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Richard Spare (B.1951)- 'Tulips and orange', etching, signed in pencil, numbered 4/150, framed, 40cm x 40cmArtists resale right may apply to this lot

Framed and Glazed Samuel Abbott Mezzotint of Golfing Scene plus Framed and Glazed Augustin Heckell Etching ' A Perspective View of Twickenham '

Phillip Reeves RSA RSW RE PPRSW (Scottish b.1931)'Stacks of Duncansby'Artists proof etching, signed on pencil lower right, label to verso, 38 x 48cm

Pupil's Copy Book, 1892. A small qto. Hb. Qtr.bound note book with marbled boards used by one Adonis Brabbins. The book is devoted to 'Photo-Etching or Half-Tone Blocks' and features elegant manuscript notes and some pencil drawn diagrams. CONDITION REPORT: Vg

Tinus De Jongh (South African),'Table Mountain',signed and inscribed in pencil,etching,21 x 29 cm, together with two further etchings by the same hand and three engravings after different hands (6) CONDITION REPORT: All heavily discoloured

Norman Wilkinson (1878-1971),a leaping salmon,signed in pencil,etching,24 x 31.5 cm CONDITION REPORT: Framed and glazed. Dimensions for image only. Even discolouration.

Rolleston T. W. : Parsifal or the Legend of the Holy Grail retold from Antient (sic) Sources with acknowledgement to the Parsifal of Richard Wagner, (1912). Limited Edition, no. 104 of 525, signed by Willy Pogany. Tall qto., full vellum,gilt, teg, illustrated eps. Coloured tipped-in and lithograph plates, vignette illustrations, decorative margins. Together with the commemorative etching signed by Pogany originally presented with this volume. CONDITION REPORT: Fine copy

HENRY F W GANZ etching - city park with centre statue and figures, signed in pencil, 31 x 42cms

GRANT EDWARDS coloured etching - Cornish harbour with boats, entitled 'Polperro', signed, 24 x 34cms

A VICTORIAN SLATE & MARBLE MANTEL CLOCK of architectural form, decorated with floral etching and having a circular ivorine dial bearing Arabic numerals, 37cms high

MARGARET KEMP-WELCH etching - country lane with trees, signed, 22 x 27cms

Barnard Castle, an original etching by Willie Rawson, signed in pencil 20cm x 15cm.

"Full of Beans" a monochrome etching of a dog by Morgan Dennis, 13.5cm x 9.5cm, also Victorian moulded chromolithograph of a dog, 29.5cm x 21.5cm (2).

Joseph Simpson monochrome etching of a man with a cigar, signed in pencil, 25cm x 32cm.

LIMITED EDITION COLOUR ETCHING BY LENNOX DUNBAR,titled 'The Prize'; signed, dated '86 and numbered 13/20 in pencil; mounted, framed and under glass

GEOFFREY S GARNIERA SONG OF OLD CATHAYhand coloured etching in a gilt and green lacquered frame

Percy Robertson - etching Buckingham Palace - 14 x 19cm

Reginald Green - etching Caenarven Castle - 12 x 19cm

Oswald Roux - etching horses and cart, circa 1910 - 17 x 18cm

Ziveri Alberto. Arco di Giano. 1957. Disegno a carbone e pastello grasso su carta d'album; mm 247x344. Firmato 'A. Ziveri' in basso a destra. Al verso in alto annotazione dell'artista: 'Arco di Giano - 1957 - A. Ziveri'. Nello stesso anno 1957 Ziveri esegue un'acquaforte dallo stesso titolo, n. 520, p. 232, certamente ripresa dal disegno (v. Ziveri, le incisioni, catalogo generale, Roma, 1983). Era, infatti, abitudine del maestro disegnare dal vero e riportare gli studi sia in pittura sia in incisione. Autentica della moglie dell'artista, Signora Nelda Riva Ziveri. Provenienza: Atelier di Alberto Ziveri.  Charcoal and pastel drawing on scrapbook paper; 247x344 mm. Signed 'A. Ziveri' bottom right.  Top verso, artist's note: 'Arco di Giano - 1957 - A. Ziveri'. In the same year 1957, Ziveri made an etching with the same title, n. 520, p. 232, certainly taken from the drawing (v. Ziveri, le incisioni, catalogo generale, Roma, 1983). The artist was indeed used to still-life drawing and report studies both in painting and engraving. Certificate of Authenticity by the artist's wife, Nelda Riva Ziveri. Provenance: Alberto Ziveri Atelier. 

