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A varied collection of eleven graphic works from various artists, 20th C.--From left to right, top to bottom:Ê Frame: 52,7 x 46,3 cm (Jacques DoppŽe: 'MŽtiers artisanaux, mixed media)Ê Work: 72,6 x 54,8 cm (Strebelle: Untitled, mixed media on paper)Ê Work: 65 x 50 cm, Frame: 86 x 70 cm (Frans Minnaert: Untitled, mixed media)Ê Work: 12,7 x 9,8 cm, Frame: 21,7 x 19,5 cm (Illegibly signed: Landscape, aquatint)Ê Work: 29,5 x 23,7 cm, Frame: 75,5 x 60,7 cm (Claude Weisbuch: Untitled, etching, first ed. 2/2)Ê Work: about 66,5 x 48 cm, Frame: 86,5 x 68,5 cm (Pierre Devos: The garden, drawing)Ê Work: Dia. 7,5 cm (Paper: 26,7 x 19,9 cm) - 10,7 x 9 cm (Paper: 32 x 24 cm) (After Victor Steyaert: Two wood engravings, dated 1976 and 1977)Ê Work: 56,5 x 36,5 cm, Paper: 66 x 50,5 cm (E. Noel: 'Villefranche', litho)Ê Work: 61 x 41 cm, Paper: 76 x 56,5 cm (E. Noel: Landscape, litho)Ê Work: 56,3 x 44,2 cm, Frame: 69,5 x 60 cm (Jos Hendrickx: 'Bomen', charcoal on paper, dated (19)82) -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Salvador Dali (1904-1989): 'Nus volants et guitariste', etching in colours, ed. 96/250--Work: 40 x 31,8 cmÊ Paper: 66 x 50,5 cmÊ Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

James Ensor (1860-1949): 'La rue du Bon Secours ˆ Bruxelles', etching in colours, [1887]--Work: 13 x 9 cmÊ Frame: 50,2 x 42,7 cm Ê Ê Signed outside the plate. -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

James Ensor (1860-1949): 'Le Christ aux mendiants', etching in colours, dated 1895--Work: 14,2 x 9,3 cmÊ Frame: 50,8 x 42,9 cm Ê Ê Signed inside and outside the plate. -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Louis Icart (1888-1950) coloured drypoint etching, 'Poupee Moderne', signed in pencil, 125/350, 40 x 51cm Condition: Ground paper evenly discoloured, print possibly a little faded but still with fair strength of colour, slight acid staining around the mount, later framing.

Sir Frank Brangwyn, etching, 'Albi', signed in pencil, 35 x 55cm

A GROUP OF FIVE HAND-COLOURED GOLFING CARTOONS, including after Frank Reynolds, each framed; together with A 20TH CENTURY COLOURED ETCHING OF PLACE DU TERTRE AND MONTMARTRE, PARIS, signed and dated 1956, framed. (6)

After Scauvel, etching, Worcester Cathedral, in gilt moulded frame and glazed

§ JOHN BYRNE (SCOTTISH B.1940) PENSIVE ANGELEtching, P/P, signed, titled and editioned in pencil to margin, unframed (Dimensions: 58cm x 47.5cm (22.75in x 18.75in))Biography: An acclaimed illustrator, painter and playwright, John Byrne is one of Scotland's most diverse and accomplished artists. Byrne was born in 1940 in Paisley and attended the Glasgow School of Art from 1958 to 1963. There he quickly excelled and was awarded the Bellahouston Award, the school's most prestigious painting prize. Byrne is also known for writing the award-winning television series Tutti Fruitti and the theatrical trilogy The Slab Boys. Other notable achievements include his album cover designs for The Beatles, Gerry Rafferty and Billy Connolly. His work appears in several collections both in Scotland and abroad, including the Scottish National Portrait Gallery and Kelvingrove Art Gallery. In 2007 Byrne was made a full member of the Royal Scottish Academy and is also an Honorary Fellow of the Glasgow School of Art.

