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Deluxe Model WW2 German Kriegsmarine Officers Dress Dagger by Carl Eickhorn, Solingen, fine untouched example of a 2nd pattern German naval officers dress dagger with deluxe bone grip having wire binding. Eagle pommel top and cross guard with fouled anchor and press button for blade release. Housed in the original deluxe pattern hammered scabbard with two hanging rings. Fine double edged blade with much of the original polish remaining to the blade. Carl Eickhorn makers trade mark and standard etching. The blade 25 ¼ cms, overall 42 ¼ cms. Very fine example.

Günther FörgUntitled1995colour etching; framed30.7 x 23.5 cmhandwritten numbered, signed and dated at the bottom: 11/12 Förg 95edition: 12 piecesprivate property, Austria

Pablo Picasso"Femme Torero, III" from "La Suite Vollard"1934etching on paper Vergé de Montval with watermark "Vollard"; framed24 x 30 cm (plate size), 34.2 x 44.5 cm (sheet size)signed by hand on the lower right: Picassoinscribed and dated in the plate on the lower right (mirror-inverted): Paris 22 Juin XXXIVwatermark Vollard on the left edgeedition of 260 pieces, edited by Ambroise Vollard, Paris, 1939private property, GermanyGeorges Bloch, Pablo Picasso. Band I, Katalog des graphischen Werkes 1904-1967, Bern 1984, no. 221, p. 72 (with ill.)

λ&nbspGRAHAM SUTHERLAND (BRITISH 1903-1980) PASTORAL Etching, 1930 Signed in pencil, dedicated to Marion Richardson With best wishes for Christmas/& love from Jane & Kenneth Clark and dated 1938 to backboard (verso) Image 12.2 x 19cm (4¾ x 7¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first things that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read     Condition Report: Stuck down to mounting board with tape to the upper corners. Some very light undulation to the lower margin. Some light staining running along the upper edge of the margin with a crease to the upper right corner. Image itself is in good original condition. Condition Report Disclaimer

TOM MAXWELL (SCOTTISH 1874-1937)  ST. ENOCH'S SQUARE  Etching, signed lower right, 23 x 12cm   Title inscribed verso  Together with a similar by the same hand titled 'Fish market, Glasgow'   And  Tom Paterson, Etchings, titled 'St. Enoch's Church', 'Kelvin Bridge' and 'Trongate' (5) Condition Report:Available upon request

 ALEXANDER P THOMPSON (SCOTTISH 1887-1962)  GLASGOW UNIVERSITY  Etching, signed lower right, 26 x 31cm  Together with three others by Johnstone Baird 'University of Glasgow', George Houston 'Landscape' and J.C. Macaulay ' 2nd State' (4) Condition Report:Available upon request

JULIAN WILLIAMS (ENGLISH 20th CENTURY)  CELEBRATING AFTER BUTCHERING THE LOCAL CAT  Etching, signed lower right, titled, 7 x 12cm   Together with a similar by the same hand (2) Condition Report:Available upon request

WILFRED CRAWFORD APPLEBEY (SCOTTISH 1889-1954)  GLASGOW UNIVERSITY  Etching, signed lower right, titled lower left, 28.5 x 35cm  Together with two others by the same hand titled 'Glasgow University gateway' and 'Glasgow University, Evening' (3) Condition Report:Available upon request

WILFRED CRAWFORD APPLEBEY (SCOTTISH 1889-1954)  CLYSDALE BANK  Etching, signed lower right, titled lower left, 40 x 21cm  Together with two similar by the same hand titled 'Glasgow Savings Bank, Ingram Street' and 'The Conservative Club' (3) Condition Report:Available upon request

EILEEN ALICE SOPER (ENGLISH 1905-1990)  FIRST RECITATION  Etching, signed lower centre, 8 x 4 cm Condition Report:Available upon request

CONTEMPORARY SCHOOL  ANATOMY OF A CITY  Etching, signed lower right, AP inscribed lower left, 36 x 48cm    Condition Report:Available upon request

AR * Brockhurst, Gerald Leslie (1890-1978). Casper, 1933, etching, signed in pencil, a deep impression with large margins, plate size 19.5 x 15 cm (7 3/4 x 6 ins), sheet size 32.5 x 24 cm (12 3/4 x 9 1/2 ins), inscribed in pencil in an unknown hand 'W. 76 Casper' and 'A56954' to lower portion of sheet, tipped onto backing card, hinge mountedQTY: (1)NOTE:Based on a painting from 1920 (which had been used as the cover of ‘Colour’ July 1920) the sitter was Casper Knewstub, the son of Jack Knewstub, who owned the Chenil Gallery in London. An impression was exhibited at the Royal Academy, 1933 No. 1282 or 1283.

