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* Piranesi (Giovanni Battista, 1720-1778). Veduta di una parte de’fondamenti del Teatro di Marcello, from Le Antichità Romane IV, 1756, etching on thick laid paper, a crisp impression, 'Piranesi Archit. dis. et Scul.' to lower right, presence of double ring fleur-de-lys watermark suggests a lifetime Roman edition, very large margins, central fold (strengthened to verso), remnants of old tape to verso where once tipped onto backing board, hinge mounted, plate size 65 x 39.7 cm (25 1/2 x 15 1/2 ins), sheet size 79.7 x 56 cm (30 3/4 x 22 ins), framed and glazed (91 x 64 cm) QTY: (1)NOTE:Wilton-Ely 500; Focillon 367; Ficacci 358.

* Kay (Bernard, 1927-2001). Apse of Notre Dame, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 43 cm x 35.3 cm (16.8 x 13.8 ins), full sheet 62.5 cm x 49.8 cm (24.6 x 19.6 ins), together with the original copper printing plate, and an Artist’s Proof signed edition Chartres EastQTY: (3)

* Nixon (Job, 1891-1938). Gipsies, etching on wove paper, signed in pencil, large margins, inscribed in pencil to bottom of sheet ‘Gipsies’ in another hand, mount stained, tipped on to mount board, plate size 18.5 x 29.5 cm (7 1/4 x 11 1/2 ins), sheet size 25 x 40.5 cm (9 3/4 x 16 ins), framed and glazed QTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Sotterraneo Fondamento del Mausoleo..., from Le Antichità Romane IV, 1756, etching on thick laid paper, a deep impression, 'Piranesi Archit. dis. et inc.' to lower right, central fold, with margins, remnants of old tape to verso (including minimally strengthened centre fold), slightly mount stained, plate size 71 x 46 cm (28 x 18 ins), sheet size 76.4 x 52.9 cm (30 x 21 ins), framed and glazed (62 x 87 cm) QTY: (1)NOTE:Wilton-Ely 474; Focillon 341; Ficacci 332.

* Griggs (Frederick Landseer, 1876-1938). Stoke Poges, 1918, etching on cream laid paper, with partial Brittania watermark, one of only 22 impressions of the final state,hairline fracture running up the right plate margin, continuing as a closed tear to top margin archivally repaired, signed in pencil, a very good impression, plate size 96 x 117 mm (3 3/4 x 4 5/8 ins), sheet size 155 x 173 mm (6 1/8 x 6 9/16 ins), hinge mounted in window mount with Cradock and Barnard pencil annotationsQTY: (1)NOTE:Comstock 20 vi/vi. One of the rarest of Griggs' etchings, an idealised interpretation of the timbered south porch of St. Giles Church, Stoke Poges in Buckinghamshire, itself the inspiration for Thomas Gray's Elegy Written in a Country Churchyard.

* Kay (Bernard, 1927-2001). Portrait of a woman, pastel on laid paper, signed to mount verso, mount aperture 28.5 cm x 22.1 cm (11.4 x 8.8 ins), full sheet 30.5 cm x 22.8 cm (12 x 9 ins), two other works in pastel, an etching of a seated figure, two additional trial pulls and the original copper etching plate, a signed abstract artist’s proof, and 15 copper printing plates including subjects Buttress: Chartres, Ball Games, Tours CathedralQTY: (22)

* Millais (John Everett, 1829-1896). The Bridge of Sighs, etching, depicting a woman dressed in large cloak standing on a riverbank, an arched bridge behind her, image size 11.5 x 9 cm (4 1/2 x 3 1/2 ins), framed and glazed (37.5 x 33 cm)QTY: (1)

* Marieschi (Michele, 1710 - 1743). Aedis divi Rocchi facies rudis adhuc ex cocto latere..., from Magnificentiores Selectioresque Urbis Venetiarum Prospectus, 1741, etching on thick laid paper, printed with great clarity, possibly an early/lifetime impression of the first state (of four) before the addition of plate numbers, with margins, tipped onto backing board, light mount staining, plate size 31.7 x 48 cm (12 1/4 x 19 ins), sheet size 37 x 55 cm (14 1/2 x 21 1/2 ins), framed and glazed (46 x 61.5 cm), together withGaspari (Pietro, circa 1720-1785). Moles sepulcralis semiruta, aliis Sarcophagis et Aedificiis instructa, circa 1771, etching and engraving on laid paper with watermark of three crescent moons, a good impression with margins, plate size 312 x 425 mm (12 1/4 x 16 3/4 ins), sheet size 340 x 450 mm (13 1/4 x 17 3/4 ins) QTY: (2)

