We found 78388 price guide item(s) matching your search

Harold Wyllie (1880-1975) Etching /Aquatint, "Shpping in an Estuary" pub 1926, 16 x 43cm

Frank Gillett, signed in pencil to margin, Etching, "All on the Line" (hounds chasing across an open field), 30 x 37cm

TIMOTHY CRANZEN, 'Alice in Wonderland', etching, signed, inscribed and dated 1992, 15.5cm square. together with one other proof print, a stylised face in red, inscribed, 17.5cm x 12.5cm, both unframed (2)

ROWLAND LANGMAID (1897-1956): A framed, glazed and mounted etching depicting Westminster Bridge over Thames, foxed, pencil signed lower right, 11.5cm x 37cm

A coloured etching of horses and riders originally painted by J Pollard, 34cm x 47cm

HAROLD WYLLIE (1880-1973): A framed, glazed and mounted etching, seascape with vessel in foreground, 13cm x 36cm

An original monochrome etching "Freiburg Minster", by S. Willers signed in pencil lower right, and verso on the mount, 18cm x 13cm

* Girelli (Pietro Paolo, circa 1685-circa 1750). Prospetto interno ed esterno dell antico tempio Romano detto Pantheon, oggi Chiesa della Rotonda, Rome, Carlo Losi, 1773, etching with engraving on pale cream laid paper, after Giuseppe Tiburzio Vergelli, a good, strong impression, some light toning (generally in very good condition), plate size 46 x 68 cm (18 x 26.75 ins), sheet size 525 x 740 mm (20.75 x 29.2 ins), together with: Antiquum Amphiteatrum una cum Triumphali Arco Flavium Romae erectum, Rome, Carlo Losi, 1773, etching and engraving on laid paper, after Giuseppe Tiburzio Vergelli, depicting the Colosseum and the Arch of Constantine, some toning, plate size 43 x 67.5 cm (17 x 26.5 ins), sheet size 50.5 x 74.5 (19.8 x 29.25 ins), matching modern gilt frames, glazedQty: (2)NOTESThe view of the interior and the exterior of the Pantheon, here published by Carlo Losi in 1773, and dedicated to Carlo Borromeo, is based on an engraving first published by Matteo de Rossi in 1692.

* Vasi (Giuseppe, 1710-1782). Il Prospetto principale del Tempio e Piazza di S. Pietro in Vaticano, e Palazzo Pontificio, 1774, fine etching with engraving on two conjoined sheets of laid paper, a very good impression, plate size 705 x 975 mm (27.75 x 38.4 ins), sheet size 730 x 1005 mm (28.75 x 39.5 ins), black and gilt frame, glazedQty: (1)

* Stubbs (George). [A Horse Affrighted by a Lion] Geo. Stubbs, No. 24 Somerset Street, Portman Square, London, 25th September 1777, uncoloured etching, small margins, slight mount staining, margins neatly re-enforced on verso, plate size 37 x 48 cm, sheet size 39.5 x 49.5 cmQty: (1)NOTESC. Lennox Boyd. George Stubbs. The Complete engraved works, no. 59, state IV. Stubbs's first separately published print. A good dark impression with strong contrast.

* Turner (Joseph Mallord William, 1775-1851). The Source of the Arveron in the Valley of Chamouni, Savoy, 1816, etching and mezzotint on pale cream laid paper, by Turner and Henry Dawe (1790-1848), a proof with strong, dark contrasts, trimmed to the image, without the engraved title and publication line, sheet size 185 x 262 mm (7.25 x 10.3 ins), tab-mounted in large card window-mount (65 x 51 cm, together with: Lake of Thun, Swiss (Liber Studiorum, part III, plate 15), published June 10, 1808, etching and mezzotint by J.M.W. Turner and Charles Turner (1774-1857), printed in brown ink, an engraver's proof on pale cream laid paper, a fine clean impression, trimmed to image, without the printed title and publication line below, sheet size 180 x 260 mm (7.1 x 10.25 ins), tab-mounted in large pale cream card window-mount (65 x 51 cm)Qty: (2)NOTESFrom the Liber Studiorum [1807-1819], Part XII, Plate 60 and part III, plate 15, respectively. Turner distilled his ideas about landscape in his Liber Studiorum, a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Charles Turner here added mezzotint to describe a Swiss mountain lake agitated by an approaching storm, with a distant lightning strike causing figures in the foreground to hurry for cover.

