78472 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

* Brangwyn (Frank, 1867-1956). Via Dolorosa, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 38 x 35.1 cm (15 x 13 3/4 ins), sheet size 63.7 x 45.6 cm (25 x 18 ins), together with: Tramps Resting, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 30.4 x 37.7 cm (12 x 14 7/8 ins), sheet size 45.5 x 62.7 cm (18 x 24 5/8 ins), plus: Men with Performing Animals, 1911, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 27.9 x 36.6 cm (11 x 14 3/8 ins), sheet size 45.6 x 63.5 cm (18 x 25 ins), the etchings contained in (partial) Brangwyn Portfolio, by E.F. D'Alignan & Paul Turpin, 1927, with illustrated title on cover, text by Steinlen in French and English, list of illustrations (of the first part I-L only) in French and English, 12 illustrations only, including the 3 listed etchings, also including one original lithograph: Revolt 1920, the remainder being lithographic reproductions of watercolours, drawings & pastels, many with stencil-added chalk or watercolour, plus: Catalogue of Ninety-Six Etching by Frank Brangwyn, A.R.A., London: The Fine Art Society, January 1912, 12pp., two etching titles added in contemporary ink manuscript to final leaf, lightly foxed, original printed wrappers (toned), slim 8voQTY: (2)NOTE:The three etchings are listed in the Catalogue Raisonne as E938, E937 and E837 respectively (numbers 84, 90 & 77 in the portfolio). The lithograph Revolt is P1328 (portfolio number 46). The other illustrations present are portfolio numbers 26, 28, 34, 41, 51, 61, 65 & 87.

* Drury (Paul, 1903-1987). Ruins, St. David's, 1937, etching, signed and dated in pencil to lower margin, plate size 17.5 x 22 cm (6 7/8 x 8 5/8 ins), mounted, framed and glazed (40 x 43 cm), together with Langmaid (Rowland, 1897-1956). St Paul's Cathedral from the Thames, 1929, etching, signed in pencil to lower margin, plate size 27 x 20.5 cm (10 5/8 x 8 ins), mounted, framed and glazed (47 x 40 cm), plus Walcott (William, 1874-1943). San Carlo, Naples, etching, signed lower right, some overall toning, plate size 18 x 17 cm (7 x 6 5/8 ins), mounted, framed and glazed (40 x 33.5 cm), with remnants of original labels to versoQTY: (3)

* Leyden (Lucas van, circa 1494–1533). The Large Ecce Homo, 1510 [but later], etching on Arches laid paper, with chain lines approximately 28 mm apart, watermarked 'ARCHES', probably 18th century, a good impression, trimmed to or just inside the platemark, with some loss of the borderline, sheet size 290 x 454 mm (11 1/2 x 17 7/8 ins), hinge-mounted on card, old gilt frame, glazed (48 x 61 cm)QTY: (1)NOTE:Bartsch 71; New Hollstein 71 (copy).

* Piranesi (Giovanni Battista, 1720-1778). Veduta degli avanzi del Foro di Nerva, from Vedute di Roma, 1757, etching on laid paper with partially visible watermark of a fleur-de-lis in a double circle with monogram CB above, printed with address and price, the second or third state (of 7), a good strong impression, trimmed to platemark (except with thread margin to upper edge), sheet size 40.5 x 62 cm (16 x 24 1/2 ins), inlaid to modern mounting paper, window-mountedQTY: (1)NOTE:Hind 42, ii/vii; Focillon 749; Wilton-Ely 181.

* Piranesi (Giovanni Battista, 1720-78). Veduta dell’ Arco di Constantino, from Vedute di Roma, 1771, etching on thick laid paper, a strong impression of the first state, laid down on later card, central fold, trimmed to plate mark, small area of dust soling to upper left of image, small creases to top right, plate size 470 x 705 mm (18.5 x 27.5 ins), sheet size 665 x 890 mm (26 x 35 ins), framed and glazed, with Frost & Reed printed label to verso QTY: (1)NOTE:Hind 97, i/iii; Ficacci 968. Engraved in Rome by Piranesi, and first published by his son Francesco in Paris in 1771.

