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H. Pyall after Thomas StothardOne of the Birman gilt war boats captured by Captn. Chads, R.N., in his successful expedition against Tanthabeen Stockade,[an etching with aquatint, pl. IV from 'Rangoon Views, And Combined Operations In The Birdman Empire', 1825-6, published by T. Clay, London]25 x 36cm (image)George Marples (1869-1939) Two ducks in flight, etching, signed in pencil, 20 x 26cm (2)

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ST. MARTIN'S BRIDGE, TOLEDO EtchingDimensions:the sheet 46cm x 57cm (18.25in x 22.5in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) SUTHERLAND LANDSCAPE Etching, and another, 'Untitled (Landscape)', etchingDimensions:the sheet 42cm x 50.5cm (16.5in x 19.75in) unframed; the sheet 35cm x 50.5cm (13.75in x 19.75in)Note: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) THE HARROW EtchingDimensions:the sheet 35cm x 50.5cm (13.75in x 19.75in)Note: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ST. MONAN'S Etching, signed in plate, and another, 'Welsh Village', etchingDimensions:each sheet 34.5cm x 50.5cm (13.5in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ESSEX BARN Etching, and another, 'Gothic Barn', etchingDimensions:each sheet 35cm x 50.5cm (13.75in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) RONDA Etching, signed and dated 1946 in plate, and another, 'San Gimignano', etchingDimensions:each sheet 35cm x 50.5cm (13.75in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) HOLYROOD IN SNOW Etching, and another, 'Canongate', etchingDimensions:each sheet 35cm x 51cm (13.75in x 20in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) NORTH HIGHLAND LANDSCAPE EtchingDimensions:the sheet 50cm x 55cm (19.75in x 21.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) LOCH SCAVAIG Etching, signed in plateDimensions:the sheet 50cm x 55cm (19.75in x 21.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.

§ BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) VENUS AND JARDINIERE Etching, 2/15, signed, titled and editioned in pencil to marginDimensions:the plate 29.5cm x 39.5cm (11.75in x 15.75in)Provenance:Exhibited: The Scottish Gallery, Edinburgh, Barbara Rae - Edinburgh Festival Exhibition, 11 Aug - 6 Sept 1995, cat.no.24

Nige does his Exercises limited edition dry point etching 7/25, Anita Klein '97. Frame size approx 61cm x 54cm, aperture size approx 41.5cm x 34cm. 

Icarus to Dust, Ian Kent. Etching and aquatint, shaped etching plates printed onto dutch leaf and hand made paper. Edition of 10 only 1/10. Frame size approx 86cm x 67cm. 

Three framed and glazed etchings. Johannes Mattheus Daum- an etching of a church courtyard with stone arches, signed by artist. Two framed and glazed etchings with aquatint of country cottages, indistinctly signed. H.38 W.46cm.

Anish Kapoor (British 1954-), 'Untitled', 1994, etching on wove paper, signed and inscribed AP1 in pencil, aside from the main edition of 30; 71.5 x 76.5cm inc frame ARR

Harland Miller (British 1964-), 'In Shadows I Boogie (Pink)', 2019, etching and letterpress relief on wove paper, signed in pencil front, numbered from an edition of 100 verso, accompanied by a signed and numbered copy of the monograph, all housed with the original clamshell presentation box, published by Phaidon; sheet: 32 x 22cm ARR

Tracey Emin (British 1963-), 'You Said What', 2009, etching on wove paper, signed, titled, dated, and numbered from an edition of 300 in pencil; sheet: 32 x 25cm ARR

Janssen, Horst (Hamburg 1929 - 1995)"Selbstportrait elegisch". Radierung, 1982. Unten rechts in der Platte signiert und datiert. Unterhalb der Darstellung in Blei signiert. Trockenstempel Edition Rothe, herausgegeben von der Griffelkunst-Vereinigung Hamburg. Hinter Glas in breitem Plattenrahmen. 73 x 61 cm (Ra). WVZ Kruglewsky 62. Melancholy self-portrait. Etching, 1982. Signed and dated in the plate lower right corner. Signed in pencil below the motif right. Framed behind glass.

