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Three Artworks;Antique print ''Grand Canal with Bridge of Sighs, Venice''.Etching of a gentlemen, signed and dated 1892.Print - A South View of George Watson's Hospital , Aug 1816.

3 Artworks -Joseph Kilpatrick - original aquatint titled ''Harrowing the Uplands'', signed.S.Bradshaw - Coloured engraving titled ''Aberdeen, from above the chain Bridge.Antique etching, signed.Antique mirror and three framed photograh portraits.

Three Artworks;Margaret Rowney - Watercolour''Country Garden'' signed and dated 1933.Axel Osterberg - Coloured etching , signed.Antique Framed feather and watercolour picture.

Pierre Alechinsky (n. 1927) "Ordre Minéral"Etching on paperSigned, dated 1980 and numbered 23/99(spots)62x90 cm

James Priddey - Framed & glazed pencil signed aquatinted colour etching with Warwick Galleries Artist Proof blindstamp, Titled 'Sunlight & Shadow, Aston Ayre, Shropshire'. Approx. 25 x 31cms reasonable used condition

James Priddey - Framed & glazed pencil signed aquatinted colour etching with Warwick Galleries Artist Proof blindstamp, Titled 'Quiet Afternoon'. Approx. 25 x 31cms reasonable used condition

Frank Harding - Framed and glazed monochrome etching - Below Tower Bridge. Approx. 18 x 21cms used condition

James Priddey - Framed & glazed pencil signed aquatinted colour etching with Warwick Galleries Artist Proof blindstamp, Titled 'Loch Eck'. Approx. 25 x 31cms reasonable used condition

Etching, burnished aquatint, chisel and burnished drypoint on thick paper. Dimensions: 29.9 x 20.8 cm – (21.3 x 14.9 cm stain) Edition: 4th edition (1878) Published by: Calcografía Nacional

Etching on paper. Dimensions: 33 x 26 cm – (17.3 x 12.2 cm stain). Edition: Number of copies unknown. Date of creation: 1965.

Jacques de Gheyn (Dutch, 1565-1629) after Antonio Tempesta, 'The Victory of Goleta, near Tunis, from "Triumphs of Charles V" (plate 4), etching and engaving, 32x42cm, framed and glazed.

Dame Elizabeth Blackadder D.B.E. R.A. R.S.A. (Scottish 1931-2021) Framed etching p/p, signed Langoustines (2012) 34cm x 34cm ARR

ARTHUR M. HIND, THE ETCHINGS OF D. Y. CAMERON illustrated, with signed frontis., etching, gilt tooled black cloth, with presentation card, in original box

CONTEMPORARY SCHOOL, COASTAL VIEW AT SUNSET oil on canvas, along with a watercolour and an etching of Veniceeach framed74cm x 89.5cmQty: 3

MALCOLM PATERSON, ST ANDREWS etching on paper, signedmounted, framed and under glass, together with a coloured etchingthe Paterson 51cm x 38cm Qty: 2

A.S STEWART, MOUNTAIN LANDSCAPE watercolour, along with another watercolour and an etchingeach mounted and framedmountain landscape 43cm x 51cmQty: 3

HERBERT THOMAS DICKSEE RE (BRITISH 1862 - 1942), PATIENCE hand tinted etchingmounted, framed and under glassoverall size 65cm x 91cm

A quantity of framed prints, including an etching of Francis Bartolozzi, and a series of small animal illustrations. (2 boxes)

Picasso etching print, ‘Mujer Minotauro’, on card backing, with Musee d’Orsay label en verso, 35cmx25cm

John Newman (American, b. 1952). Color etching, soft-ground etching, aquatint, and drypoint on paper titled "Two Pulls" depicting a glowing red, curving line against a geometric or architectural background, 1986. Pencil signed, numbered 33/39, and dated along the verso. With a label from John C. Stoller & Co., Minneapolis, affixed to the verso.Sight; height: 45 in x width: 25 in. Framed; height: 48 in x width: 28 in x depth: 1 1/4 in.Condition: There are no visible tears, creases, losses, or restorations. Slight undulation to the sheet. Floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out frame.