Basaldella Afro. Nero IV. 1969 Incisione ad acquaforte e acquatinta , mm 323x419; 497x647. Firmata e numerata 'afro, 34/60', in basso. Timbro a secco Grafica Romero, Roma, in basso. Esemplare in perfetto stato. In riferimento a medesima tiratura si veda: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E. Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 110 n. 47.  Etching, 323x419 mm; 497x647 mm. Signed and numbered 'afro, 34/60', at the bottom. Blind-tooled stamp Grafica Romero, Roma, at the bottom. Very good conditions. Regarding this work see: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 110 n. 47.   

Basaldella Afro. La chiave. 1974 Incisione ad acquaforte e acquatinta a tre colori su carta Fabriano Rosaspina, mm 490x700; 700x985. Firmata e numerata a matita 'afro, 40/89', in basso. Timbro a secco 2RC, Roma, in basso a sinistra. Perfetto stato. In riferimento a medesima tiratura si veda: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 130 n. 57; M. Calvesi, F. Tedeschi, Afro a Ravenna. Opere su carta, grafiche, arazzi, mosaici, R.L. Stamperia d'Arte, Torino, 1991, n. 69. Etching, 323x419 mm; 497x647 mm. Signed and numbered 'afro, 34/60', at the bottom. Blind-tooled stamp Grafica Romero, Roma, at the bottom. Very good conditions. Regarding this work see: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 110 n. 47.   

Burri Alberto (Città di Castello 1915 - Nizza 1995). Acquaforte F. 1975. Incisione ad acquaforte su carta Fabriano, mm 353x250; 700x497. Firmata 'BURRI' e numerata '21/90', in basso. Al verso è presente un' annotazione in matita blu indecifrabile. Perfetto stato. La nostra acquaforte fa parte della Serie Acqueforti F-G-H composta da 2 acqueforti e 1 acquaforte e serigrafia, Edizioni Il Segnapassi, Pesaro, eseguita in 90 + XV esemplari. In riferimento a medesima tiratura si veda: Chiara Sarteanesi, Maurizio Calvesi, Burri grafica. Opera completa, catalogo della mostra, Città di Castello, ex Seccatoi del Tabacco, 11 ottobre 2003 - 11 gennaio 2004, Fondazione Palazzo Albizzini Collezione Burri, Petruzzi Editore, 2003, pp. 127, 128. Etching on Fabriano paper, 353x250 mm; 700x497. Signed 'BURRI' and numbered '21/90' at the bottom. On the verso an illegible blue pencil note. Very good conditions. This etching is part of the Serie Acqueforti F-G-H composed by 2 etchings and 1 etching and serigraph, Edizioni II Segnapassi, Pesaro, made in 90 + XV copies. Regarding this copy see: Chiara Sarteanesi, Maurizio Calvesi, Burri grafica. Opera completa, catalogo della mostra, Città di Castello, ex Seccatoi del Tabacco, 11 ottobre 2003 - 11 gennaio 2004, Fondazione Palazzo Albizzini Collezione Burri, Petruzzi Editore, 2003, pp. 127, 128.

Marini Marino. Pomona. 1971 Incisione ad acquaforte , mm 315x245; 533x380. Firmata 'MARINO' e numerata '19/70', in basso.G. A 121. Timbro Graphis arte, in basso a destra. Buono stato di conservazione. L'acquaforte, incisa da Marino Marini nel 1971, è stata edita nel 1972 da Graphis Arte, Livorno e Toninelli Arte Moderna, Milano, stampatore Wilhelm Schneider & Co., Berlino; la tiratura è di 70 esemplari più 10 prove d'artista, tutti firmati e numerati. In riferimento a medesima tiratura si veda: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 121, p. 213.  Etching, 315x245 mm; 533x380 mm. Signed 'MARINO' and numbered '19/70', at the bottom. G. A 121. Stamp Graphis arte, bottom right. Fair conditions. The etching, engraved by Marino Marini in 1971, was edited in 1972 by Graphis Arte, Livorno and Toninelli Arte Moderna, by the printer Wilhelm Schneider & Co., in Berlin; the printing is of 70 works plus 10 artist's proofs, all signed and numbered. Regarding this work see: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 121, p. 213.

