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Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Haddon Hall, Derbyshire" Unsigned, etching.plate size 23cm x 28cm (9in x 11in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. There is a small crease to the paper in the lower left-hand margin and one or two minor spots of foxing across the paper. There is extensive foxing across the mountboard. The print is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.

Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Tewkesbury Abbey" Signed in pencil in the margin, etching.plate size 25cm x 20cm (9.75in x 7.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned lightly across the sheet and there are some minor spots of foxing across the paper. There are some water stains and minor spots of foxing on the mountboard. The print is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.

Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Santa Maria della Salute, Venice" Signed and marked artist's proof in pencil in the margin, etching.plate size 20cm x 25cm (8in x 9.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned lightly across the sheet and there are some minor spots of foxing across the paper. There are some water stains and minor spots of foxing on the mountboard. The print is framed but not glazed. The original frame has some minor scuffs and knocks commensurate with age.

Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "The Shed" Signed in pencil in the margin, etching and another pond scene by the artist, together with a signed wood engraving by Edward Stamp (British 1939-), "Sumer Ash", signed, titled and dated 1977 in pencil in the margin, numbered 10/25.various plate sizes 19.5cm x 25cm (7.75in x 9.75in) and 12.5cm x 9cm (5in x 3.5in)Qty: 3The prints are in good, original condition. The paper has browned lightly across both the prints by Knighton-Hammond and there are some minor spots of foxing across all the prints. There are some water stains and minor spots of foxing on the mountboards. The prints are all framed and glazed. The original frames have some minor scuffs and knocks commensurate with age.

AN ETCHING OF A MAN FEEDING PIGS SIGNED WILLIAM PALMER ROBBINS

Wilfred C Applesby, The Auld Brig o - Ayr, etching in frame ( 55.2 x 40 cm including mount and frame)

A. F. Affleck ' Hotel de Ville, Louvain, etching in frame, signed (60cm x 81 cm including mount and frame)

R Kent Thomas, 'Glasgow' etching, dated 1880 in frame (94 * 55 cm including mount and frame)

JAMES WARD RA after ALEXANDER NASMYTH - 'The Spottiswoode Ox', mezzotint on wove paper (plate size 17¾ x 23¾in; 45 x 60.5cm). Numerous repairs and margins reduced, also 'Woburn Sheep Shearing' after GEORGE GARRARD ARA, stipple engraving and etching, Publ. by G Garrard, London 1811 (plate size 17¾ x 29¼in;45.5 x 74.5cm). Some foxing in the sky (2)

A limited edition (4 of 10) monochrome etching, 'Rue Custine'; signed and dated A P Corner '82, with two further smaller etchings lower left, framed and glazed, (largest image size 31 cm x 24.5 cm)

SIDNEY TUSHINGHAM (British 1884-1968) a framed and glazed monochrome etching; 'Plaza del Corrillo, Salamanca'; signed in pencil in the margin lower right, original paper labels verso for Thos. Agnew and Sons, 43 Old Bond Street, London Piccadilly W1 (etching size 29.25 x 25 cm)

A framed and glazed monoprint etching 'Dischord', signed and dated in pencil lower right Frances Corner '84 (49.5cm x 36.5cm)

An artist's proof coloured etching, 'Room for Matisse'; signed and dated Frances Corner '80 in pencil lower right, framed and glazed, (image size 42 cm x 52.5 cm)

Colin Self (Born 1941) - 'Man with Umbrella', etching, signed in pencil and dated 2010, numbered 39/40, framed, 21cm x 13cm, frame size 54cm x 45cm.

David Remfry, MBE, RA (Born 1942) - Roller skating, lithograph, signed in pencil, numbered 10, artist's proof, unframed, 58cm x 40cm, also an unframed etching by Elisabeth Von Holleben. (2)

Bayard Osborn (1922-2012) - Two Dancers, etching, signed in pencil, unframed, 29cm x 16cm.