Group of works from “Portfolio 15,†a group of prints by Minnesota artists, from commissioned works from a Northwestern National Bank of Minneapolis 1978 exhibition; printed by Vermillion Editions, Limited, Minneapolis, Minnesota, 1979. Including several other prints, not from this portfolio, published by Vermillion Editions. Including:"Orizonte" by Susan Fiene Brown, "Untitled" by Steve Beyer, "Site Drawn" by Lee Bjorklund, "Diamond" by Andrew Leicester, "According to What Plan" by Steve Sorman, "Span" by Steve Sorman, "Spaces between Words / A Deaf Man Sees" by Steve Sorman, "Objects Indicating Certain Direction" by Thomas A. Rose, "Houses by the Track" by Mike Lynch, "Self-Portrait" by Jerry Ott, "Metaphor I" by Nancy Randall, "Ray's First Etching" by Ray Herdegen, "Shell/Butterfly" by Stuart Nielsen, "Impulse Driver" by Scott Sandell, another print by Scott Sandell, "Chocolate" by Christine Benson, and one illegibly signed print.(Portfolio) Height: 48 in x width: 36 in x depth: 2 in.Condition: The prints appear to be in good condition. The colors are bold and bright. There is very light wear along the deckled edges. None are framed. There is some light wear to the box.

Raoul Ubac (French, 1910-1985). Etching titled "Ta Main" depicting an abstract composition of a black form against a background of gray and brown. With a poem of the same name by Eugene Guillevic (French, 1907-1997). 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. Light handling marks along the edges. Some light toning to the poem. Not framed.

Terry Winters (American, b. 1949). Etching on paper depicting a circular form against a soft-gray background, 1988. Pencil signed, dated, and numbered 46/50 along the lower center. With labels from John C. Stoller & Co., Minneapolis, Daniel Weinberg Gallery, California, and Andrew Dierken Fine Arts, Los Angeles affixed to the verso.Sight; height: 35 in x width: 28 in. Framed; height: 44 1/2 in x width: 37 1/4 in x depth: 2 in.Condition: There are no visible tears, creases, losses, or restorations. Undulation to the sheet. Floated in frame on a nonacidic mat. Framed under plexiglass; light wear to the frame. Not inspected out frame.

Adja Yunkers (Latvian/American, 1900-1983). Suite of three etching and screenprints on paper titled "Untitled I," "Untitled II," and "Untitled III," 1978. Each is pencil signed, dated, titled, and numbered P.P. 2/4 along the lower margin.(Each) height: 30 in x width: 22 1/2 in.Condition: The colors are bold and deep. There are no visible tears, creases, losses, or restorations. Light wear along the deckled edges. The work is not framed.

Anish Kapoor (British/Indian, b. 1954). Polymer gravure type etching on Velin Arches Blanc paper titled "Glow for Maggie," depicting a luminous magenta aura against a predominantly black ground, 2020. Pencil signed along the lower right; numbered 16/250 along the lower left.This print was created to mark 25 years since Maggie's Center's co-founder Maggie Keswick Jencks died in 1995, having created the blueprint for a new type of cancer care.Height: 13 in x width: 15 3/4 in.Condition: There are no tears, losses, or repairs. The colors are bold and deep. The work is displayed on a non-acidic mat and wrapped in plastic seal. The print has not been inspected outside of the plastic seal. The work is not framed.

John Piper (1903-1992) An etching entitled 'St Bartholomew's', 29cm x 14cm, the frame 49cm x 32cmLocation: If there is no condition report shown, please request

Terence Coventry: a lithograph, "Raven", 7/25, Thackeray Gallery label verso, in ebonised frame, and Terence Coventry: a signed etching, "Raven", 9/18, in strip frame

Keith Andrew, '79: a signed limited edition etching, "Summer Place", 17/15, and Bryan Hanlon: a pair of signed limited edition prints, "Partridge", 12/250, and "Pheasant", 11/250, in gilt frames

Henry Wilkinson: a signed limited edition etching, "Black Labrador with Hen Pheasant", 75/75, in gilt strip frame

D J Watkins Pitchford RI: a signed etching, "Against the Wind", plate mark, 6 3/4" x 9 3/4", in gilt frameCondition:Picture and mount has some minor foxing and marks but no major issues. Frame is in good condition.overall dimensions including frame: 12 1/2" x 14 1/2"

*LUIGI KASIMIR (1881-1962) 'Hecklehornflect'signed and inscribed to the margin, etching, the image 31cm x 24.5cm; together with another example 'Fishermen's houses on the Pegnitz, Nuremberg', signed and numbered 58/100 to the margin, etching, the image 39cm x 29cm (2)

ROBERT WALKER MACBETH (1848-1910) 'Lady with a basket and Lurchers'signed in pencil to the margin, etching, the image 26.5cm x 44cm; together with the companion study of a woman selling her wares from a basket; an etching 'My Lady's Page' by Herbert Dicksee, signed in pencil to the margin; and a coloured print of a young girl after Henry Thomas Schafer (4)

* Gillray (James). Confederated-Coalition;-or-The Giants storming Heaven, London: H. Humphreys, May 1st, 1804, etching on wove paper with contemporary hand colouring, trimmed to printed area to right margin, horizontal fold to printed image, paper residue to verso, 460 x 280 mm QTY: (1)NOTE:BM Satires 10240.

