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After Henry Moore, British, OM, CH, FBA (1898-1986) "Reclining Nude Woman," etching, Limited Edn., No. 48 (50), bears signature, cloth mount, approx. 20cms x 25cms (8" x 10"). (1)

Wassily Kandinsky (1866-1944) "Der Schleier," (Klange Suite), etching, Limited Edn. No. 23 (300), framed with limitation, (facsimile on back of frame), label from Goldmark Gallery, framed. (1)

Ruth Brandt, Irish (1936-1989) "Reverie," coloured etching No 8 (75) copies, signed  and dated by the artist and embossed stamp, approx. 50cms x 38cms (20" x 15"), mounted and framed. (1)

Patrick Hickey, Irish, HRHA (1927-1998) "Two More Poppies," cold. etching, Printer's Proof, signed  and dated by the artist 'Patrick Hickey 94', approx. 22cms x 24cms (8 1/2" x 9 1/2") mounted and framed. (1)

Walter Greaves, British 1846-1930- Snow in Battersea; etching on paper, signed and dated 'W Greaves / 1877' (in plate lower left), 12.2 x 23.6 cm. Provenance: Mr and Mrs A. Thornton, January 1984.; With Michael Parkin Fine Art, London, no.153.; Private Collection, UK. Please refer to department for condition report

James Abbott McNeill Whistler, American 1834-1903- Ponte del Piovan; 1879-1880, etching printed in brownish-black ink on paper, 22.2 x 14.9 cm., signed with the artist's butterfly and inscribed 'imp' in pencil on the tab (lower left), sixth (final) state from 'Twenty-Six Etchings'. A fine richly inked impression. Kennedy 209, Glasgow 220. Provenance: Collection of Stanley Field.; The Art Institute of Chicago.; with Thomas Agnew & Sons, London [no.45736]. Note: Whistler went to Venice in September of 1879 and sojourned there for over a year, returning to London in November of 1880.Trimmed to or just within the plate mark with a tab for the pencil monogram. Please refer to department for condition report

Mortimer Luddington Menpes, RI, RBA, RE, Australian / British 1855-1938- The young mother, 1911; pencil, watercolour and bodycolour heightened with white on paper, signed 'M.L. Menpes.' (upper right), 22 x 15.3 cm. Provenance: Private Collection, UK. Note: Menpes was an Australian-born British artist who worked in part as an illustrator, and who was known especially for his drawings and etchings. He studied under James Abbott McNeill Whistler (1834-1903), whose influence is evident in his embrace of the medium of etching, indeed with Menpes himself serving as a central figure in the etching revival of the late 19th and early 20th centuries. Menpes’s output is defined by his small-scale, highly observational drawings, of which the present work is a particularly charming example. This work demonstrates the artist’s sensitive approach, using a plain background to focus the entirety of the viewer’s attention on the two figures.Please refer to department for condition report

Salvator Rosa,Italian 1615-1673-Study of a standing man;black chalk, pen and brown ink and wash on laid paper, 14 x 7.7 cm.Provenance: John Isaacs.; Peter Palumbo.; Sale, Sotheby's, London, 12 March 1963, lot 139B.; Anon. sale, Sotheby's, London, 13 December 1973, lot 38.; with Thomas Agnew & Sons, London, 1974 [no.38365].; Private Collection, UK, since 1975.; By descent.Exhibited: London, Thomas Agnew & Sons, 'Master Drawings and Prints', March-April 1974, no.4.Literature: M. Mahoney, ‘The Drawings of Salvator Rosa’, New York and London, 1977, no.46.4 (illustrated), 'A man turned to the left resting his right arm on a high block and holding a staff in his left hand'.Note: The present drawing relates to Rosa's preliminary studies for his set of 62 etchings of genre and military subjects entitled 'Figurine' - a group of 62 etchings of soldiers, peasants and other figures, depicted either individually or in groups of two, three or more - on which he was working from 1656 to 1657. It has been suggested that, apart from helping to spread Rosa’s fame, these 'Figurine' etchings may also have served to rebut claims, made by the artist’s critics, that he was merely a landscape painter without the ability to depict figures. As Richard Wallace has noted, ‘Rosa was very touchy about his reputation as a figure painter...With the Figurine he undoubtedly meant to show everyone, including his detractors...that he could master the human figure in an almost infinite variety of poses and expressive states.’ Often acquired as a complete set of prints and bound into albums, Rosa’s 'Figurine' etchings remained popular with collectors well into the 18th century.This study was probably drawn from life on the same scale as the etchings in preparation for Bartsch 43. In the finished etching the soldier wears a helmet and leans on his lance which he carries in his right hand. The essential pose of the body remains the same. Rosa’s individual studies for the ‘Figurine’ are characteristic of his graphic style in general. They are all drawn with swift pen strokes and feather-light touches of wash and they all display the same economy of line from which they derive their spontaneity and vigour. Rosa’s inspiration for the ‘Figurine’ stems from the etched work of Jacques Callot (1592-1635) and Stefano della Bella (1610-1664). The figures, many of whom are soldiers, are frequently turned away from the spectator, as in this drawing, as if secretly brooding some plot or conspiracy. As Dr Mahoney pointed out in the Hayward Gallery’s 1973 ‘Salvator Rosa Exhibition Catalogue’, the ‘Figurine’ gave Rosa the opportunity ‘to express several of his most important artistic attitudes, his most obsessive desire to be known as a master of the human figure in all of its aspects… and his wish to display his originality of invention, his ‘capriccio’’.Please refer to department for condition report

Giovanni Battista Piranesi, Italian 1720-1778- The Sawhorse, plate XII from "Carceri d'Invenzione"; etching with engraving on laid paper, without watermark, the sheet 44.6 x 58.8 cm. Provenance: The estate of the late designer Anthony Powell. Literature: Focillon 35; Hind 12; Robison 38. Note: see https://www.royalacademy.org.uk/art-artists/work-of-art/the-sawhorse.With wide margins and the usual central vertical fold. A tear in the sheet lower right.

After Jean Baptiste Claude Chatelain (French 1710-1771): View of Kendall House near Isleworth, mid 18th century engraving; three 19th century engravings of Micklegate and Clifford's Tower York; etching of Bath Abbey and signed print (6)

FRANCES EVANS: A framed and glazed etching entitled "Fountain Court Temple". Signed to bottom right. Labelled verso. Approx. 23cms x 18cms together with a framed and glazed lithograph print by J Watson depicting The Elephant and Castle. Est. £20 - £30.

20thC School. Stream before cottage with clouds gathering, oil on board, 28cm x 44cm, another by the same hand, M C Robinson etching, J. N. McLaurin (20thC), Tree Before Cottage, watercolour. (4)

Len Patterson (20thC). Durham Cathedral, artist signed limited edition print, no. 46 of 100. 26cm x 40cm various others, etchings, Dorothy M Bailey, a church no.5 of 75, after Griffin The Glory Hole, Lincoln, Exchequer Gate etching Lincoln, Old Richmond etc. (5)

Kaesey (20thC). Dickins & Jones etching, signed and titled, 18cm x 13cm.

20thC School. Caen St Etienne, etching print, 30cm x 21cm, J. W. (20thC) Cottage on a summer's day, watercolour, Alan Oliver watercolour, other similar pictures, prints, frames, Tony Wistin Concentration Graphite portrait, various others by local artists, David Bell print, Trevor Dakin shopping print, David C. Bell limited edition print and another H Prospector, London. (a quantity)

* Aldin (Cecil Charles Windsor, 1870 - 1935). A Most Popular Gentleman (Spaniel), etching, signed in pencil by the artist to the lower right, limited edition 31/100, two small 'white spots', one affecting the image and one in the upper right margin, 265 x 210 mm, mounted, framed and glazedQTY: (1)

* Drawings, Prints & Engravings. A collection of approximately 130 drawings, 19th & 20th century, watercolours, pencil drawings, etching, lithographs and prints, including portraits, genre studies, topography and natural history, various sizes and conditionQTY: (approx.130)

* Piranesi (Giovanni Battista, 1720-1778). Colonna Antonina, First Paris edition [1800 -07], uncoloured etching on laid of the Column of Marcus Aurelius, large margins, some dust and finger soiling to the margins, 555 x 405 mmQTY: (1)NOTE:Hind 52, state 5.

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Palazzo Odescalchi, First Paris edition [1800 - 07], uncoloured etching on laid, large margins, some dust and finger soiling to the margins, 405 x 615 mmQTY: (1)NOTE:Hind 26, state 3.

* Piranesi. (Giovanni Battista 1720-1778). Veduta della Facciata di dietro della Basilica di S. Maria Maggiore, First Paris edition [1800- 07], uncoloured etching on laid, originally published in the ' Vedute di Roma', large margins, slight creasing, some dust soiling to the margins, 410 x 615 mmQTY: (1)NOTE:Hind 10, state 3.

* Piranesi. (Giovanni Battista 1720-1778). Veduta della Gran Curia Innocenziana edificata sulle rovine dell' Anfireatro di Statilio Tauro, che formano l'odierno Monte Citorio..., First Paris edition [1800 - 07], uncoloured etching on laid, large margins, slight dust and finger soiling to the margins, 400 x 620 mmQTY: (1)NOTE:Hind 23, state 2.

Miscellaneous unframed prints and ephemera, early 19th-early 20th c  and an earlier framed etching after Claude Lorraine

Sir Alfred East RA (1849 - 1913) - "Storm in the Cotswolds", No. 48 in the 'Etchings of Sir Alfred East at The Leicester Galleries, London, 1914, monogrammed within the plate, copper-plate etching, 34cm x 39cm, mounted and framed; another two, "Shepherd in a Clearing" and "Stow in the World", each monogrammed within the plate, posthumous strikes from the 1914 exhibition, (3) Provenance: Previously with Savage Fine Art, their labels to verso. A clean impression. The lower-left margin with an old crease. The margins of the plate toned. The others good. Slight wear to frames.

Miscellaneous pictures and prints, including three Victorian theatre bills, an 18th century restrike of Ogilby's road map from London to Aberystwyth, a Robert Ball etching of Birmingham's Chamberlain Square, further topographical named-view engravings, hardwood mirror, etc

After Francis Calcraft Turner (.1782-1846)'Battue Shooting', an etching with aquatint c.1840, engraved by G.A. Turner, mounted framedwithin mount 45 x 56.5 cm., overall 66.2 x 78.2 cmCondition:Overall fair condition commensurate with age. Small nick to sky. Some marks overall toning to margins

§ AUGUSTUS EDWIN JOHN (WELSH 1878-1961) QUINCY 2 - 1919 Etching, ed. 50, signed in pencil to margin, and two further etchings by the same hand, 'Old Arthy - 1902' etching, ed. 25, signed in pencil to margin, signed in plate, and 'Stephen Granger -1906,' etching, signed in pencil, signed in plate Dimensions:plate size 12.5cm x 10cm (5in x 4in); 20cm x 13.5cm (8in x 5.25in); 14cm x 12.5cm (5.5in x 5in)Provenance:Provenance: Collection of the late Sir Richard Shepherd, MP

Late 20th Century Scottish Sgian Dubh4 3/4 inch, single edged blade.  Clipped back edge with narrow fuller with holes.  Both blade flats with thistle etching.  Antler grip with white metal disk pommel cap.  Contained in its leather scabbard.  Clean condition.  

This example with narrow single edged fullered, slightly curved blade decorated with a VR  entwined cypher surmounted by crown.  Gilt metal hilt with crowned VR cypher, shagreen grip and  twist wire binding. Housed in original correct narrow steel scabbard fitted with two loose rings. Etching faint to parts.

British 1796 Pattern Infantry Officer’s Sword. 32 1/4 inch, single edged blade with large fuller.  Traces of crowned GR cypher and foliage etching.  Gilt brass, double shell guard with folding rear section.  Gilt brass, D shape knuckle bow, floral quillon and urn pommel. Silvered wire bound grip.  Edge repairs and pitting to blade.

Rare 21st Regiment Royal Scots Fusiliers Special Pattern 1822 -68 Sword32 1/4 inch, single edged, pipe back, quill point blade.  Faint traces of etching.  Gilt brass, 3 bar guard with thistle edged scroll "Royal Scots Fusiliers" and lower motto scroll.  Central thistle flaming grenade with "21". Gilt brass, thistle decorated pommel and backstrap.  Shagreen covered grip with twist wire binding.  Contained in its brass scabbard with two loose hanging rings.  

Victorian British Infantry Officer's Sword. A regulation pattern example.  Hilt with crowned VR cypher guard enclosing a shagreen, twist wire bound grip. Complete with scabbard. PLEASE NOTE the sword with age wear, the blade and guard has been cleaned no etching remains, leather to scabbard missing, wood scabbard split.

