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John William Edy, four un-framed aquatints circa 1820 inscribed 'Haoe Fall, no 57', 'Town of Drobath, no 58', 'Lake Lenongen, no 42' and 'Honbre B.Amkers House at Mos, no 68'; together with English Etchings, part XVII (one plate) and maritime aquatint or etching by Thomson

Charles Pinet (French 1867-1932) - Le Grosse Horloge - etching, signed in pencil to the margin, framed & glazed, 22 by 32cms (8.5 by 12.5ins).

* WILLIE KISSMER (1951-2018) 'Roter Torso' signed and titled in pencil to the margin, artist's proof etching, the image 38.5cm x 26.5cm

* BOB COSFORD (Contemporary) 'Grange Hill by Phil Redmond' signed by Cosford and Redmond, number 18 from a limited edition of 25 Artist's proofs, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, Commissioned by Phil Redmond for the 40th anniversary of the BBC TV series 'Grange Hill', created from the original artwork from the inaugural series in 1978, image 54cm x 37cm (unframed). Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* PURE GOLD (aka Bob Cosford) 'Totally……' a set of four prints, each depicting a female and a chimpanzee 'Totally Bananas', 'Totally Ananas', 'Totally Tiffin' and 'Totally Tiaras' signed limited edition of 25 each, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 32cm x 26cm (all unframed) (4). Pure Gold is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* HENRYG (aka Bob Cosford) 'OldSkool' A set of four 'acid face' prints 'Meltdown', 'Skully', 'Skode' and 'Weekender', signed limited edition of 49 each, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 32cm x 32cm. HenryG is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* DIABLO (aka Bob Cosford) 'Buy Me And Stop One - Drone Attack' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 59.5cm (unframed). DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. 'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertising. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"

* DIABLO (aka Bob Cosford) 'Buy Me And Stop One - Putin' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 40cm x 59cm (unframed). DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. 'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertising. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece"

* DIABLO (aka Bob Cosford) 'Buy Me And Stop One - Riot' signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 52cm x 69.5cm. DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.. 'Buy Me And Stop One' art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. 'Buy Me And Stop One' also references the easy days of condom advertising. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

* BOB COSFORD (Contemporary) 'Celestial Bodies - Porrima and Talitha' pair of profile half-length female studies, signed, limited edition of 150, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 38cm x 38cm. Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford's most notable productions was the famous 'comic book' opening sequence of the BBC children's television series 'Grange Hill', described by a Radio Times article as being a "Pop Art masterpiece" 

*KURT SELIGMANN (1900-1962) 'Le Carnaval' from the volume 'Protuberances Cardiaques' by Anatole Jakowski (Jakovsky 1909-1983) signed, dated 1933 and numbered 7/10 in pencil to the margin, etching, the plate 23cm x 18cm. Provenance: With receipt of purchase from London Arts Gallery, 22 New Bond Street, dated 26th November 1970, acquired for £35.0.0

*FRANK BRANGWYN (1867-1956) 'Old Houses, Ghent' signed in pencil to the margin, etching, the image 37cm x 37cm 

*ROBIN TANNER (1904-1988) 'The Wicket Gate' etching, the image 17cm x 16.5cm 

*ROBIN TANNER (1904-1988) 'Meadow Stile, 1970' signed in pencil to the margin, etching, from an edition of 25 published in 1984. the image 20cm x 14.75cm. Exhibited: 'Visions of Landscapes' The Fine Art Society, London, 2004 

*ROBIN TANNER (1904-1988) 'June' signed in pencil to the margin, etching, the image 14cm x 16.5cm 

*ROBIN TANNER (1904-1988) 'Wren and Primroses' signed in pencil to the margin, etching, the image 9.5cm x 11cm 

* JOHN BELLANY (1942-2013) 'The Kiss' signed in pencil to the margin, artist's proof etching, the image 25cm x 25cm

A 19th Century sepia etching depicting gentleman outside tavern "Old and Crusted", together with a 19th Century colour print portrait of a lady (2) both framed and glazed

A framed and glazed coloured etching, Venice bridge indistinctly pencil signed, together with an unframed similar example

An etching on mirror depicting maiden and gentlemen on a beach, gilt framed and glazed, 34cm x 44cm

Sir Seymour Haden etching Kenarth: Original Agnew label to reverse, signed in pencil in margin, South Wales view with cattle & stream in landscape. 13cm x 16cm excluding mount or frame.