* Dicksee (Herbert T. 1862-1942). Maternal Care, 1899, uncoloured etching, signed by the artist in pencil to the lower left, slight creasing, 425 x 680 mm, mounted, framed and glazedQTY: (1)

* Gillray (James). The Man of Feeling in Search of Indispensibles, London: H. Humphreys, February 12th, 1800, etching on wove paper with contemporary hand colouring, contemporary brown ink number and minor ink stain to margins, small areas of glue and paper residue to verso, 260 x 370 mmQTY: (1)NOTE:BM Satires 9577.William V, Prince of Orange had a reputation for sexual promiscuity during his exile in England. Gillray shows him at a dressmaker's shop, searching for the ladies ‘indispensibles’, a kind of pocket that ladies kept in the underskirts of their dresses.

* Gillray (James). Ladies Dress, as it soon will be, London: H. Humphreys, January 20th 1796, etching on wove paper with contemporary hand colouring, trimmed to printed area, 300 x 220 mm, together with:Gillray (James). And Catch the Living Manners as they rise, London: H. Humphreys, May 7th, 1794, etching on wove paper with contemporary hand colouring, a little toned, small pinhole to printed area, trimmed close to platemark, 340 x 250 mmGillray (James). High-Change in Bond Street, ou, la Politesse du Grande Monde, London: H. Humphreys, March 21st, 1796, etching on wove paper with contemporary hand colouring, left margin and area of top margin replaced, repaired tears to margins, a few small pinholes to printed area, 250 x 350 mm Gillray (James). "Monstrosities", of 1799, Scene, Kensington Gardens, London: H. Humphreys, June 25th, 1799, hand-coloured etching on wove paper, trimmed to printed area, window mounted, paper thinning to corners of verso, 260 x 360 mm QTY: (4)NOTE:BM satires 8896; 8567; 8900 & 9454 respectively.

* Gillray (James). Pater Urbium Subscribi Statuis, H. Humphrey, May 3rd 1796, etching with contemporary hand-colouring, good margins, slight dust soiling and staining, some creasing, small areas of adhesion scarring to the verso, 350 x 245 mm, together with Her Royal Highness the Duchess of York, H. Humphrey, April 10th 1792, stipple engraving with contemporary hand-colouring, good margins, slight dust soiling, 275 x 225 mm, with A Back View of the Cape, H. Humphrey, March 23rd 1792, uncoloured etching, narrow margins, slight creasing and dust soiling, 350 x 245 mm, plus The Soldier's Return - or - Rare News from Old England "See the Conquering Hero Comes", H. Humphrey, November 14th 1791, etching with contemporary hand-colouring, trimmed to the image and laid on later paper, 270 x 210 mmQTY: (4)NOTE:BM Satires 8800; 8190 & 7916 for the first, third and fourth work.

* Gillray (James). The French Consular-Triumverate, settl'ing the New Constitution, London: H. Humphreys, January 1st, 1800, etching on wove with contemporary hand colouring, some glue and paper residue to verso 360 x 260 mm, together with another example, trimmed to printed area, old folds, dust-soiled, small hole to printed area QTY: (2)NOTE:BM Satires 9509.Napoleon, with his two newly-appointed Consuls, writes a revised Constitution to which the Emperor is shown assigning his own name to every position to be filled. Beneath the table is a group of demons forging new shackles for the people of France.

