We found 71174 price guide item(s) matching your search

2 framed & glazed Robson Lincoln Catherdral prints plus 19th century Garland etching/print West Front, Lincoln Cathedral

*ARTHUR BELL (1897-1995) 'St. Alban's Street, Weymouth' etching, 16.5cm x 10.75cm; and three similar works by the same artist "Trinity Street, Weymouth" and two views of Market Street, Poole (4)Provenance: The two Weymouth views formerly in the collection of Roger Neville Russ PeersLiterature: Arthur Bell was a landscape watercolourist, draughtsman, printmaker and teacher who worked in a meticulous style, born in Kettering, Northamptonshire. Showed an early talent for drawing, but poor health restricted him to elementary schooling, then in 1913 he joined the architectural practice of Marriott, Cooper and Williams. During World War I he held an Army commission, being wounded in France. Studied at Bournemouth Municipal School of Art, 1919–21, under Geoffrey Baker, Henry Crocket and Leslie Ward. A fellow-student was Bertha Beal, whom Bell married in 1922, their son being the teacher and artist John Bell. Arthur and Bertha Bell were prolific between the two world wars, having work selected for the RA Summer Exhibition, being members of the Poole and East Dorset Art Society and Bournemouth Arts Club and having joint exhibitions. (Buckman, David 'Artists in Britain Since 1945')

Herbert Thomas DICKSEE (1862-1942)'Footsteps', An Interior with Terriers (1925)Etching, published by Frost & Reed Ltd.Signed 36 x 55cm

William BLACK (20th Century British)Moored BoatsEtching and watercolour Signed, inscribed and dated '62Numbered 4/2512 x 11cm

Geoffrey Sneyd GARNIER (1889-c.1971)The Town Hall, PenzanceEtching aquatintSigned, inscribed and dated 1925#3/1525 x 17.5cmCondition report: This work is badly foxedTo our embarrassment, it has been pointed out that this shows The Market Building, Penzance and not the Town Hall. The artist's inscription is incorrect.This along with several other lots in the sale comes from the estate of the last in the line of the Peak family. Long established picture framers of this town. The siblings can remember being told of Stanhope Forbes visiting the Causeway head shop.

Terry FROST (1915-2003)Newlyn Rhythm Etching aquatintSigned, inscribed and dated '95#32/80Plate size 55 x 35cmCondition report: This work has not been examined out of its glazed frame but it is apparently in very clean good condition

HEADLEY Cornish Mystery VIColoured etching Signed and inscribed 17.5 x 18cmTogether with 'Porthcurno' an etching by J Knight and 'Bonzo Defies Gravity Two' an etching by Christine Eatwell (3)

Julian DYSON (1936-2003)Betty Etching Signed and dated '01Numbered 2/6Plate size 29.5 x 20.5cmCondition report: This etching is in near mint condition

Reg WATKISS (1933)Pendeen EngravingEtching Signed, inscribed and dated '71Numbered 2/15Plate size 11.5 x 20.2cm

Rose HILTON (1931-2019)CourtesanEtching Signed, inscribed and numbered 1/10Further signed, inscribed and dated '97 to verso Plate size 28 x 23cm

Robert Borlase SMART (1881-1947)Loading the Pilchard Barrels - Smeaton's Pier, St Ives Etching Signed Plate size 32.5 x 38cm

Mixed ceramics and glass to include, two decanters, one of bell shape and the other with grape and vine etching, a Royal Winton wash jug and bowl, decorated with poppies, a Doulton Lambeth tobacco jar, four pottery glazed baskets etc. (qty)

** Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, on chine collé, a good but later 19th century impression of New Hollstein's seventh state (of eight), evenly printed with some signs of wear in the plate, platemark 530 x 405 mm (20 3/4 x 16 in), sheet 575 x 450 mm (22 5/8 x 17 3/4 in), minor marginal handling creases and repairs to small perforations, some damp-staining visible verso (unframed)Literature:New Hollstein 119 ** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)The BathersEtching, 1651, a good but later impression of New Hollstein's third state (of three), printing with selective plate tone on 18th century laid paper without watermark, platemark 111 x 137 mm (4 1/4 x 5 3/8 in), sheet 119 x 146 mm (4 5/8 x 5 3/4 in), margins irregularly trimmed with rounded corners, trimmed well outside the platemark, brown ink inscription verso 'Rembrandt original' showing through to recto, minor surface dirt (unframed)Literature:New Hollstein 258 iii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

