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Frank Ellerton Dodman (1908-1997)"Peebles from the West"Signed & dated 1985, titled verso, pen, ink & watercolour, 29cm by 39cm; together with two watercolours and two drypoint etchings by the artist, Scottish country and city views (5)

Salvador Dalí (1904-1989)The Sacred Love of Gala, from After 50 Years of Surrealism (Field 74-8J; M&L 674)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 515mm (26 3/8 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989) Gad, from The Twelve Tribes of Israel (Field 72-6G; M&L 624a) Etching with drypoint and pochoir in colours, 1972, signed in pencil, numbered from the edition of 195, printed by Ateliers Rigal, Paris, published by Trans World Art, New York, on Arches paper, with full margins, sheet 501 x 660mm (19 3/4 x 26in) With the Dali Trade authentication inscription and signature in pencil verso (dated 3/14/24)

Pablo Picasso (1881-1973)Le Voil II (Bloch 180)Drypoint, 1933, signed in pencil, as included in the Vollard suite, the total edition was 303, on Montval laid paper, with the Picasso watermark, with full margins, sheet 335 x 442mm (13 1/4 x 17 3/8in)

Salvador Dalí (1904-1989)Freud with a Snail Head, from After 50 Years of Surrealism (Field 74-8G; M&L 672)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 672 x 510mm (26 1/2 x 20 1/8in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989) Homme Figuier, from FlorDalí (Field 69-11B; M&L 345e) Drypoint with lithograph printed in colours with embossing, 1969, signed and inscribed 'Epreuve d'artiste' in pencil, aside from the edition of 150, co-printed by Matthieu and Rigal, published by Jean Schneider, Basel, on Richard de Bas Auvergne paper, with full margins, sheet 755 x 555mm (29 3/4 x 21 7/8in)

Salvador Dalí (1904-1989) La Table d'émeraude, from Alchimie des Philosophes (Field 75-12a; M&L 837a) Lithograph and screenprint in colours with drypoint and etching, 1975, signed in red felt tip ink, numbered from the edition of 225, printed by Viglino/Arts Litho/CAZA, published by Art et Valeur, Paris, on vellum, the full sheet printed to near the edges, sheet 775 x 577mm (30 1/2 x 22 3/4in)

Pablo Picasso (1881-1973)Salomé, from La Suite des Saltimbanques (Bloch 14)Drypoint, 1902, the edition was 250, published by Ambroise Vollard in 1913, on Van Gelder Zonen laid paper, with full margins, 655 x 505mm (25 3/4 x 19 3/4in)

Salvador Dalí (1904-1989)The Museum of Genius and Fancy, from After 50 Years of Surrealism (Field 74-L; M&L 676)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 508mm (26 3/8 x 20in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989)A Shattering Entrance on the American Stage, from After 50 Years of Surrealism (Field 74-8H; M&L 673)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 676 x 550mm (26 5/8 x 20 1/8in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989) Venus et le Joueur d'orgue, from Suite Mythologique Nouvelle (Field 71-8E; M&L 484c) Drypoint with etching and pochoir printed in colours, 1971, signed and inscribed 'EA' in pencil, aside from the edition of 50 in roman numerals, printed by Ateliers Rigal, published by Vision Nouvelle, on Richard de Bas Auvergne paper, with full margins, sheet 587 x 790mm (23 1/8 x 31 1/8in)

Rembrandt Harmensz. van Rijn (1606-1669)The Angel appearing to the ShepherdsEtching, engraving and drypoint, 1634, but a later impression of New Hollstein's fifth or sixth state (of six), on laid paper without watermark, heavily reworked to wear in the plate, platemark 261 x 219 mm (10 1/4 x 8 1/2 in), sheet 278 x 235 mm (10 7/8 x 9 1/4 in), minor repairs to splits in the upper edge, faint signs of tape stains in the margins (unframed)Literature:Bartsch 44; New Hollstein 125 vi/vi

