We found 71174 price guide item(s) matching your search

Cyril Henry Barraud (1877-1965) - Drypoint etching - View of an air display with numerous bi-planes, 6.75ins x 4.75ins, and a small collection of other etchings showing various aircraft, various sizes, mostly unsigned (all unmounted and unframed)

A good quality Middle Eastern bazaar dagger, c 1900, DE blade 8¾”, shallow central fuller and panels of scrolled etching, with inscription on side at forte and 6 pointed star on the other, brass hilt with inset horn grips, in its lizard skin sheath with brass locket and iron chape. GC

James Abbott McNeill Whistler PRBA RP HRSA RSW, American 1834-1903- "Limehouse" from The Thames Set, (Kennedy 40); etching on laid chine applique, signed and dated 1859 within the plate, 12.5x20cm

John Bellany CBE RA, Scottish b.1942- "Untitled" from `The Old Man and the Sea`; etching, signed and numbered VII/XV in pencil, 52.5x42.5cm, (may be subject to Droit de Suite)

William Tillyer, British b.1938- Untitled from the Courthorpe Collection, 1977; etching with aquatint printed in colours, signed and numbered 4/60 in pencil, 49x38cm: Philip Braham, British b.1959- "Forest Path, Pinkle" and "Study for an Apparition"; drypoint etchings, a pair, both signed, titled, dated `87 and numbered 7/10 in pencil, in a shared mount and frame, ea. 22.5x29.5cm: David Austen, British b.1960- "Untitled"; lithograph printed in colours, 81x71cm, (3), (may be subject to Droit de Suite)

George Frederick A Belcher, British 1875-1947- "Two Veterans", Aug 1918; hand coloured etching, signed in pencil beneath the plate, 32.5x23.5cm: Alfred James Hipkins, British 1826-1903- Musical Instruments, Historic, Rare and Unique, two plates, publ. Adam & Charles Black, 1888; chromolithographs, two, ea. 35.5x23cm, (3) (may be subject to Droit de Suite)

Dame Elizabeth Frink RA CH DBE, British 1930-1993- "The Physician`s Tale", 1972; etching with aquatint, signed in pencil, 50x34cm: Harry Thubron, British 1915-1985- "Salamanca"; screenprint in colours, signed, titled, numbered 48/70 and dated 78 in pencil, 73x66cm., (2) (part unframed) (may be subject to Droit de Suite)

Dmitry Plavinsky, Russian 1937-2012- Derelict Barn; etching, signed, titled and numbered 4/60 in pencil, 48.5x64cm: together with two further by the same artist depicting the Crucifixion, aquatint, signed in pencil, 62x45.5cm and A wooden loom with a hanging oil lamp, etching with aquatint, signed in pencil, 36.5x48.5cm, (3), (unframed)

Dmitry Plavinsky, Russian 1937-2012- Trees; etching with aquatint, signed in pen, 63.5x48cm: together with another etching with aquatint by the same artist depicting a large leaf, signed in pencil, 63.5x48cm, (2), (unframed)

Luis Alberto Solari, Uruguayan 1918-1993- "Pantomima Mitologica"; etching with aquatint printed in colours, signed, titled and inscribed `a/p` in pencil, 20x29cm: Argentinean School, mid-late 20th century- Op art composition; lithograph in colours, signed and dated 78, 50x49.5cm., (2)

Attributed to Luigi Rossini, Italian 1790-1857- Figure in a ruined temple; etching, 51x74cm: French School, late 18th/early 19th century- Party of figures in an elegant interior; pen and brown ink and grey wash on laid, 21x29.5cm: Dutch School, 18th century- Harbour scene with shipping; pen and brown ink and watercolour on laid, 16.5x28cm: British School, 19th century- Studies of baskets; pencil, four in a shared mount and common frame, all bear inscriptions, 8x10cm., (max): together with two steel engraved book plates of Rouen and Lyons, various sizes, (6)

Erich Wolfsfeld, German 1884-1956- Three North African figures seated by a wall in a landscape; etching, signed in pencil, 51.2x95cm (may be subject to Droit de Suite)