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Tempio di Giove Tonante, from Vedute di Roma, 1756, etching on thick laid paper, 1st Paris Edition [1800 - 07], the fourth state (of six), partially visible watermark of 'T. Dupuy, Auvergne', central fold, large margins, short tear to top margin (not affecting image), central fold strengthened to verso, toned overall, fixed to mount in four places with tape, plate size 40.2 x 60 cm (15 3/4 x 23 1/2 ins), sheet size 54 x 78.5 cm (21 1/4 x 31 ins), framed and glazed (62.5 x 87 cm)QTY: (1)NOTE:Hind 44 (iv/vi); Wilton-Ely 182; Focillon 819; Ficacci 920.

* Piranesi (Giovanni Battista, 1720-1778). Iscrizione, e Frammenti delle Camere sepolcrali della Villa de Cinque, from Le Antichità Romane II, 1756, etching on laid paper, a clear impression, 'Piranesi Architetto dis. ed inc.' to lower right, central fold, total plate size approx. 42.2 x 50.7 cm (16 1/2 x 20 ins), framed and glazed (58.5 x 75 cm), together with Framm.to di stucco, cavato dalla volta d'un de' Nicchioni interni..., from Le Antichità Romane II, 1756, etching on laid paper, central fold, a little rippling to paper, plate size 50.7 x 36.2 cm (20 x 14 1/4 ins), framed and glazed (76.5 x 58.5 cm), plus Modo, con quale furono alzati i grossi travertini..., from Le Antichità Romane III, 1756, etching on laid paper, central fold, some spotting, total plate size approx. 46 x 52.5 cm (18 x 20 3/4 ins), framed and glazed (64 x 89.5 cm).QTY: (3)NOTE:Wilton-Ely 406/387/468; Focillon 271/252/335; Ficacci 263/244/325.

AR * Keith Elizabeth, (1887-1956). A Chinese Matriarch, Soochow, 1934, colour etching on cream wove paper, printed by Watanabe in an edition of 25, signed in pencil lower right, mount-stained, inscribed with title in pencil to verso (probably by the artist), plate size 324 by 286 mm (12 and 3/4 by 11 and 1 1/4 ins), sheet size 442 by 347 mm (17 1/4 by 13 5/8 ins) hinge-mounted on backing cardQTY: (1)

AR * Tanner (Robin, 1904-1988). Autumn, 1935, etching on laid paper, an early impression of the second state (of two), signed and dated lower right in pencil 'Robin Tanner. fec. et imp. 1935', open hand watermark, the full sheet, light mount staining, small area of scattered spotting to lower left, plate size 33.5 x 31.7 cm (13 x 12 1/4 ins), unmountedQTY: (1)NOTE:Garton 18.

* Bouverie Hoyton (Edward, 1900-1988). Hedging and Ditching, circa 1925, etching on cream wove paper, signed in pencil, plate mark 215 x 184 mm (8 1/2 x 7 3/16 ins), sheet size 31 x 25.5 cm (12 1/4 x 10 ins), together withSpence (Robert, 1871-1964). Fox under Temptation, etching on cream wove paper, signed in pencil, plate size 20 x 15 cm (7 7/8 x 6 ins), sheet size (15 7/8 x 11 ins), plus two etchings by Charles Chaplin (1907-1987), Cheese Press, 1977, and Bramble & Plough, 1979, each signed, titled, dated, and numbered 16 from an edition of 50 in pencilQTY: (4)NOTE:Provenance: Collection of Neil Green, his stamped monogram to lower right corner of the sheet.