Early 20th Century Fighting Sword And Spare Blade31 1/4 inch, single edged, narrow, slightly curved blade.  Wide fuller.  Gilt brass crossguard and stirrup knuckle bow.  Lion mask pommel and backstrap.  Shagreen covered grip with wire binding.  Together with an early 20th century sword blade.  24 1/2 inch, single edged, narrow blade with wide fuller.  Traces of floral etching with stand of arms. 

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Une vase de terre crue et le T du nom de Tàpies", 1988.Etching and aquatint engraving, copy 31/85.Signed and justified in pencil.Work published in "Antoni Tàpies. Obra gráfica / graphic work Vol. 4: 1987-1994", Ed. Gustau Gili, Barcelona.Size: 50 x 65 cm.Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

RICHARD SERRA (San Francisco, California, 1939)."Level I", 2008.Etching, copy 14/38.Gemini G.E.L. Los Angeles, California, Publisher. With stamp on verso.Signed, dated and justified on verso.Provenance: Carreras Múgica Gallery, Bilbao. Private collection, Barcelona.Measurements: 97 x 161 cm; 110 x 174 cm (frame).Since 1994, when he began his work "The Matter of Time", a set of monumental steel structures exhibited at the Guggenheim Museum in Bilbao, abstraction has always been the leitmotiv of Richard Serra's work. Earlier, in the 1960s, he had already worked with the simplification of forms and abstract reduction by throwing molten lead against the wall of a studio or exhibition space (a clear example of process art). This "performance" was followed by major works such as the "Titled Arc", a gently curving 3.5 metre high steel wall installed in Federal Plaza in New York, a work that once again reflected the intense and profound character of the San Francisco artist. Despite his fame as a sculptor, Serra has always successfully championed other artistic disciplines: video, drawing or, as on this occasion, installation, have taken the sculptor to the top of the international scene, and he is even considered one of the most important artists on the American scene today. The etching now on offer is distinguished by the bichrome used, as it combines a large black surface, which creates a sensation of depth, with a white stripe that alludes to emptiness and existentialism.Richard Serra is considered one of the most distinguished and well-known artists in the United States. Born in San Francisco to a Spanish father (Mallorcan) and a Ukrainian mother, Serra studied literature at the University of California at San Francisco. He studied literature at the University of California at Berkeley and Santa Barbara (1957-1961). During his early years, he worked in a steel mill, an activity that influenced his artistic language. He then studied art at Yale University (1961-1964). Specialising in large-scale sculpture, his fame and the size of his works grew over the years. Gallery owners such as Leo Castelli and collectors such as Emily and Joseph Pulitzer became interested in an art that, due to its volume, leapt from the galleries to the street, an aspect that introduced him to Land Art alongside great artists such as Oppenheim and Javacheff. Throughout his career he has received many awards and grants, including France's prestigious Légion d'honneur, which he was awarded in 2015, the Order of Arts and Letters of Barcelona and the 2010 Prince of Asturias Award for the Arts. His work is currently in the permanent collections of institutions such as the Guggenheim Museum in Bilbao, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, and the Museum of Modern Art (MoMA) in New York.

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Crucifixion", 1964.Etching and drypoint on paper. Copy 4/150.Signed, dated and numbered in pencil.Measurements: 66 x 50 cm; 90 x 71 cm.During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that would become distinctive of all his work from then on. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Parisian district of Montparnasse. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he exhibited his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

William Kentridge (born 1955)Walking Man, 2000 signed and numbered 8/25 in pencillinocut257.8 x 88.7cm (101 1/2 x 34 15/16in).unframedprinted by Artist Proof Studio, published by David Krut, JohannesburgFootnotes:ProvenanceDavid Krut Fine Art, Johannesburg;Acquired from the above by the current owner in 2002.LiteratureJudith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.25Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.15William Kentridge, William Kentridge: Prints, (Johannesburg: David Krut Publishing, 2006) p. 96Kate McCrickard, William Kentridge: WK, (London: Tate Publishing, 2012), p.38Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna, (London: Thames and Hudson, 2013), p.270Walking Man is a fascinating work that explores the possibilities of scale, celebrates South Africa's long tradition of linocutting, and subtly combines the political and the poetical, calling to mind yet not explicitly, anti-apartheid marchers and uprooted communities. Working together with master printer Osiah Masekoameng at the Artist Proof Studio, Johannesburg, on the largest press in South Africa, William Kentridge challenged his technical expertise of the medium with this work, morphing not only a walking man into a tree, but the usually small-scale medium of linocut into a monumental presence of crisp lines, stark contrasts, and captivating patterns. If the latter recall the woodcut prints of Northern Renaissance and German Expressionism artists, the print's impact also lies in the poetical transformation of the man, reminiscent of a tale from Roman poet Ovid's Metamorphoses. The industrial landscape across which the figure strides could well be the outskirts of Johannesburg, where the artist was born and continues to live today. South Africa might even be the second character of this print, whose presence is suggested more than obvious, and certainly seems to inform the multiple readings of this important print, encapsulating 'themes of loss, transformation, personal and cultural memory, oppression and conflict'. Interestingly, William Kentridge says of the linocut medium:In South Africa, linocut is the primary form of printmaking, because linoleum is a very cheap material and the tools to make it are very easy ...And there's also a root to linocutting from the various missionaries who brought the technique to South Africa and a link to the German Expressionists whose style obviously comes back to African masks. And so there's a kind of circularity. It occurred to me that if etching and engraving have to do with the split in northern Europe between the Reformation and other ways of being, then linocutting corresponds to anti-colonialism, certainly in South Africa, to something that comes out of that struggle.Impressions of this print are in the collections of the Metropolitan Museum and the MoMA in New York; the Virginia Museum of Fine Arts, and the Art Gallery of New South Wales in Sydney. An impression of Walking Man was also included in the landmark exhibition Impressions from South Africa: 1965 to Now at MoMA in 2011.BibliographyImpressions from South Africa: 1965 to now (New York: Museum of Modern Art, 2011) https://www.moma.org/interactives/exhibitions/2011/impressions_from_south_africa/works/walking-man/ Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010)William Kentridge: Walking Man (Sydney: Art Gallery of New South Wales)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Three Shadows, 2003 signed and numbered 33/40 in penciletching and sugarlift aquatint77 x 90cm (30 5/16 x 35 7/16in).Footnotes:ProvenanceAnnandale Galleries, Sydney (with their label affixed verso);Acquired from the above by the current owner; A private collection.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Scribe, 2011 signed and numbered 22/40 in penciletching and drypoint44 x 39cm (17 5/16 x 15 3/8in).unframedpublished by David Krut, New York and London, with their blindstampThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Casspirs Full of Love, 1989 signed and inscribed IX/X in pencil, a proof aside from the edition of 30drypoint167 x 98cm (65 3/4 x 38 9/16in).printed by Jack Shirreff at the 107 Workshop, Wiltshire, 2000, published by David Krut Fine Art, LondonFootnotes:LiteratureNeal Benezra, Staci Boris and Dan Cameron, William Kentridge (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001) p. 80Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge (London and New York: Phaidon Press Limited, 1999) p.50Carolyn Christov-Bakargiev, William Kentridge (Brussels: Société des Expositions du Palais des Beaux-Arts de Bruxelles, 1998), pg. 29Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.19Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.16William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) pp. 36-37Margaret K. Koerner, William Kentridge: Smoke, Ashes, Fable (Brussels: Mercatorfonds, 2017) p.31Casspirs Full of Love as a group of works is a testament to William Kentridge's multi-disciplinary and multi-layered practice. The various incarnations of the subject, made between 1988 and 1989, include a drawing, an encaustic, a screenprinted banner and the present drypoint, itself printed in two phases, between 1989 and 2000. The satirical title of the work, inscribed prominently to the right in looping cursive handwriting, refers to a personal message overheard by Kentridge on a popular radio program, from a mother to her son in the white South African defence force: this message comes to you from your mom with Casspirs full of love. Casspirs were armoured riot-control vehicles deployed by the South African defence force under the National Party regime of apartheid (1948-94), for the forceful patrol of black townships during the state of emergency declared in 1985 and renewed until 1990, leading to arbitrary racial arrests and persecution. The tense juxtaposition of love and death, affection and violence, also expressed textually: what comfort now? at left, Not A Step at lower centre, highlight the contradictions inherent to the apartheid state. The work also resonates with scenes from William Kentridge's 1989 film Johannesburg, 2nd Greatest City after Paris (see Lot 1 on previous page), while the heads were inspired by drawings the artist made in 1988 in Florence, based on Giotto's early 14th century frescoes in Santa Croce, that he later cut up and rearranged, and were also influenced by a Tony