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After James Barry, a framed and glazed antique etching of Pandora. Depcting Pandora reclining on a chair on Mount Olympus surrounded by the gods by Luigi Schiavonetti. H.70 W.119cm

Robert Lenkiewicz (1941-2002) 'Swallowing Time' etching, signed limited edition 40/75, 17cm x 17cm, unframed.

H.A.L. (HENRY WILLIAM LOWE) HURST (1965-1938). A town river scene with boats and figures 'Scarton Castle Seaton England'. signed in pencil lower right, coloured etching on paper, unframed, 36 x 35 cm

FRANK J. ARCHER (1912-1995). A continental wooded coastal scene with figures and boats, signed and dated 1937 in pencil lower right, etching on paper, unframed, 27 x 29 cm

Charles Frederick Tunnicliffe OBE RA (1901-1979) Winifred, circa 1924-26, signed in pencil bottom right, etching, measurements 26 x 18.5 cm (i), frame 48 x 40 cmWinifred Wonnacott (1902-1969) met Charles Tunnicliffe while studying at the Royal College of Art and were married in 1929 experiencing a happy, devoted marriage until her death 40 years later.Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.47

Charles Frederick Tunnicliffe OBE RA (1901-1979) Herding Sheep at Kemps Croft Farm, 1928, signed in pencil bottom right, titled and numbered 44/75 bottom left, etching, measurements 18.7 x 37.8 cm (PL), frame 47 x 64 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 87Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. It has full margins and a clearly defined platemark. The sheet appears in good condition, some general ageing (browning to the paper) consensurate with age. The surface appears stable, there are no obvious signs of deterioration or any rips, creasing, folds. The surface appears well preserved and colours in good condition. Frame is good with solid joints

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Old Quarry Road, 1926, signed in pencil bottom right, numbered 70/75, etching, measurements 22.4 x 30.4 cm (PL), frame 46 x 53 cmNotes: illustrated in Charles Tunnicliffe Prints: A Catalogue Raisonne, p.33Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing, not examined external to the frame. The sheet appears to be in good condition without any obvious evidence for rips, creasing or folding. The etching has full margins and a clearly defined platemark, the inking is clear and the surface appears stable. The frame is in good condition with solid joints

David Hockney RA (British b.1937) Two Figures with Mirror, etching, Proof for Cavafy suite unused in the final series, included in the Belgium Sketchbook, measurements 25.5 x 15.5 cm (PL), frame 49 x 37.5 xmProvenance: private local collection, purchased from the Goldmark GalleryCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition with no obvious evidence for any rips, creasing or folds. There are some faint, sparsly distributed spots of foxing in the platemark and a couple of patches of discolouration to the upper left. The mount covers any platemark- the visible area measures 25.3 x 15.5 cm

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Thatcher, signed in pencil bottom right, numbered 20/75, etching, measurements 19.3 x 15.5 cm (PL), frame 48 x 39 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.76Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet has some general ageing (yellowing) of the paper comensurate with age. There is evidence for some sparsly distributed, faint spots of foxing in the margins and signs of faint discolouration in the top right corner- the print may well have been cleaned. THe etching measures 19.3 x 15.4 cm (PL) The frame is in good condition with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Cheshire Plain, 1926, signed pencil lower right, numbered 50/75 lower left, etching, measurements 20.1 x 24.7 cm (PL), frame 44 x 47.5 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.66Provenance: Consigned from a significant private collection of wildlife art

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Mowing Machine, 1928, signed in pencil bottom right, inscribed 'To Mr and Mrs F.J. Wonnacott, Christmas 1930' bottom left, etching, measurements 16.3 x 23.8 cm (PL), frame 40 x 46 cmNotes: Mr and Mrs Wonnacott were Tunnicliffe's mother and father in-law. Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.90Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. It has full margins and a clearly defined platemark. The sheet appears in good condition with no obvious evidence for any rips, creasing or folds. The surface shows some ageing to the paper (slight browning) comensurate with age, the surface appears stable and does not suggest deterioration. The ink is well preserved and clear. The frame is in good condition with solid joints

Charles Frederick Tunnicliffe OBE RA (1901-1979) A Hard Winter, 1928, signed in pencil bottom right, numbered 63/75, etching, measurements 22.7 x 27.7 cm (PL), frame 50.5 x 54.5 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.89, exhibited at Charles Frederick Tunnicliffe exhibition at Oriel Môn 2019-2020Provenance: consigned from a significant private collection of wildlife artCondition report: This etching is a work on paper, framed under glazing, not examined external to the frame. It has full margins and clearly defined platemark. The sheet appears in good condition, no obvious signs for creasing, tears or losses and there does not appear to be evidence for deterioration. The colour is well preserved and the surface appears stable. The frame is in good condition with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Constitutional, circa 1925-1926, signed in pencil bottom right, numbered 9/75, measurements 17.5 x 22.6 cm (PL), frame 42.5 x 46.5 cmNotes: The image depicts William Tunnicliffe turning out the sow and piglets. As illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 57Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition with no obvious evidence for any rips, creasing or folds. There does not appear to be evidence for any deterioration, the surface is stable. The etching has a clearly defined platemark and full margins. The frame is in good conditionw with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Seed Roller, circa 1925-26, signed in pencil bottom right, numbered 55/75, etching, measurements 17.5 x 22.5 cm (PL), frame 41 x 45 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.63Notes: The etching depicts Mr Cooper, a neighbour, receiving refreshment from Dorothy Tunnicliffe while taking a break from rolling a ploughed field to prepare the soil for laying seed.Provenance: consigned from a significant private collection of wildlife artCondition report: Lot 4 is an etching on paper, with full margins and a clearly defined platemark. It is framed under glazing- not examined external to the frame- the frame is in good condition with solid joints. The sheet appears in good condition, no evidence for any rips, creasing or folds and the surface appears well preserved and stable. It is signed in pencil bottom right as well as in the plate and numbered 55/75 bottom left.

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Sitting Hare, 1926, signed in pencil bottom right, numbered 64/75, etching, measurements 14 x 19 cm (PL), frame 34.3 x 38.3 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 64Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The print has full margins and a clearly defined platemark, is numbered below left and signed in pencil below right. The paper has some signs of ageing- including some browning of the paper and has some small, sparsly distributed spots of foxing in the upper margin and a couple in the very top edge of the platemark. The sheet does not show any obvious evidence for rips, tears or creasing. The frame is in good condition with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Kestrel, 1926, signed in pencil bottom right, numbered 65/75, etching, measurements 25.2 x 35.7 cm (PL), frame 49 x 57 cmNotes: This etching depicts the view from Tunnicliffe's friends home at Lee Farm, showing his farmhouse, Sutton Lane End's village and St James church in the distance. Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.67Provenance: consigned from a significant private collection of wildlife artCondition report: This etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition, no obvious evidence for rips, creasing or folds. There is one visible foxing spot in the dark cloudy area of the skyline upper left. The surface appears stable. Full margins are present and the platemark clearly defined. The frame is in good condition with solid joints

Charles Frederick Tunnicliffe OBE RA (1901-1979) The White Horse, 1927, signed in pencil bottom right, numbered 59/75, etching, measurements 20.4 x 24 cm (PL), frame 44 x 46 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.77Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition without any obvious signs for rips, creasing or folds. The etching has full margins and a clearly defined platemark, the ink appears clear. There are some very faint, minor, sparsly distributed spots of discolouration in the margin. The frame is in good condition with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) Christmas Chickens, 1927, signed in pencil bottom right, numbered 73/75, etching, measurements 23.9 x 20 cm (PL), frame 48 x 42.5 cmNotes: Illustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 72Provenance: consigned from a significant private collection of wildlife artCondition report: Lot 4 is an etching on paper, framed under glazing- not examined external to the frame. The etching has full margins and a clearly defined platemark. The sheet appears in good condition without any signs of tears, creasing or folds and the surface appears stable. There does not appear to be evidence for deterioration. The frame is in good condition with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) Old Bones, 1928, signed in pencil bottom right, etching, measurements 22.6 x 17.7 cm (PL), frame 47 x 41 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.80Provenance: consigned from a significant private collection of wildlife artCondition report: This item is an etching on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition without any obvious signs for any tears, folds or creases, there is some cockling within the plate. There are a couple of sparsly distributed faint spots of foxing to the upper background within the platemark and one visible in the bottom margin. The print has full margins and clearly defined platemark. The frame is in good condition with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) The New Rick, 1927, Signed in pencil bottom right, numbered 73/75, etching, measurements 20.6 x 26.7 cm (PL), frame 44 x 54 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p. 75Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. It has full margins and a clearly defined platemark. The sheet appears in good condition, no signs of any rips, creasing or folds. There are a few faint and sparsly distributed spots of foxing in the margins which do not appear to have extended into the plate. The surface appears stable. The frame is in good condition with solid joints.

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Stallion, 1928, etching, bears a pencil signature after Tunnicliffe bottom right, measurements 17.2 x 22.9 cm (PL), frame 38.5 x 43 cmIllustrated on page 94 of Meyrick R. & Heuser, H., 2017, Charles Tunniclifffe. Prints: A Catalogue Raisonne, Royal Academy of Arts, LondonProvenance: consigned from a signficant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing, not examined external to the frame. It has full margins and clearly defined platemark. The sheet appears in good stable condition without signs of rips, creasing or folds and the ink is clear. There is some minor cockling to the plate but the surface appears stable. The frame is in good condition with solid joints

Charles Frederick Tunnicliffe OBE RA (1901-1979) The Pig Dealer, 1925, signed in pencil bottom right, numbered 75/75, etching, measurements 21 x 27.7 cm (PL), frame 46 x 51 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.56Provenance: consigned from a significant private collection of wildlife artCondition report: The etching is a work on paper, framed under glazing- not examined external to the frame. THe sheet appears in good condition without any obvious evidence for rips, cfreasing or folds. It has full margins and a clearly defined platemark. There are some minor faint spots of discolouration to the lower margin which do not appear to extend into the plate. The surface appears stable. Frame is in good condition with solid joints.

Mid 19th Century Pencil Etching Of Sir Henry Edward Fox Young17 1/2 x 13 1/2 inch of an Officer in full dress uniform with bicorn hat and holding his 1831 pattern Officer's sword.  Signed to the base by the artist, dated 1847 London.  Contained in its ornate plasterwork and gilt frame.  Sir Henry Edward Fox Young 1808-1870, was Governor of South Australia and Tasmania.  

J.L.E. Meissonier The Emperor Napoleon Bonaparte Etching on Silk Picture. .Napoleon is depicting on horseback in military uniform, while a small medallion appears on the border, which shows Napoleon looking out to sea. From the painting by Ernest Meissonier, etched by Walter Edwin Law. Good clean condition, mounted into a glazed frame. Overall size 17 x 21 inches, . . . .

Royal Air Force 1920 Officers RAF Sword by Wilkinson of London .A good and very rare early George V example by Wilkinson, the blade (numbered 58412 (1920)) etched with Royal Arms and a crowned eagle in flight. The pierced gilt metal guard is again cast with a crowned eagle, the guard enclosing a white shagreen grip with twist wire binding surmounted by a pommel ornamented with an Eagle’s head. Housed in black leather scabbard, with gilt mounts. Overall GC etching to blade clear and bright. slight age wear. . . . .

An Edwardian photograph Cricket Team, Malcolm Patterson (Fl. 1921-1938), street scene etching, and another by in a different hand, (3).