* Gillray (James). "Crumbs of comfort", or-old-orthodox, restoring consolation to his fallen children, [London, 1782], uncoloured etching on wove paper, narrow margins, 245 x 335 mm; Malagrida & Conspirators, Consulting the Ghost of Oliver Cromwell, [St James: E. D'Achery, June 14th, 1782], uncoloured etching on wove paper, narrow margins, 245 x 335 mm; A Warm Birth for the Old Administration, London: W. Humphrey, April 2, 1783, uncoloured etching on wove paper, narrow margins, 240 x 340 mm; The Lord of the Vineyard..., London: W. Humphrey, April 3rd, 1783, uncoloured etching on wove paper, narrow margins, 360 x 245 mm; Evening Consolation, [London, 1785], uncoloured aquatint on wove paper, narrow margins, 330 x 240 mm, each laid on later paper and mounted QTY: (5)NOTE:BM Satires 6027; 6006; 5970; 6204; 6791 respectivley.

* Loggan (David). Collegium Corporis Christi & Beatae Mariae apud Cantab, [1690 but Henry Overton edition, 1715], uncoloured engraving, slight spotting and toning, 345 x 430 mm, mounted, framed and glazed, together with Ackermann (R. publisher). Four engravings from 'Ackermann's History of Cambridge', Magdalen College Library, Colonnade under Trinity Library, St. Mary's Church [and] Court of King's College, 1815, four aquatints by J. Stadler and D.Havell, all with contemporary hand colouring, each approximately 240 x 290 mm, uniformly mounted, framed and glazed, with Macbeth (Robert Walker). The Fishmonger, London: Robert Dunthorne, 22nd. September 1886, uncoloured etching, signed by the artist in pencil to the lower right, limited edition of 500, 385 x 600 mm, mounted, framed and glazed, plus A Roadside Tragedy, London: W. A. Howell & Co. March 2nd 1908, uncoloured etching, signed by the artist in pencil to the lower left, 365 x 545 mm, mounted, framed and glazedQTY: (7)

* Gillray (James). Copenhagen House, H. Humphrey, November 16th 1795, etching on wove with contemporary hand-colouring, large margins, printed on J. Whatman paper, with a 1794 watermark, 245 x 345 mmQTY: (1)NOTE:BM Satires 8685.The print shows a conflation of two meetings organized by the London Corresponding Society that took place in the fields behind Copenhagen House in Islington on October 26 and November 12, 1795. Three different speakers are shown haranguing the crowd from their tribunes and are believed to represent John Thelwall (right foreground), Richard Hodgson (on the left), and John Gale Jones at the rear.

* Gillray (James). Field-Marshall Count Suwarrow - Romoniskoy, published by H. Humphrey, May 23rd 1799, etching on wove with bright contemporary hand-colouring, some adhesion scaring to the verso, corners torn and repaired, 355 x 260 mm, together with Pizarro contemplating over the product of his new Peruvian Mine..., published by H. Humphrey, June 4th 1799, etching with contemporary hand-colouring, trimmed to the neat line, some toning, left-hand vertical margin strengthened on verso, 355 x 250 mm, with The Giant Factotum Amusing Himself [published H. Humphrey 21st January 1797], etched caricature with contemporary hand-colouring, trimmed inside the image with loss of the publication line, laid on later thick paper, slight spotting, 305 x 230 mm, plus Georgey a 'Cockhorse, published H. Humphrey November 23rd 1796, etching with bright contemporary hand-colouring, small margins with slight fraying, several old folds, crudely strengthened on the verso, 340 x 265 mmQTY: (4)NOTE:BM Satires 9390; 9396; 8980 & 8889 respectively.

* Gillray (James). A Standing-dish at Boodles, London: H. Humphreys, May 28th, 1800, etching on wove paper with contemporary hand colouring, wide margins, 250 x 200 mm, together with: Gillray (James). so Skiffy Skipt=on, with his wonted grace, London: H. Humphreys, February 1st 1800, etching on wove paper with contemporary hand colouring, 250 x 200 mm, plusGillray (James). Symptoms of Deep-Thinking, London: H. Humphreys, March 25th, 1800, etching on wove paper with contemporary hand colouring, trimmed to printed area, 250 x 200 mm, together with 6 other portraits by Gillray, various sizes and conditionQTY: (9)

* Gillray (James). A Man of Importance, London: H. Humphreys, May 16th 1799, etching on wove paper with contemporary hand colouring, wide margins, 360 x 260 mm QTY: (1)NOTE:BM Satires 9386.One of three prints featuring Francis Edward Rawdon-Hastings, Earl of Moira. 'Lord Moira, rigid and impassive, stands in profile to the left, right hand on his tasselled stick, left hand on hip, wearing quasi-military dress with looped cocked hat and high boots. Clouds, so coloured as to suggest a distant conflagration, and a low horizon, curved as if to indicate the edge of the globe, form a background' (BM).