Salvador Dalí (1904-1989) The Laurels of Happiness, from After 50 Years of Surrealism (Field 74-8D; M&L 665) Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 509 x 675mm (20 x 26 3/4in) With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989)Gala's Castle, from After 50 Years of Surrealism (Field 74-8K; M&L 675)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 672 x 513mm (26 1/2 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989) Frontispiece, from Les Caprices de Goya de Dalí (Field 77-3; M&L 848)Drypoint on heliogravure with pochoir, 1977, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal, published by Berggruen/Editions Graphiques Internationales, Paris, on BFK Rives paper, the full sheet printed to the edges, sheet 444 x 315mm (17 1/2 x 12 3/8in)With the Dali Trade authentication inscription and signature in pencil verso (5/19/22)

Salvador Dalí (1904-1989)Le Printemps, from Suite Mythologique Nouvelle (Field 71-8G; M&L 486a)Drypoint with etching and pochoir in colours, 1971, signed and inscribed 'EA' in pencil, aside from the edition of 150, printed by Ateliers Rigal, published by Vision Nouvelle, on BFK Rives wove paper, with full margins, sheet 755 x 565mm (29 3/4 x 22 1/4in)

Roland Jarvis, a pair of drypoint prints, "card players" and "dog fight on zebra crossing", signed and numbered, largest 26cm x 17cm, framedGood condition

MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 München) FohlenFarbradierung. Rechts unten Bleistiftsignatur. 29,5 x 24,5 cm. Gerahmt & hinter Glas : 52 x 39 cm. Detaillierte Darstellung eines jungen Pferdes mit weißen Strümpfen und weißer Blesse vor leerem Hintergrund; Radierung in Schwarz und Braun, erscheint wie eine Skizze oder Studie. Papier vereinzelt fleckig. Meyer-Eberhardt studierte 1912 bis 1917 an der Hochschule für Bildende Kunst in Weimar bei u.a. Theodor Hagen und Walther Klemm. Besonders bekannt ist er für eine Kaltnadelfarbradierungen von Tier- und Jagdmotiven. Literatur : Vollmer 1956, S. 383. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:44 Uhr (CET) MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 Munich) FohlenColor etching. Pencil signature lower right. 29.5 x 24.5 cm. Framed & behind glass : 52 x 39 cm. Detailed depiction of a young horse with white stockings and white blaze against an empty background; etching in black and brown, appears like a sketch or study. Paper sporadically stained. Meyer-Eberhardt studied from 1912 to 1917 at the Academy of Fine Arts in Weimar under Theodor Hagen and Walther Klemm, among others. He is particularly known for his drypoint etchings of animal and hunting motifs. Literature : Vollmer 1956, p. 383. Aufrufzeit 26. | Oct. 2024 | probably 10:44 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 München) RehkitzRadierung. Undeutlich signiert. 37 x 30 cm. Gerahmt & hinter Glas : 56 x 46 cm. Jungtier mit gefleckter Fellfärbung. Starke Lichtbräunung, schwach fleckig. Meyer-Eberhardt studierte 1912 bis 1917 an der Hochschule für Bildende Kunst in Weimar bei u.a. Theodor Hagen und Walther Klemm. Besonders bekannt ist er für eine Kaltnadelfarbradierungen von Tier- und Jagdmotiven. Literatur : Vollmer 1956, S. 383. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:44 Uhr (CET) MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 Munich) RehkitzEtching. Indistinctly signed. 37 x 30 cm. Framed & behind glass : 56 x 46 cm. Young animal with spotted coat coloration. Strong light browning, faintly stained. Meyer-Eberhardt studied from 1912 to 1917 at the Academy of Fine Arts in Weimar under Theodor Hagen and Walther Klemm, among others. He is particularly known for his drypoint etchings of animal and hunting motifs. Literature : Vollmer 1956, p. 383. Aufrufzeit 26. | Oct. 2024 | probably 10:44 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Salvador Dali (Spanish, 1903-1989) Henry Wadsworth Longfellow, 1967 Etching and drypoint printed in red, on wove Signed and numbered 64/125 Dimensions: (Frame) 16.5 in. (H) x 13 in. (W) (Paper) 7 in. (H) x 5.5 in. (W)

A BEKO DRYPOINT RA AIR COOLING UNIT

Rowland Langmaid (British, 1897-1956), ‘Old Portsmouth’ drypoint etching on paper. Signed and titled in pencil, framed and glazed. Some tone spots. 10.5cm x 34cm, frame measures 27cm x 47cm.

