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Lionel Lindsay, etching, church of St Feriol Marseilles, signed in pencil, plate 21cm x 30cm, unframedSome light foxing and paper discolouration

NO RESERVE Toulouse-Lautrec (Henri) Ta bouche, lithograph printed in red ink on thick wove paper without watermark, not signed, sheet 380 x 280 mm (14 7/8 x 11 in), scattered spotting and surface dirt, some exposure lines, unframed, [Delteil 21 iii/iii], [1893]; together with an unsigned later impression of Edgar Degas' etching 'Les Blanchisseuses', and an unsigned later impression of Pierre-Auguste Renoir's etching, 'Femme Nue Couchée (Delteil 14)', and two unsigned wood-engravings by Eric Gill, all unframed, [late 19th early 20th century] (5)

Fireworks and Water-clocks.- Bate (John) [The Mysteries of Nature and Art], 4 parts in 1, third edition, lacking general title and next preliminary leaf and T4, divisional title with woodcut vignette or device, numerous woodcut illustrations, some full-page, several outer margins at beginning and end repaired, soiling and some ink scribbling, some water-staining, later calf, rubbed, 4to, [1654]; sold not subject to return⁂ The parts are titled: Of Water-works; The composing of all manner of Fier-Works For Triumph and Recreation; The Excellent Arts and Sciences of Drawing, Colouring, Limming, Paynting, Graving, and Etching; Extravagants...Medicines for severall Maladies.

NO RESERVE [Calvert (Samuel)] A Memoir of Edward Calvert, one of 350 copies [signed by the author], here unsigned, half-title, portrait frontispiece, 25 plates only after Calvert (of 34), illustrations, occasional spotting and foxing, original cloth, gilt, a little soiled, extremities rubbed, folio, Sampson Low, 1893 § Harris (Jean C.) Edouard Manet. Graphic Works. A Definitive Catalogue Rainsonné, black and white illustrations, original cloth, slightly soiled, 1970 § Man (Felix H.) 150 Years of Artists' Lithographs 1803-1953, one of 125 copies initialled by the author, lacking original signed lithograph by Graham Sutherland, illustrations, some in colour, tipped-in, original paper-covered boards, original slipcase, 1953 § Carrington (Fitzroy), Campbell Dodgson, et al. The Print Collector's Quarterly, a substantial run from 1911 to 1941, 92 vol. illustrations in black and white, original printed wrappers (c.5 lacking), torn and chipped, some discolouration, some spines worn, 1911-41; and c.100 others similar, etching, engraving and printmaking, v.s., (c.200)

NO RESERVE Van Gelder (Dirk) Rodolphe Bresdin [Catalogue Raisonné], 2 vol., colour frontispiece, illustrations in black and white, original cloth, original presentation slipcase, cloth, 1976 § Ponge (Francis) and Fernand Mourlot. Braque Lithographe, with 2 original lithographs only (of three: title vignette and wrappers; frontispiece lacking), illustrations, many in colour, tape repair to getter at title, original pictorial wrappers, spine head and foot a little scuffed, slipcase, 1963 § Gromaire (François) L'Oeuvre Gravé de Marcel Gromaire [Catalogue Raisonné], 2 vol., illustrations in black and white, original cloth, dust-jackets, slipcase, 1976 § Beraldi (Henri) Les Graveurs du XIXe Siècle, 10 vol. only (of 12; lacking vol. 1 and 9), occasional spotting, original printed wrappers, some spines broken, some spotting and toning, tears and chipping, unopened, Paris, 1895-92; and 32 others similar, French etching, engraving and printmaking, v.s. (47)

NO RESERVE Berr de Turique (Marcelle) Raoul Dufy, with an original etching by Raoul Dufy as frontispiece, illustrations, many full page, 9 in colour, original pictorial wrappers, spine heavily chipped, stitching holding firm, joints rubbed, unopened, 4to, Paris, 1930.

