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* Hullmandel (Charles). The British Queen, Steamer. The Longest Ship in the World, Belonging to the British and American Steam Navigation Company..., London: Edmund Patten, 24th July, 1839, lithograph on wove after Edmund Patten, with contemporary hand colouring, light creases, 315 x 425 mm, mounted, framed and glazed, Parker Gallery label to backboard, together with: Day & Haghe (lithographers), Peninsular and Oriental Steam Navigation Company's Steam Ships at Sea, Southampton: W. Jefferson (spelt Jeffreson), Artists' Repository & London: D. Bogue, circa 1845, tinted lithograph on wove after William Jefferson, with contemporary hand colouring, 300 x 430 mm, mounted, framed and glazedQty: (2)

* Richardson (Thomas Miles). The Ouse Burn Viaduct, in the Line of the Newcastle, North-Shields and Tynemouth Railway, John and Benjamin Green, Architects and Engineers 1838, London: T. McLean, Newcastle upon Tyne: F. Loraine Grey, [1838], tinted lithograph by A. Ducôtés after T.M. Richardson, with contemporary hand colouring, 345 x 475 mm, mounted, together with: Ibid., The Willington Dean Viaduct, in the Line of the Newcastle, North-Shields and Tynemouth Railway, John and Benjamin Green, Architects and Engineers 1838, London: T. McLean, Newcastle upon Tyne: F. Loraine Grey, [1838], tinted lithograph by A. Ducôtés after T.M. Richardson, with contemporary hand colouring, some toning, 348 x 469 mm, mountedQty: (2)

Spreat (W.). Picturesque Sketches of the Churches of Devon, Exeter: W. Spreat, 1842, lithograph title with vignette illustration on india paper (spotted), 74 lithograph plates (on 71 sheets) on india paper, spotting throughout mainly to margins, some text leaves browned and spotted, modern brown half morocco gilt, green morocco title label to spine, oblong folioQty: (1)NOTESAbbey Scenery, 131.

* Smithfield Market. The London Central Poultry and Provision Market. Erected by the Corporation of London. The First Stone laid December 3rd 1873 by the Chairman of the Markets Improvement Committee, Henry Lowman Taylor Esqre. J.P. Deputy &c. Opened for Business December 1st 1875. C. F. Kell, circa 1876, chromolithograph laid on to contemporary card with title printed below (as published), slight spotting to title area, overall size 390 x 660 mm, mountedQty: (1)NOTESA rare lithograph of Bradford-on-Avon. It shows the canal and Barton Farm in the foreground, with one of the fast fly-boats that shuttled between Bradford and Bath hauled by two horses. Mrs Tackle drew and painted scenes around Bradford and the Avon valley, capturing the period in the 1840s and 1850s when transport was being revolutionised by the building of the railways.

Adamson (Charles Murray). Some More Scraps about Birds, Newcastle-upon-Tyne: J. Bell & Co., 1880-81, vignette title, 4 autotype engravings, numerous lithograph illustrations from sketches by the author, some spotting, mainly at front and rear and to fore-edges, hinges cracked after endpapers, contemporary green half calf, rubbed, spine darkened, corners showing, 8vo, (limited edition, one of 120 copies), together with: Some More Illustrations of Wild Birds, London: Gurney & Jackson, and Newcastle-upon-Tyne: Mawson, Swan, & Morgan, 1887, vignette title, 24 photo-lithograph illustrations from pen and ink sketches by the author, small wormtrail to gutter of front endpapers, with single wormhole to gutter throughout, contemporary cream half sheep, somewhat soiled and rubbed, with some scuffing to edges, printed paper label to front cover, oblong 8vo, (limited edition, one of 200 copies), plus: Berners (Dame Juliana), A Treatyse of Fysshynge wyth an Angle: being a facsimile reproduction of the first book on the subject of fishing printed in England by Wynkyn de Worde at Westminster in 1496, with an introduction by Rev. M. G. Watkins, London: Elliot Stock, 1880, half-title, woodcut illustration of fisherman as headpiece, woodcut illustrations of fishing hooks and other implements in text, title lightly spotted, some spotting and toning to endpapers, contemporary blind-stamped vellum, soiled, darkened spine with small loss to front joint centrally, slim 4to, with: Phillips (Henry), The True Enjoyment of Angling, subscriber's copy, London: William Stevens, 1843, engraved portrait frontispiece (spotted), title with ink monogramme stamp, subscribers list, pictorial bookplate 'Arvid Eriksson', front hinge cracked, contemporary cloth, rebacked, gilt-lettering to front cover, a little fading and marks, somewear to extremities, 8vo, (limited edition, one of 100 copies), and 14 others travel and natural history, including: Journal of Travels, Twenty Thousand Miles, by sea and land, over Europe, Asia and Africa, by G. E. Winants, 1872; Journal of Travels Around the World, by the same author, 1877; Another Book of Scraps, by Charles Murray Adamson, 1882Qty: (18)

Scrap albums. Lady Elizabeth Courtney, Views in the South of Devon, London: Dickinson & Son, [1845], 14 tinted lithographs (complete) after drawings by Lady E. Courtney, vignette title (spotted), front free endpaper with contemporary ink manuscript inscription 'To Fanny Barnes ... from her affectionate aunt Laura Blackall', extra-illustrated with approximately 34 mounted or tipped-in items including: 8 watercolour views of scenes around Devon (2 detached), and 2 pen, brown ink and brown wash views 'Backland Beacon' and 'Dartington Parsonage' all presumably by Fanny Barnes; a sepia portrait photograph of a standing man (some surface damage); 3 lithographic views drawn printed & published by G. Rowe: 'Dartmouth, from the Ferry'; 'Mouth of the Dart, Devon'; 'East Teignmouth' (the latter tinted), and another 2 similar 'Teignmouth, from the Dawlish Road'; The Shag Rock, Thatcher, & Oarstone, Torbay - From Daddy Hole'; 11 engraved or lithographic portraits including 2 mezzotints: Mrs Gally Knight, and The Right Honourable William Harcourt (dated 1818), both drawn/painted by H. Eldrige and engraved by S. W. Reynolds, 2 stipple engraved portraits by E. Harding: The Right Honble. Sylvester Douglas after T. Lawrence, and Master Douglas after J. Hazlitt, an engraved portrait of the Rt. Hon. Charlotte Countess of Verulam, by Dean from a miniature by Hawkins (proof copy), a lithographic portrait of Thomas Blackall B.D., by F. Pistrucci, printed by C.Hullmandel, and other portraits, plus others similar including an engraving 'N. W. View of Exeter Cathedral' by W. C. Featherstone, some spotting (mainly to blank margins), occasional dampstaining (mainly to some gutters and support leaves), 1 leaf detached, contemporary deep maroon half morocco, rubbed, a little wear in places, oblong folio, together with: a Victorian scrap album, decorative title with pencil manuscript ownership inscription 'Susan H. Coall, January 1st 1837', numerous mounted or tipped-in engravings etc., interspersed with ink manuscript verse in various neat hands, such as 'The Widowed Mother', 'Home Sweet Home', 'Advice', and 'The Better Land', illustrations include: 12 Doctor Syntax hand-coloured etchings with aquatint, drawn & etched by Rowlandson (1 lacking lower left corner); some comic scenes such as 'Mr Pokey's powerful perception', 'The Roasting of Joseph'; several literary, historical and other scenes such as 'Soiree' by A. Hervieu; a selection of portraits including 'Author of the French Cook' lithograph portrait of Louis Eustache Ude by Daniel Maclise and published by James Fraser, 'The Author of "The Women of England"' by W. Holl after P. A. Gaugain, engravings of horses including Touchstone, Queen of Trumps etc.; some engraved views; a pencil sketch; and two hand-coloured engravings taken from 'A Geographical present: being descriptions of principal countries of the world', c.1817, comprising 'A Hottentot Man & Woman' and 'Man & Woman of St. Petersburg', variable spotting and soiling, some dampstaining (mainly affecting title and some support leaves), all edges gilt, contemporary embossed morocco, rebacked, worn, small 4to, with four other scrap albums, containing a quantity of mounted or tipped-in illustrations (a few loose) including: 8 hand-coloured lithographs of historical costumes, captioned in French, including Espagnole, Chinoise, Cracovienne, Odalisque, Ecossaise; engraved portraits of various beauties; 2 lithographs by M. Gauci; an engraving 'The Prince of Wales and the Princess Royal' by H. Robinson after Sir W. C. Ross; 'Entrance to the London & Birmingham Railway Station, Euston Square, London' and 'Viaduct over the River Colne, near Watford', both engraved by W. Radclyffe, the latter depicting a 5-arched railway viaduct designed by Robert Stephenson and built in 1837, with an early steam train crossing the viaduct, an apparent fireman with coal shovel visible, plus passengers sitting both in the carriages and on the roofs, a few chromolithographed flowers etc., and approx. 900 miniature engraved vignettes of topographical views (British and overseas), some appearing to be taken from the Polite Repository, plus an album containing a quantity of loosely inserted scrap items, 19th and 20th centuryQty: (7)NOTESThomas Blackall B.D. was the brother-in-law of Laura Blackall. He died aged 45, and was buried in St. Mary Major (formally next to Exeter Cathedral, now demolished) as also his parents (his father being a former bishop of Exeter) and Laura herself. Laura was the eldest daughter of an archdeacon of Totnes and wife to John Blackall M.D., physician in Exeter.

* Military. A collection of fifteen engravings, mostly 19th century, engravings and lithographs, including Spooner (W., publisher). Officers of the British Army No. 36. 42nd (Roy. Highland) Regt. of Foot, L. Mansion & St. Eschauzier, printed by Lefevre, circa 1850, lithograph with contemporary hand-colouring by C. H. Martin, slight spotting and dust soiling, laid on near-contemporary card, 345 x 270 mm, together with Gihaut Frères (publisher). Five (of 6) lithographs of the 'Retraite de Constantine', circa 1845, five uncoloured lithographs after Raffet plus the title page (trimmed), each approximately 245 x 310 mm, with Woollett (William). To the Kings most excellent Majesty this plate of The Death of General Wolfe is with his gracious permission humbly dedicated..., Woollett, Boydell & Ryland, 1776, uncoloured engraving after B. West, trimmed to plate mark, some spotting, laid on later card, 470 x 605 mm, plus Fogg (A.). Defence of the Breach at St. Jean D'Acre by Sir Sidney Smith..., 1802, uncoloured engraving after Wm. Hamilton, some marginal closed tears affecting image, 545 x 625 mm, and Sutherland (Thomas). Defence of the Breach at St. Jean D'Acre, May 8th 1799, J. Jenkins, 1815, aquatint after W. Heath, with contemporary hand colouring, slight mount staining, 200 x 250 mm, with others similarQty: (15)

* Dolby (Edwin Thomas). Fores's Marine Sketches. The Iron Steam Yacht "Alexandria", 416 Tons, built for H.I.M. the Emperor of Russia by C. I. Mare & Co of Blackwall, designed by Mr Waterman Junr & fitted with engines of 140 horse power by Sir John & Mr George Rennie, London: Fores, May 14th 1852, colour lithograph printed by Michael and Nicholas Hanhart after Thomas Sewell Robins, short closed tear to lower blank margin, light toning and spotting, image 310 x 450 mm, sheet size 445 x 625 mm, mounted, together with: Herdman (W.G.), The Peninsular and Oriental Company's Steam Ship Liverpool, Commanded by Lieutenant R. Engledus, R.N. To whom this Print is, with permission, respectfully inscribed, by his obedient Servant N.J. Kempe, Manchester: printed by T. Physick, [1838?], tinted lithograph after N.J. Kempe, some spotting, lined to verso, repaired closed tear to upper margin, image 246 x 350 mm, sheet size 358 x 482 mm, mountedQty: (2)NOTESA fine view of the Imperial Russian Steam Yacht. Also inscribed below the image with statistical details The ship's length was 195ft. 10in. with a breadth of 21ft. 7in.

* Menai Straits. Fagan (J. lithographer), The Wonders of the Menai in its Suspension and Tubular Bridges, printed Day & Son, published S. Hughes, Bangor, 1850, tint stone lithograph after S. Hughes, some marginal closed tears and fraying, but not affecting image, very slight light toning, 305 x 475 mm, mounted, together with Jones (Hugh, after). A West View of the Britannia Tubular & Menai Suspension Bridges, printed Day & Son, published T. Catherall, Chester & Bangor, circa 1850, tint stone lithograph, slight spotting, some marginal closed tears but not affecting image, margins strengthened with brown paper, 360 x 500 mmQty: (2)NOTESThe Menai Suspension Bridge is a suspension bridge designed to carry road traffic between the island of Anglesey and the mainland of Wales. The bridge was designed by Thomas Telford and completed in 1826 and is a Grade I listed structure. The Britannia Bridge was originally designed and built by the noted railway engineer Robert Stephenson as a tubular bridge of wrought iron rectangular box-section spans for carrying rail traffic. Its construction was important in that it allowed trains to directly travel between London and the port of Holyhead, thus facilitating a sea link to Dublin.

* Foreign Topographical Views. A collection of 38 prints and engravings, mostly 18th & 19th century, engraved and lithographic views including Marieschi (M.). Forum minus Diui Marci publieys oedificys utrinque insigne, Venice, [1741], uncoloured etching on laid, originally published in the series 'Manificentiores Selectioresque Urbis Venetiarum...,' trimmed to image but retaining the title, some worming affecting printed image, 310 x 470 mm, together with Needham (J.). Ancient temple on the Tukt-I-Suleman, Day & Son, 1858, lithograph after Mrs Clark with contemporary hand colouring, slight spotting, 320 x 420 mm, with Bluck (John). A View of the City of Montreal & The River St. Laurence from the Mountain, R. Ackermann, 1811 [but 20th-century restrike], hand-coloured aquatint after E, Walsh, mount stained, 430 x 560 mm, plus Vanderhecht (G.). Hôtel de Ville de Bruxelles, P. Degobert, circa 1845, uncoloured lithograph by and after Vanderhecht, 300 x 210 mm, tipped on to contemporary paper, with others similarQty: (38)

* Edinburgh. Westall (W.), View from the walk on the top of the Carlton Hill, Looking to the South, printed G. Hullmandel, August 1822, hand coloured lithograph on India wove after Miss Mary Stewart, six prominent buildings and features identified below the image, large margins, 255 x 630 mm, mountedQty: (1)NOTESA scarce and early lithograph of Edinburgh.

* Basire (James). Messrs England's Light Locomotive Engine. Which will take a train with 100 passengers at 45 miles per hour, the consumption of coke not exceeding 7lbs per mile, London: J. Basire, circa 1851, lithograph on wove after E.E. Barnard, depicting the 2-2-2 locomotive 'Little England' built by the Hatcham Iron Works, upper right and left corners torn with loss and repaired, some repaired tears to verso of whole print, lined to verso with archival tissue, 425 x 665 mm, mountedQty: (1)NOTESThe Hatcham Iron Works was founded by George England (1811-78) of Newcastle upon Tyne, with records showing that he first paid rates on the property in July 1840, but it was not until the 1846 edition of the Post Office Directories that the firm was listed as ‘England, George & Co. Engineers and patent screw jack manufacturers. During the Great Exhibition of 1851 he had two items on display. Exhibit No 484 was a Patent Traversing Screw Jack ‘for raising and moving heavy bodies, both vertically and laterally’. Exhibit No 509 was one of George’s standard 2-2-2 tank locomotives, also named Little England, ‘intended to reduce locomotive expenses in proportion to the amount of traffic. It has been proved that this engine is capable of working express trains of six first class carriages at a speed of 60 miles per hour consuming only 8lbs of coke per mile’. A blue flag bearing the legend ‘Speed, Safety and Economy’ in gilt letters was suspended over the engine. The jury were impressed, and awarded a Gold Medal, praising the engine’s ‘ingenious arrangement and good workmanship’. The firm also exhibited in Paris in 1855 and at the second International Exhibition in London in 1862. During the 1860's George England's firm built a number of locomotives for the famous Festiniog Railway.

* Picken (Thomas). Panoramic View of Liverpool from the River Mersey, Liverpool: William Thomson, 1853, lithograph on wove by Day & Son after T. Picken, with contemporary hand colouring, repaired closed tear to image at lower left corner, sky at right and edge at right hand, light spotting and toning, 480 x 1050mm, framed & glazed, with Richard Green, Frank T. Sabin Gallery label to versoQty: (1)NOTESThe lithograph was published by William Thomson of St. James' Street, Liverpool in 1853, from an original painting in the possession of Mr Daniel Scott. The townscape of the original painting was by J. Buttler and the shipping by S. Walters. The lithograph was dedicated to the Mayor of Liverpool Samuel Holme (1801-1872) by William Thomson. Holme had been elected mayor of the city in the previous year, 1852.

* Needham (Joseph). To the Directors of the Cornwall & South Devon Railways, This View of the Royal Albert Bridge at Saltash, constructed from Wrought Iron from the designs of I. K. Brunel Esqre. F. R. S. is most respectfully inscribed by the Publisher, J. Heydon, Devonport, printed Day & Son, circa 1860, lithograph after C. A. Scott with contemporary hand colouring, dimensions of the bridge to either side of the title, very slight spotting, three repaired wormholes, 295 x 435 mm, mounted, together with Leslie (B. after). [Royal Albert Bridge General View of the Works from Cornwall Side Saltash], October 1854, lithograph with contemporary hand colouring, frayed and chipped with loss, laid on later card, manuscript title added to mount, 375 x 560 mm, mounted, with Newman (John & Co.). Royal Albert Bridge at Saltash on the Tamar, I. W. N. Keys, Plymouth, circa 1854, lithograph with contemporary hand colouring, 260 x 350 mm, mounted, framed and glazedQty: (3)NOTESThe Royal Albert Bridge spans the River Tamar between Plymouth, Devon and Saltash, Cornwall. Its unique design consists of two 455-foot lenticular iron trusses 100 feet above the water, with conventional plate-girder approach spans, with a total length of 2,187.5 feet. It carries the Cornish Main Line railway in and out of Cornwall. The bridge was designed by Isambard Kingdom Brunel and construction commenced in 1854. The first main span was positioned in 1857 and the completed bridge was opened by Prince Albert on 2 May 1859. Brunel died later that year and his name was then placed above the portals at either end of the bridge as a memorial.

* South Devon Railway. Ivy Bridge Viaduct, Stonehouse: F. & I. Blackwell, circa 1850, tinted lithograph by O. Angel of Exeter after David Linn, contemporary hand colouring, image 257 x 385 mm, sheet size 377 x 470 mm, mounted, together with: Brunel (Isambard Kingdom, Engineer), Royal Albert Bridge. Wrought Iron Cylinder for Centre Pier. Saltwash, May 16th 1854, London: Day & Son, 1854, tinted lithograph by W. Simpson after C.A. Scott, cropped around image and to printed information at lower margin, few repaired marginal short closed tears, some light dust-soiling, dampstain to upper left corner, 240 x 400 mm, mountedQty: (2)NOTESThe Ivybridge Viaduct was originally designed by Isambard Kingdom Brunel for the South Devon Railway. It was opened in 1848 as part of the Totnes to Laira (Plymouth) line. This line consisted of the last extension of the Great Western Railway from Bristol to Plymouth.

Morton (John). The Natural History of Northampton-shire; with some Account of the Antiquities. To which is annex'd a Transcript of Doomsday-Book so far as it relates to that County, 1st edition, London: R. Knaplock and R. Wilkin, 1712, engraved folding map by John Harris (detached and browned), 14 engraved plates, verso of title and A2 with early ownership signature (consequent show-through to recto of title), occasional early marginalia throughout volume, some light toning mostly to margins, ownership inscription to front endpaper (free endpapers detached), contemporary panelled calf, gilt decorated spine with calf title label, covers rubbed and worn, boards detached, folio (Upcott pp.1003-1005), together with: Markham (Christopher A. & Cox, J. Charles), The Records of the Borough of Northampton, 2 volumes, published by Order of the Corporation o the County Borough of Northampton, London: Elliot Stock; Northampton: Birdsall & Son, 1898, titles in red & black, few photogravure & monochrome plates, folding lithograph plan in rear pocket of volume 2, top edge gilt, remainder untrimmed, contemporary half vellum gilt by Birdsall of Northampton, large 8vo (limited edition 4/600, this being one of 100 printed on large paper), Bonney (Henry Kaye), Historic Notices in Reference to Fotheringhay, Oudle: T. Bell, 1821, engraved frontispiece and eight plates, scattered spotting and some offsetting, top edge gilt, remainder untrimmed, front hinge crudely repaired, later 19th century black half calf by Birdsall & Son of Northampton, upper board detached (adhesive residue to joint edge), lower joint split, 8voQty: (4)

* Perry (Henry). [The Midland Railway at Shillington, 1841], lithograph printed by J. Graf after Henry Perry, light spotting, 190 x 265 mm, sheet size 265 x 366 mm, mounted, together with: Russell (S.), North Midland Railway. Milford Tunnel, North Front, circa 1840, tinted lithograph by Day & Haghe after S. Russell, short closed tear to right-hand blank margin, sheet size 320 x 483 mm, Baldwin, Cradock & Joy (publishers), Steam Conveyance on a General Iron-Rail-Way ... by the Author of Observations on General Iron-Rail-way [Thomas Gray], [1823], engraving depicting three locomotives carrying passengers & freight, old folds where previously bound-in to volume as frontispiece, closed tear & repair to right-hand side, 380 x 330 mm, mounted, and View of the Opening of the Stockton and Darlington Rail Road, published 1826, lithograph depicting the opening of the railway in 1825 (plate taken from Adamson's Sketches of our information about Railroads, 1826), old folds and repaired long closed tears, 285 x 505 mm, mountedQty: (4)

* Tackle (Elizabeth Ann). Bradford Wilts. From Westwood Hill, F. Dangerfield, circa 1850, lithograph by W. Gauci withy contemporary hand colouring, slight spotting, tape and mount staining, but largely confined to margins, 415 x 570 mmQty: (1)NOTESA rare lithograph of Bradford-on-Avon. It shows the canal and Barton Farm in the foreground, with one of the fast fly-boats that shuttled between Bradford and Bath hauled by two horses. Mrs Tackle drew and painted scenes around Bradford and the Avon valley, capturing the period in the 1840s and 1850s when transport was being revolutionised by the building of the railways.

* Rowing. Robinson (Charles), The Dead Heat. University Boat Race, Saturday, March 24th, 1877, The National Events Art Illustration Society & Thomas Fox, printed by Maclure & MacDonald, uncoloured lithograph after Charles Robinson, the names of the two crews listed alongside the title, slight dust soiling, 425 x 645 mm, framed and glazedQty: (1)

Rugendas (Johann Moritz). Voyage pittoresque dans le Brésil, Paris: Engelmann, 1835, 70 lithograph plates only (of 100), lacking title and preliminary leaves, some leaves detached, closed tears to lower outer corners of 2 leaves of text, dampstaining and mottling throughout (worsening towards rear of volume), spotting, browning and some dust-soiling, armorial bookplate of William Harrison to upper pastedown, contemporary half calf, lacking spine and boards worn with loss of leather to corners of lower board, folio (516 x 347 mm)Qty: (1)NOTESBorba de Moraes, II, 754; Brunet, IV, 1455; Sabin, 73935. Coming from a large family of artists, the artist took part in Baron Langsdorff's expedition to Brazil in 1822. Russian of German origin, Langsdorff was then Russian Consul General in Rio de Janeiro and decided to lead an expedition scientific exploration in the Amazon rainforest by river, accompanied by botanists, entomologists, naturalists, but also artists including Rugendas. At only 19 years old, the young painter explored with them the regions of Sao Paolo and Minas Gerais before withdrawing from the expedition to study the flora and fauna alone, but also the populations encountered in Mato Grosso and Pernambuco. At the request of King Maximilian I of Bavaria, he returned to Europe in 1825, where his work was admired by Alexander von Humboldt who encouraged him to work on the Picturesque Voyage in Brazil. The book was published in French and German in Paris and included 100 lithographs which reproduced works by Rugendas carried out on site. The book notably included scenes showing the realities of slavery in Brazil, a subject which was little discussed at the time. Sold as a collection of plates, not subject to return.

* Picken (Thomas). Douglas Isle of Man. With the Royal Mail Steam Ship "Mona's Queen" starting for Liverpool..., printed by Day & Son, published S. W. Walters, Liverpool, John Mylrea, Douglas, circa 1850, tint stone lithograph after S. Walters, slight spotting and toning, 385 x 665 mm, mounted, framed and glazedQty: (1)NOTESThe Isle of Man Steam Packet Company was established in 1830 and remains today. It is reputed to be the oldest continuously-operating passenger shipping company in the world.

* Brighton. Bruce (J.), To Capt, S. Brown R. N. This plate representing the Entrance of The Chain Pier at Brighton, is with permission respectfully dedicated..., circa 1824, aquatint with contemporary hand colouring, very slight staining, 275 x 405 mm, mounted, framed and glazed, together with Wing (C. W.). The Chain Pier from the Marine Parade, Wm. Tuppen, Royal Marine Library, Brighton, circa 1860, hand coloured lithograph, one repaired marginal closed tear, not affecting image, slight overall toning, laid on later card, 230 x 350 mm, mountedQty: (2)NOTESThe Chain Pier was designed by Captain Samuel Brown and built in 1823. The pier was primarily intended as a landing stage for packet boats to Dieppe, but it also featured a small number of attractions including a camera obscura. An esplanade with an entrance toll-booth controlled access to the pier which is clearly shown in the engraving. The Chain Pier co-existed with the later West Pier, but a condition to build the new Brighton Palace Pier was that the builders would dismantle the Chain Pier. They were saved this task by a storm which destroyed the already closed and decrepit pier on 4th December 1896. The remains of some of the pier's oak piles can still be seen at low spring tides. The entrance kiosks survived and are now used as small shops on the Palace Pier.

* Bristol. Newman & Co., lithographers, Clifton Suspension Bridge and St. Vincent's Rocks, Henry Pearce, Clifton, circa 1865, hand coloured lithograph, the dimensions and specifications of the bridge to either side of the title, slight spotting and mount staining, 335 x 480 mm, mountedQty: (1)NOTESDesigned by Isambard Kingdom Brunel and eventually opened in 1864 after over thirty years in construction and some five years after Brunel's death. Described by Brunel as 'My first love, my darling' the bridge still stands today and is symbolic of the city and an iconic landmark.

* Bangor. Picken (Thomas, lithographer), printed Day & Son, published G. Humphreys, Bangor, circa 1850, lithograph with contemporary hand colouring, slight spotting, 370 x 470 mmQty: (1)NOTESA scarce view of Bangor with a train entering the station, showing part of the station buildings with the town and harbour in the distance.

* Dutton (Thomas Goldsworthy). "The Great Eastern" Steam Ship, 22,500 Tons, The Great Ship Company (Limited) Owners. William Harrison Esq. Commander. Built at the Millwall Iron Works by J. Scott Russell Esq. - I.K. Brunnell Esq. F.R.S.D.C.L. &c &c Engineer, London: Wm. Foster, September 20th 1859, colour lithograph by Day & Son after T.G. Dutton, few repaired closed tears mostly to right-hand, scattered spotting, 385 x 570 mm, mountedQty: (1)NOTESThe iron sailing steamship SS Great Eastern was designed by Isambard Kingdom Brunel who affectionately knew her as the "Great Babe". She was built by J. Scott Russell & Co. at Millwall Iron Works on the River Thames, London. The ship had the capacity to carry 4000 passengers from England to Australia without the need to refuel and was launched on 31st January 1858. At the time she was the largest ship ever built, with a length of 692 feet (211 m) and was only surpassed in 1899 by the 705-foot (215 m) 17,274-gross-ton RMS Oceanic, her gross tonnage of 18,915 was only surpassed in 1901 by the 701-foot (214 m) 21,035-gross-ton RMS Celtic, and her 4,000-passenger capacity was surpassed in 1913 by the 4,935-passenger SS Imperator. The SS Great Eastern was built with five funnels which were later reduced to four and also had the largest set of paddle wheels. During her maiden voyage on 9 September, the ship had just passed Hastings when there was a huge explosion, the forward deck blowing apart with enough force to throw the No. 1 funnel into the air, followed by a rush of escaping steam. Five stokers died from scalding, while four or five others were badly injured and one had leapt overboard and was lost. The accident was caused by a feedwater heater's steam exhaust having been closed. After repair, she served for several years as a passenger liner between Britain and North America before being converted to a cable-laying ship and laying the first lasting transatlantic telegraph cable in 1866. She finished her life as a floating music hall and advertising hoarding (for the department store Lewis's) in Liverpool and was finally broken up on Merseyside in 1889.

* Haghe (Louis). The Royal William Yard, Plymouth, London: Day & Haghe, circa 1830, colour lithograph on India paper laid on wove, slight fraying to lower left corner, 330 x 555 mm, mountedQty: (1)NOTESRoyal William Yard is a former naval victualling yard designed by Sir John Rennie in the 1830`s. It covers an area of 19 acres and was the Royal Navy’s premier supply facility created to provision warships.

* British & Scottish topographical views. A collection of 36 views, mostly 19th century, lithographs and engravings, including Clark (T.). Stirling from the East Carse, Thomas Young, Stirling, circa 1860, uncoloured lithograph some spotting but largely confined to margins, 360 x 470 mm, together with Gambart (E. & Co. publisher). Inverary, 1st March 1852, uncoloured lithograph, slight spotting to margins, 350 x 500 mm, with Harris Bros. (publishers). Tunbridge Wells from the Race Course, circa 1860, tint stone lithograph, slight spotting largely confined to margins, 225 x 300 mm, plus Greenwood (C. J.). Huntly Aberdeenshire, James Asher, circa 1860, tint stone lithograph, slight spotting to margins, 280 x 380 mm, and Stevenson & Co. (engravers). East Prospect of Nottingham, Taken from Sneinton Hill as it appeared in 1770, circa 1850, uncoloured engraving after T. Sandby, old folds, mount stained, laid on card, 205 x 420 mm, with Brechin. Castle & Town of Brechin, circa 1870, unattributed lithograph with contemporary hand colouring, slight spotting, 270 x 345 mm, plus Boys (T. lithographer). St. Helen's Square and Stonegate, printed C. Hullmandel, 1837, tint stone lithograph, some spotting, small margins, 340 x 225 mm, with others similar, various sizes and conditionQty: (36)

Guillim (John). A Display of Heraldry ... The sixth edition. Improv'd with large additions of many hundred coats of arms, under their respective bearings..., London: printed by T.W. for R. & J. Bonwicke, R. Wilkin, J. Walthoe & Tho. Ward, 1724, engraved armorial frontispiece (torn & frayed to lower outer corner with slight text loss and lined to verso), title in red & black, 64 engraved plates (including 17 portrait plates and 47 armorial plates), woodcut armorials to text, margins of 3H2 & 3H3 strengthened, one armorial plate torn to upper margin at head & repaired, some toning, dust-soiling, spotting & few marks, some dampstaining (particularly at rear), bookplates of F.J.W. Crowe and the Reverend Dr. G.B. Westwood to front endpaper, 19th century marbled endpapers with later cloth hinges, near-contemporary dark brown morocco, rebacked, lower joint cracked at foot, corners & board edges worn and showing (corners consolidated), boards scuffed, folio, together with: Phillipps (Thomas). Heralds Visitation Disclaimers, [Middle Hill, Worcestershire]: Ex zincographia Appelana, 1854, letterpress title (with few spots) and facsimile leaves of manuscript printed on blue paper, top edge gilt, armorial bookplates of Henry J.B. Clements and Rev. Dr. G.B. Westwood to front endpaper, late 19th century brown half morocco, gilt crest Henry Clements at foot of spine, slim folio (only three UK institutional locations found), Heraldry. Genealogical and Heraldic Notes from County Histories etc., by Jas. Eddes, circa 1900, volume containing 57 mounted reading room book request slips, each with detailed manuscript notes relating to genealogy & heraldic devices of various families, title in pencil at front and index at rear, top edge gilt, remainder untrimmed, bookplates of Frederick A. Heygate Lambert, Garratts Hall Library, and Rev. Dr. G.B. Westwood to front endpaper, contemporary half vellum (by F.A. Crisp) with gilt title to spine 'Armory (Thorpe. Dugdale. Blomefield &c)', some dust-soiling, 4to, Albums - crests & armorials, Two albums containing a selection of mounted crests, armorials and monograms etc. late 19th century, (possibly excised from letterheaded paper and envelopes), one volume with all edges gilt, and in contemporary gilt decorated morocco, rubbed, 4to and the other in late 19th century cloth, small 4to, Fox-Davies (Arthur Charles). Armorial Families, 2 volumes, 7th edition, London: Hurst & Blackett, Ltd., 1929, numerous armorials to text, top edge gilt, original cloth, large 8vo, [Stirling Maxwell, William], Examples of the Ornamental Heraldry of the Sixteenth Century, London, 1867, decorative title in red & black, numerous monochrome armorials throughout, top edge gilt, contemporary brown quarter morocco, cloth sides, folio, Purey-Cust (A.P.), The Heraldry of York Minster..., 2 volumes, Leeds: Richard Jackson, 1890, colour lithograph frontispiece to each, colour & uncoloured lithograph plates, top edge gilt, remainder untrimmed, modern cloth, with inset upper cover panel and spines preserved, folio, and other heraldry relatedQty: (15)NOTESProvenance: Rev. Dr. G.B. Westwood. (Guillim) - Rear free-endpaper with typed note "This book was discovered in PLas yn Llan (Nannerch Hall) probably in the mid-50s by the people then living there - Mrs J.C. Mather. It was re-backed about that time, probably by that family."

[Patching, Resta]. Four Topographical Letters, written in July 1755, upon a Journey thro' Bedfordshire, Northamptonshire, Leicestershire, Nottinghamshire, Derbyshire, Warwickshire, &c. From a Gentleman of London, to his Brother and Sister in Town: giving a description of the country thro' which he pass'd; with observations on every thing that occurred to him, either curious or remarkable, Newcastle upon Tyne: printed by I. Thompson and Company, 1757, [2],69,[1]pp., sewing stab holes to gutter margins, some toning and dust-soiling, bookplate of Walter T. Longden to upper pastedown, late 19th century half morocco, joints and spine ends neatly repaired, slim 8vo, together with: Elsam (Richard), The Practical Builder's Perpetual Price-Book: Elucidating the principles of ascertaining the Correct Average Value of the Different Artifiver's Works usually Employed in Building..., London: Thomas Kelly, 1829, engraved title and 7 plates, some toning and spotting, contemporary ownership inscription to rear pastedown "William Howell Jones, Mason, Nant Y Mynydd House, Hill Street, Rhymney", contemporary half calf, rebacked preserving original gilt decorated spine, corners repaired, 8vo, Strang (John), Necropolis Glasguensis; with Observations on Ancient and Modern Tombs and Sepulture, Glasgow: Atkinson and Company, 1831, folding lithograph frontispiece and plate, occasional spotting, contemporary boards, joints and spine ends neatly repaired, slim 8vo, [Aikin, John], England Delineated; or, a Geographical Description of every County in England and Wales: with a Concise Account of its most Important Products, Natural and Artificial. For the Use of Young Persons, London: T. Bensley, 1788, Porkington Library bookplate to upper pastedown, contemporary half calf, red morocco title label, joints split, 8vo, Mackinlay (John), An Account of Rothesay Castle, 2nd edition, Glasgow: printed by James Hedderwick, 1818, 24pp., etched & engraved frontispiece, modern marbled boards, slim 8vo, and other British topography related, all 19th century publicationsQty: (10)

* Military. Walker (F.). The Tenth in India, Kirkee 1854 [and] The Tenth in India Kirkee 1854, In Front of the Main Guard, Rudolph Ackermann, printed by Day & Son, 1855, pair of lithographs after Fairlee Esq. 10th Hussars, contemporary hand colouring, each approximately 275 x 375 mm, uniformly mounted, framed and glazed, together with Vintier (J. A., lithographer). A Christmas Dinner on the Heights before Sebastopol, Paul & Dominic Colnaghi & Co., 1855, lithograph after W. Simpson with contemporary hand colouring, 270 x 370 mm, mounted, framed and glazed, with two unattributed aquatints with contemporary hand colouring of The Bombay Light Cavalry and the 14th Light Dragoons, possibly by John Harris, plus Isabey & Verney (publishers). Revue du Gal Bonaparte Per Consul, circa 1800 [but early 20th-century impression], hand coloured gravure, some dust soiling, 400 x 600 mm, framed and glazed, with two others similar, all framed and glazed, with another 17 small lithographs, wood engravings and aquatints of military engagements and portraits, 16 with contemporary hand colouring with some heightened with gum arabic, each approximately 185 x 115 mmQty: (25)

* Hullmandel (Charles). Berwick, from the South, Berwick: John Wilson, January 1st, 1825, lithograph by T.M. Baynes after Wm. Henderson, 285 x 440 mm, mounted, together with two others, an engraved view of Newcastle upon Tyne by T.A. Prior after G.H. Andrews, later hand colouring, cropped with loss of title and laid down, and a lithograph view of Wakefield by J. Fallowfield Masser after Robert Bownas, 1865, contemporary hand colouring, mountedQty: (3)

Railways. Her Majesty passing a Triumphal Arch on Her trip to Scotland on the Great Northern Railway, circa 1850, lithograph with original hand colouring, image 192 x 265 mm, sheet 212 x 277 mm, together with a tinted lithograph of 'The Royal Train, near Windsor, c.1845' (so captioned to window mount), original hand colouring, circular image 155 mm diameter, mounted, framed & glazed, Parker Gallery label to back board, together with: Reid (Andrew, publisher), Reid's Monthly Time Table and Advertiser, of the York, Newcastle, & Berwick Railway, nos. 1 & 2, April & May, 1849, Newcastle upon Tyne: Andrew Reid, [1849], original printed wrappers, stitched as issued, 16mo, Great Western Railway, Experimental Trip of the "Great Western" New Locomotive Passenger Engine, made on the 13th June, 1846. Extracted from the Morning Herald of the 15th June, London: printed by W. Snell, [1846], title wrapper with blind stamp and manuscript calculations, hole to centre of initial two leaves slightly affecting text, some dampstains and marks, stitched as issued, slim 8vo, and other railway related pamphlets and ephemera, including a number of monochrome photographs of railway locomotives, model locomotive, steamships, traction engines etc. 1920s-60s, together with 2 cartons of The Railway Magazine, 1920s-80s,Qty: (3 cartons)

* Naval & Maritime. A collection of eleven prints, mostly 19th century, engravings and lithographs, including Dutton (Thomas G.). The Dolphin Yacht, Messrs. Fores, 1849, lithograph after N. M. Condy with contemporary hand colouring, toned overall, printed surface 'scratched', laid on later card, 515 x 670 mm, together with Her Majesty's Revenue Cutter "Vigilant" towing her prize the Barge "Charlotte", captured on the 13th Decr. 1849, having on board nearly 7 tons of Contraband Tobacco concealed under straw, printed Day & Son, circa 1850, hand coloured lithograph, toned overall, laid on card, 365 x 535 mm, mounted, with Chesham (Francis). To the Right Honble. Viscount Nelson, Duke of Bronte &c. The Magnanimous Attack on El Muros Fort and Town, by His Majesty's Frigate La Loire, Capt Maitland and the Boats crew of that Ship, Commanded by Lieut James Lucas Yeo which were taken on the 4th June 1805. G. Andrews, Nov. 6th. 1805, uncoloured aquatint after T. Buttersworth, some spotting and staining, some creasing, tipped on to later card, 475 x 630 mm, plus Pollard (Robert). Halswell East Indiaman..., R. Pollard, 1786, mixed-method engraving after Robert Smirke, with aquatint by J. Jukes and with contemporary hand colouring, trimmed inside plate mark, slight staining and dust soiling, 425 x 520 mm, with others similar, various sizes and conditionQty: (11)

* Wisbech. Hunter (James P.), The Port of Wisbech Cambridgeshire, September 1846, uncoloured lithograph, printed on India and laid on to contemporary paper which holds the printed title and letters, slight marginal spotting, 335 x 440 mm, mountedQty: (1)NOTESA rare image of Wisbech, drawn and lithographed by James Hunter who lived in the town. A bustling view of the port with the town in the middle distance.

* Hague (Louis). The Royal Yacht lying in Barn Pool, Her Majesty returning from her visit to Mount Edgecombe [and] The Departure of the Royal Yacht, passing between Drake's Island and the Hoe, Ackermann & Co., [1843], pair of hand-coloured lithographs after N. M. Condy, slight spotting and marginal chipping and staining, old adhesion scars on verso, each approximately 200 x 250 mm, mounted, together with Newman & Co. (lithographers). Falmouth Harbour and Flushing [and] Falmouth Docks, Railway Terminus, Lighthouse &c. from Trefusis, E. S. Tregoning, Bookseller, Falmouth, circa 1850, pair of lithographs with contemporary hand colouring, some marginal mount staining and soiling, each approximately 275 x 355 mm, with Rowe (G., lithographer). Cheltenham from Leckhampton Hill, circa 1860, hand coloured lithograph, 245 x 340 mm, plus Spreat (W., lithographer). Torquay from Park Hill looking East, W. Spreat, Exeter, circa 1840, hand-coloured lithograph, 275 x 390 mm, and Rock & Co. (lithographers). Wadebridge, Cornwall from Dunveth, M. Knapp, Bookseller, Wadebridge, Cornwall, 1853, hand coloured lithograph slight fraying to margins, 225 x 315 mm, together with Newman & Co., (lithographers). Torquay from Waldon Hill, Croydon's Royal Library & Reading Rooms (opposite Royal Hotel, Torquay), circa 1840, hand coloured lithograph, 255 x 365 mm, with Hawkins (G.). The Avon & Severn from Clifton Down, T. H. Weston, Bristol, circa 1835, hand coloured lithograph after S. C. Jones, one long crease affecting image, slight marginal fraying and soiling, 255 x 315 mm, with another approximately 50 engravings and lithographs, primarily of Dorset, Somerset, Devon and Cornwall, including examples by or after Turner, Finden, Picken, Westhall, Townsend, Bartlett, Mutlow and Watts, mostly hand-coloured, various sizes and condition, plus Dinsdale (George), Lithographic Impressions of Sketches from Nature near Cheltenham, Rodwell & Martin, 1822, six uncoloured lithographs, some spotting, dust-soiling and marginal closed tears, stitch bound in publisher's paper wrappers with decorative title to upper cover, slim folio, overall size, 340 x 445 mm, and View Book. Views of Jersey, Rock & Co. 1866, 24 hand-coloured engraved oval vignettes, some marginal finger soiling, text block is broken with contents shaken and loose, publisher's blue cloth gilt, stained, creased and worn, oblong 8vo, overall size 140 x 220, and Six Views in Teignmouth, Nicholson, Teignmouth, circa 1880, 6 uncoloured photolithographic oval vignettes, publisher's printed card wrappers, oblong 12mo, overall size 105 x 185 mmQty: (approx. 62)

* Dutton (Thomas G.). The Great Eastern Steam Ship. J. Vine Hall Esq. Commander, printed Day & Son, 1st August 1860, large tint stone lithograph after A. J. Shenk, one repaired marginal closed tear, just affecting image, slight staining, 460 x 1000 mmQty: (1)NOTESThe Great Eastern was an iron sailing steamship designed by Isambard Kingdom Brunel and built by J. Scott Russell & Co. at Millwall Iron Works on the River Thames, London. She was launched in 1858 and was by far the largest ship ever built at the time. She had the capacity to carry 4,000 passengers from England to Australia without refuelling. The ship's highly distinctive five funnels were rare and were later reduced to four. Brunel knew her affectionately as the "Great Babe". He died in 1859 shortly after her maiden voyage, during which she was damaged by an explosion. After repairs, she plied for several years as a passenger liner between Britain and North America before being converted to a cable-laying ship and laying the first lasting transatlantic telegraph cable in 1866. She ended her life as a floating music hall and advertising hoarding (for the department store Lewis's) in Liverpool, and was enentually broken up on Merseyside in 1889.

* [Stephenson, George, Civil Engineer]. Viaduct over the Sankey Canal and Valley, on the Line of the Liverpool and Manchester Railroad. Erected under the direction of G. Stephenson Esqr. Civil Engineer, circa 1830, lithograph by W. Smoult Civil Engineer on japon style paper (tissue-lined to verso), with contemporary hand colouring, depicting Stephenson's Rocket pulling a mixed train of passengers and goods along the viaduct, and sailing barges on the canal below and spectators observing from a near-by bridge, central vertical fold and few creases, repaired closed tears to edges, 370 x 480 mm, mounted, together with: Havell (Robert, Jr.), View of the Manchester & Liverpool Railway, taken at Newton, [1825], aquatint on wove by Havell after Calvert, with contemporary hand colouring, 250 x 315 mm, sheet size 290 x 375 mm, mountedQty: (2)NOTESThe Sankey Viaduct is a railway viaduct in North West England and has been described as the earliest major railway viaduct in the world. In 1826, the Liverpool and Manchester Railway Company (L&MR) was authorised to construct the world's first intercity railway. One obstacle on the selected 50 km route between Liverpool and Manchester was the Sankey Valley. The company's principal engineer, George Stephenson, designed the Sankey Viaduct for the double-track railway to traverse the valley and Sankey Canal with sufficient clearance for the masts and sails of the Mersey flats that used the canal. The viaduct was built between 1828 and 1830, although work on the structure did not finish until the middle of 1833. On 15 September 1830, the viaduct was opened along with the Liverpool & Manchester railway.

* Brunel (Isambard Kingdom). This Plate of the Great Britain Steamship, constructed of Iron by Thos. R. Guppy, Esqre. C.E. at the Works of the Great Western Steam Ship Company at Bristol, is respectfully dedicated to the enterprising Proprietors by their obedient servant the Publisher, Bristol: George Davey, [1843], tinted lithograph by George Hawkins after Joseph Walter, printed by Day & Haghe lithographers, with contemporary hand-colouring, light toning and light scattered spotting, 400 x 565 mm, mounted, framed and glazed, gallery label of Richard Green & Frank T. Sabin to backboardQty: (1)NOTESThe SS Great Britain was at the time of construction the largest, longest and first iron-hulled, screw-propelled ship in the world. Taking over four years to build by local shipbuilder William Patterson, and overseen by Isambard Kingdom Brunel as Project Engineer. She was launched by Prince Albert on 19 July 1843. The Great Britain’s innovative design successfully combined steam and sail power, making her swift and fuel efficient, which enabled her to cross the Atlantic transporting passengers between Liverpool and New York City in half the time of other ships of the day. She is shown here to her full advantage, steaming at full tilt through choppy seas. In 1970 she returned to Bristol and remains there today in the original dry dock where she was made.

* Payne (Charles Johnson, Snaffles). The Stake and Bound. Send 'em at it - and get well into the next field, Messrs. Fores, August 15th, 1913, lithograph, finished by hand with water and body colour, remarque of a fallen horse and rider, signed in pencil by the artist to lower left, overall size 495 x 670 mm, framed and glazedQty: (1)

* Natural History & Sporting. A collection of 40 prints & engravings, mostly 19th century, lithographs and engravings, including Grobon (Frères). Nouveau Cours gradué de Fleurs et de Fruits, nos 44 & 48, Fr. Delarue & Fils, Paris, circa 1860, two lithographs with contemporary hand colouring, slight dust soiling, each approximately 475 x 345 mm, together with Giles (J. West). H. L. Rolfe's Studies of Fresh-Water Fish. No. 1, Barbel, Roach and Dace from the River Thames, Messrs. William Tegg, 1856, oval lithograph with contemporary hand colouring, toned and stained overall, some spotting, some marginal closed tears, crudely repaired on verso, 520 x 660 mm, with Maile (George & Merke Henri). Roe - Bucks, W. D. Jones, Dec 1st. 1815, mixed-method engraving after P. Reinagle with contemporary hand colouring, some staining and spotting, 445 x 515 mm, plus Ryman (J. publishers). The Oxford Drag no. 3, 1843 [but later impression], unattributed aquatint with contemporary hand colouring, several closed tears, professionally repaired on verso, 425 x 555 mm, mounted, and Gould (J. & Richter H. C.). Urocissa Flavirostris, originally published in 'The Birds of Asia', [1850 - 83], lithograph with contemporary hand colouring, mount stained, 520 x 355 mm, with others similar, various sizes and conditionQty: (40)

* Chinese Railway. Projected Railway from Shanghai to Soochoo, London: Charles Burn, circa 1850, tinted lithograph by Kell Bros. depicting two landscape views of locomotives pulling a goods and passenger train, few repaired closed tears to right-hand margin, tissue-lined to verso with few light creases, sheet size 415 x 530 mm, mountedQty: (1)

* Natural History & Sporting. A collection of fourteen prints, 19th century, engravings and lithographs, including Champin (Elisa). Souvenirs du Pecheur, H. Gauche, printed by Lemercier, Paris, circa 1841, lithograph with contemporary hand colouring, one repaired marginal closed tear, 540 x 370 mm, together with Zampis (A., after). Kincsem. Winner of the Austrian Derby, The Grand prize at Baden Baden and twenty-five other races for which she started..., Vienna, circa 1870, lithograph printed in colours and finished by hand, some marginal spotting and staining, one repaired marginal closed tear, 450 x 550 mm, with Egan (J.). Pirate & Outlaw, B. B. King, Monument Yard, circa 1840, uncoloured mezzotint after J. C. Zeitter, slight spotting and mount staining, some adhesion scaring outside platemark, laid on later card, 355 x 415 mm, plus Lucas (David). [Duck Shooting], 1838, uncoloured mezzotint on India wove after H. Syer Trimmer, proof before title, some spotting and dust soiling to margins, 285 x 325 mm, and two uncoloured lithographs of freshwater fish on India wove, each approximately 165 x 275 mm, with Fairland (Thomas). Arabian Mare and Foal, Charles Tilt, circa 1830, uncoloured lithograph after W. Barraud, 245 x 320 mm, plus five aquatints with contemporary hand colouring of Hunting scenes attributed to J. F. Watson, each approximately 215 x 280 mm, mounted, and other similarQty: (14)

* Guildford. Straker (S.), Panoramic View of Guildford & Neighbourhood from Booker's Tower, E. Andrews, Guilford, circa 1840, panoramic lithograph with contemporary hand colouring, two repaired marginal closed tears and two marginal closed tears, 305 x 965 mm, mounted, framed and glazedQty: (1)

* Gregory (C.). The Royal Mail Steam Packet Company's Ship, Solent. John H. Jellicoe Commander. built by Messrs. John & & Robt. White of West Cowes, Isle of Wight, on their Improved Diagonal Principle without frame Timbers, Oscillating Engines by Messrs. Miller, Ravenhill and Salkeld, printed by Waterlow & Sons, [1853], lithograph with contemporary hand colouring, slight staining, slight creasing, 600 x 820 mm, mounted, framed and glazedQty: (1)NOTESThe Royal Mail Steam Packet Company was a British shipping company founded in London in 1839 by James MacQueen. The line's motto was Per Mare Ubique (everywhere by sea). In 1927 it became the largest shipping group in the world when it took over the White Star Line. The company ran into financial trouble, and the UK Government investigated its affairs in 1930, resulting in the Royal Mail Case. The company was found to be over £10,000,000 in debt, which had been hidden from shareholders and in 1931 Lord Kylsant - its Chairman - was jailed for 12 months for misrepresenting the state of the company to shareholders and the market.

Lino Mannocci (British, b.1945), 'The Four ages of Day', portfolio of 4 lithographs printed in colours, with accompanying text by Lynne Green, printed on Lana Pur Fil paper by Curwen Studio, portfolios made by Jane Rolo, London, published by Curwen Gallery, London 1988, each lithograph numbered 31/37, titled, signed and dated '87 in pencil to lower margin, 41 x 30.2cm

ELTON CLAY FAX lithograph print unframed - titled 'Bread' (Ethiopia) from the Black & Beautiful series, produced 1964 - 1968, signed with dedication for 'Mischa Kudian, a colleague and delightful travelling companion Elton Fax 1973', 56 x 33cms

After L S Lowry" At the seaside", "VE Celebrations", "Hawkers Cart"Photo lithograph, 50 x 60cm the largest (3)Provenance: From The Sadia Walsh Collection

A collection of four signed coloured lithographs. One titled 'roses without thorns', indistinctly signed, two of Chateau rouge, signed prints and a signed lithograph titled 'voyager' by Mark Beaven. 121x80cm

Two artist proof signed lithograph prints by British artist Lesley Duxbury (1921-2001). One framed and glazed. The other titled 'Out of Town'. Largest 56x40

Group of four vintage studies of jockeys of the late 19th century, comprising Sporting & Dramatic News special supplement portrait of the late Fred Archer, pictured in the Royal colours with facsimile signature FAITHFULLY YOURS F. ARCHER, mounted, framed and glazed, overall 62 by 53cm., substantial foxing; mounted collection of 12 Kinnear's Ltd., Liverpool original 'Handicap' cigarette colour cards, visible front and reverse, titled KINNEAR JOCKEYS 1898 and including M. Cannon, Rickaby, J. Watts, C. Wood and others, mounted, framed and glazed, overall 62 by 53cm.; montage of jockey portraits titled JOCKEYS OF THE DAY, each one's silks inscribed and attributed to a specific owner and including F. Webb, S. Loates, Rickaby, Osborne, Tom Cannon and others, mounted and glazed in walnut veneer frame, overall 56.5 by 44.5cm.; Spy portrait of Fred Archer titled THE FAVOURITE JOCKEY (MR FRED ARCHER), from an original Vanity Fair lithograph published 28th May 1881, by the caricaturist 'Spy', mounted, framed and glazed, 48.5 by 36.5cm.

Ernest Montaut (French, 1878-1909) “Une Visite a La Benedictine, Fecamp”, circa 1905, original hand-coloured lithograph featuring an early aeroplane and tennis match, signed in the plate and titled, mounted and framed, 53 by 94cm. Ernest Montaut was considered the father of motor speed and mechanic art. Outlines were printed using lithographic stone and hand painted using watercolours

LITHOGRAPHIC AND PHOTOGRAPHIC PRINTS ETC, to include Le Gaft continental etchings, Philip Gray miniature prints signed to the mounts, Jack Vettriano open edition prints, Claude Monet print, Atkinson Grimshaw print, other assorted lithograph prints and a quantity of photographs by Frank Cookson, competition entries for the Aston and Erdington photographic society, (box, 2 folders and loose)

One Step at a Time magazine cover, lithograph 40 x 28.5cm This lot is not sold with copyright.

4 Signed Artist Proof Original Lithographs of The Royal Academy of Arts by Bernard Dunstan RA In 1994-5, John and Imogen Sheeran organised a UK touring exhibition called Aspects of the Royal Academy, which raised funds for the restoration of the historical printmaking studio at the Royal Academy Schools, London. The educational exhibition celebrated the art and craft of lithography. John and Imogen commissioned the Senior Royal Academician, Bernard Dunstan RA to produce four limited edition original colour lithograph prints, each showing a different aspect of the Royal Academy of Arts. Dunstan worked closely on the lithographs with Stanley Jones, one of Britain’s greatest Master Printers, at the Curwen Chilford Studio, near Cambridge. The four lithographs are outstanding examples of the printmaking medium. The pictures are accompanied by the exhibition publication which includes an essay on the project by John Sheeran. Unframed Musicians in the Courtyard 62 x 53 cm Private View 62 x 53 cm The Friends Room 53 x 62 cm The Royal Academy Schools Life Room 53 x 62 cm Donated by: Ken Smith

Limited Edition Kylie Minogue Bamford Quartz Watch with Personalised Signed Box and Lithograph Print This limited-edition timepiece (in collaboration with Bamford London) features Kylie’s iconic pose from her Step Back in Time album artwork. Included with the watch is a limited-edition lithograph print of the album artwork, which Kylie will sign and personalise for the winning bidder along with the watch’s box. This timepiece brings the album artwork alive on the dial of the Mayfair Sport. Using Kylie Minogue’s signature pose and the letters of her name, playfully replacing the more traditional hour markers, Kylie is quite literally popping off the dial. With the addition of a light-reactive luminous watch face, both her name and iconic pose can be seen in the dark. A black and white colour-way combination on the strap, case and bezel complements Kylie pose and highlights the colours elsewhere on the dial. Donated by: Kylie Minogue www.kylie.com

A hand painted lithograph fan, circa 1850, showing classical scene with ornate inlaid mother of pearl ribs.

* HANNAH FRANK (SCOTTISH 1908 - 2008), DANCE lithograph, signed in pencil 36cm x 25cm Framed and under glass

* CHLOE CHEESE (BRITISH b 1952), PLUM AND QUAILS EGG ON A PLATE, EVENING lithograph, titled and numbered 64/85 41.5cm x 29cm Mounted, framed and under glass

RAOUL DUFY 'Normandie', lithograph, signed in the plate, 82cm x 57cm, framed and glazed.

PABLO PICASSO 'Femme se Coiffant', rare lithograph, 1975, Mourlot, ref San Lazzaro, 31cm x 25cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)