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* Railways and Civil Engineering. A good collection of 22 prints, 19th century, engravings, aquatints and lithographs, including Tregoning (E. S. publisher). Penryn, Flushing and Falmouth Harbour (From the Old Helston Road), published in Falmouth, printed by J. Newman & Co., circa 1850, hand-coloured lithograph, trimmed to the neatline, 260 x 345 mm, mounted, together with Maclure (A.). Proposed Viaduct over the Dee at Ruabon on the Proposed Shrewsbury, Oswestry, Coventry & Chester Junction Railway, Henry Robertson Esqr. A. M. Engineer, Maclure, Macdonald & Macgregor, Liverpool, circa 1845, tint stone lithograph, one repaired marginal closed tear, 290 x 375 mm, mounted, with Pyall (H.). Coaches &c. employed on the Railway..., R. Ackermann, 1831, aquatint after T. T. Bury with contemporary hand-colouring, slight fraying to margins, 240 x 285 mm, plus Shaw (J.). Rainhill Bridge [and] Olive Mount, Liverpool, 1831, two uncoloured engravings of early steam engines on India wove, each 185 x 240 mm, and Rosenberg (C.). London and Birmingham Railway. Camden Town Fixed Engine Station. Robert Stephenson Esqr. Engineer, circa 1845, uncoloured aquatint, some mount staining, 430 x 330 mm, with Hawkins (G.). Interior of the Great Western Railway Station Bristol, George Davey, Bristol, circa 1840, tint stone lithograph after S. C. Jones, slight spotting and dust soiling, 240 x 320 mm, plus Mason (T.). Viaduct at Slade Devon, O. Angel, Exeter & R. Indstone, Plymouth, circa 1840, lithograph with a blue watercolour wash, slight creasing, 235 x 315 mm, with another 14 similar, various sizes and condition, some mountedQty: (22)

* Railways. Hughes (S. G.), Travelling on the Liverpool and Manchester Railway. A Train of the First Class of Carriages with the Mail [on a sheet with] A Train of the Second Class for Outside Passengers, Ackermann & Co. Jany. 1833, aquatint after J. Shaw, both with contemporary hand colouring, old folds, slight staining to the margins, 250 x 660 mm, mounted, framed and glazedQty: (1)

* Salt (Henry, 1780-1827). The Pyramids at Cairo, 1809, hand-coloured aquatint by D. Havell, and etched by S. Rawle, after Henry Salt, from Twenty-Four Views in St. Helena, The Cape, India, Ceylon, The Red Sea, Abyssinia and Egypt, published by William Miller, May 1st, 1809, numbered XXIV lower right, image size 475 x 705 mm (18.75 x 27.75 ins), some minor marks and light soiling to edges, colour wash mount, modern gilt frame, glazedQty: (1)

* Salt (Henry, 1780-1827). View of Grand Cairo, 1809, hand-coloured aquatint from Twenty-Four Views in St. Helena, The Cape, India, Ceylon, The Red Sea, Abyssinia and Egypt, published by William Miller, May 1st, 1809, engraved by D. Havell, etched by S. Rawle, after Henry Salt, numbered XXIII lower right, image size 475 x 705 mm (18.75 x 27.75 in), some minor marks, colour wash mount, modern gilt frame, glazedQty: (1)

* Tasmania & Australia. Lycett (Joseph). Distant View of Hobart Town, View of Lake George New South Wales, Mount Dromedary Van Diemen's Land, Rosenheath Ferry near Hobart Town, View on the Macquarie River Van Diemen's Land, The Table Mountain..., Van Diemen's Land, Mount Wellington near Hobart Town, View upon the South Esk River Van Diemen's Land, View of Rosenheath Ferry (Taken from the East Side) [and] View from the Top of Mount Nelson with Hobart Town in the Distance, J. Souter, 1825, ten (of 48) aquatint engravings with contemporary hand-colouring, occasional slight spotting, each approximately 220 x 310 mmQty: (10)NOTESOriginally published in Joseph Lycett's 'Views of Australia or New South Wales & Van Diemen's Land'. Joseph Lycett was the outstanding artist of his period in Australia and his Views in Australia is a landmark in the development of the Australian illustrated book. It is the most celebrated of Australian topographical plate books, and, despite its rarity, must be considered essential to a collection' (Wantrup, Australian Rare Books, pp. 289-92). Abbey Travel 570; Ferguson 974; Tooley 310

