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MALTE SARTORIUS (1933-2017). “Calle dei Pret”; etching; signed, inscribed & numbered 4/35 in pencil; 15” x 11½”, framed & glazed. (25” x 21” over-all).

A Framed Dry Point Etching, Unicorn Inn, Shrewsbury by S Goodway, 20x23cms

Jan Caspar Philips (German 1690–1775 Netherlands) German engraver who later moved to Amsterdam. Etching, Landscape with a Japanese Couple on a Country Road. In the background a pilgrim and two men from Congo. Dimensions: platemark: h 19cm × w 20cm (approx) Condition: cracks (outside the print) and strong foxing, folds, tearson edges conform to age. unframed

Robert Kasimir (Wien 1914-2002) "Wien Graben mit Stephansplatz und Stephansdom", unten signiert Robert Kasimir, Radierung in Farbe, Blattgröße ca. 52 x 45 cm, stockfleckig, verglast, gerahmt, Rückseite des Rahmens muss neu geklebt werden.  Robert Kasimir (Vienna 1914-2002) "Vienna Graben with Stephansplatz and St. Stephans Cathedral", signed Robert Kasimir bottom center, color etching, sheet size approx. 52 x 45 cm, foxing, glazed, framed, Back of frame must be re-taped.

PHILIP YORKE EARL OF HARDWICKE ETCHING/LITHOGRAPH

CHARITY LOT SUPPORTING OUR 2023 NOMINATED BENEFICIARY TENOVUS CANCER CARE LARGE SELECTION of artwork and books to include, 19TH CENTURY CENTURY CONTINENTAL SCHOOL oil on canvas - old testament scene of standing male and kneeling female with smoke ascending from a fire, unsigned, 39 x 29cms, OBEDIAH HODGES (Welsh, 1873-1938) gouache on board - three exotic birds perched on leafy branches and flying overhead, signed and inscribed 'Guilote Mexican', and a companion similar inscribed 'Uraca, Mexican', handwritten labels verso, 53 x 18cms (2), WALTER ASHWORTH (1883-1952) oil on board - 'An Italian Landscape', cowherd with two cows in an Alpine landscape, signed, titled on label verso, 35 x 24cm, ALWYNNE BOWEN (Welsh, 20th Century) oil on canvas - landscape with farm and outbuildings, entitled verso 'The Little Fields of Lleyn From Braigh-y-Bwll', signed, dated 1975, 50 x 75cms, THREE OILS ON BOARD, Mediterranean scenes, two signed 'R. Witchard', 55 x 90cms, 47 x 59cms, and 45 x 53cms (3), ANDREW CLEMENT VERSTER (South African, 1937-2020) etching – lady in chair, signed and dated ’72 in pencil, 73 x 54cms, C M CRUTTENDEN (English 20th Century) oil on board - still life of flowers in a vase and vegetables, JOHN CLEAL (South African, 1929-2007) pen and ink sketch - Mumbles Pier, GEORGE KILIBARDA (Welsh, b. 1954) limited edition (4/5) colour print - busy city park scene, W WARD coloured engraving after an original painting by George Moreland (1763-1804) - entitled 'Juvenile Navigators', JOHN COTHER WEBB (British, 1855-1927) coloured mezzotint - mother watching her children at play, signed in pencil, STANLEY ORCHART (born Stanley James Orchart - British, 1920-2005) print - entitled 'Butlers Hard, Hampshire', THOMAS G APPLETON (British, 1854-1924) two coloured aquatints - Fruit Seller and Family Group, TWO MONOCHROME PAINTINGS ON GLASS, MOIRA HUNTLY (b.1932) watercolour - 'Farm Nr. World's End', COLIN BITHELL (Contemporary) limited edition (57/160) lithograph - opera singer Sir Bryn Terfel, limited edition (623/850) colour print - paddle steamer 'Cardiff Queen', leaving pier head, Cardiff, dated 1956, J LEWIS STANT Rembrandt Guild artist's proof etching - titled in pencil 'Llewellyn's Cottage, Beddgelert', signed, 24 x 32.5cms, GROUP OF EPHEMERA / PRINTS ETC including a framed printed portrait of composer Edvard Grieg, WRAXALL (NATHANIAL W.) The History of France, 3 vols., 1795, contemp. full calf gilt, 4to, selection of Miller's Antiques hardback books ETC

‡ DONALD WILKINSON (b. 1937) etching with colour - 'Below Derwent Folds', c. 1980, triptych, signed, titled and numbered 24/75 in pencil, 49 x 120cm (3) Comments: waterstained to lower margin.