* Piranesi (Giovanni Battista, 1720-78). Sepolcro di Cecilia Metella, from Vedute di Roma, 1762, etching on thick laid paper, the second state (of five), partially laid down on modern card, narrow margins, some minor marks and abrasions to margins, plate size 460 x 640 mm (18 x 25 1/4 ins), sheet size 475 x 655 mm (18 3/4 ins x 25 1/2 ins), mountedQTY: (1)NOTE:Hind 67 (ii/v); Wilton-Ely 200; Focillon 772; Ficacci 938.

* Vasi (Giuseppe, 1710-1782). Il Prospetto principale del Tempio e Piazza di S. Pietro in Vaticano, e Palazzo Pontificio, 1774, etching with engraving on two conjoined sheets of laid paper, plate size 705 x 975 mm (27.75 x 38.4 ins), margins trimmed to or just inside plate mark, a little browning to extreme outer edges, laid down on 20th-century card, a few scuffs and small marks, sheet size 713 x 985 mm (28 x 38 3/4 ins), together with L'Interno della Basilica Vaticana colla rappresentanza dell'Ordine, 1775, & La Veduta del Fianco destro della Basilica Vaticana con l'Ordinanza della Solenne Cavalcata del Somo Pontefice..., 1778, etchings with engraving on two conjoined sheets of laid paper, both trimmed to the etched borderline, laid down 20th-century card, 703 x 975 mm (27 3/4 x 38 1/2 ins), matching modern frames, glazedQTY: (3)

* Piranesi (Giovanni Battista, 1720-78). Veduta del Tempio detto della Concordia, circa 1774, etching on thick laid paper, the first state (of three), a vibrant impression, laid down to sheet edges on modern card, narrow margins, plate size 470 × 700 mm (18 1/2 × 27 1/2 ins), sheet size 480 x 710 mm (19 x 28 ins)QTY: (1)NOTE:Hind 109 i/iii; Focillon 829; Wilton Ely 242.

* Simon (George, 2nd Earl of Harcourt 1736-1809). View of Windsor Castle from the River, after Paul Sandby, circa 1763, etching, a fine, black impression on laid paper, retaining a fillet of blank paper outside the borderline, sheet size 8.8 x 26 cm (3 1/2 x 10 1/4 ins), together with Stark (James, 1794-1859). A Wooded Landscape with Figure on a Path, etching on laid paper, a very good, atmospheric impression; plus a group of eight etchings by followers of Sandby; and Paul Sandby, later impressions on wove paper of Gunn 86, 133 (hand-coloured),199, 202, and 301; and two reproductionsQTY: (17)

AR * Rouault (Georges, 1871-1958). Jésus Honni..., from Miserere, 1923, published 1948, drypoint etching with roulette and deburring on Arches laid paper watermarked 'Arches' and 'Ambroise Vollard', plate II from the series, published in an edition of 425 impressions by Edition de l'Etoile Filante, Paris, printed by Jacquemin, the full sheet, plate size 54.5 x 40 cm (21 1/2 x 15 3/4 ins), sheet size 64.5 x 50.5 cm (25 x 19 3/4 ins), mounted with archival tape to upper margin and one side margin, framed and glazed (95 x 78 cm)QTY: (1)NOTE:Chapon-Rouault, 55c.

* Crome (John the Elder, 1768-1821). A Large Tree on a Mound, circa 1809-1813, etching, on chine appliqué on wove paper, a very good, bright and delicate impression, with margins, 16.8 x 15.8 cm, sheet 21.8 x 20.1 cm, in good condition, unframed QTY: (1)NOTE:John Crome was, along with John Sell Cotman (1782-1842), the major artist of the Norwich School. Crome was a painter in oils and watercolours and only etched for a short period, during the years 1809 to 1813.

* Piranesi (Giovanni Battista, 1720-78). Veduta dell’ Arco di Tito, 1771, etching on thick laid paper, the first state (of four), a vibrant impression, laid on later card, central fold, thread margin to top of image, other three margins trimmed to plate mark, repaired marginal closed tear to top of image, plate size 480 x 71 mm (19 x 28 ins), sheet size 715 x 950 mm (28 x 37.5 ins), framed and glazedQTY: (1)NOTE:Hind 98, i/iv; Ficacci 969. ?

* Piranesi (Giovanni Battista, 1720-78). Veduta della vasta Fontana di Trevi anticamente detta l’Acqua Vergine, from Vedute di Roma, 1751, etching on thick laid paper, the third state (of seven), a deep and clear impression, laid down to sheet edges on modern card, central fold, narrow margins, some dust soiling, plate size 400 x 560 mm (16 x 22 ins), sheet size 420 x 570 mm (16 1/2 x 22 1/2 ins), mountedQTY: (1)NOTE:Hind 19 (iii/vii). Wilton-Ely 156. Focillon 793. Ficacci 883.

