We found 20290 price guide item(s) matching your search

Dorothea Wight (1944-2013), 'Oh to be in Devon now'; Balustrade, two, colour etchings with aquatint, both signed, inscribed and numbered, the larger 44cm x 37cm. (2)

Italian School (early 19th century), A Classical frieze, aquatint with sanguine colouring, 23cm x 31.5cm.; together with a hand coloured musical engraving 'Melchisedec Bristle'. (2)

After E. Gill, Extraordinary Steeple-Chase, aquatint by Henry Alken and Edward Duncan, with hand colouring, 51cm x 75cm. Provenance: From the collection of HRH The Prince Henry, Duke of Gloucester

After George Bryant Campion, The procession ad Montem, aquatint by Charles Hunt, with hand colouring, 47cm x 62cm.Provenance: From the collection of HRH The Prince Henry, Duke of Gloucester

James Pollard (British, 1792-1867), The ceremony of the procession ad Montem, aquatint with hand colouring, 37.5cm x 50cm.Provenance: From the collection of HRH The Prince Henry, Duke of Gloucester

Circle of Joseph Nash; Windsor; The Garter Throne Room, Windsor, St George's Hall, Windsor, a set of three lithographs with hand colouring, each 32cm x 46cm; together with 'His Majesty King Geo III returning from Hunting, aquatint after James Pollard, with hand colouring. (4)Provenance: From the collection of HRH The Prince Henry, Duke of Gloucester

André Lambert (1884-1967), El Cortejo, colour etching with aquatint, signed and numbered 39, unframed, 44cm x 31.5cm. ARR

Charles Bartlett (b.1921), White Berth; Harbour Entrance, a pair, colour etchings with aquatint, both signed, inscribed and numbered, each 40cm x 45cm. (2) ARR

Glyn Thomas (b.1946) etching and aquatint - Footpath to the River Stour, 22/75, in glazed frame, 37cm x 28cm

KURT MEYER EBERHARDT (GERMAN 1895-1977) aquatint etching of a young fawn, signed bottom right, framed, approximate image size 20cm x 17cm, together with a religious themed needlework picture, unframed, approximate size 56cm x 44cm

Graham Clarke (British, b.1941), Along with the Gypsy Davy, etching with aquatint, artist?s proof produced circa 1976, the image was later released in a limited edition of 100, signed and titled in pencil to margin, 34 x 53 cm

An artists proof aquatint by Jennifer Dixon (b1936) 'Crucifixion' and a surreal etching depicting a child with a doll

An aquatint depicting a park scene by Victor Mignot (1872-1944) No.13 of 150, 15 1/4" x 22"

After C I Basebe, (19th century) Roger Kynaston, an engraving, together with a 19th century aquatint of horses and two further studies of horses (4)

FIELDING T. H. & WALTON J.  A Picturesque Tour of the English Lakes. 48 hand col. aquatint plates & hand col. aquatint title vignette  (as called for). Quarto. Half green calf, rubbing. R. Ackermann, 1821.

FIELDING T.H. & WALTON J.  A Picturesque Tour of the English Lakes. Hand col. title vignette & 48 hand col. aquatint plates. Quarto. Lib. bdg., internal browning & (mainly marginal) damp mkg. Ackermann, 1821.

CAILLIAUD M. FREDERIC.  Travels in the Oasis of Thebes. 2 eng. maps & 16 aquatint & other eng. plates (1 fldg., 2 of script), as called for. Rebound marbled card wrappers. 1822.

GILPIN WILLIAM.  Observations Relative Chiefly to Picturesque Beauty ... Particularly the Mountains & Lakes of Cumberland & Westmorland. 2 vols. Oval aquatint plates. Rebacked calf, some internal browning & foxing. 1786.

