We found 71174 price guide item(s) matching your search

WALTER SICKERT (1860-1942) - `Et Dilator Est`, etching, 5 1/2" x 3 3/4" (see illustration).

DAVID BLACKBURN (British, b.1939) - Australian landscape, mixed media, 14" x 11 1/2" and two further works to include Richard Gilbert (b. 1955) - Cornish seascape, grey wash, 9 1/2" x 13 1/2"; Alistair Grant (1925-1997) - Illustration for the Book of Jeremiah, etching, signed in pencil in the margin, artist`s proof, 6 1/2" x 9" (3).

POWIS EVANS (1899-1981) - Portrait of Kenneth Garlick, signed, pencil, 11" x 9"; together with Edgar Holloway (also known as James Noble) (1919-1989) - Portrait of Kenneth Garlick, signed and numbered IV/VI, etching, 9 3/4" x 7" (2).

GORDON HOUSE (1932-2004) - `Series A`, monochrome etching, signed and dated `71, 10" x 10".

ALI BELLAGHA (1924-2006) - Figures seated around a table, signed, gouache, 4 1/4" x 6"; two pencil signed prints by the same hand No. 5/20 and 2/10; an unframed etching by a different hand, indistinctly signed and dated `53, titled `Visage` and No. 8/15 and inscribed `A Georges Sebastian`, 7" x 9 1/4", unframed; and an etching signed B. Elliott (5).

After Leonard Squirrel etching "The Ancient House, Ipswich" indistinctly signed and titled in pencil.

WILLIAM WALCOTT. A proof etching, THE DEFENCE OF THE ROMAN EMPIRE. Signed. Image 6.5 x 4.5ins.

A hand coloured etching after Georg Balthasar of a panoramic view of London from the Thames detailing all of the churches.

Rudolphe Piquet `Portrait of a little girl`, etching, signed in pencil, 30cm x 21cm

After Alphonse de Neuville `The defence of Rorke`s Drift`, etching, signed in the plate, 54cm x 91cm

Norman Wilkinson, `Landfall`, drypoint, signed in pencil, 20cm x 30cm also one other etching by Graham Clilverd (2)

HENRY JAMES STARLING, ARE, SIGNED, WATERCOLOUR, Marlingford Mill, Norfolk, 11" x 15"; plus SIGNED, BLACK AND WHITE LIMITED EDITION ETCHING of the same subject (2)

Jones (Shirley) For Gladstone number 31 of 50 copies signed by the author/artist, printed in pink, 10 mezzotint plates and one combined with relief etching, bound in black morocco-backed grey, magenta and red boards, uncut, grey cloth portfolio, 4to, South Croydon, Red Hen Press, 1988. ***A homage to Jones` cat Gladstone..

English Etchings A Collection of Thirty Three Original Etchings by English Artists, complete but disbound, in original pictorial boards, Sampson Low, Marston, Searle & Rivington, [c.1890]; with another edition, Thirty Original Etchings by English Artists and Essays Relating To The Art, 29 of 30 plates, in original pictorial boards, 1891; also with Examples Of Modern Etching, with 14 of 20 plates; sold not subject to return(3)

EARLY 20TH CENTURY SCHOOL `Old Street, Cairo`, indistinctly signed and titled in pencil in the margin, etching, 7 1/2" x 5", together with four similar etchings including a scene depicting the Rio de San Barnaba in Venice

RUTH NICHOLAS (British, 20th Century) `Racing to the Line`, signed in pencil lower right and numbered 127/250 in pencil lower left, coloured lithograph, 30 1/2" x 21 1/2", an etching of a nude, a coloured print of two children after A Sehring on canvas and a Chinese panda print (4)

ROBERT STANLEY G DENT (British, 1909-1991) An English country landscape, signed in pencil in the margin lower right, etching, 4" x 5"

Frank Henry Mason TWO BRITISH NAVAL VESSELS AT SEA signed in pencil etching, 10cm x 16cm (4" x 6.25") and two further etchings

James Gillray, 1808 THE VALLEY OF THE SHADOW OF DEATH (a political caricature) hand coloured etching, 18.5cm x 27cm (7.25" x 10.5")

JULIAN TREVELYAN, RA (1910-1988) LOW TIDE. etching and aquatint in colour with full margins, signed, inscribed and numbered 49/52 by the artist in pencil, 1974, 59 x 78cm, unframed. ++ Minor surface/dust stains well clear of the image as a result of being stored for some time in the original aluminium type frame but without glass; removed from that frame for the purpose of the present sale. Free from serious faults, the image entirely so and a scarce print

WILLIAM LIONEL WYLLIE, RA, RE, RI (1851-1931) DUMBARTON ROCK. etching on silk, signed by the artist in pencil, 20 x 49.5cm. ++ Light even time staining but undisturbed in the original frame with on the backboards the title label and printed stamp of David C Brown Glasgow

