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Édouard Chimot (1880-1959)A NUDE WITH A SHAWLColoured drypoint etching, signed in pencil, oval44 x 29cm

Spy print of horse racing, etching of two ducks, two botanical studies and a map of Middlesex by Moule

18thC etching 'The North West Prospect of the City of Gloucester', 30cm x 80cm, 18thC map of Gloucestershire and a framed display including a block of stamps with late Victorian Stroud postmarks

Framed 19thC etching of Gloucester Cathedral by J.R.Hutchinson, approximately 30cm x 47cm

After Edward Burne Jones etching The Golden Stairs, 61 x 25cm

Norman Wilkinson CBE PRI ROI RSMA (1878-1971), 'Becalmed yachts and many gulls', dry point etching, signed in pencil, paper labels verso including Wyllie Gallery, 24cm by 31cm

Local interest, after E W Cooke, a 19th century coloured engraving of Gosport, flag ship saluting, by W Finden, 15.5cm by 19cm, together with an etching / aquatint of two boats, indistinctly signed in pencil, Henke Siepel?, paper label verso, 26cm by 29.5cm

John Brunsdon ARCA RE (1933-2014), Norfolk view of a village and church across fields, Anmer Church, coloured etching, numbered 17/150, inscribed and signed in pencil, Whibley Galleries label verso, 50cm by 65cm

C Atwood - dry point etching of a cottage, signed landscape oil on board, a map of London and watercolour of Sydney Opera house (4)

Three pictures including a portrait of a girl in a bolero, oil on canvas, signed indistinctly and dated 62. 60cm x 45cm, Eisnen still life flowers, oil on canvas, signature indistinct, 49cm x 39cm, and Aldo Raimondi, La prima Neve' etching on silver, engraved signature, 211/999, 25 grams of silver, 13cm x 17cm (3)

JAMES GILLRAY (BRITISH 1756-1815)MONSTROUS CRAWS, AT A NEW COALITION FEASTAquatint with etching38cm x 48.5cm (15in x 19in) and four further eighteenth century prints (5)

SAMUEL PALMER (BRITISH 1805-1881)THE LONELY TOWEREtching19.5cm x 26cm (7.75in x 10.25in)Note: Proof printed from the restored plate by Mary Shelton at the Central School in 1954. An edition of 25 was printed at this time, no other modern edition has been printed.

JAMES ABBOTT MCNEIL WHISTLER (AMERICAN 1834-1903)BILLINGSGATEEtching, 7th state of eight, signed in plate15.5cm x 23cm (6in x 9in)

[§] LEON UNDERWOOD (BRITISH 1890-1975)SELF-PORTRAITWhite-line etching, signed and dated ‘2214cm x 9cm (5.5in x 3.5in)

[§] AUGUSTUS JOHN O.M., R.A. (WELSH 1878-1961)BENJAMIN EVANSEtching, signed14.5cm x 11.5cm (5.75in x 4.5in) and a further two etchings by Francis Dodd ‘Man in Top Hat’ and ‘Three-quarter-length Male Portrait’(3)

[§] JAMES MCBEY (SCOTTISH 1883-1959)BRIGHTLING SEA, 1922Etching, signed and numbered XIII/L23cm x 36.5cm (9in x 14.5in) and another two etchings by the same hand ‘Rown’ and ‘Jerusalem’ (3)

SIR DAVID YOUNG CAMERON R.A. (SCOTTISH 1865-1945)THE BODDINEtching14cm x 19.5cm (5.5in x 7.75in)and three further etchings by the same hand ‘The Lion and Unicorn’ , 'Castle Urquhart' and 'Mar's Work, Stirling' (4)

[§] JAMES MCBEY (SCOTTISH 1883-1959)ALBERTEtching, signed and numbered VIII in ink to margin, signed and dated ‘14 July 1917,’ in plate17cm x 27.5cm (6.75in x 10.75in)