* Baillie (Captain William, 1723-1810). The Three Trees after Rembrandt, 1758, etching with drypoint and roulette on laid paper, fourth state (of 6), with the addition of lightning and monogram W.B. to centre of left margin, with short margins, plate size 210 x 280 mm (8.25 x 11 ins), sheet size 217 x 290 mm (8.5 x 11.5 ins), together with a reproduction on laid paper of Rembrandt's self-portrait in a feathered cap with plume, circa 1638, etching on laid paper without watermark, trimmed to plate mark, sheet size 137 x 102 mm (5.4 x 4 ins), both framed and glazedQty: (2)

* Attributed to Jerome David (circa 1605-circa 1670). Timur, from the series of Character Heads, circa 1637, engraving and etching on laid paper, trimmed just inside the plate mark, sheet size 221 x 188 mm (8.75 x 7.4 ins), together with: De Jode (Pieter, 1570-1634). Portrait of Albert, Archduke of Austria (1559-1621), 1621, etching on laid paper, a very good dark impression, with margins, collector's stamp of Count Clemens-Wensceslas de Renesse-Breidbach (1776-1833), Belgian officer, politician and collector (Lugt 1209)Qty: (2)

* Della Bella (Stefano, 1610-1664). La Perspective du Pont Neuf de Paris, 1646, etching on laid paper, laid down on backing card, some marks and wear to sheet edges, vertical crease to centre and towards the right side, laid down on card, sheet size 370 x 695 mm (14.5 x 27.5 ins), framed and glazedQty: (1)NOTESDe Vesme 850.

* Hollar (Wenceslaus, 1607-1677). The Angler, 1650, etching on laid paper, a very good impression of the second state, with added words to centre of lower blank margin: buyten Brussel, and with numeral 7 to lower right blank corner, also inscribed lower left Brüghel pinxit, and W: Hollar Fecit, ex Collectione Arundeliana, 1650, plate size 121 x 177 mm (4.5 x 7 ins), with margins, together with: The Four Windmills, 1650, etching on laid paper, a very good impression, probably from the second state, although the added text buyten Brussel and numeral 5 are no longer present due to trimming, trimmed to the border of the image, sheet size 110 x 170 mm (4.35 x 6.7 ins), both framed and glazedQty: (2)NOTESPennington 1214, ii/ii and 1215.

* Kolbe (Carl Wilhelm, 1757-1835). Das Gespräch, 1800 [or slightly later], copper engraving on heavy wove paper, some minor pale green spotting, trimmed to plate margins, sheet size 435 x 370 mm (17.1 x 14.6 ins), together with: Wooded Landscape with Huntsman, 3 Cows and 3 Sheep, etching on wove paper, trimmed to plate margins, inscribed to verso 'Chez Naudet Md au louvre, 1810', sheet size 330 x 264 mm (13 x 10.4 ins), hinge-mounted on modern cream backing card, plus 4 other similar etchings by Kolbe, various sizesQty: (6)NOTESProvenance (for the second work): Naudet, circa 1800, print dealer, Louvre, Paris (Lugt 1937). Jentsch 94, second state (for the second work), and Jentsch 7, 17, 55 & 56 (for the final 4 works).