Bayard Osborn (1922-2012) - The Lord of Darkness, etching, signed in pencil and numbered 12/30, unframed, 19cm x 23cm, also one other etching depicting a masked dancer by the same hand. (2)

Bayard Osborn (1922-2012) - Anatomical Studies #6, etching, signed in pencil and numbered 6/30, unframed, 24.5cm x 10.5cm, also Anatomical Studies #4, unframed etching depicting a suspended torso by the same hand. (2)

Bernard Meadows, RA (1915-2005) - 'Molloy - Plate 7', etching with aquatint, signed in pencil and dated '66, numbered 10/20, unframed, 17cm x 55cm, also two further unframed etchings by the same hand. (3)

Michael Chaplin RE (British b1943) 'Iron Wharf' and 'Anglia', etching and aquatint, signed, titled and numbered in pencil, 29/200, 166/200. H.43 W.43cm.

Jacob Hendrik Pierneef (South African, 1886-1957)Four South African Views (i-iv): (i) Study of a Treesigned and dated in pencil 'J.H. Pierneef impr./ 1920' (lower margin); Johan Coetzee label affixed to the reverseetching on paperimage size: 19.5 x 28cm (7 11/16 x 11in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(ii) Okahandjaberg, South West Africasigned, dated, titled, numbered and inscribed in pencil 'J.H. Pierneef. impr. Proefdruk no I./ Okahandjaberg. SW.A./ aan Marita Pierneef./ 1930.' (lower margin)etching on paperimage size: 20.5 x 27cm (8 1/16 x 10 5/8in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(iii) Street in Tulbagh, Capesigned, dated and titled in pencil 'JHPierneef impr. Street in Tulbagh. CP./ 1938.' (lower margin)linocutimage size: 29 x 35.3cm (11 7/16 x 13 7/8in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(iv) Vissershawe, Hermanussigned, dated and inscribed in pencil 'J.H. Pierneef impr. Hermanus./ Druk. 1944.' (lower margin)linocutimage size: 19.5 x 25.5cm (7 11/16 x 10 1/16in)sheet size: 21.3 x 27cm (8 3/8 x 10 5/8in).(framed)(4)Footnotes:ProvenanceThe collection of the artist's family;Thence by descent to the artist's grandson Exhibited(ii) Okahandjaberg, South-West AfricaJohannesburg, Standard Bank Gallery, A Space for Landscape: The work of JH Pierneef, 8 July - 12 September 2015, pp. 16 & 131 (another edition illustrated and exhibited; etching plate illustrated, p. 139)(iii) Street in Tulbagh, CapeDurban, Durban Art Gallery, The Complete Woodcuts of Pierneef, 1970, no. 10 or no. 14 (iv) Vissershawe, HermanusJohannesburg, Johannesburg Kunsgalery, Rykstentoonstelling: Empire Exhibition, 1970, no. 83, p. 11 (another print exhibited)Durban, Durban Art Gallery, The Complete Woodcuts of Pierneef, 1970, no. 10 or no. 33 (another print exhibited)Literature(i) Study of a Tree (Boomstudie)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 6 (illustrated)(ii) Okahandjaberg, South-West AfricaJ.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 6 (another print illustrated; titled 'Mountain at Okahandja, South-West Africa')P.G. Nel, JH Pierneef: His life and his work (Cape Town & Johannesberg, 1990), p. 115 (illustrated; titled 'Okahandjaberg, Suidwes-Afrika')Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 8 (illustrated)(iii) Street in Tulbagh, CapeJ.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 29 (another print illustrated)F.E.G. Nilant, Die Hout- en Linosneë van J.H. Pierneef (Cape Town & Rotterdam, 1974), no. 8, p. 38 (titled in Afrikaans 'Straat in Tulbagh'; earlier print illustrated)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 59 (illustrated)(iv) Vissershawe, HermanusA.C. Bouman, Painters of South Africa (Cape Town & Pretoria, 1944), p. 25 (another print illustrated, p. 24)J.