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This abstracted relief etching on gold paper is inspired by the Mesoamerican culture of the Toltec. Marilyn Sica airbrushed in black, red and blue a circle within a rectangle around a metallic central square with Pre-Columbian signs. Housed in a gold frame. Inscribed on lower left: Artist Proof. In lower center: "Toltec". On lower right: Sica. Sight size: 11.75"L x 9"H. Frame size: 16.75"L x 12.75"H x 0.90"W. Artist: Marilyn SicaIssued: c. 1970Edition Number: Artist Proof Country of Origin: United StatesCondition: Age related wear.

This large etching entitled Here's Health Unto His Majesty is based on an original oil painting by British aristocratic genre scene painter Walter Dendy Sadler (1854-1923). British artist James Dobie etched the royal toast with utmost details and an array of rich tones that result in a handsome composition. Signed in the plate. Inscribed on lower center: London Published 1909, Lefevre and Son, King Street, St James Proprietor of the Copyright. Signature in pencil on lower left: Walter Dendy-Sadler. Signature on the lower right: James Dobie. Housed in a black wood frame with a gilded border and an off-white mat. Sight size: 13.55"L x 18"H. Frame size: 23"L x 27.50"H x 0.75"W. Artist: James Dobie (British, 1849-1911)Issued: 1909Country of Origin: EnglandCondition: Age related wear.

This beautiful etching represents an intimate moment between a mother and her young child that she holds in her arms. Printed by reputed Cuban artist and Master Printer Agustin Rolando Rojas, this etching embodies his early realistic artworks made before moving to Canada and the United States. Signature pencil in lower right: A. Rolando Rojas. Title in lower center: Tenderness. On lower left: 15/25. Sight size: 24"L x 29.50"H. Frame size: 33.10"L x 38.70"H x 1.50"W. Artist: Agustin Rolando RojasIssued: c. 2000Edition Number: 15 of 25 Country of Origin: CubanCondition: Age related wear.

Christine Tacq BA (fine artist and author) - Collagraph print, AP etching, 110mm x 160mm, framed and glazed, 230mm x 280mm.  Christine Tacq is a published author and one of her etchings is on display in the British Library.

Lisa Stubbs (printmaker) - Drypoint etching using Tetra Pak, 290mm x 200mm, framed and glazed, 440mm x 320mm.

Sally Booth (artist) - Etching, 120mm x 120mm, framed and glazed, 240mm x 330mm.

Christine Tacq BA (fine artist and author) - AP etching, no. 12/30, 190mm x 245mm, framed and glazed, 230mm x 280mm.  Christine Tacq is a published author and one of her etchings is on display in the British Library.

Lisa Stubbs (printmaker) - Drypoint etching, 150mm x 290mm, framed and glazed, 320mm x 440mm.

Christine Tacq BA (fine artist and author) - AP etching, no. 2/30, 100mm x 170mm, framed and glazed, 130mm x 200mm.  Christine Tacq is a published author and one of her etchings is on display in the British Library.

Christine Tacq BA (fine artist and author) - AP etching, 350mm x 420mm, framed and glazed, 430mm x 530m. Christine Tacq is a published author and one of her etchings is on display in the British Library.

Christine Tacq BA (fine artist and author) - AP etching, 350mm x 420mm, framed and glazed, 430mm x 530mm. Christine Tacq is a published author and one of her etchings is on display in the British Library.

John Hoyland R.A. (British 1934-2011) "Fly Away" 1981, signed and marked P/P (Printer's Proof) in pencil in the margin, printed at Kelpra Studio, published by Leslie Waddington, etching and carborundum on wove paper with full margins.sheet size 68.5 x 91.5cm (framed 75 x 98cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There is some minor time staining and creasing around the edges of the sheet. The print is ornately reframed and glazed.

Sir Antony Gormley O.B.E., R.A. (British 1950-) "Domain" Signed and dated '00 in pencil in the margin, marked Studio Proof, published by the Clore Duffield Foundation for their Artworks Awards programme, on BFK Rives Natural 280 gsm paper, etching and aquatint.plate size 75.5 x 60.5cm, sheet size 91 x 77cm (framed 100.5 x 85.5cm)Wilson55 can help with delivery! Click the shipping tab for more details.Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two faint marks and spots of foxing in the margins. There is a minor crease to the paper in the centre of the lower margin. The print is ornately framed and glazed.

