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Belgischer Nachbau eines Colts Navy 1851, um 1860 Kal. .36 Blackpowder, Nr. 11867, matter 7½"-Lauf. Nummerngleich (aber Waffe nicht zerlegbar, Laufkeilschraube sitzt fest) Sechsschüssig. Leicht abgezogene Laufoberfläche mit Inventarnr. "5743" und nicht mehr zu identifizierender Inschrift. Aufwändige Weinrankengravuren am Rahmen und den Messinggriffbändern. Die Ätzgravur der Trommel übernimmt dieses Motiv. Restaurierter Griff aus Ebenholz (?). Laufkeil zeitgenössisch, aber ursprünglich nicht zugehörig. Trommeltransport arbeitet nur sporadisch. Länge circa 35 cm.In neuzeitlicher Holzkassette mit diversem Repro Zubehör. Schlüssel fehlt. Maße circa 38x17x6 cm.WBK: Achtung - ErlaubnispflichtigZustand: II - IIIA Belgian copy of a Colt Navy 1851, circa 1862 Cal. .36 Blackpowder, SN. 11867, 7½"-barrel, matte bore. Visible numbers are matching, as disassembly was prevented by a stuck wedge screw. Six shots. Barrel surface reworked, marked with inventory number "5743" and an illegible inscription. The frame and the brass grip straps are nicely engraved with tendrils, en suite continued on the cylinder etching. The grips restored wood (ebony?). Contemporary wedge, but from another gun. The cylinder is transported only randomly, needs repair. Length circa 35 cm.In a recent wooden case with various accessories (replicas). Key missing. Dimensions 38x17x6 cm.WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealerCondition: II - III

MARTIN LEMAN. 'Double Act'. Limited Edition coloured etching. Signed, titled & dated (19)82 & No. 37/100. 16 x 19cm.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.  WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

G. TREVOR. Two watercolours by G. Trevor, Lelant Saltings with Godrevy & St. Michael's Mount. Each, 18 x 26cm. Also, a Victorian watercolour of a girl with her kitten & an etching by R.T. Cowern.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CANNOT SHIP THIS LOT or other large, glazed or fragile pictures. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk  Proceeds from this lot will be donated to the RNLI  Penlee Crew Comfort Fund.

Portfolio and contents of assorted unframed sketches, engravings and prints including after Erik Werenskiold (1885-1938), etching, a view of trees, 33cm x 25cm and after Sella Hassay (German 1878-1963), etching, street scene with figures, signed in pencil, 15cm x 20cm 

Michael Haswell (1931-2020) limited edition etching 2/20 of a seated nude initialled MH 41.5 cm x 52 cm (size including frame)

A framed coloured Saxton's map of England and Wales 1579 (glass damaged) together with one other framed colour etching map of the Christian constellations.

A quantity of assorted pictures and prints, black and white etching of the George Stevenson centenary Newcastle, a painting on ceramic panel together with a folding tapestry frame.

After John Fullwood (1854-1931) : Loch Awe (Kilchurn Castle), drypoint etching from an edition of 150, signed to margin, 18 x 22 cm, framed.

A 19th Century Holborn of London Constabulary sword, having brass hand guard, with bare ribbed wooden grip, 57cm long curved single sided, single fuller blade, with etching 'Maker 120 Holborn London' to one side, complete with the metal ends of the scabbard (no leather)

Catherine Grubb (born 1945)/The Girl who Fell in Love with a Peacock/numbered 4/30/etching in colours, 44cm x 60cm and/Pavane for a Dead Infanta/numbered 12/12/etching in colours, 60cm x 44cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Brian Williams (American, born 1950)/Japanese Thatched Houses/watercolour, 14.5cm x 22.5cm/The Boat Houses/limited edition etching 16/50

After Walter Dendy Sadler, Over Nuts and Wine, etching by WH Boucher, 29cm x 40.5cm framed and glazed.