* Reni (Guido, 1575-1642). A Glory of Angels, after Cambiaso, circa 1607, etching, a very good impression, printing with effective contrasts,t he final state, with extra heads added at the top, collector's stamp of Martin Folkes lower right (Lugt 1033) and George Walker's paraphe 'G. W. Edinburgh' in pen and ink verso (Lugt 1224), with a thread margin or trimmed to the borderline, a small skinned patch lower left verso, generally in very good, well preserved condition, 40.5 x 27.5 cm (15 7/8 x 10 3/4 ins) in a conservation mountQTY: (1)NOTE:Provenance: Martin Folkes (Lugt 1033); George Walker (Lugt 1224).Martin Folkes (1690-1754), archaeologist and numismatics scholar, elected a Fellow of the Royal Society at the age of 23 and President from 1741 to 1753. He was also President of the Society of Antiquaries (1749-1750). His portrait was painted by Jonathan Richardson in 1718, and by Hogarth in 1741. George Walker (died 1815) was an 18th century landscape painter, and member of the Scottish Academy.Bartsch 45.

Henry G. Walker: a framed coloured etching entitled ' Flamborough Head' - signed in pencil to the margin and with label verso

William Lionel Wyllie (British, 1851-1931), Submarines in Portsmouth Harbour, drypoint etching, signed in pencil, 23x38cm

BRIAN BRADSHAW (1923-2016) - Bolton Wanders FC, etching, framed, 22cm x 31cm, frame size 43cm x 52cm. NB - This lot may be subject to Artist's Resale Right levy.

Jacques Callot (French, 1592-1635) with Abraham Bosse (French, 1604-1676) and Michel Lasne (French, 1590-1667). Large etching titled "Obsidio Rupellae" depicting the siege of La Rochelle, ca. 1628-1631. Complete set of sixteen plates framed together to depict a battle scene bordered with cartouches. The central scene depicts an aerial or bird's eye view of the battle framed by panels bearing descriptions, additional scenes in cartouches, and portraits. Callot etched the central scene and two of the smaller scenes in the border while Lasne and Bosse, and possibly Israel Henriet (French, 1590-1661), etched the portraits and the remaining border.Unframed; height: 56 1/2 in x width: 65 in. Framed; height: 58 in x width: 66 1/4 in x depth: 1 1/4 in.Condition: There is heavy toning and uneven discoloration throughout all the prints. Areas of foxing and small stains throughout. There is undulation to the sheets. The sheets have been framed together to form one large map. There are creases throughout. Wear to the frame, framed under plexiglass. Due to the nature of the framing, this has not been inspected out of frame. 

Malcolm Haynie Myers (American, 1917-2002). Etching on paper titled "Ecce Homo (Behold the man)" depicting the biblical scene during Christ's crucifixion, 1952. Pencil signed and dated along the lower right; titled along the lower left; edition 9/35 along the lower center.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 17 1/4 in x width: 20 3/4 in.Condition: No visible sign of restoration under UV light. The sheet is heavily toned and the margins are discolored darker than the center, possibly acidic burn from the previous mat, as shown in the listing image. Along the lower margin, the brown discoloration is the most noticeable. Throughout the sheet, there are foxing and creases, particularly along the margins. Along the edges of the center image, there are creases, possibly from the artistic practice. To the upper left quadrant, there is an approximately 4 in long noticeable crease. Along the margins, there are minute chipping as well. To the left upper and upper right margins, there are light handling marks. Along the lower margin, there is a network of minute skimming; please see the listing image. To the center margin, there is a light brown mark. Along the verso, the paper is heavily toned and has original ink seen through from the recto; creases throughout; to the lower left corner, there is a network of skimming.