* Palmer (Samuel, 1805-1881). The Herdsman’s Cottage or Sunset, 1850, etching, a fine, atmospheric impression of the second (final) state, after the plate was reduced and with the addition of the artist’s initials, published as Sunrise in The Portfolio, November, 1872, on firm laid paper, with full margins at left, right and bottom, with some light and mount-staining mostly around the platemark and at the upper and extreme right sheet edges, a few foxmarks in the upper margin, minor abrasion to the left sheet edge due to removal of old tape, otherwise generally in good condition, plate size 124 x 102 mm, sheet size 306 x 218 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Lister E3.

* Palmer (Samuel, 1805-1881). The Early Ploughman or The Morning Spread upon the Mountains, 1861, etching, a fine, atmospheric impression of the fifth state (of nine), printing with rich contrasts, before the re-biting of the sixth state, on firm laid paper with a partial watermark upper left, with margins, slightly unevenly trimmed within the platemark, etched surface, 128 x198 mm, sheet size 160 x 250 mmNOTESProvenance: Collection of Oliver Hoare (1945-2018). Lister E9.

* Palmer (Samuel, 1805-1881). The Skylark, 1850, etching, a fine, atmospheric impression of the sixth state (of eight), before the plate was cut down in the seventh state, printing with clarity and contrasts, on Chine collé on thick wove paper, pale mount-staining to the wove support sheet, generally in very good condition, unframed, plate size 125 x 115 mm (etched surface 100 x 73 mm), Chine collé 118 x 110 mm, sheet size 282 x 210 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Sold at Swann 8 May 2008 for approx. £2,200. Lister E2.

* Manet (Édouard, 1832-1883). Chapeau et Guitare, Frontispiece to Le Cahier des Quatorze Eaux-fortes, etching, roulette and aquatint printed in bistre, 1862-1874, on laid paper with a fleur de lis within cartouche with pendant initials watermark, a fine, strong impression of the fourth (final) state, printing with plate tone, published by Alfred Strölin, 1874, with margins, a few small losses at the right sheet edge, pale mount staining verso faintly visible recto, generally in very good condition, plate size 228 x 218 mm, sheet size 452 x 320 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Guérin 62; Harris 39.

* Buhot (Félix-Hilaire, 1847-1898). La Dame aux Cygnes, 1879, etching, drypoint, roulette and stipple engraving, on Arches laid paper, a very good, atmospheric impression of the third (final) state, printing with plate tone, unwiped borders and inky plate edges, with the artist’s stamp printed in red (Lugt 977), with full margins at left, right and bottom, a foxmark in the lower margin, in very good condition, plate size 131 x 181 mm, sheet size 315 x 445mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018), purchased from Swann Galleries, September 22 2016, lot 47. Bourcard & Goodfriend 144.

ARR * Brockhurst (Gerald Leslie, 1890-1978). Nadia, 1921, etching on laid paper, with Britannia watermark, from the published edition of 55 impressions, signed in pencil, a very good impression, with full margins, additionally inscribed in pencil in a different hand 'Nadia, pubd state', outer blank margins with some handling marks (probably by the printer or artist), plate size 13.9 x 11.2 cm (5.5 x 4.5 ins), sheet size 202 x 170 mm (8 x 6.7 ins), framed and glazedQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Wright 26, x/x.

* Cameron (David Young, 1865-1945). The Chimera of Amiens, 1910, etching with drypoint, signed in pencil, printed in bistre ink on fine laid paper with a partial Pro Patria watermark, a fine, atmospheric impression of the fourth state (of seven), after the addition of the oval frame, printing with much plate tone, with narrow margins, plate size 244 x 183 mm, sheet size 258 x 194 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee (2018). Rinder 415.

* Hill (Frank, 1881-1981). Synthesis; and Salome, 1920, etching, a fine, rich and tonal impression, printing with plate tone, on wove paper, signed in pencil, numbered ‘32’ lower left (edition unknown), with margins, traces of printer’s ink in the lower margin, in very good condition, a pale waterstain verso faintly discernible in the upper margin recto, generally in very good condition, plate size150 x 225 mm, sheet size 217 x 262 mm; with Salome, wood engraving, on tissue-thin Japan with wirelines, a good, strong impression, signed and numbered 2/8 in pencil, with margins, untrimmed at the left sheet edge, one or two minor foxmarks at the lower sheet edge, generally in very good condition, image size 152 x 104 mm, sheet size 198 x 142 mm; and The Lady and the Unicorn by Thomas Sturge Moore, wood engraved book plate, on wove paper, a very good proof impression printing with strong contrasts, signed in pencil and inscribed ‘BOOK PLATE’, with margins, image size 88 x 89 mm, sheet size 112 x 112 mmQty: (3)NOTESProvenance: Collection of Oliver Hoare (1945-2018); Elizabeth Harvey Lee.

ARR * Holloway (Edgar, 1914-2008). Mr Marshall, Basket Maker, 1937, etching, on fine antique laid paper, signed, titled and numbered in pencil: ‘3/6 Mr Marshall, Basketmaker / Edgar Holloway’, bearing pencil annotations ‘Edition of 6 only / 1937’, with margins, trimmed somewhat unevenly at the right, some pale mottled paper discolouration throughout, a pinhole at upper right, otherwise generally in good condition, plate size 213 x 150 mm, sheet size 243 x 180 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee (February 2018). Meyrick 122.

* Larkins (William Martin, 1901-1974). Bush House, New York, 1927, etching and engraving printed in bistre, on buff, fibrous Japan paper, a very good, strong proof impression of the fourth (final) state aside from the edition of 10, inscribed in pencil by the artist ‘State 3 Imp 4’, with full margins, a faint water stain in the left and right margins, the lower right corner tip lost, unobtrusive pinholes in the margins, mounting tape at the upper sheet corners verso faintly visible recto, otherwise generally in good condition, plate size 234 x 126mm, sheet size 234 x 126 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Jennings Fine Art, May 2017. A gift from the artist’s wife, Maurya Larkins, to the previous owner. Cooke 49; Garton 248.

* Strang (Ian, 1886-1952). Place St André des Arts, Paris, etching, a fine, bright impression printing with clarity and contrasts, and with a light plate tone, on laid paper, signed in pencil, one of 75 proofs, with full margins, traces of inky fingerprints at the sheet corners, residual mounting tape at the upper sheet corners, a small associated abraded spot at the upper left sheet corner, in very good condition, plate size 187 x 238 mm, sheet size 265 x 397 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). This work was sold in these rooms, 15 June 2017, lot 476

ARR * Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on fibrous buff wove paper, a very good, rich and tonal impression of the fifth (final) state with the signature added in the plate, signed in pencil and dated in Roman numerals, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, trimmed slightly unevenly, in very good condition, a band of barely discernible mount staining and two tiny brown rustmarks (?) recto and verso, remains of old tape at the upper sheet corners, plate size 132 x 185 mm, sheet size 214 x 288 mmQty: (1)NOTESProvenance: John Camfield Collection; Sold in these rooms on 16 October 2015, The John Camfield Collection of British Etchings 1850-1980, lot 68; Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee. David Ogg, ‘The Etchings of Graham Sutherland and Paul Drury’ in Print Collectors Quarterly, Vol. XVI, Part 1, 1929, see pp. 76–100, illustrated page 80; Douglas Cooper, The Work of Graham Sutherland, 1961, p.69, reproduced plate 3a; Raymond Lister, Samuel Palmer and his Etchings, 1969; Felix H. Man, Graham Sutherland: das graphische Werk 1922–1970, 1970, No. 24, reproduced. Tate Britain holds an impression of this work in the same state (Inventory no. PO2066). The plate was destroyed by 1928.

ARR * Tanner (Robin, 1904-1988). March, 1981, etching, a very good impression of the third (final) state, signed, inscribed and titled in pencil ‘Robin Tanner fec. et imp. / “March”, published in an edition of 25 by Garton and Cooke in 1984, on wove paper, with margins, a couple of small brown stains in the lower margin, one or two soft creases in the left margin (one extending into the subject) and at the lower right sheet corner, otherwise in very good condition, plate size 247 x 195, sheet size 358 x 294 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); sold in these rooms 15 June 2017, lot 477. Garton 42.

ARR * Tanner (Robin, 1904-1988). The Old Thorn, 1975, etching, a very fine, richly inked impression of the fourth (final) state, published in an edition of 12 by the artist (there was also a ‘Woodland Plants’ book edition of five, published by Robin and Garton Ltd in 1981, and a further edition of 25 published by Garton & Cooke), on laid paper with an F.J. Head & Co. Sudarium watermark, signed, dated and inscribed in pencil ‘Robin Tanner fec. etching ‘76.’, with margins, in very good condition, old adhesive staining at the upper sheet corner tips, plate size 98 x 148 mm, sheet size 182 x 244 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018), Elizabeth Harvey Lee (purchased February 2018). Garton 34.