Donald Crawford. River landscape, artist signed etching, 17cm x 14cm, a signed print after Michael Oxenham, two pencil sketches signed Rogen Mann, printed prints after Roger Mann, and a watercolour signed SA Harding. (5)

English School, study of a country house, unsigned watercolour, housed in a gilt and glazed frame, 25.5cm wide x 17cm high, together with a pencil signed etching of Erpingham Gate, Norwich, 13.5cm wide x 10cm high (2)

Walter William Burgess (1856-1908) view of Old Swan Wharf and Cadogan Pier, etching, signed to the bottom left corner and monogramed bottom right corner, housed in a glazed gilt frame, the etching 26cm x 12cm 

Coloured etching depicting a bomb damaged church, signed and titled indistinctly to the mount "Somme 1918", coloured print depicting a bird on a branch, three black and white portrait photographs (5)

A FRAMED COLOURED ETCHING OF THE BURY HUNT

A FRAMED ETCHING OF SIR RICHARD HUTTON AND THE QUORN HOUNDS

SCOTLAND INTEREST; five sepia photographs depicting various Scottish scenes, each with original retailer's label 'Doig, Wilson & Wheatley, Fine Art Dealers and Print Sellers, Picture Restorers and Framers, 90 George Street, Edinburgh', average size 19 x 29cm, together with a 19th century etching by Fred Slocombe depicting a thatched house and ducks on a country lane, 32 x 51cm (6).

WENCESLAUS HOLLAR AFTER HOLBEIN; etching, Princess Mary daughter of Henry VIII, 14 x 11cm, framed and glazed, and a late 16th century hand coloured engraved road map being page 123 of an Atlas showing roads to Halifax and Richmond, with a 19th century hand coloured map of Westmoreland and another of Cumberland and a hand coloured engraved book plate (5).Additional InformationAll maps with some foxing and general age browning. The map of Halifax and Richmond is generally much cleaner. Frames with general wear.

GRAHAM CLARKE (born 1941); pencil signed limited edition etching, 'Italics', 170/400, 30 x 28cm, framed and glazed. (D)Additional InformationFrame with minimal wear, image is good.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

AFTER HERBERT DICKSEE "The Sentinel", study of a Bloodhound on stone floor, etching, signed in pencil lower left, published by Frost & Read Limited 1913, bears "The Parker Gallery" label verso, 37 cm x 64 cm

Collection of assorted monochrome prints, etchings, engravings, mainly of a topographical nature, some of Welsh interest, including Johnstone Baird, 'Big Ben', uncoloured etching and other portrait studies and furnishing pictures. (B.P. 21% + VAT)

Pete Kosowicz, 'Music Lesson', limited edition etching 10/75, signed in pencil by the artist, Attic Gallery label verso. 22 x 12cm approx, framed and glazed. (B.P. 21% + VAT)

Brenda Hartill, 'New Zealand Revisited, Waitakere bush', artist's proof, coloured etching, signed in pencil and dated 1984, 44 x 59cm approx. Framed. (B.P. 21% + VAT)

William Tatton Winter RBA (1855-1928); monochrome etching, A Summer Pastorale, 42 x 35 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

Herbert Thomas Dichsee (1862-1942) Lion & Lioness on a rock outcrop, etching, signed in pencil, copywright United States of America by Frost & Reed, Bristol 1900. 51 x 71cm

FROM THE COLLECTION OF EDWARD CROFT-MURRAY; ONE OF THE 'MONUMENTS MEN', FOUR VARIOUS PICTURES an etching of a Savoyard after Karel Dujardin, a Bartolozzi stipple print; 'Colonel Stanley', a print of a lady after Thos. Lawrence, and a 19th century drawing of a Rococo ceiling. Croft-Murray, one of the famous 'Monuments Men' during WWII was later Keeper of Prints and Drawings at the British Museum (4)

ALFRED COHEN: 'FULL BOUQUET', ETCHING

FREDERICK WHITEHEAD (1853-1938) 'Dorchester' A view of Cornhill with figures, signed in plate, etching, 13.5cm x 21.5cm; together with a similar print of the High Street, Dorchester by Joyce Sumner, signed in pencil to the margin, the image 18cm x 14.75cm (2)

BANKSY BLOW POP STENCILLED SLEEVE (CAPOEIRA TWINS - 4 X 3). A fantastic opportunity to own an original piece of Banksy artwork with this hugely sought after copy of Capoeira Twins - 4x3. Issued as white label promo in 1999 on Bristol's Blowpop records with a genuine Banksy stencilled sleeve. The sleeve shows evidence of water damage to lower left corner(front) and lower right corner (verso) though this does not detract from the striking stencil image. Elsewhere showing only light wear (some minor ringwear on the verso) though no rips/tears or splits.The record is in VG+ with a few light surface/storage marks, matrix etching to read BLOWP 001 - A -1-1 -1/BLOWP 001 B-1-1-1 with email address and URLs for the label also etched to runout. Also included is a 1999 event flyer (Daytona Launch Party) with mention of label 'Blowpop'

Lionel Barrymore (1878-1954) Etching "San Pedro", signed to the margin, 21cm x 29cm 

Samuel Palmer (1805-1881)'The Vine', 1852etching, fourth state of foursheet 59.2 x 43cm, plate 30 x 21.5cmLiterature: Raymond Lister, 'Catalogue Raisonné of the Works of Samuel Palmer', Cambridge, 1988, p.241. no. E5 iv/IV.Condition report: Dots of foxing emerging, please refer to illustrations for more detail. Unexamined out of glazed frame, overall well-presented and ready to hang.

Hans Volkert (German, 1878-1940)An Ardennes heavy horse with horseman and ploughetching, signed in pencilplate 21 x 30.5cm, unframedCondition report: Unframed, Good clear image with a little browning to the cream edges and scuffing along the bottom edge.

Herbert Thomas Dicksee RE (1862-1942)‘Solitude’, a lion drinking by the side of a waterholeoriginal etching on vellum, signed artist proof, edition of 100, after his own watercolour, published by Frost & Reed 1895 image 38 x 59.7cm Provenance: Purchased from the artist’s grandson;The Bryan Steele CollectionExhibited: As exhibited at the Royal Academy, 1895, number 1289.Condition report: A few very small light indents in lower left corner margin. Approximately three light creases in lower margin. A light horizontal line indented across the top margin, within the plate mark, although this is probably from the printing process. A few very small dots of dark foxing. The vellum is possibly a little timestained. Otherwise in good condition. Not seen outside of glazed frame.

Herbert Thomas Dicksee RE (1862-1942)Three-quarter portrait of a lion’s headoriginal etching on paper, signed artist proof, rare (not published) image 15 x 14.1cmProvenance: Purchased from the artist’s grandson/widow;The Bryan Steele Collection.Condition report: A couple of tiny specks of foxing in the lower margin and a faint smudge of dirt. A speck of dirt in the right margin. No other obvious flaws. Not seen outside of glazed frame.

Herbert Thomas Dicksee RE (1862-1942)‘Lion Drinking’, lion crouching by the side of a lakeoriginal etching on paper, signed artist proof c.1890, as exhibited Royal Academy 1891, number 1581 image 17.8 x 25cm;‘The Challenge’, a lion standing on the side of a large lakeoriginal etching on paper, signed artist proof c.1892 image 15.8 x 24.2cm;‘Marauders’, Lion and lioness crouching behind rocks, about to attackoriginal etching on paper, signed artist proof published by The Fine Art Society, London 1890, as exhibited Royal Academy 1894, number 1361image 16.2 x 25.3cm (3)Provenance: The Bryan Steele Collection.Artist's proofs of 'The Challenge' are rare because the publishers of ‘The Portfolio’ annual were only obliged to supply a few to this artist/etcher for his signature and retention (unsigned prints were incorporated in ‘The Portfolio’ to emphasise the quality of the art annual.Condition report: ‘Lion drinking’ – A brown stain under the printed signature, lower right. A pale diagonal line in top right corner, and some light dirt. Some specks of dark foxing. A light wave in left half of the sheet. Not seen outside of glazed frame. ‘The Challenge’ – Some tiny flecks of ink loss in top left quarter of the print. A few light brown spots of foxing in the top right corner of the margin. A light crease in the lefthand margin. Otherwise in good condition. Not seen outside of glazed frame. ‘Marauders’ – a little time-staining to the paper. A couple of light spots of foxing in the top margin and a few very light creases in the lower margin. Otherwise in good condition. Not seen outside of glazed frame.

