We found 78408 price guide item(s) matching your search

A Kathe Kollwitz, pregnant woman with folded hands, original etching, 1898-99, from a Von Der Becke edition, Munich blindstamp (Muenchen-22), Ferdinand Roten Galleries, Baltimore, 28.6 x 22.8cm

Emmanuel Mukwiro (20th century): 'Couple Dancing', etching, hand-signed and numbered in pencil

A quantity of loose prints of various subjects to inc woodblock prints, a hand-signed etching and an aquatint of two female nudes, unframed

An 1822 pattern infantry Field Officer’s sword, slightly curved, pipe backed blade 32¼”, etched on both sides with crowned VR cypher and wreath in panels, regulation gilt brass hilt, with turn down inner portion and incorporating crowned VR cypher, stepped pommel, ornamental backstrap, wirebound, fishskin grip,  in its brass scabbard with 2 rings, engraved at the top “Major General W J Gairdner, 14th & 16th Bengal N.I”; together with a folder of colour illustrations and detailed notes on General Gairdner and his swords. Good Condition, the hilt retaining little original gilt (blade cleaned, etching faint). See also Lot 52 Plate 20 Note: from the collection of the late Brigadier Holmes (1946-2011) Military Historian, author and television presenter.

Edward Sullivan, etching, gateway in Normandy, signed in pencil, 26 x 20cm and Frank Henry Mason, etching of Venice

James Alphege-Brewer, colour etching, Cockington Forge, 15 x 20cm

John Nicholson, dry point etching, horse grazing, signed in pencil with accompanying original presentation mount dated 1922 15 x 20cm, unframed

* RACHEL EVERITT (SCOTTISH), THE NARK etching, signed, titled and numbered 1/20 12.5cm x 8.5cm Mounted, framed and under glass

Vincent Sheridan  THE HIERARCHY Etching, 24" x 30" (61 x 76cm), signed and inscribed ed. 26/50

Vincent Sheridan  THE OUTCAST Etching, 18" x 23" ( 46 x 58.5cm), signed and inscribed, ed 28/50

DOLLAR$andART 'Roman Abramovich', from the Di$ruptive$ Collection, German etching, AP signed titled and numbered, 60cm x 60cm, framed and glazed.

Archibald Thorburn signed etching of Grouse in Flight 1895, framed and mounted. 27 x 17cm

Robert Henry Smith ''The Battle of Jutland'', etching, signed in pencil to margin, titled to gallery label verso; Robert Brookes (20th Century) ''Brent, Maldon''; Allan Graham (20th Cenutry) The Fish Quay at North Shields''; G L Hall, Coastal landscape signed and dated 1873; and a small Victorian glazed picture frame

After John Seymore Lucas 'Captain of the Grand' etching by Paul Adolphe Rajon, pencil signed, 43cm by 33cm; together with after Jan Van Huysum 'A Flower Piece', published by John Boydell, 1778, 55cm by 42cm (2)

John G Mathieson "On the Dochart" Etching, signed in pencil, in a glazed frame, 22 x 32cm

STANLEY SPENCER. Framed, glazed limited edition 22/75 etching on paper, titled Greeting Hilda, 28cm x 41cm.

Robert Sargent Austin (British 1895-1923) "The Trace Horse 1921" Etching, signed in pencil Robert Austin to lower right, 16.5 x 20cm, framed

Harold Storey (British 1888-1965) "Ploughing" Signed Proof Etching, signed in pencil to lower right, 14 x 24cm, artist history to verso, framed

A 19th century limited edition etching, Nuremberg market race, indistinctly signed, framed and glazed; together with a print After RENIOR, framed

19th century Tunbridge Ware Cribbage Board with Counters and Two Dice, Two Chas Stadden Pewter Military Figures ' Coldstream Guards ' and ' Grenadier Guards ', Vintage AA Membership Beehive-Style Badge (E6095), etc plus Follower of William Douglas MacLoed Black and White Etching of Sailing Boats, Vintage McDougall's Cake Competition Award and a Decorative Tile

Framed and Glazed Reproduction James Millerd's Print of The City of Bristol 1973 (republished by Bristol Eveing Post in 1973) together with Print of an Antique Black & White Etching of A Prospect of the City of London

Ade Adesina RSA RGI (b.1980). Ace of Clubs, ' Tic-Toc'. Linocut print. Signed and numbered 17/30. 77 x 57cm. Framed. My work is a visual commentary around the ideas of ecology and our ever-changing world. I am fascinated by how the human footprint is affecting our planet. Our world is full of wonderful landscapes and I wish to highlight the continual damage caused through things such as deforestation, the politics of energy consumption, and endangered wild species. I am a traditional printmaker, painter and sculptor with modern twist; I work with mostly woodcarving, linocut, etching, and oil. I combine my African cultural roots with the British culture, producing work that makes people reflect on the past, present and the future. My practice is influenced by my experiences of travel and the imagery that I encounter. Recently I spent time in Italy, Nigeria, Scottish Islands and Germany, immersing myself in different cultures and collecting a variety of imagery to use in my next body of work. I enjoy researching and visualising the differences between countries both historically and culturally. My ideas come from the new places I’ve visited and I source information from documentaries and current affairs. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Communication I', etching, image size 27 x 22cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Sat Study I', etching, image size 22 x 18cm. Signed and numbered 3/30. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Sat Study II', etching, signed and numbered 13/30. Image size 22 x 18cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Sat Study IV', etching, signed and numbered 7/30. Image size 41 x 39cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Dome II', etching, signed. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Dome I', etching, signed and numbered 4/6. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

J Eggett, 'Portsmouth Harbour', signed, numbered and dated '76, etching, pl.16.5 x 42.5cm.