FRAMED WATERCOLOUR OF BARN, LIMITED EDITION COLOUR ETCHING AFTER CHRISSY NORMAN 'BUTLEY WOODS I' SIGNED AND NUMBERED 6/75, AND A LIMITED EDITION PRINT OF GOLDFINCHES, FRAMED AND GLAZED

A cased Stromberg glass vase, designed by Gunnar Nyland, 21.5cm high, a Whitefriars amber vase, 17.5cm high, a beak vase, 18.5cm high, a Knobbly vase, 12.8cm high and an acid etched bowl, 20cm wide (5)Condition report: Scratch to etching on bowl

Nicholas Middleton etching ‘Lower Lea Valley in Snow’, signed and numbered 13/50. Image 6” x 8”, frame 13” x 15.5”. With original bill of sale and letter from artist July 2009. Good condition

Susan Dobson - "Northern Fells", signed and dated 1990, A/P, further inscribed to artist's label verso, coloured etching, 38 x 49cms; together with Alan Stones - "Raven", signed and numbered 68/150, further inscribed to artist's label verso, 37 x 49cms, framed. (2)Please note: this lot may be subject to Artists Resale.

Zwei Kreta-Messer, 19. Jhdt. Beide Messer mit kräftigen Rückenklingen, die eine terzseitig mit fein kalligraphierter Inschrift und quartseitig mit floraler Ätzung und Datierung. Beide Messer mit getriebenen Griffzwingen und -schienen aus Silber und Eisen, vernietete Griffschalen aus Elfenbein bzw. Bein. Jeweils in lederbezogenen Holzscheiden. Unterschiedliche Alters- und Gebrauchsspuren. Länge 33 und 38 cm.Achtung - Versand in Nicht-EU-Staaten unterliegt CITES Regularien.Zustand: II -Two Cretan knives, 19th century Both knives with sturdy, single-edged blades, one with a delicate inscription in calligraphy on the obverse and floral etching and date on the reverse. Both knives with chased grip ferrules and straps in silver and iron, riveted ivory and bone grip scales respectively. Each in a leather-covered wooden scabbard. Different traces of age and use. Length 33 and 38 cm.Attention - shipping to non-EU countries subject to CITES.Condition: II -

A set of three hooks decorated with a chicken together with an etching

BSA, BIRMINGHAM A GOOD .177 UNDER-LEVER AIR-RIFLE, MODEL 'STANDARD LIGHT' or 'LADIES PATTERN', serial no. L10165, for 1920, with 17in. blued tapering barrel, dove-tailed fore-sight, elevating rear-sight, tap loading breech, plain air-chamber etched with maker's details and patents, two hole trigger unit, saw-handled walnut butt with ribbed heel, no provision for fore-end and push button under-lever, strong amount of finish retained throughout, etching faded but legible, overall length 39 3/4in., weight approximately 6 1/4lbs.. Pre-1939 * Please note this item is subject to 5% VAT on the hammer price.

FIVE CRYSTAL ORNAMENTS, to include three Swarvoski items, an apple, height 7.5cm (reglued stalk), an oyster shell with pearl, width approximately 6cm and an Owl, height 4.5cm, all with swan etching, a Waterford crystal shell shaped timepiece, height 6.5cm (nibbles to edges) and another item etc (5)

PAINTINGS AND PRINTS, ETC to include a pair of late 19th/early 20th Century unsigned landscape oils, Sid Gardener prints, etching of Aberdeen from the Harbour, pair of chromolithographs, print of the laughing cavalier, etc

Graham Clarke (b. 1941), aquatint, 'Sunflowers', signed and inscribed, etching, no. 47/100, 26 x 34cm

Wilfred Crawford Appleby, Glasgow University, pencil signed etching, 36cm x 24cm

Thomas Rowlandson (London 1756-1827) A cart race, 1788 signed 'Rowlandson' in the etching plate and dated 1788 (lower left), etching, 26 x 41cm

A mezzotint print, in the style of Tatton Winter, country lane, indistinctly signed, 24 x 19cm, plus frame and glazed, and an etching, after Charles Watson, A Sussex Mill, dated 1906, 20 x 16cm, plus frame and glazed

Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "Baigneuse debout, a Mi-Jambes". Medium: Original etching. Date: Composed c1906. Printed later. Dimensions: Overall size: 14 13/16 x 11 3/8 in. (376 x 289 mm). Image size: 6 3/4 x 4 5/16 in. (171 x 110 mm).Lot Note(s): Cream wove paper. Full margins. Very good impression. Fine condition. Literature/catalogue raisonne: Delteil 23; Stella 23. Comment(s): During the second half of the nineteenth century, France was experiencing a printmaking renaissance. Despite this artistic trend, Impressionists were not quick to adopt the medium as they were accustomed to painting in plein air. However, Renoir learned the medium, creating his first etching in 1890 and his first lithograph two years later. During this time, Renoir was 49 and already an established painter. Yet, he executed a total of 59 prints in his lifetime, producing almost equal amounts of lithographs and etchings. Impressively, he was able to develop his own style of etching independent of his development as a painter [courtesy Masterworks Fine Art]. [2646-3-300]

Artist: Edouard Manet (French, 1832 - 1883). Title: "Charles Baudelaire de Face III". Medium: Etching. Date: Composed 1865. Printed later. Dimensions: Overall size: 9 3/4 x 9 1/4 in. (248 x 235 mm). Image size: 3 13/16 x 3 1/4 in. (97 x 83 mm).Lot Note(s): Signed in the plate, lower right. Inscribed with the artist's and printer's names, lower left and right. Light cream wove paper. Very wide margins. Fine impression. Fine condition. Literature/catalogue raisonne: Harris 61; Guerin 38iv. Comment(s): Manet was one of the first 19th-century artists to paint modern life and was a pivotal figure in the transition from Realism to Impressionism. [17720-2-225]

Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "Femme nue assise". Medium: Etching & softground. Date: Composed 1906. Printed later from the original plate. Dimensions: Overall size: 14 7/8 x 11 1/8 in. (378 x 283 mm). Image size: 7 3/8 x 5 9/16 in. (187 x 141 mm).Lot Note(s): Cream wove paper. Full margins, deckle edges. Fine impression. Fine condition. Literature/catalogue raisonne: Delteil 12. Comment(s): Earlier impressions of this print regularly sell at auction for well over $1,000. [25684-3-300]

Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "La chapeau epingle [3e Planche]". Medium: Original etching. Date: Composed c1894. Printed later. Dimensions: Overall size: 12 x 9 3/8 in. (305 x 238 mm). Image size: 4 5/8 x 3 1/4 in. (117 x 83 mm).Lot Note(s): Signed in the plate, lower left. Cream wove paper. Full margins (deckle edges). Good impression. Fine condition. Literature/catalogue raisonne: Delteil 8. Comment(s): Earlier impressions of this print regularly sell at auction for well over $1,000. According to "Gordon's Art Reference" the auction record is $10,000, set at Sotheby's, New York (Prints, #8344) - 09/26/2007 - lot #171. The models are Julie Manet, the daughter of Berthe Morisot and niece of Eduard Manet, and her cousin, Paulette Gobillard. Image copyright © Artists Rights Society (ARS), New York. [1397-2-300]

Artist: James Rizzi (American, 1950-2011). Title: "Love Bugs". Medium: Color silkscreen and lithograph. Date: Composed 1999. Dimensions: Overall size: 12 1/8 x 15 in. (308 x 381 mm). Image size: 9 x 12 in. (229 x 305 mm).Lot Note(s): Bears complimentary signature in pencil, lower right; titled and dated in the plate. A proof aside from the regular edition. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): A rare "flat-print" proof for a proposed "3-D" edition, not intended for sale or distribution. Rizzi was an American pop artist who was born and raised in Brooklyn, New York. While at the University of Florida he came up with the idea of 3D multiples now mostly associated with his name. Having taken classes in painting, printmaking, and sculpture, he had to hand in grade work for all three subjects, but only had time for doing one. So he created an etching, printed it twice, handcolored it, and mounted parts of the one print on top of the other, using wire as a means of adding depth. Printer unknown, edition published by John Szoke Editions, New York. [27785-3-400]

Artist: Rembrandt (Rembrandt Harmensz van Rijn) [d'apres] (Dutch, 1606-1669). Title: "The Angler in a Boat". Medium: Etching. Date: Composed c1650. Dimensions: Image size: 4 1/16 x 5 7/16 in. (103 x 138 mm).Lot Note(s): Trimmed to the platemark. A good impression, printed with plate tone. Condition: laid to board; scattered foxing. Comment(s): A Louis Marvy (British, 1815-1850) impression, etched in 1843. At the time Marvy created this print, Bartsch had catalogued it as by Rembrandt (B243). The image since has been rejected as a Rembrandt, and Munz attributes the print to Pieter de With. [23439-1-200]