Sir Antony Gormley O.B.E., R.A. (British 1950-) "Feeling Material" 2006, signed, titled and marked BAT (Final Proof) in pencil in the margin, on wove paper, published by Sadler's Wells, London, etching, with margins.plate size 49.5 x 35cm, sheet size 61 x 45cm (framed 69.5 x 53cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two faint marks and spots of foxing in the margins. The print is ornately framed and glazed.

Merlyn Evans (British 1910-1973) "Standing Figure" Signed, titled and dated '57 in pencil in the margin, numbered 9/50, etching.101 x 69cm (framed 105 x 73cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some faint marks and spots of foxing in the margins. The print is ornately framed but not glazed.

Property of a Gentleman. William Hogarth (1697 - 1764), An Election Entertainment (Four Prints Of An Election). The complete set of four engravings. Published 1758. Etching and engraving on paper. Dimensions: (Paper) 19 in. (H) x 25 in. (W)

Giovanni Battista Piranesi (1720 - 1778) Two Roman Views. [a] Veduta del Tempio do Antonino e Faustino in Campo Vaccino The Temple of Antoninus and Faustina Original etching from the "Vedute di Roma" Hind 49, iii/vi Rome, 1758 [b] Veduta degli avanzi di due Triclinj che appartenevano alla Casa aurea. Original etching from "Veduta di Roma" Hind 50, iii Rome, 1758. Dimensions: [a] 15.75 in. (H) x 12.25 (W) [b] 20.25 in. (H) x 30.25 (W)

To be sold without reserve. Property of a Gentleman. Percy Roberts, George Riley (pub.) Admiral Lord Nelson K.B. and the Victory of the Nile. Published 25 March 1799 Stipple engraving with etching on wove paper. Dimensions: (Print) 16.75 in. (H) x 11 in. (W) (Frame) 22 in. (H) x 15.5 in. (W)

Property of a Gentleman. Giovanni Battista Piranesi (1770 - 1778) Vasi, Candelabri. [a] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn Marble Tripod found at Ostia by Gavin Hamilton in 1775l. Etching Rome 1778 Wilton Ely 947 [b] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn. Marble topped tripod found at Ostia by Gavin Hamilton in 1775. Etching Rome 1778 Wilton Ely 948 Dimensions: [a] 29 in. (H) x 21 in. (W) [b] 29 in. (H) x 21 in. (W)

Property of a Gentleman. Giovanni Battista Piranesi (1720-1778). [a] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn. Various lamps of bronze and terracotta including a view of a chariot lamp. Etching Published Rome 1778 Wilton Ely 896. [b] Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi Disegn. Various lamps of bronze and terracotta, one of them representing a small Silenus seated on a Priapus. Etching Published Rome 1778 Wilton Ely 899. Dimensions: 21 in. (H) x 28.25 in. (W)

To be sold without reserve. Property of a Gentleman. Edward Orme (1774 - 1848). The Funeral Procession of Lord Viscount Nelson Jan. 9th 1806. Published 12 January 1806 Etching, engraving, and aquatint on paper. Dimensions: (Paper) 12.75 in. (H) x 17 in. (W) (Frame) 20 in. (H) x 24.5 in. (W)

Giovanni Battista Piranesi (1720-1778), Veduta della Fontana di Trevi anticamente della Acqua Vergine. The Fountain of Trevi formerly called the Acqua Vergine Original etching from the "Vedute di Roma", Rome 1751. Dimensions: 17 in. (H) x 23 in. (W)

Property of a Gentleman. William Hogarth (1697 - 1764), Industry and Idleness. The complete set of 12 engravings. Published 1795. Etching and engraving on paper.  Dimensions: (Paper) 26 in. (H) x 19.25 in. (W)

Charles Frederick Tunnicliffe (British 1901-1979) "The Stallion" 1928, signed in pencil in the margin, etching.18.5 x 23.5cm (framed 36.5 x 41.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned universally across the sheet and there is some browning around the edges of the print near the mount board. There are some spots of browning across the sheet. The print is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Tom McGuiness (1926-2006) "Fillers" Signed, titled and dated '77 in pencil in the margin, numbered 12/30, etching with aquatint.plate size 7 x 10.5cm (framed 34 x 39.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two minor spots of foxing and some light creases in the margins. The print is ornately framed and glazed.