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 30 (another print illustrated)A.J. Werth, Kuns uit die Staatsargief, cat., Pretoria Art Museum, 1971, no. 68 (another print listed)F.E.G. Nilant, Die Hout- en Linosneë van J.H. Pierneef (Cape Town & Rotterdam, 1974), no. 5, p. 34 (earlier print illustrated)Hans Fransen, Three Centuries of South African Art: Fine Art, Architecture, Applied Arts (Johannesberg & Cape Town, 1982), p. 348 (another print illustrated, no. 4; titled 'The old harbour, Hermanus')Esmé Berman, Art & Artists of South Africa: An illustrated biographical dictionary and historical survey of painters, sculptors & graphic artists since 1875, enlarged edition (Cape Town & Rotterdam, 1983), p. 330 (another print illustrated)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 8 (illustrated)Pierneef was first introduced to printmaking techniques in 1903 when he was taught the basic principles of etching while studying at the Rotterdam Academy. However, printmaking did not become a core component of his artistic practice until seven years later when he received informal tutelage in etching and linocut techniques from the Irish artist George Salisbury Smithard (1873-1919). In 1911, at Smithard's request, Pierneef submitted two etchings to the first exhibition organised by the Guild of South African Artists in Johannesburg. Two years later, he sold his first linocuts.Pierneef was intimately involved in all aspects of the printmaking process. In addition to creating the etching plates and lino blocks, he undertook the physical labour of printing each individual work. He consequently signs his graphic works 'J.H. Pierneef impr.' ('impr.', from imprimere meaning 'to print') to signify his direct role in the creation of each print. These were made on demand, rather than in numbered editions. Therefore, typically only a small number of prints were produced from each master block. This printing method highlights the careful control that Pierneef retained over his graphic works which allowed him to keep creative oversight at each step of the production process. The present group of four works represents the diversity of Pierneef's printmaking activities. Study of a Tree (1920) and Okahandjaberg, South West Africa (1925, printed 1930) illustrate the softer, romantic language of his fine line etchings. Notably, the latter work is numbered as the first print made from the etching plate and is dedicated to Pierneef's daughter, Marita Pierneef-Bailey. In contrast to the detailed perspective offered in these etchings, the linocuts Street in Tulbagh, Cape (1931, printed 1938) and Vissershawe, Hermanus (1931, printed 1944) exemplify the bold, graphic style that he achieved through the relief print method. Vissershawe was a particularly popular work, and a print of the Hermanus harbour scene was included in the Empire Exhibition organised by the South African government at the Johannesburg Art Gallery in 1936. Here, the work was shown alongside pieces by other prominent South African artists including Maggie Laubser (1886-1973), Hugo Naudé (1869-1941), Irma Stern (1894-1966), and Maud Sumner (1902-1985).Pierneef's engagement with printmaking is closely interrelated to his approach to painting. In both mediums, he cultivates an attentiveness to line and tonal contrast. The consistency in his approach to both mediums is demonstrated in his use of the prints Okahandjaberg and Vissershawe as models for his acclaimed station panel paintings for the newly built Johannesburg train station, commissioned in 1929. The translation of these subjects from print to paint demonstrates the integral interrelationships between these two key aspects of the artist's practice.For further information on this lot please visit Bonhams.com

