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Herbert DickseeThe Sentinel, hand-coloured etching, 38 x 64.5cmA collection of prints and engravings from Woodleys House, near Woodstock. For 141 years until January 2023 the much loved home to four generations of a branch of the Ponsonby family.

Camille Fonce (1867-1937)River landscape with cathedral, etching in colours, pencil signed in the margin, 45 x 60cm

Hedley Fitton (1858-1929)'The Founders Tomb, Winchester', etching, pencil signed in the margin, 44 x 30cm; another similar; and five further etchings to include: three portrait engravings, 'The Death of Eloisa', and View of Bruges; some unframed (7)

Joseph Pennell (1855/60-1926)'New York from Governor's Island', etching, pencil signed in the margin, 18.5 x 30cm

Jacobus Houbraken after Sir Peter Lely'Henry Bennett Earl of Arlington', etching circa 1739, 37 x 23.5cm; and five further similar, all unframed (6)

D Havell after Henry Salt'Ancient Excavations at Curli', etching in colours with aquatint, no. XIV published by William Miller, 46 x 60cm With Henry Southern Ltd, PiccadillyGrubby marks around title area. Scattered light foxing marks, some of which are probably on the inside of the glass. Otherwise generally good.

20th century continental schoolA winter landscape with distant church, indistinctly signed in pencil to the margin, etching with aquatint numbered 38/50, 29 x 39cm; and S* C* R* - 'Haddenham', signed with initials and dated '32, watercolour, 23.5 x 33.5cm (2)

Henry J Starling (exh. 1935-40)'Abbey Reach, Norfolk', etching, pencil signed in the margin, titled and numbered 20/100, 21.5 x 17cmIn good clean condition. A nice image.

Pictures & Prints - an Oskar Davidsen Sandwich price list; pair of humorous dog caricatures; Jessica Holm, Cottage view, pastel, signed, dated 2007; photographs; A R Blundell, Nelsons Column, signed, etching etc, assorted sizes (14)

James Peake (1792-c.1782) and James Mason (1743-c.1805) after Claude Gellée, called Claude Lorrain (French 1600-1682)Morning; A View on the River Po in ItalyTwo, both engraving and etching42.6 x 57.4cm; 16¾ x 22½in; 41 x 58cm; 16¼ x 22¾in (2)

French School 1722Seven plates from volume II of Bernard de Montfaucon's (1655-1741) 'L'antiquité expliquée et représentée en figures...', comprising Isis (pl.111); Osiris (pl.118); Isis Osiris et Orus (pl.120); Apis et Aelurus ou le Dieu Chat (pl.126); Divinites Egyptiennes (pl.127); Canopes (pl.134); Dieux de la Haute Egypte (pl.142)Each etchingEach approx. 33 x 18.8cm; 13 x 7½in (plate) (7)

William Lionel Wyllie RA (1851-1931)HMS President with St. Paul's Cathedral beyondSigned W L Wyllie (in pencil to margin)Etching30.9 x 22.1cm; 12¼ x 8¾in (plate)Provenance:Royal Exchange Art Gallery, London

William Holman Hunt OM (1827-1910)The Desolation of Egypt (Hartnoll 15)Etching3.7 x 10.4cm; 1½ x 4in (image)

A mixed lot to include an oak cased Elliott mantel clock retailed by Mappin & Webb London standing on brass bun feet, a Victorian copper kettle, a framed etching of Somerset House, an Edwardian Singer sewing machine serial number F918695 circa 1910, a selection of books, a doll, and other items Location:

* Cameron (David Young, 1865-1945). Venetian Palace, etching printed with plate tone, signed in pencil to lower margin, image size 37 x 20.5 cm (14 1/2 x 8 ins), framed and glazed (63 x 52.5 cm)QTY: (1)NOTE:Cameron was a very influential etcher. He studied at Glasgow School of Art before joining life classes at the Royal Scottish Academy. During the First World War, Cameron was appointed official war artist to the Canadian government and in 1933 was made the King's Painter in Scotland.

* Wierix (Anthonie, 1552-circa 1624). Queen Elizabeth I, engraving, a fine, crisp impression, trimmed to the borderline, 80 x 57 mm (3 x 2 1/4 ins), together with Schut (Cornelis, the Elder,1597-1655). Putto pouring water from an urn, etching, a very good, black impression, the upper right corner made up, two collector's marks of the Kunstakademie Düsseldorf to verso (Lugt 702 and 2309), 70 x 97 mm (2 3/4 x 3 3/4 ins), both in generally good condition QTY: (2)NOTE:Provenance: Cornelis Schut: Kunstakademie Düsseldorf, two stamps verso (Lugt 702 and 2309).

