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Swan Lake, wooden etching and another print

NAPOLEONIC WAR INTEREST: A selection of hand coloured aquatints on paper, to include illustrations from Orme (Edward) (Ed), HISTORIC, MILITARY, AND NAVAL ANECDOTES OF PERSONAL VALOUR, BRAVERY, AND PARTICULAR INCIDENTS WHICH OCURRED TO THE ARMIES OF GREAT BRITAIN AND HER ALLIES, IN THE LAST LONG-CONTESTED WAR, TERMINATING WITH THE BATTLE OF WATERLOO, London 1819, in matching frames, the largest 39cm x 47cm overall, with a French hand coloured etching on paper, 'Clemence De Napoleon Envers Mr. De St. Simon', 14.5cm x 17.5cm, framed and glazed (at fault) (11)

After James Gillray (British, 1757-1815),'Give me the sweet delight of Love -a Catch',Hand-coloured etching on laid paper,Published August 1st 1781 by H. Humphrey, 22cm x 27cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection.  The paper shows age-related darkening and the odd small fox mark.  The central area of the sheet is a shade or two darker than the top and bottom edges. The colours are relatively bright but are likely to have faded somewhat over time. 

After James Gillray (British, 1756-1815),'Enchantments Lately Seen upon the Mountains of Wales, -or- Shon-ap-Morgan's Reconcilement to the Fairy Princess',Hand-coloured etching on paper,Published June 30th 1796 by H. Humphrey,24.5cm x 35.5cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection.  The paper shows age-related darkening and the odd small stain and speckle, including a 1cm stain to the upper centre.  There are slightly lighter areas in the bottom left and right corners.  The colours are relatively bright but are likely to have faded somewhat over time.  There is a pencil inscription reading 'Wales x' to the lower right corner.

After James Gillray (English, 1756-1815),'How to Ride with Elegance thro’ the Streets',Hand-coloured etching on paper,Published April 8th 1800 by H. Humphrey,35cm x 29cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection.  The print surface appears to be in good condition, showing no obvious damage.  The colours are relatively bright but are likely to have faded somewhat over time.  The paper shows age-related darkening and the odd speckle and scuff.  The printed area shows a visible plate mark.

William P. Vannet (Scottish, 1917-1984),'Mending Nets, Arbroath',Etching on paper,Signed in pencil to lower margin,Royal Scottish Academy 1969 exhibition label verso,24.5cm x 32cm,Framed and glazed CONDITION REPORT:The etching is framed under glass and has not been removed for inspection.  The printed surface appears to be in good condition showing no obvious damage, and no significant fading.  It is possible that the paper may have darkened somewhat over time.  The mount aperture appears to be quite crudely cut, and shows a 20cm long stain along the bottom edge, with further small stains in various areas.  The glass is dirty and would benefit from cleaning.

After James Gillray (British, 1757-1815),'The Funeral Procession of Broad-Bottom',Hand-coloured etching on paper,Published April 6th 1807 by H. Humphrey,24cm x 62.5cm,Framed and glazed CONDITION REPORT:The print is framed under glass and has not been removed for inspection.  The paper shows age-related darkening, the odd small stain and speckle, and has previously been folded down the centre, leaving a vertical crease.  There is a small area of wear to the upper edge approximately 10cm to the left of the central crease.  The colours are relatively bright but are likely to have faded somewhat over time.  There is a visible plate mark to the top edge and evidence of this continuing under the mount to the sides and bottom.

Giovanni Battista Piranesi,  Italian 1720-1778- Veduta dell interno dell'Anfiteatro Flavio detto il Colosseo; etching, signed 'Cavr Piranesi fece' (within the plate, lower right), numbered '783' and '31' (upper right), published by Firmin Didot, Paris, 1835-39, 45.5 x 69.5 cm. Provenance:  Private Collection, UK. Note:  This etching depicts figures amongst the ruins of the Flavian Amphitheatre, also known as the Colosseum, in Rome. It exhibits Piranesi's preoccupation and interest in Ancient Rome, a presence which was still very much felt in the 18th-century city. It appears to have been printed by Firmin Didot in the early 19th century. 