* Strang (William, 1859-1921). Portrait of Sir Henry Rider Haggard, 1911, etching with drypoint on cream paper, printed with light plate tone, one of 35 published proofs, signed 'David Strang imp' bottom left, signed 'Wm Strang fec. DS' bottom right on behalf of the artist by David Strang, inscribed 'Final St.' in pencil below image, research notes to verso, plate size 39.7 x 27.4 cm, framed and glazed (59 x 45 cm)QTY: (1)

* Schultz (Anton, 1894-1977). Wall Street Giants, circa 1929, etching, signed in pencil to lower right, plate size 30.2 x 18.8 cm (11 7/8 x 7 3/8 ins), sheet size 43 x 29 cm (16 7/8 x 11 3/8 ins)QTY: (1)NOTE:Anton Schutz was a German-American artist, born in Berndorf, Germany in 1894. He is best known for his cityscapes and architectural etchings, especially of New York City. Schutz began his formal studies at the University of Munich, but they were put on hold because of World War I. After serving in the German Army, he returned to the University for a period of time before moving on to the Royal Academy of Fine Art, where he earned his degree in Mechanical Engineering and Architecture in 1920. He immigrated to the United States in 1924, where he met and befriended artist Joseph Pennell in New York City. That same year, he had his first several solo exhibitions at Anderson Gallery.

AR * Tanner (Robin, 1904-1988). March, 1984, etching on cream wove paper, an excellent impression of the third (final) state, signed, inscribed and titled in pencil 'Robin Tanner fec. et imp. / “March:”', published in an edition of 25 by Garton and Cooke in 1984, the full sheet, old tape to verso, plate size 24.7 x 19.5 cm (9 3/4 x 7 3/4 ins), sheet size 35.5 x 28.5 cm (14 x 11 1/4 ins), unmountedQTY: (1)NOTE:Garton 42.

* Piranesi (Giovanni Battista, 1720-1778). Sezione di uno de' cunei del Teatro di Marcello corrispondente colle vie de’Senatori, from Le Antichità Romane IV, 1756, etching on laid paper, 'Piranesi Archit. dis. et Scul.' below explanatory text, presence of 'TF' watermark (to both sheets) suggests a later Paris edition [c.1807-1835], two sheets joined to create one image (join strengthened on verso), two further vertical folds, some offsetting, small areas of spotting, plate size 40 x 85 cm (15 3/4 x 33 1/2 ins), sheet size 60 x 108 cm (23 1/2 x 42 1/2 ins), together with Sezione di uno de'Cunei del Teatro di Marcello... Portico della circonferenza esterna, from Le Antichità Romane IV, 1756, etching on laid paper, 'Piranesi Archit. dis. et Scul.' to lower right, 'TF' watermark (to both sheets) suggests a later Paris edition [c.1807-1835], two sheets joined together and secured to verso, three further vertical folds, some offsetting, areas of spotting, one small water stain to lower margin (not affecting image), plate size 45 x 85 cm (17 3/4 x 33 1/2 ins), sheet size 60 x 108 cm (23 1/2 x 42 1/2 ins).QTY: (2)NOTE:Wilton-Ely 498/497; Focillon 365/364; Ficacci 356/355.

* Kay (Bernard, 1927-2001). Chartres West, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 48.5 cm x 34.1cm (19.2 x 13.7 ins.), full sheet 65 cm x 51 cm (25.5 x 20.2 ins), together with the original copper printing plate, and an Artist’s Proof signed edition of Chartres IQTY: (3)

* Piranesi (Giovanni Battista, 1720-1778). Pianta del Mausoleo di Cecilia Metella moglie di M. Crasso Triumviro..., from Le Antichità Romane III, 1756, etching on thick laid paper, a crisp impression, 'Piranesi Archit. del. et inc.' to lower right, double ring fleur-de-lys watermark suggests a lifetime Roman edition, central fold (strengthened to verso), large margins, small areas of offsetting, plate size 44 x 52 cm (17 1/4 x 20 1/2 ins), sheet size 55.5 x 81 cm (21 3/4 x 31 3/4 ins), plus Pianta del Sepolcro de'Scipioni, from Le Antichità Romane II, 1756, etching on laid paper, a deep and engaging impression, 'Piranesi Archit. dis. et inc.' to lower right, single ring fleur-de-lys watermark suggests a lifetime Roman edition, wide margins, plate size 34.5 x 23.2 cm (13 1/2 x 9 1/4 ins), sheet size 54 x 39.5 cm (21 1/4 x 15 1/2 ins), and Pianta di un Sepolcro sulla Via Tiburtina vicino a Ponte Lugano..., from Le Antichità Romane II, 1756, etching on laid paper, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, good margins, remnants of old tape to verso, plate size 34.5 x 23.5 cm (13 1/2 x 9 1/4 ins), sheet size 56.5 x 43.5 cm (22 1/4 x 17 ins), together with three further etchings from Le Antichità Romane, one with a double ring fleur-de-lys watermark and the another with 'Bracciano' and florid heraldic watermark. QTY: (6)NOTE:Wilton-Ely 424/384/395; Focillon 289/249/260; Ficacci 281/241/252.

* Soutman (Pieter, 1580-1657). The Last Supper, after Rubens, after the fresco by Leonardo da Vinci, 1620, etching on laid paper, a characterful impression, two sheets conjoined to create one image, four Last Supper bible verses in Latin to lower margin, 'P. B. Rub. Delins.' and further attributions in Latin and Italian to lower margin, trimmed to image on three sides, lower left corner trimmed removing 'Leonardo Da Vinci, Pinxit.', 'P. & D. Colnaghi & Co. Ltd.' gallery label with attribution details in ink to verso, image size approx. 27.3 x 99.3 cm (10 3/4 x 39 1/4 ins), sheet size 29 x 99.4 cm (11 1/2 x 39 1/4 ins), framed and glazed (47 x 106 cm)QTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.Pieter Soutman was a painter, etcher and engraver, draughtsman and publisher of prints. He worked in Antwerp around 1618 as a pupil or collaborative assistant of Rubens.Another impression of this work is held by the British Museum (1868,0612.371).

