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Etching Depicting: les peintures morales du pears Pierre le Moyne of the company of Jesus Depicting: The amphitrite cave in a beautiful veneered maple frame. H mm 193 x 146 / H mm 138 x 163 Sebastien Cramoisy Etching H mm 193 x 146 / H mm 138 x 163 Sebastien Cramoisy Etching

Etching H 230 x 154 mm / in frame h 41.5 x 33 cm Marco Sadeler Etching H 230 x 154 mm / in frame h 41.5 x 33 cm Marco Sadeler Etching

Etching and burin H 269 x 269 mm / in frame 48 x 47.5 cm Etching and burin 17th century H 269 x 269 mm / in frame 48 x 47.5 cm Etching and burin 17th century

Etching on laid paper H 151 x 223 mm / in frame 27.5 x 37 Marco Sadeler Etching on laid paper H 151 x 223 mm / in frame 27.5 x 37 Marco Sadeler Etching on laid paper

Etching on laid paper Marco Sadeler Etching on laid paper Marco Sadeler Etching on laid paper

Etching H 282 x 416 mm / in frame H 39.5 x 54.5 cm Jean Bérain Etching H 282 x 416 mm / in frame H 39.5 x 54.5 cm Jean Bérain Etching

Rafael Paneca (Cuban 20th century): The Lovers, etching signed inscribed and numbered 3/12 in pencil 22cm x 17cm

Edward Julius Detmold (1883-1957): The Condor, drypoint etching signed in pencil, dated 1903 in the plate 12cm x 7cm (unframed)

Lucy Lady Hume Williams (British, 1862-1948): 'Surrey Churchyard', watercolour signed and dated '13, labelled verso 22cm x 29cm; English School (19th century): The Ancient Oak Tree, etching unsigned 19cm x 27cm (2) (unframed)

Ernest Stephen Lumsden (British 1883-1948): Market Stall and Temple Scene, etching signed in pencil 23cm x 17cm

Tom Carr (British 1912-1977): 'In the Dunes - The Percy Foxhounds', coloured etching signed titled and numbered 21/75 in pencil 22cm x 34cm

Malcolm Osborne (British 1880-1963): 'Herbert Thompson MA Litt D' (1859-1944), first trial proof drypoint etching signed titled and dated '36 in pencil 36cm x 26cm (unframed)Notes: Herbert Thompson was a Barrister & Egyptologist, the son of surgeon Sir Henry Thompson (1820-1904).

Malcolm Osborne (British 1880-1963): 'John Ernest Jarratt - Town Clerk of Southport 1900-1930', drypoint etching signed in pencil 30cm x 22cm (unframed)

Anthony Wheeler, Dean Village, etching no 2/20, signed pencil bottom right, in a glazed mounted frame. (20.5cmx28cm)

William Walker A.R.E, Stirling Castle, etching, signed, artist label verso, in a gilt glazed frame. (12cmx17cm)

A.Simess (British 1887-1964), Lochindorb Morayshire, etching, signed and titled pencil, artist label verso, in a silver gilt frame. (9cmx14cm)

Salvador Dali 1904-1989 Vision du Paradis original etching with aquatint printed in colours 1971 signed in pencil. Gallery Label verso