Herbert Thomas Dicksee RE (1862-1942)‘Leopard and Jungle Fowl’original etching on paper, signed artist proof, edition of 125 (no other state), published by Frost & Reed 1920, with blind stamps, plate destroyed image 20 x 43Provenance: The Bryan Steele Collection.

Herbert Thomas Dicksee RE (1862-1942)‘Footsteps’, two terriers eagerly anticipating an arrivaloriginal etching on vellum, signed artist proof, edition of 325, published by Frost & Reed 1926, with blind stamps image 35.5 x 54.7cmProvenance: The Bryan Steele Collection.

Herbert Thomas Dicksee RE (1862-1942) ‘Hope’, two Cairn terriers, one seated the other lying down, both waiting patientlyoriginal etching on paper, signed artist proof, edition of 325, published by Frost & Reed 1929, with blind stamps plate 28.5 x 41.7cmProvenance: The Bryan Steele Collection.

Herbert Thomas Dicksee RE (1862-1942)‘The Death of General Gordon, Khartoum, January 26th 1885’ (after the painting by George W Joy exhibited at the Royal Academy 1894)original etching on vellum, signed artist proof (also co-signed by George W Joy), edition of 300, published by Frost & Reed 1897, remarque of Gordon’s sword resting on his Bible (bottom margin), as exhibited at the Royal Academy 1896, number 1445image 44 x 32.1cm;‘Hercules wrestling with Death for the body of Alcestis’ (after the painting by Sir Frederic Leighton PRA)original etching on vellum, signed artist proof, small number published by Burlington Gallery, London 1885 (originally intended to be a book illustration - project abandoned), as exhibited at The Fine Art Society, London, July 1901, number 33image 41.2 x 32.2cm, in matching frames (2)Provenance: Purchased from the artist's daughter’s art dealer;The Bryan Steele Collection.

Herbert Thomas Dicksee RE (1862-1942)The Argos Hill Postmill, near Heathfield, Sussex 1930original etching on paper, signed artist proof, ‘HD 1930’ within image l.r., not published, detailing includes a barn plus the fantail that was later blown off in a gale image 34.5 x 38.1cmNote: One of only 50 postmills remaining in England. Currently being preserved and restored;'The Edge of the Wood’original etching on ‘FJ Head & Co’ watermarked paper, unsigned printer’s proof, ‘HD 1927’ in image l.r., the signed artist proof edition was of 60, published by Frost & Reed 1927, no other state image 43 x 30.5cm, in matching frames (2) Provenance: From the artist's daughter's art dealer (Argos Hill Postmill only);The Bryan Steele Collection.Condition report: In generally good order, a little slight time staining. Unexamined out of frame.

Herbert Thomas Dicksee RE (1862-1942)‘Parting Ways’, early morning rural scene of a young farm labourer with horses going off to work for the dayoriginal etching on vellum, signed artist proof, edition of 300, published by Frost & Reed 1906image 46.4 x 69.8cm;‘The Road to the Village’, a young woman driving cows and calves along a village roadoriginal etching on vellum, signed artist's proof, edition of 300, published by Frost & Reed 1909, with blind stamp, as exhibited at the Royal Academy 1910, number 1335 image 31.3 x 49.2cm (2) Provenance: The Bryan Steele Collection.Condition report: ‘Parting ways’ – Cockling throughout, which is particularly severe in the margins. There are some light creases in the margins also. A line of black dirt in the righthand margin. A little time-staining to the vellum. Not seen outside of glazed frame. ‘The Road to the Village’ – A little light cockling to the margins. A little rubbing to the roof of one of the cottages near the right edge. Not seen outside of glazed frame.

After Frederick Landseer Griggs (1876-1938), 'The Market Place', etching, etched signature on image, 14 x 20.5cm.

ETCHING OF TWO MEN MUSIC - SIGNED - 43 CMS X 30 CMS

A framed portrait print of Lord Byron; a small pencil signed etching and various other pictures and prints