Kasimir, Luigi, i. e. A. Heinrich. 1881 Pettau-1962 WienAnsicht Stift Melk in der Wachau. Farbradierung, Nachlasssignatur, i. d. Pl. dat. "Sommer 1922 (?)", hinter Glas gerahmt, Scheibe beschädigt. 68 x 81 cm. Ra. Luigi Kasimir: View of monastery Melk in Austria, colour etching, estate signature, framed with glass. Frame: 68 x 81 cm

Randon, Claude (1674-1704)"Galere ala voille portant l'Estendart de chef d'Escadre". Radierung, nachkoloriert, unterhalb des Bildes bezeichnet, Nachdruck. 41,5 x 55,5 cm (Pl), Hinter Glas gerahmt, 51,5 x 67 cm (Ra). Papier vergilbt. Randon, Claude Etching of a ship, coloured, reprint, framed behind glass, paper yellowed.

"The Attack of the Stockades at Pagoda Point on the Rangoon River by Sir ArchibaldCampbell, K.C.B. 8th July 1824" (Der Angriff auf die Befestigungen von Pagoda Point am Rangun Fluß durch Sir Archibald Campbell am 8. Juli 1824). Kolorierte Aquatintaradierung von Reeve Jr. nach Lieutenant Joseph Moore, 1826. Publiziert bei Thomas Clay, London. Stechersignaturen unterhalb der Darstellung. Mittig betitelt. Hinter Glas gerahmt. 40 x 55 cm (Ra). Leicht stockfleckig, deutlich lichtrandig und gebräunt. Farblich etwas verblasst, insgesamt angestaubt. Sehr dynamische Schlachtenszene, die einen Angriff per Boot von britischen Truppen der Ostindia-Kompanie im Ersten Anglo-Birmanischen Krieg bei Rangun zeigt. Tafel 16 aus: Joseph Moore, Eighteen Views Taken at and Near Rangoon. Six Coloured Prints Illustrative of the Combined Operations of the British Forces in the Birman Empire, First and Second Series in one vol., London (Thomas Clay) 1825/26. Seltenes Sammlerblatt! Plate 16 from Joseph Moore's Eighteen Views Taken at and Near Rangoon (London 1825/26). Coloured aquatint etching. Engraver's signatures and titled below the motif. Framed behind glass. Some foxing, darker tanned by the sunlight. Colours a bit faded, allover dusty. Dynamic battle scene during the First Anglo-Burmese-War. Very rare!

Riggy (?), CorneliusBlick auf ein Gehöft. Radierung, teilweise nachkoloriert, links undeutlich betitelt, rechts in Blei signiert. Hinter Glas gerahmt, 15,5 x 19,5 cm (Ra) Riggy (?), View of a farmhouse, etching, partly recoloured, named, signed, framed behind glass.

Große Panorama-Ansicht der Stadt LübeckKupferstich auf zwei Platten, auf Bütten, koloriert, links unten Legende 1-28, "Lübeck" auf Schriftband, rechts unten gestoch. Bez. "Georg Balthasar Probst excud. A. V.". Augsburg, G. B. Probst, ca. 1745. Pl. 36,5 x 106 cm. Restauriert. Sehr vereinzelt unauffällige Stockflecken. Hinter Glas mit Pp. gerahmt. Ra. 66 x 138 cm. Unausgerahmt katalogisiert. Vgl. Fauser Nr. 8070. Panoramic view of the city of Lübeck, copper etching, coloured, publisher: G. B. Probst, Augsburg. Ca. 1745. Restorated. Framed with glass and passepartout. Frame: 66 x 138 cm

Ansicht von Wolgast ("Wollgast")Historische Ortsansicht. Kupferstich, um 1656. Von Matthäus Merian d. Ä.. 10,8 x 12,9 cm (Darstellung ), hinter Glas mit Pp. gerahmt. Ra. 27,5 x 28,5 cm. View of Wolgast, copper etching, by M. Merian, ca. 1656. Framed with glass and passepartout. Frame 27,5 x 28,5 cm.