† Piero Fornasetti (Italian 1913-1988) 'Adam' and 'Eve' Coaster Sets, circa 1965 comprising 16 coasters, printed manufacturer's marks (to reverse of each coaster), porcelain, in original boxes Dimensions:Adam Coasters: 10.5cm diameter (4 1/8in diameter); Eve Coasters: 9.8cm diameter (3 7/8in diameter) Note: Piero Fornasetti: Designer of Dreams Our work is without limits, full time. There is no schedule, day or night. I translate my dreams into reality, whatever I do. Piero FornasettiPiero Fornasetti’s oeuvre stands as a testament to his lifetime obsession with art and design. Unrelenting in his pursuit of ornate decoration, irony and illusion, Fornasetti created a unique dream-like world blending classical and exotic imagery to create a globally recognised style that has withstood the test of time.From the very beginning of his career, Fornasetti’s purpose and direction was always clear to him, as he recalled in 1987: ‘I was born a painter. I began at the age of ten. Nobody in the workshops where I went could teach me. I learned from books, lithography and etching, all this before the founding of specialised schools.’The roots of Fornasetti’s designs are firmly placed in the past. Over his lifetime he collected an extensive library of engravings which fuelled his imagination with Classical and Renaissance imagery. These images became the basis of all Fornasetti’s work and whilst his designs were never taken from any particular print, he recreated their likeness through the meticulous use of lines and dots. Fornasetti was an excellent draughtsman and printer and evolved the concept of the engraving aesthetic through playful use of scale and composition. Within the sale this is demonstrated with the Adam and Eve coasters (Lot 218) where Fornasetti portrays this well-known story across 16 different coasters. By taking the image away from a more traditional context, Fornasetti introduces his style to a whole new audience and by breaking down the image into individual parts he encourages the viewer to use their imagination to complete the picture.Further influences came from Surrealist Metaphysical paintings by Alberto Savinio and Giorgio de Chirico, as well as artists like Pablo Picasso and Jean Cocteau. Fornasetti embraced the playful ideas of Surrealism, injecting a sense of humour and irony into his work. He was also fascinated by the correlation between architecture and furniture in that both have façades and doors which open to reveal interior spaces.In the 1950s Fornasetti embarked on a collaboration with Gio Ponti which was to bring the two men international recognition. Both were devoted to ideas of over-decoration and set about designing pieces which conjured illusions to hide the functionality of the object. By adapting 17th- and 18th-century prints to the exact dimensions of bureau desks Fornasetti transformed each one into a piece of monumental Italian architecture completely disguising their original purpose. Perhaps it is not surprising that Ponti’s belief in his long-time collaborator’s ability was so great that he proclaimed he had the ability to ‘make an object speak’.Fornasetti’s chair backs of Ionic and Corinthian capitals are perhaps the most well-known examples of his use of classical architecture. Two original examples from 1950s, together with a Renaissance inspired ‘Boomerang’ chair, are presented in this sale (lots 219, 220, and 221). Musical instruments were a favourite motif for Renaissance artists and Fornasetti immersed himself in this tradition. He was especially intrigued by their shape and the sound images that they evoked.Around this time the principles of Modernist design were starting to gain popularity. Ornamentation and representation of historical and natural references had fallen out of fashion in favour of a simplistic function- led approach. Unfortunately for Fornasetti these were the very things that he had dedicated his life to creating and subsequently with time his designs started to lose their appeal. However, he was resolute in his approach, arguing that an artist who compromised their beliefs in order to be successful was no longer an artist. He stated:‘He is a person who wants to have success. If he conforms to fashion, he will arrive late because by now everyone has already conformed. Therefore, perhaps the idea is not to conform but to be original. For example, I am suggesting the idea of creating fashion items that never go out of fashion.’England was central to the rediscovery of Fornasetti in the 1980s when two designers Guiliana Medda and Lilianne Fawcett opened their shop Themes and Variations in London. Selling a wide selection of Fornasetti objects they encouraged a revival of 1950s fashions. In 1991 the Victoria & Albert Museum held a comprehensive retrospective of Fornasetti’s work supported by his son Barnabus. This led to a resurgence of interest in and the popularity of the artist which has lasted ever since. It is thus fitting that when he died in 1988, the card announcing Fornasetti’s death simply said: ‘My fantasy is always with you’.

§ Sandra Blow R.A. (British 1925-2006) Upward Movement, 2006 (Basford 47) signed in pencil (lower right), etching and aquatint on Hahnemtühle paper, printed by Richard Kimmerling, published by the Strand GalleryDimensions:37cm x 37cm (14 1/2in x 14 1/2in)Note: This is a rare signed example of Upward Movement, as an edition of 20 were to be signed but Blow passed away before she was able to do so. It was originally commissioned by the Strand Gallery for a planned black and white exhibition of her work in 2007.

