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JULIAN TREVELYAN (1910-1988)'THAMES DITTON'(Turner 227) etching and aquatint, signed, titled and numbered in pencil to margin, numbered from the edition of 75, printed by Geoffrey Beardsall and Dorothea Wight, published by London Graphics19/7538cm x 50cm

MARY FEDDEN O.B.E, R.A. R.W.A., (1915-2012)'STONE, JUG AND SUN'coloured etching, signed and numbered in pencil74/10025.5cm x 20.5cm

MARY FEDDEN O.B.E, R.A. R.W.A., (1915-2012)'UNTITLED' PEAR AND MUGcoloured etching, signed and numbered in pencil74/10025.5cm x 20.5cm

Richard Beer (1928-2017) PALAZZO - coloured etching signed titled numbered in pencil to margin, 70/100, 45.5 x 63.5cm

JULIAN TREVELYAN (1910-1988)'PONTE VECCHIO'From the Florence Suite,etching and aquatint, signed, artist's proof, titled in pencil58cm x 79cm

JULIAN TREVELYAN (1910-1988)'HOME WATERS'(Turner 245)etching and aquatint on wove paper, signed, titled and numbered in pencil20/7559cm x 78.5cm

JULIAN TREVELYAN (1910-1988)'THE PLOUGH'(Turner 332)etching and aquatint, signed, titled and numbered in pencil61/150blindstamp lower right49.5cm x 62.5cm

CRAGIE AITCHISON R.A. R.S.A. (1926-2009) 'HOLY ISLAND' etching, aguatint in colours artist proof, March 2001, dated and signed 'For Joan With Love From Craigie in pencil, framed and glazed 62 x 67cm

BEN NICHOLSON O.M. (1894-1982)'TORCELLO II' LaFranca 901967 etching, unsigned43cm x 48cm

JULIAN TREVELYAN (1910-1988)'FLORENCE PANORAMA'1965-66 (Turner 177) from The Florence Suite etching and aquatint, artist's proof, signed and titled in pencil to margin, published by Editions Alecto40cm x 53cm

BEN NICHOLSON O.M. (1894-1982)'FORMS IN A LANDSCAPE'(Lafranca 15)etching on wove paper, numbered 211/300 in pencilFrom the unsigned edition of 300 published by Kestner Gesellschaft. With Ben Nicholson 66, Kestner Gesellschaft, and François Lafranca blindstamps31.5cm x 32cm

BEN NICHOLSON O.M. (1894-1982)'URBINO'(Lafranca 1)etching on wove paper, signed in pencil, annotations in ink and pencil to verso "send to Daniel Lewis & Pat to be come his property when I pop -" "artist's copy no.3"30cm x 25.5cm

BEN NICHOLSON O.M. (1894-1982)'OLYMPIA'(Lafranca 10)etching on wove paper, signed numbered and dated 1966 in pencil to margin43/60lafranca blind stamp 27cm x 31.5cm

After Charles Edward Holloway (British, 19th century) St Paul's from The Thames, with working figures and moored boats in the foreground, etching, published by the Art Union of London,1890, framed and glazed.

A 19th Century hand-coloured etching "Six Classes of that Noble and Useful Animal a Horse", published by Thos. Teigg, framed and glazed, 36cm x 26cm

A pencil signed etching of market shop and coastal scene, framed and glazed (2)

Barton, seated nude study, oil on canvas, signed lower right, 26 x 21.5cm. James Miller Dunnegan Castle, etching, signed to border, 14.5 x 17.5cm, early still life picture (3).

Kew Botanical Flower Illustrations of Franz Bauer, limited edition prints of 500 set of 4. Mary Harper Horticultural study, etching 1 of 30 30 x 40cm. Pear print. (6)

Valerie Thornton"Woolpit"Signed, incribed and numberd 56/70, dated (19)85, etching, 40.5cm by 28cm

Robert Brindley (20th century)Winter Light, Lower Quebec FarmSigned, watercolour, together with a landscape watercolour by John Blockley, a further coastal watercolour by another hand and an etching (4)Each painting with areas of foxing and discoloration, otherwise OK.