δ Eduardo Paolozzi (1924-2005)UntitledEtching, 1960, signed and inscribed P.A. in pencil, an artist's proof aside from the edition of 60, published by Galleria Schwarz, Milan, on wove paper, with full margins, sheet 267 x 192mm, (10 ½ x 7 5/8 in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** Rembrandt van Rijn (1606-1669)Peasant Family on the TrampEtching, circa 1652, but a later impression of New Hollstein's second state (of three), before the redrawing of the outline of the woman's hat, printing with delicate plate tone on cream laid paper without watermark, platemark 114 x 92 mm (4 1/2 x 3 5/8 in), sheet 129 x 105 mm (5 x 4 1/8 in), small spot in the lower left corner, brown ink inscription 'Rembrandt original' verso showing through to recto (unframed)Literature:New Hollstein 266 ii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Keith Haring (1958-1990)Untitled from the Valley Suite. (See. Littman p.136-141)Etching, 1989, signed and dated in pencil, numbered from the edition of 80, published by George Mulder Fine Art, London, on wove paper, with full margins, sheet 356 x 304mm, (12 x 14in) (unframed) ** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Keith Haring (1958-1990)Untitled from the Valley Suite. (See. Littman p.136-141)Etching, 1989, signed and dated in pencil, numbered from the edition of 80, published by George Mulder Fine Art, London, on wove paper, with full margins, sheet 356 x 304mm, (12 x 14in) (unframed) ** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: With the lampEtching, 1654, a good but later impression of New Hollstein's third state (of three), sheet 111 x 144 mm (4 3/8 x 5 3/4 in), trimmed within the platemark, mounted on cream paper support with careful restoration to lower left corner, and small loss to lower right corner (unframed)Literature:New Hollstein 279 iii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)The Flight into Egypt: Crossing a BrookEtching with drypoint, 1654, a good impression of New Hollstein's only state on laid paper without watermark, printing with the surface tone marks along the lower margin, before the scratch on the Virgin's lap, and with numerous areas of burr visible throughout the foliage and lower section, sheet 95 x 145 mm (3 3/4 x 5 3/4 in), trimmed to or just within the platemark, some scraping verso, corners reinforced verso (unframed)Literature:New Hollstein 277** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)Jan Lutma, GoldsmithEtching and drypoint, 1656, but a later a well inked impression of New Hollstein's fourth state (of five) on laid paper with indistinct watermark, before further reworking, sheet 200 x 150 mm (7 7/8 x 5 7/8 in), trimmed to or just within platemark, edges reinforced verso, small restoration to splits in the upper right corner and both lower corners (unframed)Literature:Hind 290; New Hollstein 293 iv/v** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Rembrandt van Rijn (1606-1669) & Philip Gilbert HamertonEtching & EtchersBound volume, first edition complete with text and 35 original etchings, including Rembrandt's Three Oriental Figures, a good but later impression, full margins, and others by Potter, Dujardin, Callot, Daubigny, Haden, Palmer et al, original blue morocco and brown cloth boards, gilt, spine rubbed and very worn, 4to, MacMillan & Co., London, 1868Literature:cf. New Hollstein 190 ii/ii

Old Master Print from Chatsworth.- Salvator Rosa (1615-1673)Diogenes casting away his bowlEtching with drypoint, circa 1661-62, a very fine impression of the second state (of two), printed with light plate tone on laid paper with watermark of two concentric circles surrounding a Fleur-de-Lys with initials 'NA', platemark 460 x 272 mm (18 1/8 x 10 3/4 in), sheet 530 x 370 mm (20 7/8 x 14 1/2 in), minor handling creases, surface dirt, spotting, mainly marginal (unframed) Provenance:Collection of Chatsworth House, DerbyshireChristie's, Old Master Prints from Chatsworth, 5th December 1985, lot 155Literature:Bartsch 5; Wallace 103