Artist: James A. M. Whistler (American, 1834 - 1903). Title: "The Punt". Medium: Original etching & drypoint. Date: Composed 1861. Dimensions: Overall size: 6 1/16 x 8 5/16 in. (154 x 211 mm). Image size: 4 3/4 x 6 5/8 in. (121 x 168 mm).Lot Note(s): Signed in the plate, lower left. MacDonald's fourth state of six (IV/VI) with the partial removal of the signature and date in the plate, lower left, and with the engraved inscription included. Cream wove paper. Ample margins. A very good, well inked impression. Good condition; two tears in the margins, extending to the platemark but not into the image; mat burn; scattered foxing. Literature/catalogue raisonne: Kennedy 85; Glasgow 82. Provenance: Swann Auction Galleries, New York City. Comment(s): Printed by Day & Son, London. Published by the Junior Etching Club, London. [30080-1-400]

* RICHARD "TURNERAMON" TURNER ARCA (BRITISH 1930 - 2013), UNTITLED oil on canvas overall size 91cm x 121cm Unframed. Note: Richard Turner was noted post-modernist artist born in Derby England and was educated at Bemrose Grammar School. In 1960, he enrolled at the Derby College of Art where he won the J. Andrew Lloyd scholarship for Landscape, enabling him to study at the Royal College of Art in London, from 1963. There, he was tutored by Carol Weight and Sir Peter Blake. He graduated in 1966 with an Associate of the Royal College of Art Degree, as well as prizes in Life Drawing, Life Painting, and Landscape Painting. His work was much admired by his contemporaries and his tutors. For the next two years, Turner was a lecturer at the Guildford School of Art; working on environmental installation projects with Australian artist Tony Underhill. He was introduced to etching by Peter Olley and Norman Ackroyd. In 1968, he was employed as an epigraphic artist and photographer by the Oriental Institute of the University of Chicago. For five years, he was based at Chicago House in Luxor, Egypt making facsimile drawings of the reliefs on the walls of the Temple of Khonsu, Karnak and Medenet Habu, adjacent to the Valley of the Queens. In 1973, Turner returned to England, lecturing at Salisbury College of Art for three years, before being re-employed in Egypt by the University of Chicago, for a further four years. During this time he made full-scale tracings of all columns in the Great Hypostyle Hall of Luxor Temple. In 1980 he moved to the USA; built a split-level chalet-style house in Big Bear, California, and ran his own gallery, named Minnelusa Gallery, on the shores of Big Bear Lake. He also worked as a graphic designer with Treasure Chest Advertising, based in Los Angeles. Four years later, Turner returned to the United Kingdom, and briefly lived in Edinburgh before moving south for five years. He returned to Scotland in 1989, and ran a successful "art holiday" home business from Park House in Kirkcudbright, as well as lecturing part-time in various colleges and schools. In 1993, Turner met HM The Queen and Prince Philip, at the opening of Tolbooth Art Centre in Kirkcudbright. Prince Philip commented on Turner's work saying it looked "refreshingly different". Turner exhibited widely throughout his career including multiple solo shows in London, Manchester, San Francisco, Palm Springs, San Bernardino, Los Angeles, Paris, Cairo, Luxor, Kirkcudbright and around the UK.

Afghan white metal water jug engraved, tooled with floral etching. There is an unidentified makers mark stamped on the rim. These water jugs are usually used before and after every meal to wash hands. 15cm diam. X 15cm. Late 20th c. Notes: Every time I am invited to a meal in Afghanistan it is a male only event. The women eat in the kitchen. Everyone squats or sits cross legged around an eating cloth, sofreh, the youngest boy comes round with a water jug to pour a bit of water over your hands. The dirty water is caught in dish, usually with a pierced cover.

A very traditional antique white metal torc with patterned etching. 17cm. 430grm.