W. FAIRCLOUGH (CONTEMPORARY SCHOOL) ARR. THE FISH MONGER, PENCIL SIGNED ETCHING. 30 x 22cms TOGETHER WITH A FOLDER OF REPRODUCTION EARLY ENGLISH MAPS

Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)Geflügelte Stele, Bronze, schwarzbraun patiniert, partiell poliert, auf schwarzem Steinsockel, Höhe (mit Sockel) 222 cm, im Guss signiert, 2/9 nummeriert, Gießerstempel 'Cameo Editions', partiell Kratzer"Seine Werke werden in der ganzen Welt anerkannt, geschätzt, auch von einem breiten Publikum gekauft", rühmt Jens Christian Jensen den Künstler, "Kunstkenner sind sich einig: Paul Wunderlich ist der Hauptmeister des phantastischen Realismus und einer der wenigen stilbildenden Künstler unserer Zeit."Paul Wunderlich wurde 1927 in Eberswalde geboren und zählt als Maler, Bildhauer, Grafiker, Entwerfer von Objektkunst und sogar Mobiliar zu den produktivsten Künstlern des 20. Jahrhunderts. In den Jahren 1947 - 1951 studierte er an der Hochschule für Bildende Künste in Hamburg, wo er unter anderem auf seine Mitschüler Horst Janssen und Reinhard Drenkhahn traf, bis er selbst von 1951 - 1960 an der Hochschule Radierung und Lithografie unterrichtete. Von 1961 - 1963 lebte und arbeitete Wunderlich in Paris und trat in Hamburg die Nachfolge von Georg Gresko als Professor an der Kunsthochschule an. In den 1960er-Jahren experimentierte Wunderlich mit unterschiedlichen Techniken und entwickelte seinen unverwechselbaren Stil, in dem sich manieristische und surrealistische, aber auch Elemente des Jugendstiles und des Art-Déco wiederfinden. Er gestaltete surreale Figuren mit ungleichen Proportionen und nahm häufig berühmte Motive der klassischen Kunst und Mythologie zum Vorbild. Zunächst bezog er seine Themen aus der Deutschen Geschichte. Später konzentrierte er sich vermehrt auf erotische Motive. Unter dem Einfluss Salvador Dalís begann er mit der Fertigung von Bronzen.Paul Wunderlich widmete sich über fünfzig Jahre geradezu obsessiv der erotischen Darstellung des weiblichen Körpers in immer neuen Variationen. In seiner Vorstellung von Ästhetik erscheinen Frauengestalten sanft, schwerelos und fließend. Wunderlich legte großen Wert auf glatte Oberflächen, fließende Übergänge und nuancenreiche Farbmodulationen. In Anspielung auf ihr berühmtes Vorbild, der monumentalen Nike von Samothrake im Louvre, hat Paul Wunderlich seine unverhüllte geflügelte Siegesgöttin aus der griechischen Mythologie mit zarten, langgezogenen Beinen und einer sinnlich glatten Oberfläche dargestellt.Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)Winged stele, bronze, black-brown patinated, partly polished, on black stone base, height 222 cm, signed in the casting, numbered 2/9, foundry stamp 'Cameo Editions', partly scratches''His works are recognised all over the world, appreciated, also bought by a broad public,'' Jens Christian Jensen praises the artist, ''Art connoisseurs agree: Paul Wunderlich is the main master of fantastic realism and one of the few style-forming artists of our time.''Paul Wunderlich was born in Eberswalde in 1927 and, as a painter, sculptor, graphic artist, designer of object art and even furniture, is one of the most productive artists of the 20th century. From 1947 to 1951 he studied at the Hochschule für Bildende Künste in Hamburg, where he met fellow students Horst Janssen and Reinhard Drenkhahn, among others, until he himself taught etching and lithography at the Hochschule from 1951 to 1960. From 1961 to 1963 Wunderlich lived and worked in Paris and succeeded to Georg Gresko as professor at the art academy in Hamburg. In the 1960s Wunderlich experimented with different techniques and developed his unmistakable style, in which Mannerist and Surrealist, but also elements of Art Nouveau and Art Deco can be found. He created surreal figures with unequal proportions and often took famous motifs from classical art and mythology as models. Initially, he drew his themes from German history. Later he concentrated increasingly on erotic motifs. Under the influence of Salvador Dalí, he began to produce bronzes.For over fifty years, Paul Wunderlich devoted himself almost obsessively to the erotic depiction of the female body in ever new variations. In his idea of aesthetics, female figures appear soft, weightless and flowing. Wunderlich attached great importance to smooth surfaces, flowing transitions and nuanced colour modulations. Alluding to her famous model, the monumental Nike of Samothrace in the Louvre, Paul Wunderlich depicted his unveiled winged goddess of victory from Greek mythology with delicate, elongated legs and a sensually smooth surface.

