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

(19th Century) 'The Old Stile', tender scene depicting a young lady and gentleman meeting by a wooden stile, etching, published 'June 30th 1856 by E Gambart & Co, London, paper label for Richard Jeffreys, Picture Dealer Liverpool framed and mounted under glass, 90 x 73 cm

(20th Century) "Scottish Black Face", character study of three black-faced sheep and their lambs, limited edition etching, indistinctly signed, framed and mounted under glass, 20 x 32 cm

BASELITZ, GEORG (geb. 1938), "Tama", Farbaquatintaradierung (dunkelrot/orangegelb/schwarz)/Bütten, u.re. mit Bleistift von Hand signiert und datiert 'Baselitz 02', u.li. mit Bleistift num. 7/18, HxB: Platte ca. 49,8x32,8 cm, Blatt ca. 75,5x57 cm, Außenmaße Rahmen ca. 80x62 cm. Minim. Fleck am unteren Rand. Mit verglastem Rahmen. Leichte Altersspuren. | BASELITZ, GEORG (geb. 1938), "Tama", Color aquatint etching (dark red / orange yellow / black) / handmade paper, lower right signed and dated 'Baselitz 02' by hand in pencil, below left with pencil num. 7/18, HxW: plate approx. 49.8 x 32.8 cm, sheet approx. 75.5 x 57, external dimensions frame approx. 80 x 62 cm. Minim. Stain on the lower edge. With a glazed frame. Slight signs of age.

KIRCHNER, Ernst Ludwig, NACHLASS (1880-1938), "Barszene", Radierung/Bütten, HxB: Platte ca. 25,5x20 cm, Passepartoutausschnitt ca. 27,5x22 cm, Außenmaße Rahmen ca. 49,5x43 cm. Im Passepartout hinter Glas gerahmt. Minim. Altersspuren. VERSO ETIKETT Kunsthaus Schaller, Stuttgart mit Werkbeschreibung: ... Handabzüge von den Originalplatten auf Bütten, Auflage 50 Exemplare numeriert 1 bis 50 mit Nachlassstempel (Num. und Stempel nicht sichtbar, da geschlossen gerahmt). | KIRCHNER, Ernst Ludwig, NACHLASS (1880-1938), "Barscene", Etching / handmade paper, HxW: plate approx. 25.5x20 cm, passepartout cutout approx.27.5x22 cm, external dimensions frame approx.49.5x43 cm. Framed behind glass in a passepartout. Minim. signs of age. VERSO ETIKETT Kunsthaus Schaller, Stuttgart with description of the work: ... Hand prints from the original plates on handmade paper, edition of 50 copies numbered 1 to 50 with estate stamp (num. And stamp not visible, as framed closed).

SCHAD, CHRISTIAN (1894-1982), "Peruanerin", junge Frau mit Kind, Aquatintaradierung/Papier, darunter mit Bleistift von Hand betitelt, num. 101/160, signiert und datiert 'Christian Schad 74', HxB: Platte ca. 44x25,5 cm, Passepartoutausschnitt ca. 48x30 cm, Außenmaße Rahmen ca. 77x56,5 cm. Äußerst minim. gewellt, gebräunt und Lichtrand. Im Passepartout hinter Glas gerahmt. Altersspuren. LITERATUR: Christian Schad, Druckgraphiken und Schadographien 1913-1981, Edition G. A. Richter, 2001, vgl. S. 105, Nr. 72. | SCHAD, CHRISTIAN (1894-1982), "Peruanerin", young woman with child, aquatint etching / paper, underneath titled by hand in pencil, num. 101/160, signed and dated 'Christian Schad 74', HxW: plate approx. 44x25.5 cm, passepartout cutout approx. 48x30 cm, external dimensions frame approx. 77x56.5 cm. Extremely minimal wavy, browned and light edge. Framed behind glass in a passe-partout. Signs of age. LITERATURE: Christian Schad, Druckgraphiken und Schadographien 1913-1981, Edition G. A. Richter, 2001, vgl. S. 105, Nr. 72.