Malcolm Haynie Myers (American, 1917-2002). Etching on paper print titled "Last Supper" depicting the biblical scene, 1946. Pencil signed and dated along the lower right; titled along the lower left; edition 10/30 along the lower center.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 20 in x width: 25 3/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Jacques Callot (French, 1592-1635) with Abraham Bosse (French, 1604-1676) and Michel Lasne (French, 1590-1667). Large etching titled "Obsidio Arcis Sammartianianae" depicting the naval siege of the island of Re, ca. 1628-1631. Complete set of sixteen plates framed to depict the seige bordered with cartouches. The central scene depicts an aerial or bird's eye view of the island framed by panels bearing descriptions, additional scenes in cartouches, and portraits. Callot etched the central scene while Lasne and Bosse etched the bordersUnframed; height: 57 1/2 in x width: 64 3/4 in. Framed; height: 58 1/2 x width: 65 3/4 in x depth: 1 1/4 in.Condition: There is heavy toning and uneven discoloration throughout all the prints. Areas of foxing and small stains throughout. There is undulation to the sheets. The sheets have been framed together to form one large map. There are creases throughout. Wear to the frame, framed under plexiglass. Due to the nature of the framing, this has not been inspected out of frame. 

Jean-Francois Millet (French, 1814-1875). Etching on paper titled "The Shepherdess Knitting" depicting a woman standing in the shade knitting while her dog watches a herd of grazing sheep in the background, 1862. Signed in plate along the lower left.Sight; height: 13 in x width: 9 1/2 in. Framed; height: 19 3/4 in x width: 14 3/4 in.Condition: There are no visible rips, tears, or losses. No visible restorations when inspected under UV light. The sheet is toned. The work is framed under an acidic mat. Some wear to the frame; framed under glass; not inspected out of frame.

Armand Rassenfosse (Belgian, 1862-1934). Oil painting on board depicting a nursing mother and child. There is a small plaque with the artists name affixed to the lower center of the frame. He is most well known for his 160 color etching illustrations of Charles Baudelaire's poems "Les Fleurs du mal," of which only 130 copies were published.Sight; height: 28 1/2 in x width: 23 1/4 in. Framed; height: 38 in x width: 33 in.Condition: The piece shows no visible losses, creases or tears. The surface appears to be stable. To the center of the mother's face, there is a small area that fluoresces under UV light. In the upper left margin, there is a black circular accretion. Throughout the recto, there are light accretions, possibly original to the artistic process; please see the listing image. Due to the thick and uneven varnish throughout it is difficult to discern whether there are restorations. Along the verso, the board is toned and has soiling and light paint accretions that do not affect the recto, possibly original to the artistic process. Light wear to the frame.

Group of three prints including a work by Picasso, Renoir, and Lebadang:Pablo Picasso (Spanish, 1881-1973). Lithograph titled "The Cape" depicting a bull fight in loose black strokes. Dated June 3, 1961 in plate and further numbered III in Roman numerals in plate along the lower left.Pierre Auguste Renoir (French, 1841-1919). Etching titled "On the Beach" depicting two figures seated on the shore while others frolic in the water. Signed in plate along the lower right.Touty AKA Hoi Lebandang (Vietnamese/French, 1921-2015). Abstract lithograph in orange titled "The Yellow Sampan" depicting a figure confronting a large bird next to a river. Pencil signed "Touty" along the lower right; numbered 19/120 along the lower left.Sight; height ranges from 4 1/2 in to 10 in x width ranges from 5 in to 11 1/2 in. Framed; height ranges from 10 3/4 in to 14 1/2 in; width ranges from 11 1/4 in to 13 3/4 in.Condition: There are no visible tears, soiling, creases or losses to all three items. There is toning on all prints. No visible foxing to Renoir print and Picasso print. The Picasso print has a vertical area to the center and along the upper margin that shows a different color from the rest, possibly transmitted from the verso; please see the listing image. Along with it, there is horizontal line along the upper margin that shows different level of toning. The Renoir print has light undulation to the sheet. The Lebadang print has minor foxing along the lower center margin. There are visible signs of browning along margins. All three prints do not show a sign of restoration under UV light. All framed under plexiglass. Not inspected out of frame. Wear and losses to the frames.

Anders Zorn (Swedish, 1860-1920). Etching on paper titled "A Skeri Girl," alternatively titled "Skerikulla," depicting a girl wearing a dress and a scarf around her head and smiling, 1912. 2nd 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 101, plate A. 247.Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 385, plate 247.Sight; height: 11 in x width: 8 1/4 in. Framed; height: 20 1/4 in x width: 16 1/2 in.Condition: No visible tears, creases or losses. The sheet is toned. There are minute specks, mainly along the bottom and left margins of the sheet that appear to be original to the printing that do not affect the image. There is a minute scattering of debris along the top left quadrant of the mat that does not affect the image. Window mat. Light wear to the frame. Framed under glass. Not inspected out of frame.

