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ADOLPHE APPIAN (FRENCH 1818 - 1898), A ROCKY RIVER etching on papermounted, framed and under glassoverall size 48cm x 59cm

FREDERICK ARTHUR FARRELL (SCOTTISH 1882 - 1935), STREET SCENE limited edition etching on paper, signed and numbered 8/75mounted, framed and under glassoverall size 33cm x 35cm

WW2 Era Kriegsmarine Officers Dagger by WKC with brass fittings and etched blade bearing WKC maker mark with Knights helmet and celluloid handle in brass scabbard The blade has surface corrosion to the blade below the etching, brass scabbard has some dings and dents, celluloid handle bears some cracks and brass fittings have wear associated with polishing

Dame Elisabeth Frink (1930 - 1993), Running Man, signed in pencil 'Frink' (lower right) and numbered 97/100, etching and aquatint on wove paper with Kelpra Studios blindstamp, plate 21 x 19.5 cm, sheet 28 x 26.5 cm, framed and glazed 42 x 39 cmSealed in the frame and glazed - it has not been inspected out of the frame. Looks to be in good condition. Glass needs cleaning. Kelpa Studio blindstamp lower right

Erich Wolsfeld (Polish, 1884 - 1956), A collection of etchings, each signed in pencil, dating from 1938 to 1956, many with personal inscriptions in pencil to 'my friend Rosel Grossman', including an etching of an old man with a stick, signed and dated Rome 1908, inscription dated '36, 31 x 25 cm; Figures and goats from North Africa, 34 x 42 cm; a view of the Nile, 28 x 45 cm; two unframed Anniversary etchings depicting the artist and his wife with 'Esau', 14.5 x 15 cm - unframed; a pencil sketch on postcard depicting Jewish figures; and other etchings (some unframed) (13 in total) Received from the artist by Rosa Grossman (b. 1927), a Jewish refugee from Germany, who escaped the Gestapo into Switzerland in 1943 with her mother Else and sister Margot (the vendor's mother). Else was a friend of the artist before the war and they were reunited when the family emigrated to the UK in 1946.Erich Wolsfeld emigrated from Berlin to the UK in 1938. After internment on the Isle of Man during the war he lived in Sheffield and then London. Condition generally fair, with paper discoloured and some framed prints with buckling and slight foxing. 'Happy New Year 1947' shows the mounting tape beneath on the front. Unframed prints show some creases, folds and some foxing in areas. Unframed pencil sketch on postcard has some foxing spots. 1948 (artist on a donkey) also has foxing and stains. Etching of elderly man has missing bottom right corner to the sheet.

Norman Ackroyd (b. 1938), 'Shannon', signed and dated '08 (lower right), titled and numbered 14/90, etching on uncut wove paper, 44.5 x 33 cm, framed and glazed 66 x 53 cm

After Pierre-Auguste Renoir (French, 1841 - 1919), 'Baigneuse Assise', stamped signature to the margin, soft ground etching, image 21.5 x 13.5 cm, sheet 26 x 15.5 cm, framed and glazed 62 x 49.5 cm

Joan Miro (Spanish (Catalan), 1893-1983). Aquatint and etching on Guarro paper depicting an abstract composition in bright colors, plate 5 from the "Espriu" Suite, 1974. Pencil signed along the lower right; numbered 20/50 along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 33 3/4 in x width: 27 1/2 in. Framed; height: 45 1/2 in x width: 39 in x depth: 1 in.Condition: The print is in good condition with bold and bright colors. The print is hinged along the top edge of the verso. The print has some foxing overall, most prevalent along the upper right corner. There are three ‘U’ shaped creases along the center of the composition. Framed under plexiglass. The frame has some wear. The paper backing of the frame has been cut along three edges to allow for inspection.

Edouard Manet (French, 1832-1883). Etching on paper titled "Jeanne (Spring)" depicting a woman holding an umbrella, ca. 1882. Signed in print along the lower left.Sight; height: 7 1/2 in x width: 4 3/4 in. Framed; height: 20 1/2 in x width: 15 1/2 in.Condition: The sheet is toned. There are no visible tears, creases, losses, or repairs. The work is housed under an acidic mat. Framed under glass. Light wear to the frame. Not inspected out of frame.

Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Self Portrait with Model II," alternatively titled "Sjalvportratt Med Modell," depicting the artist in a room with a model sitting in a dark space, 1899. 5th state printing. Pencil signed along the lower right. Signed and dated in plate along the lower left.References:Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Forlaget, Stockholm, 1928) page 49, plate D.148, plate A.149.Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 229, plate 149.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909), plate 148.Image; height: 9 1/2 in x width: 6 3/4 in. Sheet; height: 11 1/2 in x width: 8 1/2 in. Matted; height: 17 1/2 in x width: 14 in.Condition: The sheet is toned unevenly. There are a few minor spots of foxing or discoloration throughout. There are two rectangular areas of residue along the top left and right corners, likely from a previous framing. There is one minute tear along the lower right edge. There is a slight crease along the top margin measuring approx. 4.5 inches in length. There is another crease along the top right edge of the image measuring approx. 3 inches in length, most visible along the verso. There are numerous pencil inscriptions along the lower edge and verso, visible in the lot listing. Discoloration along the verso, some areas of minute foxing, and two areas of tape residue that are reflected in the same spots along the verso. The sheet is hinged along the upper left and right corners to a matboard. Not framed.

Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Precipice," alternatively titled "Braddjup," depicting a nude woman standing on some rocks in water, 1909. A 2nd state printing. Pencil signed along the lower right. Signed and dated in plate along the lower right.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 357, plate 228.Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Forlaget, Stockholm, 1928) page 94, plate A228.Image; height: 9 1/4 in x width: 6 in. Sheet; height: 14 in x width: 10 in.Condition: There are no tears, losses, creases, or restorations. The sheet is toned. There is light wear along the edges. Along the upper edge of the verso there is a strip of white tape. Some small spots of foxing throughout. The work is not framed.

Richard Bosman (American, b. 1944). Etching and relief prints on paper titled "Canis Major" and "Canis Minor" depicting the titular constellations outlined with dogs, 1993. Pencil signed along the lower right; numbered 5/40 along the lower left.Height: 26 1/4 in x width: 15 1/4 in.Condition: There are no major tears, losses, or repairs. Along the verso there is some light toning which follows the outline of the lower dog. The work is not framed.

Ossip Zadkine (Russian/French, 1888-1967). Etching titled "Capital" depicting an abstract form in black and white. Initialed in print along the lower right. With a poem of the same name by Pierre Albert-Birot (French, 1876-1967). From "Paroles Peintes I" Paris: Editions O. Lazar-Vernet, 1962.(Print) height: 15 1/4 in x width: 11 1/2 in.Condition: No tears, losses, or restorations. Small crease along the lower right corner. Light handling marks along the edges. An area of acidic burn in the poem where the print was nested. Not framed.

Herbert Thomas Dicksee RE (British, 1862-1942)A Pekingese watercolour and gouachetondo 34.5cm (13 9/16in) acrossFootnotes:The present work looks to be the completed study upon which the etching, published by Frost & Reed in 1924, is based.For further information on this lot please visit Bonhams.com

Arthur John Trevor Briscoe (British, 1873-1943)'Flight' signed with initials (plate lower right), titled (plate lower left)drypoint etchingplate 12.5 x 17.7cm (4 15/16 x 6 15/16in)Footnotes:ProvenanceWith David C. Lamond, Dundee.Private collection, UK.For further information on this lot please visit Bonhams.com

Cecil Charles Windsor Aldin RBA (British, 1870-1935)'Who Said Rats?' signed in pencil 'Cecil Aldin' (lower right), editioned in pencil '49/150' (lower left), titled (to a printed label, verso)etchingplate 17.5 x 12.5cm (6 7/8 x 4 15/16in)For further information on this lot please visit Bonhams.com

Léon Danchin (French, 1887-1938)A Cocker Spaniel with hen pheasant signed in pencil 'Léon Danchin' (lower right), editioned in pencil '215/500' (lower left)etchingplate 41.5 x 61cm (16 5/16 x 24in)Footnotes:ProvenanceWith The Keyser Gallery at Farlow's, London.Private collection, UK.For further information on this lot please visit Bonhams.com

Cecil Charles Windsor Aldin RBA (British, 1870-1935)A Sealyham Terrier signed in pencil 'Cecil Aldin' (lower right), editioned in pencil '55/150' (lower left)etchingplate 16 x 21cm (6 5/16 x 8 1/4in).For further information on this lot please visit Bonhams.com

Herbert Thomas Dicksee RE (British, 1862-1942)'In Sight At Last' signed in pencil 'Herbert Dicksee' (lower left)etchingplate 45.5 x 64cm (17 15/16 x 25 3/16in)published by Frost & Reed in 1923For further information on this lot please visit Bonhams.com