* Piranesi (Giovanni Battista, 1720-1778). Spaccato del Ponte Fabrizio, detto de’quattro Capi, from Le Antichità Romane IV, 1756, etching on thick laid paper, a crisp impression, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, very large margins, central fold (strengthened to verso), some offsetting to left margin, plate size 39.6 x 60 cm (15 3/4 x 23 1/2 ins), sheet size 56 x 80 cm (22 x 31 1/2 ins), plus Pianta d’un Sepolcro fuori di Porta S. Sebastiano, from Le Antichità Romane III, 1756, etching on thick laid paper, both 'Bracciano' and florid heraldic watermark suggests a posthumous Roman edition, large margins, central fold (later repaired and strengthened to verso, with very small area of repaired loss near top of image), plate size 39.5 x 52 (15 1/2 x 20 1/2 ins), sheet size 54 x 77 cm (21 1/4 x 30 1/4 ins), together with four more etchings including plans and architectural studies from Le Antichità Romane.QTY: (6)NOTE:G. Piranesi: Wilton-Ely 487/429; Focillon 354/294; Ficacci 345/286.

* Hollar (Wenceslaus, 1607 - 1677). The Four Windmills, after Jan Breughel, 1650, etching on laid paper with foolscap watermark, the first state (of 2), with printed inscription to lower margin of the plate 'Brüghel pinxit' and 'W. Hollar fecit 1650. Ex Collectione Arundeliana', a very good impression with strong contrasts, old ownership inscription in brown ink to lower left corner of the plate verso 'cc', and further neat pencil inscription just below the platemark verso '1215. Apell in Dresden 1861', light mount stain, plate size 118 x 170 mm, sheet size 190 x 240 mm, framed and glazed (with 20th century typewritten description of the print and provenance information to verso)QTY: (1)NOTE:Provenance: Ciccri Collection (according to typewritten note pasted to verso of the frame); Aloys Apell, printdealer, Dresden, by 1861; purchased from the London printdealer Robert Dunthorne in 1912 (typewritten note to verso). Pennington 1215 i/ii; New Hollstein (Hollar Part IV) 1104 i/ii.The Earl of Arundel employed Wenceslaus Hollar as artist-in-residence to make drawings of his extensive art collection. Some of these drawings are now the only record of the contents of that impressive collection. Hollar was able to make prints from the drawings of the Arundel collection which were produced in three issues.

* Piranesi (Giovanni Battista, 1720-1778). Senatus Populusque Romanus Monumenta Marmorea Magistratuum Triumphohorumque AB Urbe Tempora Divi Augusta..., from Lapides Capitolini sive Fasti Consulares Triumphalesq. Romanorum, 1800, etching on thick laid paper, a strong impression, presence of 'TF' watermark (to both sheets) suggests a later Paris edition [c.1807-1835], wide margins, central fold where the two sheets are joined on verso, three further vertical folds, a little mount stained, dust soiling to top right margin, repaired 8 cm closed tear to lower left portion of image, tipped onto backing board in three places with tape, Sanders of Oxford information sheet to verso, plate size 50.3 x 123 cm (19 3/4 x 48 1/2 ins), sheet size 58.6 x 135 cm (23 x 53 ins), framed and glazed (78 x 150 cm). QTY: (1)NOTE:Wilton-Ely 558; Focillon 427; Ficacci 482.

AR * Tanner (Robin, 1904-1988). Christmas Card for 1930, etching on cream wove paper, a fine impression, signed, titled and dated by the artist in pencil, additional inscription by the artist lower left 'A hastily etched greeting card, sent out to 200 friends.', with margins, plate size 9 x 13.7 cm (3 1/2 x 5 1/4 ins), sheet size 14.7 x 19 cm (5 3/4 x 7 1/2 ins), unmountedQTY: (1)NOTE:Garton 11. Garton suggests an edition of approximately 60, but Tanner suggests a run of 200.

* Wyllie (William Lionel, 1851-1931). A Bird’s Eye View of Westminster Bridge and The City, etching with drypoint, an atmospheric impression, on thick cream wove paper, signed in pencil to lower left, the full sheet, plate size 225 x 375 mm (9 x 15 3/4 ins), sheet size 305 x 460 mm (12 x 18 ins), hinge-mounted, together with: Clausen (George, 1852-1944). The Barn Door, 1894-1904, etching, a fine, bright impression, on laid paper watermarked O.W.P. and A.C.L., signed 'George Clausen' in pencil lower right, with margins, old tape at the sheet edges, platemark 15.7 x 12.2 cm (6 1/8 x 4 3/4 ins), sheet 21.7 x 17.5 cm (8 1/2 x 6 7/8 ins), mounted, plus: Brockhurst (George, 1890-1978). The Artist’s Mother, 1920, etching on thick ivory wove paper, the full sheet, signed in pencil to lower right, a balanced and characterful impression, titled and numbered '55 proofs' in pencil in another hand to lower sheet edge, plate size 88 x 88 mm (3 1/4 x 3 1/4 ins), sheet size 230 x 195 mm (9 x 7 3/4 ins)QTY: (3)NOTE:F. Gibson Print Collector's Quarterly VIII, 1921, pp.203-227, no. 15.