Giovanni Battista Piranesi,  Italian 1720-1778- The Lion Bas-Reliefs; etching, signed 'Piranesi F.' (within the plate, lower right), 55.5 x 41.5 cm. Provenance:  The late Professor John Michael Rogers, FBA, FSA (1935-2022), Khalili Professor Emeritus of Islamic Art at SOAS, University of London. 

Giovanni Battista Piranesi,  Italian 1720-1778- Dimostrazioni dell'Emissario del Lago Albano; etching, signed 'Piranesi f.' (within the plate, lower left), 45.4 x 63.7 cm. Provenance:  The late Professor John Michael Rogers, FBA, FSA (1935-2022), Khalili Professor Emeritus of Islamic Art at SOAS, University of London. 

Giovanni Battista Piranesi,  Italian 1720-1778- Veduta della Basilica di S. Lorenzo fuor delle mura; etching, signed 'Piranesi F.' (within the plate, lower right), 38 x 66.5 cm. Provenance:  The late Professor John Michael Rogers, FBA, FSA (1935-2022), Khalili Professor Emeritus of Islamic Art at SOAS, University of London. 

James Gillray,  British 1757-1815- Pacific Overtures, - or - a Flight from St Cloud's - "over the Water to Charley" - a new Dramatic Peace now Rehearsing; etching with hand-colouring, signed 'Js Gillray fect' (within the plate, lower left), published 5 April 1806 by Hannah Humphrey, St. James's Street, 29.8 x 38.8 cm. Provenance:  Private Collection, UK. Note:  The present work was created in 1806, in the first few years of the Napoleonic Wars which ravaged through Europe from 1804 to 1815. Here, King George III (1738-1820) has stepped onto the stage from his royal box, on the left. He focuses his glass on the figure of Napoleon (1769-1821), who stands on a cloud, and points to his long list of 'Terms of Peace', held up by his chief diplomat, Talleyrand (1754-1838). At the bottom of the composition, in place of the orchestra, are the new Ministry, who are, significantly, all playing from different music sheets, and, therefore, discordantly.  BM 1851,0901.1194. 

William Hogarth, FRSA,  British 1697-1764- Credulity, Superstition, & Fanaticism; etching on paper, 43.5 x 33.4 cm., together with 26 further etchings by Hogarth, including: Plates 2, 4, 5, & 6 from 'The Harlot's Progress'; Plates 6 & 7 from 'The Rake's Progress'; Plates 1-4 and 7-12 from 'Industry and Idleness'; two sets of Plates 1 & 2 from 'The Times'; Plate 1 from 'The Analysis of Beauty'; 'The Stage-Coach, or the Country Inn Yard'; 'Martin Folkes, Esq.'; 'The Company of Undertakers'; 'Scholars at a Lecture'; and 'The Committee', or Plate 10 of 'Samuel Butler's Hudibras'; one etching by Hogarth and Charles Mosley entitled 'O the Roast Beef of Old England'; 11 etchings by Thomas Cook after Hogarth, including: Plates 1, 2, 4, 7, 8, 10, 11, & 12 from 'Samuel Butler's Hudibras'; 'Bambridge on Trial for Murder by a Committee of the House of Commons'; 'Sancho at the Feast Starved by his Physician'; 'The Reward of Cruelty', or Plate 4 of 'The Four Stages of Cruelty'; two etchings by Joseph Haynes after Hogarth entitled 'Debates on Palmistry' and 'The Stay-Maker'; and a set of six etchings of trade-cards and theatre tickets formerly attributed to Hogarth printed on one sheet., 47 etchings on 33 sheets (47). Provenance:  Private Collection, UK. 