* Leyden (Lucas van, 1494-1533). The Beggars (Eulenspiegel), 1520 [or later], etching and engraving on laid paper, with large indistinct watermark (possibly a crown and shield), left edge of the sheet with a few small nicks, with little or no loss, inscribed in ink to verso 'original Fountaine Walker 1867 extremely rare', sheet size 177 x 141 mm (7 x 5.6 ins)Qty: (1)NOTESProvenance: Fountaine Walker (1833-1892), Ness Castle, Inverness, Scotland (Lugt 4840). New Hollstein 159. Also known by the title Owlglass, as well as The Beggars.

* After Paul Bril (c.1553/54-1626). Five landscapes, early 17th century, etching & engraving on laid paper, including two by Johannes Sadeler (1550-1600) after Paul Bril, and one by Willem van Nieulandt (1584-1636) after Bril, and two others, each close-trimmed, image size 195 x 270 mm (7.75 x 10.75 ins) & smaller, framed and glazed, together with Sadeler (Jan or Johannes, the Elder, 1550-1600). Christ crowned with thorns, from The Passion of Christ (Passio verbigenae quae nostra redemptio Christi), circa 1580-90 , copper engraving on cream laid paper, after Marcus Gheeraerts the Elder (c. 1520-c. 1590), trimmed just outside the plate border, plate size 162 x 112 mm (6.4 x 4.4 ins), sheet size 166 x 116 mm (6.55 x 4.55 ins), window-mountedQty: (6)NOTESSadeler: Hollstein XXI, 213. The sixth of a thirteen-part series of ornament prints depicting the passion of Christ.

* Piranesi (Giovanni Battista, 1720-1778). Veduta della Piazza di Monte Cavallo, 1750 [or later], etching on thick laid paper, a strong impression, including one or two printing smudges, paper bears a watermark of a fleur-de-lys within a double-rule circle, surmounted by the letter B, plate size 391 x 547 mm (15.5 x 21.6 ins), sheet size 510 x 590 mm (20 x 23.25 ins), framedQty: (1)NOTESHind 15; Wilton-Ely 142.

* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ at Emmaus: The Larger Plate, 1654, etching with drypoint on laid paper, with indistinct watermark, New Hollstein's 4th state (of 5), signed and dated in the plate 'Rembrandt f 1654' to lower left, several minor nicks to blank margins (except one small tear to right hand margin with minor loss, just touching engraved area), hairline closed tear within the image towards centre of lower margin, with minute loss (approximately 1mm square), traces of adhesive to verso, and two paper mounting tabs to upper and lower left corners verso, plate size 209 x 160 mm (8.25 x 6.25 ins), sheet size 214 x 164 mm (8.5 x 6.5 ins)Qty: (1)NOTESBartsch 87; New Hollstein, iv/v; Hind 282. Christ at Emmaus: The Larger Plate depicts the biblical episode following Christ's resurrection when the two disciples present with him, recognise Christ for the first time, as he breaks and blesses the bread at the dinner table.

* Rembrandt Harmensz van Rijn (1606-1669). The Stoning of St. Stephen, 1635, etching on laid paper, a posthumous, late 18th century impression, reworked, by Claude Henri Watelet or Pierre-Francois Basan (1789) or his son Henri Louis Basan (1807), pale mount stain, plate size 95 x 85 mm (3.75 x 3.3 ins), sheet size 120 x 105 mm (4.75 x 4.1 ins)Qty: (1)NOTESHind 125; New Hollstein 140; Bartsch, Hollstein, Nowell-Ustike 97.

* Ribera (Jusepe de, 1591-1652). The Drunken Silenus, 1628, etching on laid paper, the second state (of 3), with address of Giovanni Orlandi, some surface marks and light soiling, trimmed just inside the plate mark, sheet size 268 x 344 mm (10.6 x 13.6 ins)Qty: (1)

* Saint-Aubin (Gabriel de, 1724-1780). Frontispiece for the Recuil de Poesies by Michel Jean Sedaine, 1757, etching on laid paper, the second, definitive state (of 2), with the etched name of the artist carefully removed, inscribed in brown ink to foot of lower blank margin Sedaine, plate size 142 x 85 mm (5.5 x 3.25 ins), sheet size 152 x 88 mm (6 x 3.4 ins), hinged to modern window-mountQty: (1)NOTESDacier 14a. Hollstein XXI, 213. The sixth of a thirteen-part series of ornament prints depicting the passion of Christ.