David R Anderson (1884 - 1973)Portrait of Jules FlandrinSigned, Inscribed and dated 1906, etching togther with a further signed etching of a Parisian street scene (2)Prov: Descent in the artists family

Fred Lawson (1888-1968)A Crowd Gathered on a Bankside Signed, watercolour and pencil, 11cm by 25cm (unframed) (a.f.); a 20th century watercolour of park gates, signed D. Binns, an indistinctly signed pencil sketch "High Sunderland, Wuthering Heights", an etching of bison after H. Rayner, and a collection of predominantly architectural prints (qty)

Elyse Ashe Lord (1900-1971)"The Kingfisher Dancer"Signed and numbered 13/50, coloured drypoint etching with watercolour; together with a pair of works by the same artist, signed and numbered 27/100, depicting Japanese hardstone flowers, 25cm by 15cm and 26cm by 24cm respectively (3)

Phil Greenwood (Contemporary)"Summer Park"Signed and numbered 111/200, coloured etching; and another coloured etching after Mike Andrews (Contemporary) "Construction Lines II", signed and numbered 148/200, 49cm by 46.5cm and 76cm by 63cm (2)

**DESCRIPTION CHANGE** *Herbert Dicksee* Early 20th century coloured etching, portrait of a French Bulldog, plate size 27cm x 22cm, and hand coloured etching, sleeping dog, plate 7cm x 16cm, framed (2) Both in good condition

Carl Rungius (Canadian), etching, moose, signed in pencil, plate size 15cm x 21cm, framedSlight paper discolouration

Marie Laurencin, etching, girl with a flower, dated 1926, plate 11.5cm x 9cm, mountedGood condition

Jaques Callot, etching, procession of the beggars, printed circa 1630, plate 12cm x 23cm, unframedEven paper discolouration

Lynn Woodward, coloured etching, Reflections, 1964, signed in pencil, plate size 9" x 11.5", framedGood original condition, pencil notation in margin "(4/12)"

Francis Kelly, sugartint, etching, Hyde Park, signed in pencil, plate 60cm x 50cm, framedMargin slightly discoloured otherwise good condition

Charles Newington, coloured etching, Hunter, signed in pencil, artist's proof, plate 22cm x 19cm, framedGood condition

δ Allix (Susan, binder).- The Song of Solomon, number 40 from an edition of 50 signed and numbered by the artist and binder, etched and aquatint illustrations by Susan Allix printed in colours, many whole-page with tissue guards, with an additional unused etching loosely inserted, bound in dark blue goatskin by Susan Allix, with a design of leaf and floral sprays inlayed in various colours of goatskin, tooled in gilt and blind, turn-ins inlaid and tooled in similar style, housed within cloth drop-back box, 4to, The Willow Press, 1977.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Folio Society.- Kipling (Rudyard) Just So Stories, one of 1000 copies, introduction by Michael Morpurgo, mounted colour plates and illustrations by Niroot Puttapipat, with an original etching also signed and numbered by the artist, original vellum-backed pictorial boards with vellum tip corners, housed in original cloth drop-back box, folio, Folio Society, 2012.

A collection of prints, including 19th century and later examples, together with signed etching of Pembroke College, and Marjory Cox watercolour

Alice Barnwell, coloured etching, Autumn Breeze, signed and blind stamped artist's proof, 9ins x 12ins

THOMAS HARDY. 'Jude the Obscure,' first edition, original cloth, published as volume VIII of the Wessex novels, etching by H. Macbeth-Raeburn and a map of Wessex, Osgood McIlvaine and Co, London, 1896; 'A Changed Man. The Waiting Supper and Other Tales,' first edition, original cloth, frontis, MacMillan and Co, London, 1913; 'Time's Laughing Stock,' 1910, 'Late Lyrics and Earlier,' 1922, 'Human Shows Far Phantasies,' 1925; With nineteen other books including three vols of Roby's Traditions of Lancashire, Matthew Arnold, H. Rider Haggard, and Jerome K. Jerome. (25)

CATHERINE ST AUBYN (1760-1836). 'St Michaels Mount in Cornwall. a Seat of Sir John St Aubyn,' after John Opie, etching with aquatint, some small repairs, scratched-letter state, framed and glazed, May 4th 1786, 28cm x 33cm.