Gerhard Richter (1932 Dresden) (F)'Kanarische Landschaften I', sechs farbige Heliogravuren auf leichtem Maschinenbüttenkarton, 1971, 39 cm x 50 cm Blattmaß, signiert, 48/100 nummeriert, partiell minimal stockfleckig, aufgehellt, Blattränder leicht beschnitten, kleiner Einschnitt im Papier, Literatur: Wvz. Butin 39aGerhard Richter wurde 1932 in Dresden geboren. Nachdem der Künstler in Dresden und an der Düsseldorfer Akademie studierte, stellte er seine ersten Werke aus. Diese übersetzten die bekannten Zeitungsausschnitte in schwarz-weiße und verwischte Gestaltungsform. "Im Malen nach Fotovorlagen findet Richter seine Methode, um den Prozess des Malens in seinen Möglichkeiten auszuloten. Dabei ist das Werk von ständigen Veränderungen und Brüchen geprägt [...]". Ebendiese Inkonsequenz beschreibt auch sein Oeuvre, das durch gegensätzliche oder nebeneinander geschaffene Werkgruppen bestimmt ist. So erschuf der Künstler Portraits, Farbtafeln, Städtebilder und abstrakte Bilder mit grauen oder farbigen, mit dem Rakel gezogenen, Schlieren. Ebenso Wolken, Vanitasmotive, Werke von hoher Raumwirkung oder aber Geschehnissen. Dabei bezieht sich der Künstler auch auf die eigens angelegte Sammlung fotografischer Arbeiten, die er dabei oftmals als Vorlage nutzt. Die spanische Inselgruppe der Kanaren ist vulkanischen Ursprungs. Eben diese kraterartige Landschaft die gleichermaßen von Einsamkeit und purer fruchtbarer Erde erzählt, hat Richter in handwerklich gelungenen Heliogravüren festgehalten. Um diese Technik zu nutzen muss zunächst eine Kupferplatte zugeschnitten werden, um Licht in diese einzuätzen. Die chemischen Feinheiten innerhalb des Säurebades müssen dazu für eine möglichst gleichmäßige Ätzung übereinstimmen. Eben diese Kupferplatte kann anschließend mit kolorierter Tinte bestrichen werden, um den Druck zu vervollständigen. Durch diese Technik ist es dem Künstler möglich die Fotografien zu unterstützen, sodass die Landschaften der kanarischen Inseln an Tiefenwirkung und Intensität gewinnen.Gerhard Richter (1932 Dresden) (F)'Kanarische Landschaften I ', six coloured heliogravures on light machine-made cardboard, 1971, 39 cm x 50 cm sheet dimension, signed, 48/100 numbered, partly stain spotted, paper lightened, literature: Cat. rais. Butin 39aGerhard Richter was born in Dresden in 1932. After the artist studied in Dresden and at the Düsseldorf academy, he exhibited his first works. These translated the familiar newspaper clippings into black-white and blurred form. ''In painting from photographic originals, Richter finds his method for exploring the process of painting in its possibilities. In the process, the work is characterised by constant changes and breaks [...]''. This same inconsistency also describes his oeuvre, which is defined by groups of works that are contradictory or juxtaposed. The artist created portraits, colour panels, cityscapes and abstract paintings with grey or coloured streaks drawn with a squeegee. Likewise clouds, vanitas motifs, works with a high spatial effect or events. The artist also refers to his own collection of photographic works, which he often uses as models. The Spanish archipelago of the Canary Islands is of volcanic origin. It is precisely this crater-like landscape, which tells of loneliness and pure fertile earth at the same time, that Richter has captured in heliogravures of great craftsmanship. To use this technique, a copper plate must first be cut to etch light into it. The chemical finenesses within the acid bath must be matched for the etching to be as even as possible. This copper plate can then be coated with coloured ink to complete the print. This technique enables the artist to support the photographs so that the landscapes of the Canary Islands gain depth and intensity.