After Edward Bird, RA,  British 1772-1819- Chevy Chase; pencil, pen and black ink and grey wash on paper, 26.3 x 39.9 cm. Provenance:  The Property of the Late Reverend John Watson. Note:  The present work is taken after Bird's 'Chevy Chase', offered by Bonhams Skinner on 17 November 2022, and may well have been copied from an etching by John Young (c.1765-1825), produced in 1814. A preliminary study of the work, entitled 'The Day after the Battle of Chevy Chase', which varies slightly from the composition of the present work, is in the collection of Wolverhampton Art Gallery [OP85].  This composition depicts the aftermath of the Battle of Chevy Chase which occurred in 1388 and was made famous in 'The Ballad of Chevy Chase'. The encounter arose between the families of Henry Percy (English) and the Earl of Douglas (Scottish) whose lands were on the Anglo-Scottish border and who had a heated dispute over boundaries and hunting grounds. The Douglas family won the battle, although their leader was fatally wounded. 

After Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- Four etchings: Beggar leaning on a stick (reverse copy); Beggar man and beggar woman conversing; A peasant in a high cap; and The Mountebank; etchings on paper (two laid, two wove), 7.8 x 5 cm. (and smaller); together with an etching after Jan Georg van Vliet, Dutch c.1610-1668- An old man in ragged clothes and a feathery fur hat playing the hurdy-gurdy; 9 x 5.7 cm., five in shared mount (5). Provenance:  Private Collection, UK. 

After Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- Cornelis Claesz. Anslo, preacher; etching on laid paper, with watermark 'GER..', 16.5 x 16 cm. (unframed). Provenance:  Private Collection, UK (by descent). Note:  The present work appears to be a 19th-century version of Rembrandt's etching, the first state of which was originally printed in 1641. It depicts Cornelis Claesz. Anslo (1592-1646), a wealthy Amsterdam merchant and influential Mennonite preacher. Rembrandt makes reference to Anslo's oratory through his outstretched hand, gesticulating towards an open Bible before him as he, presumably, explains a passage. In the same year as the original print was made, Rembrandt painted a portrait of Anslo and his wife, which similarly depicts Anslo in the act of preaching (Gemäldegalerie, Berlin [828L]). These works mark an effective exploration of the capacity of the artist to convey the power of the spoken word through visual media.  

James Gillray,  British 1757-1815- The King of Brobdingnag, and Gulliver; hand-coloured etching and aquatint, published July 1st 1803 by James Gilderoy, Dublin, and S.W. Fores, Piccadilly, 33.5 x 26.7 cm. (unframed). Provenance:  Private Collection, UK. Note:  The British Museum describes how 'George III, half length, stands in profile to the left, a holding a tiny Napoleon on the palm of his right hand, and inspecting him through a spy-glass. He says: "My little friend Grildrig, you have made a most admirable \ "panegyric upon Yourself and Country, but from what I can \ "gather from your own relation & the answers I have with \ "much pains wringed & extorted from you, I cannot but con- \ "-clude you to be one of the most pernicious, little - odious \ "-reptiles, that nature ever suffer'd to crawl upon the surface of the Earth."' 

James Gillray,  British 1757-1815- PATRIOTS deciding a Point of Honor! - or - an exact Representation of the celebrated Recontre which took place at Combe Wood on May 2nd 1807 - between Little-PAUL the Taylor, & Sir Francis Goose; hand-coloured etching, signed 'Js Gillray inv & fec' (lower left, within the plate), published 4 May 1807 by H. Humphrey, 27 x 38 cm. (mounted / unframed). Provenance:  Private Collection, UK. 

