giacomo de Rossi, trimmed to platemark, sheet size 208 x 250 mm, The Resurrection, by Francois Collignon after Pietro Testa, etching on laid paper with watermark, short margins, sheet size 477 x 353 mm, and others similar including Midas, Justice and Charity (Giovanni Cesare Testa), all on laid paper, various sizesQTY: (30)

* Baskin (Leonard, 1922-2000). Bird Man, 1963 etching with aquatint on Arches heavy cream wove, artist's proof, signed in pencil, additionally inscribed 'for Pat - with warm regards', full sheet, plate size 450 x 370 mm (17 3/4 x 14 1/2 ins), sheet size 760 x 560 mm (30 x 22 ins)QTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.

* Bellany (John, 1942-2013). Untitled (Red Earth), 1995, screenprint in maroon on wove paper, signed and numbered 19/20 in pencil, sheet size 75 x 56 cm (29 2/3 x 22 ins), framed and glazed (83.5 x 54 cm), together with:Penwith Print Room. A Spring Collection, 1978, four (of the ten) prints from the portfolio issued by Penwith Print Room, includes Storm Moon by Roy Walker, etching on Grosvenor Chater 'Royal Cornwall' paper, signed, titled, dated and numbered 26/75 in pencil, the full sheet, plate size 24 x 17.5 cm (9 1/2 x 6 3/4 ins), sheet size 52 x 39 cm, together with prints by Helen Feiler ‘Reflections’, Alyson Stoneman ‘Lamorna Spring’ and Lieke Ritman ‘Jollytown Barn’, all signed, all the full sheet, each sheet 52 x 39 cm, contained in the original board folio with title sheet printed in red and black ink, plus:Rothenstein (Michael, 1908-1993). Rip I, 1967, colour linocut and woodcut on wove paper, laid down on card, from the edition of 35 impressions, signed and numbered twenty four and twenty five, a few marks, sheet size 74 x 60.5 cm (29 x 24 ins), andIngham (Bryan, 1936-1997). Landscape with Flowers in Vase, mixed media etching, enhanced with pen and ink, on paper, plate size measures 32.5 x 47.5 cm (12 3/4 x 18 4/5 ins), framed, overall measures 53.5 x 69.5 cm (21 x 27 2/5 ins) QTY: (7)NOTE:Sidey, The Prints of Michael Rothenstein (1993), 172a.