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* Hollar (Wenceslaus). Plan de Londres tel quil etoi avant L'Incendie de 1666, Gravé par Hollar, published Robt. Wilkinson circa 1816, uncoloured etching with the margins decorated with the coats of arms of city livery companies, title repeated in English within the image, 175 x 280 mm, mounted, framed and glazed, together with Capellae Regiae ac Collegiate St. Georgii in Castro de Windsore a meridie prospectus...., 1671, uncoloured etched prospect with a floor plan below the prospect, 295 x 360 mm, mounted, framed and glazed, with Capellae Collegij Regalis de Eton ab Aquilone Prospectus, 1672, uncoloured etching, 260 x 380 mm, mounted, framed and glazedQty: (3)

* Foreign Topographical Views. A collection of 38 prints and engravings, mostly 18th & 19th century, engraved and lithographic views including Marieschi (M.). Forum minus Diui Marci publieys oedificys utrinque insigne, Venice, [1741], uncoloured etching on laid, originally published in the series 'Manificentiores Selectioresque Urbis Venetiarum...,' trimmed to image but retaining the title, some worming affecting printed image, 310 x 470 mm, together with Needham (J.). Ancient temple on the Tukt-I-Suleman, Day & Son, 1858, lithograph after Mrs Clark with contemporary hand colouring, slight spotting, 320 x 420 mm, with Bluck (John). A View of the City of Montreal & The River St. Laurence from the Mountain, R. Ackermann, 1811 [but 20th-century restrike], hand-coloured aquatint after E, Walsh, mount stained, 430 x 560 mm, plus Vanderhecht (G.). Hôtel de Ville de Bruxelles, P. Degobert, circa 1845, uncoloured lithograph by and after Vanderhecht, 300 x 210 mm, tipped on to contemporary paper, with others similarQty: (38)

Folio Society. Travels into Several Remote Nations of the World by Lemuel Gulliver, by Jonathan Swift, 2011, 17 tipped-in colour illustrations by Peter Suart plus an original numbered monochrome etching signed in pencil, publishers original quarter vellum with illustrated boards in book box, folio, limited edition 822/1000Qty: (1)

* Etchings. A collection of 23 etchings, mostly 20th century, uncoloured etchings, including Detmold (Edward J. 1883 - 1957). State Elephant. Spirit of the East, etching, signed by the artist in pencil to the lower right, toned overall, 290 x 240 mm, together with Affleck (A. F.). Venice, The Ducal Palace & Edinburgh Castle, circa 1930, two etchings, both signed by the artist to the lower right below the image, both mount stained and toned overall, each approximately 255 x 470 mm, with Litton (Hedley, 1859 - 1929). Ecclesiastical Interior, etching, signed in pencil by the artist to lower right, slight mount staining, 450 x 305 mm, plus Hester (Wallace), Lancing from the East & Upper Quad Lancing, early 20th century, two etchings, signed and titled in pencil by the artist below image, each toned overall, each approximately 195 x 260 mm, mounted, with others similar, various sizes and conditionQty: (23)

Dodgson (Campbell). A Catalogue of Etchings by Augustus John 1901-1914, Charles Chenil and Co., Ltd., 1920, numerous monochrome illustrations, some light toning & spotting throughout, front gutters cracked, loose errata to the rear, publishers original quarter white cloth, boards & spine slightly marked & rubbed with minor loss to head & foot, large 4to, limited edition 134/325, includes Catalogue of OneHundred and Twenty-Five Etchings by Augustus E. John, The Chenil Gallery, 1919, black & white portrait frontispiece, some light spotting, publishers original wrappers, covers slightly spotted & rubbed, 8vo, together with; Carter (Charles [editor]), Etching and Dry Points from 1924 by James McBey (1883-1959), Aberdeen Art Gallery, 1962, numerous black & white illustrations, some minor toning, publishers original green cloth, spine lightly faded, large 8vo, and Kennedy (Edward G.), The Etched Work of Whistler, Alan Wofsy Fine Arts, San Francisco, 1978, numerous monochrome illustrations, original cloth in dust jacket, covers slightly rubbed to head & foot, large 8vo, plus 4 further volumes of etching & engraving reference, including Charles Meryon, catalogue raisonné of the etchings, by Loys Delteil & Harold J. L. Wright, Alan Wofsy Fine Arts, San Francisco, 1989, Catalogue of the Etchings of Joseph Pennell, by Louis A. Wuerth, Alan Wofsy Fine Arts, San Francisco, 1988, 8vo/4toQty: (7)