* Cameron (David Young, 1865-1945). Ca' d'Oro, 1900, etching printed with plate tone, signed in pencil to lower margin, image size 27.6 x 20.2 cm (10 7/8 x 8 ins), framed and glazed (52.7 x 42.5 cm)QTY: (1)

* Cameron (David Young, 1865-1945). Pont Neuf Bridge, 1904, etching, signed to lower margin, image size 15 x 30.8 cm (5 7/8 x 12 1/8 ins), framed and glazed (32.3 x 42.4 cm)QTY: (1)

* Cameron (David Young, 1865-1945). Highland Kitchen, etching, signed in pencil to lower margin, image size 11.4 x 12 cm (4 1/2 x 4 3/4 ins), framed and glazed (32 x 42.3 cm)QTY: (1)NOTE:Cameron was a very influential etcher. He studied at Glasgow School of Art before joining life classes at the Royal Scottish Academy. During the First World War, Cameron was appointed official war artist to the Canadian government and in 1933 was made the King's Painter in Scotland.

* Cheston (Charles Sidney, 1882-1960). Somerset and Dorset, group of 8 landscape etchings, etching, all signed in pencil, depicting scenes including: The Storm, Purbeck, Aller Hill and Studland Farm, etc., image size 16.9 x 22.8 cm (6 5/8 x 9 ins), sheet size 22.4 x 30 cm (8 3/4 x 11 3/4 ins), all framed and glazedQTY: (8)

* Osborne (Malcolm, 1880-1963). Holyrood Palace, 1913, drypoint etching, signed in pencil, faint mount stain, small stain to right edge of margin, plate size 22.9 x 28.9 cm (9 x 11 3/8 ins), sheet size 29.5 x 40.4 cm (11 5/8 x 15 7/8 ins), hinge mounted, together withBaskett (Charles Henry, 1872-1953), The Dawn Wind, etching with aquatint, signed and titled in pencil, some adhesive marks to blank margins, plate size 34.4 x 51.5 cm (13 1/2 x 20 1/4 ins), sheet size 41 x 56.5 cm, hinge mounted, plusAngus (Stanley, active 1932-1938), City Hall London [actually Middlesex Guildhall], drypoint etching, titled and signed Angus within platemark, signed in pencil to lower right margin, pencilled title The Guildhall in margin, adhesive tape staining to top and bottom margin edges, plate size 41.8 x 21.3 cm (16 1/2 x 8 3/8 ins), sheet size 49.5 x 28.5 cm, with 6 other etchings comprising: 4 by Edward W. Sharland (1884-1967), including the Moat at Bristol Castle, Rouen Cathdedral, Chester Cathedral, and a city docks scene; one by Russell Sidney Reeve (1895-1970), circus folk with camel and giraffe; and one by an unidentified artist, entitled BrugesQTY: (9)

* Walcot (William, 1874-1943). A Tragedy of Sophocles at Hadrian’s Villa, 1913, etching with aquatint on cream wove paper, signed in pencil, pale mount stain, some light spotting, plate size 43.4 x 46.4 cm (17 1/8 x 18 1/4 ins), sheet size 66.7 x 67.3 cm (26 1/4 x 26 1/2 ins), hinge mounted, limited edition 68 copies, together with:Anthony in Egypt No.1 - A Visit to Cleopatra, 1913, etching and aquatint on cream wove paper, signed in pencil, mount stain, some spotting (mainly to margins), two faint scratches to upper left area, plate size 54.7 x 45.9 cm (21 1/2 x 18 ins), sheet size 67.8 x 55.3 cm (26 3/4 x 21 3/4 ins), hinge mounted, limited edition 50 copiesQTY: (2)NOTE:Tragedy: Dickins 1; E H-L 14. Walcot’s R.E. (Royal Society of Painter-Etchers) Diploma print.Anthony: Dickins 4; E H-L 17.