Johnny Friedlaender (German, 1912-1992). Etching on paper titled "Premier Conclusion" depicting an abstract geometric scene, 1970. Pencil signed lower right; numbered 16/95 along the lower left.Unframed; height: 30 in x width: 22 in. Framed; height: 41 in x width: 33 in.Condition: No visible tears, creases or losses. No visible signs of restoration under UV light. The sheet is floating on the frame; all margins are visible. There is minute chipping to the upper right margin. The color of the margins is slightly darker than the center; however, it is difficult to discern whether it is discoloration or intended by the artist given the overall style of the item; please see the listing image. Framed under plexiglass; not inspected out of frame. The verso could not be inspected.

Group of two antique map engravings including:Johannes Kip (Dutch, 1653-1722) after a painting by Leonard Knyff (Dutch 1650-1722). Etching on paper titled "Badminton in the County of Gloucester" depicting a bird's eye view map. Published in London in 1705.Olfert (Olivier) Dapper (Dutch, 1636-1689). Engraving on paper titled "Nagapatam (Rynlandsche Roeden)" depicting a bird's eye view map, published in 1672.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Nagapatam; sight; height: 14 1/2 in x width: 11 1/2 in. Framed; height: 23 in x width: 20 in. Gloucester; sight: height: 14 1/2 in x width: 19 1/2 in. Framed; height: 24 in x width: 29 in.Condition: Nagapatam: there are no major visible rips, tears, losses, or restorations. There is a horizontal crease through the center of the sheet. There is light undulation to the sheet throughout. Some light soiling, located primarily along the margins. There is a light discoloration along the right upper quadrant. Light wear to the frame. Framed under glass. Not inspected out of frame.Gloucester: no major visible rips, tears, losses, or restorations. There is a vertical crease through the center of the print. Toning to the sheet. Foxing and light discoloration to the sheet throughout. Light wear to the frame. Framed under glass. Not inspected out of frame.

Stefano Della Bella (Italian, 1610-1664). Old master etching depicting two horsemen riding pas ta flock of sheet, ca. 1656. From the series "Six large views, four of Rome and two of the Roman countryside." Inscribed "SDBella. / In & f. cum Pri. Reg. christ" along the lower left margin.Sight; height: 12 in x width: 10 1/4 in. Framed; height: 19 3/4 in x width: 18 1/4 in.Condition: There are no visible rips, tears, creases, or losses. There is a slight undulation to the sheet. There are a few minute stains to the sheet, most notable along the lower left corner. There appears to be some dirt along the lower left corner of the mat behind the glass. Some undulation to the matboard. The artwork is matted and framed under glass; some wear to the frame; not inspected out of frame.

William Lionel Wyllie(1851-1931)"Tynemouth",pencil signed to the margin,etching,16 x 37.5cms (plate), in frame.

WILLIAM LIONEL WYLLIE RA RE (BRITISH 1851 - 1931), PORT GLASGOW etching on paper, signedmounted, framed and under glassimage size 20cm x 49cm, overall size 40cm x 68cm

WENCESLAS HOLLAR (DUTCH 1607 - 1677), COASTAL SCENE etching on papermounted, framed and under glassimage size 4.5cm x 12cm, overall size 28.5cm x 53cm

WILLIAM STRANG RA RP RE (SCOTTISH 1859 - 1921), PORTRAIT OF RUDYARD KIPLING etching on paper, signed in pencilmounted, framed and under glassimage size 37cm x 27cm, overall size 65cm x 49cm

RICHARD TESCHNER (AUSTRIAN 1879 - 1948), PAIR OF ARTIST PROOFS lithograph titled ALFRED ROLLEMAPPS, colour etching titled WINTER LANDSCAPE, each signed in pencilframed and under glassimage size 26cm x 23cm each, overall size 45cm x 36cm each Qty: 2

* ERNEST HERBERT WHYDALE (BRITISH 1886 - 1952), KNITTING etching on paper, signed, titled label versomounted, framed and under glassimage size 25cm x 30cm, overall size 48cm x 57cmLabel verso: James Connell & Sons Ltd., Glasgow

* WILFRED CRAWFORD APPLEBY (SCOTTISH 1889 - 1959) GLASGOW UNIVERSITY coloured etching on paper, signed and titledmounted, framed and under glassimage size 26cm x 35cm, overall size 45cm x 60cm

WILLIAM LIONEL WYLLIE RA RE (BRITISH 1851 - 1931), ROTTERDAM etching on paper, signedmounted, framed and under glassimage size 20cm x 25cm, overall size 42cm x 47cm

* CHARLES WILLIAM CAIN (BRITISH 1893 - 1962), etching on paper, signed mounted, framed and under glassimage size 20cm x 28cm, overall size 44cm x 54cm

Frederick Carter (1885-1967), 'The bore', two men seated at a table and a young figure seated on the floor, etching, inscribed and signed in pencil, 7.25" x 8", (18.5x20cm).