* Piranesi (Giovanni Battista, 1720-1778). Antiquus Circi Martial cum Monumerierten Adiacentia Prospectus ad Viam Appiam (Frontispiece to Le Antichità Romane III), 1756, etching on laid paper, a vibrant impression, 'Gio. Batta. Piranesi inv. dis. e incise' to lower left, central fold, large margins, light mount staining, minimally tipped onto mount with tape, plate size 40 x 60 cm (15 3/4 x 23 1/2 ins), sheet size 52.7 x 69.7 cm (20 3/4 x 27 1/2 ins), framed and glazed (62 x 87 cm) QTY: (1)NOTE:Wilton-Ely 422; Focillon 287; Ficacci 279.

* Scultori (Adamo, circa 1530-1585). Three Putti with Dolphins, after Giulio Romano (c.1499-1546), circa 1560, engraving on laid paper, double ring fleurs-de-lye watermark, with Enrico Lodolo's collector's mark to verso (Lugt 1725), and another unattributed collector's mark to verso, tipped onto backing board, trimmed to image, some scattered spotting, sheet size 11.6 x 16 cm (4 1/2 x 6 1/4 ins), window mounted, and Three Men Sacrificing a Pig (Allegory of Autumn), after Giulio Romano, circa 1560, engraving, a later issue (probably later 18th century) on wove paper, 'Fabriano' watermark, partial 'Calgogra...' blindstamp to right of sheet, research notes in pencil to verso, light spotting, tipped onto backing board, with margins, plate size 12 x 16 cm (4 3/4 x 6 1/4 ins), sheet size approx. 19 x 22.8 cm (7 1/2 x 9 ins), window mounted, plus Saenredam (Jan Pieterszoon, 1565-1607). Sarah, from 'The Wives of Abraham, Isaac and Jacob' after Hendrick Goltzius (1558-1617), circa 1597, engraving on paper, closely trimmed to three edges, small areas of staining, mount aperture 21.2 x 16 cm (8 1/4 x 6 1/4 ins), framed and glazed (37.5 x 30.5 cm), with The bowed Woman cured by Christ, after Hendrick Goltzius, circa 1595, etching on paper, partial collector's stamp in red to lower left recto, trimmed to image (with loss of lower text portion), mount aperture 17.3 x 13.7 cm (6 3/4 x 5 1/4 ins), together with a further collection of loose woodcuts and printer's marks, most trimmed to image, some with printed text to verso QTY: (Approx. 22)NOTE:Estate of Michael Jaffé art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent

* Tute (George, 1933-). Landscape with Balloons, etching, artist's proof, signed, titled and 'AP' in pencil to lower margin, image size 20.5 x 25 cm (8 x 9 7/8 ins), sheet size 38 x 44 cm (15 x 17 1/4 ins), mounted, framed and glazed (47 x 50 cm)QTY: (1)

* Durer (Albrecht, 1471-1528). Virgin and Child seated by a tree, 1513, etching on laid paper, a later copy in reverse (probably late 16th century), without the date near the upper margin, some marks and light stains, upper left corner replaced, trimmed to platemark, sheet size 116 x 75 mm (4 5/8 x 2 15/16 ins), hinge-mounted on modern cardQTY: (1)NOTE:See Meder 34.

* John (Augustus, 1878-1961). Rambling by the Lake, 1909, etching on buff paper, signed in pencil, plate size 17.6 x 12.6 cm (7 x 5 ins), framed and glazed (35.5 x 29 cm), and Middleton Todd (Arthur Ralph, 1891-1966). The Ancestor, etching with drypoint, signed lower right, a proof before the unnumbered edition, Inns & Blake label to verso, plate size 11.5 x 8.6 cm (4 1/2 x 3 1/2 ins), framed and glazed (38 x 29 cm), plus Buckles (Alec, 1892 – 1972). Feasts: Fairs Beggars: Gipsies, an illustration from 'Come hither. A collection of rhymes and poems for the young of all ages' by Walter De la Mare, 1923, woodcut, titled, signed and dated in pencil, image size 10 x 7.5 cm (4 x 3 ins), framed and glazed (40 x 37 cm), together with other etchings by various artists including Donald Maxwell, John Fullwood (4), G. Wyllie (Clifton near Cape Town), Joseph Burns (Doctor Livingston Blantyre), Alburny E Howarth, Donald Crawford, L. Russell Conway, etc.QTY: (15)