William Lionel Wyllie, RA, RI, RE (1851-1931), "Tantallon Castle and the Bass Rock", black and white etching, signed in pencil to lower left margin, 21 x 49cm

William Lionel Wyllie, RA, RI, RE (1851-1931), Shipping scene, black and white etching, signed in pencil to lower left margin, 16 x 37cm

After William Lionel Wyllie, "Victory celebrating Ascension George V", black and white etching, inscribed in pencil "By my father W L Wyllie, Aileen Wyllie", 44 x 76cm

Rowland Langmaid, London Bridge with St Paul's, black and white etching, signed in pencil to lower right margin, 18 x 24cm

Harold Wyllie, Ships at anchor, black and white etching, signed in pencil to lower left margin, 15 x 25cm

TRACEY EMIN R.A. (b. 1963) limited edition (254/300) etching - The Golden Mile, 2012, on 350gsm Hahnemuhle paper, signed in pencil, 42 x 49.5cms in a box frame Condition Report: Appears rippled within the frame, under UV filter glass.The print looks like it is starting to ripple under the glass.The print is floated.The frame and glass look good, ready to hang.

ASSORTED PICTURES INCLUDING DES HAWKINS watercolour - Honfleur harbour, Church St. Cardiff, Tenby Harbour; HAROLD THORNTON etching - 'After the Storm, Bosham', ANDRE BICAT etching (4/30) - 'Near Guerin, Geneva', A. CHOUDHURY aquatint - 'Walking the Dog' (6)

PHILIP E. HARRIS assorted pictures including four watercolours of figure studies, etching in colours, red crayon drawing, acrylic seascape ETC (8)

JOHANN HEINRICH TROLL(1756 Winterthur 1824)1. Landschaft mit Gehöft; 2. Flusslandschaft mit lagernden Personen an einem Steg.Feder und Pinsel in Grau und Schwarz.1. Unten rechts signiert und datiert: Troll 1779; 2. nicht signiert.19,5 x 29 cm und 32,2 x 40,7 cm.Beigabe: Derselbe. Gebirgslandschaft. Aquatintaradierung in Braun, 22,2 x 31,5 cm. Vor jeder Schrift. JOHANN HEINRICH TROLL(1756 Winterthur 1824)1. Landscape with farm building; 2. River landscape with figures.Pen and brush and grey and black ink.1. Signed and dated lower right: Troll 1779; 2. Unsigned.19.5 x 29 cm and 32.2 x 40.7 cm.Also included: Same artist. Mountain landscape. Aquatint etching in brown, 22.2 x 31.5 cm. Before text.

BASEL.-Vue de Basle, prise du rempart près de la port de St. Jean. Um 1840.Altkolorierte Aquatintaradierung.Unterhalb der Darstellung mittig gestochen betitelt, rechts bezeichnet: à Basle Chez Birmann & Fils.Blattgrösse: 25,6 x 35 cm.Die Darstellung wenig verblasst und mit leichtem Lichtrand. Insgesamt in guter Erhaltung. BASEL.-Vue de Basle, prise du rempart près de la port de St. Jean. Circa 1840.Aquatint etching with original colour.Engraved title below the image centre, inscribed to the right: à Basle Chez Birmann & Fils.Sheet size : 25.6 x 35 cm.The image slightly faded and with slight light staining. Overall in good condition.

JOHANN EMANUEL LOCHER(Freiburg 1769 - um 1815 Basel) nach Josef REINHARD.Elisabeth Grossmann, la belle Batelière de Brienz, dedié au Souvenir agréable des Voyageurs en Suisse. Um 1815.Kolorierte Aquatintaradierung. Die Einfassungslinien mit schwarzer Feder und braun gouachierten Rändern.Unterhalb der Darstellung mit brauner Feder betitelt und bezeichnet: Publie p. Lamy à Berne, Bâle, Lausanne & Genève. Unten links nummeriert: 96.43 x 33 cm (Bogengrösse: 47 x 43,5 cm).Die Ränder mit leichten Bereibungen und Gebrauchsspuren, die Darstellung in farbfrischer und nahezu unberührter Erhaltung. - So schön selten. JOHANN EMANUEL LOCHER(Freiburg 1769 - c. 1815 Basel) after Josef REINHARD.Elisabeth Grossmann, la belle Batelière de Brienz, dedié au Souvenir agréable des Voyageurs en Suisse. Circa 1815.Coloured aquatint etching. The framing line in pen and black ink and with brown gouached margins.Titled and inscribed in brown pen below the image: Publie p. Lamy à Berne, Bâle, Lausanne & Genève. Numbered lower left: 96.43 x 33 cm (sheet size: 47 x 43.5 cm).The margins slightly rubbed and with traces of wear, the image with fresh colours and nearly pristine condition. - Rarely so beautiful.