* Brussels. De Jode (Cornelis), Le Koert de Bruxelles, Antwerp, circa 1580, uncoloured etched view after Bartholomeus de Momper, trimmed to image and laid on later paper, slight loss to two corners, 410 x 515 mmQty: (1)NOTESA rare view of the palace of the Dukes of Burgundy at Coudenberg in Brussels, which Dürer described as one of the prettiest buildings in Europe. Sadly the building no longer exists as it was burned down in 1731. The etching shows the Aula Magna, or Throne Room, the Warande Park and surroundings, the Court of Nassau, parks and churches with a jousting contest in the foreground.

* Sporting etchings. Slocombe (Frederick), Salmon fishing, The Fine Art Society, March 1st, 1889, uncoloured etching on vellum, remarque to the lower right of a creel, gaff and brown trout, signed by the artist in pencil to lower left, slight marginal dust soiling, 415 x 595 mm, together with Whymper (Charles). Duck shooting, The Fine Art Society, Feby. 1st. 1886, uncoloured etching on faux-vellum, remarque to the lower right of a duck feather, signed by the artist in pencil to lower left, some marginal dust soiling and slight staining but not affecting image, 400 x 570 mm, mounted, with Kirk (Alex H.). The Angler, circa 1948, etching on wove, signed in pencil by the artist to the lower left, slight mount staining, 355 x 255 mm, plus Wilkinson (Henry). Trout Fishing, circa 1980, dry-point etching, printed in colours and finished by hand, limited edition 11/75, signed in pencil by the artist to lower left, 230 x 330 mm, and Birket Foster (Miles). Mother and Children in a Country Lane, The Fine Art Society, Feby. 2nd, 1891, uncoloured etching on faux-vellum, Print Sellers Association blind stamp to lower left and signed in pencil by the artist below image to lower left, slight marginal dust soiling, 565 x 400 mm, with another 6 etchings of portraits, sporting and genre subjects, various sizes and conditionQty: (11)

Pennell (Joseph). Etchers and Etchings, Chapters in the history of the arts together with technical explanations of modern artists, 1st edition, T. Fisher Unwin, 1920, 8 original unsigned etchings by Pennell, numerous reproductions, top edge gilt, remainder untrimmed, original publisher's brown morocco-backed boards gilt, rubbed and some marks, folio, limited signed edition 97/105, together with: Dodgson (Campbell). A Catalogue of Etchings by Augustus John 1901-1914, 1st edition, Charles Chenil and Co., Ltd., 1920, monochrome illustrations, top edge gilt, remainder untrimmed, original white cloth-backed boards gilt, rubbed and some soiling, large 4to, limited edition 129/325, plus others related on etching and print making, including Frank L. Emanuel, Etching and Etchings, 1930, Frank Rinder, Etchings of D.Y. Cameron and a Catalogue of His Etched Work, Otto Schulze, 1908 (2 copies), W. Shaw Burrow, A Book of British Etchings, 1926, John Buckland-Wright, Etchings and Engravings, Techniques and the Modern Trend, 1st edition, 1953 (ex-library copy), Roberto Sanesi, The Graphic Work of Ceri Richards, 1973, Clare Leighton, Wood-engraving and Woodcuts, Studio 'How To Do It' series, no. 2, reprinted 1944 (covers damp marked), etc.Qty: (17)

A framed and glazed etching of a young girl and a framed and glazed hand stitched textile. H.40 x 40cm

NUDE STUDY ETCHING BY VERTA SAYER

Sydney Long (Australian 1871-1955), 'Trees and cattle in a lakeland scene', a signed etching, 26.5 x 31.5cm, F H Ball, 'Young woman wearing a robe, in a wooded landscape' a signed pen and ink sketch, 34 x 34cm and a framed painted coat of arms, (3).