Nutting, Joseph. 1660-1722 LondonMary Somerset, Duchess of Beaufort. Kupferstich nach R. Walker, im Schriftrand gestoch. Bez. "The Most Noble Mary Dutchess of Beaufort, Daughter to Arthur Lord Capell (...)". Beschnitten, mont., gebräunt, großer brauner Fleck re. ob. Ecke. Hinter Glas gerahmt. Ra. 44 x 31 cm Portrait Mary Somerset, Duchess of Beaufort. Copper etching by Joseph Nutting after R. Walker. margins cut, lacks of condition. Framed with glass. Frame: 44 x 31 cm

Figura, Hans (1898 Nagykikinda (Kikinda) - 1978 Wien)Markttag am Bremer Rathaus. Farbradierung auf Seide, Mitte 20. Jh. In Blei unterhalb der Darstellung rechts signiert. Im Passepartout hinter Glas gerahmt. 53 x 58 cm (Ra). Sehr detaillierte Ansicht des berühmten UNESCO-Weltkulturerbe-Denkmals in ungewöhnlicher Drucktechnik auf Seidenstoff. Market day at the Townhall of Bremen. Colour etching on silk, mid 20th century. Signed in pencil below the motif right. Framed behind glass. Very detailed view of the famous World Heritage Building.

Kasimir, Luigi. 1881 Pettau - 1962 WienGrinzing im Winter. Farbradierung auf Bütten, Nachlasssignatur "NL Luigi Kasimir", i. d. Pl. ortsbez. und dat. "Grinzing Februar 1940". Hinter Glas gerahmt. Ra. 68 x 81 cm Luigi Kasimir: Grinzing in winter, colour etching, estate signature "NL Luigi Kasimir", located and dated "Grinzing Februar 1940" in the plate. Framed with glass, frame: 68 x 81 cm

Schneider, Gérard Ernest. 1896 Sainte-Croix-1986 ParisO. T. Farbradierung auf Bütten, sign., num. Ex. 47/ 90, Trockenstempel "L'oeuvre gravee", hinter Glas gerahmt. Ra. 51,5 x 67,5 cm Untitled, colour etching, signed, numbered copy 47 of 90, dry stamp "L'oeuvre gravee". Framed with glass. Frame 51,5 x 67,5 cm

Hoflehner, Rudolf. 1916 Linz - 1995 Colle di Val d'Elsa.O.T. Farbradierung auf Arches Bütten, sign., num. Ex. 18/ 25, i. d. Pl. dat. "19.11.65", Trockenstempel "manus presse". Blatt gebräunt, vereinzelt Stockflecken, am oberen Rand helle Flächen, von Montierung herrührend. 76 x 56,5 cm (Bl), hinter Glas gerahmt. Ra. 86 x 66 cm Rudolf Hoflehner: untitled, colour etching, signed, numbered copy 18 of 25, dry stamp "manus presse". Tanned with bright spots, stains. Framed with glass. 86 x 66 cm

Witdoeck (Witdouc), Jan. Geb. um 1615 AntwerpenAnbetung der Heiligen drei Könige. Kupferstich nach P. P. Rubens , auf Bütten, schmalrandig beschn., im unt. Plattenrand gestoch. Adresse und Titel, bez. "H. Witdouc sculp. Ap 1638". Stockflecken, gebräunt, auf Untersatz mont., 48 x 33,5 cm, hinter Glas gerahmt. Ra. 63 x 48,5 cm Adoration, copper etching after P. P. Rubens, on woven paper. Margins cut, mounted, stains. Lacks of condition. Framed with glass. 63 x 48,5 cm (frame)