F GHEYS?Cowsliplimited edition etching No'd 40/45 together with another limited edition etching by the same hand titled Loch Dutch, 23.5cm x 30cm.

William Blake (1757-1827)Thou hast fulfilled the Judgement of the Wicked, 1825Engraved plate, with 'Proof' faintly visible to bottom right corner20.3cm x 16.6cm William Blake is remembered as both a talented Romantic painter and a poet—he entered drawing school and began writing poetry around the same time in his adolescence. By age 20, Blake was thought to have written some of the finest lyrical poetry in the English language. He apprenticed for seven years with the engraver James Basire. In addition to engravings, Blake made drawings, watercolors, and small paintings in tempera. In 1788, he developed a process of etching that allowed him to combine an etching and text on the same printing plate, gaining unprecedented layout control of the printed page. Blake was deeply religious and believed that art could elevate the spirit. His most popular works were Biblical subjects, and illustrations inspired by Dante Alighieri’s Divine Comedy.Fraying to the edge of the paper, though this has no bearing on the print. Some light foxing and small indiscriminate holes towards the edge of the plate.

EDWARD KING. 'St Paul's Cathedral,' etching by H. Goffey, signed by both in graphite, original tissue guard with label, The Museum Galleries, London, circa 1925, 36cm x 25.5cm

Callot (Jacques, 1592-1635). Les Supplices, circa 1629, etching on laid paper, the sixth state (of eight), showing traces of Israël Silvestre’s effaced address, trimmed to the borderline and retaining the legend in the lower margin, in good condition, the upper left corner tip thinned and a nick at the upper right corner tip, sheet size 11.6 x 22 cm (4 1/2 x 8 5/8 ins), together with Combat d’Avigliano (or the Combat de Veillane), circa 1630-31, etching on fine laid paper with watermark of a necklace with the Cross of Malta (Lieure 61) and countermark initials BC (similar to Lieure 59), a fine impression of this rare, monumental etching, printing with great contrasts and clarity, with small margins, in well-preserved condition, together with seven other prints: Callot, Le Feu d’Artifice sur l’Arno, & Le Marché de la Place de l’Annonciade (from Les Caprices), circa 1617-20, etchings, both very good, impressions of the first state (of two), both from the Nancy set (Lieure Series B), a later copy of Le Crucifiement by Callot from La Grande Passion; Stefano della Bella (1610-1664), The Procession of the Holy Sacrament, 1648, etching on laid paper, a fine impression, & Campo Vaccino (Plate II from Paysages et Ruines de Rome), 1656, etching on laid paper, a very good impression, and two etchings by François Collignon (circa 1610-1687), Landscape with a monastery on a rocky island, & A HuntQTY: (9)NOTE:Literature: Lieure 1402 (Les Supplices); 471 and 472 (Le Marché de la Place de l’Annonciade à Florence & Le Feu d’Artifice sur l’Arno). Literature: Lieure 663. Literature: De Vesme/Massar 62.73 and 127.820 respectively.