Wilhelm Lehmbruck (1881 Duisburg - 1919 Berlin)'Der verlorene Sohn', Radierung auf Papier, 1913, 29,7 cm x 19,7 cm Plattenmaß, 38 cm x 28 cm Blattmaß, verso von fremder Hand betitelt, leicht gewellt, leicht nachgedunkelt, verso partiell hinterklebt, partiell fleckig, Literatur: Wvz. Petermann 74 IVWilhelm Lehmbruck (1881 Duisburg - 1919 Berlin)'Der verlorene Sohn', etching on paper, 1913, 38 cm x 28 cm sheet dimension, 29,7 cm x 19,7 cm plate dimension, verso titled by another hand, slightly wavy, slightly darkened, partially glued behind, partially stainspotted, Literature: Cat. Rais. Petermann 74 IV

Arnulf Rainer (1929 Baden bei Wien) (F)Mappe 'Haute Coiffure', 10-tlg., lose Blätter in OPp.-Mappe, je Kaltnadelradierung auf Bütten, 54 cm x 38,5 cm Blattmaß, 95/98 nummeriert, teils im Druck signiert bzw. monogrammiert, Titelumschlag mit dem Inhaltsverzeichnis und Impressum, erschienen in der Galerie Rottloff, Karlsruhe 1963, gedruckt bei Rudolf Lauterbach, Wien, signiert, 95 nummeriert, Stecknadellöcher in den Blattecken, leicht nachgedunkelt, minimal knickfaltig, partiell leichte Griffspuren, partiell oberflächlicher Papierabrieb, partiell minimal fleckig, Mappe knickfaltig, mit Klebespuren, partiell fleckig, Literatur: Wvz. Breicha R 25-34 CDer österreichische Maler Arnulf Rainer ist bekannt für seine in den 1950er Jahren entwickelten "Übermalungen", in denen eigene und fremde Fotos, Illustrationen oder manchmal ganze Blätter mit Farbe überdeckt wurden. Rainer war einer der Hauptbegründer des Wiener Informell, unterhielt aber auch regen Kontakt zu den Künstlern der Wiener Schule des Phantastischen Realismus wie Ernst Fuchs, Anton Lehmden und Arik Brauer. In seiner gesamten Karriere widmete er sich der Suche nach neuen Ansätzen in der Malerei. Mit seinen innovativen und gleichzeitig provokativen Arbeiten gelang es ihm, sich einen Ruhm auf dem internationalen Kunstmarkt zu sichern.Arnulf Rainer (1929 Baden near Vienna) (F)Folder 'Haute Coiffure', 10 pieces, loose sheets inside an OPp.-Portfolio, each drypoint etching on handmade paper, 54 cm x 38,5 cm sheet dimension, 95/98 numbered, partly signed during the print, respectively monogrammed, title cover with the table of contents and legal notice, published in Galerie Rottloff, Karlsruhe 1963, printed by Rudolf Lauterbach, Vienna, signed, 95 numbered, pinholes in the sheet corners, slightly darkened, minimally creased, partially slight grip marks, partial superficial paper abrasion, partially minimal stained, Folder creased, with adhesive traces, partially stained, Literature: Cat. Rais. Breicha R 25-34 CThe Austrian painter Arnulf Rainer is known for his "overpaintings" developed in the 1950s, in which his own and other people's photographs, illustrations or sometimes entire sheets of paper were covered with paint. Rainer was one of the main founders of Viennese Informalism, but also maintained active contact with the artists of the Viennese School of Fantastic Realism such as Ernst Fuchs, Anton Lehmden and Arik Brauer. Throughout his career he was dedicated to the search for new approaches to painting. With his innovative and at the same time provocative works, he succeeded in securing a reputation for himself on the international art market.

