The Hop Picker, by Claud Lovat Fraser. Watercolour with traces of pencil on artist's board, sheet size 36 X 34cm, not dated or signed.

Depicting the full-length figure of a young woman in a bonnet, holding the hem of her hop-filled apron aloft in her right hand and with a large basket of hops in her left hand, in a sunlit landscape with fellow hop pickers in the background. Excellent condition.

Gill (Eric) Nativity in Cave (Christmas card.) Wood engraving printed on tissue, image size 67 X 53mm, Christmas 1915.

Loose in a paper folder inscribed in Eric Gill’s hand: “With best wishes for Xmas from Eric & Ethel Gill Xmas 1915”. Both the engraving and folder spotted at extremities.                      

Sydney Cockerell collection. Skelton P79 dates this Christmas card as 1916.

Gurnyminsky (Unity). Untitled mezzotint. Mezzotint, 175 X 92mm, [Leicester College of Art] signed by the artist, numbered A/P, and dated, 1980.

Mezzotint on hand-made paper; a well-inked impression with plate mark and pin-holes. A fine copy.

Nageuse, by S.W. Hayter. Etching with scorper trails, 41 X 32.5cm, 1958.
Etching printed in colours, on wove, signed, titled and numbered in pencil. A near fine example, recently mounted, framed and glazed.
(Black and Moorehead 241)

February, by Anne Hayward. Wood-engraving, 10 X 15cm, signed, titled and numbered 36/50, n.d., (2011).
Mounted, framed and glazed. A fine copy with good margins.

'I studied Illustration, Printmaking and Painting at Southampton College of Art and St. Martin's. I am a member of the Society of Wood Engravers [ currently Hon. Sec.] My wood engravings have frequently been selected for the SWE Annual Exhibition and for the Royal Academy of Art's Summer Exhibition.

Commissions have included illustrations for the Folio Society and wood engravings for Hampshire Museum Service and The House of Commons Works of Art Committee.

I work mailnly as an independent maker of wood engravings and lino-cuts.The designs are developed from my original drawings.

Wood engraving is a method of relief printmaking whereby a design is incised into the finely prepared end grain surface of a close grained hardwood, such as box. A roller is used to apply oil based ink to the block. Pressure is then applied and prints taken.'

Herman (Josef). Song of the Migrant Bird. Small folio, colour lithograph title, dedication and 52 lithographs printed by Stanley Jones, individually numbered and signed in pencil by the artist, Curwen Chilford Prints, (1999).

Number 10 of 50 sets on Somerset mouldmade paper, the prints loose as issued in the original drop-backed box. A fine copy.

'It must have been ten or more years ago that we began to spend summer weeks in the fishing village of Dunwich on the Suffolk coast, halfway between Aldeburgh and Southwold. The spell of that great sweep of shingle under its dome of East Anglian skies draws one back irresistibly, and there I spent hours on the beach drawing boats and the men.

It was there that began my fascination with sea gulls, the aura of something near mythical that they brought to the scene.

Back in my London studio, as I worked on the drawings in mixed media there, over the years I developed a concept of an abstract bird.

The line of text under each bird grew out of wider, random reflection and was in no way intended as an illustration of the image.

Gradually, I could see a continuity in the body of the work.'

Catherine Hewlett. Untitled soft ground etching [portrait of a woman]. Large soft ground etching, 60 X 35 cm, [Leicester College of Art], signed by the artist and numbered A\P I, 1979.

Fine aritist's proof on Arches handmade paper with wide margins and a deep platemark. Very slight wear to extremities, but attractive and skilful. Almost certainly not editioned.

XV Portrait d'apres l'oeuvre de Marcel Proust. Dedies a Isabelle de Broglie. 8vo, 22cm, Title + 15 loose etchings, (Paris), n.d (1950s?)
Number 12 of 150 copies; pictorial title printed in mauve. Grey paper folder torn with considerable loss. Internally in very good condition.
Splendid engravings - in manner like those of Anthony Gross.

An Angel on Horseback, by Mariette Lydis. Aquatint in colours, 220 X 170mm, signed by the artist and inscribed Paris lower right, undated but mid 1930s.

Aquatint done on BFK Rives on shades of mauve and blue. A few very light spots to the margins. In very good condition.

Mariette, Comtesse Govone, married Jean Lydis in 1922, but left him for the Italian writer Massimo Bontempelli, who took her to Paris. In 1928. She then married the publisher Comte Giuseppi Govone. Subsequently, Lydis had a great artistic success in 30s Paris, starting with a solo show at the Galerie Bernheim Jeune, after which she became a member and a juror at the Salon d’Automne, she also illustrated the outstand Nonesuch Press Greek Anthology (1935).

In 1940, she left France with her lover Erica Marx, taking refuge in the sleepy Cotswold town of Winchcombe, subsequently making the wartime voyage to Buenos Aires. Lydis was also close to the aviator Amelia Earhart. Mariette Lydis lived in Argentina for the rest of her life. Her style was influenced by that of the Japanese artist Tsuguharu Foujita, whom she knew in Montmartre. She died in 1970.

Mariette Lydis, Saint Francis of Assissi. Aquatint in colours, 235 X 130mm, signed by the artistist and inscribed 'Paris' bottom right., undated, but mid 1930s.

Aquatint predominantly in greys and blues on BFK Rives paper, the Saint talks to a dove; unframed, in very good to fine condition.