Curt Meyer-Eberhardt (German, 1895-1957)Dachshund puppies signed in pencil (lower right)etchingplate 20 x 24cm (7 7/8 x 9 7/16in)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

Marion Rodger Hamilton Harvey (British, 1886-1971)A Scottish Terrier signed in pencil 'Marion Harvey' (lower left)etchingplate 20 x 15cm (7 7/8 x 5 7/8in).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

Cecil Charles Windsor Aldin RBA (British, 1870-1935)A Bunch of Mischief signed in pencil 'Cecil Aldin' (lower right), editioned in pencil '60/150' (lower left)etchingplate 17.5 x 12.5cm (6 7/8 x 4 15/16in).Footnotes:ProvenanceWith Thomas Wood & Sons, Darlington (label verso).For further information on this lot please visit Bonhams.com

Marguerite Kirmse (British/American, 1885-1954)'Stymied' signed in pencil 'Marguerite Kirmse' (lower right), titled (lower left)etchingplate 18.5 x 13.5cm (7 5/16 x 5 5/16in)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

George Soper RE (British, 1870-1942)Sealyham puppies signed in pencil 'George Soper' (lower right)etchingplate 15 x 20cm (5 7/8 x 7 7/8in)unframedFootnotes:ProvenanceThe Estate of George and Eileen Soper.LiteratureThe Catalogue Raisonee of the Etchings of George and Eileen Soper (Chris Beetles Ltd., London, 1995), no. 372.For further information on this lot please visit Bonhams.com

Léon Danchin (French, 1887-1938)English Setters in the field signed in pencil 'Leon Danchin' (lower right)etchingplate 37.5 x 68.5cm (14 3/4 x 26 15/16in).published in 1934unframedFor further information on this lot please visit Bonhams.com

Marguerite Kirmse (British/American, 1885-1954)'Bon Voyage' signed in pencil 'Marguerite Kirmse' (lower right), titled in pencil (lower left)etchingplate 20.5 x 13cm (8 1/16 x 5 1/8in)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

Morgan Dennis (American, 1892-1960)'Zagor of Althea' - Head of a Borzoi signed and editioned in pencil 'MORGAN DENNIS 93/100' (lower right), signed and dated 'MORGAN DENNIS 1930' (lower right), titled (lower left)etchingplate 18 x 22.5cm (7 1/16 x 8 7/8in)mounted but unframedFootnotes:'Zagor of Althea' (AKC 550298) was a white and brindle Borzoi born 12 May 1926 to 'Ivor O'Valley Farm' (sire) and 'Taskai O'Valley Farm' (dam).For further information on this lot please visit Bonhams.com

Meta Plückebaum (German, 1876-1954)'Black and White' signed in pencil 'Meta Plückebaum' (lower right), titled (lower left)etchingplate 26.5 x 24.5cm (10 7/16 x 9 5/8in)mounted but unframedThis 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

An early 20th century Naval Officer's sword with chamois leather sleeve, and leather carrying case marked J.S. Seal, RNR, length 98cmThe sword is in very good condition, including sheath, etching to blade very clear, leather cover also in good condition, some wear commensurate with age

An 1831 Mamaluk pattern officer's sword with ivory handle and brass mounts, fine etched blade with maker's name H. Hart, no. 26 Pall Mall London, length 90cm. Ivory Submission Ref: 5XSPVA19. Handle and mounts in good condition, blade slightly rubbed but etching is still clear

A Fairbairn Sykes Fighting Knife, WW2 era 2nd patten by Wilkinson Sword Ltd, London, etched makers details to blade, blued steel cross guard, brass handle has been bound in string, in original leather sheath with bronze chape, length 30cmGood condition, sheath is a little work and elastic clip is detached on one side, blade etching is crips and shows minor signs of wear

John Piper (1903-1992), Scotney Castle, limited edition etching with aquatint, numbered 15/50 and signed in pencil to plate margin, 23x42m, framed and glazed

A FINE 19TH CENTURY ORIENTALIST ETCHING OF A MARKET SCENE, framed and glazed.

Stuart Crystal fruit bowl with maple leaf etching, in box

* Gillray (James). Lordly Elevation, published H. Humphreys, Jany. 6th 1802, etching with aquatint on wove, contemporary hand-colouring, one repaired marginal closed tear, tipped onto later card, mounted, 265 x 210 mmQTY: (1)NOTE:BM Satires 9905. Lord Kirkcudbright stands at his dressing table, perched on top of an immense baron's coronet which serves as a foot-stool, regarding himself in a draped mirror. The unfortunate Lord Kirkcudbright was born a hunchback and had succeeded to his baronetcy only two weeks earlier on the death of his father. Although deformed, the bottle of Velnos syrup on his dressing table - a popular remedy for venereal disease - and the strategically placed hilt of his sword suggest that he is excited by his future prospects with the opposite sex.

* Gillray (James). The Wine Duty - or - The Triumph of Bacchus & Silenus with John Bulls Remonstrance, H, Humphrey, April 20th 1796, etching on wove with bright contemporary hand-colouring, large margins, small area of adhesion scaring to the versoQTY: (1)NOTE:BM Satires 8798. As the war against France continued into 1796, Prime Minister William Pitt and his Secretary of State, Henry Dundas, had to keep coming up with new taxes to pay for the ongoing expenses of the conflict, in this case wine. Pitt and Dundas are shown as the young wine god, Dionysus (or Bacchus as he was known in the Roman world) and his older companion and advisor, the ever-drunken Silenus flaunting their inebriation, and enjoying the pleasures of wine that poor John Bull can no longer afford. The portrayal was not far from the truth, as Pitt and Dundas were hardened drinkers in an age of hard drinkers, and Gillray was well aware of their reputations.

* Gillray (James). The Generae of Patriotism - or - The Bloomsbury Farmer planting Bedfordshire Wheat, London: H. Humphreys, February 3rd, 1796, etching on wove with contemporary hand-colouring, paper residue to corners to verso, sheet size 280 x 420 mm, together with another example, uncoloured and trimmed to printed area, sheet size 250 x 350 mm QTY: (2)NOTE:BM Satires 8783. The Duke of Bedford is shown as a farmer happily sewing guineas from a sack on his back. As he sows, bonnets-rouges with daggers progressively sprout from the ground. The sun is in the shape of Fox's face and shines down upon the scene.

* Gillray (James). Patriotic Regeneration - viz - Parliament Reform'd a la Francoise - that is - Honest Men (ie - opposition) in the seat of Justice, published H. Humphrey, March 2nd 1795, etching with aquatint with contemporary hand colouring, trimmed to the plate mark, small areas of adhesions scaring to the verso, 310 x 420 mmQTY: (1)NOTE:BM satires 8624. Gillray is imagining a situation where the French revolutionaries have taken command of the British parliament. Replicating the sham trials of the National Convention during Robespierre's Reign of Terror into an English equivalent in the House of Commons.Francophile Whigs wearing their bonnets rouges now control the House of Commons. As in France, the crowns and jewels of the Royal Family have been seized, and the estates of "Loyalists" like the Chatham and Grenville families, have been forfeited. Cash from the Treasury has been converted to the famously worthless French Assignats, and the former Prime Minister William Pitt has been manacled and placed in the prisoner's dock.Pitt is dressed only in a torn white shirt which may be intended to recall another sham trial, that of Jesus before Pontius Pilate. Behind Pitt is Lord Lauderdale, an outspoken critic of Pitt's policies in the House of Lords, carrying an executioner's axe and holding a noose around Pitt's neck. Sitting opposite Pitt in the Speaker's chair and acting as presiding judge over this trial, is the Whig leader Charles James Fox. Beneath him, the famous barrister, Thomas Erskine, identified by papers in his pocket alluding to his recent successful defence of the radical Thomas Hardy, but now in the role of the prosecuting counsel, seems to be arguing for the death sentence. Next to him, the financially scheming and habitually indebted Richard Brinsley. Sheridan seems to be making notes of valuables he could acquire.The dubious nature of the trial is emphasised by the scales of justice being forcibly manipulated by the always shifty Marquess of Lansdowne so that a French bonnet rouge will assume more weight than the British crown.Subtle it is not, but for sheer political theatre, it is a masterpiece.

* Gillray (James). John Bull Ground Down, H. Humphrey, June 1st 1795, etching with bright contemporary hand-colouring, large margins, 250 x 345 mmQTY: (1)NOTE:BM Satires 8654. John Bull is ground into guineas by an enthusiastic William Pitt, which is eagerly collected by the permanently indebted Prince of Wales. Burke and Dundas are grovelling on the floor, eager to collect any coins that spill from the Prince's inverted coronet. Loughborough - his elongated judge's wig turned in back view - scrabbles for the coins. The bystanders behind the prince include a jockey, probably Chifney, who was given a pension by the Prince, and next to him is an anti-Semitic caricature of a bearded Jew who holds out a paper headed 'Money Lent at £500 pr Cent'. Next to him is Mrs Fitzherbert and another woman, possibly Mrs Crouch. Behind this group is part of the colonnade and facade of Carlton House.