GOTTFRIED MIND(1768 Bern 1814)Zwei spielende junge Bären.Aquarell, Pinsel in Grau.10,4 x 16,5 cm.Beigaben: 1. Derselbe; Bär. Radierung, 16,5 x 13 cm. - Einzelne Fleckchen. Sonst in farbfrischer und schöner Erhaltung. GOTTFRIED MIND(1768 Bern 1814)Two young bears playing.Watercolour, brush and grey ink.10.4 x 16.5 cm.Together with: 1. Idem; Bear. Etching, 16.5 x 13 cm. - Individual small spots. Otherwise in fine condition with fresh colours.

ADRIAN ZINGG(St. Gallen 1734 - 1816 Leipzig)Pirna und Schloss Sonnenstein an der Elbe.Umrissradierung, braun laviert.17,3 x 22,8 cm.Auf Unterlagenbogen alt montiert. Zwei ganz schwache vertikale Hängefalten. Unbedeutende einzelne Fleckchen. Insgesamt in sehr schöner, nahezu unberührter Erhaltung. - Sehr selten. ADRIAN ZINGG(St. Gallen 1734 - 1816 Leipzig)Pirna and Sonnenstein Castle on the Elbe.Outline etching, brown wash.17.3 x 22.8 cm.Old mounting on backing sheet. Two very faint vertical creases. Insignificant individual small spots. Overall in very fine, nearly pristine condition. - Very rare.

REMBRANDT HARMENSZ VAN RIJN(Leiden 1606 - 1669 Amsterdam)Der stehende Jesusknabe inmitten der Schriftgelehrten, 1652.Radierung auf Bütten ohne Wz..Am unteren Rand links gestochen signiert und datiert: Rembrandt f. 1652.12,6 x 21,4 cm. Gerahmt.Bartsch 65; White/Boon 65 II (von III); Nowell-Usticke 65 II (von III); Hinterding/Rutgers (New Hollstein) 267 I (von II, vor den Überarbeitungen in Mezzotinto). - Ausgezeichneter, kräftiger und überwiegend klarer Druck mit dem für das Blatt typischen Plattenschmutz. Überwiegend mit feinem Rändchen um die Plattenkante. Die oberen Ecken mit braunen Verfärbungen von altem Klebstoff ehemaliger Montierungen, der von der Rückseite durchdrückt. Die Darstellung minim stockfleckig. Verso mit Bleistift mehrere ältere Nummerierungen und wenige Reste alter Montierungen. REMBRANDT HARMENSZ VAN RIJN(Leiden 1606 - 1669 Amsterdam)Christ disputing with the Doctors, 1652.Etching on laid paper without watermark.Engraved signed and dated at the lower left margin: Rembrandt f. 1652.12.6 x 21.4 cm. Framed.Bartsch 65; White/Boon 65 II (of III); Nowell-Usticke 65 II (of III); Hinterding/Rutgers (New Hollstein) 267 I (of II, before the mezzotint revisions). - Excellent, strong and predominently clear impression with the plate residue typical for the sheet. Predominantly with thread margins around the platemark. The upper corners with brown discolouration from old adhesive of previous mounting, showing through from the reverse. The image with minimal foxing. the reverse with various old numbers in pencil and some traces of previous mounting.