Artist: Lucian Freud (German/English, 1922-2011). Title: "Head of a Man". Medium: Offset lithograph [following the original etching]. Date: Composed 1987. Printed 1993. Dimensions: Overall size: 11 11/16 x 9 9/16 in. (297 x 243 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collector, London, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: recent work” exhibition at the Whitechapel Art Gallery, London, England. The show consisted of works by Freud created between 1945 and 1993. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. Our example not to be confused with the original etching. The exhibition ran from September 10th to November 21st, 1993. Printed by Amilcare Pizzi S.p.A., Milan, Italy. Image copyright © The Lucian Freud Archive. [29180-2-600]

Artist: Lucian Freud (German/English, 1922-2011). Title: "Triple Portrait". Medium: Color offset lithograph. Date: Composed 1987-88. Printed 1993. Dimensions: Overall size: 10 1/8 x 11 1/2 in. (257 x 292 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collector, London, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: recent work” exhibition at the Whitechapel Art Gallery, London, England. The show consisted of works by Freud created between 1945 and 1993. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. Our example not to be confused with the original etching. The exhibition ran from September 10th to November 21st, 1993. Printed by Amilcare Pizzi S.p.A., Milan, Italy. Image copyright © The Lucian Freud Archive. [29184-2-800]

Artist: James Rizzi (American, 1950-2011). Title: "When the Cows Come to the Big Apple". Medium: Color silkscreen. Date: Composed 2000. Dimensions: Overall size: 25 1/2 x 35 7/16 in. (648 x 900 mm). Image size: 19 5/8 x 30 in. (498 x 762 mm).Lot Note(s): Bears complimentary signature in pencil, lower right; titled and dated in the plate. A proof aside from the regular edition. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): A rare "flat-print" proof for a proposed "3-D" edition, not intended for sale or distribution. Rizzi was an American pop artist who was born and raised in Brooklyn, New York. While at the University of Florida he came up with the idea of 3D multiples now mostly associated with his name. Having taken classes in painting, printmaking, and sculpture, he had to hand in grade work for all three subjects, but only had time for doing one. So he created an etching, printed it twice, handcolored it, and mounted parts of the one print on top of the other, using wire as a means of adding depth. Printer unknown, edition published by John Szoke Editions, New York. [27753-6-800]

Artist: James Rizzi (American, 1950-2011). Title: "Battle on the Ice". Medium: Color silkscreen and lithograph. Date: Composed 1992. Dimensions: Overall size: 11 3/8 x 12 7/16 in. (289 x 316 mm). Image size: 8 1/2 x 9 1/16 in. (216 x 230 mm).Lot Note(s): Bears complimentary signature in pencil, lower right; titled and dated in the plate. A proof aside from the regular edition. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): A rare "flat-print" proof for a proposed "3-D" edition, not intended for sale or distribution. Rizzi was an American pop artist who was born and raised in Brooklyn, New York. While at the University of Florida he came up with the idea of 3D multiples now mostly associated with his name. Having taken classes in painting, printmaking, and sculpture, he had to hand in grade work for all three subjects, but only had time for doing one. So he created an etching, printed it twice, handcolored it, and mounted parts of the one print on top of the other, using wire as a means of adding depth. Printer unknown, edition published by John Szoke Editions, New York. [27789-3-400]

Artist: Steve Wheeler (American, 1912 - 1992). Title: "Dan Patch with His Girlfriend". Medium: Color wookcut. Date: Composed c1950. Dimensions: Overall size: 6 9/16 x 14 in. (167 x 0 mm).Lot Note(s): Signed "Wheeler" in pencil, lower right. Edition size unknown (perhaps never editioned, with only a few proofs pulled). Handmade cream paper. Ample margins. Fine impression. Good condition; printed off-center; a very small skilfully repaired puncture in the far upper center of the image, with no paper loss; creasing inherent in the paper in the left margin, away from the image; minor paper loss in the upper left margin, away from the image. Comment(s): Wheeler’s prints in woodcut and etching are rare. ‘Gordon’s Print Prices’ lists only his silkscreens – not a single woodcut or etching. He is often spoken of as one of the least appreciated, but most deserving, of 20th Century American artists. The influence of Arshile Gorky on Wheeler’s oeuvre is often overlooked. His work is increasingly being "discovered," as evidenced by the sale of his painting "W22 (Man Looking at Pork Chop)" at Christie's New York, 05/21/2008, lot #8, at $109,000 (including premium). There has been recent increasing interest in his fine prints as well. Image copyright © The Estate of Steve Wheeler. [30113-2-1200]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Fuego". Medium: Color etching with aquatint. Date: Composed 2005. Dimensions: Overall size: 25 1/4 x 19 1/2 in. (641 x 495 mm). Image size: 15 1/2 x 11 11/16 in. (394 x 297 mm).Lot Note(s): Signed and dated in pencil, lower right; titled in pencil, lower center; numbered in pencil, lower left. Edition of 30. Pale cream wove paper. Full margins. Fine impression. Fine condition; two zinc plates utilized; printed by Emilio Payan, Mexico City. Literature/catalogue raisonne: James Orr's provisional catalogue number PR102. Provenance: Private collection, Santa Fe, New Mexico. This print was included in the one woman exhibition “Karima Muyaes: Retrospectiva, 1985-2007,” at the Museo de Arte Regional (Azcapotzalco), Mexico City, March-May, 2007. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [10512-0-500]