* Gillray (James). Stealing Off; or, prudent Secesion..., London: H. Humphreys, May 20th 1799, etching on wove with contemporary hand-colouring, 2 faint vertical parallel folds to centre, strengthened with paper strip to top margin and other small areas of paper residue to verso, sheet 310 x 430 mm QTY: (1)NOTE:BM Satires 9263.'From May 1797 Fox temporarily exiled himself from the House of Commons (thus 'prudent succession'). Gillray depicts him fleeing with great speed..., in the background, the opposition literally eat their words', Richard Godfrey, James Gilray: The Art of Caricature, p. 154.

* Gillray (James). The Republican Attack, H. Humphrey, Novr. 1st 1795, etching on wove with contemporary hand-colouring, large margins, slight marginal dust soiling and staining, occasional marginal closed tears, but not affecting the printed image, 250 x 350 mmQTY: (1)NOTE:BM Satires 8681. When the King drove to open parliament on the 29th of October 1795. his coach was attacked by a mob and a stone or bullet pierced the glass in the window of his coach. Gillray's caricature replicates the incident but with William Pitt as the coachman who drives his team over a prostrate Britannia. The attacking protagonists are the republican whigs with Lord Lansdowne, a sansculotte, firing a blunderbuss at the King, while Fox and Sheridan, facing Lansdowne, run beside the coach, holding on to it. Both are depicted as tattered ruffians brandishing clubs.

Kristeller (Paul). Early Florentine Woodcuts, with an annotated list of Florentine illustrated books, 2 volumes text/illustrations), limited issue, London: Kegan Paul, Trench, Trubner & Co., 1897, some spotting to endpapers, prospectus loosely inserted, top edge gilt, original morocco-backed boards, spines rubbed, 4to, limited edition 23/50, together with Bliss (Douglas Percy). A History of Wood-Engraving, 1st edition, London: J. M. Dent, 1928, numerous illustrations, occasional minor spotting, top edge gilt, original buckram (some toning and light spotting), dust jacket, spine toned, a few chips and tears, 4to, with 3 others: A History of Engraving & Etching, from the 15th Century to the Year 1914, by Arthur M. Hind, 1st edition, 1923, A Treatise on Wood Engraving, by John Jackson, 2nd edition, 1861, and Engraving and Etching, by Dr. Fr. Lippmann, 3rd edition, 1906 QTY: (6)

* Gillray (James). Begging no Robbery; - i.e. - Voluntary Contribution; - or - John Bull Escaping a Forced Loan..., H. Humphrey, Decr. 10th 1796, etching with contemporary hand-colouring, large margins, slight staining, 250 x 350 mmQTY: (1)NOTE:BM Satires 8842. William Pitt - with the assistance of Dundas, Grenville, and Burke, hold John Bull at gunpoint to relieve him of more money in taxes to pay for the war with France.

* Gillray (James). Shrine at St. Ann's Hill, London: H. Humphreys, May 26th 1798, etching on wove with contemporary hand colouring, good margins, 2 printers creases, old blue paper residue to verso, 360 x 260 mm together with smaller London und Paris copy. QTY: (1)NOTE:BM Satires 9217.Charles James Fox is shown praying before an alter to French Jacobinisim at St Ann’s Hill – the country home of his mistress Mrs. Armistead and the estate where Fox settled after a series of political losses. Whig politicians (all of whom had been previously satirized for their French inclinations) are represented as winged apparitions.

* Gillray (James). The Reception of the Diplomatique & his Suite, at the Court of Pekin, published H. Humphrey, Sept. 14th 1792, etching on wove with bright contemporary hand colouring, large margins, one contemporary marginal manuscript annotation identifying Lord Macartney, small areas of adhesion scaring to the verso, 315 x 400 mmQTY: (1)NOTE:BM Satires number 8121. Great Britain's Embassy in China was led by Lord Macartney who famously ignored the etiquette of the Chinese court and refused to abase himself in front of the Emperor; on the grounds that such prostrations were unbecoming for a representative of the British Sovereign. As a result, he was summarily dismissed and told to leave Peking within two days. As well as destroying Macartney's career it removed any influence that Great Britain had in China for several years. One of Lord Macartney's attaches described the experience thus. 'We entered Pekin like paupers, remained in it like prisoners and departed from it like vagrants'. Gillray brilliantly captures the magnitude of the diplomatic disaster in this scathing political caricature.