§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) Captain Hook and the Lost Boy, 1992 (Rosenthal 80) signed and numbered 31/50 in pencil (in the margin), coloured etching and aquatint on paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough GraphicsDimensions:sheet 61.5cm x 50.8cm (24 1/4in x 20in)

§ Gerald Leslie Brockhurst (British 1890-1978) La Tresse, 1926 (Fletcher 56) signed in pencil (in the margin lower right), and inscribed in pencil (in the margin to the lower right edge), etching on paperDimensions:plate 21.2cm x 18.7cm (8 3/8in x 7 1/4in); sheet 36cm x 24.6cm (14 1/4in x 9 3/4in), unframed

§ Sir Antony Gormley O.B.E., R.A. (British 1950-) Feeling Material, 2006 signed, dated and numbered 34/250 in pencil (in the margin), etching on wove paper, published by Sadler's Wells, London Dimensions:sheet 75cm x 57cm. (29 1/2in x 22 1/2in)

§ † Bob Law (British 1934-2004) Kiss and Crosses, 2000 complete set of eight, comprising Double Cross; Cross for Me - Kiss for You; Kiss for Me - Cross for You; Double Kisses; A Cross to Bare; Cross and Broken Double Cross; Double Double Crosses; Two Crosses, each signed and numbered PP1 in pencil (in the margin), published by artHester in 2003, printed by Stoneman Graphics, in an edition of 30 with 5 Artist's Proofs, together with silkscreened box and title pageDimensions:each etching 28.5cm x 37.5cm (11 1/4in x 14 3/4in)Provenance:LiteratureAnna Lovatt, Jo Melvin et al., Bob Law - A Retrospective, Ridinghouse, London, 2009, p. 214-5, illustrated in colour

§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) The Baker's Wife I, 1989 (Rosenthal 31) signed and numbered 19/75 in pencil (in the margin), etching and aquatint on Somerset paper, printed by Paul Coldwell at Culford Press, London, published by Marlborough GraphicsDimensions:sheet 33.5cm x 26.3cm (13 1/8in x 10 3/8in)Note: This print was used to illustrate a programme for The Baker's Wife, a play produced in London in 1989.

§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) Tiger Lily on Marooners' Rock, 1992 (Rosenthal 87) signed and numbered 34/50 in pencil (in the margin), coloured etching and aquatint on paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics Dimensions:sheet 62cm x 50cm (24 3/8in x 19 5/8in)

§ Sir Terry Frost R.A. (British 1915-2003) Arbole, Arbole (Tree, Tree), 1989 (Kemp 107) signed and numbered 67/75 in pencil, etching and aquatint with hand-colouring on paper, from the Lorca SuiteDimensions:sheet 55.3cm x 37.3cm (21 3/4in x 14 3/4in)

§ Gerald Leslie Brockhurst (British 1890-1978) Adolescence (Kathleen Nancy Woodward), 1932 (Fletcher 75) signed in pencil (in the margin lower right), from the unnumbered edition of 90, etching on wove paper Dimensions:plate 26.5cm x 37cm (10 1/2in x 14 3/4in); sheet 33.6cm x 45.6cm (131/4in x 17 7/8in), unframed Note: Adolescence is the most famous and virtuoso image of Brockhurst’s career and is widely considered a masterpiece of twentieth-century printmaking.Having shown early promise and commitment to his studies, Brockhurst enrolled at Birmingham School of Art aged just twelve years old. He later entered the Royal Academy Schools in London in 1907. Brockhurst’s trajectory to success was set early on, as in both schools he was awarded many of their highest accolades. After travel in France and Italy before the outbreak of World War One, followed by a five-year period spent living in Ireland, Brockhurst eventually re-settled in the English capital. Over the course of the 1920s he made his name in artistic circles, foremost as an outstanding printmaker at this point in time, while his reputation as a painter of extraordinary skill would come to fruition a decade later.Adolescence is rightly regarded as a significant artistic achievement. In 1924, Hugh Stokes encapsulated the artist’s technique as follows: ‘What…[Brockhurst]…is gradually attaining… is a soft and velvety richness of quality in which line disappears, although the form is based upon line.’ It is a startling process which results in a remarkable level of finesse. Brockhurst’s ability to convey such an extraordinary variety of texture and tone in Adolescence make it a prized work among collectors, as too does its period elegance and subtle sensuality.As with many of history’s great artworks, the backstory can add as much appeal for collectors as can the aesthetics of the image itself. Adolescence is one such example of this. Brockhurst had attracted scandal (with the added benefit of renown) due to his affair with Kathleen Woodward, a 16-year-old life model for whom he subsequently left his wife and former muse Anaïs Folin. In the manner of his friend Augustus John, Brockhurst re-christened Kathleen ‘Dorette’, and she came to feature in many of his most successful and notable portraits. In Adolescence, Dorette is depicted seated nude on her bed, assessing herself in a dressing-table mirror, lost in her interior world. It is an idealisation of young womanhood, a subject that preoccupied much of Brockhurst’s career, but it is also a study of nascent sexuality. It remains Brockhurst’s most overtly sensual image.

§ PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) Sewing on the Shadow III, 1992 (Rosenthal 96) signed and numbered 2/25 in pencil (in the margin), coloured etching and aquatint on Somerset paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics Dimensions:sheet 61.8cm x 50.5cm (24 3/8in x 19 7/8in)

§ Sir Terry Frost R.A. (British 1915-2003) Canción de Jinete (Rider's Song), 1989 (Kemp 99) signed and numbered 67/75 in pencil, etching and aquatint with hand-colouring in red gouache on paper, from the Lorca SuiteDimensions:sheet 55.2cm x 37.3cm (21 3/4in x 14 5/8in)

Etching of an Italian town scene with tower, monogram P.D.

Graham Clarke (Born 1941), 'St Francis, The Reconciliation of The Fierce Wolf' colored etching, limited edition of 400, pencil signed to margin, in shaped mount plus certificate and three books and letter relating to the Kent artist.

A vintage mid 20th century Knights Templar commanders sword, by C.E.Ward Co New London. Gilt on white metal cross guard, pommel, and langet, the latter with red infilled enamel detail. Black japanned grip with inset white metal cross. 70cm blade, with etching to both sides, featuring crusades scenes, religious symbolism, and a memento mori skull. Makers mark etched to the ricasso. Complete with gilt on white metal scabbard, with 3 suspension rings, and moulded decorative bands along the length, some with red enamel infills. Some of the scabbard bands are marked ‘54’. Notes: the gold wash to the hilt and scabbard would indicate that the sword belonged to a commander. Total length in scabbard approximately 91.5cm. Condition: generally very good and solid. Some very minor service wear to the high points of the gilt finish, revealing the white base metal below. Minor red enamel losses in a couple of places, but overall these are not detrimental. Blade is clean and bright, with clear etching,

A fine quality 19th century Victorian 1827 pattern Rifles Officers sword, with fire gilded blade. Gothic steel guard with integral crowned rifles badge and curled quillon. Fish skin grip with copper wire binding. Part chequered backpiece with stepped pommel. Very slightly curved single edged blade, with flat spine and single fuller. Profusely etched blade, with foliage, cartouches, the VR royal monogram and crown, plus the Rifles Regimental badge. Proof mark to the ricasso, plus the remains of another mark to the other side, this was possibly the makers mark. Interestingly, both the guard and blade have gilded, with a good proportion of the original gilt finish remaining to the blade. Approximately 96cm length. Condition: generally very good. Steel guard intact, with darkened patina to the steel, and traces of the gilded finish in places. The fish skin grip is intact, but a couple of the copper wire bindings have become loose. The blade is good, with minor service wear, and clear etching. The gilding to the blade remains approximately 90% intact.

§ Paula Rego R.A. (British/Portuguese 1935-2022) The Voices III, 1996-98 (Rosenthal 143) signed in pencil (lower right), inscribed Proof (lower left) and dedicated Colette / Christmas 1998 - Happy New Year / love hand-coloured etching with aquatintArtist's Proof aside from the edition of 25Unframed Dimensions:29cm x 19.5cm (11 1/2in x 7 3/4in) [plate]; 50.3cm x 35.6cm (19 3/4in x 14in) [sheet] Provenance:Provenance Gift of the Artist to Colette Morey de Morand and thence by descentLiterature T. G. Rosenthal, Paula Rego - The Complete Graphic Work, Thames & Hudson, London, 2012, p. 274, cat. no 143