* Zorn (Anders Leonard, 1860-1920). Ols Maria, 1919, etching on pale cream laid paper, depicting a young woman seated playing the lute, signed in pencil to lower right, the full sheet, light mount stain, plate size 20 x 29.3 cm (7 7/8 x 11 1/2 ins), hinge-mounted (44.5 x 56.5 cm) QTY: (1)

* Lord (Elyse Ashe 1900-1971). The White Goat, hand-coloured etching, signed with limitation number 73/100 in pencil to lower margin, image size 25.5 x 20 (10 x 7 7/8 ins), contemporary Redfern Gallery label to verso with title, artist, purchaser and date 'July 1935', mounted, framed and glazed (58 x 42.5 cm), together with 7 other black and white prints including: The Corner Shop by H. Mulready Stone, Evening Street Scene by I Walker, Horse and Cart by Madeleine Green, Pas de Feuilles by Daniele Noel, etc., largest 42 x 33 cm (16 1/2 x 13 ins), all framed and glazed, largest (63.5 x 46 cm) QTY: (8)

AR * Drury (Paul, 1903-1987). The Family, 1951, etching on cream wove paper, the fourth state (of 4), published in an edition of 50 or more impressions, with initials PD 51 to lower left corner, signed and dated in pencil lower right, plate size 141 x 176 mm (5 5/8 x 7 ins), sheet size 293 x 44 cm, with printed title label attached to verso, and numeral 47 in pencil to lower left corner rectoQTY: (1)NOTE:Garton 66, iv/iv.

* Chinese School. Tianmu Mountains, 1985, etching with aquatint on wove, titled, numbered 25/60, signed and dated in pencil (in a mixture of Chinese and Arabic characters), the full sheet, window mounted, some scattered spotting, plate size 39 x 37.5 cm (15 1/2 x 14 3/4 ins), sheet size 61.5 x 48 cm, framed (72.5 x 55cm)QTY: (1)

* Kay (Bernard, 1927-2001). Beauvais, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 34 cm x 48.3 cm (13.7 x 19 ins), full sheet 51 cm x 63.7 cm (20.1 x 25.1 ins), together with the original copper printing plate, study printed from slate of the same subject, and an Artist’s Proof signed edition StarsbourgQTY: (4)

* Kay (Bernard, 1927-2001). Marseilles Houses, 1959, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 33.9 cm x 48.5 cm (13.6 x 19.2 ins), full sheet 47 cm x 62 cm (18.5 x 24.7 ins), together with a signed etching of a cathedral, dated 1955, the original copper printing plate, and six trial pulls of etchings dating circa 1954QTY: (9)

* Piranesi (Giovanni Battista, 1720-1778). Spaccato della Piramide di Caio Cestio, from Le Antichità Romane III, 1756, etching on laid paper, 'Piranesi Archit. dis. ed inc.' to lower right, two small areas of staining, plate size 42 x 23.2 cm (16 1/2 x 9 ins), framed and glazed (74 x 54 cm), together with Dimostrazione in Grande di Alcune delle Parti del Primo ordine del Teatro di Marcello, from Le Antichità Romane IV, etching on laid paper, some dust soiling, plate size 40 x 25.5 cm (15 3/4 x 10 ins), framed and glazed (74 x 54 cm), plus Dimostrazione in grande di Alcune delle Parti delle Second’ordine del Teatro di Marcello, from Le Antichità Romane IV, etching on laid paper, plate size 40 x 25.5 cm (15 3/4 x 10 ins), framed and glazed (74 x 54 cm).QTY: (3)NOTE:Wilton-Ely 421/505/506; Focillon 286/372/373; Ficacci 278/363/364.

