Albrecht Dürer (German, 1471-1528) Resurrection, from the Small Passion Engraving, 1512, a good meder c impression with the vertical scratch on Christ's left thigh, on laid, trimmed to plate, 119 x 75mm (4 5/8 x 2 7/8in)(PL) unframed

Albrecht Dürer (German, 1471-1528) Christ carrying the cross, from the Large Passion Woodcut, circa 1498, a meder b impression, after the Latin edition of 1511, on laid, trimmed to or along the borderline, laid onto wove, 394 x 283mm (15 1/2 x 11 1/8in)(SH)

Albrecht Dürer (German, 1471-1528) Engraved Passion Six engravings from the series, 1507-1513, 'Betrayal of Christ', meder d, 'Christ before Pilate', meder c/d, 'Christ crowned with thorns', meder b/c, 'Ecce Homo', meder c, 'Pilate washing his hands', meder b, 'Christ carrying the cross', meder d, together with 'The Virgin and Child on a crescent' (B32), a copy in reverse, all on laid, with thread margins, 117 x 75mm (4 5/8 x 3in)(PL) 7

Albrecht Dürer (German, 1471-1528) St Jerome in his study Engraving, 1514, a meder c impression, before the curved scratch on the ceiling, on thick laid, without a watermark, trimmed just inside the plate, 246 x 187mm (9 3/4 x 7 3/8in)(SH) unframed

Rembrandt Harmensz van Rijn (Dutch, 1606-1669) The Artist's Mother seated at a Table, looking right: three quarter length Etching, circa 1631, the second state of three, with heavy diagonal shading under and to the left of the chair, with additional diagonal lines in the hair above the right temple, on laid, with a watermark of a large city gate, trimmed to the platemark, 149 x 131mm (5 7/8 x 5 1/8in)(PL)

Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Peter and John healing the cripple at the gate of the temple Etching with drypoint, 1659, a fine impression of New Hollstein's second state of six, with the right side of Peter's body straightened, his cloak deeply curved across his body and additional shading next to his left hand and in the lower right corner, on thick laid, with narrow margins and a partial watermark, 180 x 215mm (7 1/8 x 8 1/2in)(PL)

Joseph Mallord William Turner (British, 1775-1851) Liber Studiorum The complete set of 71 etchings with mezzotint, 1807-1819, etched by the artist, engraved by Charles Turner, William Say, Robert Dunkarton, Thomas Hodgetts, George Clint, Thomas Lupton, Henry Dawe, S. W. Reynolds, J.C. Easling, William Annis, F.C. Lewis and the artist, fine impressions, printed in warm brown ink, some with aquatint, comprised of four proofs, fifty-seven first states, eight second states, two third states, on laid, with margins, loose in soft card mounts, within two hinged hard-board solander boxes, the front gilded with the title and 'Vol I' and 'Vol II', together with two exhibition booklets, Bradford City Art Gallery 1918 and Colnaghi & Co. 1975, 210 x 295mm (8 1/4 x 11 5/8in)(average plate size); 545 x 465mm (21 1/2 x 18 1/4in)(each box) 71 in 2 folio boxes

Samuel Palmer (British, 1805-1881) The Early Ploughman, or The Morning spread upon the Mountains Etching, circa 1861, the fifth state of nine, with the top of the third cypress from the left sharply pointed, small vertical rays of light added to the clouds and brighter reflected light under the central arch, on wove, signed in pencil, with wide margins, 178 x 252mm (7 x 9 7/8in)(PL)

Augustus Edwin John O.M. (British, 1878-1961) Gwendolen Etching and drypoint, the fifth and final state, circa 1902, on partially watermarked laid, signed in pencil, one of 25 published impressions, with wide margins, 139 x 95mm (5 1/2 x 3 3/4in)(PL) unframed

Christopher Richard Wynne Nevinson (British, 1889-1946) La Butte, Montmartre Etching printed with tone, circa 1922, on watermarked F.J. Head & Co. hand-made laid, signed in pencil, from an edition not exceeding 75, with margins, 235 x 193mm (9 1/4 x 7 5/8in)(PL)

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