NO RESERVE Africa.- Delacroix (Eugène) Juive d'Alger, etching, a good impression with publisher's lettering and printed number '171' in the upper right, platemark 215 x 170 mm (8 1/2 x 6 3/4 in), sheet 475 x 360 mm (18 3/4 x 14 1/4 in), a good impression, some surface dirt and minor browning, unframed, Paris, Cadart & Luquet, [1833 but later]; together with George Leslie Brockhurst's etching 'Les Deux Landaises (Evening)', final state signed in pencil, and 6 loose plates from 'Moeurs Administratives Dessineés d'aprés Nature par Henri Monnier', unframed, [circa 1828 to 1920] (8)

NO RESERVE Ex-collection of Minto Wilson.- Blooteling (Abraham) Portrait of Hieronymus van Beverningk, mayor of Gouda, after Nicolaas Maes, etching with mezzotint, 415 x 307 mm (16 1/4 x 12 1/8 in), scattered spotting and browning, surface dirt, framed, [circa 1679]; toegther with six further framed prints, including two portrait mezzotints, one after Reynolds by McArdell, another engraved portrait, two engraved views of Durham, another of Sissinghurst, and with an original pen and ink with wash drawing of 'Rosewell House, Kingsmead Square, Bath', various sizes, all framed and glazed, 18th and 19th century (8).

NO RESERVE British Artists.- Greenwood (Jeremy) The Wood-Engravings of John Nash, one of 750 copies, portrait frontispiece, tipped-in, illustrations, a few in colour, laid down, original cloth-backed patterned paper-covered boards, original presentation slipcase, cloth, The Wood Lea Press, 1987 § Schneidermann (Richard S.) A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden, number 35 of 500 copies, illustrations, original cloth, dust-jacket, slightly chipped and bumped at extremities, presentation slipcase, cloth, 1987 § Gaunt (W.) The Etchings of Frank Brangwyn, R.A. A Catalogue Raisonné, 8 original engraved plates, illustrations, original vellum-backed boards, gilt, 1926; and c.60 others, British etching, engraving and print-making, as well as general British Art, v.s. (c.65)

ISLWYN WATKINS. WELSH 1938-2018 R.W.S. Signed, dated '81, inscribed to work and again verso. Proof etching with collage. 7' x 7'

NAN FRANKEL. BRITISH 1921-2000 Clown. Inscribed verso and dated Jan '90. Etching 5' x 3¾'

AN 1897 PATTERN FENTON BROTHERS INFANTRY OFFICERS SWORD. With an 82cm straight pointed narrow blade with spear-point, lacking a cutting edge, the blade with decorative etching and George V monogram, marked for Fenton Brothers Ltd of Sheffield, Sword Cutlers to the War Office, the other side with stamped proof mark, with a nickel plated guard with George V Royal cypher, with turned over inner edge, the domed pommel with spherical nut, checkered back strap, the fish skin grip bound with wire, with leather sword knot. In a leather service scabbard. 104cm overall.

Valerie Thornton (British 1931-1991), The Story of Jonah, Moscufo, signed and dated 'Valerie Thornton '88' (lower right), numbered 51/90, etching and aquatint, 32 x 27cmProvenance: The Royal Parade Gallery, London, 1989

Valerie Thornton (British 1931-1991), Etruscan Reunion, signed and dated 'Valerie Thornton '88' (lower right), numbered 17/90, etching and aquatint, 26.5 x 41.5cmProvenance: The Royal Parade Gallery, London, 1989

A collection of topographical prints to include Arctic, colonial and oriental scenes, to include an etching of Arran by David Young Cameron RA, RSA, RWS (Scottish 1865-1945) 12.5 x 25cm (qty)

Two modern prints, to include: William Crozier (Irish 1930-2011), Hay Ricks, signed and dated '92, numbered 116/275, lithograph, 18 x 22.5cm; together with Anthony Dyson, Towards 2000, numbered 140/250, etching, 21 x 31cm (2)

A.Simes, Yachting on the Clyde, orginal etching

Framed and mounted etching of Maria - A Brood Mare

ANDA PATERSON RSW, ROI Old woman with bag, signed, acrylic and watercolour, 20 x 13cm and Fishwives, signed, etching, 35 x 25cm (2) Condition Report: Available upon request

AFTER ROBERT MORDEN "Sussex", map of Sussex, 38 cm x 43 cm, together with "Surrey", 38 cm x 44 cm, AFTER T KITCHIN "Gloucestershire", map, coloured engraving, 18 cm x 23.5 cm and AFTER HOWITT "Partridge hawking", etching, 15 cm x 19.5 cm

British 1845 Pattern Infantry Officers Dress Sword, with universal pattern brass hilt, leather covered grip, brass scabbard and blade with etching including Victorian cipher. This sword is an excellent museum quality reproduction and is being sold as such.

A shield fob, with floral etching and central shield bearing the initials JR, marked rolled gold with pendant loop 3cm high.