A PICTURE OF PETERSBURGH, Published and sold by Edward Orme, 1815, folio (476 x 330mm.). Contemporary straight grain brown morocco gilt, rubbed and worn but sound. Cracking to inner hinges, armorial bookplate to front pastedown, erasure of name written below; light blue endpapers, foxing and browning to paper stock. Letterpress title, explanations of the plates in English and French, long tear near gutter of page 5; short (7cm) tears top of page 9, top of page 20; long horizontal rear to page 21; bottom page 23 with loss to lower outer corner of leaf; further closed tears to the explanatory notes. 20 hand-coloured aquatint plates in near fine condition (Est. plus 17.5% premium)

[Slavery] (silk picture) Charles Hunt (Fl. 1825-1857) after William Summers - Blackberrying, from Gabriel Shear (or Shire) Tregear's TREGEAR'S BLACK JOKES (Plate 13), aquatint, hand coloured, 1834, worked over with contemporary silk embroidery in a variety of stitches, 22.5 x 29.5cm, maple frame One or two stray threads and slightly exposure stained, but generally very good, frame with old knocks and blackened scratches

Charles Henry Baskett, The Collier, aquatint, singed and titled in pencil, plate marks 18x30cm.

A hand coloured aquatint by Thomas Sutherland after John Frederick Herring 'Barefoot, the winner of the Great St Leger at Doncaster 1823' 29cm x 41.5cm together with a Vanity Fair Winter number print 'Newmarket 1885', 35cm x 50cmQty: 2Condition report: The Barefoot print with minor foxing and marks to the surface; the Newmarket print with crease to the left hand side, tear to the top edge in two places, some browning to the surface

Simon Bull (British 1958-): 'Sunlit Doorway I', coloured etching with aquatint signed titled and numbered 173/200 in pencil 46cm x 61cm

Michael Atkin (Northern Contemporary): 'The Roper', coloured etching with aquatint signed titled and numbered 1/50 in pencil 49cm x 58cm; 'Down in the Valley', artist's proof coloured etching with aquatint signed titled and dated '79 in pencil 8cm x 28cm (2)

Rachel Ann Le Bas NEAC RE (British 1923-2020): 'Washerwomen by Lake Garda', limited edition etching with aquatint signed titled and numbered 53/75 in pencil 27cm x 32cm Notes: this study was Rachel Ann's diploma piece for the Royal Society of Painter-Printmakers and one of the few illustrated in the Society's publication 'No Day without a Line'; exh. Royal Society of Painters in Watercolours Bankside Gallery, London, Label verso

After William Kip; Map of Essex, framed and glazed, together with a Map of Oxford and Buckingham and two aquatint prints of Powderham Castle and a Church in Winchester, all framed and glazed (4)

Boris O'Klein (1893-1985) A humorous depiction dogs and cats from the "Dirty Dogs of Paris" series, tinted aquatint and dry-point, pencil signed and entitled in the margin, in card mount and parcel gilt frame under glass, 32 cm x 58 cm overall

Of Horatio Nelson interest, a collection of prints and ephemera, to include: an engraving after R Bowyer, I.62 x 40cm; a James Gillray cartoon, 17.5 x 22cm; an aquatint of 'The Grand Funeral Car', 29 x 18cm; an mezzotint of Lady Hamilton after G Romney, I.59 x 49cm.

Valerie Thornton (1931-1991) - Etching and aquatint, ‘The Museum of the History of Science, Oxford’, artist's proof, signed in pencil lower right 41cm x 53cm, framed and glazedCondition report: Noticeable vertical rippling to paper.

Geoffrey Sneyd Garnier (1889 - 1970), by and after, HMS Revenge and French Prize Hulk in Plymouth Harbour, signed and inscribed in pencil, aquatint etching, 36cm x 50cm

William Summers (1816-1880), after William Heath (1795-1840), This Print of the Grand Review which took place in Hyde Park, On Monday the 9th of July 1838 in the Presence of Her Most Gracious Majesty Victoria, The Foreign Princes and Ambassadors attendant at Her Coronation, [London]: Published by J. Salisbury, [1838], aquatint, 45cm x 52cm, 19th century rosewood frame, [1]