"The Storming of the Lesser Stockade at Kemmendine near Rangoon on the 10th of June 1824"(Die Erstürmung der minderen Palisade von Kemmendine, dem heutigen Kyimyindaing, bei Rangun am 10. Juni 1824). Kolorierte Aquatintaradierung von G. Hunt nach Lieutenant Joseph Moore, 1826. Publiziert bei Thomas Clay, London. Stechersignaturen unterhalb der Darstellung. Mittig betitelt. Hinter Glas gerahmt. 40 x 55 cm (Ra). Leicht stockfleckig, deutlich lichtrandig und gebräunt. Wasserrand unten rechts, insgesamt angestaubt. Sehr dynamische Schlachtenszene, die einen Angriff britischer Truppen der Ostindia-Kompanie im Ersten Anglo-Birmanischen Krieg bei Rangun zeigt. Tafel 10 aus: Joseph Moore, Eighteen Views Taken at and Near Rangoon. Six Coloured Prints Illustrative of the Combined Operations of the British Forces in the Birman Empire, First and Second Series in one vol., London (Thomas Clay) 1825/26. Seltenes Sammlerblatt! Plate 10 from Joseph Moore's Eighteen Views Taken at and Near Rangoon (London 1825/26). Coloured aquatint etching. Engraver's signatures and titled below the motif. Framed behind glass. Some foxing, darker tanned by the sunlight. Waterstain bottom right, allover dusty. Dynamic battle scene during the First Anglo-Burmese-War. Very rare!

Kasimir, Luigi (1881 Pettau - 1962 Wien)Fernsicht auf Salzburg über die Salzach hinweg. Farbradierung, 20. Jh. In Blei unterhalb der Darstellung mittig signiert. Unten links in der Platte mit Humboldt-Zitat versehen. Hinter Glas gerahmt. 52 x 83 cm (Ra). View on the town of Salzburg in Austria. Colour etching, 20th century. Signed in pencil below the motif. Bottom left corner of plate with quote by Humboldt in German language on the beauty of the landscape around Salzburg. Framed behind glass.

Wolfsfeld, Erich (1884 Krojanke - 1956 London)Stehender Narr. Radierung, wohl 1920er Jahre. In Blei unterhalb der Darstellung rechts signiert. Hinter Glas gerahmt. 65 x 42 cm (Ra). Etwas fleckig, deutlich lichtrandig und gebräunt. Eindrucksvolle Schilderung eines stehenden Mannes in Hofnarrenkostüm, die Miene resigniert versteinert. Möglicherweise Interpretation des alten Till Eulenspiegels. Standing jester. Etching, pres. 1920ies. Signed in pencil below the motif right. Framed behind glass. Some spots, allover tanned brownish by the sunlight. Impressive description of an elder man in costume of a jester, his face frozen in agony. Maybe illustration of the comedian and jester Till Eulenspiegel as old man.

Undeutlich signiertBlick in ein idyllisches Gässchen. Radierung, rechts unten undeutlich signiert. Hinter Glas gerahmt. 29 x 21 cm (Ra) illegible signed View into an idyllic alley. Etching, indistinctly signed lower right. Framed behind glass

Dahmen, Karl Fred (1917 Stolberg - 1981 Preinersdorf (Chiemsee)Vertikal durch Grün. Farbradierung mit Aquatinta und Prägung, 1971. In Blei unterhalb der Darstellung rechts signiert, mittig datiert. Unten links auflagenbezeichnet "Epr.[euve] d'artiste" (Künstlerabzug vor der Auflage). Im Passepartout hinter Glas gerahmt. 83 x 63 cm (Ra). Vertically through green. Colour etching with drypoint and embossing, 1971. Signed in pencil below the motif right, titled middle. Artist's print. Framed behind glass.

Janssen, Horst, 1929 Wandsbek - 1995 Hamburg"2. Kröte für Langenhorn", 1964. Radierung, rechts unterhalb signiert, im Blatt datiert und bezeichnet "2. Kröte für Langhorn, 10.10.1964", vermutlich ca. 150 Exemplare. 40 x 49 (Pl), 54,5 x 76,5 cm (Bl). Hinter Glas gerahmt, 66,5 x 86,5 cm (Im unausgerahmten Zustand katalogisiert) Janssen, Horst, etching. Signed, dated, named. Framed behind glas.