* Brodsky (Horace Ascher, 1885-1969). Expulsion, 1914, linocut on wove paper, this impression hors commerce, aside from the edition of 75 published impressions, signed in pencil lower left and marked H/C lower right, image size 26 x 16.5 cm (10 1/4 x 6 1/2 ins), with margins, framed and glazed (unexamined out of frame), together with Seaby (Allen William, 1867-1953). Lapwings, colour woodcut, unsigned, image size 21.5 x 21.5 cm (8 1/2 x 8 1/2 ins), sheet size 24.5 x 24 cm (9 1/2 x 9 1/2 ins), framed and glazed, plusRichter (Heinrich, 1884-1981). Abstract Female, 1965, lithograph, signed, dated and numbered '10/50 Für Peter', sheet size 21 x 21.9 cm (8 1/4 x 8 5/8 ins), and one etching by Christof SeizQTY: (2)

* Sickert (Walter Richard, 1860-1942). Ennui (The Medium Plate), 1914/15, etching on laid paper, with watermark of a unicorn and letters F J (probably F. J. Head), the rare first state, before all lettering, issued circa 1925 (the final state was advertised in 1929), signed and titled ink, slight diagonal paper flaw from the upper margin into the image, heavy mount stain, plate size 227 x 175 mm (9 x 6 7/8 ins), sheet size 305 x 220 mm (12 x 8 5/8 ins)QTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Bromberg 156 i/vi. The rare first state of one of Sickert's most famous prints, for which Bromberg lists only two impressions (Private Collection, formerly Sir Hugh Walpole, and Victoria & Albert Museum). An impression of the first state was exhibited at the Leicester Galleries exhibition of Sickert's prints in 1925.

* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ driving the Money Changers from the Temple, 1635, etching with drypoint on thin laid paper without watermark, a good but later impression of the fourth (final) state, trimmed on the platemark, retaining a fillet of blank paper around the borderline, one or two thin areas, generally in good condition, 13.8 x 17 cm (5 1/2 x 8 3/4 ins), framed and glazed (35.5 x 41.5 cm)QTY: (1)NOTE:Bartsch, Hollstein 69; New Hollstein 139; Hind 126.

* Walcot (William, 1874-1943). The Trojan Horse - Virgil's Aeneid II, 1914, etching with aquatint on thick wove paper, published in an edition of 29 impressions, signed in pencil, mount stain to margins, some pale spotting, plate size 62.8 x 82.3 cm (24 3/4 x 32 3/8 ins), sheet size 66.3 x 86.3 cm (26 1/8 x 34 ins), hinge mountedQTY: (1)NOTE:Dickins 20; EH-L 35.

* Sickert (Walter Richard, 1860-1942). The Old Bedford (The Large Plate), 1915, etching on pale cream wove paper, the 4th state (of 12), some mount toning, hairline horizontal tear (without loss) to the upper right blank margin just below the platemark (approximately 4.5 cm), the plate printed slightly obliquely onto the sheet, plate size 265 x 156 mm (10 1/2 x 6 1/4 ins), sheet size 326 x 254 cm (12 7/8 x 10 ins), tab-mounted, framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Bromberg 130 iv/xii.

* Soper (George, 1870-1942). Summer, the Last Load, drypoint etching on pale cream wove paper, signed in pencil, laid down on backing card, and outer blank edges of the sheet with heavy glue residue, sheet size 29.5 x 42.5 cm (11 1/2 x 16 3/4 ins), framed and glazed with period printed label of James Connell & Sons., 47 Old Bond Street, London to verso, together with another by the same artistFeeding Time, drypoint etching, signed in pencil, 19.4 x 32 cm (7 5/8 x 12 5/8 ins), framed and glazed with period printed label of James Connell & Sons to verso, plus an etching of a river landscape by Joseph Knight (1837-1909), signed in pencil, framed and glazed, with period printed label of George Barm dealer in works of art, 69 Bradshawgate, Bolton to verso (frame size 58 x 48.5 cm)QTY: (3)

* Walcot (William, 1874-1943). First Wooden Temple of Jupiter, 1918, etching with drypoint and aquatint on cream wove paper, published in an edition of 100 proofs, signed in pencil, tiny foxing spot to upper plate edge, small brown mark to left margin, plate size 12.5 x 17.7 cm (5 x 7 ins), sheet size 22.8 x 28.2 cm (9 x 11 1/8 ins), mounted, together with Emperor Hadrian entering Salonica, 1918, etching with drypoint and rockerwork on cream wove paper, published in an edition of 150 proofs, signed in pencil, lightly toned, one pale foxing spot to right side, plate size 7.9 x 12.6 cm (3 1/8 x 5 ins), sheet size 22.6 x 27.8 cm (8 7/8 x 11 ins), mounted, plus The Sacred Fair, Egypt, circa 1918, etching with drypoint and aquatint on cream wove paper, published in an edition of 51 proofs, signed in pencil, lightly toned, two small brown spots (one to right side, one to lower edge), closed tear towards upper right corner (previously repaired on verso), plate size 15.9 x 22.8 cm (6 1/4 x 9 ins), sheet size 26.8 x 39.3 cm (10 1/2 x 15 1/2 ins), mounted, and St. Peter's, Rome, 1919, etching on cream wove paper, published in an edition of 246 impressions, signed in pencil, plate size 15.1 x 17.4 cm (6 x 6 3/4 ins), sheet size 42.6 x 30.3 cm (16 3/4 x 12 ins), mounted, plus Villa Quintilii, 1921, drypoint with etching and aquatint on cream wove paper, edition of 400 impressions, signed in pencil, lightly toned, some foxing spots, mainly to margins, plate size 18 x 25.4 cm (7 1/8 x 10 ins), sheet size 28.6 x 34.8 cm 11 1/4 x 13 3/4 ins), mountedQTY: (5)NOTE:Dickins 47, 48, 27, 60 and 71; Elizabeth Harvey-Lee 68, 69, 42, 83 and 98, respectively.

* Hampshire (Ernest Llewellyn, 1882-1944). St. Paul's Cathedral from the Thames, etching, signed and titled in pencil, light mount toning, plate size 150 x 230 mm, with margins, together with Trafalgar Square, London, etching, signed and titled in pencil, and three other etchings by Ernest Hampshire: Windsor Castle, York Minster, and Bath Abbey, all signed, plus one other small etching of Westminster by Maria Eaton, signed, all framed and glazedQTY: (6)

* Wyllie (William Lionel, 1851-1931). London Bridge, etching and drypoint on pale cream wove paper, signed in pencil lower left, plate size 124 x 327 mm (4 7/8 x 12 7/8 ins), 195 x 410 mm (7 3/4 x 16 ins), window-mountedQTY: (1)

* Nieuwenkamp (Otto Wynand, 1874–1950). View in Dordrecht, 1897, from the set of six etchings by Nieuwenkamp and Johannes Graadt van Roggen (1867-1959), etching on wove paper, a very good impression printed in brown-black, printing with atmospheric contrasts, signed in pencil, titled 'Dordrecht' and numbered 1-35 No 4, with the blindstamp of the publisher P.J. Zürcher, The Hague, with margins, adhered to the backing board towards the sheet edges, generally in good condition, plate size 28.3 x 20.3 cm (11 x 8 ins), sheet size 40.3 x 30.5 cm; together with Armand Guillaumin (1841–1927), Vue prise de Saardam, etching printed in red and olive green, from the1906 first edition of "Histoire des Peintres Impressionnistes" by Theodore Duret, published by Floury, Paris; Jozef Israëls (1824-1911), The Odd Couple, 1873, two impressions, etchings on Arches laid paper (one with a partial Arches watermark), and Charles West Cope, Hush, 1878, etching on laid paper, a very good proof impression before letters, signed in pencil (the etching was published by The Etching Club, 1879); and Hope Deferred, 1877, etching on laid paper, a very good impression, signed in pencil, both with wide margins, largest sheet size 44 x 29 cmQTY: (6)

* Sickert (Walter Richard, 1860-1942). Jack Ashore (Small Plate), 1923, etching on laid paper, plate size 181 x 134 mm (7 1/8 x 5 1/4 ins), some overall brown discolouration from backing board, sheet size 29 x 21.5 cm (11 1/2 x 8 1/2 ins), framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Bromberg 214, ii/ii.

AR * Brockhurst (Gerald Leslie, 1890-1978). Corinne, 1925, etching on cream laid paper, one of 106 proofs of the fifth state published December 1925, signed in pencil, plate size 139 x 102 mm (5.5 x 4 ins), sheet size 286 x 211 mm (11.25 x 8.3 ins)QTY: (1)NOTE:Wright 50 v/v & 14. Fletcher 50 & 14.

AR * Tunnicliffe (Charles Frederick, 1901-1978). The Old Quarry Road, 1926, etching, a very good impression, on laid paper, signed in pencil and numbered 62/75, with a small margin at bottom, otherwise trimmed to the platemark, slight discolouration verso, generally in good condition, sheet size 23 x 30.2 cm (9 x 11 7/8 ins)QTY: (1)

AR * Tunnicliffe (Charles Frederick, 1901-1979). The Kestrel, 1927, etching with drypoint on laid paper, from the published edition of 75 impressions, signed and numbered 32/75 in pencil, plate size 253 x 358 mm (10 x 14 1/8 ins), sheet size 285 x 405 mm (11 1/4 x 16 ins)QTY: (1)