§ PABLO PICASSO (SPANISH 1881-1973) MINOTAURE, UNE COUPE À LA MAIN, ET JEUNE FEMME - 1933Etching on Montval paper with Vollard watermark from the Vollard suite, ed. 250, signed in pencil to margin, unframed (Dimensions: 34cm x 44.5cm (13.5in x 17.5in))Biography: Picasso throughout his life had a prolific output of paintings, sculptures, etchings, and ceramics. His career spanned nearly 80 years and when he died at age 91 in April 1973; he had become one of the most successful and influential artists in history. Picasso is credited, along with Georges Braque, with the creation of Cubism, as well as the co-invention of collage and the invention of constructed sculpture. His personal life also causes much intrigue, having had several wives, mistresses, and muses. Throughout the 1930s and 40s Picasso entertained principally two women, Marie-Therese Walter and Dora Maar. Maar originally a photographer and a painter expressed her art alongside Picasso. The women in Picasso’s life greatly influenced and inspired his artwork. Picasso's work is often categorized into periods, such as the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). The work following these periods tend to be executed in a neoclassical style, eventually showing characteristics of Surrealism. It is obvious that Picasso often changed his style and experimented with different theories, ideas, and techniques throughout his life.

§ MOYNA FLANNIGAN (SCOTTISH B.1963) MR. LUCKYScreenprint, P/P I, aside from an edition of 40, signed, titled and editioned in pencil to margin, unframed and a further signed etching by the artist 'The Blind House 2' (Dimensions: 43cm x 45.5cm (17in x 18in)) (Qty: 2)Biography: Moyna Flannigan lives and works in Edinburgh. She trained at Edinburgh College of Art and the Yale University School of Art, and has taught at both ECA and the Glasgow School of Art. She has exhibited extensively internationally and her work is included in public collections across Europe. She painted in an abstract style for a period, before returning to a figurative approach around 1995. She is probably best-known for her portraits, but has recently started to work with collage elements too. Flannigan does not rely on preparatory drawings or working from models, preferring to develop her visual ideas directly on the canvas.

§ SALVADOR DALI (SPANISH 1904-1989) LA NAISSANCE DE VENUSColour etching, 24/150, signed and numbered in pencil to margin, unframed (Dimensions: 76.5cm x 57cm (30in x 22.5in), full sheet)Biography: Salvador Dali was a Spanish surrealist artist, whose worked is characterised by bizarre, dream-like imagery, and a very high level of technical skill and precise draughtsmanship. Trained in more classical methods, he was drawn to the avant-garde, and joined the surrealist group in 1929, ultimately becoming one of its leading figures. His visual work spanned many mediums including painting, printmaking, photography, film, sculpture and design, and he also wrote fiction, poetry and criticism. In his art, he was pre-occupied with ideas of the subconscious, sexuality, religion and dreams. There are two museums dedicated to his work, in Florida and Spain, and his works are featured in prestigious museums and galleries across the globe.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) TOBYEtching and aquatint, P/P, signed, titled and editioned in pencil to margin, unframed (Dimensions: 50cm x 56.5cm (19.75in x 22.25in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) MEADOWEtching, A/P, signed, titled and editioned in pencil to margin (Dimensions: 35cm x 49cm (13.75in x 19.25in), plate size)Biography: Ian Fleming studied printmaking while at Glasgow School of Art, and even managed to sell two of his prints while still a student. After graduating, when working with Charles Murray, he encountered the engraving technique, a process he would go on to become extremely skilled in. While working as a lecturer at the Art School, he was introduced to the artist and designer, William Wilson; they became great friends and a strong influence on each other’s work. In his teaching career he taught both Robert Colquhoun and Robert MacBryde, and ultimately became Head of Gray’s School of Art in Aberdeen. Fleming is known for his high-skilled technique, creating detailed etchings and engravings, often of Glasgow and the Scottish Highlands.