[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth Harvey-Lee, OxfordshireLiterature: Guichard, Kenneth M., 'British Etchers: 1850-1940,' Robin Garton 1981, pl. 11, pp. 29-30.Note: From an edition of 91 and believed to be the 5th and final state.Note: Gerald Leslie Brockhurst's print masterpiece Adolescence is the focal point of the Kirkton House collection of etchings. As the artist's most celebrated work within the medium and one of the greatest prints of the 20th century, it is a perfect centrepiece to a carefully considered collection of British etchings.Throughout his career, Brockhurst was particularly concerned with the evocation of feminine beauty. A precocious drawing talent, he commenced training at the Birmingham School of Art aged twelve, before going on to secure a scholarship to the Royal Academy Schools. He became one of the most successful and sought after portrait painters in London, but always maintained his fundamental skill as a draughtsman. When it became clear that the market for contemporary etching was growing, Brockhurst translated his drawing skills into the technique of etching, mastering the medium and publishing his first set of prints in 1920. The wider fashion in etchings at this time was for landscapes and cityscapes, but Brockhurst pursued the same subjects as his paintings, producing exceptionally detailed portraits and figures studies that became extremely popular. He drew on a wide range of visual influences that celebrated female beauty, from contemporary glamour portraits and fashion photography to Italian Renaissance paintings, to develop his own distinct style.In his ongoing exploration of female beauty and the theme of young womanhood, Brockhurst utilised each of his two wives as regular models. His first wife, Anais appears in etchings he created throughout the 1920s, patiently posing as a range of different characters as well as herself, however, the marriage itself came under strain after she learnt of his infidelity with her sister, Marguerite. Brockhurst then met and fell in love with Kathleen Nancy Woodward, whom he re-named Dorette, following his established penchant for gifting his female portraits and sitters with exotic names, a teenage model at the Royal Academy. She became his regular model and muse, and is the figure depicted in Adolescence. Following his divorce from Anais, they married and moved to the United States, amidst an unsurprising whirlwind of scandal.Adolescence is a charged work, as well as technical masterpiece. Brockhurst's mastery of the etching technique to render a range of surface textures and tones, particularly skin, is profound. This is the largest scale Brockhurst worked on in etching, yet the details are minute, and the process painstaking. His etchings have sometimes been mistaken for aquatints as he manages to create such tonal variety and soft edges, yet each work is etched, line by line, dot by dot. The subject is not so straightforward; the teenaged Dorette sits naked, contemplating herself in front of the mirror. It can be viewed as a psychological portrait as well as a physical one, exploring the complex and contradictory emotions and anxieties brought on by the process of adolescence, a conflict we can see across Dorette's expression, and in her uncertain gaze. This is a vulnerable moment where she is open with her anxieties and lack of certainty and confidence, rather than attempting to mask them. She is almost an adult, and is desired as one by the artist, yet there is still a great deal of youth and vulnerability to her, and it is this blurred boundary that so compelled the artist and continues to make this an enticing, elusive image.Adolesence is widely considered a masterpiece of the etching medium, a tour de force of the skills required to work effectively in the genre, with a subject that is compelling and complicated in its surprising emotional depth. It is easy to see why it remains so revered, and not a little scandalous.

CHRISTOPHER RICHARD WYNNE NEVINSON A.R.A. (BRITISH 1889-1946)THE POOLEtching, signed and dated 191924.5cm x 17cm (9.75in x 6.75in)

[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)HENRY RUSHBURY (SECOND PLATE) - 1930Etching, 13th and final state, 140 impressions made, signed by artist and sitter27cm x 20cm (10.75in x 8in) and another etching by the same hand ‘Henry Rushbury 4, 1920’ (2)Provenance: The Fine Art Society, LondonLiterature: Wright 66

[§] GERALD LESLIE BROCKHURST R.A., R.P., R.E. (BRITISH 1890-1978)AMBERLEY BOY NO. 2Etching, signed in pencil22.5cm x 17.5cm (9in x 7in) and another etching by the same hand ‘Cyprian, A Basque’ (2)

[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ANAIS II Etching, signed 24cm x 18.5cm (9.5in x 7.25in)

[§] ROBERT SARGENT AUSTIN R.A. (BRITISH 1895-1973)TAMING THE CALFEtching, signed13cm x 16cm (5in x 6.25in) and two further etchings by the same hand, ‘Sleeping Woman’ and ‘Alice Lush’ (3)

[§]STANLEY ANDERSON C.B.E., R.A. (BRITISH 1884-1966)HYDEN, THE OLD SHEPHERDEtching, signed, 194719.5cm x 16cm (7.75in x 6.25in) and another etching by Salomon Van Abbe ‘Filling Jars’ (2)Literature: Guichard, Kenneth M., 'British Etchers: 1850-1940', Robin Garton 1981, pl. 3.