Cragg bronze sculpture of carved beetroot heads he saw in Florence that same year. As William Kentridge said: The print became a combination of Giotto, Cragg and 1980s South African radio. It has come to be known as one of Kentridge's most overtly political projects, and its importance is reflected in the fact that impressions of the print appear in significant international collections such as those of the Metropolitan Museum and the MOMA in New York, the Johannesburg Art Gallery, and the Tate in London.Printmaking has always been primary to Kentridge's practice as an artist, and the highly charged, textural surface and intensity of contrasts in the inking and composition of Casspirs Full of Love demonstrate his masterful exploration of the etching and drypoint mediums. The impression presented here provides the final version of the image as printed by master printer Jack Shirreff at 107 Workshop, Wiltshire, England in 2000. BibliographyWilliam Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 36Roger Malbert, 'William Kentridge: Printmaker' in A Universal Archive: William Kentridge as Printmaker (London: Hayward Publishing, 2012) p. 13Elizabeth Manchester, William Kentridge: Casspirs Full of Love (London: Tate, 2002)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Man with Megaphone, 1998 signed and numbered 31/70 in penciletching and aquatint in colours35 x 50cm (13 3/4 x 19 11/16in).printed by Malcolm Christian, The Caversham Press, with their blindstamp, published by the artist and Kunstverein, MunichFootnotes:LiteratureDan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge (London and New York: Phaidon Press Limited, 1999) p.97Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.50William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 70Kate McCrickard, William Kentridge: WK (London: Tate Publishing, 2012), p.96This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Man with Megaphone Cluster, 1998 signed and numbered 31/70 in penciletching and aquatint in colours35 x 50cm (13 3/4 x 19 11/16in).printed by Malcolm Christian, The Caversham Press, with their blindstamp, published by the artist and Kunstverein, MunichFootnotes:LiteratureDan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, Kentridge (London and New York: Phaidon Press Limited, 1999) p.97Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.50William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 71This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Norman Ackroyd RA Estuary - Detail, 2022 Etching - Detail on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Norman Ackroyd studied at Leeds College of Art from 1956 to 1961, and subsequently at the Royal College of Art, London from 1961 to 1964. Ackroyd has had many solo exhibitions, both in Britain and internationally, including Anderson O'Day; Aitken Dott, Edinburgh; Jersey Arts Centre, Channel Islands and the Compass Gallery, Glasgow. Solo shows abroad include the National Museum of Art, Santiago, Chile; Jan Turner, Los Angeles; Dolan/Maxwell Gallery, Philadelphia and the Mickleson Gallery, Washington DC. Ackroyd has also received several public mural commissions, produced in etched stainless steel or bronze. Recent commissions include Lloyds Bank, London; British Airways, Birmingham Airport; Freshfields, London; Tetrapack, Stockley Park, Heathrow; a bronze mural for the Main Hall of the British Embassy, Moscow; and Lazards Bank, Stratton Street, London W1. Norman Ackroyd was elected a Royal Academician in 1991 and was made Senior Fellow, Royal College of Art in 2000. Ackroyd lives and works in London. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Norman Ackroyd RA Estuary II - Detail, 2022 Etching - Detail on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Norman Ackroyd studied at Leeds College of Art from 1956 to 1961, and subsequently at the Royal College of Art, London from 1961 to 1964. Ackroyd has had many solo exhibitions, both in Britain and internationally, including Anderson O'Day; Aitken Dott, Edinburgh; Jersey Arts Centre, Channel Islands and the Compass Gallery, Glasgow. Solo shows abroad include the National Museum of Art, Santiago, Chile; Jan Turner, Los Angeles; Dolan/Maxwell Gallery, Philadelphia and the Mickleson Gallery, Washington DC. Ackroyd has also received several public mural commissions, produced in etched stainless steel or bronze. Recent commissions include Lloyds Bank, London; British Airways, Birmingham Airport; Freshfields, London; Tetrapack, Stockley Park, Heathrow; a bronze mural for the Main Hall of the British Embassy, Moscow; and Lazards Bank, Stratton Street, London W1. Norman Ackroyd was elected a Royal Academician in 1991 and was made Senior Fellow, Royal College of Art in 2000. Ackroyd lives and works in London. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Norman Ackroyd RA Sun and Mist - Thirsk Hall, 2022 Etching - Detail on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Norman Ackroyd studied at Leeds College of Art from 1956 to 1961, and subsequently at the Royal College of Art, London from 1961 to 1964. Ackroyd has had many solo exhibitions, both in Britain and internationally, including Anderson O'Day; Aitken Dott, Edinburgh; Jersey Arts Centre, Channel Islands and the Compass Gallery, Glasgow. Solo shows abroad include the National Museum of Art, Santiago, Chile; Jan Turner, Los Angeles; Dolan/Maxwell Gallery, Philadelphia and the Mickleson Gallery, Washington DC. Ackroyd has also received several public mural commissions, produced in etched stainless steel or bronze. Recent commissions include Lloyds Bank, London; British Airways, Birmingham Airport; Freshfields, London; Tetrapack, Stockley Park, Heathrow; a bronze mural for the Main Hall of the British Embassy, Moscow; and Lazards Bank, Stratton Street, London W1. Norman Ackroyd was elected a Royal Academician in 1991 and was made Senior Fellow, Royal College of Art in 2000. Ackroyd lives and works in London. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Brian McKenzie Hanging Bosci Suits, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused.Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Brian McKenzie Hanging Bosci Suits II, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Brian McKenzie Collecting Mutated Plants Near Fukushima Daiichi Reactor, 2022 Etching Signed verso 10 x 15cm (3¾ x 5¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Brian McKenzie Fungal Dream, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Brian McKenzie Francois De Sarra Eaten By Frogs + Worms, 2022 Etching Signed verso 10 x 15cm (3¾ x 5¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Brian McKenzie Another Crime-Free Day In The Busy Life of Batman, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ian C McNicol Scottish Loch, 2022 Etching and Aquatint on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Ian McNicol was born in Paisley in 1965. He studied Architecture for 3 years at Glasgow School of Art before changing to Technical Graphics & Illustration (at Glasgow College of Building and Printing). A further 10 years were spent in professional practice with a firm of architects while taking a series of evening classes at the Glasgow Print Studio, where he experimented with screenprinting, lithography and relief techniques, eventually being seduced by the etching process. The artworks are made using the traditional printmaking technique of etching which involves using steel and copper plates, etched in acids and hand printed on to paper.   Education   Architecture, Glasgow School of Art Technical Graphics & Illustration, Glasgow College of Building and Printing Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ian C McNicol Jazzman, 2022 Reduction Woodcut Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Ian McNicol was born in Paisley in 1965. He studied Architecture for 3 years at Glasgow School of Art before changing to Technical Graphics & Illustration (at Glasgow College of Building and Printing). A further 10 years were spent in professional practice with a firm of architects while taking a series of evening classes at the Glasgow Print Studio, where he experimented with screenprinting, lithography and relief techniques, eventually being seduced by the etching process. The artworks are made using the traditional printmaking technique of etching which involves using steel and copper plates, etched in acids and hand printed on to paper.   Education   Architecture, Glasgow School of Art Technical Graphics & Illustration, Glasgow College of Building and Printing Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ali Yanya Portrait of a Trader, 2022 Etching on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Ali Yanya is a painter and printmaker born in Istanbul. He lives and works in London teaching printmaking at Morley College. Yanya's work is in the print collections of the British Museum, Clifford Chance International Law Firm, Turkish graphic Museum and BP Turkey.   Education   Yanya studied Fine Art at Marmara University in Istanbul in 1980- 84 and then printmaking at Royal College of Art London in 1988 - 1990.   Select Exhibitions/Awards   1990 Second Irish Mini Print Exhibition 'We Frame it' Prize, Dublin 1990 John Purcell Paper Company Prize Royal College of Art 1990 CCA Award, Royal College of Art 1994 British Petroleum Turkish- Azeri Artist Competition, First Prize Statement about AOAP Submitted Artwork   About his work Yanya say's "It is a continuous exploration of man and his relationship with his surroundings, history & politics". Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ali Yanya Woman Reading, 2022 Etching on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Ali Yanya is a painter and printmaker born in Istanbul. He lives and works in London teaching printmaking at Morley College. Yanya's work is in the print collections of the British Museum, Clifford Chance International Law Firm, Turkish graphic Museum and BP Turkey.   Education   Yanya studied Fine Art at Marmara University in Istanbul in 1980- 84 and then printmaking at Royal College of Art London in 1988 - 1990.   Select Exhibitions/Awards   1990 Second Irish Mini Print Exhibition 'We Frame it' Prize, Dublin 1990 John Purcell Paper Company Prize Royal College of Art 1990 CCA Award, Royal College of Art 1994 British Petroleum Turkish- Azeri Artist Competition, First Prize Statement about AOAP Submitted Artwork   About his work Yanya say's "It is a continuous exploration of man and his relationship with his surroundings, history & politics". Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Amy Shelton Fragment of Honeybee I, 2022 Golden Ink on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Amy Shelton has created a celebrated body of work which interrogates the fault lines ravaging the natural world with a quiet documentary methodology. Her meticulously crafted artworks have been exhibited at galleries and public venues across the UK and internationally, bringing compelling and pertinent environmental stories to light. Through collaborations with leading scientists, writers and researchers across disciplines, Shelton's artistic practise focuses on and celebrates the interconnectedness of unseen ecosystems and their delicately adjusted interweaving relationships. Education   Shelton studied History of Art (University of Manchester) and an MA in Fine Art (University of Plymouth)   Select Exhibitions/Awards   Selected exhibitions: Invited exhibitor for Royal Academy of Arts Summer Exhibition (2022), MAKE SW Artful Craft; Exploring the nature of craft, art, and design in the 21st century curated by Peter Randall Page (2022), Royal Albert Memorial Museum and Art Gallery 'Biophilia' (2021), Eden Project. Core Building. PLAN BEE. Wolfgang Buttress, Kurt Jackson and Amy Shelton (2019), DAAD Gallery, Zimmerstraße 90/91, Berlin. Florilegium: Honey Flow & Melissographia (2015), Royal Botanic Gardens Edinburgh, Bee Works (2015). Public commissions: The Bedside Biophilia commissioned by Great Ormond Street Hospital (2021), Princesshay Honey Flow commissioned by Crown Estate (2016), Public collections: The Exeter Florilegium purchased by Royal Albert Memorial Museum and Art Gallery (2022), Great Ormond Street Hospital Collection (2021), Florilegium Quadriptych purchased by Wellcome Collection (2014),   Gallery Representation   TIN MAN ART www.tinmanart.com   Statement about AOAP Submitted Artwork   The drawings were made for the artists' book Melissographia, a collaboration between Amy Shelton and author John Burnside in response to the emerging story of catastrophic pollinator losses worldwide. Polymer gravure etching editioned by Simon Marsh Printed in gold ink on Somerset velvet white 300gsm paper Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