Luigi Kasimir (1881-1962) New York from Governor Island, colour etching, signed in pencil, 15.5" x 12.25", (39.5x31cm).

Eugene Bejot, View of the Port St. Catherine, Honfleur, etching, signed in pencil, 6" x 8.25", (15x21cm) (unframed).

Malcolm Childers, 'Amid the beams and rust of days gone by we find many another man's sunrise'. etching, inscribed, signed and dated 9 May 1973 in pencil, 14" x 19.5", (35.5x49.5cm).

J.S. Cotman, An etching of a window, South Burlingham Church, Norwich, 1810, etched and published by Cotman, 8.25" x 5.5", (21x14cm).

Ian Strang, Port View of a port in France, etching, signed and inscription verso in pencil, 10.75" x 13.75", (27x35cm) (unframed).

Van Ostade (1610-1685), figures in an interior, etching, signed in theplate, 4.25" x 3.25", (10.5 x 8cm).

Paul Cesar Helleu (1859-1927), a drypoint etching of a female figure, possibly Alice, the artist's wife, signed in pencil, plate size 8.25" x 12.25" (21 x 31cm).

WW2 German Kriegsmarine Officers Dress Dagger by F W Holler Solingen, generally good example of a naval officers dagger with white celluloid grip having wire binding. Gilt brass eagle pommel top and cross guard with fouled anchor to central cartouche and press button release stud. Attached to the grip is a officers bullion dress knot / portepee. Housed in its standard brass scabbard with two hanging rings. Double edged polished blade with sailing ship etching. Makers trade mark to the base of the blade. Small area of surface staining near the tip but otherwise the blade is in good condition. Blade measures 25cms, overall 41 ½ cms. Some polishing to the exterior fittings, small crack and light scratches to the grip.

WW2 German Kriegsmarine Officers Dress Dagger by F W Holler Solingen, generally good example of a naval officers dagger with white celluloid grip having wire binding. Gilt brass eagle pommel top and cross guard with fouled anchor to central cartouche and press button release stud.. Housed in its deluxe hammered pattern scabbard with two hanging rings. Double edged polished blade with sailing ship etching. Makers trade mark to the base of the blade. The blade is in generally good condition with just light surface staining. Blade measures 25cms, overall 42 cms. Small section of the grip missing to the very top just under the pommel.

WW1 and WW2 Family Medals, Paperwork and Royal Navy Officers Sword of Petty Officer Humphries HMS Royal Sovereign and Lieutenant R Humphries HMS Vanguard, the fathers medals consist of 1914-15 star ‘238923 W HUMPHRIES A.B RN’, British War and Victory medals ‘238923 W HUMPHRIES L.S R.N’ and George V Naval Long Service Good Conduct medal (Admirals bust) ‘238923 W HUMPHRIES P.O HMS ROYAL SOVERIGN’. Medals mounted for wear. The sons medals all unnamed as issued, 1939-45 star, Atlantic star with France & Germany clasp, Africa star with North Africa 1942-43, Burma star, Italy star, 1939-45 War medal and Elizabeth II Coronation medal. The medals are court mounted for wear. Accompanied by matching miniature dress medals and tunic ribbon bar. Housed in a card box with the name of Lieutenant Humphries and ‘VANGUARD’; Royal Naval officers sword being a universal pattern with the rear locket engraved ‘R. HUMPHRIES R.N’. Housed in the original scabbard. The sword blade is well worn with much of the etching absent. Original bullion sword knot attached to the guard. Framed and glazed commission document of Rosslyn Humphries, Brigade Orders for the Royal Navy and Royal Marines at the Coronation 1953, pair of officers shoulder boards etc. This grouping has come direct from the family and not offered for sale before.