JOHN WALTER WOLSELEY (AUSTRALIAN B.1938) UNTITLED C.1965Etching and aquatint (Dimensions: 29cm x 39.5cm (11.5in x 15.5in))Provenance: The vendor was a friend of the artist, and acquired it directly. Biography: John Wolseley is a painter, printmaker and installation artist, whose work is inspired by the natural splendour of Australia. Wolseley was born in Somerset, England and studied at St Martins School of Art for a year in 1957, before attending the Byam Shaw School of Art, London, in printmaking from 1958-63 and later in Paris between 1961-63. In 1976, he travelled to Australia where he travelled extensively through the outback, and ultimately settled. He has made countless journeys around Australia trying to understand 'how the geology contributes to the spirit of the place'. This question, along with the Australian terrain and native flora and fauna, continues to inspire Wolseley and his art. In 1991, he received an Australia Council Fellowship which enabled him to spend eight months in the Simpson Desert, acting as a cartographer of sand dune- an experience which also had a great impact on his artwork. He has been the artist in residence at Deakin University, Bendigo, the Joye Art Foundation, the Art Gallery of Western Australia and George Cottage Launceston and has taught painting in Northern Territory Communities since 1978. Wolseley has also been involved in both solo and group exhibitions across Australia. He has won many awards for his work, including the Geelong Gallery Capital Permanent Acquisition Award, the Art Gallery of New South Wales Trustees watercolour prize, and the Alice Prize. He received a bicentennial commission from the Art Gallery of New South Wales in 1988, the Australia Council Grant in 1998 and an Honorary PhD in Science from Macquarie University in 2005. His work can be found in public and private Australian collections, as well as in collections in England and Yugoslavia.

§ PABLO PICASSO (SPANISH 1881-1973) MODÈLE ET GRANDE TÊTE SCULPTÉE - 1933Etching on Montval paper with Picasso watermark from the Vollard suite, ed. 250, signed in pencil, unframed (Dimensions: 44.5cm x 34cm (17.5in x 13.5in), full sheet)Biography: Picasso throughout his life had a prolific output of paintings, sculptures, etchings, and ceramics. His career spanned nearly 80 years and when he died at age 91 in April 1973; he had become one of the most successful and influential artists in history. Picasso is credited, along with Georges Braque, with the creation of Cubism, as well as the co-invention of collage and the invention of constructed sculpture. His personal life also causes much intrigue, having had several wives, mistresses, and muses. Throughout the 1930s and 40s Picasso entertained principally two women, Marie-Therese Walter and Dora Maar. Maar originally a photographer and a painter expressed her art alongside Picasso. The women in Picasso’s life greatly influenced and inspired his artwork. Picasso's work is often categorized into periods, such as the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). The work following these periods tend to be executed in a neoclassical style, eventually showing characteristics of Surrealism. It is obvious that Picasso often changed his style and experimented with different theories, ideas, and techniques throughout his life.

§ BRYAN PEARCE (BRITISH 1929-2007) HARBOUR - 199160/75, signed, numbered and dated in pencil to margin (Dimensions: 19.5cm x 14.5cm (7.67in x 5.75in))Biography: Bryan Pearce is recognised as one of the U.K.’s leading naïve artists. Born in Cornwall, he suffered from severe health problems and attended a special needs school during the 40’s and 50’s. Encouraged to paint and draw Pearce attended Leonard Fuller’s St.Ives School of Painting from 1953 to 1957. As an artist Pearce depicted his home town and surrounding landscape and on the suggestion of the sculptor Denis Mitchell he joined the Newlyn Society of Artists in 1959. He held his first solo exhibition at the Newlyn Gallery near Penzance in 1959 and subsequent major shows at the Museum of Modern Art in Oxford in 1975 and the Royal Cornwall Museum in Truro in 2000. In his later life he produced a series of prints in small numbered editions and our etching dates from this period.

§ IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) DREAM OF TIREE - 1992Etching, A/P, signed, titled, editioned and dated in pencil to margin (Dimensions: 39.5cm x 50cm (15.5in x 19.75in), plate size)Biography: Ian Fleming studied printmaking while at Glasgow School of Art, and even managed to sell two of his prints while still a student. After graduating, when working with Charles Murray, he encountered the engraving technique, a process he would go on to become extremely skilled in. While working as a lecturer at the Art School, he was introduced to the artist and designer, William Wilson; they became great friends and a strong influence on each other’s work. In his teaching career he taught both Robert Colquhoun and Robert MacBryde, and ultimately became Head of Gray’s School of Art in Aberdeen. Fleming is known for his high-skilled technique, creating detailed etchings and engravings, often of Glasgow and the Scottish Highlands.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) YELLOWEtching and aquatint, P/P, signed and editioned in pencil to margin (Dimensions: 73cm x 97cm (28.75in x 38.25in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) BLACK CAT ONEtching and aquatint, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 50cm x 56cm (19.75in x 22in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, H/C, signed and editioned in pencil to margin, unframed (Dimensions: 63.5cm x 51cm (25in x 20in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ PETER LASZLO PERI (HUNGARIAN/BRITISH 1899-1967) TWO FIGURESEtching and aquatint, 1950, signed and dated in pencil to margin, unframed, and another unframed etching by the same hand (Dimensions: 28cm x 42cm (11in x 16.5in), image size) (Qty: 2)Biography: Peri was born in Hungary in Budapest and although initially apprenticed as a bricklayer he became a student at the workshops for proletariat fine arts before going on to study architecture for two years. First moving to Paris, followed by Vienna and then Berlin, Peri had the first of two exhibitions with Moholy-Nagy, where he produced irregularly shaped wall reliefs. A radical and left wing thinker Peri was a member of the Association of Revolutionary Visual Artists of Germany and in 1933 Peri emigrated to England with his wife Mary Macnaughton. Once in England Peri was invited to produce a variety of sculptural work for London County Council including the Festival of London and Lambeth Borough. He is represented in museums worldwide including the Tate Gallery, MOMA, Centre Pompidou and the Arts Council. Alongside his sculptural work Peri produced a variety of highly regarded engraved work.

§ BARBARA RAE R.A., R.S.A., R.S.W. (SCOTTISH B.1943) IANO - AUTUMN, 1995Colour etching, A/P, signed, titled and editioned in pencil to margin (Dimensions: 60cm x 80cm (23.5in x 31.5in), full sheet)Biography: Barbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996. Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae's work has been exhibited all over the world and is held in many private collections. Rae's work is concerned with the passage of time and history. She "distils the presence of mankind," and often depicts subjects reflective of an area's history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDEtching, P/P, signed and editioned in pencil to margin (Dimensions: 37.5cm x 43cm (14.75in x 17in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ELIZABETH BACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 35.5cm x 30cm (14in x 11.75in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931)Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 60cm x 45.5cm (23.5in x 18in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) YOUR PRINTS FROM THE 'COMMENT'Etching and aquatint, 21/25, signed, titled, inscribed and editioned in pencil to margin, unframed (Dimensions: 45cm x 61cm (17.75in x 24in))Biography: Ian Fleming studied printmaking while at Glasgow School of Art, and even managed to sell two of his prints while still a student. After graduating, when working with Charles Murray, he encountered the engraving technique, a process he would go on to become extremely skilled in. While working as a lecturer at the Art School, he was introduced to the artist and designer, William Wilson; they became great friends and a strong influence on each other’s work. In his teaching career he taught both Robert Colquhoun and Robert MacBryde, and ultimately became Head of Gray’s School of Art in Aberdeen. Fleming is known for his high-skilled technique, creating detailed etchings and engravings, often of Glasgow and the Scottish Highlands.