Alphonse Legros,  French / British 1837-1911- Portrait of a bearded man, bust-length, unfinished; oil on canvas, signed and dated '[?] Legros / 1872' (lower left), 53.2 x 43.1 cm., (unframed).  Provenance:  The Property of the Late Reverend John Watson. Note:  Legros studied under Horace Lecoq de Boisbaudran (1802-1897), and went on to develop a highly distinctive style, combining an archaic manner of composition and treatment of space with a Realist approach which was heavily informed by the work of Gustave Courbet (1819-1877). He was skilled as a portraitist, both in oils and print, with his sensitive studies effectively capturing the presence and character of his sitters. Legros was a particularly prominent printmaker, and is often cited as one of the leading figures in the British etching revival of the late 19th century. He taught etching at the South Kensington School of Art, before becoming Slade Professor at University College London, succeeding Edward Poynter (1836-1919) in the role. Over the course of his career he established friendships with James McNeill Whistler (1834-1903) and Henri Fantin-Latour (1836-1904), with whom he formed the Société des Trois to confirm their mutual support. 

Anders Leonard Zorn,  Swedish 1860-1920- Early; Elin; and The Fence; etchings, each signed 'Zorn' in pencil (lower right), each signed 'ZORN' and dated '1914', '1914', and '13' respectively (within the plate), the first 24.8 x 17.7 cm., the second 19.6 x 29.8 cm., and the third 24.7 x 19.4 cm., three (3). Provenance:  Private Collection, UK. Note:  Having studied at the Royal Swedish Academy of Arts in Stockholm between 1875 and 1880, Zorn established himself as prolific painter, printmaker, and draughtsman. He travelled widely across Europe and the United States over the course of his career, enjoying particular success as a portraitist to the wealthy and powerful. Indeed, his subjects included three American presidents (Grover Cleveland, William H. Taft, and Theodore Roosevelt) and King Oskar II of Sweden. Nevertheless, Zorn frequently returned to the subject of the female nude, often depicting figures in the idyllic landscapes of his native Dalarna, just like in this etching 'The Fence'. 

Giovanni Battista Piranesi,  Italian 1720-1778- Colonnaded hall according to the custom of the ancient Romans, and niches adorned with statues; etching, inscribed 'Sala all'uso degli antichi Romani con Colonne, e nicchie ornate di Statue. Evvi nella pacciata il luogo oue potean vedersi le Feste. Al piano poi sotto i Piedestalli vi sono dè Sedilli secondo il costume d'allora' (lower edge), signed and inscribed 'Gio. Batta Piranesi Archo. inv. ed incis. in Roma' (within the plate, lower left), bears inscription 'Presented by colleagues in the BM to JM Rogers when he left the museum 1 January 1991' on the backing board, 24.5 x 36.7 cm. Provenance:  The late Professor John Michael Rogers, FBA, FSA (1935-2022), Khalili Professor Emeritus of Islamic Art at SOAS, University of London. 

Giovanni Battista Piranesi,  Italian 1720-1778- Parte d'una pariete di marmo, ritrovata nella villa Adriana l'anno 1769; etching, signed 'Cav. Piranesi F.' (within the plate, lower left), 53.5 x 39.2 cm. Provenance:  The late Professor John Michael Rogers, FBA, FSA (1935-2022), Khalili Professor Emeritus of Islamic Art at SOAS, University of London. 

Giovanni Battista Piranesi,  Italian 1720-1778- Veduta del tempio della Sibilla in Tivoli; etching, signed 'Piranesi Fec' (within the plate, lower right), numbered '30 I' (within the plate, lower right), 42.8 x 64.4 cm. Provenance:  Private Collection, UK. Note:  The present work depicts the Temple of the Sybil in Tivoli, a town in Lazio, 30 kilometres north-east of Rome, near the Temple of Vesta. This exhibits Piranesi's preoccupation and interest in Ancient Rome, a presence which was still very much felt in the 18th-century city. 

Giovanni Battista Piranesi,  Italian 1720-1778- Veduta degli Avanzi di Fabbrica magnifica sepolcrale co'sue Rovine; etching on laid paper, signed 'Piranesi Archit. dis. et inc.' and numbered 'Tom. II. LX.' (in the plate), 39.8 x 51.7 cm., (unframed). Provenance:  Private Collection, UK. 