Robert R Greenhalf, 'View from the Down', a coloured etching, 18/50, 14.5 x 16cm, Mary Fenoughty 'Evening in Lombardy', coloured etching, 84/100, 41 x 37.5cm and one other engraving, (3).

A George III probably Irish conical rummel with swag wheel etching. Raised in a domed lemon squeezer base.13cm high. Together with a plain stemmed 18th century ale with folded foot(AF) and other 19th century glass waresProvenance: From The Sadia Walsh Collection

A James Alphege Brewer, St. Giles Cathedral, Edinburgh, signed etching and three other prints

Vatel (Charles). Notice Historique Sur La Salle Du Jeu De Paume, published L Bernard, 1883, hardback, marbled end boards, title page with etching frontispiece, some foxing, minor wear to spine Jeu de Paume was a ball and court game originating in France and an indoor precursor of tennis. Played in its infancy without racquets, which were eventually introduced, it is a former Olympic sport,  now known as real tennis, court tennis or courte paume.

Etching of a Jeu de Paume game in walled enclosure, with inscription, mounted and framed 32 by 26cm. Jeu de Paume was a ball and court game originating in France and an indoor precursor of tennis. Played in its infancy without racquets, which were eventually introduced, it is a former Olympic sport,  now known as real tennis, court tennis or courte paume.

AFTER GOYA 'Le Prisonnier' , etching, 9cm x 7cm Condition: foxing, paper creased, mounted in a glazed frame

JAMES MCBEY (1883-1959) Venice, dry point etching, signed and dated 1925 lower left, numbered XIII and signed in pen, 21.5cm x 26.5cm Condition: relatively poor condition due to foxing, unframed.

DAVID MUIRHEAD BONE (1876-1953) The Solent, etching, signed in pencil lower right, 17.5cm x 25m Condition: with minor foxing spots, surrounding paper with foxing and tears to the edges.

TWO BOXES OF PRINTS ETC, to include two Erik Drummond prints, signed and titled to the mounts, limited edition etching of Parrots in a cage, indistinctly signed, two etchings of figures in costume , indistinctly signed, four unsigned cartoon style paintings of a dentist, A 200, a beach scene and a surreal style still life, together with framed sheet music covers and topographical views etc

PAINTINGS AND PRINTS ETC, to include J.Wingate watercolour of barges on a continental river, framed, approximate size 34cm x 50cm, Erica Brooks mixed media study of houses, M.A.Muller pastel still life study of flowers in a vase, William Renison signed drypoint etching, indistinctly signed watercolours, limited edition prints by F.Prosperi, indistinctly signed etchings etc

* RICHARD "TURNERAMON" TURNER A.R.C.A (BRITISH 1940 - 2013), THE DAUGHTERS OF BABYLON oil on canvas, signed 102cm x 152cm Framed Note: Richard Turner was noted post modernist artist born in Derby England and was educated at Bemrose Grammar School. In 1960, he enrolled at the Derby College of Art where he won the J. Andrew Lloyd scholarship for Landscape, enabling him to study at the Royal College of Art in London, from 1963. There, he was tutored by Carol Weight and Sir Peter Blake. He graduated in 1966 with an Associate of the Royal College of Art Degree, as well as prizes in Life Drawing, Life Painting, and Landscape Painting. His work was much admired by his contemporaries and his tutors. For the next two years, Turner was a lecturer at the Guildford School of Art; working on environmental installation projects with Australian artist Tony Underhill. He was introduced to etching by Peter Olley and Norman Ackroyd. In 1968, he was employed as an epigraphic artist and photographer by the Oriental Institute of the University of Chicago. For five years, he was based at Chicago House in Luxor, Egypt making facsimile drawings of the reliefs on the walls of the Temple of Khonsu, Karnak and Medenet Habu, adjacent to the Valley of the Queens. In 1973, Turner returned to England, lecturing at Salisbury College of Art for three years, before being re-employed in Egypt by the University of Chicago, for a further four years. During this time he made full scale tracings of all columns in the Great Hypostyle Hall of Luxor Temple. In 1980 he moved to the USA; built a split-level chalet style house in Big Bear, California, and ran his own gallery, named Minnelusa Gallery, on the shores of Big Bear Lake. He also worked as a graphic designer with Treasure Chest Advertising, based in Los Angeles. Four years later, Turner returned to the United Kingdom, and briefly lived in Edinburgh before moving south for five years. He returned to Scotland in 1989, and ran a successful "art holiday" home business from Park House in Kirkcudbright, as well as lecturing part-time in various colleges and schools. In 1993, Turner met HM The Queen and Prince Philip, at the opening of Tolbooth Art Centre in Kirkcudbright. Prince Philip commented on Turner's work saying it looked "refreshingly different". Turner exhibited widely throughout his career including multiple solo shows in London, Manchester, San Francisco, Palm Springs, San Bernardino, Los Angeles, Paris, Cairo, Luxor, Kirkcudbright and around the UK.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE PRESENCE etching with aquatint, signed and numbered 27/50 in pencil 74cm x 55cm Unframed Note: From the Bellany Sextet