Gillray (James) Light Expelling Darkness, - Evaporation of Stygian Exhalations,-or- The Sun of the Constitution, rising superior to the Clouds of Opposition, etching with hand-colouring, on cream wove paper without watermark, platemark 350 x 453 mm (13 3/4 x 17 3/4 in), sheet 363 x 483 mm (14 1/4 x 19 in), small marginal nick to the lower right corner, unframed, [BM Satires 8644], Hannah Humphrey, 1795⁂ William Pitt the Younger, as a Roman charioteer, wearing a laurel wreath, is seated in an ornate chariot drawn by the British Lion and the White Horse of Hanover.

Gillray (James) Armed Heroes, vide Military Appearances at St Stephens & at St Cloud's, on ye day of Defiance, etching with original hand-colouring, on cream wove paper, platemark 260 x 362 mm (10 1/4 x 14 1/4 in), sheet 267 x 380 mm (10 1/2 x 15 in), small marginal tear in the lower left corner, pin-holes to upper and lower corners, ink numbering in the upper right corner margin, unframed, [BM Satires 9996], Hannah Humphrey, 1803.⁂ A fully uniformed Addington, astride a dish of Roast Beef of Old England, faces Little Boney across the channel, issued the same day to mark the declaration of war between the two nations on May 18th.

Smith (Percy John Delf, British artist-soldier, printmaker, calligrapher and book designer, 1882-1948) Thiepval Hill from the River Ancre, watercolour over pencil, black chalk, heightened with white, signed and dated in pencil in the lower right corner, further inscribed verso 'Thiepval from the left bank of the Ancre (on the road to Beaumont-Hamel/ Indications of old German Trenches as seen/ on the slopes. The mound of earth/ on the top of the hill is all that remains/ of the Castle and other buildings/ Done Tues: March 22nd 1917/ P.S.', with the artist's London address and updated address inscribed below, minor handling creases to edges, minor browning, unframed, 1917Provenance: Private collection (bought in the late 1990s)⁂ Fully worked-up watercolour relating to Smith's drypoint etching of the same subject, plate VIII from the series "Twelve Drypoints of the War 1914-1918", published by P & D Colnaghi & Co, London, 1925.

Byron (George Frederick) Coming Out of a Country Theatre, original watercolour, pen and black ink, signed and dated '1802' in the lower right corner, 380 x 575 mm (15 x 22 5/8 in), under glass, minor surface dirt, framed, 1802; together with the hand-coloured etching of the same, engraved by Stadler and Lewis, 430 x 600 mm (17 x 23 5/8 in), under glass, some toning and surface dirt, framed, William Holland, 1 November 1802 (2)Provenance:Joel Spitz [his label to the reverse of the watercolour, no. 450] Sale. Christie's, The Joel Spitz Collection of Colour-Plate Books, 27th May 2015, lot 33

Duchamp (Marcel) and Andre Breton. Boite Alerte: Missives Lascives, one of 200 copies, comprising a collection of letters, catalogues, objects, postcards and original signed and numbered graphic works (lacking the lithograph by Joan Miró (Mourlot 195)), housed within the original green paper covered cardboard box designed to look like a French post-box (a little rubbed), limitation number stamped on inside of lid, overall size 278 x 190 x 70mm., n.p., 1959.⁂ The present lot contains the following items:i) catalogue for the exhibition.ii) 8 Missives Lascives by Micheline Bounoure, Alain Joubert, Joyce Mansour, Robert Benayoum, Octavio Paz, André Pieyre, Mimi Parent (a black silk stocking in an envelope with transparent window), and one anonymous.iii) a telegram on pink paper by Marcel Duchamp writing as Rrose Sélavy to André Bretoniv) a vinyl 45 rpm two-sided record with recordings of poems by Joyce Mansour and Benjamin Peretv) 6 colour postcards of works by Bellmer, Dali, Gorky, Miro, Svanberg, and Clovis Trouille.vi) 3 original signed and numbered lithographs by Adrien Dax, Marie Toyen, Max Walter Svanbergvii) an original signed and a numbered etching by Jacques Le Marechal.