§ † Eduardo Chillida (Spanish 1924-2002) Ze II - Que, 1969 (Koelen 69017) signed in pencil (lower right) and numbered 19/22 (lower left) etching on Chiffon de Mandeure paperEdition of 22, plus some Artist's ProofsPrinted by Arte Paris Published by Maeght Éditeur, Paris Dimensions:8.7cm x 8.7cm (3 1/2in x 3 1/2in) [plate]; 38.5cm x 31cm (15 1/4in x 12 1/4in) [sheet] Provenance:Provenance Private Collection, UKLiterature Martin van der Koelen et al., Eduardo Chillida – Opus P1: Catalogue Raisonné of the Graphic works, Chorus Verlag, Mainz, 1999, cat. no. 69017

§ Paula Rego R.A. (British/Portuguese 1935-2022) Untitled signed in pencil (lower right) and inscribed unique print / with love (lower left) etching with hand-colouring on wove paperUnframed Dimensions:49.5cm x 37cm (19 1/2in x 14 1/2 in) [plate]; 75cm x 57cm (29 1/2in x 22 1/2in) [sheet] Provenance:Provenance Gift of the Artist to Colette Morey de Morand and thence by descent to the present owner

§ Paula Rego R.A. (British/Portuguese 1935-2022) Accordion, c.2000s (Rosenthal 279) signed in pencil (lower right), numbered A/P and dedicated Happy Birthday dearest Colette (lower left) etching on Somerset Satin paperArtist's proof aside from the edition of 25Printed by Paul Coldwell at Culford Press, London Published by the Artist with Marlborough Graphics, LondonUnframed Dimensions:20.5cm x 19.5cm (8in x 7 3/4in) [plate]; 40.5cm x 33cm (16in x 13in) [sheet] Provenance:Provenance Gift of the Artist to Colette Morey de Morand and thence by descent to the present ownerLiterature T. G. Rosenthal, Paula Rego - The Complete Graphic Work, Thames & Hudson, London, 2012, cat. no 279

§ † Eduardo Chillida (Spanish 1924-2002) Ze III - Que, 1969 (Koelen 69018) signed in pencil (lower right) and numbered 42/50 (lower left) etching on Chiffon de Mandeure paperEdition of 50, plus approximately 14 Artist's ProofsPrinted by Arte Paris Published by Maeght Éditeur, Paris Dimensions:8.7cm x 8.7cm (3 1/2in x 3 1/2in) [plate]; 38.5cm x 31cm (15 1/4in x 12 1/4in) [sheet] Provenance:Provenance Private Collection, UKLiterature Martin van der Koelen et al., Eduardo Chillida – Opus P1: Catalogue Raisonné of the Graphic Works, Chorus Verlag, Mainz, 1999, cat. no. 69018

§ Paula Rego R.A. (British/Portuguese 1935-2022) Woman and Dog Inscribed in pencil For dear Colette / a very happy New Year from Paula (lower centre) hand-coloured etching on paperArtist's Proof - possibly uneditionedUnframed Dimensions:17cm x 20cm (6 3/4in x 8in) [plate]; 30.5cm x 25.5cm (12in x 10in) [sheet] Provenance:Provenance Gift of the Artist to Colette Morey de Morand and thence by descent to the present owner

§ † Eduardo Chillida (Spanish 1924-2002) Ze I - Que, 1969 (Koelen 69016) signed in pencil (lower right) and numbered 38/50 (lower left) etching on Chiffon de Mandeure paperEdition of 50, plus approximately 14 Artist's ProofsPrinted by Arte Paris Published by Maeght Éditeur, Paris Dimensions:8.8cm x 8.3cm (3 1/2in x 3 1/4 in) [plate]; 38.5cm x 31cm (15 1/4in x 12 1/4in) [sheet] Provenance:Provenance Private Collection, UKLiterature Martin van der Koelen et al., Eduardo Chillida – Opus P1: Catalogue Raisonné of the Graphic Works, Chorus Verlag, Mainz, 1999, cat. no. 69016

Charles Bartlett (British 1921-2014), Evening tide, colour etching with aquatint, signed lower right, inscribed lower centre, numbered 14/60 lower left, 40 x 55cm. Framed and glazed.Condition Report: Under glass, generally good appearance.