Marini Marino. Piccola geometria. 1971 Incisione ad acquaforte su carta Arches, mm 298x255; 533x380, 1971. G. A 122. Esemplare in perfetto stato. L'acquaforte, incisa da Marino Marini nel 1971, è stata edita nel 1972 da Graphis Arte, Livorno e Toninelli Arte Moderna, Milano, stampatore Wilhelm Schneider & Co., Berlino; la tiratura è di 70 esemplari più 10 prove d'artista, tutti firmati e numerati. In riferimento a medesima tiratura si veda: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 122, p. 213.Etching on Arches paper, 298x255 mm; 533x380, 1971. G. A 122. Very good conditions. The etching, engraved by Marino Marini in 1971, was edited in 1972 by Graphis Arte, Livorno and Toninelli Arte Moderna, Milano, by the printer Wilhelm Schneider & Co., in Berlin; the printing is of 70 works plus 10 artist's proofs, all signed and numbered. Regarding this work see: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 122, p. 213. 

Marini Marino. Giocoliere. 1977 Incisione ad acquaforte e acquatinta a colori, mm 275x198; 480x380. Firmata 'MARINO' e numerata in numeri romani 'XX / L', in basso. G. A 206. Timbro a secco Stamperia d'Arte Il Cigno. Ottimo stato di conservazione. L'acquaforte e acquatinta è stata edita nel 1977 da ZWR, Londra, stampatore Labyrinth, Firenze; la tiratura è di 100 esemplari in numeri arabi, 50 esemplari in numeri romani più 20 prove d'artista, tutti firmati e numerati. In riferimento a medesima tiratura si veda: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 206, p. 223.  Colored etching, 275x198 mm; 480x380 mm; Signed 'MARINO' and numbered in Roman numbers 'XX / L' at the bottom. G. A 206. Blind-tooled stamp by Stamperia d'Arte il Cigno. Very good conditions. The etching was edited in 1977 by ZWR, London, printer Labyrinth, Florence. The printing was in 100 works in arabic numbers, 50 works in roman numbers plus 20 artist's proofs, all signed and numbered. Regarding this work see: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 206, p. 223.

Bartolini Luigi. Gli amanti crucciati. 1950 Incisione ad acquaforte e acquatinta, mm 245x170; 450x318. Firmata e numerata a matita 'Luigi Bartolini, 75/75', in basso. Timbro a secco Prandi. Buono stato di conservazione. Sotto passe par tout editoriale. L'acquaforte è inclusa nella cartella Cinquanta incisioni di artisti italiani, pubblicata da Prandi nel 1963 (48 acqueforti e 2 puntesecche, testo di Marco Valsecchi, Reggio Emilia, Prandi, 1963). L'edizione è di 75 esemplari numerati in numeri arabi e di 5 esemplari fuori commercio segnati con le lettere A, B, C, D, E. Tra gli gli artisti presenti con una loro opera originale troviamo Ugo Attardi, Luigi Bartolini, Domenico Cantatore, Carlo Carrà, Felice Casorati, Bruno Cassinari, Arnoldo Ciarrocchi, Pericle Fazzini, Franco Gentilini, Virgilio Guidi, Renato Guttuso, Mino Maccari, Ardengo Soffici, Orfeo Tamburi, Renzo Vespignani, Tono Zancanaro, Alberto Ziveri. E' la più importante edizione di grafica incisa del Novecento italiano (in F. Dall'Aglio, I Prandi, Milano, Scheiwiller, 1987, nn. 164-213, pp. 127-139.  Etching, 245x170 mm; 450x318 mm. Signed and numbered in pencil 'Luigi Bartolini, 75/75', at the bottom. Blind-tooled stamp Prandi. Fair conditions. Under editorial passe par tout. The etching is part of the folder Cinquanta incisioni di artisti italiani, published by Prandi in 1963 (48 etchings and 2 'puntesecche', text by Marco Valsecchi, Reggio Emilia, Prandi, 1963). The edition is of 75 works numbered in arabic numbers and 5 works out of market numbered with the letters A, B, C, D, E. Among the artists with an original own work there are Ugo Attardi, Luigi Bartolini, Domenico Cantatore, Carlo Carrà, Felice Casorati, Bruno Cassinari, Arnoldo Ciarrocchi, Pericle Fazzini, Franco Gentilini, Virgilio Guidi, Renato Guttuso, Mino Maccari, Ardengo Soffici, Orfeo Tamburi, Renzo Vespignani, Tono Zancanaro, Alberto Ziveri. E' la più importante edizione di grafica incisa del Novecento italiano (in F. Dall'Aglio, I Prandi, Milano, Scheiwiller, 1987, nn. 164-213, pp. 127-139.  