GIOVANNI BATTISTA PIRANESI(Mogliano Veneto 1720 - 1778 Rom)Veduta dell'Arco di Settimo Severo, 1772.Radierung.47,3 x 71,2 cm. Gerahmt.Hind 99 I (von III, vor den Nummern). - Tiefschwarzer, kräftiger und gleichmässiger Druck. Die linke Seite mit kleinem Rand, die anderen Seiten mit Rand um die Plattenkante. Einzelner Riss im oberen Rand links. Überwiegend in den Rändern dezent stockfleckig und mit leichten Gebrauchsspuren. Am oberen Rand rechts mit schwacher Notation in Bleistift. Insgesamt in guter Erhaltung. GIOVANNI BATTISTA PIRANESI(Mogliano Veneto 1720 - 1778 Rome)Veduta dell'Arco di Settimo Severo, 1772.Etching.47.3 x 71.2 cm. Framed.Hind 99 I (of III, before the numbers). - Deep-black, strong and even impression. The left side with small margin, the other sides with margin around the platemark. Individual tear in upper margin left. With discreet foxing and light traces of wear predominantly in the margins. The upper margin left with faint notation in pencil. Overall in good condition.

GIOVANNI BATTISTA PIRANESI(Mogliano Veneto 1720 - 1778 Rom)Veduta della Piazza del Campidoglio, 1774.Radierung.44 x 69 cm. Gerahmt.Hind 111 I (von III, vor den Nummern). - Schöner, kräftiger und klarer Druck mit Rand um die Plattenkante. Die untere Blattkante ca. 2 cm nach hinten umgeschlagen. Kleiner Einriss im rechten Rand. Die Vorderseite gleichmässig stockfleckig, leicht gewellt und etwas angestaubt, die Rückseite stark stockfleckig. GIOVANNI BATTISTA PIRANESI(Mogliano Veneto 1720 - 1778 Rome)Veduta della Piazza del Campidoglio, 1774.Etching.44 x 69 cm. Framed.Hind 111 I (of III, before the numbers). - Fine, strong and clear impression with margin around the platemark. The lower edge of the sheet folded back about 2 cm. Small tear in the right margin. The front evenly foxed, slightly wavy and somewhat soiled, the reverse heavily foxed.

JAMES ENSOR(1860 Ostende 1949)La Cathédral, 1886.Radierung auf festem Japanpapier.Oben rechts in der Platte gestochen signiert und datiert: Ensor 1886. Unterhalb der Darstellung rechts mit Bleistift signiert: James Ensor.24,5 x 19 cm (Blattgrösse: 31,5 x 22,5 cm).Elesh 107; Taevernier 105 (zweite Platte). - Schöner, kräftiger, kontrastreicher und klarer Druck mit Rändern. Die Darstellung mit leichtem Lichtrand, die Ränder gleichmässig etwas gebräunt. Vereinzelte dezenten Knickspuren im Papier und leichten Gebrauchsspuren. Insgesamt in guter Erhaltung.Provenienz:- Kornfeld & Klipstein, Bern. Dort vom Vorbesitzer mit der Provenienz "Sammlung Reinhardt Winterthur" erworben.- Privatbesitz Schweiz. JAMES ENSOR(1860 Ostende 1949)La Cathédral, 1886.Etching on firm Japan paper.Engraved signed and dated in the plate upper right: Ensor 1886. Signed in pencil below the image right: James Ensor.24.5 x 19 cm (sheet size: 31.5 x 22.5 cm).Elesh 107; Taevernier 105 (second plate). - Fine, strong and clear impression with rich contrast and with margins. The image slightly light stained, the margins somewhat evenly browned. Individual discreet crease marks in the paper and with light traces of wear. Overall in good condition. Provenance: - Kornfeld & Klipstein, Bern. Acquired from previous owner with the provenance "Sammlung Reinhardt Winterthur".- Swiss private collection.