Norman Ackroyd CBE, RA (b.1938) ''Black Head, Co. Clare'' Signed, inscribed and numbered 4/150, dated 1996 etching and aquatint, together with a further etching by the artist ''Tearaght'' , 18cm by 10.5 cm and 5cm by 9cm respectively (2) (unframed) Provenance: Reverend Dr Richard Davey Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Local Interest - John Bluck. (act. 1791-1819), after Thomas Christopher Hofland RBA (1777-1843), a set of six Derbyshire landscapes, of Dovedale, Matlock Bath and Matlock, numbered consecutively from 1-6, ruled borders painted in grey wash, [London: Published by T. Barber and T. Hofland, 1805], aquatint and etching with hand-colouring, 31cm x 39cm, framed en suite in contemporaneous rosewood with gilt insets, [6]

Thomas Williamson (act. 1800-1832), after George Morland (1763-1804), a set of five, comprising Winters Morning; Summers Evening; Tired Gypsies; The Young Dealer/what will ya gin me; and Rustic Cares/Chuck Chuck Chuck, London: Published Sept.r 2 1805, by R. Bowyer, Historic Gallery, Pall Mall, stipple engravings, 45.5cm x 53.5cm, (5); Henry Alken (1785-1851), by and after, a set of three equestrian-social caricatures, comprising Perfectly Satisfied, Delighted and Terrified, London: August, 1821, aquatint engravings, 21cm x 26cm, (3); four 20th century coloured coaching prints, 22cm x 33.5cm, (4), [folio of 12]

Topography - Anon, [Cumming (John)], The Traveller's New Guide through Ireland [...], Illustrated with a New and Accurate Map of Ireland, Plan of the Lakes of Killarney - Views of the Giant's Causeway - Delineations of the Principal Post-Roads - with Other Plates, London: Published by Longman [...], 1819, pp: 4, 574, 22 full-page plates, 1 fold-out map, 1 fold-out plan, contemporary blue half-leather over marbled boards, blue-speckled edges, 8vo, (1); Baker (J[ames]), The Imperial Guide, with Picturesque Plans of the Great Post Roads, Containing Miniature Likenesses, Engraved from Real Sketches [...], London: Printed for C. Whittingham [...], 1802, pp: iv, 66, additional stipple engraved title-page as issued, 17 full-page tiered monochrome named-views, 16 full-page monochrome aquatint landscapes and 1 extra-illustrated engraving, contemporary calf boards gilt, rebacked and lettered in gilt, contemporary marbled endpapers, contemporary armorial bookplate: Right Hon:ble Lord Keith, K.B., Vice Adml. F.R.S., [as Baron Keith, subsequently Admiral of the Red George Keith Elphinstone, 1st Viscount Keith GCB (1746 - 1823)], 8vo, (1), [2]

Topography - Grangerised Copy, Robertson (Archibald), A Topographical Survey of the Great Road from London to Bath and Bristol, with Descriptive Accounts [...], Illustrated by Perspective Views of the Most Select and Picturesque Scenery, To which is added A Correct Map of the Country [...], two-parts in one volume, London: Printed for the Author [...], 1792, pp: [2], xv, [i], iii-vii, [i], 154, 190, [1], 65 full-page monochrome aquatints, panoramic travelling road map on 11 sheets, extra-illustrated with 19 plates of mixed media and date, contemporary diced calf boards gilt to a Regency design, later 19th century rebacking in calf gilt-lettered and ruled, marbled edges and endpapers, contemporary Plain Armorial bookplate: Richard Nixon, 8vo, (1); Baker (J[ames]), The Imperial Guide, with Picturesque Plans of the Great Post Roads, Containing Miniature Likenesses, Engraved from Real Sketches [...], London: Printed for C. Whittingham [...], 1802, pp: iv, 66, additional stipple engraved title-page as issued, illustrated with 20 full-page tiered named-views with contemporary hand-colouring and 10 monochrome aquatint landscapes, contemporary calf boards rebacked to style, contemporary Plain Armorial bookplate: R. Stephenson, 8vo, (1), [2]

C. Hunt, coloured aquatint, 'A Crier Extraordinary', 21 x 15cm and three related prints, all with black sitters

After J. Ferneley, coloured aquatint, The Racehorse 'Spaniel', Derby Stakes at Epsom 1831, overall 36 x 41cm, maple framed

Hunt after Herring, aquatint, 'Fores's National Sports'. 'The Start for the Memorable Derby of 1844', plate 1, London, publ. May 18th 1845 by Messrs Fores at their Sporting and Fine Print Repository and Frame Manufactory, 41 Piccadilly, corner of Sackville Street, engraved by Charles Hunt. Also lists details of horses and riders, this plate is possible a restrike, overall 73 x 122cm