Tracey Emin (1963-), "Bird on a Branch", initialled in pencil, 2002, etching, plate size 14 x 19.5cm.; 5.5 x 7.75in. Artists' Resale Right ("droit de suite") may apply to this lot.Condition Report: The print is in good, original condition.  There are a few small indents in the paper as shown in the detail images.  The print is framed and glazed as can be seen.

Louis Icart (French, 1888-1950), "Les Lys", signed in pencil in the margin, with blindstamp, published 1934, etching with aquatint, plate size 72.5 x 49.5cm.; 28.5 x 19.5in.

A large framed print after an oil painting of fishing vessels near cliffs 46cm x 60cm together with a pair of framed prints after W.L. Wyllie, R.A., 'Oyster dredgers' and 'The 'Victory' in Portsmouth Harbour', each 26.5cm x 35cm and another coloured etching (3)

*Barry (James, 1741-1806). Religious & Civil Liberty established in Maryland in 1649, February 28, 1793, etching on heavy wove paper [probably taken from A Series of Etchings by James Barry, Esq. from his original and justly celebrated paintings, in the Great Room of the Society of Arts, Manufactures, and Commerce, published by Colnaghi in 1808], central horizontal crease, some light surface marks and one or two minor stains and marks to extreme margins, plate size 75 x 48 cm (29.5 x 19 ins), sheet size 94 x 68 cm (37 x 26.75 ins) Large-scale allegorical etching by James Barry depicting Lord Calvert showing Lycurgus the founding document of civil and religious liberty in Maryland in 1649. (1)

*Boucher (Francois, 1703-70). Thau Kiene Eunuque du palais a la Chine, [1731 or slightly later], etching on wove paper by Boucher after Watteau, with partial unidentified watermark, from the series Diverses Figures Chinoises, published in L'Oeuvre d'Antoine Watteau, or Recueil Jullienne, circa 1734, plate size 217 x 156 mm, sheet size 301 x 238 mm, together with Young woman in a landscape seen from the side, with her head turned towards the viewer, etching on laid paper, with partial unidentified watermark, numbered XIV upper left, and 15 upper right, from Jean Antoine Watteau, Figures de différents caractères, published in Paris by Gabriel Huquier, circa 1740, plate size 187 x 135 mm, sheet size 305 x 198, some marks to margins, plus two other etchings after Watteau by Balthasar Sigmund Setletzky (1695-1771), both studies of male heads, published in Augsburg by J.C. Leopold, plate size 143 x 96 mm and similar, sheet size 220 x 141 mm (and smaller) and Chedel (Pierre Quentin, 1705-1763), Rustic landscape with circular gatehouse, & Rustic landscape with peasants and well, two etchings on laid paper, indistinctly watermarked, plate size 196 x 128 mm, sheet size 305 x 244 mm, plus other various Old Master prints, mostly 18th & 19th century, including two landscape etchings by Pierre Francois Laurent (1739-1809) after Francois Boucher, one showing washer women by a mill, the other a wooded landscape with bridge over a stream, both in generally good condition with wide margins, Vue du fort St. Pierre à Cette, by Jules-Armand-G. Bouchier, dated 1786, a rustic landscape etching with woman hanging washing by Saint Non after Le Prince, a hand-coloured lithograph by Daumier entitled Le Guittariste-Amateur, from the series Monomanes, as published in Le Charivari, December 25, 1840, several 19th century reprints after Rembrandt, two uncoloured proof oval aquatints by Le Blond (Penny for the Guy & Boys Fishing), the first printed in brown on japan paper, five 19th century English humorous illustrations in pen and brown ink, etc. (26)