Giovanni Battista Piranesi,  Italian 1720-1778- Parte di ampio magnifico Porto all'uso degli antichi Romani, ove si scuopre l'interno della gran Piazza pel Comercio; etching, 44.3 x 55.7 cm. (mounted / unframed). Provenance:  The late Professor John Michael Rogers, FBA, FSA (1935-2022), Khalili Professor Emeritus of Islamic Art at SOAS, University of London. 

Sydney Long, ARE,  Australian 1871-1955- Iffley Mill;  etching with aquatint, signed, titled and numbered '15/30 / Iffley Mill / Sydney Long' in pencil (lower edge), 15.6 x 22.9 cm.; together with Sir William Nicholson, British 1872-1949- The Learned Pig, 1899; lithograph printed in colours, 15.2 x 15.2 cm., two (2). Provenance:  (the second) with Goldmark Gallery, Rutland.  (both) Private Collection, UK. 

Giovanni Battista Piranesi,  Italian 1720-1778- Anfiteatro Castrense à S. Croce in Gerusalemme; etching, signed 'Piranesi inc' (lower left, within the plate), 13 x 18.6 cm. Provenance:  Private Collection, UK. Note:  The present work depicts the Basilica di Santa Croce in Gerusalemme, or the Basilica of the Holy Cross in Jerusalem, which is one of the Seven Pilgrim Churches of Rome. According to Christian tradition, the church was consecrated in c.325 to house relics of the Passion of Christ which were brought from the Holy Land to Rome by Empress Helena, mother of the first Christian Roman Emperor Constantine the Great. The Basilica's floor was covered with soil from Jerusalem, and hence was considered to be 'in Jerusalem'. 

Giovanni Battista Piranesi,  Italian 1720-1778- View of the Villa d’Este, Tivoli; etching, signed 'G. Piranesi inc.' (within the plate, lower right), 46.8 x 71 cm. Provenance:  The late Professor John Michael Rogers, FBA, FSA (1935-2022), Khalili Professor Emeritus of Islamic Art at SOAS, University of London. Note:  Piranesi's instantly recognisable etchings emphasise the grandeur and majesty of the architecture of 18th-century Rome. The present work sets a looming palace against sprawling gardens, with the crumbling ruins and Classical sculpture in the grounds imparting a greater sense of age to the monumental Renaissance edifice.

Giovanni Battista Piranesi,  Italian 1720-1778- Veduta del Campidoglio di fianco; etching, signed 'Piranesi F' (within the plate, lower right), 40.7 x 69 cm. Provenance:  Private Collection, UK. Note:  The inscription reads: '1. Statua enea Equestre di M. Aurelio nell'aja Capitolina. 2. Palazzo di Sua Eccza il Senator di Roma. 3. Palazzo degli Eccmi Conservatori di Roma 4. Museo Capitolino. 5 Trofei d'Augusto, volgarmente detti di Mario. 6 7 Colossi di Cajo e Lucio sotto il simbolo di Castore e Polluce. 8 9 Statue di Costantino Magno. 10 Colonna milliaria. 11 Palazzo Caffarelli'. 

William Lionel Wyllie (1851-1931), HMS Victory at Portsmouth, drypoint etching, signed in pencil by the artist, with David Messum gallery label verso, 10.5cm x 34.5cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

William Lionel Wyllie (1851-1931), Portsmouth fishing boats, drypoint etching, signed in pencil by the artist, 24.5cm x 29.5cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

William Lionel Wyllie (1851-1931), Boulogne fishing boats, drypoint etching, signed by the artist, 21.5cm x 29cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

William Lionel Wyllie (1851-1931), Sheringham Crabbers, drypoint etching, signed in pencil by the artist, 20cm x 24.5cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

John Brunsdon ARCA (worked in Wales), 'Derbyshire Lake', limited edition coloured etching No. 88/150 signed in pencil by the artist. 22.5x30.5cm approx. Framed and glazed. Together with a fabric montage of a Welsh Valleys Mining Village, signed 'Big 1'. 41.5x28cm approx. Framed. (2) (B.P. 21% + VAT)  The picture is unsigned - unknown artist.