Paula McArdle, Signed Artists Proof Etching titled ' Walking the Dog ', image 53cm x 34cm

Boris Aleksandrovich Kalitov ( born 1945 ) a signed, numbered etching study of nude female bathers, No. 2 / 30, 26.5 x 32.5cm

William Lionel Wyllie (1851-1931) etching, ship scene, signed in pencil 'W L Wyllie' lower left, 20 x 28.5, framed and glazed

EDJ Burrow, 'Greek Theatre', etching, indistinctly signed lower right, 20 x 27cm, framed and glazed, EDJ Burrow, 'The Chapel Looking West', etching, indistinctly signed lower right, 27 x 20cm, framed and glazed, 'This plate of the wagon', after George Robertson, published 1803 by R. Pollard, 25.5 x 28.5cm, framed and glazed two crystoleums and two other pictures

Sir Frank Brangwyn RA RWS (1867-1956) signed etching - frame size 23m x 24cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching frame size 30cm x 20cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching - frame size 28m x 29cm - minor scuff to frame

JANSSEN, HORST (1929-1995), "Zu Svanshall Lübeck", 1981, Darstellung einer toten Ratte, Aquatintaradierung/Japanpapier, u. re. mit Bleistift von Hand nummeriert '51/100', monogrammiert 'HJ' und datiert '(19)81', HxB: Platte ca.15x22 cm; Blatt ca.40x30 cm. Leichte Alters- und Knickspuren.| JANSSEN, HORST (1929-1995), "Zu Svanshall Lübeck", 1981, representation of a dead rat, aquatint etching/Japanese paper, lower right numbered 51/100, mongrammed 'JH' and dated '(19)81' with pencil by hand, hxw: plate approx.15x22 cm; Sheet approx. 40x30 cm. Slight signs of age and creases.

JANSSEN, HORST (1929-1995), "Kleine Geschenke - Freundschaft", 1983, abstrakte Darstellung zweier Skelette, Aquatintaradierung/Japanpapier, in der Platte betitelt und datiert '22.7.83', u. re. mit Bleistift von Hand undeutlich bezeichnet (P 5?), monogrammiert 'HJ' und datiert '(19)83', HxB: Platte ca. 16x11,5 cm; Blatt ca.25x17,5 cm. Alters- und Knickspuren.| JANSSEN, HORST (1929-1995), "Kleine Geschenke - Freundschaft", 1983, abstract depiction of two skeletons, aquatint etching/Japanese paper, in plate titled and dated '22.7.83', lower right. indistinctly inscribed by hand in pencil (P 5?), monogrammed 'HJ' and dated '(19)83', hxw: plate approx. 16x11.5 cm; Sheet approx. 25x17.5 cm. Age and crease marks.

HOLLENBERG, FELIX (1868-1945), "Frühlingswolken", 1931, Ätzradierung/Bütten, u.re. in der Platte monogrammiert, darunter mit Bleistift von Hand signiert, HxB: Platte ca. 11x14,2 cm, Passepartoutausschnitt ca. 13x16 cm, Außenmaße Rahmen ca. 23,5x25 cm. Altersspuren, leicht gebräunt. Im Passepartout hinter Glas gerahmt. LITERATUR: Heide Büttenbender, Felix Hollenberg, Das graphische Werk, 1982, WVZ-Nr. 235.| HOLLENBERG, FELIX (1868-1945), "spring clouds", 1931, etching/laid paper, u.r. Monogrammed in the plate, signed by hand in pencil underneath, HxW: plate approx. 11x14.2 cm, passe-partout cut-out approx. 13x16 cm, outer dimensions of frame approx. 23.5x25 cm. Signs of age, slightly browned. Framed behind glass in a passe-partout. LITERATURE: Heide Büttenbender, Felix Hollenberg, The graphic work, 1982, WVZ-Nr. 235.

SLEVOGT, MAX (1868-1932), "Selbstbildnis zeichnend", Radierung/Bütten (linksseitig unvollständiges Wasserzeichen), am unteren Blattrand mit Bleistift bezeichnet, HxB: Platte ca. 18x11,5 cm, Blatt ca. 31x23 cm, Außenmaße Rahmen ca. 33x25 cm. Altersspuren, gebräunt, Lichtrand und fleckig. Mit verglastem Rahmen (Kanten part. beschädigt).| SLEVOGT, MAX (1868-1932), "self-portrait drawing", etching/laid paper (incomplete watermark on the left side), inscribed in pencil on the lower edge of the sheet, HxW: plate approx. 18x11.5 cm, sheet approx. 31x23 cm, outer dimensions of frame approx. 33x25 cm. Signs of age, browned, light edge and stained. With glazed frame (edges partially damaged).