*Bruyn (Pierre de, died 1667). Portrait of Jacob Hall (active 1662-1681), Rope Dancer and Acrobat, circa 1660s, fine etching on laid paper, after Jakob van Oost the younger (1637-1713), short closed tear to top left margin, and extreme top left blank corner missing, slight discolouration to mount tabs at 3 corners, plate size 263 x 187 mm (10.3 x 7.7 ins), sheet size 285 x 210 mm (11.25 x 8.25 ins) Rare first issue of this etching by De Bruyn after Van Oost, of the famous tightrope walker and artiste who performed for King Charles II, having first given public performances in a booth at Smithfield, where he was seen regularly by Samuel Pepys. This etching was reproduced as a copper engraving in William Richardson's Portraits illustrating Granger's Biographical History of England, published between 1792 and 1812, in which the original work is described as 'a rare print in the collection of Sir John St. Aubyn'. (1)

*Hogarth (William, 1697-1764). The Four Times of the Day (Morning, Noon, Evening & Night), 1738 [but later], set of four copper engravings with etching on wove paper, from the William Heath edition of 1822, some light marginal waterstains and spotting, wide margins, plate size 48.5 x 40.5 cm (19 x 16 ins), sheet size 68.5 x 50.5 cm (27 x 20 ins) Paulson 152-155. (4)

*Hollar (Wenceslaus, 1607-1677). Warships and a spouting whale, 1665, etching on ivory laid paper, published by Peter Stent, trimmed just inside the plate margin, 124 x 269 mm (4.9 x 10.6 ins), mounted Pennington 1275, ii/ii. (1)

*Hooghe (Romeyn de, 1645-1708). L'Europe Allarmée par le fils d'un Meunier, [1688], etching with printed broadside on laid paper, with three columns of Dutch verse below the image, inscribed in ink to top margin Ao.1688, and numbered 22 to top right corner, light marginal spotting and minor creases, plate size 38 x 40 cm (15 x 15.75 ins), sheet size 59 x 42.5 cm (23.75 x 16.75 ins) Muller, Nederlandsche geschiedenis 2760. Landwehr 218. A complex allegorical satire by the Dutch protestant printmaker Romeyn de Hooghe on the fall of King James II of England, the last Roman Catholic English monarch, following the Glorious Revolution of 1688. The print satirises the paternity of James the Second's baby son, James Francis Edward, Prince of Wales (1688-1766), nicknamed the Old Pretender, suggesting that the child was instead the son of an unknown mother and a miller smuggled into the Queen's bed in a warming pan, with the complicity of the French Catholic King Louis XIV. This work is believed to be the second in a series of Harlequin satirical prints by De Hooghe on the political tensions between Britain, France and Holland. (1)

*Rembrandt (Harmensz. van Rijn, 1606-1669). Christ healing the Sick ('The Hundred Guilder Print', - The Left Fragment), 1649, etching with engraving and drypoint on laid paper, an impression of the left fragment of the reworked plate, after the plate was cut by Captain William Baillie, circa 1775, with margins, plate size 52 x 74 mm (2.1 x 2.9 ins), sheet size 58 x 79 mm (2.3 x 3.1 ins) (1)

*Rembrandt (Harmensz. van Rijn, 1606-1669). The Adoration of the Shepherds, Night Piece, circa 1652, etching, drypoint and burin on laid paper, trimmed to margins, with some marks and one or two small tears to extreme corners, with slight loss to upper right and lower right corners, plate size 149 x 198 mm (5.9 x 7.8 ins), sheet size 152 x 200 mm (6 x 7.85 ins), with inscription in brown ink to verso 'a paris Chez Naudet Md d'estampes au Louvre (Lugt 1937)', and with additional signature of Fountaine Walker, 1856 (probably Fountaine Walker 1833-1892 of Ness Castle, near Inverness, Scotland) Hollstein 46. Bartsch 46. Hind 255, vii/viii. (1)

*Sarbo (17th century). Christ praying in the garden, supported by an angel, 1675, etching on laid paper, with margins, plate size 147 x 100 mm (5.75 x 3.8 ins), framed and glazed Listed in Joseph Strutt, Biographical Dictionary of Engravers, 1786, volume 2, page 297. (1)