AR * Tanner (Robin, 1904-1988). Martin's Hovel, 1927, etching on pale cream heavy wove paper (with partial blindstamped title visible to extreme lower right blank corner for the Robin Tanner Memorial Portfolio), likely to have been issued by Merivale Editions in 1989, but an unnumbered impression aside from the published edition of 100, artist's name and date etched in the image lower left, plate size 16 x 18.8 cm (6.4 x 7.5 ins), sheet size 29.5 x 34.7 cm (11 5/8 x 13 5/8 ins), framed and glazed (42.4 x 43.2 cm)QTY: (1)NOTE:Garton 3.According to Garton the hovel is based on a farm building in Allington near Chippenham. As with most of Tanner's work the image is an amalgamation of studies including Saint Nicholas Church at Biddestone, the gate with a cowhorn fastening in Upper Castle Combe and a tree on a ha-ha wall in Corsham.

AR * Badmin (Stanley Roy, 1906-1989). Evening Light, near Sevenoaks, 1929, etching on laid paper, a fine artist's proof on antique Dutch laid paper (watermarked with shield and 'Charles I'), aside from the edition of 40 published by XXI Gallery, signed and titled in pencil, additionally inscribed by him 'To David & Mary on their 25th', plate size 130 x 166 mm (5.1 x 6.5 ins), sheet size 222 x 270 mm (8 7/8 x 9 5/8 ins), framed and glazed, with label to verso (by the artist) giving the title of the work as 'Evening Light (near Sevenoaks & Riverhead)', and artist's name, publication details, further inscribed 'To David & Ellen Downey on their 25th Anniversary'QTY: (1)NOTE:Beetles 16.

AR * Badmin (Stanley Roy, 1906-1989). Burford, Oxfordshire, 1931, etching on laid paper (indistinctly watermarked), an artist's proof (aside from the edition of 45 published by the Twenty One Gallery), signed and inscribed "To David & Mary Downey with best wishes" in pencil, plate size 137 x 194 mm (5 3/8 x 7 3/8 ins), sheet size 200 x 260 mmQTY: (1)NOTE:Beetles 25.

AR * Badmin (Stanley Roy, 1906-1989). Mill Street W, 1932, etching on Basingwerk Parchment wove paper, with margins, signed and titled in pencil, and additionally inscribed "1st T - 1st St., Frankfort & B.V. , one ed. only", and further inscribed by the artist to lower blank margin "1.1. May 20th 1937", plate size 155 x 170 mm (6 1/5 x 6 4/5 ins), sheet size 220 x 283 mm, hinged to top margin of mount, framed and glazedQTY: (1)NOTE:Beetles 33.Illustrated in Fine Prints of the Year 1932. Issued by the Twenty One Gallery in an edition of 25 impressions in 1932. The present work is a trial proof, apparently printed by the artist in 1937, and very likely given as a present to David and Mary Downey, related to Badmin by marriage. The Twenty One Gallery on Mill Street was bombed during the Second World War, and the street is now a continuation of Savile Row. According to the artist, the man entering the gallery in the scene is a self portrait.

AR * Badmin (Stanley Roy, 1906-1989). Priory Pond, 1932, etching on laid paper, watermarked L.& CIE (FRANCE), signed, titled and additionally inscribed to lower blank margin Priory Farm Kingstanley Glos., and marked 2nd state, a rich, delicate impression, plate size 132 x 157 mm (5.2 x 6.2 ins), sheet size 214 x 216 mm (8.4 x 8.5 ins)QTY: (1)NOTE:Beetles 32.Priory Pond is near Kingstanley, Stroud, Gloucestershire. The subject of this etching is the Saxon barn at Priory Farm, Leonard Stanley, Gloucestershire. The first edition and records were lost in the war but the plate survived.

* Rembrandt (Harmensz. van Rijn, 1606-1669). The Death of the Virgin, 1639, etching on laid paper, without watermark, the fourth state (of 5), some overall light scattered spotting, with margins, small pinhole to lower left of the image (in the draped tablecloth), with William Sharp's initials in brown ink (Lugt 2650), plate size 410 x 310 mm (16 x 12 1/4 ins), sheet size 430 x 340 mm (17 x 13 1/4 ins), framed and glazedQTY: (1)NOTE:Provenance: William Sharp (early 19th-century), of Manchester, a friend of Sir Mark Masterman Sykes (1771-1823), one of the great connoisseurs of the period who owned nearly 100,000 prints. Sharp's collection was sold at Sotheby's on March 1st, 1878 and 11 following days. According to Lugt, the collector's identity may also be that of William Sharp (1795-1881) of Enwood Court, Handsworth, near Birmingham 'a lead and glass merchant originally from Manchester', whom Waagen met during a visit to the midlands in 1854, or perhaps his father; Collection of Sir Lawrence Gowing (1918-1991).Bartsch 99; New Hollstein 173, iv/v; Hind 161.