Welsh School (20th century), 'Tenby Harbour - Twilight', inscribed titled verso with date 1975. Ink and watercolours. together with Phillip E Harris, Tenby Harbour, uncoloured etching No. 12/50, signed in pencil by the artist. 16x12cm approx., James Priddey, 'Tudor Merchant's House, Tenby', coloured etching, signed in pencil by the artist. 30x22cm approx., Unframed pencil sketch attributed to Henry Rushbury ARA, 'Santa Maria in Campitelli', 48x33cm approx and a small British School oil painting, possibly Flatford Mill. 25x30cm approx. Unframed. (5) (B.P. 21% + VAT)

English School (20thC). Jake, artist proof etching of a cat, signed indistinctly and dated '97, 28.5cm x 38cm.

Edward Sharland (British, 1884-1967). Bridge of Sighs-Venice, coloured etching, signed and titled in pencil, 47cm x 29cm.

300 portfolios of which this is number CXXXVIII/CCC, containing three original etchings titled 'Vigor of Youth', 'Ones Identity' and 'Reflections' each print is signed and numbered CXXXVIII/CCC in pencil in the margin; impressed with the DALART N.V./copyright 1977 blindstamp etching and lithograph sheet size: 37,5 by 55cm, unframed

Fascinating large leather bound Lutheran Biblia, published in Nuremberg, Germany in 1765. The book has straps and an embossed floral cover made from wood with nailed metal edge protectors and etched floral designs. It was written in German Gothic script with etched copper plate illustrations. First page depicts a stunning etching of an angel descending upon a bound martyr. The preface was written by theologian Johann Michael Dilherr. Interestingly, the turn-in of the cover has handwritten notes in brown fountain pen ink in English. The interior of the rear cover reads, "My Dear Beloved B" in brown fountain pen script. Issued: 1765Dimensions: 15.25"L x 10.5"W x 4.25"HCountry of Origin: GermanyCondition Age related wear, mold, and discoloration.

