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* 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.

ARR * Tanner (Robin, 1904-1988). Wiltshire Roadmaker, 1928, etching on pale cream laid paper, watermarked Hand Made, published in an edition of 50 impressions by Penn Print Room iin 1974, signed in pencil to centre of lower margin, and numbered 30/50 in pencil to lower left blank margin in another hand, light mount stain, 2 patches of tape residue to upper and lower blank margins, plate size 98 x 150 mm (3.9 x 5.8 ins), sheet size 233 x 288 mm (9.1 x 11.4 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 6, iv/iv.

ARR * Tanner (Robin, 1904-1988). Wren and Primroses, 1935, etching on pale cream wove paper, watermarked Green & Son, signed to centre of lower blank margin 'Robin Tanner fec. et. imp.', light mount stain, and with tape residue to extreme upper and lower blank margins verso, plate size 91 x 110 mm (3.6 x 4.4 ins), sheet size 184 x 207 mm (7.3 x 8.2 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 19.

Various Artists. A Selection of Etchings by the Etching Club, London: Joseph Cundall & Thomas Bosworth, 1865, 12 original etchings by John E. Millais, Thomas Creswick, Frederick Tayler, Samuel Palmer, Richard Ansdell, W. Holman Hunt, Richard Redgrave, John C. Horsley, George B. O'Neill, C. W. Cope, James C. Hook and Seymour Haden, all printed on chine appliqué, with thick wove backing paper, some light scattered spots (mostly light), pale waterstain to outer margin of plates 1-5, 9 & 12, heavier spotting to title and contents leaf, yellow chalk-glazed endpapers, with bookplate of Cyril Flower to front pastedown, and neat presentation inscription to front endpaper 'Cyril Flower from R.C.J.', original publisher's maroon morocco-backed cloth gilt, rubbed and scuffed with some marks, and a little wear to extremities, folio (sheet size 45 x 32 cm)Qty: (1)NOTESContents: Happy Spring-time, by John E. Millais (Goldman 33), A Roughish Road by a Loch side, by Thomas Creswick, A Day's Hunting in the Fens, by Frederick Tayler, The Herdsman [or The Weary Ploughman], by Samuel Palmer (Lister 8, viii/viii), The Park, by Richard Ansdell, The Day in the Country, by W. Holman Hunt (Bronkhurst Appendix B21), Summer Woods, by Richard Redgrave, The Dunenna's Return, by John C. Horsley, The Portrait, by George B. O'Neill, The Spring Flood, by C.W. Cope, Gathering Eggs from the Cliff, by James C. Hook, and A Study in Kensington Gardens, by Seymour Haden (Schneiderman 31, iii/iii).

* Watkins (Islwyn, 1938-2018). Oval & Cutaway, 1966, etching with aquatint, from the published edition of 20 impressions, signed, dated, titled, numbered 15/20, framed and glazed, together with other modern British etchings, including Norman Ackroyd, Wharfdale in Winter, signed, Valerie Thornton, Autun, 1979, signed, dated, marked A.P. and inscribed for Mary + Peter to lower margin, a colour etching by Sally McLaren titled Landscape with Blue Moon, signed, titled and numbered 1/50, Graham Clarke, By Appointment, signed, titled and numbered 290/300, Willi Kissmer, Blaues Relief, and Triangle, two colour etchings, the first signed, titled and numbered 49/199, the second signed, titled and marked Epreuve d'artiste, and a colour etching by Koichi Sakamoto, signed and numbered 70/100Qty: (8)

* Zorn (Anders Leonard, 1860-1920). A Ring (Une Bague), 1906, etching on pale cream laid paper, with partial watermark, the second state (the second, published state of 2), plate size 215 x 160 mm (8.5 x 6.25 ins), sheet size 330 x 255 mm (13 x 10 ins), hinge-mounted in cream card mount, framed and glazed, with old printed labels to verso of Alex Drysdale, Carver, Gilder & PIcture Frame Maker, Edinburgh, and Aitken Dott & Son, Edinburgh, to versoQty: (1)NOTESAsplund 208, ii/ii. The model for this work was the wife of the Finnish writer Wentzel Hagelstam.