* Gillray (James). Théologie a la Turque.-The Pale of the Church of Mahomet, London: H. Humphreys, March 12th, 1799, etching on wove paper with contemporary hand colouring, some repaired tears reaching into printed area, 260 x 350 mm, together with a later edition published in 'London und Paris', uncoloured, old folds, 170 x 220 mmQTY: (2)NOTE:BM Satires 9359. One of six scenes from Gillray’s Egyptian Sketches, created in response to the French invasion of Egypt by Napoleon. French savants are shown in the custody of the Church of Mahomet and are being introduced to the 'Theologie a la Turque', a primitive but effective form of Turkish persuasion.

* Gillray (James). A Decent Story, H. Humphrey, April 17th 1797, etching on wove with bright contemporary hand-colouring, large margins, 245 x 340 mm, together with Push-Pin, H. Humphrey April 17th 1797, etching on wove with contemporary hand-colouring, good margins, 255 x 335 mmQTY: (2)NOTE:BM Satires 8753 & 9082.Two 'domestic' caricatures, the second showing the notorious rake and womaniser, the Duke of Queensbury.

* Gillray (James). Two Penny Whist, H. Humphrey, Jany. 11th 1796, etching with contemporary hand-colouring, trimmed to the plate mark, slight dust soiling and staining, old adhesion scarring to the verso, 235 x 350 mm, with another copy similar but trimmed inside the neat line 225 x 340 mmQTY: (2)NOTE:BM Satires 8885. A social caricature of a game at whist. ‘Betty’ on the left, produces the ace of spades, with which she is about to take her seventh consecutive trick. Her fellow card players appear less than pleased. Her mistress, Miss H. Humphrey - Gillray's publisher - sits on her left. The two men are said to be Tholdal, a German and Betty’s partner, Mortimer, a picture dealer and restorer. This print - although reversed - can be seen in Gillray’s "Very Slippy-Weather" which was published in 1808 and shows the front of Hannah Humphrey's print shop.

* Gillray (James, 1757-1815). Pigs Meat; or The Swine Floggd out of the Farm Yard, London: H. Humphreys, June 22nd, 1798, etching on wove with contemporary hand colouring, a few areas of light dust-soiling, some glue and paper residue to verso, 350 x 250 mm, together with a later edition published in 'London und Paris', hand-coloured, old folds, 170 x 230 mmQTY: (2)NOTE:BM Satires 9230.

* Gillray (James). Effusions of a Pot of Porter,-or-Ministerial Conjurations for Supporting the War, London: H. Humphreys, November 29th, 1799, etching on wove paper with contemporary hand colouring, trimmed near to printed area, 360 x 260 mm, top margin strengthened on verso, together with a later edition published in 'London und Paris', hand-coloured, closed tear to printed area, old folds, 230 x 180 mm QTY: (2)NOTE:BM Satires 9430.Dr Parr, whose smoking and porter drinking were eccentricities, acted as a mouthpiece for the complaints of William Pitt the Younger being to blame for the high prices of 1799. In reality, prices were inflated because of the war and abnormally bad weather.

* Gillray (James). A French Gentleman of the Court of Louis XVIth. A French Gentleman of the Court of Égalité, 1799, London: H. Humphreys, August 15th, 1799, etching on wove paper with contemporary hand colouring, trimmed close to neatline, some minor glue residue and small ownership stamp to verso, 270 x 370 mmQTY: (1)NOTE:BM Satires 9410.

* Gillray (James). Meeting of Unfortunate Citoyens, London: H. Humphreys, May 12th, 1798, etching on wove paper with contemporary hand colouring, narrow margins, mount tape residue to verso, 260 x 360 mm QTY: (1)NOTE:BM Satires 9205.Charles James Fox and the Duke of Norfolk stand in front of Brookes's, the gentlemen's club that had long been the choice of Whigs. Both are portrayed as supporters of the French Revolution and both express their dismay at being marginalized by the King and Tory ministers.