Große Panorama-Ansicht der Stadt HamburgKupferstich-Ansicht, doppelbl., auf Bütten, schönes altes Kolorit, Legende oben rechts a-z, oben links Legende 1-19 und Stadtdwappen, Legende im unteren Plattenrand 11 Spalten. Gestoch. Bez. "Iohan Frid. Probst Haeres Ieremiae Wolffy excud: Aug. Vindel". Verlag Probst u. Wolff Erben Augsburg, um 1745. Partiell Stockflecken, Blattrand mit einigen Einrissen, vom Pp. verdeckt, leicht gebräunt, Pl. 37 x 104 cm, D. 33 x 103 cm. Hinter Glas mit Pp. gerahmt. Ra. 66 x 138 cm. Unausgerahmt katalogisiert. Vgl. Fauser Nr. 5397. Panoramic view of the city of Hamburg, copper etching, coloured, publisher: Probst and Wolff successors in Augsburg, ca. 1745. Minor lacks of condition, stains, framed with glass and passepartout. Frame: 66 x 138 cm,

Undeutl. sign., Ende 19./ Anf. 20. Jh.Landschaft mit Kiefern auf einer Anhöhe. Radierung auf feinem (Japan-)Papier, in Bleistift signiert, leicht gebräunt, Wasserrand re. ob. Blattrand. Stockflecken, Randläsuren. Hinter Glas gerahmt. Ra. 85 x 108 cm Landscape with pines, etching, signed (unclearly) in pencil, stains, tanned, margin wears, water spots at margin. Framed with glass. 85 x 108 cm

Karte von St. Petersburg. Mitte 19. Jh.Stahlstich, 1854, re. o. gestoch. Titel, unten Legende 1-12, rechts, links und unten gestoch. Ansichten einzelner Bauten. Zahlr. Erhaltungsmängel (Faltspuren, Einrisse im li. Blattrand, Falze teilw. durchgebrochen. Braunfleckig.). Hinter Glas mit Pp. gerahmt. BA 35,5 x 48,5 cm, Ra. 52,5 x 63 cm Map of Saint Petersburg, 1854, steel etching, lacks of condition. Framed with glass and passepartout. Cutout 35,5 x 48,5 cm, frame 52,5 x 63 cm

Kasimir, Luigi. 1888 Pettau-1962 WienAnsicht von Kloster Neuburg. Farbradierung/ Bütten, Nachlasssignatur, i. d. Pl. dat. "October 1912", hinter Glas gerahmt. Ra. 65 x 81 cm Luigi Kasimir: Neuburg Monastery, colour etching, inheritance signature, framed with glass. 65 x 81 cm

Dahmen, Karl Fred. 1917 Stolberg - 1981 Preinersdorf (Chiemsee)O.T. 1980. Radierung/ Farbradierung mit Prägung, auf Büttenkarton, sign., dat., als Künstlerexemplar bez. "e.a.", num. "10/ XII". 17,5 x 13,8 cm (Pl), hinter Glas mit Pp. gerahmt. Ra. 49,5 x 38 cm K. F. Dahmen: untitled, 1980, etching, signed, dated, marked artist's proof, numbered copy 10/ XII. Framed with glass. 49,5 x 38 cm

Karte Balkanländer, 2. H. 17. Jh.Kupferstichkarte, grenzkoloriert, am rechten Rand Kartusche mit Kriegstrophäen, gestoch. Titel "Illyricum orientis (...), v. Cordier n. N. Sanson, bei Petrus Mariette. Mittelfalte hinterlegt, hinter Glas mit Pp. gerahmt. 70,5 x 79 cm Ra. Zacharakis, Nr. 2103. Zeigt Rumänien mit Siebenbürgen, Moldavien, Bessarabien und Bulgarien sowie das nördl. Griechenland. Map of Balkan countries (Romania, Bulgaria and North Greek), copper etching, coloured, by Cordier after N. Sanson. Editor: Petrus Mariette. 2nd half of 17th ct. Framed with glass. 70,5 x 79 cm

Ansicht von Rio de Janeiro, Anfang 19. Jh.Kupferstich auf Bütten, alt koloriert, im oberen Plattenrand gestochen "European Magazine", im unteren Plattenrand "Rio de Janeiro, Published by I Asperne at the Bible Grown & Constitution Cornhill March 1. 1809". Im Passepartout, hinter Glas gerahmt, 21,5 x 27 cm (Ra) View of Rio de Janeiro, copper etching, coloured, in passepartout, framed behind glass.