Edward Jay Cherry (1886-1960). York Minister, etching, signed 10cm x 10cm, various other book plates etchings, buildings other 19thC, 18thC Cathedral church book plate engraved print, another of Nantwich Church other religious related, portraits, etc. (a quantity)

Charles Healey (20thC). In a Tyrolese Village 1914, etching, signed, 21cm x 29cm.

C.E. Baker (20thC). Spire, watercolour, signed, 28cm x 19cm, View of Scarborough book plates print, Colonel H G T Russel 1946 photographic print, Chartres etching, 19thC Naive School Drovers on a path before buildings, oil, unsigned (a quantity).

Rowland Hilder (British, 1905-1993)'Norfolk farm', etching with aquatint, signed bottom right margin in pencil and numbered 29/75, mounted framedimpression 30 x 39 cm., overall 50 x 59.8 cmCondition: Good condition

Rowland Langmaid (1897 - 1956), "Westminster", signed etching, housed in an ebonised glazed frame, the etching 23.5cm x 17cm

Alfons BLOMME (1889-1979) 'Hugo Verriest' an etching signed by Alfons Blomme. 1921. (20 x 26 cm)

Armand APOL (1879-1950) 'Kapel in de kempen' a coloured etching. (58 x 53 cm)

FRED W GOOLDEN; etching, King Street, Manchester, signed in pencil lower right, 38 x 30.5cm, framed and glazed.Additional InformationThe etching generally in good condition, the frame with some light scuffs.

ALBANY E HOWARD (1872-1936) pencil signed etching ‘Eastgate Chester’ 25x32cm, together with a further pencil signed etching by Fred Goolden ‘The Old Licensed House’ 27x31cm, and a Terrance Cuneo print ‘Festiniog Workhouses’ each framed and glazed (3). 

GELDART; a black and white signed limited edition print, orchestral motage, numbered 107/500, 39 x 54cm, also a black and white etching, townscape, indistinctly signed, 30 x 22.5cm, both framed and glazed (2). (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

A group of unframed print, etching and artwork including a Charles Stuart signed limited edition coloured print, 'Madonna De Milo', no.10/25, all unframed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

CHRISTOPHER RICHARD WYNNE NEVINSON (BRITISH, 1889-1946)The Rising City, circa 1926-7signed in pencil 'C.R.W. Nevinson' (in the margin lower right) etching35 x 23.5cmLiteratureJonathan Black, CRW Nevinson The Complete Prints, Lund Humphries, 2014, cat. no. 125, pp. 56, 176 (illustrated p.177)FootnoteThe Rising City was first exhibited at Alex Reid & Lefevre, London, April 1927 while a related drawing (dimensions and whereabouts unknown) was first exhibited at the Leicester Galleries, London in March that same year.  When considering the present work Jonathan Black notes, 'Nevinson acknowledged and celebrated the burst of building activity that London witnessed c.1920-26 in The Rising City.  During the period, Adelaide House, just north of London Bridge and designed by Sir John Burnet, was completed in 1925 while Devonshire House on Piccadilly (1924-6) and Edwin Lutyens' Grosvenor House on Park Lane (1926-8) were under construction using the latest American-inspired techniques involving steel frames clad in stone, brick and concrete.'  (Op. cit. p.56).  Another example from the current edition is held at the Victorian and Albert Museum.Condition reportThe sheet has deckled edges; patches of staining to the extreme corners of the sheet border; two small pieces of mounting tape to upper left and right sheet border.  Etching surface is sound and clean.  Framed and under glass.

AFTER JEAN METZINGER (3)Cubist Portraitprinted with artist's name and 'Pointe seche' (verso)etching18 x 13cmtogether with; After Francis Picabia, Cubist Machine, printed with artist's name and 'Pointe seche' (verso), etching, 17.5 x 13cm; After Juan Gris, Portrait of Picasso, printed with artist's name (verso), etching, 18 x 14cm(all unframed)(3)ARR

SALVADOR DALI (SPANISH, 1904-1989)The Monkey and the Leopardsigned and numbered in pencil 'Dali LXXXIV/CXX' (in lower margin)etching in colours58 x 40.5cmARR