Martin Ware, British 1946- "Still Life With Two Birds"; etching with aquatint printed in colours, signed, titled and numbered 14/150 in pencil, 36.5x44cm: together with fourteen further etchings with aquatints printed in colours by the same hand, each signed, titled and numbered, some dated, various sizes, (15), (unframed), (may be subject to Droit de Suite)

After Romain de Tirtoff, Erté, Russian/French 1892-1900- "Erté", publ by Sevenarts Tokyo, The Erté Gallery, printed in England by Coriander (London) Ltd; poster/screenprint in colours, 75.3x49.2cm: Orotle, late 20th century- "Skokiaan, Louis Armstrong"; etching printed in colours, signed and numbered 125/200 in pencil, 67x42.5cm: together with a further etching printed in colours by the same hand depicting musical instruments, signed and dated 1986 within the plate, signed and numbered 29/150 in pencil, 32x26.5cm: S Dal Baulo, late 20th century, "Start Cord"; collage with mixed technique, signed and titled, 64x95cm: Soderqvist, Scandinavian School, late 20th century- "Abyss 3"; screenprint, signed and titled in pencil, 56.5x47: together with two other late 20th century etchings printed in colours entitled "Adagio I" and "Adagio II", 40.5x30.5cm, (7), (unframed)

Terry Willson, British b.1948- "Landscape Fragments No 9"; etching with aquatint, signed, titled, dated 1974 and numbered 9/20, 29.5x29.5cm: together with seven further prints by the same artist including two etchings with aquatints from the same series entitled "Landscape Fragments No 10" and "Landscape Fragments No 8", both signed, titled and inscribed in pencil, 35x31.5cm and 44x59.5cm, four other lithographs printed in colours entitled "Theatre of the Absurd No 3", "Theatre of the Absurd No 2", "Self Portrait" and "Portrait of Lynda"; each signed titled and numbered, various sizes, and one mixed technique mezzotint depicting screaming heads, signed and inscribed `3rd State Proof 1/1` in pencil, 30x43cm, (8), (unframed), (may be subject to Droit de Suite)

John Swanson, American b.1938- "Flying Trapeze"; etching with aquatint printed in colours, signed, titled, dated 1986 and numbered 12/50 in pencil, stamped with a blind stamp, 25x28cm: together with two further etchings with aquatints printed in colours by the same hand entitled "Circus Gallop" and "Acrobats" both signed, titled, dated 1986 and numbered 90/150 and 29/100, 25x27.5cm and 27.5x20.5cm respectively: M Andrews, late 20th century- "Nimrod I"; etching with aquatint printed in colours, signed, titled, numbered 39/200 in pencil, 60x50cm: James Cox, British b.1956- "Flowers I"; etching with aquatint, signed, titled and numbered 139/200 in pencil, 58x44cm: together with one further etching with aquatint printed in colours by the same hand entitled "Sigma VI": Terence Millington, British b.1943- Bandstand; etching with aquatint printed in colours, signed and numbered 6/75, 21x20cm: together with two further etchings with aquatints printed in colours, one from the same series depicting a bandstand and one entitled "Spiral Staircase II", various sizes, (9), (maybe subject to Droit de Suite), (unframed)

Richard Spare, British b.1951- "Summer Flowers"; etching printed in colours, signed, titled and numbered 7/150 in pencil, 10x10cm: together with two further etchings printed in colours by the same hand entitled "Yellow Gladioli" and "Cornish Landscape", various sizes: Michael Pettersson, British b.1938- "Flooded Marshes, Dedham"; etching with aquatint printed in colours, signed, titled, dated 86 and numbered 7/150: together with two further etchings with aquatints printed in colours by the same hand, various sizes: Barbara Munns, British b.1937- "Orchard Mill"; etching with aquatint printed in colours, signed, titled and numbered 248/250, 22.5x27.5cm: together with two further etching with aquatints printed in colours by the same hand entitled "Orwell" and "Elmswell Church", various sizes: together with six other contemporary prints by different hands including examples by Annabel Manwell, Daniel Landou, Peter Easton (A Shamet) and Langmead, (15) (may be subject to Droit de Suite) (unframed)