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE FRIGHT etching with aquatint, signed and numbered 27/50 in pencil 74cm x 55cm Unframed. Note: From the Bellany Sextet.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), SAMSON AND DELILAH etching with aquatint, signed and numbered 27/50 in pencil 74cm x 55cm Unframed. Note: From the Bellany Sextet.

* ESTELLE THOMPSON (BRITISH b 1960), MOVING COLOUR III etching, signed, titled and dated '02 (edition of 15) 37cm x 26cm Framed and under glass Label verso: Abbott and Holder Ltd, 30 Museum Street, London. Note: Solo exhibitions include; Flowers Gallery, London (2016); Oriel Sycharth Gallery, Wrexham (2014); Purdy Hicks, London, (1989 - 2009); Wetterling Gallery, Stockholm, (2004); The New Gallery, Walsall (2001); Rosenberg and Kaufman Fine Art, New York (2001) and Angel Row Gallery, Nottingham (2000); Galerie Helmut Pabst, Frankfurt (1999); Fuse Paintings Usher Gallery, Lincoln; Mead Gallery, University of Warwick; South Hill Park, Bracknell (1997-98); Abbot Hall Art Gallery Kendal (1997); Galerie Helmut Pabst (1996); PHG touring to Winchester Gallery; Towner Art Gallery and Darlington Arts Centre (1993-94).

OLEG TSELKOV (RUSSIAN B. 1934)Demonstration, 1976 etching plate mark: 68.5 x 51 cm (27 x 20 in.) signed, dated and titled in plate lower right, signed lower right, inscribed with edition 83/100 lower left PROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

OLEG TSELKOV (RUSSIAN B. 1934)Portrait of Two, 1976 etching 30 x 21 cm (12 x 8 1/4 in.) [plate] signed, dated and titled in plate lower right, signed lower right, inscribed with numeral II and edition 11/100 lower left PROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the work appears in excellent condition without any issues to report.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

PETER MILTON (B. 1930)Points of Departure II: Nijinsky Variations, 1996 resist ground etching and engraving on BFK Rives paper 60 x 95 cm (23 1/2 x 37 1/4 in.)[plate] 63.5 x 99 (25 x 39 in.)[full margin] signed, dated and inscribed with edition 36/175 lower right, series title center PROVENANCE Swann Auction Galleries, New York, 05 March 2009, lot 525 (label top right)Estate of the purchaserCONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A pair of Edwardian clear glass rummers with wheel etching and cable twist stems. 17cm high. Together with other 19th/20th century decorative and table glassware.