* Zorn (Anders, 1860-1920). Against the Current, 1919, etching on ivory laid paper, signed in pencil lower right, with full margins, some mount staining and discolouration from the backing card, glued to backing card along sheet edges, plate size 115 x 163 mm (4.5 x 6.5 ins), sheet size 280 x 375 mm (11 x 14.75 ins), period frame, glazed, with original label for James Connell & Sons, 31 Renfield Street, Glasgow, to versoQty: (1)NOTESAsplund 288 ii/ii.

* Arms (John Taylor, 1887-1953). Grim Orvieto, 1926, etching on cream laid paper, signed and dated in pencil lower right, from the edition of 100, printed by Frederick Reynolds, plate size 280 x 220 mm (11 x 8.7 ins), sheet size 415 x 290 mm (16.25 x 11.4 ins), framed and glazed (45.5 x 37.3 cm), together with other mostly early 20th century etchings, mainly by British artists, including Edgar Holloway, Rainy Landscape, 1930, etching, signed, dated, and numbered 7/25 in pencil, E. Herbert Whydale, Corfe Castle, etching, signed in pencil, Kenneth Holmes, Venice, etching, signed in pencil, framed and glazed, Eric Taylor, Grandmother's Parlour, etching, signed, titled and numbered 2/10, framed and glazed, Leonard Squirrell, Landscape, etching with drypoint, signed in pencil, framed and glazed, and others including William Walcot, E.M. Synge (Venice, 1906), Fred Richards (The Rialto), G. Vernon Stopes (Siamese Cats), Nathaniel Sparks, Norman Janes, Alphonse Legros, all signed in pencil, framed and mostly glazed, various sizesQty: (25)NOTESJohn Taylor Arms, Grim Orvieto: number 5 from the Italian Series. Fletcher 176.

ARR * Dalì (Salvador, 1904-1989). King of Aragon, 1971-2, etching and mezzotint on wove paper, printed in dark blue and orange, signed lower right, numbered 130/250 in pencil, some overall light toning, plate size 35.5 by 26.7cm, sheet size 65.6 by 50 cm, framed and glazed (68 x 52 cm)Qty: (1)NOTESLiterature: Michier & Löpsinger 528.

* Clarke (Graham, 1941-). Dingley Dell, 1973, hand-coloured etching with aquatint on paper, unsigned, titled and numbered 64/75, plate size 345 x 545 mm (13.5 x 21.5 ins) with full margins (upper and lower edges visible), framed and glazed (590 x 675 mm), together with: Jubilee Band, 1977, hand-coloured etching with aquatint on paper, signed, titled and numbered 124/150, plate size 285 x 410 mm 11.25 x 16 ins), mount aperture 320 x 430 mm (12.5 x 17 ins), window mounted, framed and glazed (495 x 625 mm)Qty: (2)NOTESDingley Dell is apparently the second 'arched top' etching that Graham Clarke produced.

* Clarke (Graham, 1941-). Etching, 1976, uncoloured etching with aquatint on paper, depicting the artist at work, signed, titled and numbered 99/100, plate size 270 x 170 mm (10.5 x 6.75 ins) with full margins, framed and glazed (430 x 330 mm), together with: Red Legged Partridge, c.1960s, colour etching with aquatint on paper, printed in shades of brown and orange, signed and titled artist's proof (unknown edition), plate size 205 x 365 mm (8 x 14.25 ins), aperture size 235 x 390 mm (9.25 x 15.25 ins), window mounted, framed and glazed (420 x 560 mm), plus: Skaters, 1975, uncoloured etching with aquatint on paper, signed, titled and numbered 36/150, circular artist's blindstamp lower left, oval blindstamp of Alex Gerrard Fine Art Ltd. lower right, plate size 88 x 126mm (3.5 x 5 ins), aperture size 190 x 240 mm (7.5 x 9.5 ins), window mounted, framed and glazed (300 x 350 mm)Qty: (3)NOTESRed Legged Partridge: a rare early etching, not mentioned in the artist's chronological list.

