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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.

* Piranesi (Giovanni Battista, 1720-1778). Veduta di un Eliocamino per abitarvi l'Inverno..., from the Vedute di Roma, 1777, etching and engraving on heavy laid paper, 1st Paris edition, the first state (of three), printed with great depth, with margins, plate size 42 x 60 cm (16 1/2 x 23 1/2 ins), sheet size 54 x 69.5 cm (21 1/4 x 27 1/2 ins), modern good quality antique-style black and gilt frame, glazedQTY: (1)NOTE:Hind 133 (i/iii); Wilton-Ely 266; Focillon 847; Ficacci 1004.

* Sandby (Paul, 1731-1809). Landscape with Travellers, 1758, etching on paper, 'P Sandby Inv Sculp' inscribed lower left, Brodbury House Gallery label to frame verso, plate size 24 x 19 cm (9 1/2 x 7 1/2 ins), framed and glazed (36.5 x 30 cm), together with Waterloo (Anthonie, 1609-1690). Three landscapes, etching on paper, each inscribed to the upper margin 'Antoni Waterlo fe. et in.' or 'Antoni Waterlo in. et ex.', some light toning, largest mount aperture 13.5 x 15 cm (5 1/4 x 6 ins), uniformly framed and glazed (the largest approx. 19 x 21.5 cm)QTY: (4)

* Ricci (Marco, 1676/79-1729/30). Landscape with Ruins, & Landscape with a Village on a Hill, from the series of 20 landscapes, 1730, etching on laid paper, one with small watermark of a W, with a small circle at the end of each point, trimmed to plate margins, 292 x 433 mm (11 1/2 x 17 ins), together with two other slightly smaller landscape etchings after Marco Ricci, each numbered in roman numerals to lower right corner VIII and XI, some fraying and short closed tear to upper margin to one etching, the other with trimmed margins, sheet size 265 x 388 mm and slightly smallerQTY: (4)

* Herregouts (Jan Baptist, 1640-1721). St Cecilia, etching on laid paper with Strasbourg Lily watermark (and another watermark, unidentified), some scattered spotting, with thread margins, small circular collector's mark to lower right corner verso of the Chevalier Joseph-Guillaume-Jean Camberlyn (1783-1861), plate size 345 x 255 mm (13 1/2 x 10 ins), sheet size 350 x 260 mm (13 3/4 x 10 5/16 ins), adhered to later backing paper at upper corners only, card window mount, with label of John Leech Gallery, 10 Lorne Street, Auckland, New Zealand, to versoQTY: (1)NOTE:Lugt 514.Chevalier Joseph-Guillaume-Jean Camberlyn was born in Ghent and served from 1815 in the Dutch army. He was in favour with King William I, and lived for a long time in The Hague. He had left the army by 1830 and settled in Brussels, confining himself to voluntary solitude, and devoted himself almost exclusively to his love of prints and paintings. He published various articles, on Memling, and other primitives and was friends with the great collector Baron Verstolk. His personal collection of prints contained approximatley 4,000 prints. After his death his collection was sold over three sales, in April & November 1865 by Guichardot in Paris and in April 1867 by Henry Le Roy in Brussels.

AR * Blampied (Edmund, 1886-1966). Ostend, etching with drypoint, signed in pencil, from the edition of 100, even mount staining, fixed to mount with tape to upper margin of sheet verso, plate size 17.5 cm x 25.5 cm (6 3/4 x 10 ins), sheet size 25.5 cm x 33.5 cm (10 x 13 1/4 ins), window mountedQTY: (1)NOTE:Appleby & Arnold 124.

* Piranesi (Giovanni Battista, 1720-1778). Veduta della Facciata di dietro della Basilica di S. Giovanni Laterano, from the Vedute di Roma, 1775, etching and engraving on heavy laid paper, the second state (of 4), cartouche with 'V 24' added, a very good, richly inked impression, with good margins, plate size 710 x 490 mm (28 x 19 1/4 ins), sheet size 55 x 75 cm, modern good quality antique-style black and gilt frame, glazedQTY: (1)NOTE:Hind 122, ii/iv; Wilton-Ely 255.The Church of San Giovanni di Laterano was the official seat of the Pope, as well as the oldest church in Europe, completed in 1737 in a neo-classical style with a facade by Alessandro Gallilei.

