* 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.
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* 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.
* Gillray (James). Elegance Democratique - a Sketch near High Wycombe - whenever I wish to form a proper estimate of Mans Mind, I observe his Manners & his Dress, Lord Chesterfield, H. Humphrey, July 8th 1799, etching on wove with contemporary hand-colouring, thread margins, old tape hinge on the verso to the upper margin, 370 x 260 mm, together with Pylades & Orestes, H. Humphrey, April 1st 1797, etching on wove with bright contemporary hand-colouring, large margins, watercolour 'stain' affecting the image, 360 x 260 mmQTY: (2)NOTE:BM Satires 9438 & 9065. The first caricature is a comment on the slovenly appearance of John Henry Petty, the eldest son of Lord Lansdowne. Everything about his pose, bearing and dress is tasteless and inelegant. His clothes are ill-fitting and Gillray shows him as paunchy and round-shouldered with slack stockings. To top off this critique, Gillray includes a quotation by Philip Stanhope, Lord Chesterfield; one of the most famous arbiters of taste and dress.The second image shows William V, the Prince of Orange, as Orestes and his private Secretary, Count Nassalin, as the devoted Pylades. The British Museum describes the Prince's secretary as "hunchback." Gillray seems to have added the hump in a hurried afterthought. The secretary's hair, tied back with a black ribbon, falls behind him upon what would be a normal-looking back. The hump is then added unconvincingly behind the queue and somehow outside Nassalin's jacket—a rare example of carelessness by Gillray.
* Gillray (James). Scotch-Harry's News; _ or _ Nincumpoop in high Glee Vide. News from India, pub.lished H. Humphrey May 23rd 1792, etching on wove with bright original hand colouring, small areas of earlier adhesion on verso, 250 x 350 mm QTY: (1)NOTE:BM satires number 8094. Dundas informs King George III and Queen Charlotte of the latest British victory in India. Dundas had special responsibility for Indian Affairs.
* Gillray (James). Nelson's Victory, or Good-News Operating upon Loyal Feelings, London: H. Humphreys, October 3rd 1798, etching on wove paper with contemporary hand-colouring, contemporary ink inscriptions to margins naming individuals depicted, small areas of paper residue to verso, sheet 390 x 480 mm QTY: (1)NOTE:BM Satires (9248).Gilray satirically illustrates the leading Whigs reactions to the news of Nelson's victory at the Battle of the Nile.
* Gillray (James). The State of War, or, the Monkey-Race in danger, London: H. Humphreys, May 20th 1799, etching on wove with contemporary hand-colouring, small tear to margin to lower left corner, small areas of tape to top margin, small paper residue to corners on verso, sheet 300 x 480 mm QTY: (1)NOTE:BM Satires (9388). French soldiers are shown fleeing or being devoured and killed by the British Lion or the Russian bear. A crescent-faced Turkish figure is shown grasping Bonaparte and raising a blood-stained scimitar. The two-headed Habsburg eagle flies above the scene, clutching thunderbolts and tearing a bonnet-rouge in its beak
![* Gillray (James). [Fatal Effects of the French Defeat] Hanging. Drowning. London: H. Humphreys, November 9th, 1795, etching](https://cdn.globalauctionplatform.com/69b81347-ed36-42b1-a009-b17f00aaeca9/8df02add-9644-4321-9b14-b1ab00ab96d0/468x382.jpg)
* Gillray (James). [Fatal Effects of the French Defeat] Hanging. Drowning. London: H. Humphreys, November 9th, 1795, etching on wove with contemporary hand-colouring, minor closed tears to margins, small printers crease to lower margin, tape residue to top margin on verso, platemark 250 x 340 mm QTY: (1)NOTE:BM Satires 8683. ‘This print was prompted by the news of the Coalition over the French Army of the Sambre…, portraying, side-by-side, the very different reactions to the news by a Whig and a Tory.’ Jim Sherry, 2023.