Karte des Herzogtums Braunschweig, 1. H. 18. Jh.Kupferstichkarte, grenz-und flächenkoloriert (partiell), rechte ob. Ecke Titelkartusche mit gestoch. Titel "Ducatus Luneburgici et Comitatus Dannebergensis (...)", bei Johann Baptist Homann, Nürnberg. 49,5 x 58,5 cm (Pl), hinter Glas mit Pp. gerahmt. Ra. 75,5 x 83,5 cm Gebiet Hamburg, Elblauf bis Schnackenburg, Braunschweig, Hannover, Nienburg. Map of duchy of Braunschweig, copper etching, coloured, published by Johann Baptist Homann in Nürnberg, 1st half of 18th ct. Framed with glass and passepartout. Frame 75,5 x 83,5 cm

Gautier, Lucien. Geb. 1850 Aix en Provence"H.M.S. Ajax" (Schlachtschiff vor Küste). Radierung auf aufgewalztem China auf Bütten, Verlag Paul Delarue Paris, gedruckt bei Clément in Paris. Gestoch. Adresse im Schriftrand. Blattrand Einriss, Wasserränder. Hinter Glas gerahmt. Ra. 45 x 54 cm Battle ship H. M. S. Ajax. Etching, imprinted signature and printing adress, framed with glass. Water margins, margin wear. Framed with glass. 45 x 54 cm

Ansicht von München.Kupferstich / Bütten, koloriert, re. o. gestoch. Titel "Monachum, nominatissima Bavariae civitas". Aus: Braun/ Hogenberg: Civitates orbis Terrarum, 1572-1617, Bd. I. Stockflecken, Blattrand v. Passepartout verdeckt. Hinter Glas gerahmt, unausgerahmt katalogisiert. BA 10 x 22,5 cm, Ra. 24 x 35,5 cm View of Munich, copper etching, coloured, from Braun/ Hogenberg 1572-1617, vol. I., tanned, stains, framed with glass and passepartout, margin covered by passepartout, catalogued unframed. Cutout 10 x 22,5 cm, frame 24 x 35,5 cm

Randon, Claude (1674-1704)"Bruslot a la fonde". Radierung, nachkoloriert, unterhalb des Bildes bezeichnet, Nachdruck. 41,5 x 55,5 cm (Pl), Hinter Glas gerahmt, 51,5 x 67 cm (Ra). Papier vergilbt. Randon, Claude Etching of the ship "Bruslot a la fonde", coloured, reprint, framed behind glass, paper yellowed.

Coignard, James. 1925 Tours-2008 AntibesO.T. Farbradierung mit Prägung, sign., num. Ex. V/ XV. BA gebräunt. 29 x 19,5 cm (Pl), hinter Glas mit Pp. gerahmt. Ra. 52 x 42 cm James Coignard: untitled, colour etching, signed, numbered copy V of XV. Passepartout cutout tanned. Framed with glass. Frame: 52 x 42 cm

Ansicht von Münster"Ansicht der Stadt Münster von der Morgenseite ohnweit Lüdichenbech". Publiziert von der Coppenrathschen Buch und Kunstsammlung in Münster. Gezeichnet und gestochen von J. Chr. Savin, 1815, nachkolorierter Kupferstich. Min. stockfleckig, kleinere Wasserflecken. Im Passepartout, hinter Glas gerahmt, 59 x 72,5 cm (Ra) Coloured copper etching, view of Münster. Min. foxing, small water marks, in a passepartout, framed behind glass.