Terrance Warren, British b.1948- "A Window on Venice"; a suite of three etchings with aquatints, each signed and inscribed A/P, titled on wraps, 14.7x11cm: Martin Leman, British, b.1934- "Cornish Memories I"; etching with aquatint, signed, titled, dated `87 and inscribed A/P in pencil, 15x15cm: together with one mezzotint and three lithographs by the same hand entitled "Panda", "Rosie", "Hill Street Blues" and "Good Companions", all printed in colours, signed, titled and numbered in pencil, various sizes: Bob Saunders, British b.1945- "Purbecks"; screenprint, signed, titled, inscribed 139/175 and embossed with publishers blind stamp, 18.5x22cm: together with a further screenprint by the same artist from the same series entitled "Clevelands", signed, titled, inscribed 139/175 and embossed with publishers blind stamp,18.5x21cm, (10), (may be subject to Droit de Suite), (unframed)

Xavier Degans, French b.1949- Vase of lilies; mezzotint printed in colours, signed, titled, numbered 166/175 and dedicated in pencil, 63x47cm: Sarah Dunton, British b.1952- "The Dove"; etching with aquatint printed in colours, signed, titled and numbered 7/40, 14x12cm: together with a further etching printed in colours by the same hand entitled "Neoclassical Spring": Christopher Penny, British b.1947- "Ruined Croft"; etching with aquatint printed in colours, signed, titled, numbered 34/200,40x30cm: Arthur Byrne, British b.1947- "Garden 4", lithograph printed in colours, signed, titled and numbered 55/200, 29x21.5cm: together with seven further contemporary prints and watercolours depicting various scenes by different artists including examples by Annie West and C Penny and two mezzotints printed in colours depicting still life subjects with apples, various sizes, (17) (may be subject to Droit de Suite), (unframed)

Josef Kostka, Slovakian 1912-1996- "Nude with Hand behind Back"; pen and black ink and wash, signed with initial, 43.5x31cm Provenance: with The Grosvenor Gallery, London, according to label attached to the reverse of the frame: Jacques Villon, French 1875-1963- Portrait of a lady seated at a table; etching with aquatint and drypoint, signed and numbered 12/50 in pencil, 19x14cm: 20th Century- Woman on a horse; pen and black ink, 24.5x19.5cm., (3) (may be subject to Droit de Suite)

Central European School, early 20th century- `Kino`, crowd watching a film at the cinema; pen and ink on buff, signed with initials `CH`, dated `17 and titled, 29x20.5cm: L Stemer, early 20th century- Ploughing the fields; etching, signed, titled and numbered 1/9 in pencil, 23.5x26.5cm, (2) (unframed)

Leon Auguste Jules Desbuissons, French 1870-1940- "Obernai" and "Ammerschwihr"; etchings, a pair, signed and titled within the plate, ea. 34x22.5cm: Georges Le Meilleur, French 1861-1945- Cathedral; etching, signed and dated 1923 within the plate, 49x63.5cm: Jean-Joseph Balechou, French 1716-1746- "La Naissance" after Bardon; etching, 38.5x27.5cm: Jean-Louis Bremond, French 1858-1943- River scene with figure on a path; etching, signed in pencil and within the plate, 42x64.5cm, (5) (may be subject to Droit de Suite)

Frederick Stafford, British, early-mid 20th century- Yacht racing; watercolour, signed, 27x40cm: Philip G Needell, British 1886-1974 exh 1910-1928- "Kennack Sands"; watercolour, signed, inscribed and dated 1913, 25x34.2cm: British School, 20th century- Village landscape; watercolour, 25x39cm: British School, mid 19th century- Portrait of a lady, head and shoulders turned to the left; hand-coloured stipple engraving, 24x18cm: Edith Scannell, British act 1870-1921- Portrait of a Jim; watercolour, oval, signed and dated 1919, 26x20cm: Daniele Noël, French, mid 20th century- "Soldats de bois et chemin vers la ville"; hand-coloured etching, signed, titled, numbered 4/30 and dated 1966 in pencil, 45x30.3cm., (6) (may be subject to Droit de Suite)

JAMES PRIDDEY - Coloured etching, Cley next the Sea, Norfolk, study of a windmill, signed in pencil to mount, framed, 36cm x 46cm.