Dutch and Flemish Schools. A collection of mostly 17th century etchings by Waterloo, Nooms, Ruisdael, Rembrandt, Collaert, Wierotter, Boudewijns, Bolswert, and Swanenburg, including Anthonie Waterloo (1610-1690), Three Anglers on a Bridge, from the set of 11 landscapes, a fine, early impression of the first state with the fine scratches in the plate printing clearly, on laid paper applied to a support sheet, trimmed on the platemark (Hollstein 13); together with Reinier Nooms (1623-1627), Bay with two large Dutch vessels from Various Seaports, 1656, etching on laid paper with a Coat of Arms watermark flanked by rampant lions, a very good impression of the second (final) state (Hollstein 97); Jakob Isaakszoon van Ruysdael (1628-1682), The Little Bridge, etching on laid paper, circa 1650, a good impression on laid paper (Hollstein 1); Schelte Adams Bolswert (1581–1659) Landscape with shepherd (from The Small Landscapes) after Peter Paul Rubens (1577-1640), circa 1638, engraving, a very good impression on laid paper (cf. Hollstein 305-325); Adriaen Fransz. Boudewijns (1644-1719), Landscape, from the series of six after Adam François van der Meulen (1665-1690), etching on laid paper (Le Blanc 41); Adriaen Collaert (1580-1618), Crucifixion, before 1587, after Johannes Stradanus (1523-1605), engraving on laid paper, a very good impression, on laid paper with a Crowned shield watermark; Franz Edmund Wierotter (1733-1771), Landscape, etching, 1763, from Suite des Paysages, on laid paper; Willem van Swanenburg (1580-1612), Judas Iscariot, from Sinners of the Old and New Testament, after Abraham Bloemaert (1564-651), 1611, engraving, a good impression (Hollstein 12); Quentin Pierre Chedel (1705-1763), Paysage, etching on laid paper, a good impression; and thirteen others, late impressions on wove paper, largest sheet size 33.7 x 47.5 cm (13 1/4 x 18 3/4 ins) and smaller, all unframed except one (27.7 x 23 cm)   QTY: (20)NOTE:Renier Nooms with marginsAdriaen Fransz. Boudewijns (1644-1719), Landscape, from the series of six after Adam François van der Meulen (1665-1690), etching on laid paper, with thread margins (Le Blanc 41)

Dutch School. A collection of 17th century etchings by Dujardin, Both, Potter, Berchem and De Bye, including Karel Dujardin (1621/2-1678), Two Goats and Three Sheep, 1655, etching on fine laid paper with a partial Fool’s Cap watermark, a very good impression of the first state of three, & The Hinny with a little Bell, etching, 1653, on laid paper with a part of a Fool’s Cap watermark, a good impression of the second state, with the number (Hollstein 29); & The Two Mules, etching on laid paper, a good impression (Hollstein 2); together with seven other various etchings: Paulus Potter (1625-1654),‘Het Bullenboeckje’, one etching from the series, a very good impression on laid paper, inscribed on the support sheet verso in pencil ‘a very good Paul Potter in a / good state / opinion of Sir Frank Short / …. Of Paulus Pott. / Royal College of Art / South Kensington. / 1924’, framed; two etchings by Nicholaes Berchem (1636–1672), Sheep with Lamb Nursing, & Three Sheep, mid 17th century, on laid paper, before the numbers, very good impressions (Hollstein 44 and 47); Marcus de Bye (1639-1688), Sheep Grazing, plate 13 from the series of 16 Sheep, circa 1664, etching on laid paper, a good impression; two etchings by Jan Dirksz. Both (1618–1652), The Woman on the Mule, on laid paper with a Letters watermark, a good impression (Hollstein 1), and View of the Tiber in the Campagna, on laid paper with a Grapes watermark, a good impression; and two Heads of Rams, & A Ram with a Tree trunk, after Karel Dujardin, etchings on tissue-thin laid paperQTY: (11)NOTE:Comp to Two Goats and three sheep  Karel DujardinTitleThe Cow, the Bull and the CalfDescriptionKAREL DUJARDIN (1626-1678) The Cow, the Bull and the Calf etching, circa 1641-78, on laid paper, partial watermark Foolscap with seven-pointed Collar, a brilliant impression of the rare first state (of three), the foul-biting in the sky printing very strongly, trimmed on or just inside the platemark but retaining a fillet of blank paper outside the borderline Sheet 194 x 218 mm.MediumetchingYear of WorkCirca 1641-1678SizeHeight 7.6 in.; Width 8.6 in. / Height 19.4 cm.; Width 21.8 cm.Cat. Rais.Hollstein, 34Sale ofChristie's London: Thursday, December 9, 2021 [Lot 00053] Old Master PrintsEstimate2,000 - 3,000 GBP  (2,637 - 3,956 USD)Sold For2,500 GBP Premium