Bella Brisel (1929-1982) Bird and Face, limited edition etching, marked Epreuve dArtiste and signed in pencil lower right, numbered 15/20, plate size 14 x 19.5cm.; Together with another, Marie Rooney (20th century), View of a house and garden, etching, signed and dated 1977 lower right. 18 x 22cm (2).

Allin Braund (1915-2004), Moor, Mist & Sunlight, etching with aquatint, signed, dated 1959 and numbered 1/30 lower right, inscribed lower left, 37 x 53cm. Framed and glazedCondition Report: Under glass, paper slightly discoloured.

Italy.- Piranesi (Giovanni Battista) Veduta della Basilica di S.ta Maria Maggiore con le due Fabbriche laterali di detta Basilica, etching and engraving, a very good impression of Hind's first state (of four), on laid paper with watermark of fleur-de-lis [Cf. Hind watermarks, no. 1, "found in early states"], platemark 400 x 540 mm (15 3/4 x 21 1/4 in), sheet 525 x 735 mm (20 5/8 x 29 in), central drying crease and faint crease to left quarter, minor spotting and surface dirt, unframed, [Hind 9], 1749

Italy.- Piranesi (Giovanni Battista) Avanzi del Tempio detto di Appollo nella Villa Adriana vicino a Tivoli, etching and engraving, on thick laid paper, a good impression of Hind's first state (of four), platemark 470 x 625 mm (18 1/2 x 24 1/2 in), sheet 500 x 740 mm (19 3/4 x 29 1/8 in), faint drying crease, some surface dirt and browning, hinged into mount, unframed, [Hind 85 i/iv], 1768; together with Avanzi del Tempio del Dio Canopo nella Villa Adriana in Tivoli, etching and engraving, Hind's second state (of four), platemark 460 x 580 mm (18 x 22 3/4 in), wide margins, hinged into mount, minor surface dirt, hinged into mount, unframed, [Hind 90 ii/iv], 1768 (2)

Italy.- Piranesi (Giovanni Battista) Vue des restes du pronaos de l'édifice que l'on peut considérer comme le Collège des Anfictions, plate 5 from "Différentes vues de Paestum", etching and engraving, on thick laid paper with watermark of Strasbourg lily within two concentric circles, platemark 500 x 680 mm (19 3/4 x 26 3/4 in), central vertical fold, faint exposure lines outside the image, minor browning, unframed, [1778].

Italy.- Piranesi (Giovanni Battista) Veduta degli avanzi del sepolcro della famiglia Plauzia sulla via Tiburtina vicino al ponte Lugano due miglia lontano da Tivoli, etching and engraving, a good impression of Hind's first state (of 3), on thick laid paper with indistinct Strasbourg lily watermark, platemark 465 x 625 mm (18 1/4 x 24 1/2 in), sheet 530 x 740 mm (20 7/8 x 29 1/8 in), minor surface dirt and light browning, unframed, [Hind 83 i/iii], 1761; together with Veduta di un Eliocamino per abitarvi l'Inverno, il quale era riscaldato dal Sole che s'introduceva per le Finestre, and with the title page to Piranesi's "Views of Rome", etchings and engravings, both hinged into mounts, unframed, circa 1775-1778 (3)

Italy.- Piranesi (Giovanni Battista) Veduta dell interno del Anfiteatro Flavio detto il Colosseo, etching and engraving, a good impression of Hind's third state (of five), on laid paper with watermark of Strasbourg lily, platemark 460 x 695 mm (18 x 27 1/2 in), sheet 560 x 805 mm (22 x 31 3/4 in), central vertical fold, minor surface dirt and light browning, hinged into mount, unframed, [Hind 78 iii/v], 1766.

Italy.- Piranesi (Giovanni Battista) Veduta del Romano Campidoglio con Scalinata che va dalla Chies d'Aracel, etching and engraving, Hind's second state (of five), on thick laid paper with watermark of Strasbourg lily within two concentric circles, platemark 410 x 550 mm (16 1/8 x 21 5/8 in), sheet 560 x 690 mm (22 x 27 1/8 in), central vertical fold with minor splitting to extreme edges, marginal nicks, some surface dirt, hinged into mount, unframed, [Hind 38 ii/v], [circa 1775].