William Lionel Wyllie (British, 1851-1931), ‘St Paul’s from the Thames’ drypoint etching on paper. Signed to lower left, framed and glazed. 18cm x 39cm, frame measures 37.5cm x 53cm.

William Lionel Wyllie (1851-1931) : The Battle of Trafalgar, drypoint etching, signed in pencil, with margins, 20 cm x 39 cm, together with a further signed etching by the same hand of a similar subject matter, framed as a pair. (2)

EDOUARD JULES CHIMOT. FRENCH 1880-1959.Standing nude with distant village. Signed in pencil. Coloured drypoint etching, 6½" x 5¼" plate size.

William Walcot (British, 1874-1943) A pair of drypoint etchings on paper, signed in pencil (l.r.) 'St. Paul's from Fleet Street', 7¼ x 9¼in (18.5 x 23cm) 'Oxford Street from Marble Arch', 6 x 9in (15.5 x 23cm) the frames 47.5 x 40cm

William Walcot (British, 1874-1943) Arch of San Carlo, Naples drypoint etching on paper, signed in pencil (l.r.), c.1920 7½ x 6¾in (19 x 17cm), frame size 47.5 x 32.5cm

* Khnopff (Fernand, 1858-1921). Un Geste d'Offrande (Un Geste de Respect), 1900, drypoint etching on thin wove paper, printed with light plate tone, an artist's proof, signed an dinscribed 'epreuve d'etat. Un souvenir de Fernand Khnopff. 1920' to lower margin, some light soiling and handling marks to sheet edges, barely discernable crease to upper left corner of the plate area, plate size 200 x 145 mm, sheet size 272 x 182 mm (10 5/8 x 7 3/16 ins)QTY: (1)NOTE:Delevoy Croesë 355.

* Brockhurst (Gerald, 1890-1978). Study for a Decoration, 1923, etching on cream laid paper, from the edition of 76 artist's proofs, signed in pencil, mount stained, plate size 15.7 x 12.1 cm (6 x 4.3/4 ins), sheet size 28.8 x 22.2 cm (11.3 x 8 3/4 ins), unframed, plus Anderson (Stanley, 1884-1966). 'Old Father Time', of Wiltshire, 1944, copper line engraving on laid paper, signed in pencil, from the edition of 100 artist's proofs, 'Ed = 100' by the artist lower left in pencil, titled 'Old Father Time, of Wiltshire. (Line-engraving) Edition 100 prints' by the artist to lower sheet edge, tipped-on to backing board at the upper sheet corners recto, plate size 9.5 x 8 cm (3 3/4 x 3 ins), sheet size 23 x 17.8 cm (9 x 7 ins), hinge-mounted, and Spencelayh (Charles, 1865-1958). The Last Night of Hanuka, etching, signed, titled and numbered 7/30 in pencil, plate size 25 x 20 cm (9 3/4 x 8 ins), framed and glazed (55.5 x 45.5 cm), with Lindsay (Lionel, 1874-1961). Zocodover Gate, Toledo, etching with drypoint, signed in pencil, from the edition of 75 proofs, P. & D. Colnaghi label to frame verso, plate size 29.5 x 19.9 cm (11 3/4 x 8 ins), framed and glazed (56.5 x 42 cm), together with a drypoint etching signed 'J. Gavin' of workers operating a press, and two etchings of views of Chelsea, London by Charles William Sherborn, all framed, signedQTY: (7)NOTE:Brockhurst: Wright/Fletcher 46. Anderson: Meyrick and Heuser 243.