Richard Simkin (1840-1926) - Coloured aquatint - "The King's Royal Rifle Corps (60th Rifles)", 10.5ins x 8.5ins, another similar dated 1895, a coloured print of British Rifleman, 60th and 95th Regiment, before 1812, and after William Heath (1795-1840) - Coloured lithograph - "60th" and another similar, all framed

* Simon (Jean Pierre, circa 1750-circa 1810). Titania, Queen of the Fairies, Bottom, Fairies Attending (Shakespeare, Midsummer Night's Dream, Act IV, Scene I), mezzotint and aquatint on wove paper , published by J. & J. Boydell at the Shakespeare Gallery, Sept. 29, 1796, a few minor marks and pale toning to margins, margins close-trimmed, sheet size 498 x 635 mm (19.6 x 25 ins), together with: Ryder (Thomas, Senior, 1746-1810, & Ryder, Thomas, Junior). Oberon, Queen of the Fairies, Puck, Bottom and Fairies Attending (Shakespeare, Midsummer Night's Dream, Act IV, Scene I), 1803, etching and stipple engraving on wove paper, published by J. & J. Boydell, at the Shakespeare Gallery, Decr. 1, 1803, some marks and overall discolouration, margins close-trimmed, plate size 495 x 630 mm (19.5 x 24.75 ins), sheet size 504 x 643 mm (19.8 x 25.3 ins), matching later frames, glazedQty: (2)NOTESWeinglass 118 & 119.

* Goya (Francisco de, 1746-1828). Disparate Pobre (Two Heads are Better than One), plate 11 from Los Proverbios, etching with aquatint on pale cream laid paper, from the third edition published in 1891 for the Real Academia, Madrid, in an edition of 100 copies, numbered 11 to top right corner, plate size 245 x 350 mm (9.7 x 13.75 ins), sheet size 310 x 435 mm (12.2 x 17.2 ins), framed and glazedQty: (1)NOTESDelteil 212; Harris 258.

* Kauffmann (Angelica, 1741-1807). Woman Resting Her Head on a Book, 1770, etching and aquatint printed in brown on off-white laid paper, some light spotting, plate size 192 x 158 mm (7.5 x 6.25 ins), with margins, framed and glazed (unexamined out of frame)Qty: (1)Condition Report: This work is in generally good condition with no major defects.  The sheet is lightly spotted overall.  There is a small circular blemish towards the upper right corner, and a short closed tear towards the lower portion of the right hand margin, which has been restrengthened with paper to verso. There is some light discolouration to the top blank margin, caused by the mounting. The blank margins have been somewhat trimmed, with the sheet size measuring 208 x 177 mm (8.2 x 6.9 ins).NOTESAndresen, Deutsche Peintre-Graveur, 31. Sometimes thought to be a depiction of the artist herself.

* Walcot (William, 1874-1943). The Caravan, 1928, etching with drypoint and aquatint on cream wove paper, signed and numbered 37/75 in pencil, plate size 17.7 x 22.7 cm (7 x 9 ins), sheet size 27.5 x 36.7 cm (10.75 x 14.5 ins), mounted, together with: Kom Ombo, 1928, etching with drypoint and aquatint on cream wove paper, signed in pencil, a proof aside from the published edition of 75, this impression marked 'hp. 6', plate size 16 x 20.5 cm (6.25 x 8 ins), sheet size 26.7 x 39.8 cm (10.5 x 15.75 ins), mounted, The House of Sallust, 1920, etching with drypoint and aquatint on cream wove paper, signed in pencil, single fox spot, limited edition 250 UK and 50 US copies, plate size 15 x 20 cm (6 x 7.75 ins) with margins, mounted, framed and glazedQty: (3)

* Walcot (William, 1874-1943). Arc San Carlo, Naples, 1921, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, plate size 17.7 x 16.7 cm (7 x 6.5 ins) with margins, mounted, framed and glazed, together with: St. Peter's, Rome, 1919, etching on cream wove paper, signed in pencil, some pale toning, small mark to lower left corner, plate size 15.1 x 17.4 cm (6 x 6.75 ins) with margins, mounted, framed and glazed, 42nd Street, New York, etching with drypoint on cream wove paper, signed in pencil, toned, plate size 13.3 x 18.5 cm (5.25 x 7.25 ins) with margins, mounted, framed and glazed, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins), plus 3 framed and glazed reproductions of etchings by WalcotQty: (7)