* Hollar (Wenceslaus, 1607-1677). View of Antwerp Cathedral, 1649 [but 1678-94], 2nd state etched view of the west end of the cathedral, showing the finished tower and spire on the left, the unfinished tower with a temporary roof and turret on the right, surrounded by the street with houses on left and on the right leading to a square of trees, a procession of clergy and soldiers can be seen entering the west door escorting a shrine or reliquary, second state engraved caption at foot 'Antwerpiens turris ecclesiae cathedral...' with Dutch and French translation below, the left corner of image 'Wenceslaus Hollar delineauit, et fecit, 1649' and 'Gillis Hendricx excudit Antuerpiae' on left, central horizontal fold, platemark approximately 48.5 x 34 cm (19 1 /16 x 13 6/16 ins), sheet size 50.2 x 35.3 cm, together with other etchings and engravings including van Ostade (Adriaen, 1610-1685). Family saying grace before a meal, 1653 (but later, probably 19th century), etching on wove, laid down on mount board, 15 x 12.5 cm, gilt moulded frame, glazed, 36 x 34 cm, plus six mythological scenes etched by Samuel Gribelin junior (including two after Francesco Albani), 13 x 8 cm, each framed and glazed (21.5 x 16 cm), and a pair of etchings depicting scenes from Aesop's fables, circa 1773(?), approximately 10 x 14.5 cm, each framed and glazed (23.5 x 28.5 cm); and an etching by Samuel Watts of raising Christ on the cross after Tintoretto, 1777, printed in green on laid paper, 36 x 32 cm, framed and glazed (51 x 45.5 cm), plus ten 19th century reprint etchings of views in Italy by Israel Silvestre, 14 x 24.5 cm, each in ebonised frame, glazed (22 x 31 cm) QTY: (21)NOTE:Pennington - Hollar 824. Pennington suggests the second state is from the 1678 edition of J. Le Roy, Notitia and the 1694 edition of his Castella.

* Kay (Bernard, 1927-2001). Interior at Poitiers, etching / aquatint printed in colours on wove, Trial Proof, signed in pencil and titled to border, plate size 34.1 cm x 48.5 cm (13.6 x 19.2 ins), full sheet 51 cm x 64.9 cm (19.7 x 25.6 ins), together with another trail proof of the same image, Cathedral School, Hereford, Beauvais, Strasbourg, all signed and titledQTY: (5)

* Griggs (Frederick Landseer, 1876-1938). St. Ippolyts, 1927, etching on cream laid paper, the fourth state (of 4), signed in pencil, ink monogram of the Dovers House Press to lower margin verso, plate size 135 x 120 mm (5 1/4 x 4 3/4 ins), sheet size 175 x 156 mm (7 x 6 1/8 ins), hinge-mounted to window mount QTY: (1)NOTE:Comstock 36, iv/iv.

* Waterloo (Anthonie, 1609-1690). Three landscapes, etching on paper, each inscribed top right 'Antoni Waterlo fe. et in. et ex', 'Antoni Waterlo in. et ex.' and 'Antoni Waterlo fe. et in.', one image with staining, mount aperture 13.5 x 15 cm (5 1/4 x 6 ins), uniformly framed and glazed (approx. 19 x 21.5 cm)QTY: (3)

Gilt-framed oil on canvas, town view from a river, 56cm x 40cm, Rosemary Roemmele, study of a sheep, etching of Rye, and 2 watercolours of Mermaid Street, Rye, monogrammed AMV

A LEADED WINDOW STAINED GLASS ETCHING

BLADE RUNNER (1982) - Set of Los Angeles Skyline and Tyrell Pyramid Model Miniature Etching Sheets - A set of Los Angeles skyline and Tyrell pyramid model miniature etching sheets from the production of Ridley Scott's Blade Runner. Model miniatures etched into brass were used to depict the hellish Los Angeles of 2019, including the flaming refineries that dotted its cityscape in the so-called "Hades Landscape" sequence as well as the imposing Tyrell Corporation pyramid.Created by the EEG model shop, this set consists of seven cityscape sheets depicting the intricately detailed silhouettes of distant structures and three rectangular sheets for created use on the Tyrell pyramid model miniature, each made of etched brass finished in black on front. Holes are cut into each sheet for lighting. The set exhibits bending and some discoloration throughout from age and use. Dimensions: (largest) 16" x 11" (40.75 cm x 28 cm)Estimate: $4,000 - 8,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

THE OFFICE (T.V. SERIES, 2005-2013) - Dwight Schrute's (Rainn Wilson) Belt with Holstered Banana - Dwight Schrute's (Rainn Wilson) belt with a holstered banana from Greg Daniels' The Office. In the Season 7 episode "Dwight K. Schrute, (Acting) Manager," Dwight received a holster as a gift and used the gun he bought to accessorize and wear it around the office until Pam (Jenna Fischer) made him replace it with a banana.This belt and its holster are both made of reddish-brown leather with decorative etching and stitching, while the banana is made of rubber. The holster was also previously used in David Milch's Deadwood. The interior side of the belt is hand-marked with "X 40" in black ink. This lot exhibits creasing and discoloration.Estimate: $1,200 - 2,400Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

