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William Lionel Wyllie (British, 1851-1931), Portsmouth Dockyard Waterfront, signed in pencil, etching, 16 x 38cm.

William Lionel Wyllie (British, 1851-1931), Rouen, signed in pencil, etching, 16.5 x 38cm.

William Lionel Wyllie (British, 1851-1931), Boulogne Fishing Smacks, signed in pencil, etching, 19.5 x 24.5cm

Rowland Langmaid (British, 1897-1956), J Class Yachts, signed in pencil and bears Royal Exchange Art Gallery label (verso), etching, 17 x 35cm. ARR

F H R*** (20th Century), Yacht - Belle - Poule - Lymington - August - 1935, indistinctly signed in pencil, etching, 19 x 16.5cm.

Rowland Langmaid (British, 1897-1956), Ryde; Britannia, White Heather and Shamrock, signed and inscribed in pencil 'Rowland Langmaid, Ryde' (in lower margin), and bears The Rembrandt Gallery label, and a further label with title and artist's name (verso), etching, 9 x 33cm. May be subject to ARR.

A selection of pictures inc oil painting, The Green Room, portrait study, 22 x 18cm, framed and glazed, and an etching after Cole, Lowestoft, signed, 12 x 20cm, framed and glazed

(See English version below)Kopf einer Liegenden / Profil einer Frau nach links. 2 Blatt: Jeweils Radierung und Vernis mou auf Bütten. 9,6 × 12,4 cm (18,6 × 21 cm) bzw. 14,8 × 20,7 cm (21,4 × 27,5 cm) ( 3 ¾ × 4 ⅞ in. (7 ⅜ × 8 ¼ in.) bzw. 5 ⅞ × 8 ⅛ in. (8 ⅜ × 10 ⅞ in.)). Jeweils signiert.Jeweils einer von 20 nummerierten Abzügen. [3127]Zustandsbericht: Jeweils Ex. 18/20. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Jeweils im Passepartoutausschnitt leicht gebräunt und mit Lichtrand. Die Blätter wurden gereinigt. Unter UV-Licht sind stellenweise Stockflecken erkennbar. In den oberen Ecken mit weißen Papierstreifen auf das Unterpapier montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Head of a lying woman / Profile of a woman to the left. 2 sheets: each etching and soft ground etching on laid paper. 9,6 × 12,4 cm (18,6 × 21 cm) and 14,8 × 20,7 cm (21,4 × 27,5 cm) ( 3 ¾ × 4 ⅞ in. (7 ⅜ × 8 ¼ in.) and 5 ⅞ × 8 ⅛ in. (8 ⅜ × 10 ⅞ in.)). Each signed.Each one of 20 numbered prints. [3127]Condition report: Each No. 18/20. In good condition. The sheet edges without tears or losses. Each show minor time staining from exposure to light, within the passepartout cut-out. The sheets were cleaned. Ultraviolet light reveals in places foxing marks. In the upper corners mounted using white strips of paper on the underpaper. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See English version below)„Mein Landhaus in Wannsee“. 1922Radierung auf Velin. 5,5 × 8,2 cm (24,5 × 33,2 cm) ( 2 ⅛ × 3 ¼ in. (9 ⅝ × 13 ⅛ in.)). Signiert.Schiefler 364.–Berlin, Verlag Bruno Cassirer, 1922. [3210]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Im breiten Rand leicht stockfleckig. Rückseitig in den Ecken fest auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.”Mein Landhaus in Wannsee”. 1922Etching on wove paper. 5,5 × 8,2 cm (24,5 × 33,2 cm) ( 2 ⅛ × 3 ¼ in. (9 ⅝ × 13 ⅛ in.)). Signed.Schiefler 364.–Berlin, Verlag Bruno Cassirer, 1922. [3210]Condition report: Fine harmonious overall appearance. The sheet edges without tears or losses. In the wide margin slight foxing marks. On the reverse at corners firmly mounted on cardboardWe charge 30% premium on the hammerprice.