* Walcot (William, 1874-1943). C ornhill and the Royal Exchange, London, circa 1933-35, etching with drypoint on cream wove paper, signed in pencil, plate size 17.7 x 19.8 cm (7 x 7.75 ins) with margins, mounted, framed and glazed, together with: Trafalgar Square, London, 1924, etching with drypoint and aquatint on cream wove paper, signed in pencil, some pale toning, plate size 9 x 18.2 cm (3.5 x 7 ins) with margins, mounted, framed and glazed, Fleet Street, 1931, etching on cream wove paper, signed in pencil, toned, 3 cm closed tear in lower blank margin, plate size 16 x 22.5 cm (6.25 x 9 ins), sheet size 23.4 x 29.1 cm (9.25 x 11.5 ins), mounted, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (4)

* Walcot (William, 1874-1943). Durham Cathedral, etching on cream wove paper, signed in pencil, some light spotting, plate size 16.8 x 20.2 cm (6.5 x 8 ins), sheet size 25.7 x 31.3 cm (10 x 11.25 ins), mounted, together with: WWI Warship and Submarine on the Firth of Forth, etching on cream wove paper, signed in pencil, one or two pale fox spots, plate size 9 x 12 cm (3.5 x 4.75 ins) with margins, mounted, framed and glazed, The Portico, Newcastle Central Station, 1922, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, toned, plate size 9.5 x 14.7 cm (3.75 x 5.75 ins), with margins, mounted, framed and glazed Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (4)

* Walcot (William, 1874-1943). Houses of Parliament and Westminster Bridge, London, etching with aquatint on cream wove paper, signed in pencil, plate size 16 x 30 cm (6.25 x 11.75 ins) with margins, mounted, framed and glazed, together with: Chelsea Old Church, London, 1924, etching with drypoint on cream wove paper, signed in pencil, limited edition of 100 for the Print Collectors’ Club (plus 7 proofs) with monogram upper left corner, plate size 9.4 x 14.8 cm (3.75 x 5.75 ins), sheet size 9.25 x 12.5 ins), Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, slightly creased to lower blank margin, plate size 21.6 x 15 cm (8.5 x 5.75 ins), sheet size 36.8 x 24.7 cm (14.5 x 9.75 ins)Qty: (3)

* Walcot, (William, 1874-1943), Kom Ombo. 1928, etching and drypoint on wove paper, signed and numbered 25/75 in pencil, plate size 160 x 205 mm (6.3 x 8 ins), sheet size 270 x 395 mm (10.6 x 15.5 ins), mounted, together with: The Caravan , 1928, drypoint etching with aquatint, on wove paper, from the edition of 75, published by the Fine Art Society, signed, and numbered 25/75 in pencil, plate size 177 x 230 mm (7 x 9 ins), sheet size 275 x 385 mm (10.75 x 15.2 ins), mountedQty: (2)

ARR * Clarke (Graham, 1941-). Quite Cricket, aquatint printed in colours on thick handmade paper, with circular Graham Clarke blindstamp to lower left corner, and with oval blindstamp of Alex Gerrard Fine Art Ltd. to lower right corner, published in an edition of 400 impressions, signed, titled and numbered 268/400 in pencil, plate size 345 x 540 mm (13.5 x 21.25 ins), sheet size 440 x 640 mm (17.3 x 25.2 ins), framed and glazed, together with: Left Right oops!, hand-coloured etching with aquatint, published by Alex Gerrard Fine Art Ltd. in an edition of 250 impressions, signed, titled and numbered 119/250 in pencil, oval blindstamp of Alex Gerrard Fine Art Ltd. to lower left corner, circular Graham Clarke blindstamp to lower right corner, plate size 340 x 537 mm (13.5 x 21.2 ins), sheet size 435 x 630 mm (17.1 x 24.8 ins), framed and glazedQty: (2)

* Corneille (Pierre, 1922-2010). Femme et Chat, 1977, colour etching and aquatint, from the published edition of 100 impressions published by Edition Suede, with publisher's blindstamp to lower left corner, signed, dated, and numbered 70/100 in pencil, sheet size 64 x 49.5 cm (25.2 x 19.5 ins), framed and glazedQty: (1)