Charles Sykes (1875-1950)The Exotic Dancers, etching, numbered 1/10 and inscribed with initials in pencil to the margin, 15.5 x 12cm; and three further similar (4)Lots 160-169, a collection of pictures by Charles Sykes (1875-1950), sculptor, artist and designer of the Spirit of Ecstasy mascot for Rolls Royce motor vehicles.The works were acquired by a friend of the Sykes family in 1972 who in turn sold them to our current vendor/collector (now deceased). They represent views the artist produced for himself rather then in a commercial capacity.

Charles Sykes (1875-1950)The Parasol, etching, numbered 1/10 and inscribed with initials in pencil to the margin, 18 x 9.5cm; and four further similar (5)Lots 160-169, a collection of pictures by Charles Sykes (1875-1950), sculptor, artist and designer of the Spirit of Ecstasy mascot for Rolls Royce motor vehicles.The works were acquired by a friend of the Sykes family in 1972 who in turn sold them to our current vendor/collector (now deceased). They represent views the artist produced for himself rather then in a commercial capacity.

Laura Knight (1877-1970)The Dancers, etching with aquatint, pencil signed in the margin, 26.5 x 21cmImage in good condition. The mount a bit grubby in places.

Gerald Leslie Brockhurst (1890-1978)'Young Womanhood', etching, pencil signed in the margin, 23 x 17.5cm

John Tookey (b.1947)Winter, The Aire Valley, signed, watercolour heightened with white, 24 x 33.5cm; together with a further watercolour by David Evans - Old Coal Barges off the Pier, 14 x 24cm; and an etching by Roz Myers - 'Winter in the Dales', signed in pencil no. 10/20 (3)

Valerie Thornton (1931-1991)'Roman Pots', etching with aquatint, artist's proof, pencil signed, titled and dated '70 to the margin, 47 x 34.5cm

Jo Barry (b.1944)'The Storm in the Valley', signed, watercolour, 22.5 x 23.5cm; and an etching by the same hand - 'Call the Winter from the Hills', pencil signed in the margin, titled and numbered 22/150, 19.5 x 25cm (2) Each with the Bankside Gallery

Flora McLachlan (20th/21st century)'A Forest', etching, pencil signed in the margin, titled and numbered 71/150, 9.5 x 9.5cm; and three further prints or engravings by various hands (4)

Giovanni Battista PiranesiVeduta Interna del Pronao del Panteon, etching, 38 x 53cm

Charles Cattermole (1832-1900)A procession of knights at an archway, signed, watercolour, 15 x 44cm; and an etching, both unframed (2)

Boris O'KleinChacun Son Tour, etching with aquatint, hand-coloured, pencil signed in the margin, 17.5 x 44cm; and three further similar (4)There is some time staining to the sheets, only the lower margins are visible within mounts. Not examined out of the frames.

James Caldwell after Reinagle'The Oblique leaved Begonia', etching with aquatint for Dr Thornton's Temple of Flora, printed in colour and with hand-tinting, 51 x 37.5cm

William Elmes after Abraham Pether'The Persian Cyclamen', etching with aquatint for Dr Thornton's Temple of Flora, printed in colour and with hand-tinting, 49.5 x 40cm

Norman Wilkinson (1878-1971)The Ministers Pool, Struan, etching, pencil signed in the margin, 22 x 30cm With The Rembrandt GallerySheet is time stained, and slightly wrinkled/uneven. Some minor staining to the edges. Not examined out of the frame.

Inge Clayton (1942-2010)'Cabaret', etching in colours, pencil signed, titled, dated '93 and numbered 18/35, 30 x 20cm; and one further similar - 'Kitty', numbered 13/25 (2)

Paul Sandby'The Encampment in the Museum Garden MDCCLXXX', sepia etching with aquatint, 30.5 x 45cm The above etching was one of a series of three, published c.1781 the year after The Gordon Riots which is what the Encampments were set up in response to, in Hyde Park, St James' Park and this one in the Gardens of Montagu House (now the British Museum)

Charles Nicolas Cochin after Jacques Dumont dit le Romain'Angelique vient trouver Mangis D'Aigremont...', etching, 27 x 33.5cm; and four further Old Master theme engravings, all unframed (5)

Rembrandt van RijnJan Lutma, Goldsmith (B.276) etching on laid paper, 19.5 x 14.5cm NB. The paper in a corroded stateThe paper surface is rough and "bobbly", with the bobbles showing as pale on all the dark areas. Some tape residue to the back of the upper edge, and upper left corner. Minor wear to the edges of the sheet, and minor discolouration. Unframed.

William Lionel Wyllie (1851-1931)Blockhouse, Portsmouth Harbour, etching, pencil signed in the margin, 16 x 37.5cm

William Lionel Wyllie (1851-1931)Markham Aerodrome near Kings Lynn, etching, pencil signed in the margin, 17 x 21.5cm

William Lionel Wyllie (1851-1931)Greenwich from the river, etching, pencil signed in the margin, 8.5 x 35cm

William Lionel Wyllie (1851-1931)Limehouse, etching, pencil signed in the margin, 16 x 37cm

William Lionel Wyllie (1851-1931)London and Tower Bridge, etching, pencil signed in the margin, 18 x 39cm

English School (20th century): Yellow and Red Roses, pair acrylics on plastic panel unsigned together with coloured etching of Still Life and four prints of flowers max 21cm x 16cm (7)

William Strang (Scottish 1859-1921): Museum of Santa Cruz - Spain, etching signed in pencil, initialled and dated 1913 in the plate; Leonard Howells (British 19th/20th century): 'The Belfry Bruges' and 'Bruges', pair etching signed and titled; Frederick Marriott (British 1860-1941): 'The Chateau at Dieppe', coloured etching signed and titled pub. 1918 together with interior Dutch scene etching max 30cm x 17cm together with three other pictures (8)

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)

J Lucas (British Early 19th century): 'York Minster', watercolour signed and titled; French School (Early 20th century): Castle Chillon - Lake Geneva, colour etching indistinctly signed together with print (3)