(See English version below)Ohne Titel. 20076 Blatt: 5 Radierungen und eine Farbradierung, jeweils auf Velin. Bis zu 49,7 × 39,8 cm (jeweils 75,9 × 56,8 cm) ( 19 ⅝ × 15 ⅝ in. (jeweils 29 ⅞ × 22 ⅜ in.)). Jeweils signiert. Egging R 5-10.-Hamburg, Griffelkunst, 2007. [3079]Zustandsbericht: In gutem Zustand. Die Blattkanten jeweils ohne Einrisse oder Fehlstellen. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Untitled. 20076 sheets: 5 etchings and a colour etching, each on wove paper. Up to 49,7 × 39,8 cm (each 75,9 × 56,8 cm) ( 19 ⅝ × 15 ⅝ in. (each 29 ⅞ × 22 ⅜ in.)). Each signed. Egging R 5-10.-Hamburg, Griffelkunst, 2007. [3079]Condition report: In good condition. The sheet edges each without tears or losses. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See English version below)„Aparicions 8“. 1982Farbradierung und Prägedruck auf Velin. 21 × 26,4 cm (50 × 52,3 cm) ( 8 ¼ × 10 ⅜ in. (19 ⅝ × 20 ⅝ in.)). Signiert.Galfetti 894.–Einer von 99 nummerierten Abzügen. Blatt 8 (von 9) der Folge. Barcelona, Edicions Polígrafa SA, 1982. [3059]Zustandsbericht: Ex. 89/99. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier an den Blattkanten minimal gebräunt. Unterhalb des Motivs zwei schwache Dellen, nur im Streiflicht erkennbar. Mit kleinen hellbraunen Fleckchen. Rückseitig in den Ecken mit Papierklebestreifen auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.”Aparicions 8”. 1982Colour etching and embossing on wove paper. 21 × 26,4 cm (50 × 52,3 cm) ( 8 ¼ × 10 ⅜ in. (19 ⅝ × 20 ⅝ in.)). Signed.Galfetti 894.–One of 99 numbered prints. Sheet 8 (of 9) from the set. Barcelona, Edicions Polígrafa SA, 1982. [3059]Condition report: No. 89/99. Fine harmonious overall appearance. The sheet edges without tears or losses. The paper along the sheet's edges minimally time stained. Below the Motives two faint dents, only in raking light visible. With small light brown stains. On the reverse at corners mounted using paper tape on cardboardWe charge 30% premium on the hammerprice.

ANDREW INGAMELLS (British b.1956) 'Castle Howard', etching, signed in pencil and numbered 35/75, 44cm x 102cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)

ANDREW INGAMELLS (British b.1956) 'The Monument - City of London', 1994, etching, signed in pencil and numbered 30/150, 73cm x 65cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)

•AR Charles Bartlett (1921-2014), "Autumn Reeds", coloured etching, signed, numbered 49/150 and inscribed with title in pencil to lower margin, 35 x 46cm

•AR John Brunsdon, ARCA, (1933-2014), "Dorset Cove", coloured etching and aquatint, signed, numbered 132/150 and inscribed with title in pencil to lower margin, 60 x 45cm

AR Glynn Thomas (born 1946), "Seafront Aldeburgh", etching and aquatint, signed, numbered 27/50 and inscribed with title in pencil to lower margin, 25 x 37cm

•AR Valerie Thornton, RE (1931-1991), "Tremolat", coloured etching, signed, dated 71, No 3/35 and inscribed with title in pencil to lower margin, 40 x 52cm. Provenance: The Minories, Colchester

•AR Julian Trevelyan, RA (1910-1988), "Westminster", coloured etching, signed, numbered 21/75 and inscribed with title in pencil to lower margin, 35 x 48cm

•AR Julian Trevelyan, RA (1910-1988), "LK927", coloured etching and aquatint, signed, numbered 141/150 and inscribed with title in pencil to lower margin, 35 x 48cm

•AR Julian Trevelyan, RA (1910-1988), "Oxford", coloured etching and aquatint, signed, inscribed artist's proof and further inscribed with title in pencil to lower margin, 35 x 48cm

•AR John Brunsdon, ARCA, (1933-2014), "Gordale Scar", coloured etching and aquatint, signed, numbered 49/150 and inscribed with title in pencil to lower margin, 45 x 58cm

•AR John Brunsdon, ARCA, (1933-2014), "Welsh scene - Harlech", coloured etching and aquatint, signed, numbered 132/150 and inscribed with title in pencil to lower margin, 36 x 45cm

•AR John Brunsdon, ARCA, (1933-2014), "Rhossili Down", coloured etching and aquatint, signed, numbered 144/150 and inscribed with title in pencil to lower margin, 60 x 45cm

•AR Barry Drake (20th century), "The Maltings, Snape", coloured etching and aquatint, signed, dated 75, numbered 9/15 and inscribed with title in pencil to lower margin, 38 x 50cm

•AR Anthony Benjamin (1931-2002), "White Star", coloured etching, signed and dated 84, numbered 16/35 and inscribed with title in pencil to lower margin, image size 26 x 22cm

Martin Yeoman (born 1953-present) Male nude torso study from the rear. A etching number 1 of 20 bearing an indistinct signature and dated 1995.17 x 12cm.

