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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)

Schwarzer Kreis, Farbradierung auf Papier, 49,5 cm x 65 cm Blattmaß, 7/100 nummeriert, signiert, L'OEuve Gravée (Trockenstempel), partiell stockfleckig, verso KlebestreifenZoran Antonio Music (1909 Gorizia - 2005 Venice) (F)Black circle, color etching on paper, 49,5 cm x 65 cm sheet size, 7/100 numbered, signed, L'OEuve Gravée (dry stamp), partly foxing, tape on verso

Selbstbildnis, Radierung auf Velin, 43,5 cm x 31 cm Blattmaß, signiert, leicht lichtrandig, partiell Kleberrückstände, montiertRenée Sintenis (1888 Glatz/Silesia - 1965 Berlin) (F)Self-portrait, etching on wove paper (papier vélin), 43,5 cm x 31 cm, signed, light margins, glue residues in places, mounted

Hirsch und Hut, Radierung auf Papier, 9,9 cm x 10,9 cm Plattenmaß, 38 cm x 28 cm Blattmaß, XII/XXXV nummeriert, signiert, gewidmet, partiell minimal fleckig, an den oberen Ecken montiertJoseph Beuys (1921 Kleve - 1986 Düsseldorf) (F)Stag and hat, etching on paper, 9,9 cm x 10,9 cm plate size, 38 cm x 28 cm sheet size, XII/XXXV numbered, signed, dedicated, partly minimally stained, mounted at upper corners

Kleiner Bär, Radierung auf Papier, 22 cm x 17 cm Plattenmaß, 25,5 cm x 19,5 cm Passepartoutinnenmaß, signiert, montiert, leicht nachgedunkelt und stockfleckigRenée Sintenis (1888 Glatz/Silesia - 1965 Berlin) (F)Small bear, etching on paper, 22 cm x 17 cm plate size, 25,5 cm x 19,5 cm mount inside, signed, mounted, slightly darkened and foxed

'Tanz', Radierung auf Bütten, 35 cm x 43,5 cm Blattmaß, im Druck signiert, 1910 datiert, verso Nachlassstempel Heinrich Steinhagen, partiell stockfleckig, Kanten leicht aufgeworfenHeinrich Steinhagen (1880 Wismar - 1948 Rahlstedt, Hamburg)'Dance', etching on handmade paper, 35 cm x 43,5 cm sheet dimension, signed in print, dated 1910, on verso estate stamp Heinrich Steinhagen, partly foxing, edges slightly raised

'Elijah', aus der Serie: 'our historical Heritage', Farbradierung auf chamoisfarbenem Japanpapier, 40 cm x 56 cm Plattenmaß, 57 cm x 77,5 cm Blattmaß, 111/250 nummeriert, signiert, Knicke und Bereibungen im Randbereich, verso Reste von Montierung, Literatur: Wvz. Michler/Löpsinger 758Salvador Dalí (1904 Figueres/Spain - 1989 ibid.) (F)'Elijah', from the series: 'our historical Heritage', color etching on buff Japanese paper, 40 cm x 56 cm plate size, 57 cm x 77,5 cm sheet size, 111/250 numbered, signed, creases and rubbing in margins, verso remains of mounting, literature: Wvz. Michler/Löpsinger 758

Santa Lucia - Le Triomphe de la Lumière, Farbradierung auf Papier, 75,5 cm x 54 cm Plattenmaß, 106 cm x 81 cm Rahmenmaß, E.A. nummeriert, signiertSalvador Dalí (1904 Figueres/Spain - 1989 ibid.) (F)Santa Lucia - Le Triomphe de la Lumière, color etching on paper, 75,5 cm x 54 cm plate size, 106 cm x 81 cm frame size, E.A. numbered, signed

Hortensien in Glasvasen, Radierung auf Papier, 49 cm x 69,5 cm Sichtmaß, 42/100 nummeriert, signiert, 1979 datiert, unbekannter TrockenstempelPeter Dreher (1932 Mannheim - 2020 Freiburg im Breisgau) (F)Hydrangeas in glass vases, etching on paper, 49 cm x 69,5 cm visible size, 42/100 numbered, signed, dated 1979, unknown dry stamp

Der Gefäßchirurg, Radierung auf Bütten, 37,5 cm x 30 cm Blattmaß, signiert, 88 datiert, im Druck monogrammiert, 88 datiert und 222 nummeriert, Blatt partiell minimal berieben und verschmutzt, leichte KnickspurenJohannes Grützke (1937 Berlin - 2017 ibid.) (F)The Vascular Surgeon, etching on handmade paper, 37,5 cm x 30 cm sheet size, signed, dated 88, monogrammed in print, dated 88 and numbered 222, sheet partly minimally rubbed and soiled, slight signs of creasing

ETCHING - THE NIGHT BEFORE LARRY WAS STRETCHED

† ELYSE ASHE LORD (1885-1971); signed limited drypoint etching with woodblock colour, 'The Immortals No 2', signed lower right and numbered 66/75, details on labels verso, 44.5 x 57cm, framed and glazed.