* Khnopff (Fernand, 1858-1921). Sire Halewyn, 1903, drypoint etching on pale cream wove paper, signed and with indistinct presentation inscription lower right, several diagonal creases, affecting the image area, light mount stain, plate size 170 x 240 mm, sheet size 283 x 365 mm, together withUn Masque, 1899, drypoint etching on cream wove paper, heightened with pale red crayon (to the flower button hole), signed and inscribed 'un souvenir de Fernand Khnopff. 1919', diagonal crease to upper right, touching the image area, some light spotting and handling marks, mainly to blank outer margins and sheet edges, plate size 177 x 100 mm, sheet size 290 x 180 mm (11 3/4 x 7 1/8 ins)QTY: (2)NOTE:Delevoy Croesë 388 & 337.

* Anderson (Stanley, 1884-1966). Pan in Fulham, 1932, engraving on Millbourn wove paper, signed in pencil, a deep impression, from the edition of 50 artist's proofs, title pencil to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners recto, faint mount staining, plate size 18.6 x 14.2 cm (7 1/4 x 5 1/2 ins), sheet size 29 x 21.5 cm, window mounted, and Austin, (Robert Sargent, 1895-1973). Woman Sleeping, 1931, engraving on wove paper, signed in pencil, with margins, tipped-on to backing board at the upper sheet corners recto, very faint mount staining, plate size 13.7 x 19.2 cm (5 1/2 x 7 1/2 ins), sheet size 28 x 36.5 cm, window mounted, plus Walcot (William, 1874-1943). Cornhill and the Royal Exchange, London, circa 1933-35, etching with drypoint on cream wove paper, signed in pencil, plate size 17.8 x 19.8 cm (7 x 7.3/4 ins), with margins, window mounted, together with two further prints by Louis C Rosenberg and Leslie Moffat Ward, both unframedQTY: (5)NOTE:Pan in Fulham. It is thought that only about 10 to 14 prints were made before the plate was lost when Anderson's studio was bombed in 1941. Meyrick & Heuser 203 (iv/iv).

* Meryon (Charles, 1821-1868). L'Arche du Pont Notre-Dame, 1853, etching with drypoint on laid paper, with partial watermark, the 4th state (of 7), some light spotting, plate size 153 x 195 mm (6 x 7 3/4 ins), sheet size 295 x 475 mm (11 1/2 x 18 3/4 ins), old card mountQTY: (1)NOTE:Schneiderman 28.

Raphael Soyer (American, 1899 - 1987)"Waiting"Etching and drypoint on wove paper. Signed and titled lower margin.Edition of 250, published by Associated American Artists.Sight Size: 7.25 x 9.25 in.Overall Framed Size: 14.25 x 15.75 in.Framed behind glass.

David Young Cameron (1865-1945), 'Souvenir d'Amsterdam', drypoint etching, signed in pencil, plate size 15" x 10.25" (38 x 26cm).

Neil Pittaway, artist signed proof drypoint etching, Phinnermont Square, dated 1997, 51 x 37cm, framedPaper is stained around the edge from the mounting slip, otherwise in good condition.

Francis Dodd (British, 1874-1949) -Greenwich - Drypoint etching -14 x 24cm - 50 x 40cm framed - Signed in pencil lower right margin

Berthe Morisot (French, 1841-1895) -Seated nude 'Nu de dos' -Drypoint etching -13.5 x 10cm (plate)

Lionel Lindsay (1874-1961) Etching with drypoint on paper 'A bridge Estremadura, 1926', signed in pencil, with plate tone, from the edition of 75 artist's proofs, published by P. & D. Colnaghi, London, Eveling & Tress label to frame verso, plate size 17.5cm x 25cm, framed and glazed (39 x 47.5 cm), together with Hendrik 'Rik' Frans Schaefels (1827-1904) etching on paper 'Longboats at Arnemuiden, 1882', signed within plate 'Rik Schaefels', image size 14cm x 21.5 cm), framed and glazed (35 x 43.5 cm) (2) A bridge Estremadura, Mendelssohn 388. A trial proof of this print is held in the National Gallery of Victoria, Australia - Accession Number 1021-4.

