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Joseph Simpson (British, 1879-1930), portrait of Sir Frank Brangwyn, signed in pencil by the artist, limited edition uncoloured etching no. 59 of 75. 22 x 31cm approx, framed and glazed. (B.P. 24% incl. VAT)

J.L.Forain: Modern Masters of Etching, 1-Frank Brangwyn, 2-James McBey, and 4 J.L.Forain, 1924, 1925, the studio, leicester square, london.

Geoffrey Sneyd Garnier, coloured etching, windy landscape with figures, 12cm x 15cm, framed

George Huardel-Bly, coloured etching, Dutch landscape with figures, pencil signed, 22cm x 17cm, framed

EMILY S. FORD, a Bearded Man study and etching and other drawings and prints (on view at Fine Art)

FREDA MARSTON RA (1895-1949) etching - entitled 'In the Cotswolds, near Broadway', signed in full and with guild stamp, 20 x 24cms

Elyse Ashe Lord (1900-1971), The Water Carriers; Asian dry point etching, artist's signature to lower right, depicting three women carriers, a limited edition of which this is number 5/75, framed and glazed 39cm x 49cm. 

Pauline Clark etching of Geraint Evans as Dr Dulcamara in Donizetti's L'Elisir D'amore, Covent Garden, together with another similar and a photograph of the actor, all framed and glazed, the largest internal dimensions 39.5cm x 27cm (3)

Edvard Munch(Norwegian 1863-1944)NORWEGIAN LANDSCAPEetching sheet size: 10,5 by 15cm We believe that Stephan Welz & Co is the first auction house in South Africa to offer an artwork by the incomparable Edvard Munch. Munch is one of the great masters of Modernism and he is known for producing artwork that reveal and communicate inner turmoil and existential states. While Munch is known for The Scream and other stirring paintings which express the intricacies of human nature, the conflict, the confusion and the pain of existence, there is a fragility that Munch seemed better able to express through the medium of printmaking. Munch experimented with several printmaking techniques and he is credited with introducing woodblock prints to Norway. In 1902 Munch presented a body of work that presented several facets of human experience, which he called The Frieze of Life. The work brought the artist acclaim but while his career thrived, his physical and mental health deteriorated. In 1908, after several years of success, Munch began engaging in a number of activities that the artist seemed to be drawn to as a means of escapism that proved to be self-destructive. During this time the artist travelled relentlessly and drank to excess yet he has been described as experiencing chronic anxiety. Eventually the artist was committed into Dr Jaconson’s private clinic in Copenhagen for a number of months. Norwegian Landscape is an exceptional work, as it reveals the human experience at its most fragile and raw. Munch created the work in 1908, it is the first artwork that he produced after his nervous breakdown which occurred in the same year. This work is a testament to the courage of a soul, completely undone yet still compelled to put etching needle to copper plate in order to express himself. Graphologists claim that one’s handwriting can be altered directly after experiencing a trauma, this notion may be evident in this etching, the delicate lines that collectively form this etching seem tentative. Could this etching be a result of the artist testing whether his artistic abilities are still intact during a situation where those who have experienced a breakdown express a sensation of being mentally unravelled. Or, was the making of this print entirely out of a sense of compulsion, the action of creating an etching so familiar that the artist found it a comfort? In 1908 Munch sat down, very possibly in the garden at Dr Johnson’s private clinic and completed a landscape that depicts nature in its inclusion of two trees in the frground, as well as rolling hills in the background, but which still seems barren and devoid of life. The perspectival lines that depict the road or ditch, portraying an unceasing distance, such as that described by many experiencing personal anguish, the path back to normalcy seems endless. The landscape is overall stark, quiet, lonely, the black etched lines are sharp, like incisions on the paper. The composition is secluded except for the one small element of hope, a little cottage along the mid-right margin. The mere act of creating a piece of art may signal Munch’s first steps out of the mire of his breakdown. This is a work of courage. It depicts the boldness of an artist who has experienced hell and is unafraid to reveal the pain of the journey. While this print would have been a later state, it is difficult to say of which state it is a part as some catalogues refer to the work having two states, while others comment that three states were produced. The print was published by Paul Cassirer in Berlin in 1908. Source: Munchmuseet