* Gillray (James). Exaltation of Faro's Daughters, London: H. Humphreys, May 12th, 1796, etching on wove with contemporary hand colouring, narrow margins to left and right, slight oxidization with show-through on verso, 360 x 260 mm QTY: (1)NOTE:BM Satires 8876. The Countess of Buckinghamshire (left) and Lady Sarah Archer (right) were fashionable, high-society women notorious for holding illegal gambling parties. Although no effort was made by officials to prosecute the ladies, their activities were widely reported in newspapers of the day, leading to the creation of this print which made quite an impression; [The] hint of placing Ladies in the pillory, who should be found guilty of violating the laws by gaming, has found its way into the Print shops, to the no small mortification and disgrace of certain Women of fashion. They have, however, taken every possible precaution against conviction by placing double sentinels at their doors, to see that no vile informer gains admittance. (London Times, May 13, 1796, p. 2.)

* Gillray (James). The Explanation, H. Humphrey, May 30th 1798, etching on wove with bright contemporary hand-colouring, old tape hinge to the upper margin, 260 x 365 mm, together with a smaller uncoloured example originally published in 'London und Paris', 160 x 225 mmQTY: (2)NOTE:BM Satires 9219. A political caricature recording the duel on Putney Heath between Pitt and his fierce critic, the Whig politician George Tierney, who had been accused by Pitt of being unpatriotic.

* Gillray (James). Le Diable-Boiteux, or The Devil upon Two Sticks, conveying John Bull to the Land of Promise, London: H. Humphreys, February 8th, 1806, etching on wove with contemporary hand-colouring, small pinhole to left side of printed area, repaired closed tear to right margin into printed area, sheet size 380 x 300 mm QTY: (1)NOTE:BM Satires 10525.Gillray portrays Charles Fox as an evil winged spirit, a popular contemporary image thanks to the satiric novel Le Diable-Boiteux or The Devil upon Two Sticks by Alain Rene Le Sage.

* Gillray (James). Britannia between Scylla & Charybdis. Or - The vessel of the Constitution steered clear of the Rock of Democracy and the Whirpool of Arbitary (sic) Power, H. Humphrey, April 8th 1793, etching on wove with bright contemporary hand-colouring, one small repaired marginal closed tear, trimmed to the plate mark, 300 x 360 mm, mountedQTY: (1)NOTE:BM Satires 8320. William Pitt steers a small boat, 'The Constitution', through huge waves between a high rock and a whirlpool whose circumference is an inverted crown which merges in the swirling water. He resolutely steers towards an island flying a flag inscribed 'Haven of Public Happiness'. His passenger is Britannia, depicted as a buxom young woman, clearly alarmed by their proximity to the rocks on her right. The rock is surmounted by a partial fence and a pole flying a bonnet-rouge. Behind the boat, three sharks with human heads (Sheridan, Fox and Priestley) closely pursue Pitt's vessel. They are labelled as 'Sharks; Dogs of Scylla'.

* Gillray (James). God Save the King - in a Bumper - or - an Evening Scene, three times a week at Wimbledon, H. Humphrey, May 27th 1795, etching on wove with contemporary hand-colouring, trimmed to the plate mark, slight staining and dust soiling, small areas of adhesion scaring to the verso, 260 x 345 mm, with another copy trimmed to the image, lightly spotted and with some marginal fraying with slight loss, 245 x 335 mmQTY: (1)NOTE:BM Satires 8651. Prime Minister William Pitt and his right-hand man, the Scot Henry Dundas, were frequent drinking companions, requiring no special occasion to open several bottles at a sitting. Pitt's consumption of port damaged his health and undoubtedly was a factor in his premature death at the age of 45.

* Gillray (James). The Royal Bull-Fight, London: H. Humphreys, February 8th, 1806, etching on wove with contemporary hand-colouring, paper residue to margins to verso, trimmed to plate mark with minor loss to text to lower margin, sheet size 250 x 350 mm QTY: (1)NOTE:BM Satires 8691.Pitt is shown as a toreador riding a white horse and brandishing a spear against a bull (John Bull) which snorts fire and suffers from wounds. Numerous spectators made up of Royals and politicians look on from the stalls behind the pair.