δ David Hockney (b.1937)Sunflowers II (MCA Tokyo 348)Etching with aquatint, 1995, signed, dated and numbered from the edition of 80, printed by Maurice Payne, Los Angeles, published by Lococo Mulder Inc. and the artist, on Arches paper, with full margins, 689 x 571mm (27 x 22 1/2in) (framed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** δ Salvador Dalí (1904-1989)Rout at San Germano (Field 72-10)Etching, 1972, signed in pencil, numbered from the edition of 150, on BFK Rives paper, with full margins, sheet 750 x 1050mm, (29 ½ x 41 3/8 in.) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** δ Salvador Dalí (1904-1989)Mythology. Narcissus (Field 63-3-H)Etching printed in colours, 1960-64, signed in pencil, numbered from the Roman numeral edition of C, on japon nacre paper, with full margins, sheet 770 x 579 mm, (30 1/4 x 22 3/4in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** δ Salvador Dali (1904-1989)Lancelot (from Shakespeare II) (Field 71-1-O; M & L 396b)Etching printed in colours, 1979, signed and numbered from the edition of 250 in pencil, on japan, printed by Ateliers Rigal, published by Editions Graphiques Internationales, Paris, the full sheet, 449 x 313mm (17 5/8 x 12 1/4in) (unframed)Dali. Lancelot. Col.etching. From La Quête du Graal, 1975. One of 249 sign.numb. on Arches. ML789d (Misleading!). Field 75-9L, page 108.Est. 3-400. Res. 250.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Rembrandt van Rijn (1606-1669)The Angel Appearing to the ShepherdsEtching, engraving and drypoint, 1634, a good dark impression of New Hollstein's fifth state (of six) with strong contrasts, on laid paper without watermark, platemark 261 x 217 mm (10 1/4 x 8 1/2 in), sheet 268 x 225 mm (10 1/2 x 8 7/8 in), small repaired tear in the upper centre with rust spot visible verso, other minor marginal nicks, not affecting the image (unframed)Literature:New Hollstein 125 v/vi

** δ Salvador Dalí (1904-1989)Vision de Paradis (Field 73-1-K)Etching with aquatint printed in colours, signed and inscribed E.A. in pencil, an artist's proof aside from the edition of 250, as included in the portfolio La Vie est un Songe, on Richard de Bas handmade wove paper, with full margins, sheet 580 x 784mm, (22 7/8 x 30 3/4 in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** δ Léonard-Tsuguharu Foujíta (1886-1968)Femme Endormie (Buisson 30.07)Etching with aquatint printed in colours, 1930, signed in pencil, numbered from the edition of 100, on chine appliqué supported on a sheet of imperial Japan paper, with margins, sheet 325 x 400mm (12 ¾ x 15 ¾ in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

δ Man Ray (1890-1976)Decouvert. From. Electro-Magie (Anselmino 40A)Etching with aquatint, 1969, signed and numbered from the edition of XXV in pencil, on BFK Rives paper, with full margins, 283 x 225mm, (11 1/8 x 8 7/8 in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** Rembrandt van Rijn (1606-1669)The Return of the Prodigal SonEtching, 1636, a very good impression of New Hollstein's first state (of 3), before any later re-work, on laid paper with watermark of double-headed eagle with letters "ID" and crozier, [cf. Hinterding's subvariant C.a.a], platemark 157 x 135 mm (6 1/8 x 5 1/4 in), upper edge reinforced verso with archival tissue, small repair to perforation within centre of window door, and small abrasion to the lady's face, further expert repair to small loss at lower right edge (unframed)Literature:New Hollstein 159 i/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

δ Joan Miró (1893-1983)La Bague d'Aurore (Dupin 126)Etching with aquatint printed in colours, 1957, signed in pencil, numbered from the edition of 60, on wove paper, with full margins, sheet 377 x 282mm (14 5/8 x 11 1/8 in), (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973)La Biche (Bloch 336, Baer 583/II/B/a)Etching with aquatint and drypoint, 1938, a fine impression, signed in red crayon, from the edition of 47, on Montval laid paper, with full margins, 415 x 317mm., (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973)Peintre et Modèle (Bloch 1381)Etching with aquatint, 1966, signed in pencil, numbered from the edition of 50, on BFK Rives paper, with full margins, sheet 410 x 500mm (16 1/8 x 19 5/8 in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pablo Picasso (1881-1973)Homme et Femme (Bloch 1210)Etching with aquatint and drypoint, 1965, signed in pencil, numbered from the edition of 50, on Richard de Bas handmade wove paper, with full margins, sheet 330 x 445mm (13 x 17 ½ in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

David Hockney (British b.1937)'He Enquired After the Quality'Artist's etching and aquatint Signed and dated '66 in pencilLimited edition numbered 26/7534.5 x 22cm (image size)****Artist's resale rights may apply to this lot*** CONDITION REPORT: Some discolouration / yellowing, could do with re-framing, signature is clear

ETCHING PRAWN FISHERS AND CAT CARTOON 14cmx10cm and 17cmx13cm

* Aldin (Cecil Charles Windsor, 1870 - 1935). After Dinner Rest Awhile, etching, signed in pencil by the artist to the lower right, limited edition of 33/150, 140 x 185 mm, mounted, framed and glazedQty: (1)