Aliquis (illustrator; pseudonym, possibly of Richard Marks), The Flight of The Old Woman who was Tossed up in a Basket/Sketched & Etched, London: Published by D. Bogue, [n.d., 1843/44], panorama, hand-coloured aquatint in 12 sections, contemporary hand-coloured engraved cloth-backed paper boards, enclosing a folding letterpress, 228.4cm x 10.5cm, [Not in Abbey], [1]

Austria-Hungary - de Moleville (M. Bertrand), Dallas (R.C., translator), & Ellis (William, illustrator), The Costume of the Hereditary States of the House of Austria, Displayed in Fifty Coloured Engravings; with Descriptions, and an Introduction, large paper copy, London: Printed for William Miller, 1804, title and descriptive text in English and French, 50 hand-coloured aquatint plates, contemporary calf binding, the relayed Neoclassical covers gilt-tooled with a singular fillet with incurved angles, flanked by broad rolled tri-partite borders of entwined laureate garlands, a paterae and dart frieze, and graduating banding, the spine with raised bands enclosing seven-compartments, directly lettered in gilt in the second and dated in the seventh, the others enclosing meandering and scrolling foliate bosses, all-edges gilt, contemporary sage endpapers, folio (37cm x 28cm), [Abbey Travel 71; Colas 2112], [1]Provenance: 1) W. Cary of Torre Abbey, Torquay, Devon, ink MS inscription noting that it was bought from his sale, June 1859; 2) bought by Egerton Leigh JP, DL, MP (1815 ? 1876), of West Hall, High Leigh, Cheshire, his dated purchase inscription to front flyleaf and shield-shaped armorial bookplate, engraved by Pugh Bros, Lincolns Inn, to recto pastedown.

Ashley Bolch (1950-2016), pair of aquatint prints of windmills, 'Halnaker Mill West Sussex' and 'Post Mill Sussex', each signed and numbered 28/35 and 35/35, artist's proof, 19.5x25cm and 21x19.5cm

Graham Clarke (British, b.1941), History of England Series (1985/6): 'Albert All; Canter's Chaucerbury; D'Arthur; Dunroamin; Fireworks; Going West; Good Lord!; Hastings Job; Jolly Good Robin Hood; Hampton Tennis Court; Men of Kent; Ready Sir?; Romans Do; Rufus Spratling Chronicle: Steamers: Waterloo Volunteers; The Wooden' O' with accompanying texts. Individually titled and numbered 121/200, printed by Ebenezer Press, published by Christies Contemporary Art and Alex Gerrard Fine Art. Etchings with aquatint, each signed, unframed. Condition: Fine, 43 x 34cm ARR applies

VICTOR PASMORE RA (British, 1908-1998); aquatint, 'Anxious Moments', limited-edition, signed, dated '85, numbered 40/90, 99.5 x 70.5cm, framed and glazed. † CONDITION REPORT This lot may qualify for Artist Resale Rights. For further information, please visit

Winifred Louise Marie Austen (1876-1964) Mallards, signed bottom right, aquatint, measurements 21.5 x 29.5 cm (PL), frame 43 x 47 cmconsigned from a significant private collection of wildlife art

AFTER CLARK THE TOWN OF LANARK aquatint, 46 x 59cm, A View of New Lanark from the South, 14 x 17cm, and two maps of the Scottish Borders, 30 x 22cm (4) Condition Report: Available upon request

After Luigi Mayer (Italian, 18th century), Geological interest: crater in the island Stromboli, aquatint on paper, 30 x 40cm

William Daniel, RA (British, 19th century), A view of Southwold, Suffolk, aquatint 1822, signed, 22 x 30cm

Harold Wyllie (1880-1975) Etching /Aquatint, "Shipping in an Estuary" pub 1926, 16 x 43cm

Devon.- [Butcher (Edmund)] The Beauties of Sidmouth Displayed, second edition, 7 aquatint plates printed in bistre, folding engraved map with letterpress description, contemporary half calf, rubbed, upper cover detached, Sidmouth, John Wallis, [1816].

NO RESERVE Prints & Drawings.- Various (Artists) Collection of 30 miscellaneous framed prints and original artworks, including an etching and aquatint horse portrait of "Canezou", several watercolour stained glass designs, botanical plates, reproductive facsimiles, and others similar, various sizes, all framed and glazed, 19th century and later (30)

Claude H. Rowbotham 1864-1949: two Hogarth framed aquatint etchings, one depicting the Pump Court Falmouth, the other King Harry's Passage Falmouth - both signed

David Hockney O.M. C.H. R.A. (b.1937). A Black Cat Leaping from the story The Boy Who Left Home to Learn Fear, etching, aquatint, titled and dated 1969 verso, 24cm x 27cm. Label verso Goldmark Gallery, Uppingham, Rutland.