Rachel Anne Grigor, Blue Runner, coloured etching, signed and titled, mounted and framed, together with another titled 'A Mirror Dream', signed lower right and dated 1987, 75cm x 48cm (2)

Federica Galli - Fiume Dora, etching, signed by the artist, edition 69/70, 64 x 35cm

A topographical engraving of Bury St Edmunds; together with a Parisian street scene print; Paul Gilbert - Cornfield Poppies etched etching; and some unframed National Gallery prints

Edward Charlton RA - harbour scene titled 'Minesweeper Refilling', etching, signed to the margin, 15x22cm, together with a Glyn Matthews photograph, and a feather collage (3)

Henry George Rushbury (1889-1968)+ 'Adelaide House' Etching Signed in pencil to margin lower right 21.5cm x 27.5cm In contemporary frame with printed information en verso + Possibly subject to Artist Re-Sale rights (Droit de suite) - For further information go to to www.artistscollectingsociety.org or www.dacs.org.uk CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request

Robert Houston (1891-1940) Coastal landscape with riders on the beach Etching 10cm x 13.5cm Signed in pencil to margin lower right CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request

Ben White (20th/21st Century British)+ An etching entitled 'Sonnet', artist's proof, signed and titled to margin, 45cm x 31.5cm, purchased from the Arts Forum Gallery in 2008 and a limited edition woodcut entitled 'The Studio', numbered 1/8, signed and titled to the margin, 45cm x 31.5cm, purchased from the Arts Forum Auction in 2009 This lot is part of a single owner collection of 20th and 21st century artwork owned by the late Tony Allen. Many of the artists featured are Sussex based and local to Hastings and Rye where Tony himself studied and exhibited. Tony was a keen patron and his extensive collection will be offered for sale over a number of forthcoming auctions + Possibly subject to Artist Re-Sale rights (Droit de suite) - For further information go to to www.artistscollectingsociety.org or www.dacs.org.uk CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request

Nicola Jackson (20th/21st Century British)+ A collograph entitled 'Through Orange', artist's proof, initialled to the lower margin, 27cm x 27cm, purchased from the Rye Society in 2008 ww.hastingscreatives.co.uk/directory/918/nicola-jackson and A Avenllo, coloured etching 'Bull Terrier', artist's proof, titled and signed to lower margin, 14cm x 12.5cm purchased in 2016 This lot is part of a single owner collection of 20th and 21st century artwork owned by the late Tony Allen. Many of the artists featured are Sussex based and local to Hastings and Rye where Tony himself studied and exhibited. Tony was a keen patron and his extensive collection will be offered for sale over a number of forthcoming auctions + Possibly subject to Artist Re-Sale rights (Droit de suite) - For further information go to to www.artistscollectingsociety.org or www.dacs.org.uk CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request

Heather Meyerratkin (20th/21st Century Australian/British)+ A limited edition coloured etching entitled 'Le Voyage Traitre', signed and titled to the margin, numbered 2/4, 14cm x 20cm, purchased from her HND show in 2005 www.heathermeyerratken.co.uk This lot is part of a single owner collection of 20th and 21st century artwork owned by the late Tony Allen. Many of the artists featured are Sussex based and local to Hastings and Rye where Tony himself studied and exhibited. Tony was a keen patron and his extensive collection will be offered for sale over a number of forthcoming auctions + Possibly subject to Artist Re-Sale rights (Droit de suite) - For further information go to to www.artistscollectingsociety.org or www.dacs.org.uk CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request

Bill Jacklin born 1943, etching of a man eating at a table, pencil signed limited edition 6/35

David Deuchar (Scottish 1743-1808): Bust Portrait of Rembrandt, dry point etching signed in the plate 6cm x 5cm - Condition Report

Alfred Blundell: The High Street, Kersey, Suffolk. Framed and glazed etching. 36cm x 29cm

A framed watercolour of a female nude, a watercolour of a Norfolk horn sheep, an etching of a black cat and three others

After James McIntosh Patrick OBE, RSA (1907-1998) Scottish"The Knapp Road, Rossie Priory"Numbered 178/850, limited edition print, together with Simon Hodson, "Rose Shutters", signed, watercolour, a watercolour by Trevor D Boult, "Fox", an etching by Elizabeth Morris "Unmade Bed" and two further mixed media works by Debbie Lee and Jennifer Mackie (6)Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Piers Browne (b.1949) ''Stableford Mill, Shropshire'' Signed and dated (19)78, inscribed and numbered A/P, etching, 44.5cm by 33cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Winifred Pickard (1908-1996) ''Christmas Roses'' Signed, inscribed and numbered 40/75, etching, together with a further etching by the artist ''Syringa and Roses'', 28.5cm by 24.5cm and 32.5cm by 25cm respectively (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Nicola Edwards (Contemporary) Untitled Signed and dated 'Jan (19)91', numbered 2/4, etching, together with three further etchings by the artist, 61cm by 48cm and various other sizes (4)