* Roussel (Theodore, 1847-1926). French-born English Painter and Graphic Artist. An autograph autobiographical account of his own life, circa 1920, describing his artistic beginnings and later professional life from his birth up until at the mid-1880s, with references to his picture The Reading Girl [1886] and ending with the sentence 'It is through one of those exhibitions I was speaking above, at the Dowdeswell, that in the later part of the winter of 1885 I have known Whistler', written with numerous crossings out and corrections in his hand on rectos of 10 leaves with concluding page in pencil on verso of final leaf, together with a separate one-page start of an autobiographical account from when he came to England [1878], 'forty-five years ago', this leaf browned, all 4to, together with an unsigned pen and ink sketch of trees, 6 x 14.5 cm, and a pen and ink sketch of a man in a kilt (?), 12 x 9.5 cm, both attributed to Roussel; plus a small thumbnail pencil study of a woman's head on a plain postcard, initialled by Roussel, 'Th R'; plus an etching of a Breton woman, 9 x 7 cm, with signed presentation inscription from W. Lee Hankey to lower margin; plus an autograph letter signed from Roussel, St. Leonard's on Sea, 11 September 1919, to Annie [his sister?], 3 pp., 4to, plus 3 small photographs of Roussel, including 2 identified as with [Agnes] Ethel, circa 1920, each 10 x 6 cm; plus a manuscript draft of Roussel's will from 1924 in an unidentified hand, a solicitor's letter concerning Roussel's affairs after his death addressed to A[gnes] E. McKay, an invoice from James J. Brett for a monument erected in Crowhurst Churchyard to the memory of the late Theodore Roussel, made out to Miss [Agnes Ethel] McKay, 25 May 1927, 2 receipt letters from the British Museum to Miss [Marion] Melville and Miss Agnes McKay for the gifting of 70 proofs of etchings by Theodore Roussel, 23 March 1927, a certified copy of Ethel Roussel's death certificate, 30 March 1917 and a Goupil & Co. Catalogue of Colour Etchings by Roussel, July 1899, with some manuscript price insertions, 8voQty: (16)NOTESProvenance: Acquired from the sale of the estate of Marion Melville (1903-). Marion was the daughter of the artist Arthur Melville (1855-1904) and Ethel Constance Melville (died 1917). Theodore Roussel had first married Frances Amelia Smithson Bull but after her death he married Melville's widow Ethel in 1914. Marion was therefore Roussel's step-daughter. Roussel also had a daughter, Ivy (born c. 1900), with his mistress Hetty Pettigrew. Agnes Ethel Mackay (1889-1980) was a poet and critic by vocation. She was the niece of Roussel’s second wife, Ethel, and cousin to Marion Melville. After Ethel’s death, Agnes moved to St Leonards-on-Sea to take charge of the household, which comprised Roussel and the 13-year-old Marion Melville. Agnes acted as studio assistant and companion to Roussel until his death in 1926. She then moved with Marion to Upper Cheyne Row, London, and then to France in 1937. An interesting and apparently unpublished account of the early part of Roussel's artistic life up until his significant first meeting with Whistler. A transcript of the autobiographical text is available on request.

Cardonnel (Adam de). Picturesque Antiquities of Scotland, 4 parts in 2 volumes, London: printed for the author, 1788-93, 101 etched plates, volume II extra-illustrated with each etching duplicated, tinted and pasted above opposite explanatory text leaves (a few chipped), a little minor overall spotting, all edges gilt, contemporary red morocco gilt, small split to volume I lower joint, 8vo, together with The Tour of the Duke of Somerset and the Rev. J.H. Michell, through Parts of England, Wales and Scotland, in the Year 1795, 1845, inscribed "To the Marquis of Breadalbane, with the kind regards and best wishes of the Duke of Somerset, Christmas Day 1848'Qty: (3)

A GROUP OF ASSORTED PRINTS to include `Jacob's Ladder` and `The Sacrifice of Isaac` by A. Collaert after Johannes Bol; `Vesper` by/after Jan van de Velde II; `Sleeping Shepherd` by C. Bloemaert after Abraham Bloemaert; `Veue du Chasteau de Fontainebleau` by Israel Silvestre after Jacques Callot; View of Wolfenbuttel, Dutch 17th Century, no credits; and a modern etching of poultry, initialled EB, various sizes (7) ++ Mixed condition; fair only

•JOHN BRUNSDON (1933-2014) VALLEY IN THE HILLS Colour etching, signed, titled and numbered 53/150 37.5 x 43.5cm.; with another by the same hand, `Derbyshire Lake`, signed, titled and numbered 79/150, 22 x 30cm. (2) ++ Each in good condition

