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Etching, signed in pencil 26.7 x 22cm. *CR Apparently good condition but not examined out of frame.

Etching with aquatint, by H. Merke, from the drawing by Samuel Howitt, published by T. McLean, 1819 31 x 44cm. *CR Stained and discoloured; the colouring a little faded; diagonal crease from centre left side to lower right.

Etching, 1988, signed, titled and numbered 65/150, unframed 50 x 40cm. *CR Some handling creases and some pale handling marks in margins; image good.

Two pairs, each engravings with etching, finished by hand in red and blue gouache, no titles showing, matching gilt frames Two 48 x 60cm approx; two 48.5 x 80cm approx. (4). *CR Each with some time-toning/browning of the paper; scattered grazes (`Bath ..` with a more prominent one on left); `Hercules..` with some pigment loss.  Subjects from the Villa Negroni, Rome.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE WEST OF IRELAND - 1928 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 12cm x 14.5cm (4.75in x 5.75in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ANAIS; YOLANDE (FLORENCE LAYZELL, MRS HENRY RUSHBURY); HEAD OF A GIRL - 1944 Etching, signed in pencil to marginYOLANDE, Etching, signed in plate, signed in pencil to marginHEAD OF A GIRL, Lithograph, signed with initials in print, signed and dated in pencil Dimensions:plate sizes 14cm x 11cm (5.5in x 4.25in); 11.5cm x 8.5cm (4.5in x 3.5in) 29.5cm x 22cm (11.5in x 8.75in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) MEDITATION Signed lower left, conté and charcoal Dimensions:32.5cm x 26cm (12.75in x 10.25in) Provenance:Provenance: Private British collection Note: Exhibited: Sheffield City Art Galleries, 'A Dream of Fair Women,' 13 December - 1 February 1987, cat. no. 55. Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) UNA - 1929 Etching, signed in pencil to margin Dimensions:plate size 22cm x 16cm (8.75in x 6.25in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE ROYAL SCOTTISH ACADEMY AND NATIONAL GALLERY OF SCOTLAND Etching, signed in pencil to margin, signed to plateDimensions:the image 18.5cm x 36cm (7.25in x 14in)

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) YOUNG WOMANHOOD - 1931 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23cm x 17.5cm (9in x 7in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) CYPRIANO - 1927 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 16cm x 9.25cm (6.25in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: THE BLACK CLOAK (MRS PAUL MELLON) - 1943; PHEMIE; AGLAIA Etching, signed and dated in plate, signed in pencil to marginPHEMIE, Etching, signed in plate, signed in pencil to marginAGLAIA, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 25cm x 20cm (10in x 8in); 10cm x 7.5cm (4in x 3in); 12.5cm x 9cm (5in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) PORTRAIT OF JAMES MCBEY - 1931 Etching, signed, dated and inscribed in plate, signed in pencil to margin Dimensions:plate size 27cm x 19cm (10.5in x 7.5in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE BLACK SILK DRESS - 1927 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 22cm x 15.5cm (8.75in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE MIRROR Etching, signed in plate, signed in pencil to margin Dimensions:plate size 14.25cm x 10cm (5.5in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: IN THE WOODS; THE THREE SISTERS; NOEMIE Etching, signed in plate, signed in pencil to marginTHE THREE SISTERS, Etching, signed in plate, signed in pencil to marginNOEMIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 12.5cm x 15cm (5in x 6in); 10cm x 12.5cm (4in x 5in); 18cm x 10.5cm (7.25in x 4.25in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) VIBA - 1929 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 21.5cm x 17cm (8.5in x 6.75in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: FABIAN (THE IDEAL HEAD); CASPER - 1933; FABIAN; CLYTIE Etching, signed in plate, signed in pencil to marginCASPER, Etching, signed with initials in plate, signed in pencil to marginCLYTIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 19.75cm x 14.5cm (7.75in x 5.75in), 17cm x 12.5cm (6.75in x 5in), 12cm x 10cm (4.75in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: THE DANCER - 1925; BY THE WINDOW; A MOUNTAIN MAN Etching, signed and dated in plate, signed in pencil to marginBY THE WINDOW, Etching, signed in plate, signed in pencil to marginA MOUNTAIN MAN, Woodcut, signed with monogram in print, signed in pencil to margin Dimensions:plate sizes 24cm x 14cm (9.5in x 5.5in); 14cm x 10cm (5.5in x 4in); 12.5cm x 10cm (5in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: DEUX LANDAISES (EVENING) - 1923; XENIA; THE TWO MELISANDES - 1927 Etching, signed in plate, signed in pencil to marginXENIA, Etching, signed in plate, signed in pencil to marginTHE TWO MELISANDES, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 20cm x 15cm (7.75in x 6in); 20cm x 15.5cm (8in x 6in); 15.5cm x 8.5cm (6in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) DORETTE - 1932 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23.25cm x 18.5in (9.25in x 7.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: LA BASQUAISE; GENEVIEVE; BY THE BIDASSOA Etching, signed in plate, signed in pencil to marginGENEVIEVE, Etching, signed in plate, signed in pencil to marginBY THE BIDASSOA, Etching, signed in pencil to margin Dimensions:plate sizes 11cm x 9cm (4.25in x 3.5in); 20.5cm x 15cm (8in x 6in); 20cm x 14cm (7.75in x 5.5in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ALMINA -1924; LE CASAQUIN DE LAINE; THE BLACK SILK DRESS Etching, signed in pencil to marginLE CASAQUIN DE LAINE, Etching, signed twice in plate, signed in pencil to marginTHE BLACK SILK DRESS, Lithograph, signed and dated in plate with printer's stamps to margin, signed in pencil to margin Dimensions:plate sizes 18cm x 13.5cm (7in x 5.25in); 20cm x 14.5cm (8in x 5.75in); 23cm x 16cm (9in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) OLIVER ST. JOHN GOGARTY Etching, signed in plate, signed in pencil to margin Dimensions:plate size 17.75cm x 14cm (7in x 5.5in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