AR * Webb (Joseph, 1908-1962). A Master's House, 1930, etching and drypoint on cream wove paper, from the edition of 50 impressions, signed in pencil, additionally inscribed 'A Master's House. III rd state' lower left and 'Printed by H. Welch Esq. Oldfield House. Brook Green' to lower margin in another hand, with margins, light mount staining, remnants of old tape in two places to upper extreme margin, plate size 175 x 347 mm (7 x 13 1/2 ins), sheet size 270 x 450 mm (10 1/2 x 17 1/2 ins)QTY: (1)NOTE:Guichard 24.

* Gross (Anthony, 1905-1984). Naaf River, Arakan, Burma, 1946, etching on wove paper, signed, titled and numbered 29/50 in pencil, with margins, Oxford Gallery label to frame verso, plate size 11 x 19.7 cm (4 1/4 x 7 3/4 ins), sheet size approx. 20.5 x 28 cm (8 x 11 ins), framed and glazed (22.5 x 30 cm), together with Le Moal (Jean, 1909-2007). Paysage Breton, 1949, etching on wove paper, signed, dated and numbered 21/25 in pencil, W. Heffer & Sons, Ltd., Cambridge label to frame verso, plate size 11 x 11 (4 1/4 x 4 1/4 ins), in a mid-century wooden frame (34.5 x 27.5 cm)QTY: (2)NOTE:Naaf River: Herdman 4601.

* Piranesi (Giovanni Battista, 1720-1778). Veduta dell'avanzo del Castello..., from the Vedute di Roma, 1753, etching and engraving on heavy laid paper, the fourth state (of six), an impression with contrast, with margins, plate size 40 x 60.5 cm (15 3/4 x 23 3/4 ins), sheet size 51 x 70 cm (20 x 27 1/2 ins), modern good quality antique-style black and gilt frame, glazedQTY: (1)NOTE:Hind 34 (iv/vi); Wilton-Ely 169; Focillon 822; Ficacci 907.

* Grimaldi (Giovanni Francesco, 1606-1680). Landscape with fishing boat and figures by a river, etching on laid paper, sheet size 160 x 227 mm (6 1/4 x 8 7/8 ins), tipped on to old laid backing paper, together with other various 17th and 18th century Italian and French landscape etchings, incluidng examples by Barbault, Boissieux, Chiboust, etc.QTY: (12)

AR * Drury (Paul, 1903-1987). September, 1928, etching on wove paper, signed in pencil lower right below image, numbered 17/100 in pencil lower left, the second printing published by Garton & Cooke, 1987 in an edition of 100 impressions, plate size 10 x 12.8 cm (4 x 5 ins), sheet size 24.5 x 28.5 cm (9 3/4 x 11 1/4 ins), framed and glazed QTY: (1)NOTE:Garton 24.

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Tempio di Cibele a Piazza della Bocca della Verita, 1758, etching and engraving on heavy laid paper, later Paris edition, the final state (of 5), lower portion of text (below image) removed and stuck to verso of frame, areas of staining, mount aperture 35 x 58.5 cm (13 3/4 x 23 ins), framed and glazed (43.5 x 67 cm)QTY: (1)NOTE:Hind 47 (v/v); Wilton-Ely 183; Focillon 820; Ficacci 921.

* Jones (David, 1895-1974). Gulliver takes leave of his family, 1925, wood engraving, a proof aside from the edition of 480 as published in Travels into Several Remote Nations of the World, by Lemuel Gulliver, published by Golden Cockerel Press, image size 5.8 x 5.8 cm (2 1/4 x 2 1/4 ins), framed and glazed (33.5 x 28.5 cm) and Stevens (Geoffrey Howard, 1899-1979). The Black Shed, 1932, etching on wove paper, signed in pencil, additionally signed and dated in the plate, plate size 16.4 x 23 cm (6 1/2 x 9 ins), framed and glazed (36.5 x 42.5 cm) plus Jacomb-Hood (George Percy, 1857-1929). Combat of St. George and Sansfoy, circa 1880, etching on paper, as published in The Portfolio in 1880, image size 19.7 x 16.2 cm (8 x 6 1/4 ins), framed and glazed (35.5 x 37.5 cm) QTY: (3)