Limited edition coloured etching Peter Parkinton A pair of Lady Amherst pheasants, No 44/200, signed, 50 x 39 cm (2)

WILLIAM LIONEL WYLLIE RA RE (1851-1931) VICTORY BREAKING THROUGH THE LINE etching, signed 22cm x 42cm partial label verso: Thomas (?), Son & Locke, Huddersfield

HENRY WILKINSON: A limited edition coloured Etching showing Setters, signed and numbered 98 of 150

WENCESLAUS HOLLAR (1607-1677) BYRSA LONDINENSIS VULGO THE ROYAL EXCHANGE OF LONDON ETCHING, MOUNTED TO IMAGE, 29.5 X 39CM, J C STADLER (FL LATE 18TH/EARLY 19TH C) AFTER J FARRINGTON, RA (1747-1821) PUTNEY BRIDGE; VIEW OF BLACK FRYERS BRIDGE FROM SOMERSET PLACE, AQUATINTS AND HENRY DIXTON (PHOTOGRAPHER) (1820-1892 - CANONBURY TOWER, CARBON PRINT NUMBERED IN THE NEGATIVE 25, ON THE ORIGINAL LIGHT BLUE PAPER MOUNT, PUBLISHED BY THE SOCIETY FOR PHOTOGRAPHING RELICS OF OLD LONDON, 1879 (4)

* Payne (William, 1755/60-c.1830). View on the Tamar, hand coloured etching, grey wash border, title in ink to lower margin, 20 x 25cm (8 x 10in), together with three others similar titled Ivy Bridge, Cottage near Milbrook and Cottage near Crabtree, all uniformly framed & glazed. Abbey, Scenery, 286. These four prints along with two others were published as “Six Views near Plymouth” about 1810. (4)

* Wallis (E., pub.). Bristol Hot-wells, on the Avon, with Steam Packets, c.1823, uncoloured aquatint etching, plate dimenisons 25.3 x 35cm (10 x 13.75in), framed & glazed. Depicting the George IV of Bristol and St. Patrick of Liverpool, rival steam packets on the Bristol to Cork route in 1823. (1)

* Wyllie (William Lionel, 1851-1931). Royal Yacht Squadron, Cowes, etching, signed in pencil, 12.5 x 38cm (5 x 15in), framed & glazed (1)

* Wyllie (William Lionel, 1851-1931). Naval vessels on the Firth of Clyde, etching, signed in pencil, 9 x 36cm (3.5 x 14in), framed & glazed (1)

Dusart (Cornelis, 1660-1704). Violin Player Seated in the Inn, etching, with etched title to lower margin “Rusticus ex animo, non pullus Hypocrita gaudet”, image size 26 x 24cm (10 x 9.5in), 19th century frame. Bartsch 15. (1)

* Goudt (Hendrick, 1582/88-1630/48). The Mocking of Ceres (after Adam Elsheimer), 1610, etching and engraving on laid paper, a good dark impression, with watermark of a fleur-de-lys above a shield, trimmed within plate mark, closed tear repaired to lower left-hand margin, and lower edge restrengthened to verso, 32 x 23.5cm (12.5 x 9.25ins) Bartsch, Hollstein 5. The second of only seven prints by Goudt, all of which were engraved after paintings by the German artist Adam Elsheimer, who had established himself in Rome at this time. The story is taken from Ovid’s Metamorphoses, and illustrates an episode during the search by the goddess Ceres for her daughter Persephone. The goddess stopped at a cottage where she was offered a bowl of hot broth by an old woman. A little boy appears and mocks her for drinking so greedily, for which the goddess turns him into a lizard. (1)