EDGAR DEGAS(1834 Paris 1917)Au Louvre: la peinture (Mary Cassatt). Um 1879/80.Aquatintaradierung auf creme-farbenem Velin.30,5 x 12,7 cm (Bogengrösse: 32 x 16,5 cm). Gerahmt.Delteil 29; Adhémar 54 wohl 21 von 21. - Schöner Druck mit Rand um die Plattenkante. Von der Rückseite umlaufend mit Montageband in den Passepartoutauschnitt montiert. Sehr guter Erhaltungszustand. EDGAR DEGAS(1834 Paris 1917)Au Louvre: la peinture (Mary Cassatt). Circa 1879/80.Aquatint etching on cream-coloured velin.30.5 x 12.7 cm (sheet size: 32 x 16.5 cm). Framed.Delteil 29; Adhémar 54 probably 21 of 21. - Fine impression with margin around the platemark. Mounted in the mat cut-out with mounting tape all around on the reverse. Very good condition.

SALVADOR DALÍ (1904-1989)Song of Songs of Solomon (M./L. 468-479; F. 71-17), 1971, the complete portfolio, comprising 12 etchings in colours with stencil and gold dust, each signed in pencil, numbered on the colophon 248/250, on Arches paper (there were also 6 copies on parchment and 44 copies on Japon, both in Roman Numerals, and 20 hors commerce designated A-T), with the blindstamp of the publisher Leon Amiel, New York, printed by Jacques David, Paris, with full margins, folded and loose (as issued), original blue cloth-covered boards and slipcase with cast lead medallion stamped by Hôtel des Monnaies, Avignon, title in green on the leather spine, each etching mounted for framing.Titles include: King Solomon; The Kiss; The Shepherd; The King's Train; The Dovelike Eyes of the Bride; The Bridegroom Leaps upon the Mountains; The Beloved Looks Forth Like a Roe; The Beloved is as Fair as a Company of Horses; Thou art Fair, My Love, and Thy Breasts; The Beloved Feeds Among the Lilies; The Fruits of the Valley; Return, O Shulamite, each 29.8 x 24.8cm (11 3/4 x 9 3/4in). (sheets 65.4 x 50.2cm)(12 works)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

Prostitution.- The Mail Dilly for the Accomodation of the Public, etching and engraving on laid paper, platemark 210 x 160mm., stained, creases, lightly browned, unframed, [Not in BM Satires], Printed for Jn. Smith Cheapside, 1789.⁂ Rare. The professional lady pictured is compared to a carriage picking up and dropping off paying 'passengers'. 'Carries only one inside...the money to be paid before you enter the carriage...Setts out every Evening from Marylebone, calls at Drury Lane & Covent Garden, also at the Israelite Coffee house...The carriage is fresh painted, hung on springs lined with velvet. Warm & Comodious within & travels what pace the Passenger chuses [sic.]'.

NO RESERVE Lecuire (Pierre).- de Staël (Nicolas) Lettres...a Pierre Lecuire, facsimile reprint incoporating comments by Lecuire written in 2008 and signed by him, signed presentation copy from Lecuire inscribed at end and with mounted photograph of Lecuire writing his comments, mounted photographic portrait of de Staël at beginning and other facsimile items tipped in, loose as issued in original colour linocut wrappers by de Staël, uncut, board folder and slip-case, slip-case damaged, Paris, 2008 § de Staël (Françoise) Nicolas de Staël: Catalogue Raisonné des Oeuvres sur Papier, illustrations, original cloth, dust-jacket, Lausanne, 2013 § Livres de Pierre Lecuire, signed and inscribed by Lecuire, illustrations, some colour, original wrappers, Paris, 2001 § Gagarine (Mila) Poèmes, number 58 of 50 copies with 2 etchings and signed by the author and artist, from an edition limited to 110, 2 etchings by Charchoune, with an additional signed etching on Japon, loose as issued in original wrappers, uncut, glacine wrapper, slip-case, Paris, 1969; and 4 others about Lecuire and/or de Staël, limited edition booklets produced by Christopher Hewett of the Taranman Gallery, v.s. (8)⁂ In November 2006 Lecuire added comments to copy No.1 of his publication of de Staël's letters of 1966, as shown in the photograph, and then produced a facsimile of the annotated work. His inscription in this copy reads, "...En manière de dédicace...un recueil de lettres est comme un labyrinthe. Seuls, les coeurs purs en aperçoivent l'étendue, la raison, l'issue. Amicalement Paris 27 Nov. 08. Pierre Lecuire".