Robert Borlase SMART (1881-1947) - An early 20th Century etching depicting the Sloop Inn, St Ives. Signed and titled in pencil. Framed and glazed. Measures 26 cm  x  17 cm.

Robert Borlase Smart (1881-1947) - An early 20th Century etching depicting Smeaton's Pier in St Ives. Signed in pencil. Framed and glazed. Measures 41 cm  x  35 cm.

Wilfred Fairclough (1907 – 1996) - Marketplace - A late 20th Century etching depicting a bread and jam stall. Signed. Framed and glazed. Measures 22cm tall by 27cm wide. 

A VICTORIAN ROYAL ARTILLERY OFFICER'S 1821 PATTERN SWORD, 90cm blade by MOLE & SONS, etched with scrolling foliage, crowned VR cypher and regimental devices, regulation steel three-bar hilt, wire bound fishskin grip. Note the quality of the etching is higher than usual and the rayskin has not been polished smooth, remaining chunky, no scabbard.

Salvador Dali (1904 - 1989) Framed colored etching. Pencil signed and numbered (150/200) in lower margin. Image Size: 24 x 15 in. Overall Framed Size: 36 x 27 in. Framed behind glass.

Framed Art Nouveau Etching of a Woman. Appears to be unsigned.Image Size: 7 x 3.25 in. Overall Framed Size: 15.25 x 10.25 in. Framed behind glass.

Framed After Rembrandt Van Rijn Etching. Signed in plate upper left. Image Size: 3.75 x 2.75 in. Overall Size: 13.25 x 11.25 in. Framed behind glass.

John Taylor Arms (1887-1953) Etching. The etching depicts the Cathedral Basilica of Saint Cecilia, also known as the Albi Cathedral, in Albi, France, that sustained damage during the French Revolution. It is signed in the margin at the bottom and dated 1927. Image Size: 10.25 x 13.5 in. Overall Size: 16 x 20 in. Framed behind plexiglass.

Two 19th Century hand painted lithograph etchings - prints to include bats and exotrci birds, some with marks for Fullerton & Co London & Edinburgh. Together with book plate of The past life-history of the Earth and two other framed and glazed etching studies of cats. Measures 50 cm x 30 cm.

Frans Wesselman (20th Century) - Moorhens - A 20th Century coloured etching depicting moorhens swimming on a pond, coloured in yellow and green hues. Limited edition 39/100. Framed and glazed. Measures 36cm tall by 36cm wide.  

Sheila Horton - Anticipation of a Celebration - A limited edition etching depicting a still life scene with a cat and precious objects / antiques. Framed and glazed. Signed, limited 96/100. Measures 46cm tall by 39cm wide. 

A Victorian hand-tinted etching depicting a young girl in pinafore dress playing with a doll and a tabby kitten, framed under glass, 52 x 42 cm

A small collection of pictures to include watercolours, a limited edition etching depicting a European street scene and similar, varying sizes.

Stamp Act.- Wilson (Benjamin), After. The Repeal, or the Funeral Procession, of Miss Americ-Stamp, etching, on laid paper with indistinct three leaf clover-shaped watermark, platemark 255 x 355 mm. (10 x 14 in), sheet 300 x 480 mm. (11 3/4 x 18 7/8 in), small loss within plate at upper left, numerous losses to margins, even toning, surface dirt and handling creases, unframed, [circa 1766].Literature:cf. BM Satires 4140⁂ After Wilson's celebrated engraving commemorating the repeal of the Stamp Act, showing a mock funeral procession in a London dock with various warehouses, in the left foreground a tomb, approached by the procession with Lord Bute, wearing tartan, immediately after the coffin, followed by the Duke of Bedford, at the end two bishops. [BM Satires]

Rego (Paula) The Children's Crusade, with an Introduction by Blake Morrison, number 26 of 90 deluxe copies with an original etching 'Bait' and signed by Rego and Morrison, from an edition limited to 190, tipped-in full-page illustrations by Rego, some colour, original cloth with colour illustration mounted on upper cover, uncut, original etching numbered & signed in pencil by the artist, loose as issued in folder, together in original cloth slip-case, folio, Enitharmon Press, 1999.