* Vorsterman (Lucas, The Elder, 1595-1675). Thomas Howard, Duke of Norfolk, after Hans Holbein, circa 1655, engraving on laid paper, with Strasbourg Lily watermark, trimmed just inside the platemark, a good, strong impression, sheet size 273 x 201 mm (10.8 x 8 ins), together with: [Loggan, David, 1635-1692]. The Effigies of the most magnanimous & thrise puisant George Duke of Albemarle Earle of Torrington. Baron Monck of Potheridge, Beauchamp. and Teys, circa 1670, etching on laid paper, a strong, dark impression, faint vertical crease where previously folded, with very short associated closed tear to lower margin, without loss, trimmed just inside the platemark, sheet size 270 x 215 mm (10.8 x 8.5 ins), plus other various 17th and 18th century prints, many portraits, including Crispijn de Passe (1564-1637), Portrait of Thomas Scott, 1624 (circa 1580-1626), radical Protestant preacher, Pieter van Sompel, Aureolus Theophrastus Bombastus von Hoheim (Paracelsus), circa 1630, engraving on laid paper, with foolscap, trimmed to plate mark, residue of mounting paper to corners verso, with some light associated skinning, sheet size 302 x 216 mm (11.9 x 8.6 ins), Willem de Passe (1598-circa 1637), Portrait of Darcy Wentworth, 1624, Wenceslaus Hollar (1607-1677), Mulai Al-Rashid (Muley Arsheid Zeriff, Prince of Taffeleta, Emperour of Marocco Fezz, 1670, etching on laid paper, trimmed just inside the platemark, Richard Gaywood (active circa 1650-1680), William Fairfax, 1656, etching and engraving on laid paper, trimmed to platemark, Michel Lasne (1590-1667), Francois de Bassompierre, George Vertue (1684-1756), Abraham Cowley, after Lely, John Bowles (1701-1779, publisher), Miss Eyebright, circa 1760s, mezzotint on laid paper, a 17th century engraved portrait on laid paper of King James I [reissued in 1798 by Robert Wilkinson, 'Engraved from a Scarce Print in the Possession of George Chalmers], etcQty: (24)

* Waterloo (Anthonie, circa 1610-1690). A wooded riverbank with church in the distance, etching on laid paper, plate size 128 x 138 mm (5 x 5.4 ins), with margins, framed and glazed, with 20th century typewritten label to verso for the work from the Libreria Antiquaria Soave, Torino, Italy, together with 8 other Old Master prints, various, including Lucas van Leyden (1494-1533), David with the Head of Goliath, 1600 [but later], an engraved copy in reverse, trimmed to image, framed and glazed, Schelte Adams Bolswert (1586-1659), The Drunken Silenus, etching and engraving on laid paper after Anthony van Dyck, framed and glazed, John Smith (circa 1652-1742), The Hunt, mezzotint after Jan Wyck, mounted, etcQty: (9)

* Alma-Tadema (Laurence, 1836-1912). The Parting Kiss, Munich: Franz Hanfstaengl, photogravure print after a painting by Alma-Tadema, depicting an embracing couple in a Roman interior, toned, signed in pencil lower left, plate size 29.5 x 15.5cm (11.5 x 6.2ins), framed and glazed, together with an etching by George Percy Jacomb-Hood, of a boy mounted on a barge horse, image size 21 x 17.7cm (8.25 x 7ins), mounted, framed and glazedQty: (2)

* Alma-Tadema (Sir Lawrence, 1836-1912). A Silent Greeting, 1892, uncoloured etching by Leopold Lowenstam (1842 - 1898), published Stephen. J. Gooding, PSA blindstamp to lower left, remarque of ivy leaves, signed in pencil below image by artist and engraver, 470 x 345 mm, framed and glazedQty: (1)

* Alma-Tadema (Sir Lawrence, 1836-1912). Welcome Footsteps, Arthur Tooth & Sons, 1888, uncoloured etching on india wove by Leopold Lowenstam (1842 - 1898), proof before title with remarque of the artist's house in St John's Wood, signed in pencil below image by both the artist and engraver, 410 x 530 mm, large period gilt gesso frame, glazedQty: (1)NOTESA fine impression with wide margins in very good condition.

