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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).

LATASTER, Ger (1920-2012). (Untitled composition). 1988. Cold. etching and aquatint. 150 x 190 mm. Signed, dated & numb. 912/200 in pencil. Under passepartout.

WATERLOO, Anthonie (1609-90). (Landscape with milkmaid). (c. 1660). Etching. 131 x 146 mm. Numb. 6 in upper corner. Under passepartout. (Margins cut). -- Id. (House on the hill). (c. 1660). Etching. 96 x 145 mm. "C" in upper corner. Under passepartout, (Margins cut short). -- Allard van EVERDINGEN (1621-75). (The chapel). (c. 1650). Etching. 100 x 145 mm. Monogrammed "AVE" in plate. Under passepartout. -- And 1 o. (4).

WESTERIK, Co (1924-2018). ('The couple'). 1966. Etching. 169 x 192 mm. Signed, dated & numb. (62/75) in pencil. Under passepartout. (Lower blank margin slightly foxing). -- Id. ('The kiss'). 2003. Etching. 135 x 163 mm. Signed, dated & numb. (64/125) in pencil. Under passepartout. -- (2).

VERDUIJN den BOER, Alex (1958-). (City view). (N.d.). Linocut. 270 x 360 mm. Signed, "lino e.d." and numb. (14/30) in pencil. Under passepartout. -- Evert SALIS (1963). (Trams and boats). 2002. Gouache. 155 x 110 mm. Monogrammed and dated. Under passepartout. -- Peter ZUUR (1957-). "Fiat". 2006. Etching. 140 x 195 mm. Signed, dated, titled and numb. (7/17) in pencil. Under passepartout. -- Id. (Ship). 2007. Etching. 135 x 195 mm. Monogrammed, dated and numb. (12/25) in pencil. Under passepartout. -- (4).

WICHMAN, Erich (1890-1929). "Het Ei". 1926. Etching in green ink on wove paper. 98 x 78 mm. Signed, dated and annotated "30/17" in pencil. W. written dedication. (Paper severely browned). NOTE:With dedication to Alphonsus Phillipus Josephus ('Fons') Hellebrekers (1901-1994). In 1925, together with Vital Haesaert, a former member of the 'Sublieme Deserteurs' and sentenced to death in absentia in Belgium for this, Hellebrekers founded the 'N.V. Kunstzalen De Sirkel' in The Hague. De Sirkel exhibited work by prominent artists such as Jan Toorop, Otto van Rees, Jozef Cantré, Pablo Picasso and Henri Matisse. When De Sirkel had to close in 1928 due to financial problems, Hellebrekers left for France together with his friend A. den Doolaard, later recorded in the novel 'De druivenplukkers'. - Van Burkom GD 11.

MARITIME SCENES -- "DE CANONNEER-CHALOUPEN en andere Vaartuigen, in de Dordrechtsche Kille, op den 29sten Maart 1793". c. 1800. Etching by K.F. Bendorp after M. Schouman. "WATER GEZICHT, De Morgenstond" - "WATER GEZICHT, De Avondstond". (Rott., between 1789-1826). 2 etched oval views after J.B. Kobell by H. Roosing. c. 200 x 260 mm. Rare. -- Added: 6 small etched views depicting the Raid on the Medway in June 1667 which was a successful attack conducted by the Dutch navy on English warships laid up in the fleet anchorages off Chatham Dockyard and Gillingham in the county of Kent. c. 1700. c. 100 x 125 mm each. W. explan. text-leaf, all tipped in on mount. Muller 2255-b. -- (9).

WESTERIK, Co (1924-2018). ('Sitting boy with leaves'). 2004. Lithogr. 225 x 193 mm. Signed, dated & numb. (23/30) in pencil. Under passepartout. -- Id. ('Bird above water'). 2006. Etching. 170 x 183 mm. Signed, dated & numb. (26/190) in pencil. Under passepartout. -- (2).

BEGEER, Petrus Anton ('Piet') (1890-1975). (Abstract compositions). (N.d., before 1930?). 2 linocuts on Japanese paper. 185 x 142 & 145 x 190 mm. Both signed in pencil. Both under passepartout. -- W. VAARZON MOREL jr. (Landscape with river). (N.d.). Etching. 125 x 178 mm. Signed and "eigen druk" in pencil. Under passepartout. -- Cornelis ('Cor') VONS (1903-80). "Sneeuw Terbregge". (N.d.). Linocut on Japanese paper. 190 x 340 mm. Signed, titled and "Handdruk" in pencil. Under passepartout. -- (4).

MENSINGA, Jan (1924-98). (No title). (N.d., before 1970). Etching. 200x290 mm. Signed, "eigen druk" in (faint) red ink. Under passepartout.