Waterloo (Anthonie, circa 1610-1690). Wooded River Landscape, etching, a very good atmospheric impression, on laid paper, trimmed to retain a fillet of blank paper around the borderline, in very good condition, a nick at the lower edge, framed; together with five other etchings by or after Bosse, Both, Commelin and Rembrandt including Abraham Bosse (1602-1676), C’est le Portrait de Guillery, etching, on laid paper, a very good impression, framed; plus Jan Both (circa 1615-1552), The Wooden Bridge at Sulmona, near Tivoli, etching, a good impression; De Franse Kerk and De Nieuwe Franse Kerk after Caspar Commelin (1636-1693), circa 1726, two engravings on one sheet of laid paper with a Fleur de Lys surmounted by Crown watermark; and a 19th century etched copy of Jan Uytenbogaert, The Gold Weigher, after Rembrandt; largest sheet 24.8 x 20.4 cm, smallest 12.8 x 14.5 cmQTY: (6)

Van Dyck (Anthony, 1599-1641). Christ crowned with thorns (also known as The Reed Offered to Christ), circa 1631, etching and engraving on laid paper, bears watermark, the second state, with printed inscription at foot: Anton Van Dyck invenit et fecit aqua forti, and with the privilege: Cum privilegio, without the publisher's name Bon Enfant, a very good well-inked dark impression, trimmed near the plate mark to left and bottom margin, upper and right blank margins retained, sheet size 272 x 227 mm (10.75 x 9 ins), mounted on later grey-blue backing paper (glued at top and bottom edge only)QTY: (1)NOTE:Hollstein 20, state 2 (of 8); New Hollstein 519, state ii/ix.Of Van Dyck's 19 etchings 17 are portraits, the exceptions being Titian and his Mistress and the present work.

Hollar (Wenceslaus, 1607-1677). The Angler ( after Pieter Brueghel the Elder), 1650, etching on fine laid paper, a very good impression of the second and final state, with large margins, an unobtrusive skilfully backed tear extending from the left sheet edge, just affecting the subject), plate size 12 x 17.5 cm (4 3/4 x 6 7/8 ins), sheet size 17.3 x 23.5 cm (6 7/8 x 9 1/4 ins), together with Abraham receiving the Angels, 1674, etching on laid paper, a good impression, framed, plus Mulier Anglica habitans in Pago, 1643, a good impression of the second state (of three), and Lincoln Cathedral from the East, 1672, etching on laid paper with an encircled Shield with Fleur de Lys surmounted by crown watermark, a good impression, with marginsQTY: (4)NOTE:Literature: Pennington 1214, 60, 1891 and 994 respectively).

Collaert (Jan or Hans, 1566-1628). Rachel (from the series Icones Illustrium Feminarum Veteris Testamenti), circa 1590-95, engraving on laid paper, after Maarten de Vos, published by Philips Galle, with artist's names on the stone to lower left, publishers name to lower right, lower margin with two lines of Latin verse, and numbered 5 to lower-left corner, trimmed to plate margins, sheet size 158 x 92 mm (6 1/4 x 3 5/8 ins), in very good condition, neatly hinge-mounted to card window mount (by Cradock & Barnard), together with Van de Velde (Adriaen, 1635/36-1672). The Two Goats, etching on laid paper, a fine impression, trimmed to plate margin, sheet size 115 x 132 mm (4 1/2 x 5 1/4 ins), hinge-mounted in card window mount ((by Cradock & Barnard, from whom purchased in April 1965, according to typewritten note loosely inserted inside the mount), plus Suyderhoef (Jonas, circa 1613-1686). Drunken Silenus, circa 1640, etching on laid paper, a good strong impression, trimmed to plate mark, small loss to upper outer corner, sheet size 340 x 282 mm, and two others: Dirk Stoop, The Boy Leading his Horse to Water, (from the set of 8 Horses), 1651, etching on laid paper, a very good dark impression, faint vertical paper crease, early ownership mark in brown ink to verso '61OX', trimmed to margins, sheet size 150 x 193 mm, & Lucas van Uden (1595-1672). Landscape with Shepherd and Shepherdess, etching on laid paper, trimmed just outside plate margin, sheet size 92 x 220 mm, the last two prints both in Cradock and Barnard cream card window mountsQTY: (5)