* Gillray (James). The Tree of Liberty must be Planted Immediately!-, London: H. Humphreys, February 16th, 1799, etching on wove paper with contemporary hand colouring, trimmed to printed area, 360 x 250 mm, together with: Gillray (James). The Hustings. Vox populi, Well have a Mug!, a Mug!, a Mug!, London: H. Humphreys, May 21st, 1796, etching on wove paper with contemporary hand colouring, trimmed to lower platemark, damp-staining and tape residue to margins, some tears to lower margin into printed text, some tape residue to verso, 330 x 260 mm, Gillray (James). The Great South Sea Caterpillar, transform'd into a Bath Butterfly, July 4th, 1795, etching on wove paper with contemporary hand colouring, trimmed to printed area, water stained, a few small holes with areas of loss, card residue to verso, 350 x 240 mm, Gillray (James). The Friend of Humanity and the Knife-Grinder, London: H. Humphreys, December 4th, 1797, etching on wove paper with contemporary hand colouring, trimmed to printed area, 360 x 250 mm QTY: (4)NOTE:BM Satires 8986; 8804; 8718 & 9045 respectively.

* Gillray (James). Democratic Levelling;- alliance a la Francoise;-or-the Union of the Coronet & Clister-pipe, London: H. Humphreys, March 4th, 1796, etching on wove paper with contemporary hand colouring, margins with light damp-staining and short closed tears, pinhole to lower left corner, 360 x 260 mm together with: Gillray (James). Citizens Visiting the Bastille, London: H. Humphreys, January 16th 1799, etching on wove paper with contemporary hand colouring, small tear with loss to top margin, 360 x 260 mm QTY: (2)NOTE:BM Satires 8787 & 9341 respectively.

* Gillray (James). The Reception in Holland, published by H. Humphrey, September 8th, 1799, etching on wove with contemporary hand-colouring, trimmed to the neatline, some old adhesion scarring to the verso, 255 x 355 mmQTY: (1)NOTE:BM Satires 9414.The print shows William V, the Prince of Orange and Stadtholder of the Netherlands, returning to the homeland from which he had been ousted by the French-assisted Batavian Revolution. Sadly the events depicted never happened. The corpulent and lazy prince was "Comfortably installed at [Hampton Court Palace] where he was more interested in the conquest of servant girls than in any effort to repossess his country." (Robin Reily). It was his son, the "Hereditary Prince" who accompanied the British and Russian troops as they invaded Holland and tried to reassert Orangist control. And in Scheveningen, as in most of inland Holland, there was no celebration at all but, in fact, active resistance from the Dutch Batavians even before the French came to their assistance. Early victories were splashed across the London newspapers, but the expected collapse, and the welcoming crowds did not follow these initial victories. In October, well after Gillray's print appeared, it had become clear that the support for the Orangist cause had been vastly overestimated and by November 19th, the British had surrendered and were on their way home.

Laver (James). A History of British and American Etching, 1st edition, London: Ernest Benn, 1929, 84 monochrome illustrations, some light marginal toning throughout, rare in original cloth in dust jacket, spine slightly rubbed to with some small loss to the head, large 8vo, together with:Clay (Rotha Mary), Julius Caesar Ibbetson 1759-1817, 1st edition, London: Country Life, 1948, colour frontispiece plus numerous monochrome illustrations, some light toning, original cloth in dust jacket, rear cover slightly marked, some small tears to head & foot with some minor loss, large 4to, plusStaley (Allen), The Pre-Raphaelite Landscape, 1st edition, Oxford: Clarendon Press, 1973, colour & monochrome illustrations, original cloth in dust jacket, spine slightly faded, large 8vo, and other art reference & related, mostly original cloth, many in dust jackets, G/VG, 8vo/folioQTY: (6 shelves)

* Gillray (James). The Injured Count, S[trathmore] - published by C. Morgan, circa 1786, uncoloured etching, mount stained and toned, one repaired closed tear, 280 x 405 mm, together with John Bull, Baited by Dogs of Excise, H. Humphrey, April 9th 1790, uncoloured mixed method engraving on wove, trimmed to the neat line and tipped on to near-contemporary laid paper, one marginal tear causing slight loss, 260 x 410 mm, with The Board of Controul, or the Blessings of a Scotch Dictator, published by R. Phillips March 20th 1787, uncoloured etching on laid, slight creasing, torn in the lower right corner with loss to margin but no affecting the printed image, 270 x 375 mmQTY: (3)NOTE:BM Satires 7013; 7640 & 7152 respectively.This semi-pornographic scene of a drunken Mary Eleanor Lyon, Countess of Strathmore, was published anonymously. This print which is not dated, was signed 'JS' to make it look as if it was the work of the Pittite caricaturist James Sayer. The print was probably sponsored by Lady Strathmore's husband (the figure behind the screen) or someone in his circle such as the Duke of Norfolk. The defamation of the Countess, who was said to prefer her cats to her son, may also have been made in the hope that the Countess would pay to suppress it (in Clayton's words the 'intersection between blackmail and pornography'). She is depicted bare-breasted, suckling two cats and raising a glass of gin whilst a servant standing behind her, invites her to bed. In the background, her land agent, James Farrer, inspects a map of her estates. Farrer was the man Lord Strathmore accused of having an affair with his wife. The caricature has enabled Gillray to accuse the Countess of being an unnatural and perverse mother, who rejects her son and cuckolds her husband. Lord Strathmore probably hoped that this would help him counter the divorce proceedings that the Countess brought against him. It failed because the countess won her divorce, which was a highly unusual victory for a woman at this time. T. Clayton, James Gillray, a Revolution in Satire, p. 103.