Johan Barthold Jongkind (Dutch, 1819-1891)Sortie du port de Honfleur (Leaving the port of Honfleur) Signed and dated 'Jongkind 1866' (lower right)Oil on canvas 58 x 80cm (22 13/16 x 31 1/2in).Footnotes:ProvenancePrivate collection, France;Anon. sale, Hotel Drouot, Paris, 11 March 1988, no. 56;Kunsthandel Ivo Bouwman B.V., Den Haag;Private collection, The Netherlands;Kunsthandel Ivo Bouwman B.V., Den Haag.ExhibitedLondon, Stoppenbach & Delestre, French XIXth and XXth Century Paintings, 1989, no. 16.Dordrecht, Johan Barthold Jongkind, 28 October 2017-27 May 2018.LiteratureVictorine Hefting, Jongkind, Amsterdam, 1992, p. 88, illustrated.Anne-Marie Bergeret-Gourbin, Jongkind au fil de l'eau, Paris, 1994, p. 13, illustrated.A. Stein, S. Brame, F. Lorenceau and J. Sinizergues, Jongkind: Catalogue critique de l'ouevre: Peintures, tome I, Paris, 2003, no. 436, illustrated p. 193.Often described as the Father of Impressionism, Johan Jongkind was born in Lattrop, one of ten children, and showed real artist merit from an early age. Jongkind enrolled at the Academie voor Beeldende Kunsten in The Hague in 1836 under the direction of Andreas Schelfhout, and in 1845 was introduced by Schelfhout to Eugène Isabey. The following year Jongkind left for Paris and settled in Place Pigalle, supported by an annual stipend from the Prince of Orange. By 1850, Jongkind was exhibiting at the Paris Salons, but he chose to show his work in the sections devoted to French artists, rather than acknowledge his Dutch heritage. His increasingly avant-garde style, characterised by short rapid brushstrokes (which was to be so influential on the Impressionists) was not popular with the critics, and led to the artist experiencing intense periods of self-doubt which led to alcoholism and financial insecurity. In 1855, following the death of his mother and the withdrawal of the stipend, Jongkind returned to Holland. However, he had not been forgotten by his friends in Paris and in 1860 a group of around 80 artists led by Camille Corot and Charles-François Daubigny arranged a sale of their work to raise funds to enable him to return to France. Upon his return he settled in Montparnasse where he became friends with Joséphine Fesser-Borrhee. This was the beginning of a critical and lifelong relationship that provided the artist both moral and, probably, financial support, and gave him the confidence to pursue his work even in the light of criticism and rejection from the Salon.In 1862 Jongkind became a member of the Société des Aquafortistes. The importance of this society was not only that it promoted etching as a serious art form, but because it also was an early model of cooperation among independent artists whose work straddled the line between mainstream academic taste and experimental exploration. He also met Claude Monet while visiting Normandy. 'His painting' Monet recalled, 'was too new and too artistic in tone to be rightly appreciated in 1862. Also, no one knew less than he how to show one's qualities. He was a good man, very simple, speaking very bad French, and very shy...He asked to see my sketches, invited me to go work with him, explained to me the how and why of his manner and completed the teachings I had received from [Eugène] Boudin. From this moment on [Jongkind] was my true master, and it is to him that I owe the definitive education of my eye.'1Two years later Jongkind was working again with Monet in and around Honfleur - where the present lot was painted in 1866. Monet was impressed by his working method of making sketches en plein air to be used as notes for when back in the studio. Similarly, his habit of painting the same scene at different times of the day or in different weather conditions was to have a profound effect on Monet.Still, Jongkind failed to find favour with the critics in Paris and he was rejected again from the Salon in 1873. He determined to leave the capital and by the 1880s, he was spending the summer months in the south of France where his landscapes, often in watercolour, proved more popular and sales increased. But this respite was short lived as by early 1891, fuelled by alcoholism and depression, his mental state had deteriorated. He was admitted to a psychiatric hospital in Saint-Egrève and died in February 1891.1F. Thiébault-Sisson, 'Claude Monet, an Interview' Le Temps, Paris, November 27, 1900, p. 3.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

MARCELLE HANSELAAR (DUTCH, B. 1945) (4)La Petite Mort, Numbers 1, 2, 3, 4 each signed, dated, numbered and titled in pencil (in lower margin) etching the largest 20 x 25cm, the smallest 18 x 25cm (all unframed) (4) ARR Provenance Millennium Gallery

JOAN MIRO (SPANISH, 1893-1983)La Translunaire (1974) etching with aquatint 61.5 x 47cm ARR

MARCELLE HANSELAAR (DUTCH, B. 1945) (5)La Petite Mort, Numbers 9, 10, 11, 12, 13 each signed, dated, numbered and titled in pencil (in lower margin) etching each 19.5 x 24.5cm (all unframed) (5) ARR Provenance Millennium Gallery

IVO SALIGER (AUSTRIAN, 1894-1987)The Doctor, the Girl and Death (1920) signed in pencil 'Ivo Saliger' (in lower margin) etching image size 69 x 52cm ARR Provenance Private collection, UK

PAULA REGO (PORTUGUESE/BRITISH, 1935-2022)Adjusting the Recipe (2014) signed and numbered in pencil 'Paula Rego 71/75' (in lower margin) etching with aquatint 18 x 21.5cm ARR Contained within a hardbound case, with a book, Stone Soup, by Paula Rego and Cas Willing, signed in ink 'Paul Rego, Cas Willing' and numbered in pencil '71/75', published 2014 by Enitharmon Editions. Bury Place, London, in slipcase as issued

NORMAN ACKROYD (BRITISH, B. 1938)The Lime Avenue, Avington signed, dated, numbered and titled in pencil 'Norman Ackroyd, 1984, 10/90' (in lower margin) etching with aquatint 41 x 41.5cm ARR Provenance Private collection, UK

JOAN MIRO (SPANISH, 1893-1983)Femme-Oiseau II (1960) signed and numbered in pencil 'Miro 24/90' (in lower margin) etching and aquatint 35 x 46.5cm ARRCondition ReportThe sheet is slightly discoloured throughout, rippling to outer margins, otherwise good condition overall; framed and under glass, unexamined out of frame.