MARITIME SCENES -- "WINTER AMUSEMENTS in Holland". c. 1770. 190 x 297 mm. Engraved for Middleton's Complete System of Geography. -- "CALM. Engraved by Morris from an Original Painting by Vandervelde". c. 1800. Cold. engr. view of ships in a river mouth. 263 x 343 mm. -- "SCHANSEN op 't Scheldt". c. 1620. Etching after Esaias v.d. Velde. 85 x 170 mm. -- Added: 21 o. prints, incl. 18 deriving from 19th c. sources such as 'The Illustrated London News', 'L'Univers Illustré', etc. -- (24).

GELDER, Dirk van (1907-1990). ('Bosbeek met schermbloemen'). 1936. Etching. 169 x 240 mm. Signed in pencil. Annotated "D. v. Gelder fecit 1934 2de st. 1936" and "47" in the plate. Under passepartout. -- Id. ('Molen op Texel'). 1930. Etching. 132 x 180 mm. Signed in pencil. Under passepartout. -- Dirk Herman Michael HARTING, (1884-1970). (Tree on a dune). (N.d.). Etching. 160 x 65 mm. Signed & "epreuve d'artiste" in pencil. Framed, glazed & under passepartout. -- (3). NOTE:Ad 1-2: Dirk van Gelder, 1907-1990, E048.II & E015.

BAUER, Marius Alexander Jacques ('Marius'). (1867-1932). "Een Egyptische waterdrager". 1922. Etching. 186 x 146 mm. signed "M. Bauer" and "N86" in pencil, monogrammed in the plate. - Id. "Vóór eene Moskee'" 1922. Etching. 191 x 243 mm. signed "M. Bauer" and "N86" in pencil, monogrammed in the plate. - Both framed, glazed & under passepartout. (Slightly browned). NOTE:Van Wisselingh 248, 249.

VAN INNIS, Benoît (1960-). "De kunstenaar toonde zijn begraven beelden (…)". 1990. Etching. 167 x 198 mm. Signed, dated, titled and numb. (IV/X) in pencil. Under passepartout.

MINDERMAN, Willem (1910-85). (View on the Seine). 1949. Etching. 195 x 290 mm. Signed and "Eigen druk" in pencil. Under passepartout. -- Adolphe APPIAN (1918-1898). ("Wharf with Sail Boats on the River, Environs de Lyon"). (1879). Etching. 114 x 155 mm. Signed in the plate. (Under passepartout). -- Willem de ZWART (1862-1932). ("Ruïne van opzij gezien (Lage Vuursche))". (c. 1896). Etching. 125 x 180 mm. Signed in ink, numb. in pencil. Under passepartout. -- (3).

LUCEBERT (= L.J. Swaanswijk) (1924-94). (Nude people). (N.d.). Etching. 390 x 490 mm. Signed & numb. (3/30) in pencil. Under passepartout.

HORST, Theo van der (1921-2003). 18 etchings. 1964. Dif. sizes. All signed, dated, titled and numb. in pencil. Under passepartout. -- Id. 6 woodcut New Year's wishes. 1968, 1973, 1978, 1994, 1998, 2001. Dif. sizes. With handwritten dedication (except 1). -- Id. 4 etchings. 1964-65. Signed, dated, titled in pencil. With handwritten letter by the artist. -- Id. "Thema met 11 variaties". (Voor Emma Eekman). 1948. W. 11 etchings. Loose in owrps. w. small etching on front side. All etchings signed, dated, numb. (1/10) (& titled) in pencil. -- Added: 1 or. pen drawing & book.

Sir D Y Cameron:  "Modern Masters of Etching", 2nd vol, text foxed; an Edwardian photo of a tram, in carved frame; a watercolour:   bluebells in a wood framed and gazed

Sigmund Reiber ?:  colour etching, burlesque figures, signed and titled in pencil, 45 x 55cm, framed

A watercolour painting by Hamilton Glass titled to reverse M. Border stream, signed, 13¾” x 20¾”; a black & white etching of a castle, 8¾” x 11¼”; & ten various other decorative pictures, all framed.

M Rudge etching Lincoln Cathedral, and 3 Marjorie C Bates prints - Beldion End, Eton - Market Place, Well - Stonegate, York

Limited edition 22/100 Cecil Aldin dry point etching of a spaniel on the sofa approx. 44cm x 34cm includes frame 

An antiquarian David Laws black and white etching, signed, in gilt frame and mount, 30cm by 20cm.

A hand coloured etching depicting a tavern, 25cm by 20cm.