Bega (Cornelis Pietersz, circa 1631/32-1664). The Drinker (Der Trinker), etching on laid paper, a very good impression, plate size 84 x 60 cm, with narrow margins QTY: (1)NOTE:Bartsch 16; Dutuit 16; Hollstein 16, i (of ii).

Bega (Cornelis Pietersz., circa 1631-1664). The Inn, 1631-1654, etching on fine laid paper, a fine, black impression of the first state (of three), trimmed to the subject, in good condition, sheet size 22.5 x 17.2 cm (8 7/8 x 6 3/4 ins); together with The Assembly at the Inn, mid 17th century etching on laid paper, a very good impression, with a thread margin on the right, otherwise trimmed on the platemark, in good condition, sheet size 7.7 x 6.2 cm (3 x 2 3/8 ins), plus Ferdinand Kobell (1740-1799), Two men hunched over a bench, 1771, etching on laid paper, with small margins, in good condition, plate size 10.4 x 8.7 cm (4 1/8 x 3 3/8 ins), sheet size 11.5 x 9.8 cm (4 1/2 x 3 7/8 ins)QTY: (3)NOTE:Provenance: Cornelis Bega, The Assembly at the Inn inscribed and dated verso in pen and brown ink, ‘J(?)an Wusin 1844’ (not in Lugt).Literature: Hollstein 35, i/iii (Bega,The Inn) and 23 (The Assembly at the Inn).

Hollar (Wenceslaus, 1607-1677). Five Hunting Horns, 1647, etching on fine laid paper with a circular watermark, a fine, delicate impression of the only state, with thread margins (Pennington 2053); Lady with ruff and muff, 1640, a very good impression of the second (final) state (Pennington 1795 ii/ii); together with Summer, and Winter, very good impressions (Pennington 611 ii/ii and 613); together with impressions of Pennington 82, 1883 and four others; and 35 Old Master prints including A. Dürer, Siege of a Fortress (the middle section), woodcut, cf. Hollstein 220; and nine School of Rembrandt etchings of which six copies, as well as J. Wierix after M. Schongauer, C. Dumonstier, Piranesi, P.W. Tomkins, V. Solis, H. Aldegrever, F.E. Wierotter and Captain BaillieQTY: (38)

Rosa (Salvator, 1615-1673). The Fall of the Giants, & The Rescue of the Infant Oedipus, 1663, etchings with drypoint, on laid paper, both with watermark Double Encircled Fleur de Lys surmounted by the encircled Initial B (similar to Briquet 7121 dated 1587), very good impressions of these large prints, second (final) states, with margins, The Fall of the Giants with the usual horizontal central fold partially split and backed as is wont to happen in sheets of this size, some splits and creasing in the margins, pale staining at the upper part of the sheet, the subject in very good condition, The Rescue of the Infant Oedipus with margins, some splits, creasing in the margins and one or two losses in the margins, a waterstain upper right, the subject generally in good condition, the usual horizontal central fold, plate size 72.4 x 47 cm, sheet size 80 x 55 cm; together with the frontispiece for Figurine, circa 1556-57, etching with drypoint, a good impression of the second (final) state, on laid paper with a partial double encircled Fleur de Lys watermark, with wide margins; plus Agostino Carracci (1557-1602), St. Jerome, 1592-1598, after Francesco Vanni (1563-1610),engraving on laid paper, a very good impressionQTY: (4)NOTE:Literature: Bartsch 21,8,25 Ritoli 106, 107, 6; Wallace, Theodoli 115,116, 6.According to Wallace, "Rosa clearly borrowed the overall composition of Bartolomeo Coriolano's same-titled woodcut, a piled up, cone-like mass of intermingled boulders and bodies capped with clouds surrounding the flying figure of Zeus. In addition, the figure supporting a boulder at the lower right corner of Rosa's etching and the very similar running figure at the centre of the lower left corner of the print are both very like the rock-bearing figure near the left-center of the woodcut."