ISAAC FRIEDLANDER (AMERICAN, 1890-1968)Coney Island signed and titled in pencil 'I Friedlander a/p' (in lower margin) etching with aquatint 26 x 21cm (unframed) Provenance The Seymour Stein Collection

SIDNEY NOLAN (AUSTRALIAN, 1917-1992)Kelly and Horse signed in coloured chalk 'N' (lower right) etching and coloured chalks 63.5 x 48cm Provenance Private collection, UKCondition reportA few very small minor spots of foxing and very minor marks to margins.A little discolouration to extreme edges of sheet.A slight crease to lower right edge of sheet.Otherwise appears in generally good condition.Frame damaged; three metal strips from front of frame present (but detached), one metal strip from frame missing.Under glass and unexamined out of frame.

SIDNEY NOLAN (AUSTRALIAN, 1917-1922)Bushranger and Homestead signed 'Nolan' (in lower right margin) etching with crayon and watercolour 24 x 29cm Provenance Whitford Fine Art, London, 2004, from whom purchased by the previous owner, thence by descent

PIERRE ADOLPHE VALETTE (FRENCH, 1876-1942)Nude figures signed in pencil 'a Valette' (in lower margin) etching 5.7 x 7cm Provenance Private collection, UK

ANTHONY GROSS (BRITISH, 1905-1984)Coulourgues Barley Field signed in pencil 'anty gross' (in lower margin) etching 20.5 x 14cm ARR Provenance Oxford Gallery, High Street, Oxford

PIERRE ADOLPHE VALETTE (FRENCH, 1876-1942) (3)A man with his dog and sheep in a landscape signed 'a valette' (in lower margin) etching 13.3 x 18.3cm together with two other etchings by the same hand; another of a man with his dog and sheep in a landscape, signed in pencil, 13.3 x 18.3cm; and A man resting below a tree with goats, signed in pencil, 13.7 x 21.5cm (3) Provenance Private collection, UK

ABBO OSTROWSKY (AMERICAN, 1889-1975)Bracing Subway Excavation, New York signed, dated and inscribed 'Abbo Ostrowsky Jo and William Katz July 14 1933 New York' (in lower margin) etching 35 x 27cm

WILLIAM LEE HANKEY (BRITISH, 1869-1952) (2)The Corniche Staples; An East Coast Village a set of two, each signed 'W Lee Hankey' and bearing artist's stamp (in lower margin) and each inscribed with title (on old label attached to the backboard) one zinc aquatint; the other dry point etching one 19.5 x 24cm; the other 12 x 20cm (2) Provenance Private collection, UK

MARCELLE HANSELAAR (DUTCH, B. 1945) (4)La Petite Mort, Numbers 5, 6, 7, 8 each signed, dated, numbered and titled in pencil (in lower margin) etching each 20 x 25cm (all unframed) (4) ARR Provenance Millennium Gallery

EDMUND BLAMPIED (BRITISH, 1886-1966)Politics signed in pencil 'E. Blampied' (in lower margin) etching 17.5 x 22cm ARR Provenance Private collection, UK

After John Falconer Slater : Reluctant Farm horse, monochrome etching, 42 cm x 27 cm

AUDREY HIND RCA (British, b. 1936) limited edition (25/75) colour etching - Llanddwyn Sands, signed, titled and numbered in pencil, 21 x 29cms, GORDON SMITH watercolour - titled verso 'Snowdon and the Nantlle Hills', signed lower right, 16.5 x 24cmsProvenance: private collection CheshireComments: framed and glazed

A large assortment of 19th century and later pictures. Including a signed etching of a church, 24cm x 17cm, a watercolour landscape, 22cm x 31.5cm, etc.