Italy.- Venice.- Whistler (James Abbott McNeill) Little Salute, etching and drypoint, a good impression of the final state (of 3) with the artist's butterfly monogram, wiping marks and selective plate tone, signed in pencil on tab, sheet 80 x 210 mm (3 1/8 x 8 1/4 in), under glass, minor surface dirt and browning, framed, [circa 1880]Provenance:Thomas Agnew & Sons Ltd., London (no. 447198)H.S. Theobald [cf. L. 1375]P. & D. Colnaghi & Co, LondonExhibited:Knoedler & Co., New York, 1907, no. 10Literature:Kennedy 220 ii/ii; University of Glasgow, no. 210 iii/iii

Italy.- Venice.- Whistler (James Abbott McNeill) The Fishing Boat, etching with drypoint, a good impression of the final state before cancellation of the plate (of 6), signed in pencil on tab, sheet 149 x 225 mm (5 3/4 x 8 7/8 in), under glass, some even toning and surface dirt, framed, [circa 1880]Provenance:Unidentified collector's blindstamp lower leftLiterature:Kennedy 208; University of Glasgow, no. 198 vi/vi

Whistler (James Abbott McNeill) The Music Room, etching and drypoint, a good impression of Kennedy's final state (of 2), platemark 145 x 212 mm (5 3/4 x 8 1/2 in), under glass, minor surface dirt, framed, [1859]Provenance:P. & D. Colnaghi & Co, LondonLiterature:Kennedy 33 ii/ii; University of Glasgow, no. 39 ii-iv/iv

Whistler (James Abbott McNeill) Seymour standing under a Tree, etching, a good impression of Kennedy's second state (of 3), printing with plate tone, platemark 134 x 96 mm (5 1/4 x 3 3/4 in), under glass, printers' crease within image, minor surface dirt, framed, [1859]; Fumette, etching, on chine collé, a good impression of the final state (of 5), printing with publisher's address, 163 x 110 mm (6 3/8 x 4 1/4 in), under glass, framed, [1858] (2) Provenance:(Seymour) P. & D. Colnaghi & Co, LondonLiterature:(Seymour) Kennedy 31 ii/iii; Glasgow, no. 30 ii/iii(Fumette) Kennedy 13 ii/iii; Glasgow no. 12 v/v

Gillray (James) Dido forsaken,Sic transit gloria Reginæ, satire showing Mrs. Fitzherbert as Dido, seated on a funeral pyre of penises, watching the Prince of Wales sail away with Fox and Burke to Windsor Castle, etching with roulette work, with original hand-colouring, sheet 275 x 375 mm (10 7/8 x 14 3/4 in), under glass, framed, [BM Satires 7165], S.W. Fores, 1787.⁂ Satire of the debates on the prince's mounting debts and his forced denial of his illicit marriage to Mrs Fitzherbert two years earlier.

Beer Brewing Trade.- Gillray (James) The Triumph of Quassia, Quassia was a South American plant that was promoted as a superior and tax-free substance for brewing beer instead of hops, and the present satire shows major brewers in a celebratory procession, etching with hand-colouring, on cream wove paper without watermark, platemark 245 x 345 mm (9 5/8 x 19 1/2 in), sheet 285 x 425 mm (11 1/4 x 16 3/4 in), good margins, one or two small nicks to extremities of the lower edge, minor handling creases and surface dirt, unframed, [BM Satires 10574], Hannah Humphrey, 1806.