*Fildes (Luke, 1844-1927). Marianina, oil on canvas, three-quarter length portrait of a peasant girl wearing a green blouse, striped skirt, and spotted apron, with earrings and a coral necklace, carrying a basket over one arm, indistinctly signed in red lower right, weave of canvas showing, some flaking of paint surface (mainly to edges), 71 x 47.5cm (28 x 18.75ins), verso with title and artist's signature and address in ink, framed, stretcher with Christie's stencil and old printed label: "'Marianina': A Young Peasant Girl with a Basket... signed and dated 1876" Exhibited at the Dudley Gallery in 1877 where it was met with a glowing reception: '...the gem of the Exhibition is 'Marianina' by Luke Fildes, which for pose, drawing, and colour is perhaps the best bit of work he has done. Mr. Fildes has used the very roughest kind of canvas, he has laid on his paint here and there with a palette knife, as if he were handicapping himself to obtain softness of tone and texture in spite of conditions that would at first blush appear to tell against both. There is no picture in the gallery more tender, soft and delicate in its effect than this vigorous study' (London Letter to New York Times, December 9, 1877). An etching after Fildes' painting by Leon Richeton (1854-1934) was published in 'The Portfolio' in 1878. (1)

*Benson (Frank Weston, 1862-1951). The Duck Hunter, 1914, etching on japan paper, a strong dark impression, mount toned, signed and numbered 48 from the edition of 50, plate size 15 x 20 cm (5.9 x 7.9 ins), sheet size 29 x 34.8 cm (11.3 x 13.75 ins), mounted, with early printed label of Robert Scott & Son, Dundee to verso, with an additional typewritten note to verso stating that this print was purchased from Robert Scott in 1920 for 8 guineas Paff 27. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). Nadejda, 1924, etching on wove paper, from the edition of 76 proofs, published 1924, signed in pencil, 2 worm holes to upper left blank margin, a few marginal marks, outer blank margins browned, and folded in to fit the frame aperture, plate size 152 x 113 mm (6 x 4.5 ins), sheet size 277 x 213 mm (10.9 x 8.4 ins), framed and glazed Wright 47, ii/ii. Fletcher 47. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). Anais II, 1930, etching on wove paper, from the edition of 111, signed in pencil, a very good strong impression, plate size 225 x 175 mm (8.8 x 6.8 ins), sheet size 383 x 280 mm (15 x 11 ins), mounted Fletcher 67. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). Una [also called 'The Young Creole'], 1929, etching on wove paper, signed in pencil, plate size 215 x 157 mm (8.5 x 6.2 ins), sheet size 390 x 262 mm (15.4 x 10.25 ins), mounted Fletcher 65. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). Viba, (Mrs. Bobby Hazleton Ross), 1929, etching on wove paper, from the edition of 111 proofs, published March 1929, signed in pencil, plate size 214 x 172 mm (8.4 x 6.75 ins), sheet size 340 x 275 mm (13.4 x 10.8 ins), mounted Wright 63, viii/viii. Fletcher 63. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). The Black Silk Dress, 1927, etching on wove paper, one of 111 proofs published August 1927, signed in pencil, a strong, rich impression, hinge-mounted to head and foot of left hand margin, plate size 223 x 159 mm (8.75 x 6.25 ins), sheet size 320 x 250 mm (12.4 x 9.8 ins), mounted Wright 58, ix/ix. Fletcher 58. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). The West of Ireland, 1928, etching on wove paper, one of 111 proofs of the final state, published July 1928, a strong impression with contrast, signed in pencil, plate size 122 x 145 mm (4.8 x 5.75 ins), sheet size 225 x 268 mm (8.9 x 10.6 ins), mounted Wright 61 viii/viii. Fletcher 61. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). James McBey, 1931, etching on cream wove paper, from the edition of 111 proofs, published April 1931, signed in pencil, an excellent strong impression, plate size 267 x 190 mm (10.5 x 7.5 ins), sheet size 376 x 282 mm (14.8 x 11.1 ins), mounted Wright 69 ix/ix. Fletcher 69. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). Henry Rushbury, 1930, etching on cream wove paper, one of 111 proofs published March 1930, signed in pencil, a rich, dark impression, with light plate tone, plate size 252 x 186 mm (10 x 7.3 ins), sheet size 368 x 272 mm (14.5 x 10.7 ins), mounted Wright 66, xiii/xiii. Fletcher 66. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). Young Womanhood, 1931, etching on wove paper, from the edition of 111 proofs, published July 1931, signed in pencil, a fine, rich impression, with light plate tone, plate size 231 x 175 mm (9.1 x 6.9 ins), sheet size 397 x 266 mm (15.7 x 10.45 ins), mounted Wright 70, vii/vii. Fletcher 70. (1)