A DECORATIVE ETCHING OF A SCOTTISH LOCH 11cm x 15cm, indistinctly signed and inscribed in pencil in the margin, together with further decorative watercolours, prints and photographs to include a set of three Japanese calendar prints in frames, Condition: the frames with marks, dents and scratches; the pictures generally in moderate condition overall

Rowland Langmaid, etching, The Cutty Sark, signed in pencil, 30 x 20cm and sundry unframed prints and drawings

Frederick James Aldridge (1850-1933), etching, Fishing boats off the coast, signed in pencil, 38 x 50cm

French school - On the Amanath Road', watercolour, unsigned but dated Aug 1928, 16 x 24 cm to/w French etching 'Orange Theatre Antique', 19.5 x 28 cm (2)

After Rembrandt - the artist's mother, etching, 14 x 13cm

Frank Brangwyn (1867-1956), Pont de Gard, signed in pencil 'Frank Brangwyn' (in lower margin), etching, 39 x 35.5cm. ARR

Frank Brangwyn (1867-1956), Browning's House, Venice, signed in pencil 'Frank Brangwyn' (in lower margin), etching, 70 x 45cm. ARR

Phil Greenwood (British, 20th Century), Furrows, signed, dated, titled and numbered in pencil 'Greenwood, 81, 187/250' (in lower margin), etching, 42 x 50cm, together with a certificate of authenticity from Christie's Contemporary Art.

Jan Volz (20th Century), Venus Rising, signed, numbered and titled in pencil, 'Jan Volz, 5/15', etching, 26 x 15cm, together with an artist proof etching, of Venus Rising and an etching of Parma - Piazza, Duomo by another hand, indistinctly signed, 18 x 24cm (3).

Leonard Russell Squirrell (1893-1979), Flatford Bridge; Willy Lott's Cottage, Flatford; a pair, signed and titled in pencil (in lower margin), etching, 21 x 30cm, together with a screenprint of Piazza San Marco, Venice, by Diana Armfield, 23 x 16cm (3). ARR

English School, 19th Century, A town harbour, watercolour, 11 x 16cm, together with eight prints of various scenes and by various hands, including an etching by T J Greenwood, an etching by Veronica Barge, two engravings of Portland, and five French fashion plate engravings (9).

LEON VERDIER (born Algiers 1866) 'Venice', view of the Santa Maria de la Salute, coloured etching, 12cm x 8cm, signed and framed.

Graham Clarke (born 1941) - Artist proof etching - "Gardener's Cottage", 13.5ins x 21ins, and two limited edition etchings - "St. Winiwalloes Dream", No. 47 of edition of 75, and "Dance by the Light of the Moon", No. 5 of edition of 50, all signed in full in pencil, and in gilt frames and glazed

David Morris (British Contemporary): 'Grape Lane Whitby', artist's proof etching signed and titled in pencil, Tony Hunter (British ?-2015): 'Sunday Doings', watercolour and ink signed, titled on label verso, Patricia Kitson (British Contemporary): Rock Pooling, watercolour signed, artist's address label verso, and Gordon Hurley (British 20th century): Coastal Cottages, watercolour signed, max 30cm x 39cm (4) Condition Report Click here for further images, condition, auction times & delivery costs

'A Cricket Match, Sussex V Kent, Played At Brighton Published 15th November 1836 By R Jarvis Covent Garden' (8cm x 35cm), Victorian steel engraving after Hogarth, a landscape etching by Andrew Watson Turnbull and a cartoon study of an Angler, 4

C Dickens, "Rydal Water English lakes", etching, titled in pencil, A P Huggill, A ruined abbey, monochrome print, and a collection of various etchings (30cm x 25cm) (8)

Susan F Crawford, Glasgow Cathedral. Etching, signed in pencil, in glazed frame with T&R Annan & Sons label verso, 22 x 31cm

Elyshe Ashe Lord, (1900 - 1971) Winter Garden, Coloured Etching, signed in pencil and numbered 5/75, in glazed frame with an Aitken & Dott label verso, 32 x 25cm