* Gillray (James). Consequences of a successful French Invasion, No I. Plate 1st, We come to recover your long lost Libertines, London: H. Humphreys, March 1, 1798, etching on wove paper with contemporary hand colouring, long closed repaired tear to right side of printed area, light spotting, 320 x 360 mm, together with: Gillray (James). Consequences of a successful French Invasion, No I. Plate 2d, We Explain the Rights of Man to de Noblesse, London: H. Humphreys, March 1st, 1798, etching on wove paper with contemporary hand colouring, lightly toned, some paper residue to verso, 340 x 400 mm QTY: (2)NOTE:BM 9180 & 9181 respectively. Showing scenes of imaginary disarray, this print suggests how every facet of British life would be transformed if Britain was invaded by the French. Although intended to be a 20-plate series, only 4 were completed.

* Gillray (James). John Bull bother'd or The geese alarming the Capitol, London: H. Humphreys, December 19th, 1792, etching on wove paper with contemporary hand colouring, trimmed to platemark, pinhole to left margin not affecting printed area, 310 x 390 mm QTY: (1)NOTE:BM Satires 8141.'With the French Revolution at full tilt and a rebellion brewing in Ireland, the Prime Minister, William Pitt, called up the militia. The leader of the opposition, Charles James Fox, accused Pitt of stoking fear to confuse and oppress the people', Peter Levine, Gillray and Blake, 2023.

* Cruikshank (Isaac). The Russian Bruiser getting his dose with his seconds thirds bottle holder &c coming in for their share, published by S. W. Fores, January 30th 1801, etched caricature with contemporary hand-colouring, trimmed to the plate mark, some adhesion scaring to the verso, 240 x 350 mm, mounted, together with Williams (Charles). Boney Bothered or an Unexpected Meeting, published by Thomas Tegg, July 9th 1808, etched caricature with contemporary hand-colouring, toned overall, horizontal central fold, 330 x 250 mm, mounted, framed and glazed, together with Heath (William). Blowing up the Fire, published by Thos. McLean, October 8th, 1830, etched caricature with contemporary hand-colouring, 260 x 375 mm, mounted, framed and glazed, plus Rowlandson (Thomas). None but the Brave Deserve the Fair, 1819, etching with contemporary hand-colouring, trimmed to image, dust-soiled and a little stained, 300 x 225 mm, framed and glazedQTY: (4)

* Dighton (Richard). Eight caricatures: A Lawyer and his Client, A Lawyer and his Agent, A Master Parson and his Journeyman, A View from the Swan Brewhouse Oxford, The Classical Almamater Coachman Oxford, A View taken from the Town Hall Oxford (2 copies) and an untitled caricature portrait of Dr.William Parsons, 1793-1812, eight etchings with contemporary wash colouring, one duplicate, various sizes and condition, together with Bretherton (J.). The Fish Street Macaroni, London: March 29th 1772, uncoloured etching after H. Bunbury, trimmed to the plate mark and laid on a later album sheet with two topographical views of Perth on the verso, sheet size 265 x 175 mm, with two watercolours of a fashionable lady and gentlemen, both dated 1819, each approximately 185 x 125 mm, plus Hogg (Alex, publisher). Mr John Walker, Bookseller & Auctioneer, April 1st 1806, uncoloured portrait, slight spotting, laid on later paper and tipped onto later thin paper, 185 x 115 mm, and Kay (John). Untitled portrait of W. Cake & T. Guthrie, Booksellers, circa 1840, uncoloured etching, tipped onto later paper, 170 x 115 mmQTY: (13)