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Càntic del Sol, Franz von Assisi", 1975.Color etching with aquatint on Velin d'Arches paper, copy 6/12.Ediciones Polígrafa, Barcelona.Signed and numbered in pencil in the lower margin.Work published in "Miró engraver", Jacques Dupin Rizzoli NY 1989, ref. Dupin III 865.Provenance: private collection U.K Gildens Fine Art, London.Measurements: 39,5 x 52 cm. (print); 51,5 x 62,5 cm.(paper); 80 x 102 cm. (frame).Graphic work of very few copies, 11 more worldwide, characterized by its overwhelming simplicity, inspired by the poetry of Francis of Assisi.Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Bacchanale", ca. 1959. Color etching and aquatint on BFK Rives paper, copy 15/300. Signed and justified by hand. Published by Crommenlynck of Paris. A note on the back specifies the use of 15 colors including 5 different whites. Measurements: 46.4 x 55.9 cm (print); 53 x 76 cm (paper); 89.5 x 97.5 cm (frame).. The bacchanals were a theme very cultivated by Picasso, from his interest in classical mythology, through which he filtered his most intimate vision of life, desire and melancholy. Creator of Cubism together with Braque, Picasso was a turning point in the history of art. He began his studies in 1895, at the School of Fine Arts in Barcelona, and only two years later he had his first individual exhibition, at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled definitively in the French capital in 1904. The definitive international recognition will come in 1939, as a result of the retrospective that the MOMA in New York dedicates to him. During the following decades, anthological exhibitions will be dedicated to him all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

An early 20th century photographic etching of the ' Arrival of the Great Western Steam Ship off New York Monday 23rd April 1838' possibly advertising W & H Cave Enravers and Printers, framed and glazed 25x50cm

After Esaias van de Velde,Ter Tolen,monochrome etching, trimmed inside the plate mark,8x17cm.