Gillray (James) The Daily-Advertiser, etching with original hand-colouring, on J Whatman watermarked laid paper, sheet 355 x 257 mm (14 x 10 1/8 in), trimmed within the platemark, sheet tipped at upper edge onto card support, unframed, [BM Satires 8981], Hannah Humphrey, 1797; together with 'Fortune-Hunting', etching with original hand-colouring, 260 x 380 mm (10 1/4 x 14 7/8 in), unframed, [BM Satires 10301], Hannah Humphrey, 1804 (2)

Smith (Percy John Delf) Sixteen Drypoints and Etchings: A Record of the Great War, one of 22 special copies with an original signed etching as frontispiece, 16 collotype plates with captioned tissue-guards, the artist's own copy with his pencil note on front free endpaper "Please return to..." with address and telephone number, original buckram, gilt, covers stained, Soncino Press, 1930; and 4 others by or relating to Percy Smith and his print-making, including another copy of the mentioned, this unnumbered, without the signed frontispiece but also with pencil note "To be returned to Percy Smith...", 4to and 8vo (5)⁂ The signed etching is captioned "Thiepval Wood. "Bare ruin'd choirs where late the sweet birds sang."

Rowlandson (Thomas) Dinners Drest in the Neatest Manner, etching with original hand-colouring, on cream wove paper without watermark, platemark 245 x 350 mm (9 3/4 x 13 3/4 in), sheet 258 x 410 mm (10 1/8 x 16 1/8 in), small marginal nick in the upper right, otherwise minor spotting, unframed, [Not in BM Satires], [Thomas Tegg], 1811; together with a group of 8 further caricatures by Rowlandson, including 'Miseries of Human Life' after Woodward [Not in BM Satires], 'Miseries of London, or a Surly Saucy Hackney Coachman' [Not in BM Satires], 'Kitchin Stuff' [BM 11636], 'An Old Ewe Drest Lamb Fashion' [BM 11633], and 4 others in slightly compromised condition, etchings with hand-colouring, various sizes, all unframed, early 19th century (9)

Gillray (James) Affability, etching and aquatint with original hand-colouring, an excellent impression on cream wove paper, sheet 337 x 235 mm (13 1/4 x 9 1/4 in), trimmed within the platemark, carefully remargined, unframed, [BM Satires 8616], Hannah Humphrey, 1795.⁂ A classic satire on the attempts in the mid 1790s to capitalise on George III's ordinariness, and to establish him as the well-loved Father of his People.

Gillray (James) Middlesex-Election, etching and aquatint with original hand-colouring, on wove paper, sheet 334 x 488 mm (13 1/8 x 19 1/8 in), trimmed within platemark to image, central vertical fold, other folds and handling creases, small nicks and repaired tears, unframed, [BM Satires 10264], Hannah Humphrey, 1804.

Gillray (James) Promis'd Horrors of the French Invasion, or Forcible reasons for negotiating a regicide peace, etching with original hand-colouring, on cream wove paper without watermark, platemark 325 x 435 mm (12 3/4 x 17 1/8 in), sheet 345 x 460 mm (13 1/2 x 18 1/8 in), minor exposure lines, some surface dirt and marginal ink stains, unframed, [BM Satires 8826], Hannah Humphrey, 1796⁂ A satire on the Opposition and the prospects of invasion, with French troops marching with fixed bayonets up St. James's Street, the Palace set ablaze in the distance.

World.- Wit (Frederik de) Nova Totius Terrarum Orbis Tabula ex officina F. de Wit Amstelodami, first state, double hemisphere world map with California as an island, and the north west coast of North America is unknown, the borders with allegorical scenes representing the four elements, etching and engraving by Romeyn de Hooghe, early hand-colouring and heightened with gold, 490 x 570 mm (19 1/4 x 22 1/2 in), under glass, some repairs visible to central fold, minor toning and surface dirt, framed, [Shirley 444 (state 1)], [Amsterdam, 1668]

Gillray (James) John Bull taking a Luncheon: -or- British Cooks, cramming Old Grumble-Gizzard, with Bonne-Chére, etching with original hand-colouring, on cream wove paper without watermark, sheet 262 x 382 mm (10 1/4 x 15 in), trimmed within the platemark, minor surface dirt, unframed, [BM Satires 9257], Hannah Humphrey, 1798⁂ Excellent impression of Gillray's satirical print illustrating the celebration following Nelson's victory. John Bull, gross and obese, seated at a table covered with the emblems of naval victory, looks towards British admirals, including Nelson, in profile to the left, his face bearing scars.