David Hockney O.M. C.H. R.A. (b.1937). The Sexton Disguised as a Ghost from the story The Boy Who Left Home to Learn Fear, etching, aquatint, titled and dated 1969 verso, 24cm x 26cm. Label verso Goldmark Gallery, Uppingham, Rutland.

Jean-François Raffaëlli  (French, 1850-1924), Les Invalides, 1894, drypoint with aquatint, on Japan, fifth (final) state, signed in pencil and numbered Epreuvre no.68, from the edition of 100, H.16cm W.20cm Provenance: Lumley Cazalet Gallery, Davies Street, London Literature: Delteil 21

Keiko Minami (Japanese, 1911-2004), Aigrette, etching with aquatint, signed in pencil, numbered 14/50, H.36cm W.28.5cm

MICHAEL AYRTON [1921-75]. Landscape, 1975. etching and aquatint, ed. 75; studio stamp signature on reverse. 46 x 39 cm - unframed. Provenance: the artist; private collection, UK. [very good condition - very slight light brown line near top of sheet - possibly from a previous mount]. Buyers premium 20% + vat payable.

MICHAEL SANDLE R.A. [1936 - ]. Endgame, 1976. etching and aquatint, artist's proof; signed and dated in pencil. 59 x 78 cm sheet size - unframed. A very fine sculptor and draughtsman - vastly underrated. [very good condition - very slight soft handling creases near edges of sheet]. Buyers premium 20% + vat payable.

JULIAN TREVELYAN RA [1910-1988]. Duomo, 1965. Etching and aquatint on handmade Barcham Green paper with full margins. Signed, inscribed with title and numbered 8 from the edition of 100, printed by Michael Rand and published by Editions Alecto as part of the Florence Suite, 1965-66. 35.2 x 47.7cm [image size], 57 x 80cm [sheet size]. Mounted, unframed. Literature: Julian Trevelyan Catalogue Raisonne of Prints Turner 174. [Very good condition]. Buyers premium of 20% + VAT is payable. This lot is stored in London and can be collected or shipped from there.

JULIAN TREVELYAN RA [1910-1988]. Aigues Mortes, 1975. Etching and aquatint on T H Saunders paper with full margins. Signed, inscribed with title and numbered 8 from the edition of 51, printed by Studio Prints and published by Leslie Waddington, London 1975. 35.2 x 47.6cm [image size], 60.9 x 78cm [sheet size]. Mounted, unframed. Literature: Julian Trevelyan Catalogue Raisonne of Prints Turner 303. [Very good condition]. Buyers premium of 20% + VAT is payable. This lot is stored in London and can be collected or shipped from there.

ELISABETH FRINK DBE RA [1930-1993]. Anthony and Cleopatra, 1982. Etching and aquatint on Arches wove paper, signed and numbered XX/XXV, an artist's proof aside from the edition of 200, printed at Kelpra Studio and published bythe Royal Shakespeare Company. Note: the two actors depicted are Helen Mirren and Michael Gambon. 76 x 56.5cm [image size], 88.2 x 67cm [sheet size]. Unframed. Reference: Elisabeth Frink Original Prints [Wiseman 128]. [Very good condition]. Buyers premium of 20% + VAT is payable. This lot is stored in London and can be collected or shipped from there.

JOHN HOYLAND RA [1934-2011].View, 1979.Etching and aquatint on wove paper, signed, dated and inscribed 9/10 AP, an artist's proof aside from the edition of 50, printed at Kelpra Studio.68.9 x 54.6cm [image size], 91.5 x 68.5cm [sheet size]. Framed.Collection: Tate Gallery. [Good condition, unexamined out of the frame]. Buyers premium of 20% + VAT is payable. This lot is stored in London and can be collected or shipped from there.