Graham Clarke, 'Silent Night'; 'Winter Fuel', a pair, each signed in pencil, titled and numbered 88/400, colour etching, pl.13.5 x 17cm. (2)

Noel MacKenzie, 'The Pool of London'; 'The Houses of Parliament'; a pair, each signed, etching, pl.11 x 16cm.

AFTER GEORGE STUBBS, ARA (1724-1806) SHOOTING (Lennox-Boyd 11-14) The set of four, engravings with etching by W. Woollett, published by T. Bradford, 1770-1771 Each 39 x 53cm. (4) ++ Three subjects with some damages but pl. IV generally good

•GEORGES ROUAULT (1871-1958) FEMME NUE, ASSISE (from `REINCARNATIONS DU PERE UBU`) Heliogravure with etching with aquatint, c.1928, 26.5 x 17cm. ++ The paper time-toned with some pale spotting

WILLIAM WALCOT (1874-1943) THE BANK OF ENGLAND Etching with drypoint and aquatint, 1920, signed in pencil, unframed 17.5 x 27cm. ++ Good condition

WILLIAM WALCOT (1874-1943) THE MERSEY Etching with drypoint, from `The Arteries of Great Britain` series, 1922, signed in pencil, unframed 12 x 33.5cm. ++ Gummed at edges to a backing card

WILLIAM WALCOT (1874-1943) THE THAMES FROM SOUTHWARK BRIDGE Etching with drypoint, 1932, signed in pencil, unframed 15 x 30cm. ++ Slight time-toning

•SIR DAVID MUIRHEAD BONE (1876-1953) SHIPBUILDERS, WHITEINCH Etching with drypoint, 1899, inscribed with title, signed and dedicated `to C. Bruce Malloch Oct 99`, unframed 28.5 x 21cm. ++ Foxing, principally in margins; a few small nicked defects within image

•FRANCIS EDGAR DODD, RA, RWS (1874-1949) THE MONUMENT AND FISH STREET HILL Etching with drypoint, 1912, the 5th state (of 8), signed in pencil, unframed 27.5 x 14.5cm. * A margin inscription in the artist's hand, reads "the distance was afterwards scraped down & the foreground darkened/ FD" ++ Needs a light clean

•JAMES McBEY (1883-1959) THE MOONLIGHT ATTACK, JELIL Etching, with plate tone, 1920, signed in ink and numbered XVIII, unframed 22.5 x 39cm. * This etching shows the Highland troops of the 7th Division concealed among the crops in No Man's Land, close to wired Turkish defences. They lie ready and alert, in preparation for the surprise attack of Jelil before dawn on the morning of September 19th, 1918 ++ Foxing; grubby in margins; a few very slight surface nicks

•CHARLES FREDERICK TUNNICLIFFE, OBE, RA (1901-1979) THE SPOTTED SOW Etching, with plate tone, 1928, signed in pencil and numbered 15/75, unframed 17 x 24.5cm. ++ Light staining where formerly mounted

JOB NIXON, RWS (1891-1938) THE TABLES, DIEPPE Etching with drypoint, 1925, the third and final state, signed in pencil, from the edition of 60, unframed 33 x 51.5cm.; with the pencil preparatory drawing for the same subject, 31.5 x 51cm. (2) Exhibited: an impression of the etching was exhibited in London, The Royal Academy, 1925, no.963 ++ The etching a little grubby with handling marks in the margins; the drawing with unobtrusive tear upper left, very small losses at lower corners and in need of a clean

•STANLEY ANDERSON, CBE, RA (1884-1966) BY-PRODUCTS Etching, 1922, signed, titled and inscribed Edition, 50 proofs in ink, unframed 15.5 x 19.5cm. * On the bench alongside these two destitute men, possibly `by-products` of burgeoning industrialisation, are the initials L loves S (Lilian and Stanley Anderson) ++ Very good condition

•STANLEY ANDERSON, CBE, RA (1884-1966) BEER AND SKITTLES Etching with drypoint, 1933, signed and inscribed Edition 32 in pencil, unframed 18 x 22cm.; with Anderson's Bookplate for Margaret Grindley Ferris, engraving, 1941, signed and inscribed one of 18 signed prints, 10.5 x 7.5cm. (2) * The principal item shows the Golden Heart pub, Painswick, Glos. In 1941, Miss Ferris was a medical student living in Johannesburg. She later specialised in psychiatry. The choice of a cluttered bookshop has been seen as a respectful nod to history coupled with a pioneering spirit. ++ (Beer..) Laid down on board, evident crusted gum stains in margins; (Ferris) very good condition