Italy.- Piranesi (Giovanni Battista) Veduta del Monumento eretto dall'Imperador Tito Vespasiano per aver ristaurati gl' Aquedotti..., etching and engraving, a good impression of Hind's first state (of three) on thick laid paper with watermark not visible, platemark 490 x 705 mm (19 1/4 x 27 3/4 in), sheet 525 x 760 mm (20 3/4 x 29 3/4 in), central vertical fold, some spotting, browning and surface dirt, unframed, [Hind 119 i/iii], [1775]

Europe.- Keller (Heinrich) Aussicht vom Weissenstein auf dem Jura, Cant. Solothurn, panorama, etching and aquatint with hand-colouring, 190 x 1880 mm (7 1/2 x 74 in), two folding flaps, folding concertina-style into contemporary boards, publisher's printed label to upper cover, slightly worn, 8vo, 1818; together with 3 further folding maps, including C. Smith's 'A Physical and Topographical Map of France', 1824, William Gell's 'Rome and its Environs', and a folding map from the Survey of India, centered on the North West provinces including the districts of Almora and Garhwal, various sizes, all folding into boards, 8vo, 19th century (4)

NO RESERVE Italy.- Piranesi (Giovanni Battista) Veduta interna del Sepolcro di S. Costanza..., etching and engraving, Hind's third state (of six) on thick laid paper with double encircled fleur-de-lis, platemark 420 x 550 mm (16 1/2 x 21 3/4 in), sheet 530 x 730 mm (20 7/8 x 28 3/4 in), wide margins, central vertical fold, small split to upper section, numbered in ink '22' in the upper right marginal corner, unframed, [Hind 37], [1774]

ALBUM OF ANTIQUE ENGRAVINGS, ETCHINGS & PRINTS.   All loose mounted in the album (some backed with card) and incl. Jaques Callot, De Droeve Ellendigheden van den Oorlogh, oblong. eng. title & 17 plates, n.d. but c.1730; others by Callot; lge. engraving Le Prince, Parte Bell Antica, Via Appia; portrait & character etchings & engravings; 18 etchings of knights & other figures; etching, Weirotter, Paysages; 7 others by Weirotter, various sizes; sepia print by Angelica Kauffman, 1770; portrait by Trautmann; 9 etched portraits, Castiliorus; man with turban, man in high fur hat & others after Rembrandt;  4 engravings, D. Geyn, biblical figures; 8 small port. engravings, J. Spilsbury; lge. engraved landscape/rustic scenes by Ruisdael & Dietrich; etchings of beggars & rustic figures by Van Vliet, & others; 4 port. etchings by Thomas Worlidge; peasant group by Berghem, & many others. Approx. 130 in a lge. quarto album, half morocco, marbled brds. & edges. Pencil ownership inscription "Cowper Rose", poss. the early 19th cent. author and "languid traveller".

Richard Bawden limited edition etching titled 'Honesty', no. 25/75, 20.5in x 16in

Rembrandt Van Rijn (Dutch 1606 - 1669 Manner of) Antique Etching - Self Portrait With Plumed Cap, 5 inches (13cms) x 4 inches (10cms) approx. image size, oval, bears signature and date of 1634; possibly the work of Chevalier Ignace Joseph de Claussin (1766 - 1844); no further provenance, but an interesting item

KARL FRID DAHMEN 20thC ETCHING PROPORTION HORIZONTALPENCIL SIGNED NUMBERED DATED 197 68cm x 52cm

A DOYNE-DITMAS 20thc ETCHING SPACE AND LIGHT NUMBERED AND SIGNED IN PENCIL DATED 1998 TOGETHER WITH A QUANTITY OF DECORATIVE PRINTS (16)

CELIA JOHNSON ETCHING OF CHRIST FIGURE, SIGNED LOWER LEFT, DATED 1992, NUMBER 1 OUT 4

ETCHING OF ANTWERP CATHEDRAL INDISTINCTLY SIGNED TOGETHER WITH VARIOUS SIGNED AND UNSIGNED PRINTS (7)

M HUNTER 20thC ETCHING AUTOLYCUS (A WINTER'S TALE) PENCIL SIGNED 8cm X 10cm TOGETHER WITH FOUR OTHER WORKS AND PRINTS BY DIFFERENT HANDS (5)