* Pontius (Paulus, 1603-1658). Frederick, Prince of Arau, fine large engraved portrait by Pontius after Van Dyck, published by C. vander Stock, central horizontal crease, one or two short closed marginal tears, repaired, some restrengthening to central horizontal crease and edges, plate size 48 x 34.5cm (19 x 13.5ins), sheet size 50.5 x 37cm (20 x 14.5ins), with green collectors mark vB to verso, together with Jode (Petrus de), Johanna de Blois, fine etching on laid paper, with foolscap watermark, by De Jode after Van Dyck, published by Gillis Hendricx, trimmed to plate mark, 265 x 195mm (10.5 x 7.75ins), with green collectors stamp vB to verso, and rectangular stamp W.S.A. also, plus other similar engraved and etched portraits after Van Dyck, including Paulus Pontius, Jacobus de Breuck and Cornelius vander Geest (by Paulus Pontius), Maria Margareta de Barlemont, by Jacques Neefs (1610-1660), Thomas Howard, Earl of Arundel, by D. Vorsterman, Fredericus de Marselaer, by Adrian Lommelin, Anthonius van Opstal by Jacobus de Man, Rapin de Thoyras by George Vertue (1734), a pillage scene by Johann Sadeler and Jost Amman, and two etchings of cows by Schweickhardth, published by Josiah Boydell, 1788, many with collectors marks vB and W.S.A. to verso (13)

* Van Dyck (Anthony, 1599-1641). Adam van Noort, etching on laid paper, with partial foolscap watermark, trimmed just inside platemark, some restoration and archival restrengthening to margins, 240 x 151mm (9.5 x 6ins), together with Vorsterman (Lucas Emil, 1595-1675), Anthony Van Dyck, copper engraving on laid paper, with shield and crown watermark, short margins, plate size 26 x 16.8cm (10.25 x 6.5ins), plus Vorsterman (Lucas II, 1624-c.1670), Lucas Vorsterman, copper engraving by Lucas Vorsterman after Van Dyck, on laid paper, thread margins, 25.3 x 17.8cm (10 x 7ins), remains of tab mounts to top margin, lower outer corners thinned to verso, with very slight loss to lower left corner, and three other similar engraved portraits, including one other by Vorsterman (Lucas I, 1595-1675), Johann III, Count of Nassau-Siegen, copper engraving on laid paper, trimmed to plate mark, 24.4 x 20.3cm (9.6 x 8ins), and two copper engravings by Schelte Adams Bolswert, 1586-1659 after Anthony Van Dyck, of the artist Adriaen Brouwer, and the philosopher and scholar Justus Libsius, all on laid paper, the latter two plates with good margins. A group of prints from Van Dyck’s celebrated Iconography, first published by Martin van den Enden in the 1620s and 30s, and re-issued by Gillis Hendricx in 1645. (6)

* Pai (Laxman, 1926-). ‘Flower woman’, uncoloured etching, signed in pencil by the artist, dated Paris ‘61 and inscribed ‘Epreuve d’Artiste’, sheet size 30 x 25cm (1)

* Anderson (Alfred Charles Stanley, 1884-1966). Farm landscape with thatched barns, c. 1913, etching, initialled in the image S.A., signed in pencil to lower margin, and inscribed ‘To my father, 1913’, some scattered light spotting and discolouration to blank margins, plate size 12 x 17cm (4.75 x 6.75ins), sheet size 16 x 21cm (6.25 x 8.25ins) (1)

* Anderson (Alfred Charles Stanley, 1884-1966). Self portrait, etching, trimmed to plate margins, with tab signature in pencil to lower margin, a little spotting, plate size 146 x 128mm (5.75 x 5ins), framed and glazed. Martin Hardie, The Etchings & Engravings of Stanley Anderson, Print Collectors Quarterly, XX, 1933, pp. 221-246. (1)

* Anderson (Alfred Charles Stanley, 1884-1966). Covent Garden, etching showing porters loading and unloading supplies in Covent Garden Market against the backdrop of St Paul’s Church portico, signed in ink to lower margin, plate size 17 x 20.5cm (6.75 x 8ins), framed and glazed (1)

* Austen (Winifred Marie Louise, 1876-1964). Wigeon dropping in, etching, signed in pencil to lower margin, plate size 22 x 30cm (8.75 x 11.75ins), framed and glazed (1)