Elyshe Ashe Lord, (1900 - 1971) The Doll Woman, Coloured Etching, signed in pencil, in glazed frame, 20 x 18cm

Elyshe Ashe Lord, (1900 - 1971) Flowers From The Winter Garden, Coloured Etching, signed in pencil and numbered 13/75, in glazed frame with an Aitken & Dott label verso, 38 x 34cm

Elyshe Ashe Lord, (1900 - 1971) Mixed Flowers, Coloured Etching, signed in pencil and numbered 75/100, in glazed frame, (glass cracked) 32 x 31cm

Elizabeth Moriarty - Liberty Horses, Zippos Circus, etching, signed, titled and numbered 2/50 in pencil to the margin, 20x20cm

After Rembrandt - Scholar at his desk, etching, 17x15cm

Thomas Hamilton, 7th Earl of Haddington; Sir William Forbes, 6th Bt; Sir James Hunter Blair, etching print after John Kay , 1785. [frame-29x22cm]

A 19th century etching depicting horse and wagons signed George Soper in Pencil.

Henry Batley (1846-1932), etching depicting Ellen Terry (1847-1928) as Lady Macbeth, signed by the artist and actress, 21.5cm x 37cm, housed in a glazed oak frame, two books, Ellen Terry, "The Story Of My Life", Roger Manwell, "Ellen Terry, a Biography" (3)

A MID-17TH CENTURY ETCHING of the East Front of "Old St Paul's Cathedral" London, in the style of Wenceslaus Hollar or Daniel King, 25cm x 18cm, close plain mounted, in slender black frame, together with TWO OTHER ARCHITECTURAL PRINTS, to include the Palace and Amphitheatre of "Caesar", and the Temple and Prospect of Balbec

HENRY WILKINSON "Golden Retriever and English Partridges", limited edition 21 of 100, etching, signed and numbered in pencil, 27.5cm x 37.5cm, mounted in a glazed gilt decorated frame, and a similar Sportsman with "Golden Retriever Retrieving a Phea sant", No.42 of 150, 16.5cm x 19cm, mounted in glazed oak frame (2)

* Della Bella (Stefano, 1610-1664). Temple of Concord and Roman Forum, from the series Sei Grandi Vedute, circa 1656, etching on laid paper, with watermark of bunch of grapes, the rare proof before addition of the printed inscription to lower margin, very small hole towards upper left corner, generally in very good condition, plate size 305 x 273 mm (12 x 10.75 ins), with narrow margins, sheet size 310 x 280 mm (12.25 x 11 ins)Qty: (1)NOTESDe Vesme 835 first state (of 5). According to Jombert 'supérieure à tout ce qui a paru de lui depuis son retour de France' (Essai d'un catalogue de l'oeuvre d'Etienne de la Belle, Paris, 1772, pages 183-184. According to Robin Halwas, the first state of this etching, 'an artist's working proof before addition of inscription, reputedly survives in a unique impression (in Vienna, Albertina)'. See robinhalwas.com/200207-stefano-della-bella-suite-of-six-etchings-of-rome-and-the-roman-campagna, online.

* Simon (Jean Pierre, circa 1750-circa 1810). Titania, Queen of the Fairies, Bottom, Fairies Attending (Shakespeare, Midsummer Night's Dream, Act IV, Scene I), mezzotint and aquatint on wove paper , published by J. & J. Boydell at the Shakespeare Gallery, Sept. 29, 1796, a few minor marks and pale toning to margins, margins close-trimmed, sheet size 498 x 635 mm (19.6 x 25 ins), together with: Ryder (Thomas, Senior, 1746-1810, & Ryder, Thomas, Junior). Oberon, Queen of the Fairies, Puck, Bottom and Fairies Attending (Shakespeare, Midsummer Night's Dream, Act IV, Scene I), 1803, etching and stipple engraving on wove paper, published by J. & J. Boydell, at the Shakespeare Gallery, Decr. 1, 1803, some marks and overall discolouration, margins close-trimmed, plate size 495 x 630 mm (19.5 x 24.75 ins), sheet size 504 x 643 mm (19.8 x 25.3 ins), matching later frames, glazedQty: (2)NOTESWeinglass 118 & 119.