PIERRE- AUGUSTE RENOIR (1841-1919) LE CHAPEAU EPINGLE ETCHING A DRYPOINT ON LAID PAPER 11.5CMS X 7.5CMS SIGNED IN THE PLATE

A QUANTITY OF ASSORTED PRINTS ETC, to include two Turner prints, a Wilfred C. Applebey drypoint etching of 'The General Hospital Birmingham', signed and titled to lower margin, an oil on board signed R. Goodyear depicting a square rigged ship, approximate size 25cm x 29cm, an early 20th century Japanese mixed media painting depicting Mount Fuji and boats on the water, prints of Sevres porcelain, reproduction map of Staffordshire, assorted prints etc, Some prints have damaged and or dirty frames

LOUISE BOURGEOIS (1911-2010)The Cross-Eyed Woman I signed with the artist's initials 'LB' (lower right)drypoint printed on fabric38.4 x 43.8cm (15 1/8 x 17 1/4in).Executed in 2004, this work is number 4 from an edition of 5, plus 2 artist's proofs and 1 printer's proof.Footnotes:ProvenanceGalerie Karsten Greve, Paris.Private collection. Anon. sale, Christie's, Paris, 16 June 2021, lot 1. Acquired from the above by the present owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Kurt Meyer-Eberhardt (1895-1977), by and after, Head study of a foal, signed in pencil lower right margin, coloured drypoint engraving, 42cm x 31cm.

Henry Wilkinson,Pair of Retrievers,drypoint etching, hand coloured, signed,27x36cm,and a companion work, both limited editions.Qty: 2Condition report:31/100 and either 31 OR 37 /100.

Fred Slocombe (1847-1920) : A woodsman piling firewood, drypoint etching, 24 cm x 16.5 cm.

Sir Muirhead Bone NEAC, RE (Scottish 1876-1953)  'Lifting an oil tank into a train ferry' Drypoint and signed in pencil to margin Muirhead Bone was appointed the first official war artist, serving with Allied forces on the Western Front and for a time with the Navy. Glasgow born Bone contributed his ‘On the Clyde’ series to a publication of lithographs produced for the Great War: ‘Britain’s Efforts and Ideals’. These 66 prints were produced by the British government in 1917 artistic propaganda with the aim of encouraging a war-weary public and raising support for the war effort. Bone returned to his role as War Artist in 1940 during the Second World War.

Artist: Alexander Archipenko (Ukranian-Russian-American, 1887 - 1964). Title: "Kneeling [unrecorded signed lifetime impression]". Medium: Original drypoint. Date: Composed 1920. Dimensions: Overall size: 15 x 10 11/16 in. (381 x 271 mm). Image size: 7 x 5 in. (178 x 127 mm).Pricing:   Starting Price: $3,000  Reserve Price: N.A.  Auction Sale Price Estimate: $4,000/5,000Lot Note(s): Signed in pencil, lower right. Not editioned in Archipenko's lifetime. Cream wove paper. Full margins (deckle edges all four sides). Fine impression; printed in brown ink. Very good condition. Literature/catalogue raisonne: Karshan 4. Provenance: The estate of John and Valere Butterwick, Kewanee, Illinois. Comment(s): Exceedingly rare, perhaps unique, proof. Unknown to Karshan. As he states,"Kneeling is the second drypoint of only three that the artist executed ["Kneeling," "Bending," "Angelica"]. The original copper plates [of these three] were discovered by the artist's widow in 1966 at his atelier in Woodstock, New York. These plates were in sufficiently good condition to permit posthumous editions to be printed, since only one life-time proof was known of "Bending," two of "Angelica," and none of "Kneeling." These three editions were printed in New York by Miss Judith Foster in 1967, under the supervision of the artist's estate." Donald Karshan, "Archipenko: The Sculpture and Graphic Art." Tubingen: Ernst Wasmuth, 1974, pg. 75. Image copyright © Estate of Alexander Archipenko / Artists Rights Society (ARS), New York. [25193-4-3000-NA]