Smith (Percy John Delf, British artist-soldier, printmaker, calligrapher and book designer, 1882-1948) Marching in line [three variant studies], pencil on various papers, two signed, one dated '1918' with borderlines and inscribed measurements, each sheet approx. 190 x 230 mm (7 1/2 x 9 in) or slightly larger, one with nicks and rough edges, otherwise minor surface dirt, unframed, 1918 (3)Provenance: Private collection (bought in the late 1990s)⁂ Three fine preliminary drawings for a possibly unrealised drypoint etching.

Gillray (James) The King of Brobdingnag, and Gulliver. -Vide. Swift's Gulliver: Voyage to Brobdingnag, etching and aquatint with original hand-colouring, a good impression on wove paper, sheet 342 x 268 mm (13 1/2 x 10 1/2 in), small margins except to lower edge which is trimmed within the platemark, repaired tear to upper centre with other small nicks to edges, minor browning, unframed, [BM Satires 10019], Hannah Humphrey, 1803⁂ George III, half length, stands in profile to the left, holding a tiny Napoleon on the palm of his right hand, and inspecting him through a spy-glass.

Gillray (James) Regardèz-moi, etching with hand-colouring, platemark 280 x 375 mm (11 x 14 3/4 in), sheet 305 x 403 mm (12 x 15 3/4 in), faint careful repair to the upper right corner, vertical fold, marginal nicks and tears, unframed, [BM Satires 5911], 1781⁂ Scarce at auction; we cannot trace another impression being sold. The gentleman instructing the gigantic goose is the great French dancer and ballet master, Gaetano Apollino Baldassare Vestris (1729-1808). By 1781 Vestris's success and vanity had grown to such proportions that he is reported to have said "There are but three great men in Europe - the King of Prussia, Voltaire and I". Gillray's caricature relates to Sandby's etching 'Six guineas entrance and a guinea a lesson', an impression of which was sold in these rooms in 2017.

Smith (Percy John Delf, British artist-soldier, printmaker, calligrapher and book designer, 1882-1948) Collection of 19 original preliminary drawings for "Twelve Drypoints of the War 1914-1918", including five pen and ink with wash, 13 black chalk and pencil, and one etching re-worked with black chalk and pencil, on various papers, some inscriptions and dates, two presented in card slips with 'Return to/ Percy Smith/ 27 Rudell Crescent/ NW3' inscribed to upper covers, various sizes between approx. 100 x 145 mm (4 x 5 3/4 in) and 190 x 250 mm (7 1/2 x 9 7/8 in), occasional minor handling creases and old folds, some surface dirt, slightly rough edges to some, a few laid onto support, all unframed, circa 1914-1918; together with Twelve Drypoints of the War 1914-1918, including 11 drypoint etchings only (of 12), lacking no. "V", 'The Long and Winding Way', all inscribed and signed in pencil, each platemark approx. 150 x 200 mm (5 7/8 x 7 7/8 in), or the reverse, each taped into contemporary mount, some staining to margins, presented in original portfolio case with artist's manuscript label to upper cover and two copies of William Rothenstein's "Note", inscribed in pencil 'Set No. 6', folio, Colnaghi & Co., 1925Provenance: Private collection (bought in the late 1990s)⁂ An important archival collection of working drawings and studies for Smith's "Twelve Drypoints of the War". Including an almost complete set of the drypoints in original portfolio, one of only 12 sets that were printed, of which only 10 were for sale."Percy Delf Smith arrived on the Western Front in late 1916 where he was posted to the Somme with the Royal Marines as a gunner. Shortly after his arrival he began sketching without authorisation. This activity was quickly noticed. Nevertheless, Captain High Boffey, who was Smith's superior, allowed him to continue. Smith however, seemingly unsatisfied with only producing rough sketches, changed his tactics in early 1917. [His parents sent him a] parcel [...] made up of the usual, letters and magazines from home. But within the magazine pages, [they] had managed to smuggle copper etching plates to their son. And so Smith began what he referred to as his 'Thiepval etchings'." Incredibly, it is believed that Smith used steel gramophone needles, a common feature in the trenches, to mark his plates. [Imperial War Museum, "Percy Delf Smith: Making Art as a Soldier on the Western Front"]"Few men living handle the needle to such purpose, and with so sincere an object, as the author of the plates here published" [William Rothenstein, "Note" to Twelve Drypoints of the War 1914-1918, 1925]