Sydney Herbert Paviere (1891-1971) Church beyond a bridge, signed in pencil, etching, together with a further etching depicting St Pauls from River by AJ Meyer, print after JMW Turner ''Dumblaine Abbey, Scotland'', a map of Northamptonshire and seven prints of various country houses (11)

NO RESERVE Wales.- Buck (Samuel and Nathaniel) The South-East View of Carmarthen, etching and engraving, an excellent clean impression on laid paper without watermark, platemark 310 x 820 mm (12 1/4 x 32 1/4 in), sheet 450 x 860 mm (17 3/4 x 33 3/4 in), central vertical fold, minor nicks to edges, some faint spotting and surface dirt, unframed, 1748.

NO RESERVE Literary portraits.- Collection of ten portraits of authors by various hands, including an etching by Schoff of George Eliot, a lithograph of Shelley, an etching of Lord Byron by George Henry Harlow, and others of Thackeray, Alex Dumas, and others etchings and lithographs, various sizes, neatly presented on loose album leaves, each approx. 320 x 270 mm (12 1/2 x 10 1/2 in), many with pencil inscriptions identifying sitters, unframed, [19th century] (10).

NO RESERVE Sangorski & Sutcliffe.- Cundall (H.M.) Birket Foster, limited edition of 500 signed by publisher, additional etching bound before half-title, portrait frontispiece, colour plates, captioned tissue-guards, illustrations, scattered faint spotting, modern decorative green crushed morocco by Sangorski & Sutcliffe, small faint stain to upper cover, 4to, 1906.

della Bella (Stefano) and Israel Silvestre. Veuë et Perspective du Palais Cardinal..., etching, the background etched by Silvestre, sheet 132 x 245 mm (5 1/4 x 9 1/2 in), thread margins or trimmed to platemark, tipped onto paper support, minor handling creases, some spotting and surface dirt, unframed, [circa 1650]; together with ten landscape views by Silvestre, etchings on cream laid paper with 17th century watermarks, each sheet approx. 130 x 245 mm (5 1/4 x 9 1/2 in), tipped at left corners onto paper supports with ruled brown ink borders, some occasional spotting and surface dirt, minor handling creases, unframed, [circa 1650] (11)

NO RESERVE Fountain design.- Erasmus (Johann Georg, Nuremberg-based publisher, 1659-1710) Abbildung der Fontaine..., view of the massive sandstone Triton fountain installed in the Neuen Bau in Nuremberg (now Maximiliansplatz), etching, an excellent richly inked impression on laid paper with armorial watermark, platemark 415 x 310 mm (16 1/4 x 12 1/4 in), small margins approx. 2-3 mm, horizontal fold, other handling creases, marginal nicks, with small tear and loss in the upper right corner, and another in centre right edge, minor surface dirt, unframed, Nuremberg, 1687⁂ Johann Georg Erasmus was the son of the designer and cabinet-maker Georg Caspar Erasmus, and became a prolific draughtsman and architect in Nuremberg.

NO RESERVE Earlom (Richard) Nymphs and satyrs, after Peter Paul Rubens, mezzotint with etching, proof impression with coat of arms but before letters, platemark 480 x 605 mm (18 7/8 x 23 3/4 in), sheet 550 x 800 mm (21 3/4 x 31 1/2 in), some marginal nicks and tears, minor damp-stains and surface dirt, handling creases, unframed, John Boydell, 1784.