[§] MALCOLM OSBORNE (BRITISH 1880-1963)SIR FRANK SHORT AT WORK IN HIS STUDIOEtching, signed28cm x 35cm (11in x 13.75in) and a further etching by Walter Tittle ‘James McBey’ (2)Provenance: Roy Davids; Walter Tittle, The McEwan Gallery, Ballater

EDGAR HOLLOWAY (BRITISH 1870-1941)THE GREY TOPPER – SELF-PORTRAITEtching, signed and numbered 46/5018cm x 15cm (7in x 6in) plus two etchings by Frederick Austen and a further etching by Frank Gillett (4)

JOSEPH SIMPSON R.B.A (1879-1939)FRANK BRANGWYNEtching, signed22.5cm x 31.5cm (9in x 12.5in)

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MAKE-UP 1925. TCHERNECHEVA.Etching with drypoint, from an edition of 18, signed26cm x 20.5cm (10.25in x 8in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

JAMES ABBOTT MCNEIL WHISTLER (AMERICAN 1834-1903)DROUETEtching with drypoint, 2nd and final state, signed, inscribed and dated 1859 in plate23cm x 16cm (9in x 6.25in)Literature: Kennedy 55

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)DANCERSEtching and aquatint, signed28cm x 23cm (11in x 9in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)SPANISH DANCEREtching and aquatint, signed28cm x 22.5cm (11in x 8.75in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)A CHORUSEtching and aquatint, from an edition of 55, signed18cm x 25cm (7in x 9.75in)Provenance:The Leicester Galleries, LondonExhibited: Walker Art Gallery, Liverpool – Sixty-Third Autumn Exhibition, 1937.Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MERRY-GO-ROUNDEtching, signed28.5cm x 21cm (11.25in x 8in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)ZEBRAS - 1930Etching, signed27cm x 36cm (10.5in x 14in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

[§] CHARLES FREDERICK TUNICLIFFE R.A., R.E., A.R.C.A. (BRITISH 1901-1978)THE SPOTTED SOWEtching, signed and numbered 32/75 in pencil to margin19cm x 26cm (7.5in x 10.25in) and a further etching by the same hand ‘The White Horse’ (2)

[§] CHARLES FREDERICK TUNICLIFFE R.A., R.E., A.R.C.A. (BRITISH 1901-1978)FIELD WORKERSEtching, signed and numbered 8/7522.5cm x 29.5cm (8.75in x 11.75in) and another etching by the same hand ‘The Quarry’ (2)

[§] CHARLES FREDERICK TUNICLIFFE R.A., R.E., A.R.C.A. (BRITISH 1901-1978)THE BULLEtching, signed16.5cm x 23.5cm (6.5in x 9.25in)

[§] WILLIAM WASHINGTON (BRITISH 1885-1956)AYE LOBBY, HOUSE OF COMMONSEtching, signed and inscribed in pencil to margin, signed and dated 1944-47 in plate39cm x 29.5cm (15.25in x 11.5in)

E. H. LACEY (BRITISH 20TH CENTURY)WALTER WIDDOP SINGING SIEGFRIEDEtching, signed32.5cm x 16.5cm (12.75in x 6.5in) and two further etchings by Harold Williams and Lowedyck Schelfhout (3)

[§] IAN FLEMING (SCOTTISH 1906-1994)PORT DUNDASSigned and numbered 11/20, etching22cm x 31cm (8.75in x 12.25in) and a further etching by David Waterson ‘Brechin Bridge’ (2)

[§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., L.L.B., D.LITT (SCOTTISH 1876-1953)OLD JAIL, GLASGOW, 1891Etching, signed and inscribed in pencil14.5cm x 27cm (5.75in x 10.5in)Provenance: Elizabeth Harvey-Lee, OxfordshireCollection: Neil Green