NÄGELE, REINHOLD (1884-1972), "Murrhardter Wirtshaus-Schilder", 1910, Radierung/ Bütten, darunter mit Bleistift von Hand betitelt, datiert und signiert, HxB: Platte ca. 23,5x16,5 cm, Außenmaße Blatt und Rahmen ca. 38x28 cm. Leicht gebräunt und Lichtrand. Ohne Rahmen.| NÄGELE, REINHOLD (1884-1972), "Murrhardter Wirtshaus-Signer", 1910, etching/ laid paper, underneath titled, dated and signed by hand in pencil, HxW: plate approx. 23.5x16.5 cm, outer dimensions of sheet and frame approx .38x28 cm. Slightly browned and light edge. Without frame.

PIRANESI, GIOVANNI BATTISTA (1720-1778), "Veduta del Tempio di Cibele a Piazza della Bocca della Verita", Radierung/ Bütten, in der Platte betitelt und bezeichnet, HxB: Platte ca. 40x60 cm, Passepartoutausschnitt ca. 42x62 cm, Außenmaße Rahmen ca. 67x86 cm. Mittelfalz; Altersspuren, minim. gewellt. Im Passepartout hinter Glas gerahmt. | PIRANESI, GIOVANNI BATTISTA (1720-1778), "Veduta del Tempio di Cibele a Piazza della Bocca della Verita", Etching/ laid paper, titled and inscribed in the plate, HxW: plate approx. 40x60 cm, passe-partout cut-out approx. 42x62 cm, outer dimensions of frame approx. 67x86 cm. center fold; Signs of age, minimal. wavy. Framed behind glass in a passe-partout.

PIRANESI, GIOVANNI BATTISTA (1720-1778), "Arco di Settimio Severo", Radierung/ Bütten, in der Platte betitelt und bezeichnet, HxB: Platte ca. 38x58,5 cm, Passepartoutausschnitt ca. 40x61 cm, Außenmaße Rahmen ca. 6x83 cm. Mittelfalz; Altersspuren, minim. gewellt, gebräunt und fleckig. Im Passepartout hinter Glas gerahmt. | PIRANESI, GIOVANNI BATTISTA (1720-1778), "Arco di Settimio Severo", Etching/laid paper, titled and inscribed in the plate, HxW: plate approx. 38x58.5 cm, passe-partout cut-out approx. 40x61 cm, outer dimensions of frame approx. 6x83 cm. center fold; Signs of age, minimal. wavy, browned and stained. Framed behind glass in a passe-partout.

KÜNSTLER/IN 20. Jh., "Europa mit dem Stier", Radierung/Papier, u.re. mit Bleistift von Hand undeutlich signiert, u.li mit Bleistift num. 32/40, HxB: Platte ca. 23,5x18,5 cm, Blatt ca. 40x35 cm. Rechtsseitig Falz, gebräunt und fleckig.| ARTIST 20. Century, "Europe with the bull", etching/paper, l.r. signed indistinctly by hand in pencil, lower left in pencil num. 32/40, HxW: plate approx. 23.5x18.5 cm, leaf approx. 40x35 cm. Right side fold, browned and stained.

LIEBERMANN, MAX (1847-1935), "Beim Bilderbeschauen", Frau mit Kind beim Anschauen eines Buches, Radierung mit Kaltnadel/Papier, u.re mit Bleistift von Hand signiert, u.li. mit Bleistift num. 27/100, am unteren Blattrand Bleistiftvermerk '1978 Galerie Vömel...', verso betitelt, HxB: Platte ca. 13x19 cm, Blatt ca. 32x49 cm. Gebräunt und fleckig, Ränder mit Knicken und Einrissen.| LIEBERMANN, MAX (1847-1935), "When looking at pictures", woman with child looking at a book, etching with drypoint/paper, signed by hand on the right in pencil, on the left with pencil no. 27/100, pencil note '1978 Galerie Vömel...' on the lower edge of the sheet, titled on the reverse, HxW: plate approx. 13x19 cm, sheet approx. 32x49 cm. Browned and stained, edges with creases and tears.