Artist: Pierre Bonnard (French, 1867 - 1947). Title: "Toilette". Medium: Original drypoint. Date: Composed 1927. Printed 1927. Dimensions: Overall size: 10 1/8 x 7 13/16 in. (257 x 198 mm). Image size: 8 5/8 x 6 1/4 in. (219 x 159 mm).Pricing:   Starting Price: $400  Reserve Price: N.A.  Auction Sale Price Estimate: $500/600Lot Note(s): Stamped lower right; signed with the initials in the plate, lower center; stamped verso. Cream wove paper. Full margins. Fine impression with good plate tone and pronounced platemark. Very good condition; crease upper right corner, not into image. Literature/catalogue raisonne: Francis Bouvet, “Bonnard: The Complete Graphic Work” #107; Terrasse/Floury 59. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Scarce. This print was authorized by Bonnard, printed under the immediate supervision of Charles Terrasse (Bonnard’s nephew) by D. Jacomet & Cie, Paris, and published by Henri Floury, Paris. Image copyright © Artists Rights Society (ARS), New York/ADAGP, Paris. [29368-1-400-NA]

Frank Henry Mason (Staithes Group 1875-1965): Whitby, drypoint etching signed in pencil 20cm x 25cm

August Louis Lepere (French 1849-1918): 'Amiens Cathedral', drypoint etching signed in pencil 38cm x 26cm; Walter Zeising (German 1876-1933): Dresden Market - Germany, drypoint etching signed in pencil 29cm x 20cm (2)

Rowland Langmaid (British 1897-1956): 'In the Path of the Sun' and 'Plymouth Hoe', two drypoint etchings signed in pencil max 15cm x 23cm (2)

Alfred Charles Stanley Anderson (1884-1966) - Drypoint etching - 'Toleda from the Castillo de San Servando', signed, 24cm x 38cm, framed under glass

FRANK WESTON BENSON (AMERICAN 1862-1951) YELLOWLEGS IN SUNLIGHT - 1928 Drypoint etching, signed with initials and dated in plate, signed in pencil to margin plate size 24.5cm x 19.5cm (10in x 7.75in)

Elzer, Sjoerd (Groningen 1944-) "Abstract", signed in full in pencil l.l. and 1968, line etching/aquatint/drypoint/paper no. 2/10, h 39.5 x w 24.5 cm.

Fernand Toussaint (1873-1955), A veiled lady holding a Japanese Noh mask, drypoint etching published by L'Estampe Moderne, publisher's blindstamp and numbered 17 in pencil, 39.5 x 49.5cm (pl.).

James McNeill Whistler (1834 - 1903), St James's Street, 1878, etching and drypoint on ivory laid paper, state 4/4, Kennedy 169, Mansfield 165, plate 27.5cm x 15cm, framedGenerally good condition with very slight paper discolouration, no foxing or tears, mount lightly foxed and discoloured, original frame with original backboard and untouched backing tape, never been out of this frame

SALVADOR DALI (SPANISH, 1904-1989) - 'Vivian and Lancelot', drypoint printed in colour, signed in pencil and numbered 7/20, marked E.A. (epreuve d'artiste), framed, plate size 39cm x 26cm, frame size 57cm x 41cm. NB - This is one plate from 'La Quête du Graal', a suite of twelve drypoints, published in 1975.

EDMUND BLAMPIED (1886–1966) - 'Return from the Fair', etching with drypoint, framed, 15cm x 24cm, frame size 43cm x 57.5cm.

Sir Francis Seymour Haden (1818-1910) The Little Boat House signed, dated 1899, drypoint etching, 17cm x 24cm

Una Vincenzo, Lady Troubridge (1887-1963) Nijinsky unsigned, drypoint, 29cm x 19cm

Maxwell Doig (Bn.1966), Pylons, drypoint, numbered 8/8, signed in pencil, 20cm x 27cm