* Piranesi (Giovanni Battista, 1720-1778). Vindicibus et Protectoribus Bonarum Atrium i.B. Piranesius (Frontispiece to Le Antichità Romane IV), 1756, etching on laid paper, a deep impression, 'Gio Batta. Piranesi invent. ed incise' to lower left, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, central fold (strengthened to verso), very wide margins, minimally fixed to mount with tape on all sides, plate size 40.5 x 54.5 cm (16 x 21 1/5 ins), sheet size 56 x 80.5 cm (22 x 31 3/4 ins), framed and glazed (66 x 96.5 cm), together with Rossini (Luigi, 1790–1857) Veduta della rovina del gran Arco trionfale della nave traverse, from Le Antichita Romane, 1823, etching on laid paper, plate size 49.5 x 59 cm (19 1/2 x 23 1/4 ins), framed and glazed (66 x 96.5 cm).QTY: (2)NOTE:Piranesi: Wilton-Ely 471; Focillon 338; Ficacci 329.

* Piranesi (Giovanni Battista, 1720-1778). Pianta dell’antico Foro Romano..., from Le Antichità Romane I, 1756, etching on thick laid paper, a clear and crisp impression, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, large margins, central fold, plate size 46.2 x 46.7 cm (18 x 18 1/2 ins), sheet size 55.5 x 79 cm (21 3/4 x 31 ins), plus Pianta del Mausoleo di Costanza figlia di Costantino Magno Imperatore…, from Le Antichità Romane II, 1756, etching on laid paper, double ring fleur-de-lys watermark suggests a lifetime Roman edition, central fold (later strengthened to verso), small area of repaired loss in centre of image, plate size 40 x 59.5 (15 3/4 x 23 1/2 ins), sheet size 55 x 80 cm (21 1/2 x 31 1/2 ins), and Pianta dell'Avanzo del Mausoleo di Adriano Imp., from Le Antichità Romane IV, 1756, etching on thick laid paper, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, large margins, plate size 34.5 x 23 (13 1/2 x 9 ins), sheet size 55 x 42 cm (21 1/2 x 16 1/2 ins), together with three further etchings from Le Antichità Romane, two with lifetime fleur-de-lys watermarks. QTY: (6)NOTE:Wilton-Ely 357/378/473; Focillon 222/243/340; Ficacci 213/235/331.

* Van Dyck (Anthony, 1599-1641 and Jacobus Neeffs, 1604-1667). Frontispiece to the series Icones principum virorum doctorum pictorum, chalcographorum, Antwerp, 1646, etching and engraving on laid paper, a very good impression, with publisher's name of Gillis Hendricx, but with date of 1646 removed below the publisher's name, trimmed to plate margins, sheet size 243 x 152 mm (9 5/8 x 6 1/8 ins), black and gilt frame, glazed (40 x 30cm), together with three portraits from the same series, Jacobus Jordaens, Lucas Vorstermans and Horatius Gentilescius, engraving on paper, each a deep and rich impression, Jacobus Jordaens slightly spotted and stained, each plate size approx. 24 x 17.5 (9 1/2 x 7 ins), uniformly framed and glazed (the largest 44.5 x 36 cm)QTY: (4)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Wibiral 4, ii/iv. The head of Van Dyck was etched as a self-portrait by the artist with the remainder of the plate completed by Jacob Neeffs.

* Sadeler (Jan, 1550-1600). Annunciation of the Birth of Christ to the Shepherds, after Jacopo Bassano, etching, together withGalle (Philipp, 1537-1612). The Parable of the Prodigal Son Eating with the Swine, after Marrarten van Heemskerck, 1562, engraving, plusDe Leu (Thomas, ciarc 1555-1615). Egptian Sibyl, after Crispijn de Passe, 1601-12, engraving, plate 12 from The Sibyls series, 178 x 124 mmQTY: (3)

* Hollar (Wenceslaus, 1607-1677). Westminster from the River, 1647, etching, trimmed to edges, image size 90 x 250 mm (3 1/2 x 9 3/4 ins), mounted, framed and glazed (28 x 44 cm) QTY: (1)NOTE:Pennington 1037 i.

* Piranesi (Giovanni Battista, 1720-1778). Nella Tav. precedente si sono dimostrati gli Avanzi del Mausoleo, e del Ponte d'Elio Adriano..., from Le Antichità Romane IV, 1756, etching on thick laid paper, 'Piranesi Archit. dis. et inc.' to lower right, presence of double ring fleur-de-lys watermark to both sheets suggests a lifetime Roman edition, large margins, two sheets joined to create one image (join strengthened on verso), four further vertical folds, small areas of spotting, dust soiling to sheet edges, plate size 45.6 x 138.5 cm (18 x 54 1/2 ins), sheet size 56 x 157 cm (22 x 61 3/4 ins), together with Avanzo del Mausoleo d'Elio Adriano Imp. oggi ridotto nella principal Fortezza di Roma, from Le Antichità Romane IV, 1756, etching on thick laid paper, 'Piranesi Archit. dis. et inc.' to lower right, double ring fleur-de-lys watermark to both sheets suggests a lifetime Roman edition, large margins, two sheets joined to create one image (join strengthened on verso), five further vertical folds, some areas of spotting, small area of offsetting, plate size 45 x 138 cm (17 3/4 x 54 1/4 ins), sheet size 55 x 156 cm (21 1/2 x 61 1/2 ins).QTY: (2)NOTE:Wilton-Ely 478/477; Focillon 345/344; Ficacci 336/335.