* Brodzky (Horace Ascher, 1885-1969). Hadrian's Villa, Tivoli, 1912, etching with drypoint on brown fibrous buff paper, signed, dated and titled in pencil to lower margin, with margins, even mount toning, tipped onto backing mount, plate size 10.3 x 13 cm (4 x 5 1/4 ins), sheet size 18.5 x 22 cm, window mounted, plus The Aviary, Brockwell Park, 1912, etching with drypoint on thin laid paper, signed, dated and titled in pencil to lower margin, with margins, tipped onto mount, plate size 12.5 x 15 cm (5 x 6 ins), sheet size 17.5 x 21 cm, window mounted, together with two further etchings on paper of European landscape views by the same artist, both signed in pencil, the largest plate size 15 x 17.5 cm (6 x 7 ins), each window mountedQTY: (4)

* Goya (Francisco, 1746-1828). Por que fue sensible (Because she was susceptible), from Los Caprichos, 1799 [but later], etching and aquatint on wove paper, plate 32 from Los Caprichos, from the fifth edition, printed by the Calcografica for the Real Academia Madrid, 1881-1886, light spotting to blank margins, plate size 215 x 150 mm (8 1/2 x 6 ins), sheet size 285 x 210 mm (11 1/4 x 8 1/4 ins)QTY: (1)NOTE:Harris, Goya: Engravings and Lithographs (1964), 67.

AR * Moore (Henry, 1898-1986). Two Reclining Figures, 1978, etching on Arches wove paper, signed and numbered III/XV in pencil, a proof before the edition of 75, printed by Atelier Lacourière et Frélaut, Paris, plate size 29.7 x 22.5 cm (11 3/4 x 9 ins), framed and glazed (72 x 57 cm)QTY: (1)NOTE:Another impression of this etching can be found in the collection of the Henry Moore Foundation, catalogue number CGM 468.

AR * Moore (Henry, 1898-1986). Reclining Mother and Child I: Profile, 1979, etching with drypoint on Arches wove paper, signed and numbered 38/50 in pencil, printed by Michael Rand and published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Lillian Heidenberg Gallery, New York City label to frame verso, mount toning (not affecting image), plate size 22.5 x 28 cm (9 x 11 ins), framed and glazed (55.5 x 58.5 cm)QTY: (1)NOTE:Cramer 514. Henry Moore Foundation catalogue number CGM 514.

* Meryon (Charles, 1821-1868). Tourelle, Rue de la Tixéranderie, 1852, etching with drypoint on laid paper, the third state (of five), a richly inked impression, with very wide margins, 'Hudelist' watermark, partial dealer's stamp to sheet verso, plate size 24.5 x 12.9 cm (9 5/8 x 5 ins), sheet size 48.5 x 32 cm (19 x 12 1/2 ins), window mountedQTY: (1)NOTE:Delteil/Wright 29 (iii/v); Schneiderman 24.

AR * Dali (Salvador, 1904-1989). Don Quixote, etching, plate size 17 x 12.3 cm (6 3/4 x 4 7/8 ins), framed and glazed (48 x 42 cm), authentication label to versoQTY: (1)