ARR * Tanner (Robin, 1904-1988). The Wicket Gate, 1977, etching, a very good, bright impression of the third (final) state, from the edition of 49 by Robin Garton, 1978, signed, dated, titled and inscribed in pencil ‘Robin Tanner fec. et imp. 78. / ‘’The Wicket Gate.” / the gate at the entrance to Sydney’s Wood, Kington Langley, used by the diarist, the Rev. Francis Kilvert.’, on thick wove paper, with margins, in very good condition, plate size 170 x164 mm, sheet size 270 x 268 mmQty: (1)NOTESProvenance: John Camfield Collection; Sold in these rooms on 16 October 2015, The John Camfield Collection of British Etchings 1850-1980, lot 49; Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee (February 2018). Garton 37.

ARR * Tanner (Robin, 1904-1988). White Violets, 1973, etching, a fine impression, printing with rich contrasts, signed, dated and inscribed ‘Robin Tanner fec. et imp. ’73 / White Violets: Presentation Plate, 1973, for The Print Collectors’ Club. Printed at Kington for Beano & / Robin, on paper made in 1795.’, one of ten artist’s proofs (according to an inscription on the mount) aside from the edition of 150 published by the Print Collector’s Club, on fine laid paper with watermark Initials VI, with margins, a nick at the right sheet edge, very pale mount-staining, otherwise in very good condition, plate size 125 x 100 mm, sheet size 218 x 166 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee (February 2018). Garton 28. Garton does not mention the ten artist’s proofs. He notes that although a couple of impressions were inscribed ‘first state’, it was not possible to distinguish between states from the artist’s biting notes.

ARR * Tanner (Robin, 1904-1988). Wiltshire Hedger, 1928, etching, a fine, rich impression of the first state (of three), before the vertical shading on the façade of the house and the bank before it (the second state was published by Nicholson in an edition of 50 in 1928, while the third state was published in an edition of 12 by Garton & Cooke), signed and dated in pencil, bearing the title ‘The Hedger’ in pencil lower left, on J W Whatman 18th century laid paper with his proprietary watermark, the full sheet, traces of inky finger prints at the sheet corners, an area of residual adhesive verso and old adhesive tape at the upper reverse sheet corners, generally in good condition, plate size 100 x 148 mm, sheet size 198 x 268 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee (April 2018). Garton 7.

* Boyd (Kit, 1970-). The Shining Path, Man on a Laptop (Early Morning), and Night on the Lane, 2012, etching with aquatint printed in dark blue, on thick wove paper, a fine, fresh impression, signed, titled and inscribed and numbered by the artist in pencil ‘E/V III/X’, one of ten impressions printed in blue from a total edition of 40, with margins, in excellent, fresh condition, plate size 195 x 245, sheet size 298 x 400 mm, together with: Man on a Laptop (Early Morning), etching with aquatint printed in browns, on wove paper, a fine, fresh impression, signed, titled, and numbered 27/30 in pencil, with margins, a deckle edge at the bottom, in excellent, fresh condition, image size 145 x 207 mm, sheet size 265 x 360 mm, plus: Night on the Lane, etching and aquatint, on firm wove paper, signed, dated and numbered 30/30 in pencil, with margins, in excellent, fresh condition, image size 200 x 256 mm, sheet size 300 x 358 mm, and: Adair (Hilary, born 1943), Siesta, 1990, etching with aquatint printed in yellow ochres, browns, and green, a fine, fresh impression, on firm wove paper, signed, titled and numbered 50/100 in pencil, with margins, a deckle edge at the bottom, in immaculate, fresh condition, image size 144 x 166 mm, sheet size 238 x 275 mmQty: (4)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee. The Shining Path is based on Boyd’s own painting of Trefnant Isaf, near Welshpool, Powys. A man and his dog are at the very centre of the composition. ‘E/V’ refers to the edition being printed in varied colours.