*@Brockhurst (Gerald Leslie, 1890-1978). Dorette, 1932, etching on wove paper, one of 111 proofs, published May 1932, signed in pencil, a strong, rich impression, plate size 234 x 187 mm (9.25 x 7.3 ins), sheet size 360 x 258 mm (14 x 10.2 ins), mounted Wright 72, vi/vi. Fletcher 72. (1)

*Brunet-Debaines (Alfred Louis, 1845-1939). The Houses of Westminster from the Thames, 1894, etching on japan paper, published by Thomas Agnew & Sons in 1984, signed in pencil lower right, Printseller Association blindstamp lower left, image size 45 x 74 cm (17.7 x 29.1 ins) with wide margins, period stained oak frame, glazed (1)

*Dicksee (Herbert, 1862-1942). The Watcher on the Hill, published Frost & Reed, 1900, etching on vellum, signed in pencil by artist below image, 50 x 70 cm (20 x 27.5 inches), framed and glazed (1)

*Duriau (Alfred, 1877-1958). Tete de Mendiant Italien, etching on heavy wove paper, signed in pencil lower right, some light soiling, plate size 34.5 x 26.5 cm (13.5 x 10.5 ins), sheet size 45 x 32 cm (17.75 x 12.5 ins), 3 other signed etchings by Duriau (Quai de Sambre a Charleroi, Un Coin du Chateau d'Havre, & Une Vue a Echternach), and 4 linocut portraits by Duriau (Tete de Vieux, Tete d'Aveugle, Paysan Italien & Effet de Neige), each signed in pencil, all similar size, loosely contained in original folder, stamped Duriau in silver to upper cover (9)

*Hunt (William Holman, 1827-1910). The Abundance of Egypt, 1857, etching on chine collé, published in Etchings for the Art-Union of London by the Etching Club, numbered 20 to centre of lower margin, and with the artist's name scratch-lettered lower left, some light spotting to blank margins, plate size 155 x 122 mm (6.1 x 4.8 ins), sheet size 36.7 x 27 cm (14.45 x 10.6 ins) Bronkhurst 2006, Appendix B2. (1)

*Icart (Louis, 1888-1950). Green Robe, 1924, drypoint etching and colour aquatint, published by Les Graveurs Modernes, Paris, 1924, signed in pencil, and numbered 137 below the image, in very good condition, plate size 35 x 44.5 cm (13.75 x 17.5 ins), 50 x 63 cm (19.75 x 24.75 ins), framed and glazed, with old printed label of J. Manley, printseller, Windsor to verso (1)

*Jongkind (Johan Barthold, 1819-1891). Moulins en Hollande (Rotterdam), 1867, etching on laid paper, plate size 145 x 195 mm (5.7 x 7.7 ins), framed and glazed (1)

*Manet (Edouard, 1832-1883). Cat with Flowers (Le chat aux fleurs), 1869, etching and aquatint on Rives paper, 6th (and final) state, a posthumous impression, pale mount stain, the full sheet hinged to left margin verso, plate size 195 x 150 mm (7.7 x 6 ins), sheet size 330 x 250 mm (13 x 9.8 ins), framed and glazed Guerin 53. Harris 65. (1)

*Menpes (Mortimer, 1855-1938). View of a London Terrace, etching on laid paper, printed with light plate tone, signed in pencil, very pale mount stain, sheet edges restrengthened with paper, plate size 232 x 299 mm (9.1 x 11.8 ins), sheet size 320 x 385 mm (12.6 x 15.2 ins), framed and glazed (1)

*Osborne (Malcolm, 1880-1963). Shrimant Sampatrao Gaikwad Baroda, 1923, etching, with drypoint on wove paper, signed in pencil, in excellent condition, with remains of small tab mount to top left and top right margin, plate size 30 x 23 cm (11.8 x 9.1 ins), sheet size 45 x 34 cm (17.75 x 13.4 ins) (1)