Ostade (Adriaen Jansz. van, 1610-1685). The Painter at his Easel, circa 1667, etching on fine laid paper with a Grapes watermark (Godefroy watermark 24), a fine impression of the 9th state or later (of twelve), in very good condition apart from some discolouration, plate size 23.8 x 17.3 cm (9 3/8 x 6 3/4 ins), sheet size 24.3 x 17.8 cm (9 5/8 x 7 ins), together with Cornelis Visscher (1629-1658), The Hurdy Gurdy Player after A. van Ostade, circa 1649-58, etching and engraving, a very good, black and evenly printed impression, presumably the fourth (final) state from Basan’s Recueil, with extra hatchings to the right of the righthand boy’s neck, with narrow margins at left and right, otherwise with a thread margin or trimmed on the platemark, in very good condition, sheet size 37.8 x 32 cm (14 7/8 x 12 1/2 ins)QTY: (2)NOTE:Literature: Hollstein, Godefroy 32 and Hollstein 51 respectively.

Van de Velde (Adriaen, 1636-1672). Grazing cow with two Sheep, 1670, etching on laid paper, a good well-contrasted impression, the only state, plate size 124 x 174 mm, sheet size 165 x 213 mm (6.5 x 8.4 ins), window-mountedQTY: (1)NOTE:Bartsch 11 (only state). A very fine impression with margins.'La verité des caracteres, la beauté des formes, la correction du dessin, le mouvement des muscles, le gout de la pointe, le clair obscur, tout y est d'une perfection inimitable' (Bartsch).

Piranesi (Giovanni Battista, 1720-1778). Al Signor Odoardo Knight Cavaliere Inglese (plate 34 from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi, Rome, 1778), etching, depicting a cinerary vase of large marble, a lion oppressing an ox on the top (signifying the weakness of human life grounded by the force of death), some minor spotting, 65 x 41cm (25 5/8 x 16 1/8ins), framed and glazed (81.5 x 57.4cm)QTY: (1)

Kauffman (Angelica, 1741-1807). Woman Resting Her Head on a Book, 1770, etching and aquatint printed in black on pale cream laid paper, the first state, before the addition of aquatint, with added brown wash, possibly in the hand of Angelica Kauffman (old 19th century pencil note to lower margin verso 'Retouchs by Angelica'), corners cropped with small loss of image, slight residue of glue to outer corner verso, trimmed to platemark, sheet size 192 x 157 mm (7.5 x 6.25 ins)QTY: (1)NOTE:Provenance: Private Collection, Nottinghamshire, England.Andresen, Deutsche Peintre-Graveur, 31. Between 1762 and 1779 Kauffman created a total of 41 etchings. The present work is sometimes thought to be a depiction of the artist herself.