NO RESERVE Kazandjian (Jean, French artist of Armenian descent working in Paris and Los Angeles, b. 1938) Getaway, aquatint with etching on two plates printing on one sheet of Arches wove paper, signed and inscribed in pencil, numbered from an edition of 50, platemark 445 x 510 mm (17 1/2 x 20 1/8 in), sheet 620 x 740 mm (24 1/4 x 29 1/8 in), minor creases to extremities, unframed, printed by Atelier de la Main d'Or, published by Galerie Furstenberg, Paris, 1980; together with La Guerrière, drypoint on Rives paper, signed, dated, and numbered in pencil, from an edition of 50, platemark 70 x 95 mm (2 3/4 x 7 5/8 in), sheet 370 x 280 mm (14 1/2 x 11 in), unframed, printed by Atelier de la Main d'Or, Paris, published by the artist, 1980; and Arctic Star Irius, a colour lithograph by Graham Rust, from an edition of 350, unframed (3) Provenance:Galerie Furstenberg, Paris;Where purchased by the present owner

WORDSWORTH (Christopher): 'Greece, Pictorial, Descriptive, and Historical..', London, William S Orr & Co, 1853: New Edition: 4to, contemporary morocco gilt, rubbed and scuffed: HENNIKER (Sir Frederick): 'Notes, during a visit to Egypt, Nubia, the Oasis, Mount Sinai and Jerusalem..', London, John Murray, 1823: 8vo, contemporary half calf, crudely rebacked: with folding aquatint frontis and other plates: together with a quantity of other misc travel and related over 2 shelves. (Approx 64)

Jenkins (James) 'The Naval achievements of Great Britain from the Year 1793-1817. London' size 38cm x 30cm, dedication leaf, introduction, list of plates, not complete. 48 aquatint plates, first plate 'View of Gibraltar, painted by Whitecombe, first publi

Jenkins (James) 'The Martial Achievements of Great Britain and Her Allies, from 1799 to 1815, London', not complete, 46 aquatint plates, size 38cm x 30cm, the vignette aquatint by Sutherland, marked 'Printed for J. Jenkins, 48 Strand 1814-15', with a dedication to the Duke of Wellington. The binding is in poor condition.

English School (18th century), "Baron Nelson of the Nile and Burnham Thorpe in the County of Norfolk", hand coloured aquatint and etching, published by John Fairburn 1798, 37 x 25cm, together with "The Noble Admiral Lord Nelson fell in the arms of victory by the wound in his left breast...", hand coloured engraving published by P Gally, 1805, 25 x 35cm; after Burke "Baron Nelson of the Nile", stipple engraving published by John Brydon, 1800, 32 x 25cm and one further engraving (4) Provenance: Lyon & Turnbull, The Le Quesne Collection 09&10/07/08 Lot 279

After William Orme, engraved by J Clark/J Hamble, "The ceremony of Lord Nelson's interment in St Paul's Cathedral, Jan 9th 1806", hand coloured aquatint published by Edward Orme, Feb 20th 1806, 44 x 30cm, unframed, together with "Horatio Nelson" - an unused oblong 4to printed invitation for the funeral of the late Vice-Admiral Horatio Viscount Nelson, the invitation with etched heraldic shield to lower centre, unframed (2)

After W M Craig, engraved by J Godby, "The Funeral Procession of Lord Viscount Nelson Jan 9th 1806", hand coloured aquatint published by Edward Orme 1806, 27 x 40cm, unframed, together with; after McQuin, engraved by R Ackermann, "The Funeral Car on which the body of our late Vice Admiral Horatio Viscount Nelson was conveyed from the Admiralty to St Paul's Cathedral for interment...", hand coloured engraving, published by J Page, August 10 1806, 34 x 50cm, together with two further engravings relating to Nelson's funeral car, all unframed (4)

After P W Tomkins, "The Grand Funeral Procession of the Most Noble Lord Viscount Horatio Nelson, Duke of Bronti, passing through Temple Bar at Fleet Street to St Paul's Cathedral, January 9th 1806", hand coloured engraving, published by P W Tomkins, January 18 1806, 24 x 40cm together with; after C A Pugin, engraved by M Merigot, "Funeral Procession of the Late Lord Viscount Nelson from the Admiralty to St Paul's London on 9th January 1806", hand coloured aquatint, published by James Cundee, April 1 1806, 34 x 44cm, both unframed