WILLIAM WALCOTT; A COLLECTION OF 11 ETCHING PRINTS, ARCHITECTURAL AND CITY VIEWS IN MINT CONDITION, UNFRAMED, 12 X 10”

Two framed prints studies of dogs High Life and Low Life and a framed etching Sailing Barges at Chatham signed in pencil (3) NO RESERVE

William Russell Flint RA ROI (Scottish 1880-1969) Round a Venetian Brazier, signed, etching, 12 x 21.5 cm (PL), frame 30 x 37.5 cm, together with a further etching of a lady being dressed by her maidservants, (2) Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 11/10/2012 lot 306

John Crome (1768-1821) Front of the New Mills, 1813, etching, 22.5 x 30 cm (PL), frame 38 x 46 cm Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 05/10/2005 lot 11, label verso for Thomas Agnews & Sons

William Lionel Wyllie RA (1851-1931) Yachting at Cowes, Etching, signed Provenance: Collection of Mr Magdi Obeid, label verso for The Midland Art Association

ARR Leonard Russell Squirrell (1893-1979) Castle Urquart, signed, etching, 25 x 30 cm (PL), frame 38 x 51 cm, together with Loch Leven & Glencoe and Brig O'Gowie, Deeside (3)

William Lee Hankey RWS RI ROI (1869-1952) The Kiss, 1917, signed lower right, blind stamped, etching, 25 x 20 cm (PL), frame 48 x 41 cm Provenance: The Collection of Mr Magdi Obeid, purchased Bonhams 29/11/2004 lot 231, label for Walker Bagshawe LondonCondition:Lot 147: The picture is an etching, framed under glazing- not examined external to the frame. The print has full margins, with blind stamp and signature present. The platemark is fully visible. Sheet is in good condition – no obvious tears, creases or faults. There is some general ageing (browning) to the sheet. Etching is clear and surface stable. The frame has general wear and tear.

ARR Henry Rushbury (1889-1968) Debtor Gaol, York, signed lower right, etching, 16.5 x 18.3 cm (PL), frame 38 x 53 cm Provenance: The Collection of Mr Magdi Obeid, purchased Dreweatts 20/08/2013 lot 109, label verso Charles A Jackson, Manchester

William Lee Hankey RWS RI ROI (1869-1952) Le Mechante, signed lower centre, blind stamped, etching, 27.5 x 22 cm (PL), frame 57 x 50 cm Provenance: Collection of Mr Magdi Obeid, purchased from the Helios Gallery

William Lee Hankey RWS RI ROI (1869-1952) Prayer, signed lower right, etching, 24.8 x 16 cm (PL), frame 48 x 36 cm Provenance: Collection of Mr Magdi Obeid, purchased Mellors & Kirk 12/06/2013 lot 570

Manuel Robbe (1872-1936) Marche aux Fleurs, c.1912, colour etching, signed, 35.5 x 27.5 cm, frame 68 x 57 cm, together with a print titled 'Music Hath Charms' by Charles Spencelayh (1805-1958), and two prints after Corot (total 4)

William Henry Holman Hunt (1827-1910) The Abindance of Egypt, Etching, 15.5 x 12.3 cm (PL), frame 43 x 33 cm Provenance: Collection of Mr Magdi Obeid, purchased Dominic Winter 02/03/2017 lot 447

HAYTON ARTIST SIGNED ORIGINAL ETCHING ‘Bracchiano’, roof top view of coastal village 9” x 12” (23cm x 30.5cm)

After Giovanni Battista Piranesi (1720-1778)/Carceri d'invenzione/title page, second edition, 1761/etching, 55 x 42cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Unsigned original etching, possibly an operatic subject, 33 x 21.5cm, in an ebonised and gilt frame

Elise Ashe Lord, signed etching in colours, study of three oriental girls, 34 x 25.5cm, in a limed oak frame together with another similar, study of an oriental girl, 35 x 21cm

Graham Clarke, signed etching, figures in an interior ' The Hearth ', 30 x 36cm

Paul Kimpton etching of Bury St Edmunds, together with small group of prints of the Bury area

Collection of miniature works on paper by a variety of artists, including signed etching by Rowland Hilder and others, all framed

Arthur Briscoe (1873-1943) signed etching in glazed gilt frame 'Bucko Mate', signed and numbered 58/75.

Herbert Thomas Dicksee (1862-1942)/In the Silent North/Polar bears in a landscape/signed in pencil lower left/etching on vellum, 46.5 x 69cm CONDITION REPORT: Generally good condition overall, with limited foxing and staining to the sheet, especially around the margins.

Scottish School, late 18th Century/Loch Archray, Perthshire/inscribed verso/oil on oak panel, 26cm x 39.5cm/an oil on panel depicting a horse, 22cm x 29cm, an oil on board depicting a church and an etching of a horse (4) CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Herbert Thomas Dicksee (1862-1942/Baffled/Wolves on a cliff/signed in pencil lower left/etching on vellum, 46.5 x 68cm CONDITION REPORT: Some noticeable damage to the sheet - most significantly there are large areas of creasing and warping around the margins of the sheet and intruding into the image itself in places. Aside from this, there is foxing throughout.

Anon/The Memorable Battle of La Belle Alliance fought at Waterloo in the Netherlands June 18th, 1815/published by W Bishop, Rolls Buildings, Fetter Lane, London/etching, 85cm x 56cm/unframed CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Roberto Matta (Chilean-Italian, 1911-2002)'L'appui de l'appui'from the 'Hom'mére IV Point d'Appui' series, 1983, etching and aquatint in colours, printed by l'Atelier Dupont-Visat, signed with artist's motif in pencil l.r., and numbered '96/100' with blind stampsheet 67 x 51cmCondition ReportFramed: 83 x 64.5cm

Roberto Matta (Chilean-Italian, 1911-2002)'L'essence de l'essentiel'from the 'Hom'mére IV Point d'Appui' series, 1983, etching and aquatint in colours, printed by l'Atelier Dupont-Visat, signed with artist's motif in pencil l.r., and numbered '96/100' with blind stampsheet 67 x 51cmCondition ReportFramed: 83 x 64.5cm

▴ Henry Moore OM CH FBA (1898-1986)'Stonehenge'etching and lithograph, a title page from the Stonehenge Suite, the etching on the title page printed by M Bass, London, and signed 'Moore' in pencil l.r., verso 'The Edition', numbered '20/60' and published by Ganymed Original Editions Limited, London, 197458 x 45cmProvenance: Purchased from Wildenstein & Co., New York. Condition ReportFramed: 71 x 58.5cmPresented in a double sided frame. Very slight cockling but appears to be in otherwsie good condition. Not viewed out of glazed frame.

▴ Lucian Freud OM CH (1922-2011)'A Couple'etching, 1982, signed with initials in pencil l.r., and numbered '25/25' l.l., printed on wove paper by Terry Wilson at Palm Tree Studios and with printer's blind stampplate 11.4 x 11.4cmProvenance: With Heffers Gallery, Cambridge; Mr Evan & Mrs Patricia Steadman - Mr Steadman was the former organiser of The Grosvenor House Antiques Fair.Condition ReportFramed: 39.5 x 34cmNot viewed out of the glazed frame. The work has been framed with an acidic mount. There is a small brown dot to the upper right quarter, please see images, but this does not affect overall enjoyment of the work. Some tiny black speckles to the background within the plate marks which appear to be ink rather than an issue with condition.

▴ Sir Howard Hodgkin CH (1932-2017)'Books for the Paris Review'etching, aquatint and carborundum in colours, artist's proof, signed with initials and dated '99' in pencil l.r., inscribed and numbered 'A/P II/X' l.l.sheet 37 x 41.5cmCondition ReportFramed: 46.5 x 51cmLight cockling but presents well overall and is ready to hang. Not viewed out of glazed frame.

Roberto Matta (Chilean-Italian, 1911-2002)'Carré-four'from the 'Hom'mére IV Point d'Appui' series, 1983, etching and aquatint in colours, printed by l'Atelier Dupont-Visat, signed with artist's motif in pencil l.r., and numbered '96/100' with blind stampsheet 67 x 51cmCondition ReportFramed: 85.5 x 68.5cm

▴ Julian Trevelyan RA (1910-1988)'Avenue of the Americas'etching and aquatint in colours, signed 'Julian Trevelyan' in pencil l.r., inscribed with title and numbered '30/50'plate 47.5 x 34.5cmCondition ReportFramed: 71.5 x 57.5cmLight cockling to the paper. Brown spots and speckles of staining throughout the margins and to the bottom of the printed area and buildings, please see additional condition images. Not viewed out of glazed frame.

▴ Richard Bawden RWS NEAC RE (b.1936)'Staircase to the Library'etching and aquatint with hand-colouring, artist's proof, signed 'Richard Bawden' and inscribed with titleplate mark 39 x 61cmProvenance: Fry Gallery, Saffron Walden, Annual Sale, November 2010.Condition ReportFramed size 58.5 x 77cmNot viewed out of glazed frame. Appears to be in good condition.

Roberto Matta (Chilean-Italian, 1911-2002)'La paix est une idée neuve'from the 'Hom'mére IV Point d'Appui' series, 1983, etching and aquatint in colours, printed by l'Atelier Dupont-Visat, signed with artist's motif in pencil l.r., and numbered '96/100' with blind stampsheet 67 x 51cmCondition ReportFramed: 85.5 x 68.5cm

▴ Richard Bawden RWS NEAC RE (b.1936)'Solitary Walk'etching and aquatint in colours, signed 'Richard Bawden' in pencil l.r., numbered '49/75'sheet 51 x 48.5cm, unframedtogether with: 'Canal Bridge near Skipton' etching and aquatint in colours, signed 'Richard Bawden' in pencil l.r., numbered '1/100'sheet 51.5 x 71cm, unframed, and'The Porch' etching and aquatint in colours, signed 'Richard Bawden' in pencil l.r., numbered '37/75'sheet 52.5 x 67.5cm, unframed (3)Condition Report'Solitary Walk': Light handling creases with some small specks of dirt to the margins. Previously rolled.'Canal Bridge near Skipton': Creasing to the margins with a diagonal fold to the bottom right corner. There is a horizontal line/ indentation along the centre of the bottom margin. Two tiny blue dots to the lower left corner. Previously rolled.'The Porch': Handling creases to the margins. Previously rolled.

▴ Anthony Gross RA (1905-1984)'Grape Pickers'etching, signed 'Anty Gross' in pencil l.r., inscribed with title and numbered '14/250' l.l.plate 18 x 34.5cmCondition ReportFramed: 51.5 x 56.5cmSome very light staining and small brown spots and speckles to the the margins but presetns well overall. Unexamined out of glazed frame.

Roberto Matta (Chilean-Italian, 1911-2002)'L'infra-rouge de la pensée brûlante'from the 'Hom'mére IV Point d'Appui' series, 1983, etching and aquatint in colours, printed by l'Atelier Dupont-Visat, signed with artist's motif in pencil l.r., and numbered '96/100' with blind stampsheet 67 x 51cmCondition ReportFramed: 85.5 x 68.5cm