WILLIAM LIONEL WYLLIE, RA (1851-1931) BLACKFRIARS BRIDGE Etching, signed in pencil 20 x 40.5cm. ++ Good condition

•CHARLES FREDERICK TUNNICLIFFE, OBE, RA (1901-1979) THE SITTING HARE Etching, 1926, signed and numbered 28/75 13.5 x 18cm; with `Straight from the Stable`, signed and titled drypoint by Leonard Robert Brightwell, 25.5 x 17.5cm approx (2) ++ `Hare` with a little pale foxing; Brightwell good

•GERALD LESLIE BROCKHURST (1890-1978) HENRY RUSHBURY, ARA, RWE, RWS No.2 (Fletcher 66) Etching, 1930, signed in pencil 25 x 18.25cm. ++ Good condition

•EUSTACE PAIN ELLIOTT NASH (1886-1969) A GROUP OF WORKS ON PAPER comprising watercolours of a Dorset (?) landscape, signed and dated 1943, 30 x 46cm.; another similar, 35.5 x 51.5cm.; `The Approaching Storm`, signed, 19.5 x 29cm.; a coastal scene, signed and dated 09, 21 x 31.5cm.; two life drawings, both signed, one dated 11.12.29; and an unsigned etching, four framed (7) ++ Three watercolours with some foxing and fading

AFTER ROWLAND LANGMAID “Battleship”, black and white etching, signed in pencil to the margin, size including frame approx 24.5 cm x 36 cm, together with a framed and glazed photographic study of “Shamrock 16th Dec 1899”, in full sail (a gaff cutter owned by Sir Thomas Lipton and designed by William Fife III, built by Thorneycroft & Co. of Chiswick, launched 1899, competed but did not win America’s Cup), size including frame 38 cm x 44.5 cm (image with spotting and damage)

AFTER WILIAM LIONEL WYLIE “Busy harbour scene with fisherman in the foreground, a steamship in the distance”, black and white etching, signed, size including frame approx 40 cm x 57.5 cm

AFTER WILLIAM LIONEL WYLIE “Sailing vessels with tender in foreground, a fortress in background”, black and white etching, signed in pencil to margin lower left, size including frame 40 cm x 57.5 cm

AFTER WILIAM LIONEL WYLIE “Steam and sailing vessels with town and hill rising in background”, black and white etching, signed in pencil lower left, size including frame approx 40 cm x 57.5 cm

AFTER JOHN BRUNSDON "Gladstone Pottery by moonlight" Artist's Proof 1/20, signed, titled and No'd in pencil image size 31 cm x 13 cm together with AFTER JOHN BRUNSDON "Gladstone Pottery" Artist's Proof 2/20, coloured etching, signed, titled and No'd in pencil image size approx. 13.5 cm x 31 cm together with EDITH LEWIS "Tratower (brecs)" landscape study with sheep in field in foreground, oil on board, signed lower right and inscribed on label verso image size 60 cm x 81 cm together with various other paintings, prints and etchings

TWO GILT FRAMED BEVELED EDGE MIRRORS ONE WITH ETCHING OF A HORSE AND CART SCENE

PAULA REGO (PORTUGESE BORN 1935) - 'The Crow and His Cat', etching and aquatint, signed in pencil and numbered 14/20, published 1994, bears 'The New Gallery, Birmingham' label verso, framed, 17cm x 24cm, frame size 42.5cm x 53cm. Provenance - From a private collection

S. BRUNE (CONTEMPORARY) - 'Flock Together', etching with aquatint, signed indistinctly in pencil and numbered 2/30, framed, 53cm x 29cm, frame size 75cm x 49cm.

George Chapman (20th Century Welsh), Welsh Valleys village with distinctive bridge, signed in pencil by the artist, monochrome etching. 72 x 60cm approx. Framed and glazed. (B.P. 21% + VAT) Appearing in good original condition.

George Chapman (20th Century Welsh), a Valleys street scene with figures, signed in pencil by the artist, monochrome etching. 54 x 63cm approx, framed. (B.P. 21% + VAT)

George Chapman (20th Century Welsh), a Valleys street scene, signed in pencil, monochrome etching. 36 x 51cm approx. Framed. (B.P. 21% + VAT) Good original condition, some wear to the frame.

Andre Bicat (20th Century), 'Volterra', limited edition coloured etching no. 15/50, signed in pencil by the artist. 33.5 x 45cm approx. Framed and glazed. (B.P. 21% + VAT) Appearing in good condition.

Shulima (Russian 20th Century): a mixed media coloured etching with embossed border, 'Magic of the Night', signed in pencil, 50 x 25 cm (image), framed