Twins Seven Seven, Nigerian 1944-2011 - The Lost Mask, 1989; oil and beadwork on assembled panel, signed titled and dated on the reverse 'Prince Twins Seven Seven Mask 1989' and further annotated 'cut out of "Stare" ', 52.2 x 43 cm: together with an etching on paper by the same artist 'The Anti Bird Ghost' (2) Literature: Henry Glassie, 'Prince Twins Seven-Seven: His Art, His Life In Nigeria, His Exile In America', Indiana University Press, 2010, illus. p. 294 ('The Lost Mask, 1989') Note: the first work was cut from a wrecked theatre set. Beaded works are rare for the artist; a technique honed by his colleague Jimoh Buraimoh.Twins Seven-Seven is one of the best know artists of the Oshogbo School, using his experience as a singer and dancer to create his highly individual vision. His work has been exhibited across the world, including the Pompidou Centre, Paris,  Houston Contemporary Arts Museum, MoMA, New York, the National Museum of African Art, Washington, D.C. and the National Modern Art Gallery in Lagos. 

David Hockney (b.1937)Two Vases in the Louvre (Scottish Arts Council 168; MCA Tokyo 154)Etching with aquatint printed in colours, 1974, signed and dated in pencil, numbered from the edition of 75, printed by Maurice Payne, Kent Jones and Dany Levy, published by Petersburg Press, London, on wove paper, with full margins, sheet 985 x 908mm (38 3/4 x 35 3/4in)

Salvador Dalí (1904-1989)Portrait of Picasso (Field 70-7; M&L 448)Etching with drypoint, collotype and pochoir printed in colours, 1970, signed and inscribed 'a/b' in pencil, numbered from the edition of 200, printed by Ateliers Rigal, Paris, published by Jean Schneider, Basel, on grey Ingres laid paper, with full margins, sheet 730 x 500mm (28 3/4 x 19 3/4in) This work was authenticated by Dali Trade on 19/05/22 and bears the authentication signature in pencil verso.

Giovanni Battista Piranesi (1720-1778)Veduta di Piazza Navona sopra le rovine del Circo AgonaleEtching, 1751, an excellent impression of Hind's second state (of six), on laid paper with watermark of Strasbourg lily within a single circle [Hind 1, noted on "early impressions"], platemark 405 x 540 mm (15 7/8 x 21 1/4 in), sheet 530 x 705 mm (20 7/8 x 27 3/4 in), minor handling creases, central vertical fold with some support, lower right corner with repair visible verso, minor spottind and surface dirt (unframed)Literature:Hind 16 ii/vi

Rembrandt Harmensz. van Rijn (1606-1669)The Raising of Lazarus: The Small PlateEtching with touches of drypoint, 1642, but a later impression of the second state (of two), printing with plate tone on laid paper without watermark, sheet 149 x 112 mm (5 3/4 x 4 3/8 in), trimmed to or just within the platemark, upper corners and edge carefully restored with support verso, minor nicks repaired (unframed)Literature:Bartsch 72; New Hollstein 206

Rembrandt Harmensz. van Rijn (1606-1669)The Angel Appearing to the ShepherdsEtching, 1634, a very good impression of New Hollstein's third state (of six), on laid paper with partial watermark of a [?] stem of grapes, before later re-working, sheet 257 x 215 mm (10 1/8 x 8 1/2 in), trimmed within the platemark, some brown spotting, minor surface dirt (unframed)  Literature:Bartsch 44; New Hollstein 125 iii/vi

Rembrandt Harmensz. van Rijn (1606-1669)Jan Uytenbogaert, Preacher of the RemonstrantsEtching, 1635, but a later impression of New Hollstein's seventh state (of nine), on laid paper without watermark, platemark irregular, sheet 227 x 187 mm (8 7/8 x 7 3/8 in), trimmed to platemark at upper and lower edge, some minor spotting and surface dirt, brown spots to lower right corner (unframed)Literature:Bartsch 279; New Hollstein 153