A framed and glazed etching (19" x 23") of an unknown gentleman believed to be of railway importance, possibly Samuel Johnson of the Midland Railway

A poster print of an etching of the 'Gare Montparness Accident - 1895' - rolled (17.5" x 24")

Marino Marini (1901 Pistoia - 1980 Viareggio) (F)Blatt 6 aus 'Marino from Shakespeare I', Farbaquatintaradierung auf Bütten, 75,8 cm x 56,5 cm Blattmaß, signiert, 1977 datiert, XXXIV/L nummeriert, TrockenstempelMarino Marini (1901 Pistoia - 1980 Viareggio) (F)Sheet six of 'Marino from Shakespeare I', aquatint etching on laid paper, 75.8 cm x 56.5 cm sheet size, signed, dated 1977, numbered XXXIV/L, drystamped

Emil Schumacher (1912 Hagen - 1999 Ibiza) (F)Ohne Titel, Aquatintaradierung auf Bütten, 50 cm x 40 cm Blattmaß, signiert, 30/45 nummeriert, Papier geknickt, rückseitig Bleistift Rückstände, Kopie des Kaufbeleges anbeiEmil Schumacher (1912 Hagen - 1999 Ibiza) (F)Untitled, aquatint etching on laid paper, 50 cm x 40 cm sheet size, signed, numbered 30/45, paper slightly creased, pencil traces on the reverse, with a copy of the sales receipt

Salvador Dalí (1904 Figueres/Spanien - 1989) (F)'Die Geliebte ist schön wie eine Pferdeherde', aus 'Das Hohe Lied des Salomon', Farbradierung mit Goldauflage auf Bütten, 1971, 49 cm x 34,5 cm Passepartoutinnenmaß, signiert, 75/250 nummeriert, partiell stockfleckigSalvador Dalí (1904 Figueres/Spain - 1989) (F)'I have compared thee, o my love, to a company of horses', from 'The Song of Solomon', etching in colours with gold leaf on laid paper, 1971, 49 cm x 34.5 cm mat inner dimensions, signed, numbered 75/250, slightly foxmarked

Albín Brunovsky (1935 Zohor - 1997 Bratislava)'Jozef a Putifarka', Radierung auf Papier, 30,5 cm x 25,5 cm Passepartoutinnenmaß, signiert, 1967 datiert, betitelt, 3/20 nummeriertAlbín Brunovsky (1935 Zohor - 1997 Bratislava)'Jozef a Putifarka', etching on paper, 30.5 cm x 25.5 cm mat inner dimensions, signed, numbered 3/20

Albín Brunovsky (1935 Zohor - 1997 Bratislava)'Mene, mene, Tekel, ufarsin', Radierung auf Papier, 30,5 cm x 25,5 cm Passepartoutinnenmaß, signiert, 1966 datiert, betitelt, 3/20 nummeriertAlbín Brunovsky (1935 Zohor - 1997 Bratislava)'Mene, mene, Tekel, ufarsin', etching on paper, 30.5 cm x 25.5 cm mat inner dimensions, signed, numbered 3/20