* Bauer (Marius Alexander Jacques, 1867-1932). Een Straat In Constantinopel (A Street in Constantinople), 1893, etching, initialled in pencil to lower right, image size 47.5 x 63 cm (18 6/8 x 24 3/4 ins), mounted, framed and glazed (72.5 x 86.5 cm), together with De Koningin Van Sheba Te Jeruzalem (The Queen of Sheba at Jerusalem), 1893, etching, No. 97 [of 100 impressions] and initials in pencil to lower margin, image size 32 x 33 cm (12 1/2 x 13 ins), mounted, framed and glazed (58 x 55.5 cm), plus 4 other etchings by the same artist comprising: De Reiniging van den Tempel (Christ Cleansing the Temple) trial proof, De Schoone Slaapster (The Sleeping Beauty), Romance, and Een Fakir in Den Tempel van Madura (A Fakir in the Temple at Madura), all from a limitation of 100 impressions, all signed or initialled in pencil to lower margin, some occassional spotting and toning, largest image size 23 x 18 cm (9 x 7 1/8 ins), all in matching cream mounts (56 x 40.5 cm), together with Een Optocht met Vaandels (A Procession with Banners), 1902, etching, trial proof, initialled in pencil to lower right, image size 37.5 x 32.5 (14 3/4 x 12 3/4 ins), mounted, framed and glazed (64 x 55.5 cm), plus Intocht van een Koning (Entry of a King), 1894, etching on cream wove paper, numbered titled and initialled in pencil to lower margin, 115/150 impressions, some very light toning, image size 30.5 x 46.5 cm (12 x 18 1/4 ins), sheet size 37 x 54 cm (14 1/2 x 21 1/4 ins), and two other etchings by Bauer comprising: Een Kruidenbazaar te Cairo (A Herb Bazaar in Cairo), 1926, 79/100 impressions, and Eene Overdekte Straat in Cairo (A Roofed Street in Cairo), 1922, 50/100 impressions, both numbered and initialled in pencil to lower margin, some overall toning, largest sheet size 45.5 x 29 cm (17 7/8 x 11 3/8 ins), in card mounts (55.5 x 40.5 cm)QTY: (10)

* Brunsdon (John, 1933-2014). Pembroke II, 1969, etching with aquatint on wove paper, signed, titled and numbered 14/45 in pencil, the full sheet, image size 40.5 x 30 cm (16 x 12 ins), sheet size 57 x 39 cm (22 1/2 x 15 1/2 ins), plus Hilton (Matthew, 1948-). Dora, screenprint in colours on wove paper, signed, titled and numbered 'P.P.III', one of three printer's proofs aside from the edition of 100, the full sheet, sheet size 60 x 51 cm (23 3/4 x 20 ins), together with prints by or after Ronald Searle, Alistair Grant, W Meadows and one other indistinctly signed, the largest sheet 57 x 77 cm (22 1/2 x 30 3/4 ins), all unframedQTY: (6)

* Piranesi (Giovanni Battista, 1720-1778). Veduta degli Avanzi del Foro di Nerva, from the Vedute di Roma, 1757, etching and engraving on heavy laid paper, the fifth state (of seven), an impression with good contrast, with margins, plate size 40.3 x 62 cm (16 x 24 1/2 ins), sheet size 51.5 x 71.5 cm (20 1/4 x 28 1/4 ins), modern good quality antique-style black and gilt frame, glazedQTY: (1)NOTE:Hind 42 (v/vii); Wilton-Ely 181; Focillon 749; Ficacci 919.

* Cameron (David Young, 1865-1945). Amboise, 1903, etching on laid paper, signed in pencil, published in The Studio in Representative Art of Our Times Pt. IV, 1902-1903, plate size 26 x 15.2 cm (10 1/4 x 6 ins), sheet size 31 x 19.5 cm (12 1/4 x 7 3/4 ins), window mounted, plus Upper Green, Charterhouse, 1895, etching on laid paper, signed, titled and dated in the plate, plate size 11.4 x 16.1 cm (4 1/2 x 6 1/2 ins), sheet size 18 x 23 cm (7 x 9 ins), window mounted, together with an etching of Perth Bridge by the same artist, unframedQTY: (3)NOTE:Rinder 252 (ii/ii), 241.

AR * Bawden (Richard, 1936-2024). River Stour at Nayland, etching with aquatint, signed, titled and numbered 26/75 in pencil, with margins, plate size 49.5 x 39.7 cm (19 1/2 x 15 1/2 ins), framed and glazed (72 x 59 cm)QTY: (1)

* Armitage (Kenneth, 1916-2002). Landscape, 1977, etching on Crisbrook handmade wove paper, from the published edition of 30 impressions, signed, numbered 1/30, and dated in pencil, plate size 37.5 x 30.5 cm (14 3/4 x 12 ins), sheet size 57.5 x 49.5 cm (22 1/2 x 19 1/2 ins), together with two similar landscape etchings by Armitage, both on handmade wove paper, each signed, numbered and dated, plate size 30 x 37.5 cm (12 x 14 3/4 ins), sheet size 51 x 60 cm (20 x 23 1/2 ins), unframedQTY: (3)

An Important Collection of Early English Silicon Microchip Wafers,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.