Caricatures.- Colley (Thomas), Attributed to. The English Lion Dismember'd, satire on the reaction of the English to their loss of Minorca in the Seven Years' War, symbolized by the loss of a lion's paw, engraving with hand-colouring on wove paper without watermark, platemark 245 x 350 mm. (9 5/8 x 13 3/4 in), sheet 300 x 480 mm. (11 3/4 x 18 7/8 in), some surface dirt, light toning, nicks to extremities, unframed, [BM Satires 5649], [1780] § Cruikshank (Isaac) The aristocratic crusade, or chivalry revived by Don Quixote de St Omer and his friend Sancho, satire on Burke's 'Reflections on the French Revolution', etching with hand-colouring on 'Taylor' watermarked laid paper, sheet 270 x 430 mm. (10 3/4 x 17 in), some surface dirt, trimmed to or within the platemark, unframed, [BM Satires 7824], 1791 § Grant (Charles Jameson) A General Retreat, Wellington leading the government in flight from its attack on the castle of Reform, etching with hand-colouring, on wove paper without watermark, platemark 250 x 340 mm. (9 7/8 x 13 1/2 in), small margins, unframed, [BM Satires undescribed], [1830] (3)

Caricatures.- Sayers (James) The Brewer and the Thistle, satire on the British politician Samuel Whitbread II (1764-1815), who is shown covered by tubs of varying shapes and sizes, and attacking the drooping head of a thistle with the features of Melville, etching and engraving on wove paper, platemark 350 x 250 mm. (13 3/4 x 9 7/8 in), sheet 415 x 330 mm. (16 1/4 x 13 in), minor surface dirt, unframed, [BM Satires 10416], Hannah Humphreys, 1805; together with Sayers' 'Frontispiece to Dr Bellendenus's sermon preached before the Right Honble &ca &ca' [BM Satires 9533], and '[The coalition stage coach]' [BM Satires 6226], etching and engravings, unframed, 18th century; together with 'The Downfall of Sejanus', an anonymous satirical broadside on Robert Walpole and the Excise Crisis, probably the frontispiece to C. Masquerade's 'C----- and country. A play of seven acts' [see ESTC N39166], etching and engraving, laid onto paper support, sheet 395 x 320 mm. (15 1/2 x 12 1/2 in), several repaired tears and splits, with a central area of loss replaced in facsimile, handling creases, surface dirt, unframed, [1733] (4).

Caricatures.- Cruikshank (Isaac Robert) A peep into Saldanha bay or the Dutch perfidy rewarded, satire on the Dutch having to capitulate to Elphinstone's squadron, etching with hand-colouring, platemark 240 x 350 mm. (9 1/2 x 13 3/4 in), unframed, published by Fores, 1796; together with 5 others, including William Heath's 'Leaving the House of Lords through the assembled commons', Doyle's 'The Apparition. A Cabinet Picture from the Downing St Collection', Cruikshank's 'Gambols on the River Thames, Feb 1814', an original watercolour after Isaac Cruikshank's 1792 'Rape of Europa', and another 'A Total Eclipse', all hand-coloured, unframed, mainly 19th century (6)

Caricatures.- Cruikshank (Isaac Robert) Blind-man's Buff, satire on suitability for marriage, the lady shown is Isabelle Forrester, who jilted both Lord Apsley and Mr Biddulph before marrying George Anson, etching and aquatint with hand-colouring, on wove paper with watermark date '1826', platemark 255 x 310 mm. (9 7/8 x 12 1/4 in), sheet 285 x 405 mm. (11 1/4 x 16 in), minor exposure lines and surface dirt, unframed, [c. 1820]; together with William Heath's 'The Virginia Fishing Smack, 1827 [BM Satires15410], John Phillips' 'The Nurse, Child, and Plaything', 1829 [BM Satires 15772], and W.H Isaacs' 'Revd. Mr Sambo's Sarmont', circa 1850 [not in BM Satires] (4)

Phil Greenwood (Contemporary), Cregennan Lake, Etching Signed, dated 79, inscribed, numbered 39/295 36 x 49cm (14 x 19¼ in.) And a colour aquatint by Rene Ligeron "Landscape", 45 by 63.5cms (2) Condition Report: First- slightly browned from sunlight (specks look to be dirt under glass) Second- slightly browned from sunlight Condition Report Disclaimer

λ Barry Flanagan (Welsh 1941-2009) Landscape, possibly from the Loch Ness series Drypoint etching Signed in pencil, dated 76 and inscribed AP 15.5 x 23cm (6 x 9 in.) Unframed Condition Report: Sunlight browned - paper discoloured Condition Report Disclaimer