* Piranesi (Giovanni Battista, 1720-1778). Vedute di Roma disegnate ed incise da Giambattista Piranesi Architetto veneziano (Frontispiece to Vedute di Roma), 1748, etching on thick laid paper, a fine lifetime impression, the third state (of five), double ring fleurs-de-lys watermark, vertical (as issued) and horizontal central folds, with margins, scattered spotting, a little dust soiled, old drawing pin holes to four corners, plate size 40.5 x 55 cm (16 x 21 1/2 ins), sheet size 45.4 x 61 cm (17 3/4 x 24 ins) QTY: (1)NOTE:Hind 1 (iii/v); Wilton-Ely 134; Focillon 719; Ficacci 872.

* Kay (Bernard, 1927-2001). Laon, circa 1970, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 48.5 cm x 33.7 cm (19.2 x 13.6 ins), full sheet 64.3 cm x 51.3 cm (25.6 x 20.5 ins), together with two other proofs of the image in trial stages, and the original copper printing plate.QTY: (4)

* Piranesi (Giovanni Battista, 1720-1778). Antiquus bivii viarum Appiae et Ardeatinae prospectus... (Frontispiece to Le Antichità Romane II), 1756, etching on laid paper, a strong and arresting impression, 'Gio Batta. Piranesi inv. dis. e incise' to lower right, central fold, good margins (upper and lower margins particularly large), remnants of old tape to verso, minimally tipped onto mount with tape, plate size 40 x 64 cm (15 3/4 x 25 1/4 ins), sheet size 52.2 x 68.2 cm (20 1/2 x 27 ins), framed and glazed (62 x 87 cm) QTY: (1)NOTE:Wilton-Ely 360; Focillon 225; Ficacci 216.

* Holmes (Kenneth, 1902-1994). Victoria Station, circa 1928, etching, depicting a view London looking east from Victoria Station, Westminster Cathedral in the distance, signed in pencil to lower margin, 27.5 x 21.8 cm (10 7/8 x 8 1/2 ins), Thomas Murray & Son Fine Art Dealers label with type written title and artist details to verso, mounted, framed and glazed (58 x 42.5 cm), together withAnderson (Stanley, 1884-1966). Toledo Cathedral, etching, depicting a view of a busy Toledo street, Cathedral in the background, signed in pencil to margin, some spotting to upper left and margins, 24.5 x 30 cm (9 5/8 x 11 3/4 ins), Alex A Haworth Dealer in Works of Art label with type written title, artist and 'edition limited to 70 proofs' to verso, mounted, framed and glazed (47 x 56.5 cm), plusDawson (Nelson Ethelred, 1859-1941). Murano, etching, depicting boats moored at the side of a large building, signed and titled in pencil to lower margin, mount staining, some overall toning, 16 x 20.5 cm (6 1/4 x 8 1/8 ins), mounted, framed and glazed (43 x 48 cm), and 56 other etchings by various artist's including: Claude Hamilton Rowbotham, Wilfrid Ball, David Young Cameron, William Renison, D.M. Clark, A Watson Turnbull, Ronald Green, Hal Hurst, Robert Houston, etc., various sizes, largest 42.5 x 26.5 cm (16 3/4 x 10 1/2 ins), 39 framed and glazed, largest (71 x 50 cm)QTY: (59)

* Kay (Bernard, 1927-2001). Chartres East, etching / aquatint printed in colours on wove, trial proof, signed in pencil and titled to border, plate size 48cm x 33.9cm (18.8 x 13.6 ins.), full sheet 56.5cm x 38cm (21.8 x 14.9ins.), together with the original copper printing plate, and an Artist’s Proof signed edition Interior, Poitiers, signedQTY: (3)

* Hollar (Wenceslaus, 1607-1677). Three Heads, 1645, etching on laid paper, trimmed to plate margins, sheets size 85 x 44 mm (3 3/8 x 1 3/4 ins), hinge-mounted to card window mount with pencil caption to mount (by the print dealers Craddock & Barnerd)QTY: (1)NOTE:Pennington 1690. Only state.

* Jongkind (Johann Barthold, 1819-1891). Moulins en Hollande, 1867, etching on laid paper, a very good impression of the apparent first state (of three), printing with tone, with margins, platesize 14.2 x 19.5 cm (5 5/8 x 7 3/4 ins), sheet size 16.7 x 25.1 cm (6 1/2 x 9 7/8 ins); together with Batavia, 1868, etching, on laid paper, a very good impression of the second (final) state printing with tone, plus Guillaumin (Armand, 1841-1927). Vue prise de Saardam, etching printed in red and olive green, from the 1906 first edition of "Histoire des Peintres Impressionnistes" by Theodore Duret, published by Floury, Paris, and Israëls (Jozef, 1824-1911). The Odd Couple, 1873, two impressions, etchings on Arches laid paper (one with a partial Arches watermark), largest sheet 25.8 x 35.5 cmQTY: (5)NOTE:Jongkind: Delteil 14 & 16; Guillaumin: Kraemer 23.