* Austin (Winifred Marie Louise, 1876-1964). Irish Setter, etching on wove, signed lower right, plate size 22.5 x 29 cm, sheet size 30.5 x 42 cm, laid down to mount board, gallery label of Doic, Wilson & Wheatley of Edinburgh to backboard, framed and glazed (46 x 57 cm)Qty: (1)

ARR * Beaumont (Leonard 1891-1986). Italian Mountain Village, etching on pale cream laid paper (watermark Figure Standing on Sphere), signed in pencil, plate size 26.5 x 21.2 cm, sheet size 34 x 28.3 cm, framed and glazed (44 x 37.5 cm)Qty: (1)

ARR * Blampied (Edmund, 1886-1966). Night Time, Dieppe, 1926/27, drypoint etching on pale cream laid paper, from the published edition of 100 impressions, signed and numbered 88/100 in pencil, plate size 200 x 280 mm (7.9 x 11 ins), with margins, framed and glazed, with Wolseley Fine Arts, Middle Hunt House, Walters Stone, Herefordshire to versoQty: (1)

ARR * Blampied (Edmund, 1886-1966). Returning to the Stable, 1920, etching with drypoint on cream laid paper, from the sole edition of 100 impressions, a strong, dark impression with burr, signed in pencil, plate size 212 x 286 mm, sheet size 293 x 419 mm, framed and glazed (41.5 x 48 cm)Qty: (1)NOTESAppleby 64. The plate was cancelled in October 1920, following the printing of the edition of 100.

ARR * Brangwyn (Frank, 1867-1956). Hay Harvesters, drypoint etching on cream laid paper, signed in pencil, some overall toning, plate size 304.8 x 374.65 mm (12 x 14.75 ins), sheet size 41.5 x 49 cm, glued to card mount to all four outer margins (mount size 41.5 x 49 cm), together with: Wyllie (William Lionel, 1851-1931). A Naval Engagement, drypoint etching on pale cream laid paper, signed in pencil lower left, some marks and creases, mount stained, plate size 89 x 332 mm (3.5 x 13.1 ins), sheet size 170 x 407 mm (6.75 x 16 ins)Qty: (2)

ARR * Brangwyn (Frank, 1867-1956). Old Bridge, Pavia, 1926, drypoint etching on pale cream wove paper, from the published edition of 52 signed proofs, signed in pencil to lower margin, plate size 35 x 55.5 cm (13.75 x 21.8 ins), sheet size 45.8 x 65.7 cm (18 x 25.9 ins), framedQty: (1)

ARR * Brangwyn (Frank, 1867-1956). Street in Puy, circa 1913, etching on pale cream wove paper, printed with plate tone, signed in pencil, plate size 40.1 x 30.2 cm (15.8 x 11.9 ins), framed and glazedQty: (1)NOTESGaunt 222.

ARR * Brangwyn (Frank, 1867-1956). The Tow Rope, 1906, etching on wove paper, published as an artist's proof, signed in pencil lower right, plate size 54 x 80 cm (21.25 x 31.5 ins), with margins, with auction stencil to verso 597 CL, period heavy wood frame, glazed, with Fine Art Society label to verso (90 x 110 cm)Qty: (1)

* Brangwyn (Frank, 1867-1956). A Venetian Procession, 1919, etching and drypoint on pale cream thick wove paper, signed in pencil lower right, light mount stain, plate size 178 x 244 mm (7 x 10 ins), sheet size 290 x 368 mm (11.5 x 14.5 ins), together with: Hankey (William Lee, 1869-1952). The Betrothal, etching with drypoint on cream wove paper, from the edition of 100 proofs, signed in pencil and with artist's blindstamped initials, plate size 197 x 235 mm (7.75 x 9.25 ins), sheet size 263 x 320 mm (10.3 x 12.6 ins), framed and glazed, with early label of J. Davey & Sons, Liverpool to verso, plus two other etchings by David Young Cameron (1865-1945), Street Scene, signed in pencil, and Reynold H. Weidenarr (1915-1985), The Road is Rough, signed and titled in pencil, all framed and glazed (42.5 x 47 cm and slightly smaller)Qty: (4)

ARR * Brockhurst (Gerald Leslie, 1890-1978). Dorette, 1932, etching on wove paper, one of 111 proofs, published May 1932, signed in pencil, plate size 234 x 187 mm (9.25 x 7.3 ins)Qty: (1)NOTESWright 72, vi/vi; Fletcher 72.