* Alma-Tadema (Sir Lawrence, 1836-1912). [The Convalescent], published J. S. Virtue & Co., 1896, uncoloured etching by Charles O. Murray (1842 - 1923), proof before title, signed by artist and engraver in pencil below image, 570 x 360 mm, framed and glazedQty: (1)

* Herkomer (Hubert von, 1849-1914). The Lady in White (Miss Grant), 1887, uncoloured etching, an artist's proof, published by Obach & Co., with PSA (Printsellers Association) blindstamp, signed by the artist in pencil lower right, 495 x 375 mm (19.5 x 14.75 ins), period maple frame with gilt slip, glazedQty: (1)NOTESMiss Grant was the celebrated American beauty Miss Adele Grant, of New York, whose marriage to the Earl of Essex in 1893 was the social event of the season. One of the so-called 'Lovely Five', the oil portrait of the same title by Herkomer was widely praised when exhibited at the Royal Academy in 1885.

* Holman Hunt (William, 1827-1910) The Finding of the Saviour in the Temple, 1867, etching and engraving on chine colle, by Auguste Thomas Marie Blanchard (1819-1898) after William Holman Hunt, a signed proof, published August 1st 1867 by E. Gambart and Co., with Printseller's Association blindstamp, signed in pencil below image by Holman Hunt and Blanchard, plate s ize 531 x 750 mm 20.9 x 29.5 ins), near-contemporary ornate carved and stained wood frame with elaborate gilt slip, glazedQty: (1)NOTESBeraldi, Graveurs du dix-neuvième siècle (1885-92) 14.

* Macbeth (Robert Walker, 1848 - 1910). In the Fens, Evening, 1887, uncoloured etching on chine collé, signed with monogram and dated 1887 in the image to lower right, plate size 305 x 595 mm, (12 x 23.5 ins), period ribbed and stained frame with gilt slip, glazedQty: (1)

* After Albert Joseph Moore (1841-1893). Reading Aloud, circa 1900, electrotype printed in sanguine, after the oil painting of 1884, trimmed to image, 250 x 490 mm, framed and glazed, together with John (Augustus Edwin, 1878-1961). Alick Schepeler, uncoloured photographic reproduction, 325 x 240 mm, framed and glazed, plus Stevens (Alfred Emile, 1823-1906). Le Printemps, circa 1900, uncoloured etching by H. Lefort after Alfred Stevens, 500 x 215 mm, framed and glazed, and Boughton (George Henry, 1833-1905). The End of a Spring Day, 1889, uncoloured etching, published by Robert Dunthorne, trimmed to image, 445 x 245 mm, framed and glazedQty: (4)

* Severn (Walter, 1830-1904). Nearing Home, 1861, etching on chine appliqué, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), plate size 18.8 x 23.5 cm (7.5 x 9.3 ins), stained oak frame with gilt inner slip, glazed, with Maas Gallery label to verso, together with Clayton (J.N., 19th century). Mother's Love, etching, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), 102 x 130 mm (4.1 x 5.2 ins) mount aperture, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to verso, plus Horsley (John Callcott, 1817-1903), Madame se chauffe, 1872, etching on chine appliqué, as published in Etchings by the Etching Club, published by the Art Union of London (1872), plate size 20 x 15 cm (8 x 6 ins), period black and gilt frame, glazed, with Maas Gallery label to versoQty: (3)