Albín Brunovsky (1935 Zohor - 1997 Bratislava)'Expulsion from Paradise', Radierung auf Papier, 30,5 cm x 25,5 cm Passepartoutinnenmaß, signiert, 1967 datiert, betitelt, 3/20 nummeriertAlbín Brunovsky (1935 Zohor - 1997 Bratislava)'Expulsion from Paradise', etching on paper, 30.5 cm x 25.5 cm mat inner dimensions, signed, numbered 3/20

'Betrachtung. Dazu drei Eintragungen aus den Tagebüchern'Franz Kafka, 1990, Hamburg, Raamin-Presse, 32 SS., mit 5 ganzseitigen O.-Stichen in Kunstharz, kombiniert mit Ätzungen und Aluminium von Roswitha Quadflieg, OPp.-Schuber, signiert, 133/185 nummeriert, Schuber staubig'Betrachtung. Dazu drei Eintragungen aus den Tagebüchern'Franz Kafka, 1990, Hamburg, Raamin-Presse, 32 pgs., with 5 full page original etchings in artificial resin combined with etching and aluminium by Roswitha Quadflieg, original cardboard slipcase, numbered 133/185, slipcase dusty

William Lionel Wylie RA (1851-1931) etching The Grand Fleet at Scapa Flow The Kaiser Class with the flag of Admiral Von Reuter flying in the Frederich de Grosse being taken to Scapa Flow for internment byt he second Division of the Grand Fleet 25 November 1918 signed by the artist and Albany E Howard Fine Art Trade Guild blind stamp TMC, etching 31cm x 71cm, ebonised frame side 56cm x 91cm, some small spotting foxing and sun staining to mount otherwise generally good

Della Chapman, "Margaret Catchpole's Cottage", pencil signed etching

Emilie Tomanova Prague 1969, "Fairy Birds", pencil signed etching, label verso, purchased Heals Mansard Gallery, Czech Exhibition 1970

Georges Rouault (1891-1958) French ''Le Vieil Homme Chemine'' (The Old Man Plods On) Etching from ''Passion'' 1936, 34cm by 24cm Provenance: Goldmark Art Gallery, Uppingham Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Stanley William Hayter CBE (1901-1988) ''Serre'' Signed and dated (19)79, inscribed and numbered 23/75, etching, 75cm by 55.5cm (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business The print has a lot of creases within the margins. Vertical creases within the red and areas of creasing within the green. Tear 3cm to centre of right margin- this does not go into the plate. The print has a deckled edge. Slight nick upper right within the green to the right of the red line and one to the upper centre of the black Also possible surface scratches within this area, slight nick/surface scratch to bottom right corner within the green. Pencil line diagonal through lower left margin up into the red and orange area. Scuffs and the odd very sporadic foxing spot to margins. See images. Viewing recommended.

Piers Browne (b.1949) ''From Ellerkin, Wensleydale: September Afternoon'' Signed, inscribed and dated (19)96, numbered 14/75, etching, 31cm by 57cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Norman Ackroyd CBE, RA (b.1938) ''Horn Head'' Signed and dated (19)98, inscribed and numbered 70/90 etching, 18cm by 25.5cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Slight cockling to paper. Good overall condition. Not examined out of the frame.

Norman Ackroyd CBE, RA (b.1938) ''Bishop's Rock'' Signed and dated (20)05, inscribed and numbered 53/90, etching, 26cm by 37.5cm (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business The print has a deckled edge. Crease upper left hand side with in the margin. Handling crease lower right mostly to the margin. Covered in a very thin layer of dust. Otherwise in good overall condition. Unframed.

Dame Elizabeth Violet Blackadder DBE, RA, RSA (b.1931) Scottish ''Banksia'' Signed and numbered 10/30, etching and aquatint, 19.5cm by 24.5cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Slight cockling to paper. Otherwise in good overall condition. Not examined out of the frame.

David Hockney OM, CH, RA (b.1937) ''The Haunted Castle'' - (The Boy Who Left Home to Learn Fear) Artist's proof aside from the unsigned edition of 400, etching, one of 39 etchings created for the series ''Six Fairy Tales from the Brothers Grimm'', 40.5cm by 25cm Provenance: Goldmark Gallery, Rutland Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration The paper has a deckled edge. Cockling to paper. Otherwise good overall condition. Not examined out of the frame.