* Gillray (James). British Tars towing the Danish Fleet into Harbour; the Broadbottom Leviathan trying to swamp Billy's old boat & the little Corsican tottering on the Clouds of Ambition, H. Humphrey, Oct. 1st 1807, etching with bright contemporary hand colouring, near-contemporary ink marginalia identifying three of the protagonists, small areas of adhesion scaring to the verso, 250 x 355 mmQTY: (1)NOTE:BM Satires 10762. A satirical cartoon published shortly after the bombardment of Copenhagen and the seizure of the Danish fleet by the Royal Navy. This was done to prevent it from falling into the hands of Napolean. Although militarily successful, the pre-emptive expedition was controversial and was attacked in the British Parliament as a violation of a neutral country. Gillray's cartoon reflects a generally-favourable view of the naval operation, echoed by a jolly 'John Bull' who sits with a mug of beer outside a patriotically named pub called 'The Good Old Royal George' and sings 'Rule Britannia'.

* Woodward (George). Nine caricatures from 'Every Body in Town' and 'Every Body out of Town', etched by F. Sansom, 1796, numbers 1, 2, 4, 5 and 6 from in Town, and numbers 1, 4, 5 and 6 from out of Town, etchings with contemporary hand-colouring, some staining, small margins, all tipped on to later paper, each approximately 220 x 165 mm, together with Rowlandson (Thomas). Orders for Attending Drill and Peace and Plenty, R. Ackermann, 1801, pair of etched caricatures with contemporary hand-colouring, both trimmed to image and tipped onto later thick paper, 'Peace and Plenty' torn with slight loss, and with a long closed tear affecting the image, repaired on verso, each approximately 240 x 205 mm, with Gillray (James). The Royal Lounger [26 June 1804], etching with contemporary hand-colouring, trimmed to image, torn with small areas of loss, long closed tear affecting image, laid on later thick paper, 250 x 200 mm, plus another 14 caricatures by or after Grant, Laurie and Whittle, and Rowlandson, various sizes and conditions.QTY: (26)

* Gillray (James). Visiting the Sick, H. Humphrey, July 18th 1806, etching with aquatint, contemporary hand-colouring, good margins, slight dust and finger soiling to the borders, 260 x 360 mm, with another slightly later example published by S. W. Fores, small margins, 245 x 345 mmQTY: (2)NOTE:BM 10589. An arguably cruel print by Gillray of James Fox on his deathbed. Fox's legs are horribly swollen and bandaged. He is visited by numerous individuals, the most prominent being the Prince of Wales, who has his back to the observer. In the lower left of the image, Mrs Fox has fainted away and is attended by Lord Derby, whose mistress she had once been. Mrs Fitzherbert offers Fox a rosary whilst chucking him under the chin, whilst the Bishop of Meath offers little comfort with pious doctrinal warnings for Fox's soul. Sheridan weeps ostentatiously whilst Fox's political allies scheme in the doorway.

* Gillray (James). True Reform of Parliament, i.e. - Patriots lighting a revolutionary bonfire in New Palace Yard, H. Humphrey, June 14th 1809, etching with contemporary hand-colouring, good margins, two additional old vertical folds, slight adhesion scaring to verso, 295 x 415 mmQTY: (1)NOTE:BM satires 11338. Sir Francis Burdett harangues his colleagues who are setting a fire, lit by historical statutes, on the cobbles of Palace Yard. He holds a 'bonnet rouge' and he points towards Westminster Hall, which is being stoned and demolished by the mob. To the right in the foreground, the Marquis of Buckingham and Lord Grenville, fat and gouty, skulk away, bent double, their heavy backsides exaggerated their heads removed by the right margin, each carrying a large bag of money, labelled Family Pickings, £400000; and Exchequer Pickings.

* Gillray (James). Overthrow of the Republican Babel..., H. Humphrey, May 1st 1809, etching with contemporary hand-colouring, some marginal toning, small margins, two horizontal folds, some adhesion scaring to the verso, 400 x 320 mmQTY: (1)NOTE:BM Satires 11327. A highly detailed and complex satire. A huge tower of documents topples over, led by the acquittal of the Duke of York and his Mistress, Mary Ann Clark on charges of corruption. Gillray implies that this is a mortal blow to the reform of a duplicitous and self-seeking establishment and that both sides of the political divide were mired in corruption.