* Adamson (George Worsley, 1913-2005). Whit Monday, St. Mary's, Wigan, 1947, etching, the 5th state, printed in 1980, signed, titled, and numbered 9/35, plate size 40.2 x 28.4 cm (15 3/4 x 11 1/8 ins), together with Dixon (Frederick Clifford, 1902-1992). A London Street, 1927, etching, signed in pencil lower right, plate size 23.2 x 29.2 cm (9 1/8 x 11 1/2 ins), plus Brangwyn (Frank, 1867-1956). A Romantic Landscape, etching printed with pale green plate tone, signed in pencil, plate size 15 x 23.3 cm (5 7/8 x 9 1/8 ins), and three other etchings, including one by William Walcot, signed in pencil, an estuary landscape by B. Eyre Walker, and The Coming Storm by Geoffrey S. Garnier, signed, titled and numbered 90/100 in pencil, all framed and glazed (Eyre Walker without glass)QTY: (6)NOTE:G. 317 (Brangwyn).

AR * Brunsdon (John, 1933-2014). Coastal Scene on the Lleyn Peninsula, etching and aquatint, titled, signed and numbered 84/350 in pencil, plate size 60 x 45 cm (23.5 x 17.3/4 ins), sheet size 79 x 57 cm (31 x 22 1/2 ins), framed and glazed, Christie's Contemporary Art label to verso, together with Rugged Farmland, etching and aquatint, titled, signed and numbered 46/150 in pencil to lower margin, plate size 22.5 x 28.8 cm (8 7/8 x 11 3/8 ins), framed and glazed (39.2 x 44.5 cm)QTY: (2)NOTE:Provenance: 'Farmland' was purchased from Christie's in March 1986 and has since been kept in the same family.

AR * Tanner (Robin, 1904-1988). Easter, 1970, etching on cream handmade wove paper, with watermark 'handmade', a very good, strong impression of the third (final) state, signed in pencil and numbered 2/50, from the edition published by Penn Print Room, 1974 (there was a further edition of 25 published by Garton & Cooke, in 1984), wide margins, a deckle edge at top and right, plate size 39 x 26.6 cm (15 3/8 x 10 1/2 ins) sheet size 51 x 43.7 cm (20 x 17 1/4 ins)QTY: (1)NOTE:Garton 25.

AR * Tanner (Robin 1904-1988). Full Moon, 1973, etching on pale cream heavy wove paper, signed in pencil to lower margin, sheet margins to verso lightly abraded, plate size 24.3 x 18.8 cm (9 5/8 x 7 3/8 ins), sheet size 32.9 x 26.4 (12 7/8 x 10 3/8 ins), framed and glazed (45.8 x 39 cm)QTY: (1)NOTE:Garton 29, iii.According to Garton the setting of this etching is the valley of Woodford Brake near the cobbled ford across Broadmead Brook which runs between Nettleton and Castle Combe.

AR * Tanner (Robin, 1904-1988). The Plough, 1973, etching on pale cream wove paper, from the edition of 12 impressions, published by Garton & Cooke in 1982, signed in pencil to centre of lower blank margin 'Robin Tanner', plate size 16 x 18.8 cm (6.4 x 7.5 ins), sheet size 26.6 x 34.4 cm (10 1/2 x 13 1/2 ins), framed and glazed (42.4 x 43.2 cm)QTY: (1)NOTE:Garton 30 iv.

* Feild (Maurice, 1905-1988). W. H. Auden, three lithographs on pale cream wove paper, plus two duplicates, each signed in pencil, one marked artist's proof, sheet size 41 x 38 cm (16 x 15 ins) and similar, together with other various modern prints including a late re-issue of Sickert's Noctes Ambrosianae, from the cancelled plate, an etching signed in the plate V. d. S. after a drawing by Augustus John of a woman's head in profile, numbered in pencil 28/35, a signed etching by Graeme Willson, entitled The Dream of Cuthbert Broderick, 1985, signed and numbered 15/60, an etching by Elaine Shemilt, signed, dated '75, numbered 2/5, and two other etchings, dated 1981 and 1982 by Susan Horlode (?)QTY: (11)

AR * Pasmore (Victor). Cave of Calypso I, 1977, colour etching on thick wove paper with blindstamp, from the edition of 60 impressions published by Marlborough Graphics, signed and dated by the artist lower right, and numbered 30/60 lower left, some overall discolouration, plate size 37 x 37.5 cm (14 1/2 x 14 3/4 ins), sheet size 68.5 x 58.5 cm (27 x 23 ins), framed and glazed, with Christie's Contemporary Art label to versoQTY: (1)NOTE:Bowness & Lambertini 59.

* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ at Emmaus, 1654, etching, burin and drypoint, a good but later impression of the fifth (final) state on wove paper, trimmed to the subject, a short repaired tear lower left, paper thinning in places at the lower sheet edge, some faint brown spotting, trimmed on the platemark, sheet 21.1 x 16.1 cm (8 1/4 x 6 3/8 ins) framed and glazed (33.5 x 27.5 cm)QTY: (1)NOTE:Bartsch, Hollstein 87; New Hollstein 283.

AR * Tanner (Robin 1904-1988). December: Elegy for the English Elm II, 1978, etching on wove paper, depicting an ancient chapel with bell tower, set in a valley lit by a crescent moon, from the edition of 25 published by Garton & Cooke, 1984, signed in pencil to lower margin, plate size 30.3 x 24.3 cm (11.75 x 9.5 ins), sheet size 44.3 x 39 cm, Garton & Co label to verso with printed title and edition, framed and glazed (51 x 45 cm)QTY: (1)NOTE:Garton 39 ii. According to Garton the church derives from the North Wiltshire church of Inglesham (which William Morris 'saved' from restoration). The wooden plough is one preserved by Lackham College of Agriculture.

AR * Brunsdon (John, 1933-2014). Minsmere Beach, etching and aquatint, signed, titled and numbered '72/125' in pencil, mount aperture 47.5 x 63 cm (18 3/4 x 24 3/4 ins), framed and glazed (67 x 81 cm) QTY: (1)

* Martin (Frank Vernon, 1921-2005). Sèvres Babylone, circa 1981, colour etching on embossed paper, titled, signed and numbered '71/150' in pencil to lower margin, plate size 38.4 x 54 cm (15 1/8 x 21 1/4 ins), sheet size 57.5 x 78 cm (22 5/8 x 30 3/4 ins) framed and glazed, together with Montparnasse Bienvenue, colour etching on embossed paper, titled, signed and numbered '71/150' in pencil to lower margin, plate size 38.4 x 54 cm (15 1/8 x 21 1/4 ins), sheet size 57.5 x 78 cm (22 5/8 x 30 3/4 ins), framed and glazed (61.8 x 81.5 cm)QTY: (2)

AR * Tanner (Robin, 1904-1988). Still is the Land (The Farms of Home), 1986, etching on pale cream wove paper, from the edition of 10 impressions, published by Garton & Co. in 1988, printed by the artist, and initialled by the artist to lower margin, plate size 14.4 x 20.8 cm (5 5/8 x 8 1/4 ins), sheet size 28.3 x 37 cm (11 1/8 x 14 1/2 ins), framed and glazed (36.5 x 42.4 cm)QTY: (1)NOTE:Garton 49 ii.

AR * Tindle (David, 1932-). David's Jacket, 1994, etching and aquatint, from an edition of 50 impressions, signed, and numbered 31/50 in pencil, plate size 25 x 20 cm (10 x 8 ins), with margins, framed and glazed, with Redfern Gallery label to verso, dated 1995QTY: (1)

* Poilly (Nicolas Jean-Baptiste 1675-1747). Pan teaching Daphnis to play the pipes, circa 1700, engraving, a very good impression, with thread margins or trimmed on the platemark, retaining a fillet of blank paper around the borderline, some minor discolouration and a small skinned area in the margins, together with Borgianni (Orazio, circa 1578–1616). God creating the Sun and the Moon,after Raphael, 1615, etching, a very good impression, with narrow margins, adhered to a backing sheet at the reverse sheet corners, some foxing mainly towards the left and right of the image, plus Rode (Christian Bernhard, 1725-1797). Romulus and Remus, 1770, etching, a very good impression, with margins, some minor discoloration, and Manner of Parmigianino. A Female Saint, etching, a very good impression, trimmed to the borderline, some condition defects, 275 x 195 mm (10 7.8 x 7 3/4 ins) and smaller QTY: (4)NOTE:Poilly's engraving of Pan teaching Daphnis to play the pipes is based on a Roman copy of a Hellenistic original in the Uffizi Galleries, Florence (Inv. no. 1914 n. 92); Rode, Romulus and Remus: Jacobs 195.