John William Edy, four un-framed aquatints circa 1820 inscribed 'Haoe Fall, no 57', 'Town of Drobath, no 58', 'Lake Lenongen, no 42' and 'Honbre B.Amkers House at Mos, no 68'; together with English Etchings, part XVII (one plate) and maritime aquatint or etching by Thomson

Charles Pinet (French 1867-1932) - Le Grosse Horloge - etching, signed in pencil to the margin, framed & glazed, 22 by 32cms (8.5 by 12.5ins).

* WILLIE KISSMER (1951-2018) 'Roter Torso' signed and titled in pencil to the margin, artist's proof etching, the image 38.5cm x 26.5cm

* BOB COSFORD (Contemporary) 'Grange Hill by Phil Redmond' signed by Cosford and Redmond, number 18 from a limited edition of 25 Artist's proofs, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, Commissioned by Phil Redmond for the 40th anniversary of the BBC TV series 'Grange Hill', created from the original artwork from the inaugural series in 1978, image 54cm x 37cm (unframed). Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* PURE GOLD (aka Bob Cosford) 'Totally……' a set of four prints, each depicting a female and a chimpanzee 'Totally Bananas', 'Totally Ananas', 'Totally Tiffin' and 'Totally Tiaras' signed limited edition of 25 each, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 32cm x 26cm (all unframed) (4). Pure Gold is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* HENRYG (aka Bob Cosford) 'OldSkool' A set of four 'acid face' prints 'Meltdown', 'Skully', 'Skode' and 'Weekender', signed limited edition of 49 each, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 32cm x 32cm. HenryG is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* DIABLO (aka Bob Cosford) 'Buy Me And Stop One - Drone Attack' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 59.5cm (unframed). DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. 'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertising. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"

* DIABLO (aka Bob Cosford) 'Buy Me And Stop One - Putin' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 40cm x 59cm (unframed). DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. 'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertising. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"

* DIABLO (aka Bob Cosford) 'Buy Me And Stop One - Riot' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 52cm x 69.5cm. DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. 'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertising. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* BOB COSFORD (Contemporary) 'Celestial Bodies - Porrima and Talitha' pair of profile half-length female studies, signed, limited edition of 150, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 38cm x 38cm. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

*KURT SELIGMANN (1900-1962) 'Le Carnaval' from the volume 'Protuberances Cardiaques' by Anatole Jakowski (Jakovsky 1909-1983) signed, dated 1933 and numbered 7/10 in pencil to the margin, etching, the plate 23cm x 18cm. Provenance: With receipt of purchase from London Arts Gallery, 22 New Bond Street, dated 26th November 1970, acquired for £35.0.0

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

*ROBIN TANNER (1904-1988) 'The Wicket Gate' etching, the image 17cm x 16.5cm 

*ROBIN TANNER (1904-1988) 'Meadow Stile, 1970' signed in pencil to the margin, etching, from an edition of 25 published in 1984. the image 20cm x 14.75cm. Exhibited: 'Visions of Landscapes' The Fine Art Society, London, 2004 

*ROBIN TANNER (1904-1988) 'June' signed in pencil to the margin, etching, the image 14cm x 16.5cm 

*ROBIN TANNER (1904-1988) 'Wren and Primroses' signed in pencil to the margin, etching, the image 9.5cm x 11cm 

* JOHN BELLANY (1942-2013) 'The Kiss' signed in pencil to the margin, artist's proof etching, the image 25cm x 25cm

A 19th Century sepia etching depicting gentleman outside tavern "Old and Crusted", together with a 19th Century colour print portrait of a lady (2) both framed and glazed

A framed and glazed coloured etching, Venice bridge indistinctly pencil signed, together with an unframed similar example

An etching on mirror depicting maiden and gentlemen on a beach, gilt framed and glazed, 34cm x 44cm

Sir Seymour Haden etching Kenarth: Original Agnew label to reverse, signed in pencil in margin, South Wales view with cattle & stream in landscape. 13cm x 16cm excluding mount or frame.