* Wedgwood (Geoffrey Heath, 1900-1977). Sospello, 1935, etching with drypoint on pale cream wove paper, signed, dated and titled in pencil, plate size 19.0 x 29.4 cm (7.5 x 11.5 ins), window mounted, framed and glazed (42.2 x 50.3 cm), together with 4 other etchings on paper: Sidney Tushingham (1884-1968), a view of Florence; Dorothy Sweet (act.1920-1930), London's Highway, & The Tower of London, 2 etchings; and Donald Shaw Maclaughlan (1876-1938), Canal of the Little Saint [Venice], similar sizes, framed and glazedQty: (5)

ARR * Burra (Edward, 1905-1976). Drag Queen, 1972, etching on pale cream wove paper, from the edition of 75 impressions, as printed by the Print Workshop, and published as a folio of 3 etchings by Alexander Postan in 1972, signed and numbered 58/75 in pencil, plate size 298 x 251 mm (11.75 x 9.9 ins), sheet size 482 x 470 mm (19 x 18 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Gloucestershire. Purchased from Lefevre Gallery, London, May 1, 1980, according to handwritten note to reverse. One of a series of 3 etchings made by Burra at the suggestion of Alexander Postan in 1971, based on a Drag Club in Hastings.

ARR * Burra (Edward, 1905-1976). Wednesday Night, 1972, etching on Sanders off-white wove paper, printed by the Print Workshop, and published by Alexander Postan, in an edition of 75 impressions, signed in pencil, and numbered 53/75, plate size 300 x 250 mm, sheet size 482 x 470 mm (19 x 18 ins), framed and glazed (61 x 52 cm)Qty: (1)NOTESOne of a series of three etchings made by Burra at the suggestion of Alexander Postan in 1971, based on a drag club in Hastings.

ARR * Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on fibrous buff wove paper, a very good, rich and tonal impression of the fifth (final) state with the signature added in the plate, signed in pencil and dated in Roman numerals, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, trimmed slightly unevenly, in very good condition, a band of barely discernible mount staining and two tiny brown rustmarks (?) recto and verso, remains of old tape at the upper sheet corners, plate size 132 x 185 mm, sheet size 214 x 288 mmQty: (1)NOTESDavid Ogg, ‘The Etchings of Graham Sutherland and Paul Drury’ in Print Collectors Quarterly, Vol. XVI, Part 1, 1929, see pp. 76–100, illustrated page 80; Douglas Cooper, The Work of Graham Sutherland, 1961, p.69, reproduced plate 3a; Raymond Lister, Samuel Palmer and his Etchings, 1969; Felix H. Man, Graham Sutherland: das graphische Werk 1922–1970, 1970, No. 24, reproduced. Tate Britain holds an impression of this work in the same state (Inventory no. PO2066). The plate was destroyed by 1928.

* Detmold (Edward Julius, 1883-1957). Tiger and the Peacock Feather, 1924, uncoloured etching with aquatint, on pale cream japan paper, printed with rich plate tone, signed in pencil to lower margin, plate size 337 x 201 mm (13.25 x 8 ins), with margins, period thin black wood frame, glazed, with framer's label of Ernest T.H. Bennett, Finsbury Circus House, 9 Blomfield Street, London EC2 to versoQty: (1)

* Grass (Günter, 1927-2015). Shoe with cigarette butts, 1974, etching with drypoint on wove paper, signed and dated lower right, numbered 120/250 lower left, with margins, plate size 32.5 x 39cm (12.75 x 15.5ins), sheet size 49.5 x 65cm (19.5 x 25.5ins), framed and glazed (515 x 670 mm), exhibition label of Patrick Seale Prints Limited, London on versoQty: (1)

* Greaves (Walter, 1846-1930). Old Battersea Bridge, etching on laid paper, signed within the plate 'W Greaves Chelsea', titled Old Battersea Bridge in pencil to lower margin, some spotting and light overall toning, plate size 175 x 275 mm (6.9 x 10.9 ins), sheet size 26 x 35 cm, old oak frame with gilt inner slip, glazed, together with: The Chelsea, etching on pale cream laid paper, printed with light overall plate tone, signed in pencil, plate size 112 x 225 mm (4.4 x 8.9 ins), with margins, framed and glazed, with printed label to verso for Graves Gallery, BirminghamQty: (2)

* Haden (Francis Seymour, 1818-1910). Battersea Reach, 1863, etching with drypoint on laid paper, a fine impression on fibrous japan tissue, a proof apart from the issue in Etudes à l'eau-forte, signed in pencil lower right, inscribed in the plate to upper left: Old Chelsea Seymour Haden 1863 Out of Whistler's window, small faint collectors stamp to lower left corner of the image, laid down to sheet edges only on card, plate size 152 x 228 mm (6.25 x 9 ins), sheet size 190 x 250 mm (7.5 x 9.9 ins), with label of Graves Gallery, New Street, Birmingham to verso, framed and glazed, together with: Whistler (James McNeill, 1839-1903). Billingsgate, 1859, etching on cream laid paper, signed and dated in the plate, as issued in Philip Gilbert Hamerton, The Portfolio, 1878, plate size 152 x 223 mm (6 x 8.75 ins), sheet size 260 x 335 mm (10.25 x 13.2 ins), two vertical closed tears repaired to lower margin, just touching the lower edge of the plate, framed and glazedQty: (2)NOTESSchneiderman 48, viii/xii. Kennedy 47, viii/viii.