Ziegler (J.C.), Circle of. A Visitor to John Bull for the Year 1799, or, The Assess'd Taxes taking their leave!!, an original watercolour, possibly the preliminary design, inscribed and initialled 'TR', and a good impression of the original print presently attributed to Ziegler, etching with hand-colouring, each sheet approx. 265 x 365 mm (10 3/4 x 14 3/8 in), both laid onto card supports, associated spotting, surface dirt, and pale discolouration to the watercolour, both unframed, the print published by William Holland, [BM Satires 9280], 1799; together with an impression of Willian Holland's 'The Bedfordshire Hannibal taking the oath of eternal enmity!!!', which appears to be to be in same hand, etching with hand-colouring, 300 x 390 mm (11 3/4 x 15 1/4 in), unframed, [BM 9191], 1798 (3)⁂ The original watercolour has signs of pencil under-drawing, and notable differences to the published print, suggesting it is possibly a preliminary study for the print, rather than a copy after. Andrew Edmunds had suggested a possible attribution to the author of the etching being Ziegler, however it is not known whether Andrew had seen the present watercolour bearing the initials 'TR'.

* PETER HOWSON OBE (SCOTTISH b. 1958), MUSLIM WOMAN limited edition etching on paper, signed, titled, dated '96 and numbered 44/50mounted, framed and under glassimage size 33cm x 25cm, overall size 60cm x 50cmNote: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.

* STEFAN WEWERKA (GERMAN 1928 - 2013), LAON limited edition etching on paper, signed, titled and numbered 8/25 in pencilmounted, framed and under glassimage size 23cm x 27cm, overall size 53cm x 44cm

Michael Hunter eight costumes of Twelfth Night limited edition 10/150 etching, signed, 21.25in x 16.5in

A collection of nine prints: Isaac Maimon serigraph (as shown), Pooh Bear etching by Sowa & Reiser, Alexander Chen print, two Alfred Gockel seriolithographs titled 'Afternoon Jam Session', Adam Scott Rote print on paper titled 'Promo-Salton Sea', one indistinctly signed serigraph of New York in Winter & three Emille Bellet signed prints, further images upon request

A 19t C. NAVAL SWORD IN A BRASS MOUNTED LEATHER SCABBARD, THE WIRE BOUND SHAGREEN HANDLE ABOVE FOLIATE ETCHING AT THE TOP OF THE DOUBLE EDGED BLADE

SIR DAVID WILKIE (1785-1841), THE SEDAN CHAIR, THREE CHILDREN AND THEIR DOG, ETCHING. 11.5 x 8cms.

A collection of art and artist related reference books, William Holman Hunt, Pre-Raphaelitism, volumes I & II, Ellis Kirkham Waterhouse, Three Decades of British Art, 1740-1770, Jules George, War Artists in Afghanistan, Beyond the Wire, Walter Shaw Sparrow, A Book of British Etching from Francis Barlow to Francis Seymour Haden, Roy Strong, The English Icon, Elizabethan and Jacobean Portraiture, Marco Folin, Courts and Courtly Arts in Renaissance Italy, Arts, Culture and Politics, 1395-1530, E.H.H. Archibald, Dictionary of Sea Painters, William Secord, A Breed Apart, The Art Collection of the American Kennel Club and the American Kennel Club Museum of the Dog, Alan Russett, Dominic Serres R.A. 1719-1793, War Artist to the Navy, The Royal Society of British Artists 1824-1893 and the New English Art Club 1888-1917 (11)

Edward Julius Detmold (British, 1883-1957) Fish signed, initialled and numbered 1/12 in pencil, coloured etching 12 x 12cm (5" x 5")

Edward Julius Detmold (British, 1883-1957) At the edge of the Lotus Pool signed in pencil, etching 20 x 20cm (8" x 8")

Contemporary Sheffield Artists-  Hughes (Contemporary Sheffield Artist) Mere-Land and Water signed, acrylic on paper, 23cm x 27cm;  another, The Force That Through The Green Fuse, signed in pencil, Artists proof, multi plate etching, 30cm x 42cm (QTY)