Iris Francis (British 1913-2004): 'Decaying Beauty', etching signed titled and numbered 1/3 in pencil; James B Lee (British 20th century): 'Shambles Corner York', etching signed and titled in pencil (2)

Italian School (Early 20th century): Venice Canals, set three watercolours unsigned together with another Venetian watercolour, two engravings of Venice and an etching of York Minster (8)

λ DAME LAURA KNIGHT (BRITISH 1877-1970)SALT AND SAUCY AT ISLINGTONCharcoalSigned, titled and dated 1922 (lower left)25 x 34cm (9¾ x 13¼ in.)Provenance:Sale, Christie's, South Kensington, 1 March 2000, lot 32John Mitchell & Sons Fine Paintings, LondonThe present drawing is one of Knight's first circus drawings, executed when visiting Swallows Circus at The Agricultural Hall Islington following the recommendation of a railway porter at Paddington Station. Following these early visits, the artist then got to know Carmos Circus, where she sketched and painted her first well known circus works. A year later, in 1923, Knight also started a new venture in art, making limited numbers of prints. Her first etching depicting a circus scene was called 'Salt and Saucy' and depicted a similar scene to that of the present charcoal. The work was limited to 55 impressions although it is possible that less than 55 were actually printed.We are grateful to R. John Croft, FCA, the artist's great nephew, for his help in preparing this catalogue entry. The present work will be featured in his forthcoming Catalogue Raisonné of the artist's work.   Condition Report: Examined out of glazed frame. Slight undulation to the sheet. Sheet has been cut to the left and right edge. Light staining visible to the extreme edges. A diagonal crease across the upper left and a further very small diagonal crease to the lower right corner. Stain to the lower right corner. A small scratch and associated area of skinning approx 2mm. Hinged at two points along the upper edge and to the middle of the left edge.   Condition Report Disclaimer

REBAE LUBAROU, 'GRAVITATION MACHINE', ETCHING, 53 x 63 cm

CHARLES BARTLETT, 'TIDE POOLS', ETCHING, 64 x 56 cm

* Gainsborough (Thomas, 1727-1788). Wooded Landscape with Peasant Reading Tombstone, Rustic Lovers and Ruined Church, circa 1780, soft-ground etching on wove paper, a very good impression of the second state (of three), before Boydell's edition of 1797 printed in grey, trimmed to the subject, sheet size 29.5 x 39.2, mounted, glazed and framed (50 x 60 cm)QTY: (1)NOTE:Hayes 10, ii/iii.

* Stubbs (George, 1724-1806). Tygers at Play, 1780, etching on pale cream wove paper, watermarked F.J. Head, a later 20th century printing from the original plate, plate size 37.7 x 47.7 cm (14 7/8 x 18 3/4 ins), sheet size 58.7 x 64.8 cmQTY: (1)NOTE:Lennox-Boyd, Dixon & Clayton 60.

* Jacque (Charles Émile 1813-1894). Le Troupeau de Porcs, 1890, etching and drypoint printed in bistre, a fine atmospheric proof impression printing with rich tone and burr, before the edition of 1100, signed and inscribed in pen and brown ink ‘Bon à tirer à onze cents exemplaires - / Paris, le 27 novembre 1890’, together withMassard (Félix, 1773-1840). Chœur de néréïdes, Sarcophage, after Harriette, circa 1820, engraving, a very fine, crisp impression on wove paper, with margins, a very faint discoloured area in the lower blank margins, otherwise in good condition, plusMotte (Charles E.P., 1785–1836). Toi…! Oui Moi…!, circa 1822, lithograph, a good fresh impression on wove paper with margins, and two lithographs by Honoré Daumier (1808-1879): Les Derniers représentans de la gaieté française, & Dis-donc mon Homme…ça m’a l’air joliment appétissant, j’prendrais bien quelque-chose!, as published in Le CharivariQTY: (5)

Palmer (Samuel, 1805-1881, & Others). A Selection of Etchings by the Etching Club, London: Joseph Cundall & Thomas Bosworth, 1865, 12 original etchings by Samuel Palmer, J. E. Millais, Thomas Creswick, Frederick Tayler, Richard Ansdell, William Holman Hunt, Richard Redgrave, John C. Horsley, George B. O'Neill, C. W. Cope, James C. Hook and Seymour Haden, including Palmer's The Weary Ploughman, 1858, (Lister E8, viii/viii), etching on chine appliqué, the eighth state (of 8), a strong, dark impression, numbered 4 to centre of lower blank margin, Millais's Happy Spring-time (Goldman 33), Holman Hunt's A Day in the Country (Bronkhurst Appendix B21), Seymour Haden's A Study in Kensington Gardens (Schneiderman 31, iii/iii), all printed on chine appliqué, tissue-guard to each plate, pale waterstain to outer margin of plates 1-5, 9 & 12, spotting to title and contents leaf, yellow chalk-glazed endpapers, with 19th-century bookplate of Cyril Flower to front pastedown, neat presentation inscription to front endpaper 'Cyril Flower from R.C.J.', original publisher's maroon morocco-backed cloth gilt, rubbed and scuffed with some marks, and a little wear to extremities, large folio (sheet size 45 x 32 cm)QTY: (1)NOTE:Provenance: Cyril Flower, 1st Baron Battersea (1843-1907), Liberal politician and patron of the arts.The other etchings are: Thomas Creswick, A Roughish Road by a Lochside, Frederick Tayler, A Day's Hunting in the Fens, Richard Ansdell, The Park, Richard Redgrave, Summer Woods, John C. Horsley, The Duenna's Return, George B. O'Neill, The Portrait, C.W. Cope, The Spring Flood, and James C. Hook, Gathering Eggs from the Cliff.

* Strang (William, 1859-1921). Portrait of Thomas Hardy, No.2, 1894, etching on pale cream wove paper, signed in the ground and dated '93, signed in pencil to lower right margin, plate size 22.4 x 15 cm (8 3/4 x 5 7/8 ins), with margins, mount aperture 26.7 x 18.6 cm (10 1/2 x 7 38 ins), likely tipped onto backboard, framed and glazed (38 x 31 cm), verso with label of G. Maury, Le Havre, together with: Women at the Cross, 1898, drypoint etching on cream wove paper, signed in pencil to lower right margin, a few foxing spots (mainly to margins), plate size 25.2 x 30.2 cm (9 7/8 x 11 7/8 ins), with margins, mount aperture 29 x 33.5 cm, tipped onto backboard, framed and glazed (45 x 48.5 cm), verso with G. Maury label, plus another 8 etchings by Strang, and one by Ian Strang (1886-1952) of Cannon Street Station (1923), all tipped to their backing boards, possibly all titled in pencil to lower margin (hidden behind mounts), 4 with some discolouration, and with 2 photographs, one of William Strang, the other a contemporary photographic reproduction of a 1910 family painting 'Portrait Group' by William Strang, the mount signed by each member of the family depicted, most framed and glazed (39.5 x 49.5 cm and smaller), (none examined out of frames)QTY: (13)NOTE:First two items: Strang catalogue (1906) 227 & 340 respectively. The other titles with their catalogue numbers are: The Trinket Seller (31), Portrait of J.B. Clark (46), Portrait of W. Strang (97), The Carpenter's Shop (43), The Castaways (147), Portrait of R.B. Cunninghame-Graham (343), The Mill Ford (273), The Monument (277).

* Sickert (Walter, 1860-1942). Femme de Lettres (The Large Plate), 1911-12, etching on laid paper, 5th state (of 7), before all lettering, and before the slight reduction of the plate, plate size 150 x 226 mm, sheet size 244 x 295 mm (9 5/8 x 11 5/8 ins), mount-stained, glued to outer edges of the sheet, in window-mount, framed and glazed, with old Agnew & Sons labels to versoQTY: (1)NOTE:Bromberg 149 v/vii.

* Sparks (Nathaniel, 1880-1957). Shadow and Shade, etching, a fine impression, printing with rich contrasts, on wove paper watermarked 'Millbourne British handmade pure rag paper', signed in pencil and dedicated 'To Leslie Ward', inscribed by the artist 'working proof / late state', with margins, in very good condition, platemark 15 x 8.8 cm (5 7/8 x 3 1/2 ins), sheet 24.8 x 15.5 cm (9 3/4 x 6 1/8 ins), minor loss to lower left sheet edge, window-mountedQTY: (1)NOTE:An impression of this print is in the Rosenwald Collection at the The National Gallery of Art, Washington D.C. (accession no. 1943.3.7984).