Printmaker's shop.- Bosse (Abraham, 1602-1676) Graveurs en taille douce au Burin et à l'eau-forte, etching, a clear impression on laid paper with small watermark of bunch of grapes, platemark 257 x 332 mm. (10 1/4 x 13 1/8 in), sheet 272 x 345 mm. (10 3/4 x 13 1/2 in), printers' creases in the lower right quadrant with short split at edge, running into the text, another small marginal tear in the upper right, just into the plate, otherwise some browning and exposure lines, rough edges, unframed, Paris, unframed, 1643; Cette figure vous montre comme on imprime les planches de taille douce, etching, on laid paper without watermark, sheet 230 x 317 mm. (9 x 12 1/2 in), trimmed within text description and to borderlines, some losses to corners, handling creases, some surface dirt and browning, unframed, [Paris, 1642]Provenance:[Graveurs en taille douce...] Two stamps of the Achenbach Foundation for Graphic Arts, San Francisco, one a "duplicate" stamp [L. 3a and 5069]Literature:[Graveurs en taille douce...] Lothe 255

Füssli (Johann Rudolf) Portrait of Maria Sibylla Merian, etching, 13 x 9 cm (5 1/8 x 3 ½ in.), trimmed just within platemark at foot, narrow margins on other sides, [Zurich, 1755] § Chodowiecki (Daniel) The artist's bookplate, etching, 8 x 6 cm (3 ¼ x 2 3/8 in.), trimmed just within platemark, laid on old album paper, c. 1770; together with a group of 17th and 18th century prints by Benigno Bossi, Bernard Lens, Hieronymus Wierx and others, all unframed (c. 33)

AFTER HEDLEY FITTON (1859-1929) "The Two Mills", a first state etching, 47cm x 33cm plate size, signed and titled in pencil, with gallery label en verso, glazed in plain wood frame

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

Excellency of Pen and Pencil (The), exemplifying the Uses of them in the most exquisite and mysterious arts of Drawing, Etching, Engraving, Limning..., first edition, engraved frontispiece, folding plate and illustrations, some full-page, old ink signature of W.Vaughan at head of title, light spotting, a few small rust-spots causing holes, later tan morocco ruled in gilt, by Ramage, g.e., decorative gilt dentelles, [Wing E3779], 8vo, by Thomas Ratcliff and Thomas Daniel, for Dorman Newman and Richard Jones, 1668. ⁂ Rare; ESTC lists only 6 UK copies.

DALeast (Chinese 1984-), ‘Circulated (Dawn)’, 2013, two colour etching and aquatint on 300 gsm Somerset Satin paper, signed and inscribed API in pen, outside of the main edition of 50, published by Lazarides; sheet: 62.5 x 50cm

DALeast (Chinese 1984-), 'Circulated (Dusk)', 2013, etching on 360gsm Fabriano Murillo paper, signed and numbered from an edition of 50 in pen, published by Lazarides; sheet: 62.5 x 50cm

Sandra Chevrier (Canadian 1983-), 'La Cage Et La Trace Du Crayon (Small)', 2019, Etching on Fabriano Rosapina Bianco 285gsm, signed and numbered from an edition of 60 in pencil, published by Graffiti Prints; sheet: 36 x 30.5 cm

Tracey Emin (British 1963-), 'Sitting With You', 2013, etching on wove paper, signed, titled, dated and numbered from an edition of 200 in pencil, published by Counter Editions; sheet: 30.5 x 23cm ARR

Perhaps Einstein´s most famous etched portrait signed by him EINSTEIN ALBERT: (1879-1955) German-born Theoretical Physicist, Nobel Prize winner for Physics, 1921. A good limited edition signed 8.5 x 11 etching of Einstein in a near profile head and shoulders pose, numbered 56/100. Signed `Albert Einstein´, in pencil, to the lower right part, at the base of the image. Also signed to the lower left border by the artist `Hermann Struck´. With very small overall age wear, and extremely small left corners clipped. VG  £5000-8000   Struck was a German Jewish artist and passionate Zionist known for his etchings. He created portraits of several distinguished subjects including Einstein, Freud, Nietzsche, and Ibsen.