* Strang (William, 1859-1921). Kilcreggan, 1897, etching on pale cream laid paper, watermarked O.W.P & A.C.L, printed in an edition of 35 impressions, of which possibly 15 were signed, signed in pencil lower right, pale mount stain, plate size 148 x 227 mm (5 7/8 x 8 15/16 ins), sheet size 258 x 375 mm (10 1/4 x 14 3/4 ins), window-mounted, together with Mother Earth, etching on thin laid paper, a state unknown to David Strang, before the mezzotinting, probably issued in one or two proofs only, inscribed by the artist in pencil to lower margin 'to L. Binyon from Wm Strang', plate size 200 x 150 mm (7 7/8 x 5 7/8 ins), with margins, some handling marks to sheet edges, window-mounted, plus Binyon (Helne, 1904-1979). The Tea-Party, circa 1930, etching on laid paper, signed and titled in pencil, window-mountedQTY: (3)

* Piranesi (Giovanni Battista, 1720-1778). Veduta di una parte de’fondamenti del Teatro di Marcello, from Le Antichità Romane IV, 1756, etching on thick laid paper, a crisp impression, 'Piranesi Archit. dis. et Scul.' to lower right, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, very large margins, central fold (strengthened to verso), remnants of old tape to verso where once tipped onto backing board, hinge mounted, plate size 65 x 39.7 cm (25 1/2 x 15 1/2 ins), sheet size 79.7 x 56 cm (30 3/4 x 22 ins), framed and glazed (91 x 64 cm) QTY: (1)NOTE:Wilton-Ely 500; Focillon 367; Ficacci 358.

* Kay (Bernard, 1927-2001). Apse of Notre Dame, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 43 cm x 35.3 cm (16.8 x 13.8 ins), full sheet 62.5 cm x 49.8 cm (24.6 x 19.6 ins), together with the original copper printing plate, and an Artist’s Proof signed edition Chartres EastQTY: (3)

* Nixon (Job, 1891-1938). Gipsies, etching on wove paper, signed in pencil, large margins, inscribed in pencil to bottom of sheet ‘Gipsies’ in another hand, mount stained, tipped on to mount board, plate size 18.5 x 29.5 cm (7 1/4 x 11 1/2 ins), sheet size 25 x 40.5 cm (9 3/4 x 16 ins), framed and glazed QTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Sotterraneo Fondamento del Mausoleo..., from Le Antichità Romane IV, 1756, etching on thick laid paper, a deep impression, 'Piranesi Archit. dis. et inc.' to lower right, central fold, with margins, remnants of old tape to verso (including minimally strengthened centre fold), slightly mount stained, plate size 71 x 46 cm (28 x 18 ins), sheet size 76.4 x 52.9 cm (30 x 21 ins), framed and glazed (62 x 87 cm) QTY: (1)NOTE:Wilton-Ely 474; Focillon 341; Ficacci 332.

* Griggs (Frederick Landseer, 1876-1938). Stoke Poges, 1918, etching on cream laid paper, with partial Brittania watermark, one of only 22 impressions of the final state,hairline fracture running up the right plate margin, continuing as a closed tear to top margin archivally repaired, signed in pencil, a very good impression, plate size 96 x 117 mm (3 3/4 x 4 5/8 ins), sheet size 155 x 173 mm (6 1/8 x 6 9/16 ins), hinge mounted in window mount with Cradock and Barnard pencil annotationsQTY: (1)NOTE:Comstock 20 vi/vi. One of the rarest of Griggs' etchings, an idealised interpretation of the timbered south porch of St. Giles Church, Stoke Poges in Buckinghamshire, itself the inspiration for Thomas Gray's Elegy Written in a Country Churchyard.

* Kay (Bernard, 1927-2001). Portrait of a woman, pastel on laid paper, signed to mount verso, mount aperture 28.5 cm x 22.1 cm (11.4 x 8.8 ins), full sheet 30.5 cm x 22.8 cm (12 x 9 ins), two other works in pastel, an etching of a seated figure, two additional trial pulls and the original copper etching plate, a signed abstract artist’s proof, and 15 copper printing plates including subjects Buttress: Chartres, Ball Games, Tours CathedralQTY: (22)

* Millais (John Everett, 1829-1896). The Bridge of Sighs, etching, depicting a woman dressed in large cloak standing on a riverbank, an arched bridge behind her, image size 11.5 x 9 cm (4 1/2 x 3 1/2 ins), framed and glazed (37.5 x 33 cm)QTY: (1)