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Pantheon d'Agrippa oggi Chiesa di S. Maria ad Martyres (from Vedute di Roma), 1761, etching printed on thick laid paper, with watermark of a fleur-de-lys within a double ring, a fine clean impression of the first state (of 5), generally in excellent condition, short closed vertical tear to centre of lower blank margin, plate size 47.5 x 69.5 cm (19 1/2 x 27 3/8 ins), sheet size 54 x 78.5 cm (21 1/4 x 31 ins), black and gilt frame, glazed with mid 20th century printed label of P. & D. Colnaghi & Co. Ltd. to versoQTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Romano Campidoglio con Scalinata che va alla Chiesa d'Araceli, (from Vedute di Roma), 1757, etching printed on thick laid paper, with watermark of a fleur-de-lys within a double ring, a fine strong and clear impression of the second state (of 5), generally in excellent condition with full margins (now folded in to fit the current window-mount), pale mount stain and a few associated light spots, plate size 40.5 x 54.5 cm (16 x 21 1/2 ins), sheet size 55.5 x 80 cm (21 5/8 x 31 1/2 ins), black and gilt frame, glazed with mid 20th century printed label of P. & D.Colnaghi & Co. Ltd. to verso QTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Obelisco Egizio (from Vedute di Roma), 1759, etching printed on thick laid paper, with watermark of a fleur-de-lys within a double ring, the second state (of 5), with full margins, generally in excellent condition, old stitch marks to upper blank margin of the sheet (the outer blank margins now folded in to fit the current card window-mount), plate size 54.5 x 40.5 cm (21 1/2 x 16 ins), sheet size 80 x 56 cm (31 1/2 x 22 ins), black and gilt frame, glazed with mid 20th century printed label of P. & D. Colnaghi & Co. Ltd. to versoQTY: (1)NOTE:Hind 53, ii/v; with full margins.Fine lifetime impression.

* Sandby (Paul, 1731-1809). A collection of 18 engravings after Paul Sandby, 1770's-1780's, very good impressions, including four by Michael Angelo Rooker: A South East View of Windsor Castle, engraving, 1776, on laid paper (inscribed ‘Mrs Thomson’ verso in pencil); Chatsworth in Derbyshire, engraving, 1775; Seat of the Right Hon.ble the Earl of Harcourt at Nuneham with a distant view of Oxford, engraving, 1775, the latter two on laid paper laid down on card, varnished, the latter inscribed lower margin ‘varnished by my father W.S.’; Knole Park in Kent, engraving, 1775, on laid paper; and Wynn Stay in Denbighshire, 1775, on laid paper; Richard Bernard Godfrey after Paul Sandby, Pembroke Castle, engraving, 1778, on fine laid paper; Mannorbeer Castle, 1779, on laid paper watermarked B B Brun; Woodstock, engraving, 1777, on wove paper, two by William Walker after Sandby: Queen’s Gate at Caernarvon, 1778, engraving on laid paper, and View of Boniton Lin, engraving, 1788, on laid paper laid down on card, varnished; two by Francis Chesham after Sandby: Roche Abbey in Yorkshire, engraving, 1780, on laid paper laid down on card, varnished, inscribed lower margin ‘varnished by my father W.S.’, and The Hot Wells at Bristol from a Meadow, near Rownham Passage, on laid paper with a partial Grapes watermark; two by William Watts after Sandby: Ruins of Stanton Court in Oxfordshire, 1778, and West View of Nottingham Castle, engraving, 1776, both on wove paper; W. & J. Walker after Sandby, Gresford Cottage, Denbighshire, engraving, on wove paper, 1793; Thomas Milton after Sandby, Newstead, in Nottinghamshire, The Seat of Lord Byron, 1780, engraving, on laid paper with an indistinct watermark; and Benjamin Green after Sandby, The Welch Bridge at Shrewsbury, engraving, 1776, on laid paper; plus four engravings by and after other artists, including Joseph Lambert after James Storer, Remains of Eltham Palace, Kent, 1811, etching on wove paper; W. Watts after C. Metz, View of the Isle of Anglesea, 1784, on wove paper; Thomas Milton after Francis Wheatley, Mallahide Castle in the Co. of Dublin, 1783, engraving on wove paper; and Thomas Milton after John James Barralet, The Dargle in the Co. of Wicklow (from Milton’s Views), engraving, 1783, on wove paper, various sizesQTY: (21)