GIOVANNI BATTISTA TIEPOLO (ITALIAN 1696-1770) A LARGE GROUP OF PUNCHINELLI Pen, ink and wash 23.9 x 37.5cm (9¼ x 14¾ in.) Provenance: The Henry Oppenheimer Collection Sale, Christie's, The Henry Oppenheimer Collection, 14th September, 1936, lot 185 (A) (part lot) Where purchased by Sir Osbert Sitwell, 5th Bt. And thence by descent. Literature: G. Knox, 'Domenico Tiepolo's Punchinello Drawings: Satire, or Labor of Love?' in Satire in the Eighteenth Century, (J.D. Browning Ed.) New York, 1983, p. 138, fig. 5. G. Knox, 'The Punchinello drawings of Giambattista Tiepolo', in Interpretazioni Veneziane studi de storia dell'arte in oncore di Michelangelo Muraro, (D. Rosand Ed.) Venezia 1984, p. 441, fig.5. V. Sears Goldman, April 2012, 'The Most Beautiful Punchinelli in the World': A comprehensive Study of the Punchinello Drawings of Giovanni Battista Tiepolo, (unpublished doctoral dissertation), Princeton University, New Jersey, pp. 390-393, no. 4, fig. 4. We are grateful for Professor Bernard Aikema for confirming the authenticity of this work from a photograph. Catalogue Note: This drawing is from a distinctive group of documented Punchinello drawings by Giovanni Battista Tiepolo (1696-1770); related drawings by Tiepolo of the same period, depicting large groups of Punchinelli include: A large group of Punchinelli cooking (École des Beaux-Arts, Paris, no. 393); A large group of Punchinelli (private collection, Zurich); Punchinelli preparing a meal of gnocchi and parmesan cheese (Baron Dominique-Vivant Denon; Vivant-Denon sale, Pérignon, Paris, 1-19 May 1826, lot 543; most recently, Christie's, New York, 31 January 2013, lot 75, USD 542,500 inc. premium) (Sears Goldman, op. cit., pp. 393-397, no. 5; pp. 420-422, no. 10; pp. 423-429, no. 11). Punchinello was the buffoon character of the 17th century commedia dell'arte, a subject that Tiepolo embraced from the late 1720s through to the early 1760s, primarily in drawings, executing about thirty-six, but also in at least two paintings, and etchings. Tiepolo's interest in Punchinello was most likely stimulated when he was in Verona working on the illustrations for Scipione Maffei's Verona Illustrata (c. 1725). The drawing offered here dates from the early 1730s; it retains the fine delicate line of the earlier drawings but includes two tones of painterly wash, the wash less evenly applied than in slightly later drawings (Sears Goldman, op. cit., p. 376). Tiepolo, in contrast to his son Domenico, who shows Punchinelli engaged in everyday activities in his Divertimento per li Regazzi, portrays his Punchinelli making and eating gnocchi, and suffering from the excesses of overindulgence. The subject derives from a regional festival, venerdì gnoccolare, which took place in Verona on the last Friday of Carnival. Young boys from the poorest district of San Zeno, dressed up in costume, and gathered at the Palazzo del Podestà to invite the mayor to the town square for a glass of wine and a plate of gnocchi, followed by a town fiesta of eating and drinking until dawn. This drawing depicts a jumbled group of Punchinelli; two figures on the right are engaged in the cooking and presentation of gnocchi, but most have surrendered to the gnoccolonità that affects unlucky Punchinelli after the feast - several are drunken or ill (Sears Goldman, op. cit., p. 390). Some of the figures in this drawing can be found in other Tiepolo Punchinello drawings. For example, to the left of the drawing is a prostrate Punchinello with a protruding stomach lying on top of his hat; a similar Punchinello is depicted in Drunken Punchinello in the Musée de Picardie, Amiens (M.P. 975-6) and Two Punchinelli in the Fondazione Giorgio Cini, Venice (30.082). The Punchinello slumped over on the ground in the centre of the present drawing has its counterpart in Punchinelli cooking gnocchi (formerly Tito Miotti, Udine) and Three Punchinelli gathered around a gnocchi pot (Kennedy Onassis estate sale, Sotheby's, New York, 24 April 1996, lot 250). The composition of the present drawing is additionally related to a disegno di Pulcinella senza Pulcinella (c. 1724) by Tiepolo in the Staatliche Museen zu Berlin (inv. 11772). A toppled gnocchi pot or Punchinello hat, a wine flask, and a walking stick lie in the foreground. The use of scattered objects in the front appears in other Tiepolo drawings, for example, La folla e i serpenti, but in the world of Punchinello these symbols of the venerdì gnoccolare are represented differently: Punchinello's hat, a fallen quiver of arrows; the wine flask, a ceramic pot with a grotesque carved mask, Punchinello's walking stick suggesting a makeshift caduceus, a serpent-encircled staff (A. Rizzi, Mostra del Tiepolo: disegni e acqueforti, Milan, 1971, p. 17, no. 9; G. Vigni, Disegni del Tiepolo, 2nd ed., Trieste, 1972, pp. 53-54, no. 6). George Knox, the Tiepolo art historian, suggests that this drawing is among the earliest of the Punchinello drawings because of its fine line and delicate, even use of wash (Knox, op. cit., p. 441; G. Knox, Tiepolo: A Bicentenary Exhibition, no. 6). He further proposes that this drawing may be linked stylistically with the studies for the Villa Loschi at Biron, executed around 1734 (Knox, op. cit., p. 441). The present drawing, and others of this period, undoubtedly mark the moment that Tiepolo's draftsmanship assumes its mature form (G. Knox, Tiepolo: A Bicentenary Exhibition, 1770-1970; Drawings, mainly from American Collections, by Giambattista Tiepolo and the Members of His Circle, Cambridge, Mass., Fogg Art Museum, Harvard University, 1970, no. 13). Scipione Maffei (1675-1755), a Veronese writer, art critic and collector, was possibly the patron of the Punchinello works (Knox, op. cit., pp. 439-446). Tiepolo visited Verona twice, around 1730 when he worked with Maffei on Verona Illustrata, and nearly thirty years later in 1760 to paint the ceiling of the Palazzo Canossa. By the middle of the 18th century, however, Punchinelli drawings were collected outside Verona; in 1761, Count Francesco Algarotti's wrote to Pierre-Jean Mariette that he had 'les plus belles polichinelles du monde de la main de notre célèbre Tiepoletto' (Knox, 1984, op. cit., p. 444). Moreover, many artists made copies after Tiepolo's drawings, whether in pen and ink or as prints. Some of these were direct copies; others, such as the artist Georg Friedrich Schmidt's (1712-1775) 1751 etching, after Three Punchinellis cooking gnocchi, was based principally on the drawing but contributed new elements as well (Sears Goldman, op. cit., p. 364). Henry Oppenheimer, F.S.A. Click here for full description.

A Framed Etching by Pennell, Venice 1883 Together with a Slightly Larger Example by William Douglas Macleod, 33x13.5cm Depicting Figures Harvesting Shellfish on Beach

Royal Doulton Yorktown teawares, leather case, Robur, watch parts, slide ruler, brass horse head, paintings, tapestry, etching etc.

Malcolm Osborne RA, PRE, RBC, ARCA (1880-1963), Bustling Traffic on Tower Bridge, London, etching, circa 1920, signed in pencil lower right, 6½ x 12½in. (16.4 x 31.7cm), unframed.

Arnold, Jean and Appleby, John, Edmund Blampied A Catalogue Raisonné Of Etchings, Drypoints And Lithographs', Deluxe Edition, no.315/350, containing a numbered and previously unpublished Blampied etching, pub. 1996 by JAB Publishing, dark red morocco leather with gilt title to front and spine, gilt edges, with leather edged slip case.

William Lionel Wyllie RA, RI, RE (British, 1851-1931), Greenwich from the Thames, etching on watermarked laid paper, signed in pencil lower left, 4¼ x 14½in. (10.8 x 36.8cm.), unframed.

Alfred George Wright (British, 1875-1951), "Cider Press" Etching, signed in pencil "A. G. Wright" lower left and titled centre, unframed 8½ x 13¼in. (21.6 x 87.1 cm.) *Notes: Alfred George Wright lived in Jersey after around 1905 and taught art at various schools in the island. He painted many scenes of Jersey and is best known for his monumental oil painting of the Visit of George V and Queen Mary to the States Chamber on 12th July 1921 which took him two years to complete.

Barry Owen Jones, RWS, RE (British, 1934-2018), 'Evening, St Sampsons Harbour', coloured etching, signed, inscribed and numbered 73/100, 7¼ x 15in. (18.5 x 38.1cm.), well framed.

William Lionel Wyllie RA, RI, RE (British, 1851-1931), The Grand Fleet, First World War Convoy, etching on laid paper, signed in pencil lower left, 4¾ x 9¼in. (12 x 23.5cm.), unframed.

Two pate-sur-pate plaques in gilt frames 'La Comparaison' and 'L'Essai du Corset', French, late 19th century, La Comparaison taken from the aquatint by Alexandre Chaponnier - La Comparaison des Petits Pieds, pub 1791, after a painting by Louis Leopold Boilly, L'Essai du Corset taken from the etching by Antoine Francois Dennel after Pierre Alexandre Wille. (2)

Walter William Burgess (British, 1846-1908), "Adam & Eve Old Chelsea", etching on parchment paper, signed and titled in the margin in pencil with the artist's sun symbol in the plate, 7½ x 12in. (19 x 30.5cm.), unframed.

William Lionel Wyllie RA, RI, RE (British, 1851-1931), Panoramic View of the City of London and St Paul's from Lambeth, etching on wove paper, signed in pencil lower left, 6 3/8 x 14 7/8in. (16.2 x 37.8cm.).

William Lionel Wyllie RA, RI, RE (British, 1851-1931), The City from the top of St Paul's Cathedral, London, etching on laid paper with J Whatman watermark, signed in pencil lower left and inscribed "trial proof", 7 1/8 x 15 1/8in. (18 x 38.4cm.). * Provenance: Label on reverse of original backboard for the David Messum Gallery, Beaconsfield.

William Lionel Wyllie RA, RI, RE (British, 1851-1931), First World War Convoy with Barrage Balloons and Biplanes, etching on laid paper, signed in pencil lower left, 4¾ x 9¼in. (12 x 23.5cm.), unframed.

Stanley Charles Rowles A.R.C.A. (British, 1887- 1966), The Houses of Parliament and Westminster Bridge from the Thames, watercolour heightened with bodycolour, stamped to the margin S.C. Rowles. 11¾ x 15 3/8in. (29.8 x 39cm.), framed. * This is the original watercolour for the published etching.

William Lionel Wyllie RA, RI, RE (British, 1851-1931), Old London Bridge and Southwark Cathedral, etching on laid paper, signed in pencil lower left, 12 5/8 x 9¼in. (32 x 23.5cm.), unframed. * Provenance: Label for Robert Bunting, The Rembrandt Gallery, Liverpool.

Walter William Burgess (British, 1846-1908), "Royal Military Hospital Old Chelsea", etching on parchment paper, signed and titled in the margin in pencil with the artist's sun symbol in the plate, 5½ x 10¾in. (14 x 27.3cm.), unframed.

Barry Owen Jones, RWS, RE (British, 1934-2018), 'The Harbour, Herm', coloured etching, signed, inscribed and numbered 32/75, 5 5/8 x 7 1/8in. (14.3 x 18.1cm.).

James Abbott Mc Neill Whistler PRBA (American, 1834-1903), The "Adam and Eve", Old Chelsea, London, etching and drypoint on Japan paper with full margins, with the artist's butterfly signature in the sky above the tower, third state of three, 1879, 7 x 12in. (17.8 x 30.5cm.), in a fine Whistler frame. * Provenance: Label for the Leicester Gallery, 1965.

A watercolour study, river through mountains, one further watercolour, framed needlework panel and a signed etching of Durham Castle