Charles Frederick Tunnicliffe O.B.E., R.A. (British, 1901-1979)The Sheep Shearer pencil, pen and ink and wash on paper 19 x 21cm (7 1/2 x 8 1/4in).together with a further pen and ink on paper, The Chicken Coop, by the same hand(2)Footnotes:ProvenanceWith David Cross Gallery, Bristol, where acquired by the present ownerPrivate Collection, U.K.The Sheep Shearer is an original study by Tunnicliffe for the etching of the same name.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Frederick Tunnicliffe O.B.E., R.A. (British, 1901-1979)The Newborn Calf pencil on paper21 x 27cm (8 1/4 x 10 5/8in).together with a further pen and ink and chalk on paper, A Study for 'The Shire', by the same hand (2)Footnotes:ProvenanceWith David Cross Gallery, Bristol, where acquired by the present ownerPrivate Collection, U.K.The Newborn Calf is an original study by Tunnicliffe for the etching of the same name.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Frederick Tunnicliffe O.B.E., R.A. (British, 1901-1979)The Cheshire Plain; The Water Trough Etching, 1926, on laid, signed and numbered 46/75 in pencil, with margins, 200 x 245mm (7 7/8 x 9 5/8in)(PL); together with 'The Water Trough', 1926, etching, on laid, signed and numbered 5/75 in pencil, with margins, 150 x 147mm (5 7/8 x 5 7/8in)(PL)(2)Footnotes:ProvenanceWith David Cross Gallery, Bristol, where acquired by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Frederick Tunnicliffe O.B.E., R.A. (British, 1901-1979)The New Rick; Carting Hay Etching, 1927, on wove, signed and numbered 42/75 in pencil, with margins, 195 x 255mm (7 5/8 x 10in)(PL); together with 'Carting Hay', etching, on laid, signed and numbered 31/75 in pencil, with margins, 180 x 225mm (7 1/8 x 8 7/8in)(PL)(2)Footnotes:ProvenanceCarting Hay; with H. Dickins, Oxfordshire, where acquired by the present owner Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Frederick Tunnicliffe O.B.E., R.A. (British, 1901-1979)The Spotted Sow; To the Slaughter Etching, 1928, on wove, signed and numbered 8/75 in pencil, with margins, 175 x 250mm (6 7/8 x 9 3/4in)(PL); together with 'To the Slaughter', etching, on laid, signed in pencil, with margins, 285 x 210mm (11 1/4 x 8 1/4in)(PL)(2)Footnotes:ProvenanceTo the Slaughter; with H. Dickins, Oxfordshire, where acquired by the present owner Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Frederick Tunnicliffe O.B.E., R.A. (British, 1901-1979)Christmas Chickens; The Pig Dealer Etching, 1927, on laid, signed and numbered 25/75 in pencil, with margins, 240 x 190mm (9 3/8 x 7 7/8in)(PL); together with 'The Pig Dealer', etching, on laid, signed and numbered 33/75 in pencil, with margins, 175 x 225mm (7 x 8 7/8in)(PL)(2)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Frederick Tunnicliffe O.B.E., R.A. (British, 1901-1979)The Thief; The Stallion Etching, 1928, on laid, signed and numbered 47/75 in pencil, with margins, 150 x 230mm (5 7/8 x 12 5/8in)(PL); together with 'The Stallion', 1928, etching, on laid, signed in pencil, with margins, 170 x 225mm (6 3/4 x 8 7/8in)(PL)(2)Footnotes:ProvenanceWith David Cross Gallery, Bristol, where acquired by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

19TH CENTURY ENGLISH SCHOOL "Study of a gentleman in white cravat", pencil, unsigned, 23 cm x 18 cm, together with various etchings, engravings, etc, to include AFTER ROWLANDSON and PUGIN "Tattersall's, Horse Repository", etching heightened in colour etc

William Walcot: a signed etching, "The Thames from Waterloo", 3 3/4" x 7", in gilt strip frame

William Walcot: a signed etching, Liver Buildings, Liverpool, 4 3/4" x 13", in gilt frame

* Frank Brangwyn [1867-1956]-Strand on The Green, No.1, 1904:-etching, signed in pencil in the marginimage 15 x 10cm.*Note With the Goldmark Gallery, Rutland.