* Gillray (James). Posting to the Election, H. Humphrey, Dec. 1st 1806, etched caricature with contemporary hand-colouring, trimmed to the image, central fold, some creasing and dust soiling, 215 x 615 mm, together with [The Installation - Supper, as given at the Pantheon, by the Knights of the Bath] S. W. Fores, June 4th 1788, etched caricature with contemporary hand-colouring (the left-hand sheet of four), some creasing, additional central fold, mount stained. small hole affecting the image to the lower right which is crudely repaired on the verso, 245 x 515 mm, with New Morality, or the Promis'd Installment of the High Priest of the Theophilanthropes with the Homage of Leviathan and his Suite published by J. Wright for the Anti-Jacobin Magazine & Review, August 1st 1798, uncoloured etching after James Gillray, printed in sepia, slight staining, old folds, trimmed with slight loss to the right-hand margin, border extended, 275 x 620 mm QTY: (3)NOTE:BM Satires numbers 10614

* Gillray (James). The Dissolution - or - The Alchymist producing an Aetherial Representation, H. Humphrey, May 21st 1786, etching on laid with contemporary hand-colouring, slight abrasion and thinning with one small hole in the upper left corner, thread margins, 350 x 260 mm, QTY: (1)NOTE:BM Satires 8805. Pitt is depicted as an alchemist. He sits in his laboratory blowing a furnace with bellows formed by a royal crown. The furnace heats a large glass retort in which the House of Commons is being dissolved. The distillation shows Pitt as an all-powerful dictator with his 'subjects' prostrating themselves before a miniature Pitt, who sits on a throne which replaces the Speaker's chair, and is inscribed 'Perpetual Dictator'.

* Gillray (James). A Keen Sighted Politician Warming his Imagination, H. Humphrey, June 13th 1795, etching on wove with contemporary hand-colouring, large margins, slight dust soiling to the margins, small areas of adhesion scaring to the verso, 345 x 250 mmQTY: (1)NOTE:BM Satires 8659. The second of two satiric prints created in May and June 1795 featuring William Wyndham Grenville, the Secretary of State for Foreign Affairs and thus the man immediately responsible for the prosecution of the war with France. A war which was going from bad to worse, and Gillray implies that Grenville is more interested in the tenure of his position in government than the threats from Napoleonic France.

* Prize Fighting. Cruikshank (George, attrib). The Close of the Battle or the Champion Triumphant..., circa 1811, etching with contemporary hand colouring, descriptive text describing the progress of the fight below the image, slight spotting and toning, 250 x 345 mm, mounted, framed and glazedQTY: (1)NOTE:A depiction of the famous bare-knuckle boxing match between Tom Molineaux and Tom Cribb that took place on September 28th, 1811, at Thistleton Gap in Rutland. Cribb was the English champion and Molineaux was an African/American, possibly formerly enslaved. Molineaux had crossed the Atlantic to pursue a boxing career. The two men had fought first on December 3, 1810, at Shenington Hollow, Oxfordshire, with Molineaux defeated after 35 rounds in a disputed decision. Their return match, shown here, attracted at least 15,000 spectators including many members of the nobility. Cribb's second was John Gully and his bottle holder Joe Ward. Molineaux's second was Bill Richmond (also Black and formerly enslaved), and Bill Gibbons was his bottleholder. Molineaux hit with great power until Cribb broke his jaw in the 9th round, then knocked him out in the 11th.

* Gillray (James). The Tree of Liberty - with the Devil Tempting John Bull, H. Humphrey, May 23rd 1798, etching on laid with contemporary hand-colouring, large margins, toned overall, old hinges to verso, 365 x 260 mm, together with a smaller hand-coloured example originally published in 'London und Paris', old folds, 225 x 170 mmQTY: (2)NOTE:BM Satires 9214. Charles Fox in the role of Satan, is shown offering the false fruit of French Ideology to John Bull. Fox's 'Tree of Liberty' is a barren and leafless item and its fruit is rotten and half-eaten and comprises of "Conspiracy," "Treason," "Murder," and "Atheism," "Blasphemy," and "Impiety."Behind Fox and his bare tree is a contrasting English oak tree, which is verdant and green and draws its strength from the three foundational roots of British political life: the "Commons," the "King," and the "Lords." Those roots produce a solid and upright trunk of "Justice," with branches of "Law" and "Religion" and its fruit includes "Freedom," "Happiness," and "Security."