•STANLEY ANDERSON, CBE, RA (1884-1966) TIMMS' SMITHY, THAME Etching with drypoint, 1934, signed, titled, inscribed Drypoint, Edition 60 prints and only 38 prints were pulled before this plate was lost in a London "blitz"! in pencil, unframed 24 x 18cm. * A scene at Ralph and Rupert Timms's workshop, not far from Anderson's home. In the artist's final drypoint, Anderson is demonstrating his proficiency at atmospheric printmaking rather than admiring the blacksmiths' skills. His seeming nonchalance about the loss of the plate during the War thus becomes all the more surprising. ++ Some foxing; slightly grubby

•PATRICK HUGHES (b.1939) SUNSCRAPERS Signed and dated 80, gouache 65.5 x 51cm. Provenance: A gift from the artist to the owner in 1980. This subject was issued as an aquatint with etching in 1980 (68 x 53cm) ++ Good condition

An old etching of "The Royal Sovereign of 1701", together with a pair of prints "Battle of Trafalgar" and "Victory of Trafalgar"

MICHAEL OGDEN "Cat in a Boat", watercolour and gouache, initalled lower right, inscribed and dated May 2003 verso together with H. GOFFEY "Alert", study of a German Shepherd's head, black and white etching, signed in pencil lower right to the margin together with five assorted prints

NO RESERVE France.- Prestel (Maria Katharina, female engraver and painter from Nuremberg, active in London, 1747-1794) A View of the Town of Nice and its Environs taken from the road to Villa Franca, after a drawing by Mary, Countess Harcourt (1750-1833), etching and aquatint on wove paper, platemark 410 x 595 mm. (16 1/4 x 23 1/2 in), with good margins albeit with some old repaired tears, not into image, light browning and minor surface dirt, unframed, [ca. 1780]; together with Jean-Jacques Champin's large hand-coloured lithograph Vue d'une partie de la Ville de Nice, sheet 605 x 880 mm. (23 3/4 x 34 3/4 in), some spotting and surface dirt, light exposure lines, unframed, [first half of the 19th century] (2).

§ Charles Bartlett, RCA (British, 1921-2014) Stones signed lower right "Charles Bartlett", numbered 10/40 and with Gorner and Millard blindstamp etching with aquatint 57 x 77cm (22 x 30in) Provenance: Gorner and Millard, 58 Kenway Road, Earls Court, London, SW5 Charles Bartlett was a highly regarded painter and printmaker. Born in Grimsby, as a child he lived in Eastbourne, later attending Eastbourne School of Art. As an outstanding student, he gained a scholarship to the Royal College of Art where he trained as a painter and etcher following his time in the Guards Armoured Division during the Second World War. From 1960-1970 he taught printmaking at Harrow School of Art. His works - both prints and watercolour paintings - are held in many public collections. Loose in its frame.

§ Augustus John, OM, RA (British, 1878-1961) Nude girl with an urn, 1906 signed lower right "Aug E John" etching 8.50 x 7cm (3 x 3in) Provenance: P & D Colnaghi & Co Ltd, 14 Old Bond Street, London, W1, where purchased by the current owner in 1974

§ Ken Kiff, RA (British, 1935-2001) The Hill signed "Ken Kiff" lower right and numbered 25/50 colour etching, 76 x 66 cm (30x 26in); and another of a Tree and Clouds, signed lower left "Ken Kiff" and numbered 5/35, 67 x 47 cm (26 x 18in) (2)

Pictures, prints and frames: to include 'Cassiers Canal a' Hoin' coloured etching bears a pencil signature 16'' x 12'' framed SR

WINIFRED AUSTEN RI RE (1876-1964) Grouse in flight Etching, pencil, signed 18 x 26cm. ARR

ROWLAND LANGMAID (1897-1956)The Forth Bridge etching, pencil signed ARR

EHG Two works "A Chip Off The Old Block" and "The Faint Collar" Etching on channel wood Signed with initials, 14cm x 21cm

JO GANTERUntitled Etching, edition 2 of 10, 28cm x 55cm. ARR

WILLIAM LIONEL WYLLIE (1851-1931) Fishing boats and gulls before a ruin Etching, pencil signed

•TOM CARR (1912-1977) 'FULL CRY' signed titled and numbered 14/75 in pencil to the margin, hand coloured etching, 25cm x 30cm

Gia AugsburgUntitled Limited edition etching numbered 5/200Signed in the plate 195130 x 23.5

Auguste Brouet (French, 1872-1941)The Open DoorLimited edition etching, numbered 26/100Signed lower right 10.5 x 7.5cm Together with another etchingBustling StreetSigned indistinctly in pencil lower right 25 x 20cmAlong with a collection of other prints and sketches (qty)