* Baskett (Charles Henry, 1872-1953). The Collier, uncoloured aquatint, captioned and signed to lower margin, plate size 17.2 x 30cm (6.75 x 11.75ins), framed & glazed, together with The Mill on the Downs, mezzotint, signed and captioned to lower margin, plate size 20.2 x 33cm (8 x 13ins), framed and glazed, with Browning (S.M., fl.1920-1950), ‘The Wallasey Float, Cheshire’, etching, signed and captioned in pencil to lower margin, plate size 16.5 x 25.2cm (6.5 x 10ins) (3)

* Beaver (Tessa, b.1932). Massachusetts Farm, etching with aquatint in colours, signed and titled in pencil, limited edition numbered 24/75, plate dimensions 50.5 x 40cm (20 x 15.75ins), together with a lithograph by the same artist titled “Dogwood” and measuring 40 x 46cm, signed and numbered 6/50, both framed & glazed. Beaver attended the Slade and studied etching under Joan Buckland-Wright. She worked for many years as art editor of Children’s books at Oxford University Press before resuming painting and printmaking in 1962. She has since held exhibitions at the Royal Academy, Society of Wood Engravers, Royal Society of Painter Etchers and Engravers. (2)

* Brangwyn (Frank). Barques de Venise, 1908, etching, with drypoint on laid paper, watermarked F. J. Head & Co., signed in pencil, marked in pencil in a different hand to lower left corner ‘116. Venetian Boats’, plate size 16.3 x 22.5cm (6.4 x 8.8ins), sheet size 31 x 37cm (12.25 x 14.5ins) (1)

* Brangwyn (Frank, 1867-1956 ). A Beggar-Assissi, etching with aquatint, signed in pencil, an unnumbered artist’s proof, plate size 25.5 x 21.7cm (10 x 8.5ins), with margins, framed and glazed, with old handwritten label to verso, stating the title of the work and ‘Artist’s proof original etching by Frank Brangwyn, R.A., Only one state - edition limited’, together with another early 20th century etching by a different hand, showing three seated gentlemen, indistinctly signed, framed and glazed (2)

* Dicksee (Herbert, 1862-1942). “Footsteps”, etching depicing a West Highland White Terrier and a Scottish Terrier, signed in pencil, 37 x 55cm (14.5 x 21.5in), framed & glazed, original gallery label to verso marked “1st state” (1)

* Dixon (Harry, 1861-1942). Kittens playing, etching, signed in pencil, plate dimensions 20 x 29.5cm (8 x 11.5in), framed & glazed (1)

* Dodd (Francis, 1874-1949). Waterloo Place, London, etching, signed in pencil to lower margin, plate size 20 x 36.2cm (8 x 14.25ins), framed and glazed, together with Farrell (Frederick, 1882-1935), Horse Guards Parade, etching, signed in pencil and blind stamp to lower margin, plate size 25 x 35cm (10 x 14ins), framed and glazed, with Sweet (Dorothy, 20th c.), St. Dunstan’s, Fleet Street, etching, signed and captioned in pencil to lower margin, plate size 25.7 x 16cm (10 x 6.25ins), plus Westminster Abbey, from Dean’s Yard, etching, signed and captioned in pencil to lower margin, plate size 27.3 x 16.2cm (10.75 x 6.25ins) (4)

* + Foujita (Tsuguharu, 1886-1968). Three etchings of cats (from Les Chats), 1929, etching with aquatint, signed and dated in the image, additionally signed in pencil lower right, (the remaining two prints withouth pencil signature), plate size 195 x 260mm (7.75 x 10.25 in) and similar, matching frames, glazed (3)

* Haden (Sir Francis Seymour, 1881-1910). Shepperton, 1864, etching on laid paper, as published in the portfolio Etudes a l’eau-forte, signed, titled and dated in the plate, additionally signed in pencil to lower left, and numbered 71 lower right, some minor spotting to centre of image, plate size 140 x 120mm (5.5 x 4.75ins), sheet size 214 x 168mm (8.4 x 6.6ins), tab-mounted to top margin, together with Austin (Robert Sargent, 1895-1973), The Ponte Pietra, Verona, etching on cream laid paper, signed and dated 1928 in pencil to lower margin, plate size 134 x 123mm (5.25 x 4.85ins), sheet size 320 x 240mm (12.5 x 9.5ins), pale mount stain, tab-mounted to top margin. Schneiderman 74B and Dodgson 56 respectively. (2)