ARR * Knight (Laura, 1877-1970). Mother and Child, etching on pale cream wove paper, a proof aside from the published edition of 55, signed and marked to lower right margin 'no. A of 1st printing', pale mount stain, the full sheet, plate size 198 x 175 mm (7.8 x 6.9 ins), sheet size 305 x 230 mm (12 x 9 ins), framed and glazedQty: (1)

* Lord (Elyse Ashe, 1900-1971). Donkey Dance, etching printed in colours on pale cream thin japan paper, from the published edition of 75 impressions, signed and numbered 11/75 in pencil, plate size 325 x 282 mm (12.75 x 11.25 ins), with margins, framed and glazedQty: (1)

* Lord (Elyse Ashe, 1900-1971). Lady of Rank, etching printed in colours on off-white japan paper, from the published edition of 75 impressions, signed, titled Chinese, and numbered 33/75 in pencil, plate size 43 x 31 cm, sheet size 52 x 41 cm, framed and glazed (63.5 x 51.5 cm), with early label to verso of Aldridge Bros, The Little Gallery, 35 Warwick Street, Worthing to versoQty: (1)

* Mason (Frank Henry, 1876-1965). Harbour Lights: Shields, etching on paper, printed with plate tone, signed lower left, titled lower right, spotted, plate size 185 x 300 mm (7.25 x 11.75 ins), mount aperture 210 x 315 mm (8.25 x 12.5 ins), framed and glazed (430 x 490 mm), together with: Bone (David Muirhead, 1876-1953), Falkland Palace, etching on paper, printed with light plate tone, signed lower right, a couple of light spots (one to margin), plate size 115 x 175 mm (4.5 x 7 ins), mount aperture 130 x 190 mm (5.25 x 7.5 ins), framed and glazed (385 x 550 mm), verso with framer's label James Connell & Sons, Glasgow, including typewritten title and artist's name, plus two others etchings: St. Augustine's Gate [Bristol], by Edward W. Sharland (1884-1967), and Petergate, York, by Charles A. Barker (late 19th-early 20th century), both window mounted, framed and glazedQty: (4)

* Whydale (Ernest Herbert, 1886-1952). Gipsies, drypoint etching, signed in pencil, plate size 30 x 25 cm (11.75 x 10 ins), with margins, in cream card window-mount, together with 7 others various, The Knitting Lesson by Dwight Case Sturges; J'Accuse by Salomon van Abbe; The Bridge by Lowes D. Luard; Now I state on a Hay-stack... by Robert Spence; House Martins by Winifred Austen; The Blue Girl by Thomas Way and Children running down the street by John Henry DowdQty: (8)

* Nixon (Job, 1891-1938). Italian Mountain Village, etching with drypoint, signed in pencil, plate size 23.5 x 36.5 cm (9.2 x 14.4 ins), with margins, framed and glazed (39 x 54.5 cm), together with: Tushingham (Sidney, 1884-1968). Venetian Barges, drypoint etching, an artist's proof, published in an edition of 75 impressions, signed in pencil, plate size 26 x 36.5 cm (10.4 x 14.5 ins), with margins, framed and glazed (51 x 62 cm), with period label to verso of Richard Haworth, Blackburn to verso, plus: Lee Hankey (William, 1869-1952). Mother and Child, drypoint etching, signed W. Lee-Hankey inv del et imp., and with artist's blindstamp, plate size 22 x 17.5 cm (8.75 x 7.1 ins), with margins, framed and glazed (50.5 x 38 cm)Qty: (3)

* Langmaid (Rowland, 1897-1956). Shipping on the River, etching, signed, plate size 22.5 x 34 cm, framed and glazed (45 x 54.5 cm), Deighton's Strand Gallery to verso, together with: Hall (Oliver, 1869-1957), Villeneuve, France, etching, signed, plate size 15 x 27 cm, framed and glazed (32.5 x 46.5 cm), Graves Gallery label to verso, Tushingham (Sidney, 1884-1968), Falmouth Model Laundry, etching, signed, plate size 19.7 x 27.5 cm, framed and glazed (42.5 x 53 cm), and 3 othersQty: (6)