* After Frederick Walker (1840-1875). Phillip in Church, 1885, uncoloured etching by Hubert von Herkomer after Frederick Walker, published by The Fine Art Society in 1885, an artist's proof, with remarque portrait of the artist, repaired closed tears to lower right corner, 510 x 390 mm, period walnut veneer frame with gilt slip, glazedQty: (1)

* Watts (George Frederick, 1817-1904). A Greek Idyll, 1903, etching printed in sepia by Robert Walker Macbeth (1848 - 1910) after G.W. Watts, published by H. Virtue & Co. 1903, signed in pencil by both the artist and engraver, some light creasing, 390 x 535 mm, period walnut veneer frame with gilt slip, glazedQty: (1)

* MacNab (Iain, 1890-1967). French Market Place, etching on pale cream wove paper, signed in pencil lower right, plate size 275 x 370 mm (10.9 x 14.6 ins), with margins, framed and glazedQty: (1)

* Barry (Claude Francis, 1883-1970). Windsor, 1926, aquatint on cream wove paper, lightly toned and with mount mark, titled in pencil lower left, and pencil inscription lower right 'To Dr East from C F Barry. 1926', plate size 23.2 x 30.1cm (9 x 11.75ins), sheet size (irregularly trimmed) 27 x 34.5cm (10.75 x 13.5ins), together with: Boutet (Jean, 20th century). Le Pont Neuf, 1948, etching on cream wove paper, inscribed and signed in pencil lower right, lightly toned and with mount mark, plate size 17.8 x 23.5cm (7 x 9.25ins), sheet size 22.3 x 28.1cm (8.75 x 11ins), plus approximately 50 other etchings and prints, by R.S. Hardie, Andrew Watson Turnbull, William Hyde, Glynn Thomas, August Lepère, Neil M. Lawrence, J.W. Jackson, Charles Claude Houssard, and others, various sizes and conditionQty: (approximately 50)

* Blampied (Edmund, 1886-1966). Purring and Snoring, 1921, etching with drypoint on pale cream wove paper, from the published edition of 100 proof impressions, signed in pencil lower left, plate size 176 x 238 mm (7 x 9.4 ins), with margins, framed and glazedQty: (1)NOTESAppleby 77. Malcolm Salaman, Print Collectors' Quarterly, 24 (1937), 390.

* Blampied (Edmund, 1886-1966). The Vraic Season (The Seaweed Harvest), 1936, etching with drypoint on pale cream wove paper, from the edition of 125 impressions, printed for the American College Society of Print Collectors, signed to centre of lower blank margin, pale mount stain, some minor marks to margins, with tear to right hand outer margin with some loss to outer edge, plate size 305 x 362 mm (12 x 14.25 ins), sheet size 392 x 508 mm (15.4 x 20 ins),Qty: (1)NOTESAppleby 181. Vraic or seaweed was traditionally gathered by horse and cart in Grouville and St. Ouen's Bay, in the Channel Islands, and then spread over potato fields before planting in late winter and spring.

* Brangwyn (Frank, 1867-1956). Sisteron, 1924, etching with drypoint on ivory laid paper, signed in pencil, plate size 150 x 120 mm (5.9 x 4.75 ins), with margins, framed and glazed, together with: Clausen (George, 1852-1944). Figure Working in a Hay Field, etching on pale cream wove paper, signed in pencil lower right, plate size 124 x 173 mm (4.9 x 6.9 ins), with margins, framed and glazed, plus: Menpes (Mortimer Luddington, 1855-1938). A City Wharf, 1889, etching on pale cream laid paper, with watermark, signed in pencil, some pale overall toning, plate size 150 x 105 mm (6 x 4.2 ins), sheet size 244 x 242 mm (9.65 x 9.6 ins), framed and glazedQty: (3)

* Briscoe (Arthur John Trevor, 1873-1943). Outward Bound, 1927, etching with drypoint on pale cream laid paper, printed with plate tone, from the published edition of 75 impressions, signed and numbered 31/75 in ink, plate size 248 x 396 mm (9.7 x 15.7 ins), with margins, framed and glazedQty: (1)NOTESLaver 109.