FUCHS, ERNST (1930-2015), "Venus auf der Insel des Todes", Aquatintaradierung/BFK Rives (mit Wasserzeichen), u.re. mit Bleistift von Hand signiert, u.li. mit Bleistift num. 168/250, HxB: Platte ca. 58,5x44,5 cm, Blatt ca. 83x63 cm, Außenmaße Rahmen ca. 87x67 cm. Altersspuren. Mit verglastem Rahmen.| FUCHS, ERNST (1930-2015), "Venus on the island of death", Aquatint etching/BFK Rives (with watermark), l.r. signed by hand in pencil, u.li. with pencil no. 168/250, HxW: plate approx. 58.5x44.5 cm, leaf approx. 83x63 cm, outer dimensions of frame approx. 87x67 cm. signs of age. With glazed frame.

Andrew Fairbairn Affleck, Looking Towards Edinburgh Castle from Calton Hill, etching, signed in pencil lower right, stained black glazed framed mount, (32cm x 50cm)

Moonlight Shipping Scene, oil on board, circa 1900, 23 x 15cm; S. Thompson Townsend, 'The Round Pond' etching, signed. (2)

An early 19th century portrait of a lady with white bonnet, oil on copper, 13 x 11cm and an etching of Henry IV, Kind of France and Navrre, laid on wood, 13 x 9cm (2).

William Walcot RBA RA (1874-1943)Small etching depicting 'The Forth', signed in pencil.[28x44cm]

Framed engraving'Loch Craigneish' along with an etching depicting boats on a river. Both signed by the artists.[40x46cm]

Nat Lowell (1880-1956)Original etching titled ''New York Skyline'', signed.[40x46cm]

W.Douglas MacleodOriginal etching depicting working men bringing in the harvest, signed.[39x50cm]

Callot (Jacques, 1592-1635). Circa 1620-30, etching on laid paper, a fine impression of The Massacre of the Bethlehem Babies  'Of two years old and under by Herod The Great' who is here represented enjoying the scene. Further notation to verso - 'Given to me by Audrey B. Knox Cambridge 1861'. Measures approx. 19cm x 16cm (13cm x 10.5cm).

Yuko Shiraishi (b.1956) JapaneseUntitledSigned and dated (19)85, numbered 6/15, etching, 38.5cm by 38.5cm

Edna Lumb (1931–1992)Quarry at HorsforthSigned and inscribed, etching, 40cm by 47cm

A signed coloured etching of St Michaels Mount - signed (Thomas?) Higham FRSA

Arthur Boris Klein (1893-1985) "Bal Tabarin" framed coloured etching titled in pencil lower left along with a Louis Wain print

Anthony Gross, running tree, etching, signed in pencil, no. 5/50, plate 23cm x 30cm, framedSlight even paper discolouration

Graham Clarke (born 1941), the haymakers, 34cm x 53cm, 41/100, and mowers (artist's proof), 13cm x 17cm, etchings, framedVery slight paper discolouration, larger etching has no glass

Mid-20th century coloured etching, abstract composition, indistinctly signed in pencil 1967, no. 5/30, plate 40cm x 31cm, framedLight foxing around the margin and very slight paper discolouration

Georges Rouault, Fleur De Mal, etching, plate 9 edition 450, no. 125/425, published by Vullard, plate 35cm x 25cm, framedGood condition

Marino Marini, Giocolieri, etching/aquatint, 1971, plate 41cm x 26cm, framedVery light foxing

Andre Masson, L'Odysee, etching/aquatint, 1977/8, no. 9/120, signed in pencil, plate 49cm x 35cm, framedGood condition

Elaine Marshall, Tamarisk Steps Hastings, coloured etching, signed in pencil, no. 24/50, plate 27cm x 37cm, framedMargin very slightly discoloured, no foxing

Berthe Morisot (1842 - 1895), tree study, etching, signed monogram in pencil, plate 15.5cm x 12cm, framedGeneral slight paper discolouration, damp stain in margin