† G. KING; signed limited edition etching, 'Venice II', 7/100, signed lower right, 17 x 32cm, framed and glazed.

† GEOFFREY SALMON; a limited edition black and white etching, 'St. Pancras Station', signed and dated Nov '95, 1/10, 20 x 30cm, framed and glazed.

Anthony Imre Alexander Gross CBE RA(1905-1984)"Large Forest",signed and inscribed in pencil,limited edition etching, 1/50,34.5 x 49.5cms, unframed.

Gabriel White(1902-1988)"A Garden at Lacour de Visa", pencil signed and inscribed, and dated '81, limited edition etching, 2/20, 26 x 35cms (plate size), unframed.

Dame Elisabeth Jean Frink CH DBE RA(1930-1993)"Herakles & the Bull",signed, titled, and numbered to the margin,limited edition etching, 19/20,54 x 37cms (plate), framed.Provenance: Bohun Gallery.

Anthony Gross CBE RA(1905-1984)"Charivari: Untitled",etching, unpublished plate, no edition known, 37.5 x 47.4cms (plate size), unframed.

Published by W Syckelmoore (d. circa early 19th Century) Maidstone, Eng by Newman & Co 48, Watling St. London, Untitled: View of a Straw Hut, etching, 5cm x 8cm together with an oval miniature Portrait of a Gentleman Sat next to a Lamb, a crook in his right hand, watercolour, 5cm x 4cm (2)Provenance: The Property of a Gentleman, from a Period Winchcombe Town House Etching with some foxing. Unidentifiable foreign objects under the glass. The frame with signs of wear consistent with age and use. The frame with evidence of glue. The frame with some marks and minor water damage. Watercolour is in generally good condition. The frame with signs of wear consistent with age and use.

PENCIL SIGNED ETCHING, W H SWEET, EXETER STREET TOGETHER WITH VARIOUS ANTIQUE ENGRAVINGS AND ORIGINAL PHOTOGRAPHS OF VIEWS OF OLD EXETER, TWO OLD COLOUR PRINTS OF THE GREAT FIRE AT THE NEW THEATRE IN 1887, ALL UNFRAMED, IN FOLDER, AVERAGE SIZE 14” X 11”

ROBERT CRESWELL BOAK ARCA; COLOURED ETCHING OF WHITEPARK BAY ON THE ANTRIM COAST, SIGNED AND INSCRIBED IN THE MARGIN IN PENCIL 14” X 20”

CLAUDE H ROWBOTHAM; A COLOURED PROOF ETCHING OF WESTMINSTER, SIGNED AND INSCRIBED IN PENCIL WITH LABEL TO REVERSE 15” X 20”

Jean Tinguely (1925-1991), 'Chaos no.1', limited edition, no. 281/300, monochrome etching, signed in pencil by the artist, circa 1972. 35 x 48cm approx. Later glazed frame with provenance to Sir John Cadogan CBE FRS verso.(B.P. 21% + VAT)

After Mondrian (20th Century), geometric study, print. 42 x 54cm approx. Together with Houdert, geometric study, limited edition monochrome etching no. 12/30, signed in pencil by the artist. 20.5 x 15cm approx. Framed. (2)(B.P. 21% + VAT)

A NINETEENTH OR TWENTIETH CENTURY BRITISH OFFICERS SWORD, the blade that is etched with decorations half way down has no visible proof marks or makers marks, some of the etching is rubbed in places and the blade is marked, the wire bound fish skin handle has suffered some damage, this sword comes complete with its scabbard, Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request

Collection of Bob Hope Signed British Golf Classic items and related signed print (4) - to incl 3x Official Golf Caps each signed by Bob Hope and 1982 Bob Hope Classic Special Ltd ed no.95/200 etching created and signed by the artist Jeanne Down titled "Fore" - mf&g 12" x 11.75" Note: From The Estate of The Late Tommy Horton MBE, Former Ryder Cup Player and PGA Captain

Oliver McConnie, British, 20th centuryEcco Homo,monochrome etching, artist proof, signed and dated 2013,26x19cm,Vision of a fool,monochrome etching, artist proof, signed and dated 2016,Luna-cy,coloured etching, artist proof, signed and dated 2017,15x11cm,and two other coloured etchings.Qty: 5

Muriel Spark,The Portobello Road and other stories, Aurographica, signed and dated 10.2.90,Not to disturb, Observer Books 1971, with etching by Michael Ayton, signed by the author and illustrator, number 35,The French window and the small table, Colophon Press 1993, bound in full Indian goatskin, signed but not lettered, in slip case.Qty: 3

ANDRÉ ELLIS. 'Tiddly Tom Tope'. Coloured etching. Signed, titled & No. 95/100. Image size 40cm, diameter.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CANNOT SHIP THIS LOT or other large, glazed or fragile pictures. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk.