*Heath (William, 1795-1840). A Quartet in Character, May 1820, The Promenade or a Sketch for Windsor - plate 1st. [December 1828], [and] Playing at Soldiers at Home!!! (Morning), published February 20th 1834, together three etchings with contemporary hand colouring, 'Playing at Soldiers...,' with repaired closed tears, all with thread margins, each approximately 240 x 340 mm, framed and glazed, together with Williams (Charles), A Rustic Retort or a Wit Outwited, published Thomas Tegg, circa 1820, etching with contemporary hand colouring, slight overall toning, 225 x 315 mm, mounted, framed and glazed, with Williams (Charles), Heroic exploits of the Tenth with Nobody, published John Fairburn, circa 1824, five etched caricatures with contemporary hand colouring, printed on one sheet (as published), thread margins, 235 x 335 mm, mounted, framed and glazed, with two lithographic caricatures published by T.Dawson, and four others similar, all framed and glazed (11)
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![*Rowlandson (Thomas, 1756-1827). Progress of Gallantry or Stolen Kisses Sweetest, published Thomas Tegg, [1814], etching with](https://cdn.globalauctionplatform.com/9ecbc814-42f4-416a-89f6-a7f200fb504c/a4562fab-432d-4cdf-d384-7435f7864f1d/468x382.jpg)
*Rowlandson (Thomas, 1756-1827). Progress of Gallantry or Stolen Kisses Sweetest, published Thomas Tegg, [1814], etching with contemporary hand colouring, trimmed to platemark, slight abrasion and dust soiling to margins, 330 x 240 mm BM 12402. A bawdy scene on a blustery fortified sea-front. A large, suggestively positioned cannon points out to sea. An elderly and obese sailor, gazes through a telescope. A pretty young woman standing beside him, turns to kiss a handsome young man whilst farther off, an elderly gaitered parson, reminiscent of Dr Syntax, stands with his hands in his pockets and with his hat tied firmly to is head. (1)
*Dicksee (Herbert, 1862-1942). The Clover Field, 1907, etching, published by Frost & Reed, November 30th 1907, signed in pencil to lower margin, image size 28 x 46.5 cm (11 x 18.25 ins), with margins, contemporary black and gilt frame, glazed (with title of the work inscribed to inner gilt slip), Frost & Reed printed label to verso (1)
*Cruikshank (Isaac Robert, 1764-1811). The Messanger of Peace, published S. W. Fores, 1796, etching with contemporary hand colouring, trimmed to neatline, 310 x 420 mm, mounted, [BM 8829], together with A Long Headed Minuet!!, published T. Tegg circa 1807, etching after George Moutard Woodward, contemporary hand colouring, 245 x 345 mm, mounted, with The Grand Review on Sydenham Common, published S. W. Fores, 1792, etching with contemporary hand colouring, trimmed to image and laid on later paper, 290 x 445 mm, mounted, [BM8110] plus, Sweet Fruits of the Third Honey Moon!, published S. W. Fores, 1800, etching with contemporary hand colouring, 320 x 410 mm, mounted [BM 9576] (4)
*Cruikshank (George, 1792-1878). A Bazaar, published in 'The Scourge', June 1st 1816, etching with contemporary hand colouring, old folds, 210 x 480 mm [BM 12837], together with Princely Piety or the Worshippers at Wanstead, published in 'The Scourge', December 1st 1811, etching with contemporary hand colouring, old folds, 190 x 400 mm, mounted, with A Sepulchrul Enquiry into English History, published in 'The Scourge', June 1st 1813, etching with contemporary hand colouring, old folds, 200 x 505 mm, mounted, plus [Preparing for War] published in 'The Scourge' June 1st 1815, etching with contemporary hand colouring, old folds, title partially lost, 200 x 490 mm, mounted (4)
*Newton (Richard, circa 1777-1798). The Ins and outs or the Jesuits treatment of his friends, published S. W. Fores, March 25th 1797, etching on laid with contemporary hand colouring, some marginal fraying and closed tears, 250 x 435 mm The Prince Regent races to Windsor as Fox and Sheridan fall beneath the wheels of his carriage. Pitt is leaving the castle whilst King George III calls from an upper window. (1)
*Gillray (James, 1757-1815). The Funeral-Procession of Broad-Bottom, published H. Humphrey, 1807, etching with contemporary hand colouring, old fold strengthened on verso, repaired closed tear just affecting image, manuscript inscriptions below image identifying various charcters, 235 x 625 mm, mounted BM 10713. (1)
*Gillray (James, 1757-1815). Le Baiser a la Wirtembourg, published H. Humphrey, 1797, etching with contemporary hand colouring, slight mount staining, 365 x 270 mm, BM 9006. A very matronly Charlotte (eldest daughter of George III) kisses her future husband, the corpulent Friedrich I. The vulgar rhyming couplet under the title hints at the difficulty this portly couple may have when it comes to the consumation of their union. (1)
*Soper (Eileen Alice, 1905-1990). Girl with Cats on a Step, etching, signed in pencil, plate size 115 x 190 mm (4.5 x 7.5 ins), sheet size 190 x 270 mm (7.5 x 10.6 ins), laid down on card, with glue marks to outer edges, together with Kinney (Troy), Dancing Figure, etching, signed in pencil, plate size 165 x 165 mm (6.5 x 6.5 ins), sheet size 390 x 310 mm (15.3 x 12.2 ins), pale mount stain, plus other various etchings, including Sidney Tushingham, W.H. Sweet, Will Nickless, Charles Sainton, two by E.G. MacColl (1896-1973) of the South Moat, Mandalay, and The Palace, Mandalay, each signed with initials, and one dated 1928, and two views of Dresden by Walter Ernst Zeising (1876-1933) all framed and glazed (except the first two works) (10)
*Rowlandson (Thomas, 1756-1827). A French dentist shewing a specimen of his artificial teeth and false palates, published Thomas Tegg, 1811, etching with contemporary hand colouring, thread margins, 225 x 325 mm, together with The Tooth-ache or, Torment & Torture, published John Fairburn, 1823, hand coloured etching, toned overall, 265 x 210 mm Two scarce caricatures on dentistry. The first described shows the French dentist Dubois de Chemant (who introduced porcelain teeth into England) showing a potential customer a set of dentures fitted into the mouth of an extremely obese and ugly female patient. BM 11798. (2)
*Broadside. Jarvis J. (publisher), The Poor Blind Pig Man, circa 1760, hand coloured etching with sixteen lines of verse below image, stained, 310 x 195 mm A scarce portrait of a street hawker. A portly man with a cane has a basket around his neck containing model pigs, probably made of clay and designed for children. The seller has his hand on the shoulder of a young boy who acts as his guide. The image is not in the digital collection of the British Museum, but they do have a copy - acquired in 1851 - numbered 1851.0308.527. (1)
*Gillray (James, 1757-1815). A Democrat - or - Reason & Philosophy, published H.Humphrey, 1793, etching with bright contemporary hand colouring, 340 x 235 mm, mounted, framed and glazed BM 901.647.A brutal caricature of Charles James Fox. Fox is portrayed as a sans-culotte revolutionist; bleary-eyed, unshaven, with a bloody dagger in his belt and an artisan's unpowdered wig and tri-colored cockade askew on his head. He sings, farts, and dances to Ca ira (All will be well!), but he does so literally with blood on his hands. As an image of revolutionary excess, it could hardly be equalled, and it is no suprise that Fox is said to have been deeply offended by it. The date of the caricature is significant because a few weeks earlier om January 21, 1793, Louis the XVI of France had been guillotined. Not examined out of frame. (1)
*Pyall (Henry, 1795-1833). Two O'Clock in the Morning. Rat - Tat - Tat! Tingle - Tingle - Tingle!! Who are you? (Damm the cats!) What d'ye want young woman hey? Oh Sir - Master begs you'll step over directly as Missus - if you please Sir, is taken bad in a - a - a -!!!, published Thomas McLean, circa 1830, aquatint with contemporary hand colouring, after 'Ego', trimmed to plate mark, slight dust soiling, 330 x 205 mm, together with Bunbury (William), Mutual Accusation, published James Bretherton, 1774, uncoloured etching, thread margins, 235 x 300 mm Two caricatures relating to doctors. The first a satire on the agony of a being dragged out of bed in the middle of the night. The second shows two quack doctors having a heated argument in front of their opposing premises. Behind them their wives set about each other and the dispute is echoed by fights between two dogs and a pair of cats. (2)
*Gillray (James, 1757-1815). The Orangerie; - or - the Dutch cupid reposing after the fatigues of planting - vide - The Visions in Hampton Bower, published H.Humphrey 1796, [but H. Bohn edition, 1849], hand coloured etching, 255 x 355 mm, mounted, with another six hand coloured Gillray caricatures all from the Bohn edition, the others comprising:- Maniac Ravings - or - Little Boney in a strong fit...,' The Seige of Blenheim - or a new system of Gunning discovered, Ci devant occupations - or - Madame Talian and the Empress Josephione dancing naked before Barras in the winter of 1797, The Minister endeavouring to eke out Dr. Pr*ty***n's Bisho-prick, The Devil to Pay; -The wife metamorphos'd, or Neptune reposing after fording the Jordan [and] Ars - musica, various sizes all mounted (7)
*Vliet (Jan, circa 1610-1637). Sail Mending, circa 1635, etching on laid paper, plate size 21.5 x 16.5 cm (8.5 x 6.5 ins), sheet size 23.5 x 18 cm (9.25 x 7.2 ins), mounted, together with other 17th and 18th century Old Master prints and engravings, including six plates from Jacques Callot's Grandes Miseres de la Guerre, circa 1633 (plates 4, 6, 7, 9, 11 & 12, including La Pendaison), Gerhard de Jode (1509-1591) after Maarten de Vos, The Sixth Vision of Esdras, Harmen Jansz Muller (circa 1540-1617), after Marten van Heemskerck, The Stoning of Saint Stephen (from the Eight Beatitudes), a river landscape by Anthonie Waterloo, an etching by Joshua Haynes after John Hamilton Mortimer, published January 25 1780, Jan Sadeler, Saint Theodorus (from the Lives of the Hermits) after Maarten de Vos, 3 engraved plates from the Cries of London, by Pierce Tempest, 3 engravings after George Smith of Chichester, published by Boydell in 1770, etc, all mounted (24)
*Gillray (James, 1757-1815). Tirailleur Francais et Chevau leger de l'Arm‚e di Pacha de Rhodes - Evolutions of French mounted Riflemen, published H. Humphrey 1799, etching with contemporary hand colouring, large margins, faint staining, some adhesion marks on verso, 260 x 360 mm The Turk is on a magnificent horse, whilst the French rifleman is about to be thrown off by his mount which is a donkey. B M 9359. (1)
*Gillray (James, 1757-1815). Jove in his Chair, published Elizabeth D'Achery, Sept. 11th 1782, uncoloured etching, thread margins, tipped on to later backing paper, 250 x 350 mm, BM 6032, together with Tinney (J., publisher), The Fall of Spencer, 1741, hand coloured engraving, some creasing, a fifteen verse poem below image, 315 x 320 mm, with Rowlandson (Thomas), Master Billy's procession to Grocers hall, published W.Humphrey, 1784, hand coloured etching, trimmed within plate mark, slight scuffing to lower margin, old folds, 230 x 340 mm, and New Morality; - or - The promis'd Installment of the High Priest of the Theophilanthropes, with the Homage of Leviathan and his suite, published J. Wright, August 1st. 1798, hand coloured etching, two long repaired tears affecting image, old folds, some creasing, trimmed to image, laid on later card, 275 x 620 mm, mounted (4)
![*Gillray (James, 1757-1815). Breathing a vein [and] Gentle Emetic, [published Le Petite, Dublin, circa 1820], two hand colour](https://cdn.globalauctionplatform.com/9ecbc814-42f4-416a-89f6-a7f200fb504c/0b14a734-4c60-49f7-afdb-652ab6b9d4e1/468x382.jpg)
*Gillray (James, 1757-1815). Breathing a vein [and] Gentle Emetic, [published Le Petite, Dublin, circa 1820], two hand coloured engravings, both trimmed to printed borders and laid on later card, each approximately 285 x 220 mm, mounted, together with Dreadful Hot-weather, published T. Sidebotham, circa 1820, uncoloured engraving, one marginal repaired closed tear, trimmed to platemark, 245 x 200 mm, mounted, with The Cole Heavers, Two virtuous Elves taking care of themselves, circa 1820, hand coloured etching, adhesion marks to margins, 170 x 220 mm, mounted, plus Wey Mouth, circa 1820, hand coloured etching, trimmed to image and laid on later paper, 235 x 305 mm, mounted (5)
*Gillray (James, 1757-1815). Tiddy-Doll, The great French Gingerbread-Baker drawing out a new batch of Kings - his Man Hopping Talley mixing up the Dough, published H. Humphrey, 1806, etching with contemporary hand colouring, trimmed to neat line, 255 x 380 mm BM 10518. The three kings being taken out of the oven reflect the provisions of the Treaty of Pressburg (26 November 1805) where Austria renounced rights over Bavaria, Wurttemberg and Baden. The little dough viceroys, although untitled, represent the Whig politicians Sheridan, Fox, Moira and Derby, and are a vicious sideswipe at their policy of Appeasement. Gillray defends the English audience against the threat of Napoleon by making him look decidedly unthreatening. Standing in an apron and dwarfed by his enormous hat, Napoleon is made into a laughable figure. The caricature of Talleyrand in the background cruelly depicts his surgical shoe, wrongly placed on his left foot. (1)
*Sayers (James, 1748-1823). Patriotic Burghers attacking the House of Orange, published Thos. Cornell, 4th August, 1787, etching with contemporary hand colouring, trimmed to image on horizontal margins, 305 x 400 mm, mounted, together with Razor's Lev‚e, or ye heads of a new Wig Ad.....n on a Broad Bottom, published Thomas Cornell, 21st. April 1783, uncoloured etching, 280 x 405 mm, mounted, with, Such was the love of office of the Noble Lord, that finding he would not be permitted to mount the Box, He had been content to get up behind, published Thomas Tegg, 5th May 1783, uncoloured etching, 305 x 435 mm, mounted BM nos:- 7172, 6217 & 6226. (3)
*Strang (William, 1859-1921). Robert Louis Stevenson, 1893, etching on laid paper, with plate tone, signed in pencil, plate size 30.5 x 24.5 cm (12 x 8 ins), period frame, glazed, together with other various etchings, prints, and a few drawings, mainly late 19th and early 20th century, including Edward Burrow (The Quadrangle from the Porch, Glenalmond College), Wallace Hester (St. Paul's School), Wilfred Applebey (Glasgow University), David Donald, F. Sheppard, R.F. King (Kyles of Bute), Alfred J. Bennett (Entrance to Royal Academy, Burlington House), Willie Rawson (2), Graham Clarke (Phil's Farm, 1975), Adrian B. Jones (Mogden Ballast Pit), Marion Rhodes, Frank Newbolt, an oil landscape on board by Arthur Weaver (1918-2008), etc., mostly framed and glazed (38)
*Hepburn (Katharine, 1907-2003). Love Among the Ruins, etching by L. Hirschfeld, signed in pencil by the artist with limitation number AP XVI/XXXIII to lower margin, and additionally signed in pencil by Katharine Hepburn, 38 x 29 cm, framed and glazed Provenance: Laurence Evans (1912-2002), theatrical agent. (1)
![*Hunt (Charles). The "Enterprise" Steam Omnibus, published Ackermann & Co., 1833 [but later impression], hand coloured aquati](https://cdn.globalauctionplatform.com/dacdcb76-b286-4880-b37f-a7f20103e9c5/46ce5a81-844c-4d25-a3a8-ef784628aa7d/468x382.jpg)
*Hunt (Charles). The "Enterprise" Steam Omnibus, published Ackermann & Co., 1833 [but later impression], hand coloured aquatint after W. Summers, slight staining to margins, 370 x 445 mm, mounted, framed and glazed, together with Seymour (Robert), Shaving by Steam, circa 1830, hand coloured etching with 'explanatory' text below image, 245 x 350 mm, mounted, framed and glazed The text below the image reads:- EXPLANATION. AAA a circular form on which the shavers sit BBBBBB wheels that govern the position of the head CC the machinery which moves the brush in every required direction D a resevior [sic] of water, boiling hot E a pipe filled with patent double compressd shaving powder, through which the water is forced to forme [sic] a lather in the brush F GGG the machinery which moves the razor H the Engineer with his directing rod. (Note) it is indispensible that the sitter should be firm and steady, it will be perived [sic] the neglecting this by looking after the shop woman has cost one his nose, but he only pays the penalty of his own imprudence Accidents will occur in the best regulated families..., (2)
ARR Pablo Picasso (1881-1973) - Etching - "Taureau et Chevaux Dans L'Arene", from "La Suite Vollard", etching on laid paper with Vollard watermark, signed in pencil, from the edition of 260, published by A. Vollard, Paris 1939, plate 7.675ins x 10.5ins, sheet 13.375ins x 17.75ins (mounted but unframed) Provenance: Sold in 1938 through The Bragaglia Galerie, Rome to collector Arturo Tonnarelli Gracetti, and thence by family descent to his Grandson.
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