Document Concerning Lean Foucault's Gyroscope,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.

MAGDA AUDIFRED (SCOTTISH CONTEMPORARY)  ALUMBRANDO MI ENTRADA  Etching, signed lower right, dated (19)95, numbered 18/20, 44 x 56cm  Together with a lithograph by the same hand titled 'Flying back' (2) Condition Report:Available upon request

ARABELLA CRUM EWING (SCOTTISH b.1967)  ONE FOR THE SORROW, TWO FOR JOY  Etching, 46 x 60cm  Titles and signed to label verso Condition Report:Available upon request

DAVID YOUNG CAMERON (SCOTTISH 1865-1945)  ARRAN  Etching, signed lower right, 15 x 26cm Condition Report:Available upon request

A French 20th Century Parisian Street scene oil on canvas, signed lower right, framed and a Graham Evernden (Britishm 20th Century) drypoint etching "Cornfield, signed, numbered and titled in pencil on the margin framed [2]

Barrie (JM). Peter Pan and Wendy, with illustrations by Mabel Lucie Atwel, published by Hodder and Stoughton, London, together with Dowd (JH) and Spender (Brenda E) People of Importance, published by Country Life 1941, and Modern Masters of Etching Frank Brangwyn, number I, published by The Studio Limited, London 1924. (3)

Jennifer Caplan - Late 20th century black and white still life etching of a fruit bowl and a bunch of flowers. Limited edition 9/50. Signed in pencil by the artist underneath the artwork. Framed, mounted and glazed, measuring approx. 33cm x 33cm.

Sundry loose prints and paintings, including an etching of Thomas Carlyle after Helen Allingham, bookplates, etc

Peter Baer, German-British, 1924-1996, Sea Side II, Artist Proof, signed, dated 80, etching, signed lower right,76cm x 56cm

George Housman Thomas, after, Troops For the War. - Royal Marines. - Drawn From Life, By George Thomas for The Illustrated London News, 18 March 1854, hand coloured etching, 36 x 24cm Charles Stadden, after, A Soldier of the Duke of York and Albany's Maritime Regiment of Foot (The Lord High Admiral's Regiment) 1664, colour print, 29 x 20cm; others - A Private Sentinel of Prince George of Denmarks Maritime Regiment of Foot, 1687; An Officer of Marines, 1755; Officer, Royal Marine Artillery, 1844; A Corporal of the Royal Marines, 1845; Private, Royal Marines Light Infantry, 1865; Colour-Sergeant Royal Marine Artillery, 1910; Bugle Major, Royal Marines, 1967

A SILVER NATIONAL TRUST MEDALLION, CASEDan olivewood, m.o.p. and metal Crucifix, a small 19th century landscape etching, and a grouse shooting print

'MATT' (MATTHEW PRITCHETT) A 'BREXIT' THEMED CARTOONframed, 26 x 33cm, with a small etching of Dr John Brown, and a work on textile by Inge W. Jones (3)

EDGAR HOLLOWAY 1914-2008: YORK MINSTER FROM STONEGATE SQUAREwith St Helen, Stonegate, etching, 5/50, signed to the margin, framed 43 x 53cm

An early 19th c drawing room album, n.d. [c 1820-30], [90]ff, recto illustrated only, including 19 watercolour studies overall, three of which are of native Indian figures, 20.5 x 15cm, two smaller studies of a northern cardinal and a parrot, five little studies of butterflies, and the rest North European topographical studies, a bound-in pencil sketch picked out in sepia, loosely-inserted mixed media sketch of a botanical specimen, trimmed 19th c engraved ticket - New Musical Fund by Louis Legoux, [1787-1817], another ticket for the 1822 Consecration of St Pancras New Church by Stalker, an early chromolithograph of a Swiss Alpine scene, an Old Master etching, 19th c engravings after Old Master paintings, engraved view of North Gibraltar, further prints, principally engravings, but some aquatints, of genre scenes, clippings of periodical illustrations, Bartolozzi, genre scenes, etc., contemporary quarter-calf over marbled boards, slightly rubbed, starting to split, yet holding, folio (33.5 x 27cm)

Miscellaneous pictures and prints, late 17th century and later, including Christiaan Hagen (1635-1707) - De Maren Kerck, [Leiden], n.d. [c. 1675], engraving, 27 x 31cm; views of London; an indistinctly signed early 20th c etching of Siena, an off-set in a large Flemish frame, etc (7) Mixed condition, mostly good.

Old Master Prints. Georg Philipp Rugendas II (1666-1742) - Equestrian, Hunting, and Martial Tableaux, seventeen, lettered in parallel Latin and German, Aug[usta] Vind[elicorum], s.n., n.d. [Augsburg: Georg Philipp Rugendas I, 1720], mezzotint engravings, some outlined by etching, 55 x 76cm, (17) Mostly rich impressions with good tone. Each with margins, some of them chipped - but never affecting the image within the plate-mark. Some affected by mixed degrees of old water staining.

Hardy (Thomas), Jude the Obscure, first edition in book form, London: Osgood, McIlvaine and Co., 1896 [1895], etching of The "Christminster" of the Story by Henry Macbeth-Raeburn, full-page map of Wessex, original publisher's green cloth gilt, light wear, rear pastedown with stable gutter split and sign of a former library label, 8vo; idem, The Well-Beloved: A Sketch of a Temperament, first edition in book form, London: Osgood, McIlvaine and Co., 1897, etching of The "Isle" of the Story, full-page map of Wessex, original publisher's green cloth gilt, some wear, front pastedown with Indian retailer's stamp: Thacker & Co., Ltd, Bombay, and with a contemporary ink MS ownership inscription: A.K. Donald, Bombay, XVII X MCMV, 8vo, (2)

Caricatures. Caricaturist Unknown, early 19th century - A Bill of Fare, s.l., s.n., n.d. [c. 1815], etching, with contemporary hand-colouring, 28.5 x 23cm; Robert Dighton (1752-1814) - Lord Dashalong Bent on driving, signed within the plate, identified as Lord Sefton (William Molyneux, 2nd Earl) in contemporary manuscript, [London]: Published by Dighton, Charing Cross, November 1801, etching, with contemporary hand-colouring, 24.5 x 19cm, platemark; Robert Dighton Junior (1786-1865) - Views of the Blues, army officers in their uniforms, signed within the plate, identified as Captains Packe & Fenwick in contemporary manuscript, [London], 1805, etching, with contemporary hand-colouring, 28 x 20.5cm; Henry Richard Cook (fl. 1802-1849) after 'M. Egerton' - How Much! - Seven & Eight pence!, a man is presented with his tavern bill, signed within the plate, [London]: Published by T. Gillard, Strand, May 1827, etching, with contemporary hand-colouring, 25 x 19.5cm (4) Good, mixed condition. Unexamined out of their mixed frames.

Twenty-one friendship albums and books, early-mid 20th c, typically inscribed in manuscript with sentiment, verse and wit, illustrated with approx. 60 original watercolour, pen-and-ink, &/or pencil illustrations and drawings, including First World War caricatures and cartoons, pen-and-ink of Kaiser Wilhelm II of Germany and Ferdinand I of Bulgaria, "Shun" - a sepia study of a sergeant commanding attention, a watercolour cartoon of an English lady and a newspaper headline viz. Lord Kitchener and his New Army, others, a leopard, further flora and fauna, etc., some ephemera in places, including a loosely-inserted English etching of a cottage, etc., mixed bindings and sizes, (21)

Bryan Organ, Palm Tree,etching in colours, signed, dated 1976, and numbered in pencil 63/75,unframed, damaged, 64x58.5cm.

Walter Richard Sickert A.R.A. (British, 1860-1942) Noctes Ambrosianae (Bromberg 122)etching with aquatint, c.1906, on J Whatman laidsigned and titled in the plate22 x 25cm Looks to be in good untouched condition, paper undulation so not laid down, paper evenly discoloured to a dark cream tone, oldish card mount and glazed wooded frame with Leicester Gallery Exhibition label for 1959.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § Norman Ackroyd (British, 1938-2024) ‘Dock’ (East India Dock) 1962etching and aquatint printed in colours, on wovesigned in pencil, 72/7547 x 62cm PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.