Gillray (James, 1756-1815) A great Stream from a Petty-Fountain;-or-John Bull swamped in the flood of new-taxes:-cormorants fishing in the stream, satire on the budget, whose chief feature was an increased income-tax, with numerous political figures depicted with as birds with human heads, huge beaks, and pelican-like pouches, etching with original hand-colouring, a good impression on wove paper, 240 x 350 mm (9 1/2 x 13 3/4 in), trimmed to or just within the platemark, rough edges with small nicks, handling creases, old pencil annotations, minor spotting and browning, unframed, [BM Satires 10564], Hannah Humphrey, 1806

Gillray (James) Overthrow of the Republican-Babel, an elaborate and complicated satirical attack on the factious opposition and the radicals who were convinced that both parties in Parliament were corrupt, featuring numerous elements, including Mrs Clarke falling astride the shoulders of Wardle, and lower down Whitbread is knocked off a ladder after being struck by a barrel of the Quassia beer, etching with early hand-colouring, on wove paper with watermarked initials and date 'E&P/ 1807', platemark 395 x 315 mm (15 1/2 x 12 1/2 in), lower left corner of margin with loss restored up to the platemark, some pencil annotations in the lower margin, several repaired tears including one running into the image at the centre left, other nicks and tears to extremities, with surface dirt, browning and some handling creases, unframed, [BM Satires 11327], Hannah Humphrey, 1809.

Gillray (James) The Death of Admiral-Lord-Nelson - in the Moment of Victory!, etching and aquatint with hand-colouring on wove paper, platemark 390 x 280 mm (15 1/4 x 11 in), sheet 440 x 315 mm (17 1/4 x 12 1/4 in), under glass, even browning and minor surface dirt, framed, [BM Satires 10442], Hannah Humphrey, 1805⁂ The first pictorial representation of Nelson's death.

Africa.- Delacroix (Eugène) Juive d'Alger, etching, a good impression with publisher's lettering and printed number '171' in the upper right, platemark 215 x 170 mm (8 1/2 x 6 3/4 in), under glass, some surface dirt and minor browning, framed, Paris, Cadart & Luquet, [1833 but later].

Russia.- Barthe (Gérard de la), after. Vue de la Place Podnovinsky à Moscou; Vue de la grande Place et des boutiques à Moscou, a pair of historic scenes of Moscow, lettered in Cyrillic and French, etching and engravings by Heinrich Guttenberg with hand-colouring, each sheet approx. 475 x 685 mm (19 3/4 x 27 in), both under glass, some browning and damp-stains visible to extremities and lettered margins, a few rough edges , uniformly framed, [circa 1799-1805] (2)

Attributed to Giorgio Morandi (1890 - 1964), etching, 2 bottles, signed in pencil, no. 7/20, image 3" x 2.5", mountedPaper discoloured with paper speckling/foxing, ink inscription on reverse

20th century Polish School, surrealist etching, 1986, indistinctly signed in pencil, image 11.5" x 11.5", unframedSlight paper discolouration

Francisco De Goya y Lucientes (1746 - 1828), etching/aquatint, Las Rinde El Sueno (sleep overcomes them), pl 34 de los Caprichos, image 7.5" x 5.5", unframedSlight paper discolouration

William Bell Scott (1811 - 1890), etching, tam o'shanter, warlocks and witches in a dance, image 4" x 6", published 1885Damp stain in top left-hand margin, slight paper discolouration

Edwin Edwards (1823 - 1879), etching, Thames and Medway canal entrance, 1877, image 8.5" x 5", unframedPaper discolouration

Hubert Von Herkomer (1849 - 1914), etching, girl in flower garden, 1891, signed in the plate, image 10.5" x 8", framedSlight paper discolouration, very light foxing in the sky

Circle of Egon Schiele, etching, centaur, unsigned, plate size 4.25" x 4", framedSlight paper discolouration

Margarette Schneider-Reichel (1891 - 1944), German Expressionist School etching, 2 devils playing, image 3.5" x 5.5", and another ex libris etching by a different hand, 1920s (2)Good condition

French School etching, abstract study, indistinctly signed in pencil dated '71, artist's proof, image 11" x 19", framedWater stain in left-hand margin, general paper discolouration, no tears

Cecil Marie Leslie, etching, seal and pup, signed in pencil, image 8" x 10", unframedLight foxing, water stain in bottom left-hand margin and several light creases

18th century hand coloured etching "British Soldiers Drowning Care" Published 20th. Novr. 1794 by Laurie & Whittle, 53 Fleet Street, London, framed 24cm x 35cm - Condition Report