After R Burns, engraved by R Scott, "The Monument to the memory of Lord Nelson erected on the Calton Hill, Edinburgh", hand coloured aquatint published by R Scott, 1st January 1809, 42 x 26cm, together with an uncoloured version of the same print, also two further engravings relating to Lord Nelson monuments, all unframed (4)

James Gillray (1757-1815), "The King of Brobdingnag and Gulliver", hand coloured etching with aquatint, published by H Humphrey, June 26th 1803, 30 x 25cm, unframed

Knappe (Karl-Adolf). Durer: the Complete Engravings, Etchings and Woodcuts, Thames and Hudson, 1965, numerous black and white illustrations throughout, publisher's cloth gilt, folio, together with: Harris (Bruce & Seena, editors). The Complete Etchings of Rembrandt, Bounty Books, 1970, numerous black and white illustrations throughout, publisher's cloth gilt, dust jacket, folio, with Ball (A. & Martin M.). The Price Guide to Baxter Prints, Antique Collectors' Club, revised edition 1983, numerous colour and black and white illustrations throughout, publisher's cloth gilt, dust jacket, folio, with a loosely inserted price revision booklet, plus Tooley (R. V.). English Books with Coloured Plates, 1790 - 1860, B. T. Batsford Ltd, 1987, publisher's cloth gilt, dust jacket price-clipped, 4to, and Abbey (J. R.). Scenery of Great Britain and Ireland in Aquatint \nd Lithography 1770 - 1860, Dawsons of Pamm Mall, 1972, colour frontispiece, additional half title, publisher's cloth gilt, dust jacket with slight fraying to spine, folio and Rickards (Maurice). Collecting Printed Ephemera, Phaidon Christie's Limited, 1988, numerous colour and black and white illustrations throughout, publisher's cloth gilt, dust jacket,4to, with others similar, including literary reference and dictionaries mostly 4to, G/VGQty: (6 shelves)

Parry (William Edward). Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; performed in the years 1819-20 in His Majesty's Ships Hecla and Griper, 1st edition, London: John Murray, 1821, 20 plates and charts (engraved, etched or aquatint, several folding), variably spotted, browned and offset (the aquatint plates more strongly so), short closed handling tear to last folding plan, text-leaves toned, bound with: Sabine (Edward, editor), The North Georgia Gazette, and Winter Chronicle, 1st edition, London: John Murray, 1821, half-title, errata slip for the Journal tipped to first title-page, wood-engraved headpieces throughout, text-leaves toned, 2 works in 1 volume, contemporary engraved bookplate depicting peregrine falcon and with ownership inscription 'Matt. Bell', contemporary tan calf decorated in gilt and blind, rebacked retaining original spine, a few surface-abrasions to covers, corners showing, 4to (27.2 x 21.2 cm)Qty: (1)NOTESArctic Bibliography 13145 & 12547; Sabin 58864 & 57714.

Porter (Robert Ker). Traveling Sketches in Russia and Sweden, during the Years 1805, 1806, 1807, 1808, 2 volumes, 1st edition, London: for Richard Phillips by T. Gilet, 1809, 41 plates (29 hand-coloured aquatint costume plates, 11 single-tint aquatint views, and uncoloured etched portrait; a few folding), half-title to volume 2, plates offset , volume 2 frontispiece creased, marginal repair to text-leaf T1, contemporary tan half calf, drab boards, front joints partially cracked, 4to (28.6 x 22 cm)Qty: (2)NOTESProvenance: Thomas Guthrie Wright (1777-1849), writer to the Signet (bookplates). Abbey Travel 13; Colas 2407; Lipperheide 1346; Tooley 382. The costume plates include examples of Kyrgyz, Kalmyk and Bashkir dress.