* Briscoe (Arthur John Trevor, 1873-1943). Casting Her Off, 1927, etching on off-white wove paper, printed with plate tone, from the published edition of 75 impressions, signed in ink, and numbered 6/75 in pencil to lower margin, some light scattered spots (generally in good condition), plate size 250 x 400 mm (9.8 x 15.75 ins), with margins, framed and glazedQty: (1)NOTESHurst 203.

* Briscoe (Arthur John Trevor, 1873-1943). James & John, 1928, etching on laid paper, with plate tone, from the published edition of 75 impressions, signed, and numbered 20/75 in pencil to lower margin, plate size 250 x 350 mm (9.8 x 13.75 ins), with margins, some light discolouration, mainly to blank margins, framed and glazedQty: (1)NOTESLaver 121.

ARR * Brockhurst (Gerald Leslie, 1891-1978). Almina, 1924, etching on pale cream laid paper, from the published edition of 76 impressions, signed in pencil, plate size 182 x 137 mm (7.2 x 5.4 ins), with margins, framed and glazed, with early label of P. & D. Colnaghi & Co. to versoQty: (1)NOTESFletcher 48.

* Brouet (Auguste, 1872-1941). Le Petit Chiffonniers, 1909, etching on pale cream japan wove paper, the 3rd state, printed by Vernant, and published by H. Petiet, Paris, in an edition of 30 on Japan and 60 on Arches, in 1925, with publisher's blindstamp to lower margin, signed and numbered Japon 3/30, plate size 160 x 120 mm (6.25 x 4.8 ins), together with: Bejot (Eugene, 1867-1931). Le Quai des Orfevres, Paris, 1920, etching on laid paper, an artist's proof, plate size 22 x 22 cm (8.75 x 8.75 ins), framed and glazed, with period label for Matthews & Brooke, Bradford to verso, plus other etchings, various, including Maxime Lalanne, Boulevard Montmartre, Paris, 1884, etc.Qty: (6)

* Cain (Charles William, 1893-1962). A Persian Bazaar, 1929, drypoint etching on pale cream wove paper, from the published edition of 90 impressions, signed and numbered 12.90. to lower margin, plate size 250 x 373 mm (9.9 x 14.7 ins), with margins, generally in excellent condition, framed and glazedQty: (1)

* Griggs (Frederick Landseer, 1876-1938). Launds, 1929, etching on laid paper, the fifth, published state, issued in an edition of 70 impressions at the Dover's House Press, signed 'F W Griggs imp' to lower right, and inscribed in ink to verso D.H.P. 67, trimmed to plate margin by the artist, 173 x 253 mm (6.8 x 10 ins), framed and glazedQty: (1)NOTESComstock 39, v/viii. Griggs initially titled the work Summer Garland.

ARR * Gross (Anthony, 1905-1984). Shadow of a Walnut Tree, 1968, etching with drypoint on handmade paper, from the published edition of 70 impressions, signed, titled and numbered 4/70, plate size 253 x 300 mm (10 x 11.8 ins), with margins, in excellent clean condition, framed and glazed, with original gallery label for the New Academy Gallery, 34 Windmill Street, London, to versoQty: (1)NOTESHerdman, The Prints of Anthony Gross, 68.

* Icart (Louis, 1888-1950). Louise, 1927, drypoint etching with aquatint in colours on pale cream paper, an artist's proof, aside from the published edition of 475 impressions, published by Graveurs Modernes, Paris, signed in pencil lower right, with publisher's blindstamp lower left, plate size 530 x 360 mm (20.8 x 14.2 ins), with margins, framed and glazedQty: (1)NOTESHolland, Catania & Isen 317. The print depicts the artist's wife on their balcony in Montmartre, Paris.