* Gillray (James). The Magnanimous Minister, chastising Prussian Perfidy, H. Humphrey, May 2nd 1806, etching with contemporary hand-colouring, slight spotting, slight dust soiling to the margins, small areas of adhesion scaring to the verso, 245 x 350 mmQTY: (1)NOTE:BM Satires 10560. A bellicose Charles Fox - in his position as Foreign Secretary - swings his sabre at the kneeling King of Prussia. A diminutive Napolean creeps up behind Fox to read the book held behind his back, titled "The State of the Nation".

* Gillray (James). Election Candidates - or - the Republican Goose at the Top of the Pole..., H. Humphrey, May 20th 1807, etching with contemporary hand-colouring, good margins, 355 x 255 mmQTY: (1)NOTE:BM Satires 10732. The endemic corruption surrounding elections shows the candidates scrambling up the 'greasy' pole for a seat at Westminster. The election of 1807 was remarkable in that two radical candidates - as opposed to the official candidates put forward by the Whigs and Tories - Sir Francis Burdett, represented as a goose and Thomas Cochrane, shown in sailor’s uniform were successful. Burdett is supported with a pitchfork in his bottom by Horne Tooke in the form of a black devil.

* Gillray (James). The State Waggoner and John Bull - or - The Waggon too much for the Donkeys! Together with a Distant View of the New-Coalition among Johnny's Old Horses, H. Humphrey, March 14th 1804, etching with bright contemporary hand colouring, large margins, some adhesion scaring to the verso, 265 x 370 mmQTY: (1)NOTE: BM 10232. Addington begs John Bull to help him extract the 'Waggon of State' from a muddy gulley. John Bull gestures towards a group of horses who represent Addington's political allies and suggests he harness them to the waggon to replace the exhausted team of donkeys.

* Gillray (James). Spanish Patriots attacking the French Banditti, Loyal Britons lending a lift! H. Humphrey, August 15th, 1808, etching with bright contemporary hand-colouring, small margins, one repaired closed tear affecting the printed image, some adhesion scaring to the verso, 270 x 385 mmQTY: (1)NOTE:BM Satires 11010. Spanish forces - including monks and nuns - rout a large French army, but in the foreground, a loan British soldier runs his bayonet through a French infantryman, whilst other French soldiers stand horrified behind their dying compatriot. The Peninsula War inflicted some of the first defeats for Napolean and the French army which had, up until then, been considered largely invincible.

* Gillray (James). "The Friend of the People" & his Petty New Tax Gatherer, H. Humphrey, May 28th, 1806, etching with contemporary hand-colouring, very slight overall toning, very slight spotting to the margins, 350 x 250 mmQTY: (1)NOTE:BM 10571. A scathing commentary on the growing burden of taxation that existed in the early 19th century, implemented to fund the ever-increasing expense of war with Napoleonic France.

* Gillray (James). A Tube for a Whale! representing an Empty-Barrel tossed out to amuse great Leviathan-John-Bull, in order to divert him from instantly laying violent hands upon ye new Coalition Packet, H. Humphrey, March 14th 1806, etching with contemporary hand-colouring, small areas of adhesion scaring to the verso, an old ink manuscript price of 2/6 to the lower left margin, 250 x 260 mmQTY: (1)NOTE:BM Satires 10543. A giant sea monster (John Bull) threatens a barely seaworthy ship, crewed by the new and unpopular 'broad-bottom' administration, including Erskine, Sheridan, Petty, Grenville (dressed as a naval officer), Windham, Spencer, Fox, Grey, and at the tiller, Lord Ellenborough in wig and gown. The ship has a broomstick for a mast and is propelled by the breath of the Prince of Wales. The disreputable crew have just thrown a barrel over the side, marked 'Real Constitutional Spirits', hoping the distract the giant leviathan.

* Gillray (James). A Little Music - or - the Delights of Harmony, H. Humphrey, May 20th, 1810, etching with contemporary hand-colouring, trimmed to plate mark, several marginal closed tears, crudely repaired on verso, two corners 'chipped with very slight loss to the printed margin, slight staining, 265 x 360 mm, together with Playing in Parts, H. Humphrey, May 15th 1801, etching with contemporary hand-clouring, trimmed to plate mark, occasional marginal repaired closed tears, margins strengthened on verso, slight adhesion scaring to the verso, 255 x 360 mmQTY: (2)NOTE:BM Satires, numbers 11611 & 9766 respectively. The first described item is in the second state with the addition of the publication date and details.