ETCHING AQUATINT 'LUMAAG' 44/50 24 X 24CM APPROX

ETCHING AQUATINT 'STARTLED MUSKOX' 44/50 32 X 34CM APPROX

Louis Icart (French, 1888-1950)On the Grass (Sur l'herbe)Etching and drypoint, 1925, printed in colours, with hand-colouring, with the artist's blindstamp; together with another etching with aquatint and hand-colouring, Basket of Apples, 1924, on wove paper, each signed in pencil (2)26.5 x 40cm (10 7/16 x 15 3/4in).Footnotes:Provenance: Sotheby's, London, Applied Arts, 19 October 1990, Lot 203Phillips, New York, 20th Century Furniture and Related Decorative Arts, 25 November 1986, Lot 52This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

BOWYER (ROBERT)The Triumphs of Europe in the Campaigns of the Years 1812, 1813, 1814 [An Illustrated Record of Important Events in the Annals of Europe], 2 parts in one vol., 2 letterpress titles, engraved map, 2 engraved plates, 19 hand-coloured aquatint plates (4 double-page, 2 of which with short marginal tears at fold), extra-illustrated with hand-coloured engraved map by Lt. Tyler (repaired), without 'Directions to the Binder' leaf, red half morocco by Bayntun, t.e.g. [cf. Tooley 97; cf. Abbey Life 352], folio (463 x 320mm.), T. Bensley for R. Bowyer, 1814-15 [watermarked 1811-14]Footnotes:Bowyer's colour-plate book of Europe during the Napoleonic Wars. The work has a complicated publishing history and appears in various combinations. According to Abbey, Bowyer's work 'originated in 1814 with the Triumphs of Europe, [was] enlarged in 1815 by the addition of a second part, The Annals of Europe, and then, through the return and final defeat of Napoleon, enlarged further with [The Campaign of Waterloo - not present here] as an Appendix to the whole. Each of the three parts is, however, also complete in itself, and numerous copies exist in bindings of the three separately or with two of the three bound together to form one volume.' Provenance: George John Carnegie (1843-1891), 9th Earl of Northesk, bookplate; George Seton Veitch, bookplate; Christie's, Valuable Travel and Natural History Books, 25 May 1992, lot 21This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Max KLINGER (1857-1920)"Mondnacht"Grafik- Aquatintaradierung auf Bütten, Platte 36,29 x 26,1 cm, Blatt 60,5 cm x 45 cm,an den Rändern kleine LäsurenMax KLINGER (1857-1920)"Moon night"graphic - aquatint etching on laid paper, plate 36.29 x 26.1 cm, sheet 60.5 cm x 45 cm,small blemishes on the edges

Manfred BUTZMANN (1942)"Zeughaus"Grafik - Aquatintaradierung auf Bütten, Platte 20 cm x 24,8 cm, Blatt 23,8 cm x 31,3 cm,links unten bezeichnet, rechts unten handsigniert und datiert 1982Manfred BUTZMANN (1942)"Zeughaus"graphics - aquatint etching on laid paper, plate 20 cm x 24.8 cm, sheet 23.8 cm x 31.3 cm,inscribed on the lower left, signed on the lower right and dated 1982

Manfred BUTZMANN (1942)"Ruine des Neuen Museum"Grafik - Aquatintaradierung auf Bütten, Platte 20,6 cm x 22,7 cm, Blatt 26,8 cm x 30,3 cm,links unten bezeichnet, rechts unten handsigniert und datiert 1984Manfred BUTZMANN (1942)"Ruine des Neuen Museum"graphic aquatint etching on laid paper, plate 20.6 cm x 22.7 cm, sheet 26.8 cm x 30.3 cm,inscribed on the lower left, handsigned and dated 1984 on the lower right

Manfred BUTZMANN (1942)"Museumsinsel"Grafik - Aquatintaradierung auf Bütten, Platte 19,2 cm x 24,2 cm, Blatt 30,7 cm x 35,9 cm,links unten bezeichnet, rechts unten handsigniert und datiert 1986Manfred BUTZMANN (1942)"Museumsinsel"graphic - aquatint etching on laid paper, plate 19.2 cm x 24.2 cm, sheet 30.7 cm x 35.9 cm,inscribed on the lower left, handsigned and dated on the lower right 1986

After John Brunsden, DERBYSHIRE MILL Limited edition etching with aquatint, 47 x 61cm, signed, titled and numbered 29/125 in pencil within the margin, together with a limited-edition print by Debby Mason, COELACANTH, 25 x42cm, signed, titled and numbered 6/50 in pencil within the margin (2).