Olivier Raab, (British, b. 1955), Girl in a Red Dress, signed and numbered, coloured lithograph, 54 x 45cm, with a Christie's contemporary Art Certificate together with a colour etching by Donald Wilkinson titled Island Flowers - Eigg', signed, titled and numbered in pencil, 48 x 38cm (2).

Albrecht Dürer (1471-1528)Christ on the Mount of OlivesEtching, 1515, but a later albeit clear and well inked Meder d impression, on antique laid paper with indistinct postal horn watermark, likely printed by Heinrich Wetterroth, platemark 224 x 160 mm (8 3/4 x 6 1/4 in), sheet 318 x 227 mm (12 1/4 x 8 7/8 in), wide margins, some spotting, (unframed)Literature:Meder 19; S.M.S 80

Rembrandt van Rijn (1606-1669)Self-Portrait etching at a WindowEtching, drypoint and burin, 1648, a good but later impression of New Hollstein's eighth state (of nine), the landscape showing wear but otherwise printing clearly, on slightly thick laid paper without watermark, platemark 158 x 131 mm (6 1/4 x 5 1/4 in), sheet 164 x 134 mm (6 3/8 x 5 1/4 in), scraping verso, recto with light rubbing and surface dirt (unframed)Literature:Hind 229; New Hollstein 240 viii/ix

δ Dieter Roth (1930-1998)Composition V (Dobke 448)Etching with drypoint, 1979, signed in pencil, from the edition of 268, on wove paper, printed by Hartmut Frielinghaus, Hamburg, published by Griffelkunst Vereinigung, Hamburg, with full margins, sheet 389 x 284mm (15 1/4 x 11 1/4in) (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)Joseph Telling his DreamsEtching, 1638, a good but later impression of New Hollstein's fifth state (of six), on thin laid paper without watermark, platemark 111 x 83 mm (4 3/8 x 3 1/4 in), sheet 123 x 92 mm (4 7/8 x 3 5/8 in) (unframed)Together with:'The Persian', etching, 1632, but a later impression of New Hollstein's third state (of three) [AND] 'The Artist's Mother with her hand on her chest', 1631, but a later impression on laid paper (unframed) (3)Literature:New Hollstein 167 v/vi; 110 iii/iii; 87

δ Zao Wou-Ki (1921-2013)Illuminations, one plate (Agerup 180; Rivière 181)Etching with aquatint printed in colours, 1967, signed and inscribed 'E.A.', a proof aside from the edition of 200, on Rives wove paper, as included in 'Illuminations', printed by Atelier Lacouriere et Frelaut, published by Le Club Francais du Livre, Paris, with margins, plate 266 x 238mm (10 1/2 x 9 2/5in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Francisco Goya (1746-1828)Quien se pondrá cascabel al gato? (Otras Leyes por el Pueblo), from: 'Los Proverbios'Etching with aquatint, circa 1824, but a slightly later impression on cream laid paper with text as published in L'Art, sheet 245 x 393 mm (9 3/4 x 15 1/2 in), upper edge trimmed within platemark, minor handling creases (unframed)Literature:Delteil 222; Harris 268

δ Bill Jacklin (b.1943)Girl in Deck ChairEtching, 1992, signed and numbered from the edition of 30 in pencil, on wove paper, as included in the Coney Island Suite, with full margins, the image, 240 x 315mm (9 1/2 x 12 1/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.