* Elmes (W.). Jack in a White Squall amongst Breakers - on the Lee Shore of St Catherines, circa 1810, etching with contemporary hand-colouring, mount stained and with slight toning to the margins, 245 x 350 mm, together with Cruikshank (Isaac). The Royal Soldier in His Majesty's Service. He would be a Soldier the sweet Willy O, The first of all Swains that gladden'd the Plains, All Nature Obeyed him - the Sweet Willy O! published by S. W. Fores, May 10th 1798, etching with contemporary hand-colouring, slight toning to the margins, 410 x 255 mm, with Rowlandson (Thomas, after). Crawley, published by Messrs. Robinsons, June 1st 1790, aquatint by Samuel Alken (originally published as part of 'An Excursion to Brighthelmstone'), contemporary hand-colouring, trimmed to the plate mark, some staining but largely confined to the margins, 265 x 340 mm, plus Grozer (Joseph). Daniel Mendoza & Richard Humphreys [and] Thomas Johnson & Isaac Perrins, published W. Richardson, Novr. 5th 1789 [but early 20th-century restikes], two hand-coloured stipple engravings, large margins, slight dust soiling, each approximately 275 x 355 mm, and Woodward (G. M. style of). Tight Workmaster & A Good Story upon my Word, circa 1800, two watercolours signed to the lower left, some staining, each laid on later thick card, each approximately 205 x 240 mm, mounted, and Alken (Henry). Shakespeare's Seven Ages. The Soldier, published by E. & C. McLean, June 20th 1824, lithograph with contemporary hand-colouring, some staining, laid on later thick card, 220 x 270 mmQTY: (8)

* Gillray (James). Pantagruel's victorious return to the Court of Gargantua after extirpating the Soup-Meagres of Bouille Land, H. Humphrey, Feby. 10th 1794, etching on wove with bright contemporary hand-colouring, large margins, 310 x 360 mmQTY: (1)NOTE:BM Staires 8435. Gillray has executed a complex caricature, critical of the King, the extravagance of his wife, William Pitt and the drunken son of the monarch, Frederick the Duke of York. The Life of Gargantua and of Pantagruel is a series of five French novels by François Rabelais about two giants, Gargantua and his son Pantagruel. In the first book, Pantagruel returns from the University to fight against the Dipsodes to preserve his father's kingdom and property. The impetus for this print was the brief return of King George's favourite son, Prince Frederick, the Duke of York, from Flanders where he had been leading a British/Hanoverian army against France as part of a larger Coalition including Austria, Prussia, and the Dutch Republic. The King and Queen are portrayed as gullible, greedy and grasping. The king accepts the 'Keys of Paris' whilst at his feet are bags of money labelled For Horses, Hounds & other Nicknackatories. Behind the throne and hidden from view, the Queen holds out an apron, which is filled with money by a devil. Her money bags are labelled Spy Money 40000, Flatterers & Toad-eaters 10000, Pin Money 50000 and Private Whim Wham[s] 50000. Funding these nefarious, frivolous and extravagant expenses is the ever-inventive Pitt, who sits in an obsequious position at the king's feet, eagerly inventing new taxes, including Bricks, Brandy, Water and Air.

* Gillray (James). A Voluptuary under the horrors of Digestion, London: H. Humphreys, July 2nd 1792, etching on wove with contemporary hand colouring, trimmed close to plate mark, previous ownership inscription to verso, sheet size 370 x 300 mm QTY: (1)NOTE:BM Satires 8112, a companion print to BM Satires 8117. 'The Prince of Wales picks at his teeth and reclines in a chair amongst the wreckage of his debauchery..., everything is indicative of excess even to the finest details..., this pair of prints is amongst the finest of all royal portraits, the drawing is superb and not a detail is superfluous.' Richard Godfrey, James Gilray: The Art of Caricature, p 176/9.

* Gillray (James). Temperance enjoying a frugal meal, London: H. Humphreys, July 28th 1792, etching on wove with contemporary hand-colouring, a few pin holes to upper and left margin, minor mount burn and minimal spotting, paper residue to top margin on verso, sheet size 250 x 340 mm, together with another example with contemporary hand colouring, trimmed to image, some closed tears, 330 x 270 mm QTY: (1)NOTE:BM Satires 8117, a companion print to BM Satires 8112. 'The meanness of the King and Queen and their self-restraint at table were well known..., Everything in the room is indicative of miserliness, from the Kings patched trousers to the empty fire-grate.... this pair of prints is amongst the finest of all royal portraits, the drawing is superb and not a detail is superfluous.' Richard Godfrey, James Gilray: The Art of Caricature, p 179.