* Marieschi (Michele, 1710 - 1743). Aedis divi Rocchi facies rudis adhuc ex cocto latere..., from Magnificentiores Selectioresque Urbis Venetiarum Prospectus, 1741, etching on thick laid paper, printed with great clarity, possibly an early/lifetime impression of the first state (of four) before the addition of plate numbers, with margins, tipped onto backing board, light mount staining, plate size 31.7 x 48 cm (12 1/4 x 19 ins), sheet size 37 x 55 cm (14 1/2 x 21 1/2 ins), framed and glazed (46 x 61.5 cm), together withGaspari (Pietro, circa 1720-1785). Moles sepulcralis semiruta, aliis Sarcophagis et Aedificiis instructa, circa 1771, etching and engraving on laid paper with watermark of three crescent moons, a good impression with margins, plate size 312 x 425 mm (12 1/4 x 16 3/4 ins), sheet size 340 x 450 mm (13 1/4 x 17 3/4 ins) QTY: (2)

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Tempio di Giove Tonante, from Vedute di Roma, 1756, etching on thick laid paper, 1st Paris Edition [1800 - 07], the fourth state (of six), partially visible watermark of 'T. Dupuy, Auvergne', central fold, large margins, short tear to top margin (not affecting image), central fold strengthened to verso, toned overall, fixed to mount in four places with tape, plate size 40.2 x 60 cm (15 3/4 x 23 1/2 ins), sheet size 54 x 78.5 cm (21 1/4 x 31 ins), framed and glazed (62.5 x 87 cm)QTY: (1)NOTE:Hind 44 (iv/vi); Wilton-Ely 182; Focillon 819; Ficacci 920.

* Piranesi (Giovanni Battista, 1720-1778). Iscrizione, e Frammenti delle Camere sepolcrali della Villa de Cinque, from Le Antichità Romane II, 1756, etching on laid paper, a clear impression, 'Piranesi Architetto dis. ed inc.' to lower right, central fold, total plate size approx. 42.2 x 50.7 cm (16 1/2 x 20 ins), framed and glazed (58.5 x 75 cm), together with Framm.to di stucco, cavato dalla volta d'un de' Nicchioni interni..., from Le Antichità Romane II, 1756, etching on laid paper, central fold, a little rippling to paper, plate size 50.7 x 36.2 cm (20 x 14 1/4 ins), framed and glazed (76.5 x 58.5 cm), plus Modo, con quale furono alzati i grossi travertini..., from Le Antichità Romane III, 1756, etching on laid paper, central fold, some spotting, total plate size approx. 46 x 52.5 cm (18 x 20 3/4 ins), framed and glazed (64 x 89.5 cm).QTY: (3)NOTE:Wilton-Ely 406/387/468; Focillon 271/252/335; Ficacci 263/244/325.

AR * Keith Elizabeth, (1887-1956). A Chinese Matriarch, Soochow, 1934, colour etching on cream wove paper, printed by Watanabe in an edition of 25, signed in pencil lower right, mount-stained, inscribed with title in pencil to verso (probably by the artist), plate size 324 by 286 mm (12 and 3/4 by 11 and 1 1/4 ins), sheet size 442 by 347 mm (17 1/4 by 13 5/8 ins) hinge-mounted on backing cardQTY: (1)

AR * Tanner (Robin, 1904-1988). Autumn, 1935, etching on laid paper, an early impression of the second state (of two), signed and dated lower right in pencil 'Robin Tanner. fec. et imp. 1935', open hand watermark, the full sheet, light mount staining, small area of scattered spotting to lower left, plate size 33.5 x 31.7 cm (13 x 12 1/4 ins), unmountedQTY: (1)NOTE:Garton 18.

* Bouverie Hoyton (Edward, 1900-1988). Hedging and Ditching, circa 1925, etching on cream wove paper, signed in pencil, plate mark 215 x 184 mm (8 1/2 x 7 3/16 ins), sheet size 31 x 25.5 cm (12 1/4 x 10 ins), together withSpence (Robert, 1871-1964). Fox under Temptation, etching on cream wove paper, signed in pencil, plate size 20 x 15 cm (7 7/8 x 6 ins), sheet size (15 7/8 x 11 ins), plus two etchings by Charles Chaplin (1907-1987), Cheese Press, 1977, and Bramble & Plough, 1979, each signed, titled, dated, and numbered 16 from an edition of 50 in pencilQTY: (4)NOTE:Provenance: Collection of Neil Green, his stamped monogram to lower right corner of the sheet.

* Piranesi (Giovanni Battista, 1720-1778). Antiquus Circi Martial cum Monumerierten Adiacentia Prospectus ad Viam Appiam (Frontispiece to Le Antichità Romane III), 1756, etching on laid paper, a vibrant impression, 'Gio. Batta. Piranesi inv. dis. e incise' to lower left, central fold, large margins, light mount staining, minimally tipped onto mount with tape, plate size 40 x 60 cm (15 3/4 x 23 1/2 ins), sheet size 52.7 x 69.7 cm (20 3/4 x 27 1/2 ins), framed and glazed (62 x 87 cm) QTY: (1)NOTE:Wilton-Ely 422; Focillon 287; Ficacci 279.