LARGE VICTORIAN ETCHING OF DON ADRIAN PULIDO PAREJA, BY THE ROYAL ASSOCIATION FOR PROMOTING FINE ARTS SCOTLAND, 1883

UZANNE, O. La Française du siècle. Modes, moeurs, usages. Par., A. Quantin, 1886. (4), xvi, 273, (4) pp. W. front., 9 plates (w. tissue guards), 9 vign. & 9 initials, all in cold. etching by E. Gaujean after A. Lynch. Fine cont. full black mor. w. raised bands, dec. gilt back, t.e.g. & or. cold. etched wrps. bound up. NOTE:Vicaire VII, 924; Carteret IV, 384; Colas 2948; Lipperheide Fc 51.

CARICATURE -- "BOUQUINISTE, Le, en Jouissance". Paris, Gault de St. Germain, n.d., (c. 1810). Etching depicting a bookseller and a customer. 313 x 237 mm (paper size). (Margins cropped). -- Added: a series of 8 cold. lithographed caricature plates by Edme Jean Pigal of professions "Métiers de Paris": "Prolétaire" - "Artiste" - "Indépendant" - "Plagiaire" - "Mathématicien" - "Compositeur" - "Millionnaire" - "Homme de bien" - (Paris, Aubert, n.d. (c.1840)). 310 x 240 mm. -- (9).

KURPERSHOEK, Th. "Vondelpark". 1982. Cold. lithogr. 255 x 410 mm. Signed, dated, titled and numb. (h.c.) in pencil. Under passepartout. -- Id. (Still life). 1976. Etching and aquatint. 195 x 325 mm. Signed, dated & numb. (6/12) in pencil. Under passepartout. -- (2).

BERSERIK, Hermanus ('Herman') (1921-2002). (Two old ladies sitting on a bench). 1961. Etching. 240 x 320 mm. Signed, dated and numb. (8/15) in pencil. Under passepartout. -- Id. (Boys). 1989. 2 etchings. 105 x 145 and 105 x 152 mm. Signed & numb. (9/100) in pencil. Under 1 passepartout. -- (3).