* Clarke (Graham, 1941-). Haymakers, 1974, etching with aquatint and some hand-colouring on paper, signed, titled and numbered 83/100, oval blindstamp of probably [Alex Gerr]ard [Fine Art Ltd] partly visible to lower left corner, plate size 340 x 540 mm (13.5 x 21.25 ins) with full margins, framed and glazed (500 x 630 mm), together with: Song of Samuel, 1978, hand-coloured etching with aquatint on paper, signed, titled and numbered 26/250, circular blindstamp of [Graham C]larke partialy visible to lower left corner, plate size 340 x 540 mm (13.5 x 21.25 ins) with full margins (upper and lower edges visible), framed and glazed (565 x 635 mm), with 'Notes for the Interested' attached to versoQty: (2)NOTESSong of Samuel is depicted on page 62 of Clare Sydney's biography of Graham Clarke, and page 88 further describes how he donated this etching to the Shoreham Society's Campaign to prevent the M25 motorway from being built through the North Downs. The etching shows Samuel Palmer sitting at his easel, painting a scene based around Shoreham and the Darent Valley, which Palmer called his 'Valley of Vision'.

* Emanuel (Frank Lewis, 1866-1948). An archive collection of 204 drawings and sketches in England, France, Belgium and the Netherlands, circa 1896-1933, mainly pencil or pen & blank ink on paper or thin card, a few in watercolour, many picturesque street scenes and buildings, coastal views and marine subjects, views of architectural landmarks and old buildings in towns and cities, some country landscapes and rural scenes, studies of figures, etc., many signed or initialled, often titled, some dated, some inscribed to verso by the artist, some mounted on card, largest sheet size approximately 38.0 x 53.5 cm (15 x 21 ins), the smallest approximately 6.7 x 5.0 cm (2.5 x 2 ins), occasional marks or creases (generally in good condition), on or two with some light spotting, plus a further collection of approximately 166 etchings by the same artist, including landscapes, coastal and rural scenes, figure groups, greetings, invitations or similar, a few colour woodcuts, mostly unsigned and with some duplicates and some trials, all unframed except for 10 views and one etching framed and glazed, together with Emanuel (Charles, 1868-1962). A collection of 62 drawings and sketches in England and France, also locations in Scotland, Spain and the Netherlands, pencil and/or colour pastels on paper or thin card, mostly picturesque street scenes and buildings, some country landscapes, many views of architectural landmarks and old buildings in towns and cities, the majority signed, most titled, some mounted on card, largest sheet size approximately 24.5 x 32.0 cm (9.75 x 12.75 ins), the smallest approximately 5.6 x 9.6 cm (2.25 x 3.75 ins), occasional scarce minor marks, all unframed (except 2 framed and glazed)Qty: (Approx. 432)NOTESA collection of over 200 vivid sketches of picturesque street scenes, architectural motifs and figure studies by the important artist and illustrator F. L. Emanuel, who studied at the Slade School of Art under Alphonse Legros (1837-1911), at the Académie Julian in Paris under William-Adolphe Bouguereau (1825-1905) and Tony Robert-Fleury (1837-1911). Emanuel also wrote on art for the Architectural Review and Manchester Guardian and is the author of The Illustrators of Montmartre (1903) and Etching and Etchings (1930). He exhibited at the Paris Salon, the Royal Academy from 1886, the New English Art Club and elsewhere, had a show of his watercolours in the Méryon Galleries in 1912, and taught etching at the Central School of Arts & Crafts from 1918 to 1930. British locations for Frank Emanuel's drawings include: Hoghton Tower, Southwold, Brentford/Kew, Oxford, Hastings, St. Albans, Deptford, Walberswick, Kensington Gardens, Leigh on Sea, Bromley Station, Paddington, Putney, Peveril Point, Hamstead, Penmaenpool, Rickmansworth, Messing, Bloomsbury, King's Lynn, North Shoebury, Bournemouth, New Oxford Street, Cirencester, Basinghall, Tewkesbury, Chepstow Road, Lambeth Palace & Park, Knowsley Hall, Ledbury, Lincoln, Ludlow, Notting Hill Gate, Whidborne Street etc. Foreign views include: La Voulte, La Porcherie, Le Pollet, La Chêne Verte, Paris, Amsterdam, Haarlem, Overschie, Pont St. Esprit, Larchant, La Rochelle, Rue du Pont, Le Chateau, La Grande Rue, St. Omer, Veere, Fécamp, Abbeville, Veere locks, etc. The locations depicted by Charles Emanuel include, British: St. Ives, Cirencester, Stamford, Ledbury, Folkstone, York, King's Lynn, Brixham, Tewkesbury, Whitby, Boston, Wells, Edinburgh, and foreign: Le Puy, Gerona, Honfleur, Granville, Renesse, Tours, Zierikzee, Vire, Larchant, Middleburg, Tréboul, St. Malo, Dinan, Montreuil, etc.

SUSAN F. CRAWFORD, THE TOWN CROSS etching, signed in the plate, mounted framed and under glass, 28.5cm x 33.5cm overall

H.M BLAKE, DURHAM CATHEDRAL etching, signed, titled label verso, mounted, framed and under glass, 39.5cm x 29cm overall size, along with three other framed etchings and two drawings (6)

2 framed & glazed Robson Lincoln Catherdral prints plus 19th century Garland etching/print West Front, Lincoln Cathedral

*ARTHUR BELL (1897-1995) 'St. Alban's Street, Weymouth' etching, 16.5cm x 10.75cm; and three similar works by the same artist "Trinity Street, Weymouth" and two views of Market Street, Poole (4)Provenance: The two Weymouth views formerly in the collection of Roger Neville Russ PeersLiterature: Arthur Bell was a landscape watercolourist, draughtsman, printmaker and teacher who worked in a meticulous style, born in Kettering, Northamptonshire. Showed an early talent for drawing, but poor health restricted him to elementary schooling, then in 1913 he joined the architectural practice of Marriott, Cooper and Williams. During World War I he held an Army commission, being wounded in France. Studied at Bournemouth Municipal School of Art, 1919–21, under Geoffrey Baker, Henry Crocket and Leslie Ward. A fellow-student was Bertha Beal, whom Bell married in 1922, their son being the teacher and artist John Bell. Arthur and Bertha Bell were prolific between the two world wars, having work selected for the RA Summer Exhibition, being members of the Poole and East Dorset Art Society and Bournemouth Arts Club and having joint exhibitions. (Buckman, David 'Artists in Britain Since 1945')

Herbert Thomas DICKSEE (1862-1942)'Footsteps', An Interior with Terriers (1925)Etching, published by Frost & Reed Ltd.Signed 36 x 55cm

William BLACK (20th Century British)Moored BoatsEtching and watercolour Signed, inscribed and dated '62Numbered 4/2512 x 11cm

Geoffrey Sneyd GARNIER (1889-c.1971)The Town Hall, PenzanceEtching aquatintSigned, inscribed and dated 1925#3/1525 x 17.5cmCondition report: This work is badly foxedTo our embarrassment, it has been pointed out that this shows The Market Building, Penzance and not the Town Hall. The artist's inscription is incorrect.This along with several other lots in the sale comes from the estate of the last in the line of the Peak family. Long established picture framers of this town. The siblings can remember being told of Stanhope Forbes visiting the Causeway head shop.

Terry FROST (1915-2003)Newlyn Rhythm Etching aquatintSigned, inscribed and dated '95#32/80Plate size 55 x 35cmCondition report: This work has not been examined out of its glazed frame but it is apparently in very clean good condition

HEADLEY Cornish Mystery VIColoured etching Signed and inscribed 17.5 x 18cmTogether with 'Porthcurno' an etching by J Knight and 'Bonzo Defies Gravity Two' an etching by Christine Eatwell (3)

Julian DYSON (1936-2003)Betty Etching Signed and dated '01Numbered 2/6Plate size 29.5 x 20.5cmCondition report: This etching is in near mint condition

Reg WATKISS (1933)Pendeen EngravingEtching Signed, inscribed and dated '71Numbered 2/15Plate size 11.5 x 20.2cm

Rose HILTON (1931-2019)CourtesanEtching Signed, inscribed and numbered 1/10Further signed, inscribed and dated '97 to verso Plate size 28 x 23cm

Robert Borlase SMART (1881-1947)Loading the Pilchard Barrels - Smeaton's Pier, St Ives Etching Signed Plate size 32.5 x 38cm

Mixed ceramics and glass to include, two decanters, one of bell shape and the other with grape and vine etching, a Royal Winton wash jug and bowl, decorated with poppies, a Doulton Lambeth tobacco jar, four pottery glazed baskets etc. (qty)

** Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, on chine collé, a good but later 19th century impression of New Hollstein's seventh state (of eight), evenly printed with some signs of wear in the plate, platemark 530 x 405 mm (20 3/4 x 16 in), sheet 575 x 450 mm (22 5/8 x 17 3/4 in), minor marginal handling creases and repairs to small perforations, some damp-staining visible verso (unframed)Literature:New Hollstein 119 ** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)The BathersEtching, 1651, a good but later impression of New Hollstein's third state (of three), printing with selective plate tone on 18th century laid paper without watermark, platemark 111 x 137 mm (4 1/4 x 5 3/8 in), sheet 119 x 146 mm (4 5/8 x 5 3/4 in), margins irregularly trimmed with rounded corners, trimmed well outside the platemark, brown ink inscription verso 'Rembrandt original' showing through to recto, minor surface dirt (unframed)Literature:New Hollstein 258 iii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

δ Eduardo Paolozzi (1924-2005)UntitledEtching, 1960, signed and inscribed P.A. in pencil, an artist's proof aside from the edition of 60, published by Galleria Schwarz, Milan, on wove paper, with full margins, sheet 267 x 192mm, (10 ½ x 7 5/8 in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** Rembrandt van Rijn (1606-1669)Peasant Family on the TrampEtching, circa 1652, but a later impression of New Hollstein's second state (of three), before the redrawing of the outline of the woman's hat, printing with delicate plate tone on cream laid paper without watermark, platemark 114 x 92 mm (4 1/2 x 3 5/8 in), sheet 129 x 105 mm (5 x 4 1/8 in), small spot in the lower left corner, brown ink inscription 'Rembrandt original' verso showing through to recto (unframed)Literature:New Hollstein 266 ii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Keith Haring (1958-1990)Untitled from the Valley Suite. (See. Littman p.136-141)Etching, 1989, signed and dated in pencil, numbered from the edition of 80, published by George Mulder Fine Art, London, on wove paper, with full margins, sheet 356 x 304mm, (12 x 14in) (unframed) ** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Keith Haring (1958-1990)Untitled from the Valley Suite. (See. Littman p.136-141)Etching, 1989, signed and dated in pencil, numbered from the edition of 80, published by George Mulder Fine Art, London, on wove paper, with full margins, sheet 356 x 304mm, (12 x 14in) (unframed) ** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: With the lampEtching, 1654, a good but later impression of New Hollstein's third state (of three), sheet 111 x 144 mm (4 3/8 x 5 3/4 in), trimmed within the platemark, mounted on cream paper support with careful restoration to lower left corner, and small loss to lower right corner (unframed)Literature:New Hollstein 279 iii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)The Flight into Egypt: Crossing a BrookEtching with drypoint, 1654, a good impression of New Hollstein's only state on laid paper without watermark, printing with the surface tone marks along the lower margin, before the scratch on the Virgin's lap, and with numerous areas of burr visible throughout the foliage and lower section, sheet 95 x 145 mm (3 3/4 x 5 3/4 in), trimmed to or just within the platemark, some scraping verso, corners reinforced verso (unframed)Literature:New Hollstein 277** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)Jan Lutma, GoldsmithEtching and drypoint, 1656, but a later a well inked impression of New Hollstein's fourth state (of five) on laid paper with indistinct watermark, before further reworking, sheet 200 x 150 mm (7 7/8 x 5 7/8 in), trimmed to or just within platemark, edges reinforced verso, small restoration to splits in the upper right corner and both lower corners (unframed)Literature:Hind 290; New Hollstein 293 iv/v** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Rembrandt van Rijn (1606-1669) & Philip Gilbert HamertonEtching & EtchersBound volume, first edition complete with text and 35 original etchings, including Rembrandt's Three Oriental Figures, a good but later impression, full margins, and others by Potter, Dujardin, Callot, Daubigny, Haden, Palmer et al, original blue morocco and brown cloth boards, gilt, spine rubbed and very worn, 4to, MacMillan & Co., London, 1868Literature:cf. New Hollstein 190 ii/ii

Old Master Print from Chatsworth.- Salvator Rosa (1615-1673)Diogenes casting away his bowlEtching with drypoint, circa 1661-62, a very fine impression of the second state (of two), printed with light plate tone on laid paper with watermark of two concentric circles surrounding a Fleur-de-Lys with initials 'NA', platemark 460 x 272 mm (18 1/8 x 10 3/4 in), sheet 530 x 370 mm (20 7/8 x 14 1/2 in), minor handling creases, surface dirt, spotting, mainly marginal (unframed) Provenance:Collection of Chatsworth House, DerbyshireChristie's, Old Master Prints from Chatsworth, 5th December 1985, lot 155Literature:Bartsch 5; Wallace 103