* Holmes (Kenneth, A.R.C.A., 1902-1994). Derwent Water, 1936, drypoint etching, published by James Connell in an edition of fifty proofs, signed in pencil to lower margin, plate size approx. 11.8 x 23.5cm (4.75 x 9.25ins), mounted (2)

* Hoyton (Edward Bouverie, 1900-1988). Low Tide, St. Ives, colour etching, signed, titled and numbered 1/75 in pencil, plate size 30 x 45cm (11.75 x 17.75ins), framed and glazed, together with another similar colour etching by the same artist, entitled The Kathleen & May of Bideford, signed, titled and numbered 6/75 in pencil, plate size 30 x 45cm (11.75 x 17.75ins), framed and glazed (2)

* Kaby (A., fl. 1910-1930, French). Girl tending to a horse, oval colour etching, signed in pencil, 46 x 36cm (18 x 114 in), together with another similar, both framed and glazed (2)

* Langmaid (Rowland, 1897-1956). Thames Embankment with St. Paul’s, etching, signed in pencil, with Academy Proof blindstamp to lower left corner, plate size 29.5 x 23.3cm (11.6 x 9.2ins), framed and glazed (1)

* Langmaid (Rowland, 1897-1956). Hay’s Wharf, London Bridge Street, drypoint etching, signed in pencil, plate size 12.5 x 25cm (5 x 10ins), framed and glazed, together with Smart (Douglas, 1879-1970), Thames Barges and Warehouses, etching, signed in pencil to lower margin, plate size 20 x 30cm (28 x 11.5ins), framed and glazed, with old label to verso (2)

* Langmaid (Rowland, 1897-1956). ‘Fantome’ & ‘Valhalla’ off Cowes, drypoint etching, signed in pencil to lower margin, plate size 18.5 x 35cm (6.75 x 14ins), printed caption label to verso of backing board, together with Thames Barges Drifting past the ‘Mouse’ Lightship, drypoint etching, signed in pencil to lower margin, plate size 13.8 x 22.5cm (5.5 x 9ins), printed caption label to verso of backing board, in matching frames, glazed (2)

* Mason (Frank Henry, 1876-1965). Gun Boats, etching, signed in pencil lower right margin, plate size 9 x 24cm (3.5 x 9.5ins), framed & glazed (1)

* Nicolson (John, A.R.E., 1891-1951). Siesta, St. Jean de Luz, etching, signed in pencil to lower margin, plate size 17.8 x 22.7cm (7 x 9ins), framed and glazed, together with The End of the Day, etching, signed in pencil and limitation 15/50 in pencil to lower margin, plate size 26 x 26cm (10.25 x 10.25ins), framed and glazed, with caption and signature in pencil on trimmed card attached to back board (2)

* Osborne (Malcolm, 1880-1963). Admiralty Arch, drypoint etching looking through Admiralty Arch towards Buckingham Palace, signed in pencil to lower margin, plate size 21.9 x 26cm (8.75 x 10ins), framed and glazed, together with Holyrood Church, Stirling, drypoint etching, signed in pencil to lower margin, plate size 26 x 20cm (10 x 8ins), framed and glazed, plus Semur, Burgundy, drypoint etching, signed in pencil to lower margin, plate size 21 x 37cm (8.25 x 14.5ins) (3)

* Palmer (Samuel, 1805-1888). The Sepulchre, etching from Virgil’s Eclogues, with two-line prose to lower margin, plate size 13 x 19cm (5.25 x 7.5ins), framed and glazed, together with Blake (William, 1757-1827), Colinet departs in Sorrow, c.1880, wood engraving from The Pastorals of Virgil, originally published in 1821, image size 3.7 x 7.8cm (1.5 x 3ins), framed and glazed (2)