William Lionel Wyllie (British 1851-1931), London Bridge And Adelaide Buildings, etching, signed in pencil, 21 x 42 cmFoxed - see images

Maggi Hambling. British b. 1945. Etching titled 'Colour for Kosovo'. Signed lower right by Hambling and marked 'A.P' (artists proof) in pencil. This image was reproduced in 'Colour for Kosovo' a colouring in book published 1999. Hambling was among a number of artists who submitted work to the publication; Damien Hirst, Patrick Caulfield, and Richard Wentworth were also featured in the book. This print was never edition and probably only and few were printed. Framed and glazed. H.42 x W.32 cm.

Hughie O'Donoghue RA (b.1953)The Round Lake IIEtching and aquatint, 29 x 42.5cm Edition 12/35Signed, inscribed and dated (19)'91/'93

G 14, Farbradierung auf Papier, 38,5 cm x 52 cm Plattenmaß, 5/75 nummeriert, signiert, Blattrand minimal abgegriffen, Literatur: Wvz. Schmücking 43Hans Hartung (1904 Leipzig - 1989 Antibes) (F)G 14, color etching on paper, 38,5 cm x 52 cm plate size, 5/75 numbered, signed, sheet margin minimally worn, literature: Wvz. Schmücking 43

'Gartenmauer', Radierung auf Papier, 22 cm x 17,5 cm Plattenmaß, 30,5 cm x 24,5 cm Passepartoutinnenmaß, aus einer Auflage von 31 Exemplaren, signiert, 63 datiert, betitelt, partiell leicht stockfleckig, Literatur: Wvz. Ebner/Gabelmann 1049 RErich Heckel (1883 Döbeln - 1970 Radolfzell) (F)'Garden wall', etching on paper, 22 cm x 17,5 cm plate size, 30,5 cm x 24,5 cm mount inside, signed, 63 dated, titled, from an edition of 31 copies, partly a little bit stained, literature: Wvz. Ebner/Gabelmann 1049 R. Erich Heckel is regarded as one of the main representatives of German Expressionism. During his studies of architecture the artist began to paint autodidactically under the influence of Munch, van Gogh and the Fauves. With his fellow students Karl Schmidt-Rottluff and Ernst Ludwig Kirchner, Heckel founded the artists' group ''Die Brücke'' in 1905. Strong forms and equally strong colours formed his works at this time. However, they became increasingly milder. His graphic work includes woodcuts as well as etchings, such as that of the ''Garden Wall''. The structure of the individual wall stones can be seen on the printed plate, so the viewer is brought very close. The left margin of the sheet shows an open flower, the plants sprouting from the ground in the garden, and two small figures placed on the wall like toy figurines. In terms of scale, it seems to be inspired by the idea of Romanticism: the small human being juxtaposed with the great splendour of nature. Based on the date (1963), the print can be classified as one of the artist's late works and could well have been observed in the garden at home. Almost as if through the eyes of a child, who himself is hardly taller than a garden wall and lets the figures on the wall play in just cheerful, childlike fantasy.

Gepackt, Radierung auf festem Karton, 36,5 cm x 56 cm Plattenmaß, im Druck signiert und 86 datiert, verso 1129 bezeichnet, an den Ecken leicht knickfaltig, Stecknadellöcher, leicht gebräuntWahed Khakdan (1950 Tehran)Packed, etching on strong cardboard, 36,5 cm x 56 cm plate size, signed and dated 86 in print, inscribed 1129 on verso, slightly creased at corners, pinholes, slightly browned

'Das Grab des Orpheus', Farbradierung auf Bütten, 35 cm 52, Plattenmaß monogrammiert, 17/25 nummeriert,Provenienz:im Druckbereich minimal gewellt, Provenienz: ARTES Kunsthandlung, Rheda-Wiedenbrück (verso Galerieetikett)Markus Lüpertz (1941 Liberec/Bohemia) (F)'Das Grab des Orpheus', colour etching on handmade paper, 35 cm x 52 cm plate size, monogrammed, numbered 17/25, minimally wavy in print area, Provenance: ARTES Kunsthandlung, Rheda-Wiedenbrück (gallery label on verso)