* Shepperson (Claude Allin, 1867-1921). Roulette: Monte Carlo, proof etching with drypoint on laid paper, watermarked F.J. Head & Co, unsigned as issued by the artist's executors, with blind embossed monogramme CF to lower left corner, published in an edition of 75 impressions, numbered 66/75 in pencil to lower right corner, plate size 22.5 x 33 cm (8.9 x 12.9 ins), sheet size 290 x 460 mm (11.5 x 18 ins), together with The Prodigal Son, circa 1907, etching on laid paper, watermarked F.J. Head & Co, a very good, dark impression, unsigned as issued by the artist's executors, in an edition of 75 impressions, numbered 57/75 in pencil to lower right, plate size 200 x 252 mm (7.9 x 10 ins), sheet size 290 x 405 mm (11.5 x 16 ins), plus Diana and the Nymphs, Mi-Careme, and The Child, all etchings printed on laid paper, watermarked F.J. Head & Co, unsigned proofs as issued by the artist's executors, in editions of 35 or 75 impressions, the first numbered 26/35, the second numbered 32/75 and the third numbered 10/75, all with good marginsQty: (5)NOTESMartin Hardie, The Etchings and Lithographs of Claude Shepperson, Print Collector's Quarterly, X, 1923, 20, 4, 8, 13 and 22.

* Lishman (Walter, 1900-1986). September Evening, Durham, etching on paper, signed in pencil 'W. Lishman SGA' lower right, titled and numbered 24/50 lower left, plate size 22.7 x 30.0 cm (9 x 11.75 ins), window mounted, framed and glazed (43.7 x 47.5 cm), together with: Michl (Ferdinand, 1877-1951), Der Abschied, Von der Jugend, & Das Trinklied vom Jammer der Erde, three etchings in colour on paper, each signed in pencil lower right, titled lower left, plate sizes approximately 28.0 x 22.5 cm (11 x 9 ins), sheet sizes 41.5 x 35.0 cm (16.25 x 13.75 ins) and smaller, plus: Yoors (Eugène, 1879-1977), Tall trees in a landscape, etching on paper, signed in pencil lower right, numbered 40/75 lower left, plate size 33.8 x 26.5 cm (13.25 x 10.5 ins), window mounted, framed and glazed (51.8 x 44.0 cm), with: Wilson (William, 1905-1972), York Minster, etching on paper, signed in pencil lower right, titled lower left, plate size 27.5 x 23.8 cm (11 x 9.5 ins), window mounted, framed and glazed (46.0 x 37.5 cm), and two other etchings, one Dutch and the other possibly German, both window mounted, framed and glazedQty: (8)

ARR * Tanner (Robin, 1904-1988). Flowers of May, 1972, etching on pale cream wove paper, a trial proof, aside from the edition of 50 published by Penn Print Room in 1974, signed to centre of lower margin, and inscribed Trial Proof to lower left corner, some pale discolouration to paper, plate size 270 x 186 mm (10.6 x 7.4 ins), sheet size 375 x 300 mm (14.75 x 11.75 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 26, ii/ii.

ARR * Tanner (Robin, 1904-1988). October, 1984, etching on pale cream laid paper, published in an edition of 25 impressions by Garton & Cooke in 1985, signed in pencil to centre of lower margin, plate size 211 x 151 mm (8.4 x 6 ins), sheet size 380 x 300 mm (14.75 x 12 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 47, ii/ii.

ARR * Tanner (Robin, 1904-1988). The Gamekeeper's Cottage, 1928, etching on ivory white wove paper, from the edition of 12 impressions only published by Garton & Cooke in 1982, following minor reworking by the artist in 1975, signed in pencil to centre of lower margin, and titled 'The Gamekeeper's Cottage' by the artist to lower left corner, plate size 173 x 224 mm (6.9 x 8.9 ins), sheet size 265 x 355 mm (10.5 x 14 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 8, iv/iv. The original edition of 50 impressions was published by Nicholson in 1929.

ARR * Tanner (Robin, 1904-1988). The Plough, 1973, etching on pale cream wove paper, from the edition of 50 impressions, published by Penn Print Room in 1974, signed in pencil to centre of lower blank margin 'Robin Tanner fec. et. imp.', and titled by the artist 'The Plough' to lower left blank margin, plate size 161 x 188 mm (6.4 x 7.5 ins), sheet size 265 x 340 mm (10.5 x 13.5 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 30, iv/iv.