* Goya (Francisco de, 1746-1828). Disparate Pobre (Two Heads are Better than One), plate 11 from Los Proverbios, etching with aquatint on pale cream laid paper, from the third edition published in 1891 for the Real Academia, Madrid, in an edition of 100 copies, numbered 11 to top right corner, plate size 245 x 350 mm (9.7 x 13.75 ins), sheet size 310 x 435 mm (12.2 x 17.2 ins), framed and glazedQty: (1)NOTESDelteil 212; Harris 258.

* Hogarth (William, 1697-1764). O the Roast Beef of Old England, &c., 1749, etching and engraving on laid paper, the second state (of 2), by Charles Mosley and William Hogarth, a good strong impression, a few light marks and pale toning to sheet edges, minor vertical hairline crease to centre of the image, plate size 385 x 460 mm (15 x 18 ins), sheet size 475 x 640 mm (18.5 x 25.25 ins), window-mountedQty: (1)NOTESPaulson 180, ii/ii.

* Hollar (Wenceslaus, 1607-1660). Hascomb Hill, etching on laid paper, a good dark impression of the first state, trimmed just inside the plate border, sheet size 80 x 134 mm (3.2 x 5.3 ins), window-mountedQty: (1)NOTESPennington 950 i/iii; New Hollstein (Hollar part II) 461 i/iii.

* Kauffmann (Angelica, 1741-1807). Woman Resting Her Head on a Book, 1770, etching and aquatint printed in brown on off-white laid paper, some light spotting, plate size 192 x 158 mm (7.5 x 6.25 ins), with margins, framed and glazed (unexamined out of frame)Qty: (1)Condition Report: This work is in generally good condition with no major defects.  The sheet is lightly spotted overall.  There is a small circular blemish towards the upper right corner, and a short closed tear towards the lower portion of the right hand margin, which has been restrengthened with paper to verso. There is some light discolouration to the top blank margin, caused by the mounting. The blank margins have been somewhat trimmed, with the sheet size measuring 208 x 177 mm (8.2 x 6.9 ins).NOTESAndresen, Deutsche Peintre-Graveur, 31. Sometimes thought to be a depiction of the artist herself.

* Piranesi (Giovanni Battista, 1720-1778). Carceri d’Invenzione, plate IV, circa 1749 [but later], etching on heavy pale cream laid paper, with plate number (IV) to upper right corner of the image, and signature Piranesi F. to lower right corner of the image, the later re-issue of the second state, probably early 20th century, a very good, strong impression, central horizontal crease where previously folded, plate size 550 x 413 mm (21.5 x 16.25 ins), sheet size 815 x 550 mm (32 x 21.6 ins)Qty: (1)NOTESHind 4.

* Piranesi (Giovanni Battista (1720-1778). Catalogo delle Opere date finora alla luce da Gio. Battista Piranesi, circa 1769, etching on laid paper, a good, dark impression, several light creases, some marks, creasing and soiling mainly to blank margins, with a few associated closed tears, plate size 400 x 297 mm (15.75 x 11.75 ins), sheet size 500 x 420 mm (19.7 x 16.5 ins), together with a single sheet portion only of the Pianta di Roma e del Campo Marzo, circa 1774, consisting of the lower portion of the design only, with the 3-line title to the index but not the index itself at foot (some damage)Qty: (2)NOTESFocillon 1. 27 states of this catalogue of Piranesi's works are known. The present example lists up to 90 of the Vedute di Roma, ending with the Avanzi del Tempio del Dio Canopo nella Villa Adriana in Tivoli, which was issued circa 1769.

* Vasi (Giuseppe, 1710-1782). Monastero, e Chiesa di S. Egidio in Trastevere delle Suore Carmelitane, Chiesa e Monastero di S. Maria Annunziata, delle Suore Domenicane Neofite, Monastero, e Chiesa della SS. Annunziata delle Religiose Turchine, & Collegio de Neofiti, from Delle Magnificenze di Roma Antica e Moderna, Rome, 1747-1761, together 4 etchings on laid paper, numbered 147, 150, 157 and 169 respectively, each with narrow margins, plate size 220 x 337 mm (8.7 x 13.3 ins), sheet size 235 x 350 mm (9.25 x 13.75 ins), or very similar, together with: Bolswert (Boetius Adamsz, 1580-1633). Landscapes with Farmhouses after Abraham Bloemaert, 1613-14, 3 etchings on cream laid paper, each with posthorn watermark, being plates 8, 15 and 18 from the set of 20 landscapes by Bolswert after Abraham Bloemaert (Hollstein 338-357 for the set), each with wide margins, plate size 151 x 243 mm (6 x 9.5 ins), sheet size 233 x 317 mm (9.2 x 12.5 ins) or very similar, plus a duplicate of plate 8 from the same series, trimmed to plate margin, and laid down on modern card, and Swanevelt (Herman van, 1600-1655). The Little Waterfall, etching on laid paper (Bartsch 80; Hollstein 106, IV), trimmed to plate margins, and tipped onto old laid backing paper, 182 x 277 mm (7.1 x 10.9 ins), plus other various Old Master prints: 16 etchings on laid paper by Abraham van Diepenbeeck (1596-1675), from Michel de Marolles Tableaux du Temple des Muses (Paris, Nicolas Langlois, 1655), some full sheet, others trimmed to margins and mounted on old card, and 5 others various (Weisbrod after Pieter Bout, Le Chasseur prenant des forces, Ridinger, Die Wilde Sau oder Schwein, William Barnard after John Meheux, View of Hopping Dick's House, mezzotint, Fantetti after Raphael, Extendit Moyses manum contra mare, and Eynhoudts after Rubens (the last two with some damage to margins), various sizesQty: (30)

* Scolari (Stefano, active circa 1650-1687). The Wedding Feast at Cana, etching on two sheets of laid paper, some marks and scattered water stains, trimmed to the image, laid down on old backing paper, sheet size 399 x 644 mm (15.7 x 25.3 ins), together with other various Old Master prints, various, including Wenceslaus Hollar, Spring, and Winter, from The Four Seasons, 1641, etching on laid paper, with watermark, both trimmed inside the plate mark, some overall browning and one or two marks to margins, sheet size 247 x 176 mm (9.75 x 6.9 ins), two further etched portraits of Lady Guildedord and Lord Anthony Denny by Hollar after Holbein, 1647, Sebastien Vouillemont after Raphael, The Supper at Emmaus, 1642, A.V. Hoorn after Rubens, Venus and Mars, Pieter van der Borcht (1530-1608), Adam Naming the Animals (Genesis II, 20), Lucas van Leyden, Saint with a Setsquare (with some damage), Johann Theodore de Bry after Abraham Bloemaert, The Golden Age, etc., mostly 16th & 17th centuryQty: (19)

* Woollett (William, 1735-1785). Jacob and Laban, or Le Grand Pont, after Claude Lorrain, 1783, etching on laid paper, the fifth state, as published by John Boydell, October 29th, 1783, a very good impression with contrast, plate size 560 x 780 mm (22 x 30.75 ins), with wide margins, 19th century black and gilt frame, glazed (unexamined out of frame)Qty: (1)NOTESFagan, Catalogue Raisonné of the Engraved Works of William Woollett, Fine Art Society, 1885, CXVI.

* Dobie (James, 1849-1923). Circe offering the cup to Ulysses, after Johh William Waterhouse (1849-1917), etching on off-white wove paper, as published in the Magazine of Art, circa 1880s, plate size 25.5 x 15.75 cm (10.2 x 6.3 ins), with margins, period gilt wood frame, glazed, with Maas Gallery printed labels to verso, together with Fata Morgana, after George Frederick Watts (1817-1904), etching on pale cream wove paper by James Dobie after G.F. Watts, as published in the Magazine of Art, 1893, plate size 26 x 18.5 cm (10.25 x 7.4 ins), period ebonised wood and gilt frame, glazed, with Maas Gallery label to versoQty: (2)

* After Gustav Doré (1832-1883). Paolo and Francesca, by Francis Holl, London: Beeforth & Fairless, 1871, etching, engraving, and stipple, depicting Paolo and Francesca loosely enveloped in flowing drapery and carried through the air together, with other damned souls blown in a stream behind them, and Dante and Virgil on a rocky outcrop below, a few light fox spots, Printsellers As sociation oval blindstamp lower left below image, signed in pencil to lower margin by Doré and Holl, image size 43 x 30.5 cm (17 x 12 ins), mountedQty: (1)NOTESA scene taken from Dante's Divine Comedy , Inferno , Canto V.

* After Jean-Jacques Henner (1829-1905). Une Creole, 1888, etching on pale cream laid paper by Mademoiselle Poynot after Henner, printed by A. Salmon & Ardall, Paris, image size 24.9 x 18.6 cm (9.85 x 7.35 ins) with margins, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to versoQty: (1)

* Cameron (David Young, 1865-1945). Isles of Loch Maree, 1923, etching with drypoint in black on thin tissue paper, with plate tone, signed in pencil, plate size 17.5 x 35.2 cm (6.9 x 13.8 ins), sheet size 20.8 x 36.5 cm (8.3 x 14.5 ins), tipped-on to backing cardQty: (1)NOTESRinder (1932) 469, iv/vi.

* Cezanne (Paul, 1839-1906). Guillaumin au Pendu, 1873, etching on cream wove paper, plate size 156 x 117 mm (6.2 x 4.6 ins), sheet size 278 x 188 mm (11 x 7.5 ins), together with: Israels (Joseph, 1824-1911). Huiswaarts (Homeward Bound), etching on cream laid paper, signed in brown ink to lower left, plate size 135 x 95 mm (5.35 x 3.7 ins), sheet size 222 x 156 mm (8.8 x 6.3 ins) plus other 19th century etchings by Richard Redgrave (Ministering Angels, 1857), D.C. Read (The Shepherd, signed in pencil, and In The Mountains), Arthur James Lewis (The Shepherd, Waterfall, 1861 and A Country Walk, 1861), & F. Powell (The Rainbow, 1861)Qty: (9)NOTESCherpin 2 for the first work.

* Daubigny (Charles Francois, 1817-1878). Le Chant du Coq (L'Aube), etching, a proof before letters, plate size 172 x 137 mm (6.75 x 5.4 ins), with margins, framed and glazed, with label of The Little Gallery, 5 Kensington Church Walk, London to verso, together with: Clair de Lune a Val Mondois, 1877, etching on laid paper, the 4th state (of 4), printed by A. Cadart, Paris, and published in the Gazette des Beaux-Arts, in 1878, plate 170 x 236 mm (6.7 x 9.3 ins), sheet size 179 x 268 mm (7 x 10.5 ins), hinged onto 20th century window mount, plus five other various etchings: Stephen Gooden (1892-1955), The Dairy Maid and the Jar of Milk (The Fables of Jean de la Fontaine), 1931, fine impression of the 4th and final state (Dodgson 76), Joseph Pennell (1858-1926), Venice, 1883, etching, as published in The Portfolio, Marcellin Desboutin (1823-1902), Portrait of Puvis de Chavannes, 1895, original etching with drypoint (Clement-Janin 204), 2nd state (of 2), with title, from the edition of 360 on wove paper published by Floury in 1922, Francis Ernest Jackson (1872-1945), Portrait of the Artist's Wife, 1907, lithograph, as published in The Neolith in 1907, and Theo van Rysselberghe (1862-1926), Henri de Regnier, 1898, lithograph on cream laid paper, watermarked Van Gelder Zonen, as published in Pan, volume 4, number 1, 1898, all window-mounted, most with William Weston Gallery label to verso of the mountQty: (7)NOTESDelteil 91 & 127 for the first and second works.