* Baillie (Captain William, 1723-1810). The Three Trees after Rembrandt, 1758, etching with drypoint and roulette on laid paper, fourth state (of 6), with the addition of lightning and monogram W.B. to centre of left margin, with short margins, plate size 210 x 280 mm (8.25 x 11 ins), sheet size 217 x 290 mm (8.5 x 11.5 ins), together with a reproduction on laid paper of Rembrandt's self-portrait in a feathered cap with plume, circa 1638, etching on laid paper without watermark, trimmed to plate mark, sheet size 137 x 102 mm (5.4 x 4 ins), both framed and glazedQty: (2)

* Attributed to Jerome David (circa 1605-circa 1670). Timur, from the series of Character Heads, circa 1637, engraving and etching on laid paper, trimmed just inside the plate mark, sheet size 221 x 188 mm (8.75 x 7.4 ins), together with: De Jode (Pieter, 1570-1634). Portrait of Albert, Archduke of Austria (1559-1621), 1621, etching on laid paper, a very good dark impression, with margins, collector's stamp of Count Clemens-Wensceslas de Renesse-Breidbach (1776-1833), Belgian officer, politician and collector (Lugt 1209)Qty: (2)

* Della Bella (Stefano, 1610-1664). La Perspective du Pont Neuf de Paris, 1646, etching on laid paper, laid down on backing card, some marks and wear to sheet edges, vertical crease to centre and towards the right side, laid down on card, sheet size 370 x 695 mm (14.5 x 27.5 ins), framed and glazedQty: (1)NOTESDe Vesme 850.

* Hollar (Wenceslaus, 1607-1677). The Angler, 1650, etching on laid paper, a very good impression of the second state, with added words to centre of lower blank margin: buyten Brussel, and with numeral 7 to lower right blank corner, also inscribed lower left Brüghel pinxit, and W: Hollar Fecit, ex Collectione Arundeliana, 1650, plate size 121 x 177 mm (4.5 x 7 ins), with margins, together with: The Four Windmills, 1650, etching on laid paper, a very good impression, probably from the second state, although the added text buyten Brussel and numeral 5 are no longer present due to trimming, trimmed to the border of the image, sheet size 110 x 170 mm (4.35 x 6.7 ins), both framed and glazedQty: (2)NOTESPennington 1214, ii/ii and 1215.

* Kolbe (Carl Wilhelm, 1757-1835). Das Gespräch, 1800 [or slightly later], copper engraving on heavy wove paper, some minor pale green spotting, trimmed to plate margins, sheet size 435 x 370 mm (17.1 x 14.6 ins), together with: Wooded Landscape with Huntsman, 3 Cows and 3 Sheep, etching on wove paper, trimmed to plate margins, inscribed to verso 'Chez Naudet Md au louvre, 1810', sheet size 330 x 264 mm (13 x 10.4 ins), hinge-mounted on modern cream backing card, plus 4 other similar etchings by Kolbe, various sizesQty: (6)NOTESProvenance (for the second work): Naudet, circa 1800, print dealer, Louvre, Paris (Lugt 1937). Jentsch 94, second state (for the second work), and Jentsch 7, 17, 55 & 56 (for the final 4 works).

* Leyden (Lucas van, 1494-1533). The Beggars (Eulenspiegel), 1520 [or later], etching and engraving on laid paper, with large indistinct watermark (possibly a crown and shield), left edge of the sheet with a few small nicks, with little or no loss, inscribed in ink to verso 'original Fountaine Walker 1867 extremely rare', sheet size 177 x 141 mm (7 x 5.6 ins)Qty: (1)NOTESProvenance: Fountaine Walker (1833-1892), Ness Castle, Inverness, Scotland (Lugt 4840). New Hollstein 159. Also known by the title Owlglass, as well as The Beggars.

* After Paul Bril (c.1553/54-1626). Five landscapes, early 17th century, etching & engraving on laid paper, including two by Johannes Sadeler (1550-1600) after Paul Bril, and one by Willem van Nieulandt (1584-1636) after Bril, and two others, each close-trimmed, image size 195 x 270 mm (7.75 x 10.75 ins) & smaller, framed and glazed, together with Sadeler (Jan or Johannes, the Elder, 1550-1600). Christ crowned with thorns, from The Passion of Christ (Passio verbigenae quae nostra redemptio Christi), circa 1580-90 , copper engraving on cream laid paper, after Marcus Gheeraerts the Elder (c. 1520-c. 1590), trimmed just outside the plate border, plate size 162 x 112 mm (6.4 x 4.4 ins), sheet size 166 x 116 mm (6.55 x 4.55 ins), window-mountedQty: (6)NOTESSadeler: Hollstein XXI, 213. The sixth of a thirteen-part series of ornament prints depicting the passion of Christ.

* Piranesi (Giovanni Battista, 1720-1778). Veduta della Piazza di Monte Cavallo, 1750 [or later], etching on thick laid paper, a strong impression, including one or two printing smudges, paper bears a watermark of a fleur-de-lys within a double-rule circle, surmounted by the letter B, plate size 391 x 547 mm (15.5 x 21.6 ins), sheet size 510 x 590 mm (20 x 23.25 ins), framedQty: (1)NOTESHind 15; Wilton-Ely 142.

* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ at Emmaus: The Larger Plate, 1654, etching with drypoint on laid paper, with indistinct watermark, New Hollstein's 4th state (of 5), signed and dated in the plate 'Rembrandt f 1654' to lower left, several minor nicks to blank margins (except one small tear to right hand margin with minor loss, just touching engraved area), hairline closed tear within the image towards centre of lower margin, with minute loss (approximately 1mm square), traces of adhesive to verso, and two paper mounting tabs to upper and lower left corners verso, plate size 209 x 160 mm (8.25 x 6.25 ins), sheet size 214 x 164 mm (8.5 x 6.5 ins)Qty: (1)NOTESBartsch 87; New Hollstein, iv/v; Hind 282. Christ at Emmaus: The Larger Plate depicts the biblical episode following Christ's resurrection when the two disciples present with him, recognise Christ for the first time, as he breaks and blesses the bread at the dinner table.

* Rembrandt Harmensz van Rijn (1606-1669). The Stoning of St. Stephen, 1635, etching on laid paper, a posthumous, late 18th century impression, reworked, by Claude Henri Watelet or Pierre-Francois Basan (1789) or his son Henri Louis Basan (1807), pale mount stain, plate size 95 x 85 mm (3.75 x 3.3 ins), sheet size 120 x 105 mm (4.75 x 4.1 ins)Qty: (1)NOTESHind 125; New Hollstein 140; Bartsch, Hollstein, Nowell-Ustike 97.

* Ribera (Jusepe de, 1591-1652). The Drunken Silenus, 1628, etching on laid paper, the second state (of 3), with address of Giovanni Orlandi, some surface marks and light soiling, trimmed just inside the plate mark, sheet size 268 x 344 mm (10.6 x 13.6 ins)Qty: (1)

* Saint-Aubin (Gabriel de, 1724-1780). Frontispiece for the Recuil de Poesies by Michel Jean Sedaine, 1757, etching on laid paper, the second, definitive state (of 2), with the etched name of the artist carefully removed, inscribed in brown ink to foot of lower blank margin Sedaine, plate size 142 x 85 mm (5.5 x 3.25 ins), sheet size 152 x 88 mm (6 x 3.4 ins), hinged to modern window-mountQty: (1)NOTESDacier 14a. Hollstein XXI, 213. The sixth of a thirteen-part series of ornament prints depicting the passion of Christ.

* Vorsterman (Lucas, The Elder, 1595-1675). Thomas Howard, Duke of Norfolk, after Hans Holbein, circa 1655, engraving on laid paper, with Strasbourg Lily watermark, trimmed just inside the platemark, a good, strong impression, sheet size 273 x 201 mm (10.8 x 8 ins), together with: [Loggan, David, 1635-1692]. The Effigies of the most magnanimous & thrise puisant George Duke of Albemarle Earle of Torrington. Baron Monck of Potheridge, Beauchamp. and Teys, circa 1670, etching on laid paper, a strong, dark impression, faint vertical crease where previously folded, with very short associated closed tear to lower margin, without loss, trimmed just inside the platemark, sheet size 270 x 215 mm (10.8 x 8.5 ins), plus other various 17th and 18th century prints, many portraits, including Crispijn de Passe (1564-1637), Portrait of Thomas Scott, 1624 (circa 1580-1626), radical Protestant preacher, Pieter van Sompel, Aureolus Theophrastus Bombastus von Hoheim (Paracelsus), circa 1630, engraving on laid paper, with foolscap, trimmed to plate mark, residue of mounting paper to corners verso, with some light associated skinning, sheet size 302 x 216 mm (11.9 x 8.6 ins), Willem de Passe (1598-circa 1637), Portrait of Darcy Wentworth, 1624, Wenceslaus Hollar (1607-1677), Mulai Al-Rashid (Muley Arsheid Zeriff, Prince of Taffeleta, Emperour of Marocco Fezz, 1670, etching on laid paper, trimmed just inside the platemark, Richard Gaywood (active circa 1650-1680), William Fairfax, 1656, etching and engraving on laid paper, trimmed to platemark, Michel Lasne (1590-1667), Francois de Bassompierre, George Vertue (1684-1756), Abraham Cowley, after Lely, John Bowles (1701-1779, publisher), Miss Eyebright, circa 1760s, mezzotint on laid paper, a 17th century engraved portrait on laid paper of King James I [reissued in 1798 by Robert Wilkinson, 'Engraved from a Scarce Print in the Possession of George Chalmers], etcQty: (24)