KASAMATSU SHIRO (1898-1991) IMAO KEINEN (1845-1924) OROVIDA CAMILLE PISSARRO (1893-1968), AND OTHERS 19TH AND 20TH CENTURY A Japanese woodblock print entitled 'Pine Tree in the Rain', signed Shiro Kasamatsu and with a red seal mark; two prints by Imao Keinen depicting birds, one entitled 'Camellia, Hill Myna' and the other 'Farfugium japonicum, Meadow bunting'; another an etching by British artist Orovida Pissarro, signed, inscribed 'Strategy', dated 1929 and numbered 27/100 in pencil in the lower margin, framed and glazed; together with ten other various prints. (14) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Samuel and Nathanial Buck - The West View of Restormel Castle In The County of Cornwall - An 18th century George II circa. 1730's etching to depict Restormel Castle in Lostwithiel. Framed and glazed. Dated 1734. 

A framed honorary etching, soldier and angel ' In Honours cause'

Black and white etching, scene from David Copperfield and one other, both framed and glazed

A Leonard Russell Squirell, pencil signed dry point etching of a wooden bridge across a river with figures in the foreground, plate 17cm by 22.5cm

Leonard Russell Squirrell, pencil signed etching "An Essex Lock Evening, Chelmsford"

A QUANTITY OF PICTURES AND PRINTS ETC, to include an etching by Henry Wilkinson 'Patience' depicting two hunting dogs, three textile pictures by Cherrilyn Tyler, woodland watercolour by Peter Hodson, Robert Morden map of Warwickshire, a vintage butterfly wing picture, an oil on canvas depicting a river landscape indistinctly signed, carved wooden African panel, assorted pictures etc

AFTER ANTHONY VAN DYKE 'CLARISSIMUS VIR GASPAR GEVARTIUS', an etching produced under the direction of Captain W. Baillie, depicting the Belgian politician, published 1773 from the collection J Barnard Esq, approximate plate size 36cm x 39cm, 47cm x 36cm including visible margins, Condition: some discolouration to the paper, some damage to margins

Georges Grellet (1869-1959), coloured drypoint etching, Woman dressing with puppy tugging at her feet, signed in pencil, 40 x 30cm

After Albrecht Durer, etching, Madonna with the monkey, 19 x 12cm, together with a pair of oval gilt gesso frames

(19th century), after, Marcel Jacques/ Theodore Rousseau, an etching, coloured, French peasant farmers, 10 x 13cm, framed and glazed, 29 x 29cm

DAVID GENTLEMAN (B.1930), 'Knight', etching 22.5cm x 23.5cm, signed and framed.

Original vintage art advertising poster for an exhibition of Pablo Picasso Engraved Work / L'oeuvre Grave at the National Library / Bibliotheque Nationale Paris from June - September 1955 featuring Picasso's 1904 etching from his second attempt at printmaking entitled The Frugal Meal / Le Repas Frugal printed in 1913, depicting a thin man with his arms around a lady sitting behind a table with a small piece of bread and bottle of wine for their meal on a crumpled tablecloth set within a border, the exhibition information text above and below. The notable Spanish artist and sculptor Pablo Picasso (1881-1973) was one of the founders of Cubism in the early 20th century. Printed by Mourlot, Paris. Very good condition, creasing, pinholes, small tears on edges. Country of issue: France, designer: Pablo Picasso, size (cm): 57x45, year of printing: 1955.

Gordon E Miles (British 1947-): 'Kittiwake West Worthing', etching and aquatint signed titled and dated '77 in pencil, no. 33/15, 19cm x 27cm

Framed etching 'Medieval Oxford' 11 of 30 signed in Pencil

Charles Bartlett (1921-2014) Signed Limited Edition Etching titled ' Two Bridges ' no. 118/200, images measures 39cm x 32cm, framed and glazed

A framed and mounted Etching of a homestead, indistinct signature.

A framed and mounted Etching by John Arthur Lomax titled 'The Bookworm', etched by W. Wright-Nooth, 14" x 13".

Herbert Dicksee RE (1862-1942)"A West Highlander"Signed in pencil, numbered 69/150 with blind stamp, a black and white etching, 22cm by 30cm

Joseph Pennell (American 1857-1926)St Paul's from Paul's Wharf and A Water Gate in VeniceA pair of pencil signed etchings, 21 x 33cm, together with another etching of Corfe Castle by Martin Hardie, dated 1912(3)

William Lionel Wylie (1851-1931 British)Tarbert Loch Fyne, drypoint etching, signed in pencil lower left, 12 x 38cm

William Walcott. A view of St Martin in the fields, London, drypoint etching, signed in pencil lower left, 13 x 15cm and A Watson Turnbull, a view of St John, Cambridge, drypoint etching, signed in pencil lower right, 28 x 19.5cm. Frank Harding, a view of Blackfriars Bridge, London, dry point etching, signed lower right, 15 x 36cm and another drypoint etching of a cathedral, 46 x 30cm

Sidney Tushingham (1884-1968 British)Venice from the campanile, drypoint etching, signed in pencil lower right, 21 x 38cm