Graham Clarke, windmill Rye, coloured etching, signed in pencil, plate 15cm x 18cm, together with an etching of Rye from the river, framed (2)Clarke print is in very good condition, other etching slightly discoloured in the margin

Karen Keogh (b.1957), signed, limited edition three-plate colour etching on paper, Six Views of Battersea Power Station, signed, titled and numbered in pencil, 33.5cm x 9.8cm, mounted, glazed and framed. Karen Keogh studied at Morley College and is a member of the Royal Society of Printmakers. Her prints are internationally known and are in the collections of the Ashmolean Museum, Oxford and the Fitzwilliam Museum, Cambridge

Nelson (Horatio, Viscount Nelson, naval officer, 1758-1805).- Butterworth (Thomas), Circle of. This Plate is Patronized by Viscount Nelson Duke of Bronte, who has assisted at the Capture of 26 Sail of the Enemies Line of Battle Ships in the War from 1793 to 1805, with 4 vignettes of the battles of Genoa, Cape St. Vincent, The Nile, Copenhagen, etching and engraving with aquatint, on cream wove paper with watermark date of '1804', platemark 370 x 500 mm (14 1/2 x 19 3/4 in), sheet 515 x 680 mm (20 1/4 x 26 3/4 in), scattered minor spotting and surface dirt, faint marginal stains to the upper margin, unframed, [circa 1805]; together with a hand-coloured aquatint 'View of Admiral Lord Nelson's Squadron bearing down to Attack the Line of Defence before Copenhagen', published by Haines & Son, and with a good group of 15 Vues d'Optique with original hand-colouring, all unframed, 19th century (17)

A collection of miscellaneous items to include; a Georgian mahogany candle box; a gunmetal pestle and mortar; a small mosaic picture; five pieces of Chinese export porcelain; a small blue and white dish; an etching depicting gondoliers (unframed); two pottery jugs; etcThe export porcelain with damages. The pottery jugs with minor chips and fritz to the edges. All other items as found.

William Lionel Wyllie, coastal scene with sailboats, signed etching23cm x 14cmAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report

SIR DAVID YOUNG CAMERON ARSA RSW RA RSA (Scottish 1865-1945) The Old Revenge etching, pencil signed lower right, 27cm x 41cm, frame 41cm x 60cm. Published by James Connell 1890.

Edmund Blampied RE (Jersey, 1886-1966), a Players Navy Cut cigarette tin, etched on the front and back by Edmund Blampied with scenes of a Man pushing a Wheelbarrow and a Man on a Horse, 4¼ x 6in. (10.8 x 15.2cm.); together with two real photographic postcards of the artist with friends on holiday in France. (3) * Condition: Tin is time worn to the gilt edges and decoration, but overall in fair to good condition - the etched decoration is intact. There is a small dent to the right hand edge on the base (with the horse etching). The postcards are in good condition.

Barry Owen Jones RWS, RE (British, 1934-2018), "Le Mont Saint Michel", etching on wove paper, signed in pencil lower right, titled centre, numbered 7/30 lower left, framed, 13 x 17in. (33 x 43.2cm.). * Condition: Acidic mount.Good condition.

Julian Trevelyan RA (British, 1910-1988), River running through an Industrial Landscape, etching and aquatint, signed in pencil lower right "Julian Trevelyan" and numbered lower left "28/30", framed, 20½ x 15½in. (52 x 39.4cm.).* Condition: Extensively foxed. Acidic mount. No glass.

Augustus Edwin John OM (Welsh, 1878-1961), Gypsy Caravan and Horse, etching on laid paper, signed in pencil lower right "John", inscribed on back of frame "Purchased by the Duchess of Leeds from Augustus John's studio sale after his death in 1963", framed, 5 X 6in. (12.7 X 15.2cm.).*Caroline Vatcher (Jersey, 1931-2005) became Duchess of Leeds upon her marriage to the Duke of Leeds in 1955. * Condition: Light toned. Acidic mount.

Edmund Blampied RE (Jersey 1886-1966), "Emile", drypoint etching, signed in red lower right, inscribed in pencil lower centre "Emile" and numbered in pencil lower left 33/35. Also signed in the plate. Edition of thirty-five published in 1958, framed 5 3/8 x 6in. (13.7 x 15.2cm.). * Condition: Light toning. Signature faded. Acidic mount.