* Scultori (Adamo, circa 1530-1585). Three Putti with Dolphins, after Giulio Romano (c.1499-1546), circa 1560, engraving on laid paper, double ring fleurs-de-lye watermark, with Enrico Lodolo's collector's mark to verso (Lugt 1725), and another unattributed collector's mark to verso, tipped onto backing board, trimmed to image, some scattered spotting, sheet size 11.6 x 16 cm (4 1/2 x 6 1/4 ins), window mounted, and Three Men Sacrificing a Pig (Allegory of Autumn), after Giulio Romano, circa 1560, engraving, a later issue (probably later 18th century) on wove paper, 'Fabriano' watermark, partial 'Calgogra...' blindstamp to right of sheet, research notes in pencil to verso, light spotting, tipped onto backing board, with margins, plate size 12 x 16 cm (4 3/4 x 6 1/4 ins), sheet size approx. 19 x 22.8 cm (7 1/2 x 9 ins), window mounted, plus Saenredam (Jan Pieterszoon, 1565-1607). Sarah, from 'The Wives of Abraham, Isaac and Jacob' after Hendrick Goltzius (1558-1617), circa 1597, engraving on paper, closely trimmed to three edges, small areas of staining, mount aperture 21.2 x 16 cm (8 1/4 x 6 1/4 ins), framed and glazed (37.5 x 30.5 cm), with The bowed Woman cured by Christ, after Hendrick Goltzius, circa 1595, etching on paper, partial collector's stamp in red to lower left recto, trimmed to image (with loss of lower text portion), mount aperture 17.3 x 13.7 cm (6 3/4 x 5 1/4 ins), together with a further collection of loose woodcuts and printer's marks, most trimmed to image, some with printed text to verso QTY: (Approx. 22)NOTE:Estate of Michael Jaffé art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent

* Tute (George, 1933-). Landscape with Balloons, etching, artist's proof, signed, titled and 'AP' in pencil to lower margin, image size 20.5 x 25 cm (8 x 9 7/8 ins), sheet size 38 x 44 cm (15 x 17 1/4 ins), mounted, framed and glazed (47 x 50 cm)QTY: (1)

* Durer (Albrecht, 1471-1528). Virgin and Child seated by a tree, 1513, etching on laid paper, a later copy in reverse (probably late 16th century), without the date near the upper margin, some marks and light stains, upper left corner replaced, trimmed to platemark, sheet size 116 x 75 mm (4 5/8 x 2 15/16 ins), hinge-mounted on modern cardQTY: (1)NOTE:See Meder 34.

* John (Augustus, 1878-1961). Rambling by the Lake, 1909, etching on buff paper, signed in pencil, plate size 17.6 x 12.6 cm (7 x 5 ins), framed and glazed (35.5 x 29 cm), and Middleton Todd (Arthur Ralph, 1891-1966). The Ancestor, etching with drypoint, signed lower right, a proof before the unnumbered edition, Inns & Blake label to verso, plate size 11.5 x 8.6 cm (4 1/2 x 3 1/2 ins), framed and glazed (38 x 29 cm), plus Buckles (Alec, 1892 – 1972). Feasts: Fairs Beggars: Gipsies, an illustration from 'Come hither. A collection of rhymes and poems for the young of all ages' by Walter De la Mare, 1923, woodcut, titled, signed and dated in pencil, image size 10 x 7.5 cm (4 x 3 ins), framed and glazed (40 x 37 cm), together with other etchings by various artists including Donald Maxwell, John Fullwood (4), G. Wyllie (Clifton near Cape Town), Joseph Burns (Doctor Livingston Blantyre), Alburny E Howarth, Donald Crawford, L. Russell Conway, etc.QTY: (15)

* Zorn (Anders Leonard, 1860-1920). Ols Maria, 1919, etching on pale cream laid paper, depicting a young woman seated playing the lute, signed in pencil to lower right, the full sheet, light mount stain, plate size 20 x 29.3 cm (7 7/8 x 11 1/2 ins), hinge-mounted (44.5 x 56.5 cm) QTY: (1)

* Lord (Elyse Ashe 1900-1971). The White Goat, hand-coloured etching, signed with limitation number 73/100 in pencil to lower margin, image size 25.5 x 20 (10 x 7 7/8 ins), contemporary Redfern Gallery label to verso with title, artist, purchaser and date 'July 1935', mounted, framed and glazed (58 x 42.5 cm), together with 7 other black and white prints including: The Corner Shop by H. Mulready Stone, Evening Street Scene by I Walker, Horse and Cart by Madeleine Green, Pas de Feuilles by Daniele Noel, etc., largest 42 x 33 cm (16 1/2 x 13 ins), all framed and glazed, largest (63.5 x 46 cm) QTY: (8)

AR * Drury (Paul, 1903-1987). The Family, 1951, etching on cream wove paper, the fourth state (of 4), published in an edition of 50 or more impressions, with initials PD 51 to lower left corner, signed and dated in pencil lower right, plate size 141 x 176 mm (5 5/8 x 7 ins), sheet size 293 x 44 cm, with printed title label attached to verso, and numeral 47 in pencil to lower left corner rectoQTY: (1)NOTE:Garton 66, iv/iv.

* Chinese School. Tianmu Mountains, 1985, etching with aquatint on wove, titled, numbered 25/60, signed and dated in pencil (in a mixture of Chinese and Arabic characters), the full sheet, window mounted, some scattered spotting, plate size 39 x 37.5 cm (15 1/2 x 14 3/4 ins), sheet size 61.5 x 48 cm, framed (72.5 x 55cm)QTY: (1)