Charles Williams (British ?-1830): 'Caterer's - Boney Dish'd', hand-coloured etching pub. S Knight, 1813; Attrib. Charles Williams: 'The Battle of Pul-Tusk', hand-coloured etching pub. 1807, inscribed in pencil in the margin; Robert Dighton Jr (British 1786-1865): Captain Robert Christopher Packe and Lieutenant George Augustus Fenwick of the Royal Horse Guards (Packe was killed at Waterloo), hand-coloured etching pub. 1805, max 33cm x 39cm (3) Provenance: all purchased by the vendor from Storey's, Cecil Court, London - Condition Report

James Chalmers Park (British 1858-?): 'Kirkstall Abbey from the East' and 'Temple Newsam, Leeds', two drypoint etchings signed and titled in pencil; Frank Paton (British 1855-1909): 'Not at Home', etching signed in pencil; and a humorous coloured etching of dogs indistinctly signed in pencil, max 21cm x 50cm (4) - Condition Report

William Walcot (British 1874-1943): Forty-Second Street New York, etching signed in pencil pub. 1923, 15cm x 20cm - Condition Report

After Giovanni Francesco Barbieri, called Guercino (Italian 1591-1666): Portrait of a Young Boy, etching signed in the plate 25cm x 19cm - Condition Report

Robert Horne (1923-2010): 'Old Fishing Boat - Walberswick', etching with aquatint signed titled dated '83 and numbered 2/30 in pencil 24cm x 40cm; V Bacci (20th century): 'City of Carlisle' Locomotive 46238, gouache signed, titled '87 verso 21cm x 39cm (2) - Condition Report

Joan Miró (Spanish 1893-1983): 'Sans le Soleil' I, etching and aquatint unsigned 27cm x 16cm Provenance: with the Redfern Gallery, London 1968, label verso - Condition Report

Paul Bisson (British 1938-): 'Icklesham Mill', limited edition coloured etching signed titled and numbered 104/150, 25cm x 26cm - Condition Report

* FRANK BRANGWYN (1867-1956) 'Old Houses, Ghent', signed in pencil to the margin, etching, the image 37cm x 37cm

* DONALD MCKINLAY (1929-2017) Figures in an interior, signed and dated '79 in pencil to the margin, drypoint etching, the image 39cm x 31cm; together with a similar unsigned composition by the same artist, drypoint etching, 33cm x 34cm (2)

A copper etching of central London by Bayer Leverkusen. W:68cm x H:24.5cm

†S. Lewis: a framed limited edition etching, entitled Hardenburg Strasse 2 - indistinctly signed, titled and numbered 46/50 to the margin - image 29cm X 42.5cm

* Suyderhoef (Jonas, circa 1613-1686). King Charles I and Queen Henrietta Maria, circa 1650, two etchings with engraving after the portraits by Anthony van Dyck, the decorative borders by Pieter Soutman, on laid paper with watermark, plate size 405 x 282 mm (16 x 11.1 ins), sheet size 430 x 307 mm (17 x 12 ins), except the portrait of Henrietta Maria trimmed to plate mark, together with: Franciscus de Moncada, & Albertus, Archidux Austriae, circa 1650, two etchings with engraving on laid paper, with watermark by Suyderfhoef, after Anthony van Dyck, with borders by Pieter Soutman, both generally in good condition, with narrow blank outer margins, sheet size 410 x 280 mm (16.1 x 11 ins), plus: Louys (Jacob, circa 1595-1673). Philip the Good, Duke of Burgundy, circa 1650, etching with engraving on laid paper with watermark, after Pieter Soutman, with margins, sheet size 440 x 305 mm (17.3 x 12 ins), and: Van Sompel (Pieter, circa 1600-after 1644). Isabella Clara Eugenia, 1644, etching with engraving on laid paper with watermark, after Pieter Soutman (after van Dyck), trimmed to plate margins, sheet size 405 x 268 mm (16 x 10.5 ins)Qty: (6)NOTESO'Donoghue, Catalogue of Engraved British Portraits, 86 & 24; New Hollstein 271 (for Franciscus de Moncada); Hollstein 9 (for Philip the Good).