Victor Pasmore (1908-98), Images on the wall, limited edition aquatint etching, signed in pencil, dated 1992, and numbered 12/50, image size 30cm x 30cm; also Paul Klee coloured print, 40cm x 56cm (2)

*William Lee Hankey RWS (1869-1952)'Affection'etching and aquatint, signed in pencilplate mark 24.5 x 21cm;and three others,'Marie Jeanne'signed in pencilplate mark 25.5 x 21cm';'French Folk'signed in pencilplate mark 24.4 x 17.2cm;Study of a babysigned in pencilplate mark 21.2 x 16.3cm (4)*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed framesAffection - impression good, paper lightly discolouredMarie Jeanne - overall stained and discoloured'French Folk' - paper discoloured under mount. Baby - paper lightly discoloured

Louis Icart (1888-1950) The Curtain (check) etching and aquatint on paper, framed signed in pencil, 29 x 20.5cm (image)

Graham Clarke, coloured etching and aquatint, 'October', signed in pencil, 17/250, 13 x 17cm

Richard Beer (1928-2017) Palais Royal I 7/90, signed, titled, and numbered in pencil Etching and aquatint 78 x 59cm, unframed.

Richard Beer (1928-2017) Notre Dame artist’s proof, signed and titled in pencil etching and aquatint 78x 59cm, unframed.

Richard Beer (1928-2017) Geneva artist’s proof, signed and titled in pencil etching and aquatint 76 x 57cm, unframed.

David Oxtoby (b.1938) 55, 197434/50, signed, titled, dated, and numbered in pencil (in the margin), and signed in pencil by Chris Woodetching and aquatint59 x 39cm, unframed.

David Oxtoby (b.1938) Wooden Sax Extra, 197434/50, signed, titled, dated, and numbered in pencil (in the margin), and signed in pencil by Chris Woodetching and aquatint40 x 58cm, unframed.

David Oxtoby (b.1938)Highway Man, 197434/50, signed, titled, dated, and numbered in pencil (in the margin)etching and aquatint58 x 39cm, unframed.

David Oxtoby (b.1938) Mr. T, 197434/50, signed, titled, dated, and numbered in pencil (in the margin)etching and aquatint58 x 39cm, unframed.

David Oxtoby (b.1938) S. Wonderful, 197434/50, signed, titled, dated, and numbered in pencil (in the margin)etching and aquatint58 x 39cm, unframed.

Richard Beer (1928-2017) Acrobat3/100, signed and numbered in pencil etching and aquatint77 x 59cm, unframed.

Joseph Constantine Stadler after J. Atkinson- 'A View of Tanfield Arch in the County of Durham...', aquatint with contemporary hand colouring, 47 by 59.5cm   Provenance: Sir George Burton Hunter KBE DSC (1845-1937) Thence by descent Condition Report: browned and pigment fade- heavy scattered spotting throughout- slight trim to lower margin with publisher's details, frame in poor condition and with losses Condition Report Disclaimer

λ Brenda Hartill (1940-) Silver Mountain II Etching with aquatint Signed, numbered 18/50, dated 1999 50 x 38cm (19½ x 14¾ in.) and another 'Alchemy II', A/P, dated 1999 (2) Provenance: From the collection of the late Mrs Guri Scotford and by family descent Condition Report: generally good but some discolouration to paper. Condition Report Disclaimer

λ Valerie Thornton (British 1931-1991) Monterde, Spain Etching and aquatint in colours, 1980 Signed in pencil, titled, dated and numbered '80 3/40 Plate 49.5 x 69cm (19¼ x 27 in.) Condition Report: Under glass, unexamined out of glazed frame. Appears to be in original condition. Condition Report Disclaimer

λ Marie Laurencin (French 1883-1956) L'Eventail Rose Etching and aquatint Signed in pencil and numbered 54/100 Plate 30 x 25cm (11¾ x 9¾ in.) Condition Report: some paper undulations, paper slightly discoloured and pigments slightly faded Condition Report Disclaimer

Y After Newton Fielding (1797-1856) Cock fighting- the set of 6 Etching and aquatint, with hand-colouring Trimmed, title labels to reverse 14 x 19cm (5½ x 7¼ in.) Gilt slips, rosewood frames (6) Condition Report: All trimmed- and reframed- late Victorian probably- various old labels to reverse- browning and fading throughout- some mild veneer losses to frame margins- no publisher details Condition Report Disclaimer

After John Kerr View from the First Range of Hills Below Sandy Bay Ridge Coloured aquatint Image 21 x 32.5cm (8¼ x 12¾ in.) From A series of Views in the Island of St. Helena. Condition Report: Pigments slightly faded- scattered spotting mostly to mount Condition Report Disclaimer