Salvador Dalí (1904-1989) Le Vieil Hippie, from Hippies (Field 69-13A; M&L 384)Drypoint with etching and extensive hand-colouring, signed in pencil, numbered from the edition of 100 in roman numerals, published by Graphik Europa Anstalt, Switzerland, with the Dalí blindstamp, on Japan paper, with full margins, sheet 653 x 508mm (25 5/8 x 20in)

Salvador Dalí (1904-1989)Fruits Troués, from FlorDalí (Field 69-11F; M&L 349c)Etching and lithograph printed in colours, 1969, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal & Matthieu, Paris, published by Werbungs- und Commerz Union Anstalt, on BFK Rives paper, with full margins, sheet 738 x 555mm (29 x 21 7/8in)

Stanley William Hayter (1901-1988)Danaë (Black & Moorhead 213) Engraving, soft-ground etching, scorper and etching printed in colours, 1954, signed, titled and dated in pencil, numbered from the edition of 95, printed by Atelier 17, Paris, published by Kornfield und Klipstein, Bern, on Lauriat wove paper, with full margins, sheet 585 x 469mm (23 x 18 3/8in)

Leon Kossoff (1926-2019)Outside Kilburn StationEtching, 1982, signed, titled and dated in pencil, numbered from the edition of 40, printed by Studio Prints, published by Bernard Jacobson Gallery, London, on TH Saunders wove paper, with full margins, sheet 590 x 665mm (23 1/4 x 26 1/8in)

Rembrandt Harmensz. van Rijn (1606-1669)The Death of the VirginEtching and drypoint, 1639, but a later impression of New Hollstein's fourth state (of five) on sturdy wove paper without watermark, platemark 395 x 315 mm (15 1/2 x 12 3/8 in), sheet 415 x 330 mm (16 1/4 x 13 in), repaired tear to the upper left edge, spotting and browning to the sheet (unframed)Literature:Bartsch 99; New Hollstein 173 iv/v

Rembrandt Harmensz. van Rijn (1606-1669)Abraham and IsaacEtching and engraving, 1645, a very good impression of New Hollstein's first state (of two), printing with depth and clarity on fine laid paper without watermark, only showing minor signs of wear in the densely cross-hatched areas, platemark 155 x 127 mm (6 1/8 x 5 in), sheet 161 x 131 mm (6 3/8 x 5 1/8 in), thinning and careful repair to the lower right corner, minor handling creases and faint printers' creases to the lower quadrant (unframed)Literature:Bartsch 34; New Hollstein 224 i/ii

Salvador Dalí (1904-1989) Notre Dame de Paris (Field 69-14; M&L 341)Drypoint with etching, aquatint and extensive hand-colouring, signed in pencil, numbered from the edition of 250, printed and published by Pierre Argillet, Paris, with the Dalí blindstamp, on BFK Rives paper, with full margins, sheet 503 x 653mm (19 3/4 x 25 5/8in)

Rembrandt Harmensz. van Rijn (1606-1669)The Pancake WomanEtching, 1635, but a later impression of New Hollstein's seventh state (of seven), on laid paper without watermark, platemark 109 x 78 mm (4 1/4 x 3 1/8 in), sheet 118 x 90 mm (4 5/8 x 3 1/2 in), minor spotting, surface dirt and light handling creases (unframed)Literature:Bartsch 124; New Hollstein 144 vii/vii

Francisco de Goya (1746-1828)Estan calientes (They are Hot), plate 13 from Los CaprichosEtching and aquatint, 1799, an excellent impression of the first edition, on laid paper without watermark, platemark 207 x 150 mm (8 1/8 x 5 7/8 in), sheet 315 x 200 mm (12 3/8 x 7 7/8 in), some minor spotting and surface dirt (unframed)Literature:Harris 48 III.1 

Pablo Picasso (1881-1973)Le Repos du Sculpteur IV, from La Suite Vollard (Bloch 174)Etching, 1933, signed in pencil, from the edition of 250, published by Ambrose Vollard, Paris, on Montval laid paper, with full margins, plate 193 x 267mm (7 5/8 x 10 1/2in)

David Hockney (b.1937)Portrait of Cavafy in Alexandria, from Illustrations for Fourteen Poems from C. P. Cavafy (MCA Tokyo 47)Etching with aquatint, 1966, signed and dated in pencil, numbered from the edition of 75, published by Editions Alecto, London, on Crisbrook handmade wove paper, with full margins, sheet 565 x 393mm (22 1/4 x 15 3/8in)

Rembrandt Harmensz. van Rijn (1606-1669)Bearded old Man in high Fur Cap, with Eyes closedEtching, circa 1635, a very good dark impression of New Hollstein's second state (of four) with vertical wiping marks distinct, showing only minor wear in the plate, on thin laid paper without watermark, platemark 114 x 104 mm (5 5/8 x 4 1/8 in), sheet 118 x 107 mm (4 5/8 x 4 1/4 in), expert repairs corners, mainly marginal (unframed) Literature:Bartsch 290; New Hollstein 148 ii/iv

Rembrandt Harmensz. van Rijn (1606-1669)The Beheading of Saint John the BaptistEtching and drypoint, 1640, but a later re-worked impression of New Hollstein's third state (of 3), printing with plate tone on sturdy laid paper with partial German text printing verso, platemark 127 x 102 mm (5 x 4 in), sheet 137 x 112 mm (5 3/8 x 4 3/8 in), minor surface dirt (unframed)Literature:Bartsch 92; New Hollstein 183 iii/iii

Salvador Dalí (1904-1989) Expulsé comme un megot par les magots, from After 50 years of surrealism (Field 74-8A; M&L 668a) Etching with drypoint and pochoir printed in colours, 1974, signed in pencil, numbered in roman numerals from the edition of 35, printed by Ateliers Rigal, Paris, published by Trans World Art, New York, on Arches paper, with full margins, sheet 655 x 500mm (25 3/4 x 19 5/8in) This work was authenticated by Dali Trade on 06/02/24 and bears the authentication signature in pencil verso.

Albrecht Dürer (1471-1528)Christ on the Mount of OlivesEtching, 1515, but a later Meder II c impression, with the rust-marks, printing on laid paper but with very faint waterlines, some minor wear to the edges of the plate within the image apparent, sheet 220 x 152 mm (8 5/8 x 6 in), trimmed to or just within the platemark, minor cockling to the sheet (unframed)   Provenance:Joseph Heller (c. 1798-1849) [Lugt 899]Literature:Bartsch 19; S.M.S. 80

Pablo Picasso (1881-1973)Le Repos du Sculpteur II, from La Suite Vollard (Bloch 172)Etching, 1933, signed in pencil, from the edition of 250, published by Ambrose Vollard, Paris, on Montval laid paper, with full margins, plate 193 x 267mm (7 5/8 x 10 1/2in)

Rembrandt Harmensz. van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching, 1659, but a later impression of New Hollstein's fifth state (of six), on thin laid paper with partial watermark of [?] postal horn or variant of the rod of Basel, platemark 81 x 215 mm (3 1/4 x 8 1/2 in), sheet 195 x 230 mm (7 3/4 x 9 1/8 in), faint exposure lines within the margins, small nicks and marginal losses, a few faint spots (unframed)  Literature:Bartsch 94; New Hollstein 312 v/vi

Paula Rego (1935-2022)Sing a Song of Sixpence II, from Nursery Rhymes (Rosenthal 58)Etching with aquatint, 1989, signed in pencil, numbered from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 510 x 375mm (20 x 14 3/4in)

Salvador Dalí (1904-1989)Argus, from Mythologie (Field 63-3A; M&L116a)Drypoint with etching and heliogravure, 1963, signed in pencil, numbered from the edition of 150, printed by Atelier Robbe, published by Pierre Argillet, Paris, on BFK Rives paper, with full margins, sheet 565 x 759mm (22 1/4 x 29 7/8in)

Francisco de Goya (1746-1828)Pobrecitas! (Poor little girls!), plate 22 from Los CaprichosEtching and aquatint, 1799, a good impression, on laid paper without watermark, platemark 207 x 150 mm (8 1/8 x 5 7/8 in), sheet 304 x 190 mm (12 x 7 1/2 in) (unframed)Literature:Harris 57 III