Earlom (Richard, 1743-1822). Seven plates from the Liber Veritatis of Claude Lorrain, circa 1777-1819, etchings with mezzotint printed in black and brown, one etching before mezzotint, very good, rich impressions on wove paper, with margins, together with, Arthur Pond (1701-1758). Landscape with the Rest on the Flight to Egypt, after Claude, 1734, etching with woodcut printed from two blocks in grey, plus, late printings on wove paper of Claude's The Goatherd, and Dominique Barrière (1610–1678) after Claude, Landscape with Mercury, after ClaudeQTY: (11)

Francisco de Goya y Lucientes (1746-1828), 1797-1799. Estan Calientes, Plate 13 from Los Caprichos, etching with aquatint, 1797-1799, on wove paper, a very good impression from the Fourth Edition (1878) or later, after the plates were bevelled, plate 21.5 x 15.3 cm (8 1/2 x 6 ins), in good condition, a short tear lower left corner, some pale discolouration and a few soft creases in the margins, sheet 32 x 24.5 cm (12 5/8 x 9 5/8 ins) £200-300QTY: (1)

Collaert (Jan or Hans, 1566-1628). Jupiter, (from the series Septem Planetae), 1581, trimmed to or on plate margin, sheet size 195 x 140 mm (7 3/4 x 5 3/8 ins), laid down on old laid paper, together with other various Old Master prints, including, Agostino Carracci, The Martyrdom of Sait Justina, after Paolo Veronese, first half 17th century, etching on laid paper, upper left corner with slight loss, sheet size 330 x 437 mm, William Byrne and Francesco Bartolozzi, The Calm, after Zuccarelli, published by Darling & Thompson, July 1779 [or slightly later], sheet size 420 x 510 mm, Nicolas Chapron (1612-1656), Blind Isaac and his son Esau, after Raphael, Markantonio Raimondi, Joseph Interpreting his Dreams, after Raphael, View du Chasteau Ste. Anne, after Van der Meulen (worn), Merian, Prospect de la Ville St. Denis (from Topographia Galliae, etc.), Jean Audran (1667-1756), Pierre Rubens, after Van Dyke, Paris, Gaspard Duchange, [1710], plate size 510 x 355 mm (20 x 14 ins), all unframed except the last two works framed and glazed, various sizesQTY: (14)

Attributed to Tommaso Minardi (1787-1871). Pallas Athene, & Diana, circa 1823, two pencil line drawings, both numbered with a decorative flourish in pen and brown ink upper right, Diana '126' and Pallas Athene '82(?)', Pallas Athene further dated and inscribed in pen and brown ink at the upper reverse sheet edge '-18(?)20' / Annata à Lugini', each on fine laid paper with an Encircled Fleur de Lys watermark, some minor foxing and staining towards the sheet edges, each 33 x 22.5 cm (13 x 8.75 ins), in matching mounts and glazed frames (61 x 45.5 cm)QTY: (2)NOTE:Provenance: With Crispian Riley-Smith Fine Art Ltd, his labels verso; Private Collection, Herefordshire, England.It is likely that the artist produced these neoclassical line drawings to be reproduced as etchings with aquatint by Lodovico Prosseda (flourished 1823), whose neoclassical, frieze-like etching with aquatint Hector was executed after a drawing by Minardi and dated 1823, now in the British Museum (accession number 1872,1012.4721). The stylised, linear treatment of the etching is strongly akin to the present stylised drawing.Minardi was an influential figure in the academic world of 19th century Italian art, who was appointed to the chair of drawing at the Accademia di San Luca, a position he held until 1868.

Herkomer (Hubert von, 1849-1914). Woman holding a Lamb, etching on paper, signed in pencil lower right, 25 x 18 cm mount aperture, framed and glazed, together with Marsh Landscape, mezzotint, signed lower right, 29 x 36.5 cm mount aperture, framed and glazed, plus Country Lane with Two Figures, etching, signed lower right, 22 x 30 cm mount aperture, framed and glazed, and A private invitation "Prof Hubert Herkomer requests the honour of a visit from Miss Lloyd & friends to a private view of his pictures at 22 B Ebury Street, Belgravia April 6th, 7th, & 8th from 10 to 6", etching, "Miss Lloyd" written in ink, 18 x 14.5 cm, framed and glazedQTY: (4)