[§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., L.L.B., D.LITT (SCOTTISH 1876-1953)GORBALSEtching, signed and inscribed15.5cm x 16.5cm (6in x 6.5in)Provenance:Dr. S. William PelletierExhibited: The Fine Art Society, London, ‘Muirhead Bone – Prints and Drawings,’ 2005.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE ALMONRYEtching, signed26cm x 18cm (10.25in x 7in)Provenance:Allinson Gallery, Storrs, ConnecticutNote: This edition is 82 in this state. Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

[§] ELYSE ASHE LORD (BRITISH 1900-1971)CARNATIONSHand-coloured etching, signed and numbered 14/7528cm x 31.5cm (11in x 12.5in)

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE CRESSETEtching22cm x 30cm (8.75in x 11.75in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE FORDEtching, signed16cm x 28cm (6.25in x 11in) and another etching by the same hand ‘Epiphany’ (2)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)SELLENGER - 1917Etching, signed and inscribed14.5cm x 17.5cm (5.75in x 7in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

SIR DAVID YOUNG CAMERON R.A. (SCOTTISH 1865-1945)BEN LOMOND - 1923Etching, 6th state, signed.28cm x 43cm (11in x 17in)Provenance: The Fine Art Society, London

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEMORY OF CLAVERINGEtching, signed in pencil14.5cm x 23.5cm (5.75in x 9.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS (BRITISH 1876-1938)ST BOTOLPH’S BRIDGE NO. 2Etching, 2nd state of three, signed in pencil with initials25.5cm x 21cm (10in x 8.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEPPERSHALL CHAPELEtching, 3rd and final state, signed, dated 1918 and inscribed ‘To J. Short – For his steady kindness and help’16.5cm x 12.5cm (6.5in x 5in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

[§] ROBERT SARGENT AUSTIN R.A. (BRITISH 1895-1973)EVENINGEtching, signed in pencil and inscribed ‘3rd proof, 6/4/1940’24cm x 18.5cm (9.5in x 7.25in)

WALTER RICHARD SICKERT (BRITISH 1860-1942)THE OLD BEDFORD (LARGE PLATE)Etching, drypoint, pentimenti and engraving29cm x 16.5cm (11.5in x 6.5in)Provenance: Johnnie Shand KyddThe Fine Art Society, London, January 2003Exhibited: London, Thomas Agnew & Sons Limited, ‘Centenary Exhibition W.R. Sickert 1860-1942,’ March – April 1960Literature: Bromberg 130

ARTHUR BRISCOE (BRITISH 1873-1943)THE ORATOREtching, signed18cm x 29cm (7in x 11.5in) and another etching by the same hand ‘Brixham’ (2)

WALTER GREAVES (BRITISH 1846-1930)OLD CHELSEA’S LAST REGATTA, CIRCA 1871Etching, signed and inscribed30cm x 57.5cm (11.75in x 22.75in)Exhibited: The Fine Art Society, London, 1998, ‘Style: Art & Design 1830-1880’

[§] JOSEPH WEBB (BRITISH 1908-1962)THE GLORY HOLE - LINCOLNEtching, signed, inscribed and dated 1932-3321.5cm x 26.5cm (8.5in x 10.5in) and another etching by the same hand ‘Chepstow’ (2)Literature: 'Chepstow' features in Guichard, Kenneth M., 'British Etchers: 1850-1940,' Robin Garton 1981, pl. 73.

[§] ROBERT SARGENT AUSTIN R.A. (BRITISH 1895-1973)BETHLEHEMEtching, signed17cm x 14cm (6.75in x 5.5in) and two further etchings by the same hand, ‘Portrait of a Woman’ and ‘Woman Praying’ (3)

[§] WINIFRED AUSTEN (BRITISH 1876-1964)THE DODMAN - COCKEREL AND GRASSHOPPEREtching, signed26cm x 21cm (10.25in x 8.25in) and five further etchings by the same hand: ‘Grey Gander,’ ‘The Pheasant’s Brood,’ ‘Shelducks,’ ‘Lapwings’ and ‘Mice’ (6)

[§] ROBERT SARGENT AUSTIN R.A. (BRITISH 1895-1973)TETHERING A GOATEtching, 8th trial state, signed and dated 1st March 192915.5cm x 13.5cm (6in x 5.25in) and two further etchings by the same hand, ‘Deer’ and ‘Donkeys’ (3)