ARR * Drury (Paul, 1903-1987). September 1928, etching on wove paper, depicting two countrywomen and a small girl picking apples beside a thatched cottage, oast houses, and sheep, the second printing published by Garton & Cooke in 1987, in an edition of 100 impressions, signed in pencil lower right below image and numbered 17/100 lower left, crease to lower blank margin, plate size 10 x 12.8 cm (4 x 5 ins), sheet size 24.5 x 28.5 cm (9.75 x 11.25 ins)Qty: (1)NOTESGarton 24.

* Dunoyer de Segonzac (Andre, 1884-1974). Nu Accroupi, etching on paper, an artist's proof, signed and inscribed 'epreuve d'artiste' in pencil, toned and spotted, plate size 8.1 x 17.2 cm (3.25 x 6.75 ins), with handwritten inscription by the artist in French to verso 'Pour Miss Melville. En souvenir des gentils et exquis divers du Mas Sainte Anne à Saint-Tropez. Très amicalement. A. Dunoyer de Segonzac Juilliet 1948', and circular ink stamp 'A.D.S. Paris', mounted, framed and glazedQty: (1)

* Griggs (Frederick Landseer, 1876-1938). Fen Monastery, 1923, etching on cream laid paper, a very good impression, being one of 44 impressions of the sixth state, signed in pencil lower right, with Dovers House Press stamped monogram to verso, numbered 3 in ink, short margins, plate size 165 x 247 mm (6.5 x 9.8 ins), sheet size 172 x 253 mm (6.8 x 10 ins), window-mountedQty: (1)NOTESComstock 31.vi. With original wrapping paper and label of William Weston Gallery.

* John (Augustus, 1868-1961). Lady with fur tipped cape, etching on cream paper, the first state (of 2), plate size 90 x 76mm (3.5 x 3 ins), with margins, framed and glazed, with Leicester Galleries exhibition label to versoQty: (1)NOTESCampbell Dodgson 39 i/ii. Exhibited: Etchings by W.R. Sickert and Engravings, Etchings & Lithographs by 19th & 20th Century Masters, Leicester Gallery, December 1967, number 87.Condition Report: This print is in generally good condition, with the printing strong and well-defined.  There is, however, some marks and soiling to the sheet of paper, which has been archivally restrengthened to verso, particularly around the lower edges. By holding the paper up to a light, one can see some areas of paper thinning to the lower left and lower right margins, and to the upper left and right corners. There is also a slight crease running into the image to the upper left.  The paper sheet measures 137 x 110 mm.

* Kinney (Troy, 1871-1938). Roshanara - from Nautch of India, Ratan Devi accompanying, etching with drypoint, signed in pencil and numbered 27/50, 22 x 31 (8.75 x 12.25 ins), together with "Rehearsal - Mr Alexander Gavrilov and Miss Geraldine Spencer" and "Footlight - Fantasy from poses by Miss Cecilia d'Andrea and Mr Harry Walters", both signed in pencil and framed & glazed, plus "Doris Niles - Moment in Fandanguillo", etching with drypoint, signed in pencil, 32.8 x 24.8 cm (12.5 x 9.75 ins), and three other drypoint etchings by Kinney: "Sophie Pffariz in Cleopatra from the Dance of Jewesses" limted edition 88/92, "Zephyr - Fantasy" limited edition 87/120 and "Summer Day - Fantasy", all signed in pencil, all framed & glazedQty: (7)

* Liebermann, (Max, 1847-1935), Badende Knaben, 1904. etching on thick wove paper, plate size 180 x 240 mm (7 x 9.5 ins), sheet size 318 x 450 mm (12.5 x 17.75 ins), together with six other etchings and lithographs by various artists: Walter Leistikow (Markische Landschaft), Max Klinger (Weiblicher Akt), Leopold von Kalckreuth (Rubenarbeiterinnen), Arthur Kampf (Taubenliebhaber), Hans Herrmann (Dordrecht) & Ludwig von Hofmann (Springende Madchen), all published by the Deutscher Kunstverein zu Berlin, 1904-1905, all unsigned, with printed name and title, and initials DRV to lower margin of each print, occasional minor marginal spotting and one or two light marginal creases, similar sizes, loosely contained in original publisher's cloth portfolioQty: (7)