* Gillray (James). The Republican-Hercules Defending his Country, H. Humphrey, Feby. 19th 1797, etched caricature on wove with contemporary hand-colouring, some marginal fraying with slight loss, repaired on verso, slight surface abrasion to the printed image, old adhesion scaring to the verso, 365 x 255 mm, together with French - Telegraph making Signals in the Dark, H. Humphrey, Jany. 26th 1795, etching with aquatint, contemporary hand-colouring, old adhesion scaring to the verso, 245 x 350 mmQTY: (2)NOTE:BM Satires numbers 8987 & 8612. Two caricatures on the perennial theme of Charles Fox's ambiguous and equivocal approach to France, its revolution and the threat it posed to the British Isles. The first print shows Fox 'pulling the strings' of an invading French fleet. In the second, Fox is signalling - with the newly invented semaphore - to a French armada that creeps across the English Channel. Gillray clearly regards Fox's behaviour as deeply disloyal and possibly treasonous.
* Gillray (James). Vices Overlook'd in the New Proclamation. To the Commons of Great Britain, this representation of Vices, which remain unforbidden by Proclamation, is dedicated, as proper for imitation, and in place of the more dangerous ones of Thinking, Speaking & Writing, now forbidden by Authority, London: H. Humphreys, May 24th 1792, etching on wove with contemporary hand-colouring, pencil inscriptions to margins naming the individuals depicted, red-inked collectors monogram 'MW' below a rampant lion plus small areas of tape residue to top margin on verso, small margins, sheet size 280 x 380 mm QTY: (1)NOTE:BM Satires 8095.Gillray’s title refers to ‘The Royal Proclamation Against Seditious Writings and Publications’ issued by George III on 21 May 1792, a response to the growth of radicalism in Britain inspired by the French Revolution. The proclamation threatened Gillray’s career and this engraving is a direct attack against the Kings’ hypocrisy, illustrating the well-known vices of him and his family. ‘Avarice’ shows the King and Queen grasping at sacks of money, ‘Drunkeness’ shows the Prince of Wales being led away from a brothel in a drunken state, ‘Gambling’ shows Frederick, Duke of York raising a dice-box at a gambling table. ‘Debauchery’ shows Prince William Henry with his latest mistress, Mrs. Jordan, whose name was also popular slang for a chamber pot.
* Gillray (James). Ancient Music, S. W. Fores, May 10th 1787, large etching on laid with contemporary hand-colouring, some marginal fraying and occasional repaired closed tears, vertical fold, slight marginal dust soiling, backed with later paper, 420 x 540 mmQTY: (1)NOTE:BM Satires 7163. King George and Queen Charlotte are seated beneath a canopy and listen in apparent raptures to a bizarre 'orchestra' arranged as a pyramid to their right. The figures are individually numbered which corresponds with the notes below the caricature (there is an earlier state of this image without the numbers and identifying notes). The satire illustrates a passage from 'Ode upon Ode' which attacked William Pitt for his sycophantic behaviour towards to monarch and for their parsimony for attending concerts as subscribers rather than having private concerts at the palace.
* Gillray (James). La Belle Espagnole - ou - La Doublure de Madame Tallien, H. Humphrey, Feby. 25th 1796, etching on wove (watermarked 1794) with bright contemporary hand-colouring, large margins, slight dust soiling to the margins, 350 x 245 mmQTY: (1)NOTE:BM Satires 8898. According to Dorothy George, the Belle Espagnole represents a Creole dancer from Spanish America, who bore a striking resemblance to the famous French beauty and society hostess Theresa de Tallien (1773-1835). However, according to Joseph Monteyne and the National Portrait Gallery, this print shows the mulatto tight-rope dancer, Maria Garcia, who performed under the French stage name of La Belle Espagnole. Based on advertisements in numerous papers including the Public Advertiser, the London Daily Universal Register, the London World Fashionable Advertiser, the Morning Post and Daily Advertiser and others, she is known to have been a regular at Sadler's Wells, performing hundreds of times between April of 1785 and August of 1796.
* Ennion (Eric, 1900-1981). Hen Harrier and Snipe, watercolour with pencil, signed lower left in pencil, small vertical crease to right margin, some small marks to lower right, 21.5 x 26 cm mount aperture, framed and glazed (37 x 40 cm), together with Stokes (George Vernon, 1873-1954). Mallards in Flight, coloured etching, limited edition of 36/75, signed with limitation in pencil to lower margin, plate size 25.3 x 31.5 cm, mounted, framed and glazed (47.5 x 47.5 cm), and a gouache on green paper by Ray Hawley, 1973QTY: (3)
* Gillray (James). French-Taylor, fitting John Bull with a 'Jean de Bry', H. Humphrey, November 18th 1799, etching with bright contemporary hand-colouring, very slight staining, 370 x 275 mmQTY: (1)NOTE:BM Satires 9425. A caricature of the contrast between English & French fashion. A scrawny and distinctly simian French Tailor (with his tri-colour breeches and bonnet rouge) is fitting a sturdy representative of the average Englishman, "John Bull" with a Jean de Bry coat; coats which were all the rage in 1799.
Ryohei Tanaka (Japanese, 1933-2019). Etching and aquatint on chine colle print titled "Koshi (Takayama)" depicting the exterior of a house with a plant, 1973. Signed and dated along the lower left; numbered 29/100 along the lower right.Sight; height: 7 in x width: 8 1/2 in. Framed; height: 13 in x width: 14 in x depth: 1/2 in.Condition: There are no visible tears, creases, or loses. There are minute areas of foxing along the margins. No signs of restoration under UV light. Not examined out of frame. Framed under glass. Wear to frame.
Group of four mid-century modern Japanese prints including:Haku Maki (Maejima Tadaaki) (Japanese, 1924-2000). Color woodcut and silkscreen with raised embossed fruit and mica ink titled "Persimmon 73-10" depicting a vibrant citrus against a deep black background, 1973. Pencil signed and inscribed 73-10 along the lower right; numbered 159/203 along the lower left.Haku Maki (Maejima Tadaaki) (Japanese, 1924-2000). Color woodcut with embossing titled "Poem 72-84 (Gate)," depicting a modernist abstract composition, 1972. Pencil signed along the lower right; titled along the lower center; numbered 21/202.Ryohei Tanaka (Japanese, 1933-2019). Etching on paper depicting a group of strawberries, 1972. Pencil signed and dated along the lower right; numbered 83/100 along the lower left.Kenji Ushiku (Japanese, 1922-2012). Etching on paper depicting a pair of birds. Pencil signed along the lower right; numbered 28/125 along the lower center; inscribed illegibly along the lower left.Height ranges from 8 1/4 in to 9 3/4 in; width ranges from 9 3/4 in to 12 1/2 in.Condition: There are no major losses or tears. There are minor creases across some sheet corners throughout. All the sheets are lightly toned. There are some areas of discoloration and foxing throughout. Not in frame.
Shoichi Ida (Japanese, 1941-2006). Color etching with chine colle titled "Between Vertical and Horizontal San Pablo Avenue No. 2" depicting a symmetrical composition of navy and teal blue with two black lines that join to form a triangular point, 1984. Pencil signed and dated along the lower right; numbered 11/35 along the lower left.Unframed; height: 47 1/2 in x width: 33 1/2 in. Framed; height: 51 in x width: 37 in x depth: 1 1/2 in.Condition: No visible tears, losses, or repairs. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
English School, circa 1800Portrait Miniature of Mary Queen of Scotswatercolour on ivory8.5cm x 7cmwith a second early 19th Century portrait miniature of a lady, shoulder-length, 7cm x 5.5cm, with a silhouette portrait of a lady and an etching depicting George Washington (4)Ivory registration references: QA4AA69L and K2MH5RJ5
ARR Julian Trevelyan (1910-1988)The Ploughsigned in pencil to margin, ed 99/150etching and aquatint32cm x 44.5cm Bears Christie's blindstamp to lower right margin and certificate of authenticity to the reverse. Framed and glazed. Some condition issues, including foxing and staining to the mount. The etching plate itself is generally well preserved, with more limited foxing showing through the aquatint in places.
Herbert Thomas Dicksee RE (1862-1942) "Study of a Leopard", signed in pencil, etching artist’s proof, edition of 100, published by Frost & Reed, 1922, with blindstamps, 18 x 40.5cms, in frame. Provenance From the artist’s grandson; the Bryan Steele Collection. Exhibited Royal Academy 1922, no. 1025.
Herbert Thomas Dicksee RE(1862-1942)"A Wanderer", lion walking across a desolate landscape,signed in pencil,etching, artist’s proof, edition of 200, published by C E Clifford & Co., London, 1890, with blindstamp,30 x 45.5cms, in frame.ProvenanceThe Bryan Steele Collection.ExhibitedRoyal Academy 1889, no. 1724;World’s Colombian Commission International Exhibition, Chicago 1893 (Special Merit Medal).
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