AUGUSTUS EDWIN JOHN, RA (1878-1961) UNTITLED [WATCHING THE HORSES] etching, signed by the artist in pencil, 10 x 15.5cm. ++ In fine condition undisturbed in the original 1920s narrow ebonised frame with feint pencil inscription on the backboard, plate No110 Study of Horses with Girls Figure and printed label of Charles Chenil & Co Ltd Chelsea

WILLIAM LIONEL WYLLIE, RA, RE, RI (1851-1931) HMS NATAL PASSING HMS VICTORY IN PORTSMOUTH HARBOUR. etching, signed by the artist in pencil, 16.5 x 25.5cm. ++ A fine impression with good margins, in fine condition in oak frame with, on the backboards, the label of Frost & Reed Ltd 1965

ROWLAND LANGMAID (1897-1956) A CONVOY. etching, signed by the artist in pencil and blindstamped ACADEMY PROOF, 17 x 35cm. ++ In fine condition with satisfactory margin, in narrow ebonised frame

Coloured etching: Spaniels - Henry Wilkinson

Coloured etching: Terrers - Henry Wilkinson

RA Riseley; pair of etchings "Gawsworth Old Hall" and "Gawsworth Rectory", signed and titled in pencil to the mount, 15 x 21cm, framed and glazed and another etching by RA Riseley "Bear Head Brereton Green", 14.5 x 21cm, framed and glazed (3).

JEG; watercolour "Loading Grain N Vancouver BC", signed with initials and dated 1932, 23 x 33cm, an etching of a Colchester street scene and four other prints (6).

A quantity of pictures, to include an etching after Thomas Rowlandson, a 20th century lithograph after Daniel Roberts, an engraved map of Monmouthshire, three photographic reproduction prints after D La Vardera and another print of a woman holding a flower indistinctly signed by a different hand, a 20th century Egyptian style motif and a 20th century flower study

Norman Wilkinson (1878-1971), `The Rock Pool, River Orchy` drypoint etching, signed and inscribed with title in pencil, 22cm x 30cm

Sir Frank Brangwyn, R.A, R.W.S.(1867-1856), `Une Porte A Furnes`, (Gaunt 127), etching, signed in pencil, 17.5cm x 22cm

* Cruikshank (George). Inconveniences of a Crowded Drawing Room, pub. Thos. McLean Aug. 1st 1835, [later impression], etching on wove, later hand colouring, 250 x 350mm (10 x 13.75 inches, together with Monstrosities of 1819, & 1820, pub. Thos. McLean, Aug. 1st 1835,etching on wove, later hand colouring, frayed at margins with several short closed tears just affecting image, trimmed to plate mark, 255 x 350mm (10 x 13.75 inches), withThe Mountebanks, or Opposition Show Box, pub. M.Jones, Feb. 1st 1812,etching on wove with early hand colouring, old folds, trimmed inside plate mark, laid on later card, 200 x 485mm (8 x 19 inches), and Twelfth Night or, What you Will! Now performing at the Theatre Royal Europe with new scenery decorations &c. &c. &c., pub. Jan. 1815,etching on wove with original hand colouring, trimmed inside plate mark, two closed tears just affecting image, two chipped corners causing slight loss, 240 x 350mm (9.5 x 13. 75 inches) (4)

* Cruikshank (George). The Narrow Escape, or, Boneys Grand Leap a la Grimaldi!!, pub. S.Knight, 1813, etching on wove with orig. hand colouring, one marginal closed tear just affecting plate mark, 250 x 355mm (9.75 x 13.75 inches), (1)

* Cruikshank (George). ÒAt HomeÓ in the Nursery, or the Masters & Misses Twoshoes Christmas Party, pub. S.Knight, Jan. 3rd 1826, etching with original hand colouring, trimmed to neat line, 215 x 260mm (8.5 x 10.25 inches), framed, mounted and glazed, together with Cruikshank (Isaac),Giants Triumphant, a Design for the new Door to the Treasury, pub. S. W. Fores, May 22nd. 1804,etching with original hand colouring, trimmed to neat line, 240 x 340mm (9.5 x 13.5 inches), framed, mounted and glazed, with Newton (Richard),Prospero on the Enchanted Island, pub. W.Holland, 1798,etching with original hand colouring, two small holes just affecting image, toned and stained overall, trimmed inside plate mark 230 x 290mm (9 x 11.5 inches), framed and glazed. Not examined out of frame. (3)

* Cruikshank (George). The Worship of Bacchus, pub. Richard J.James, Temperance publisher, n.d. c.1900, uncoloured gravure etching, facsimile signature to lower right corner, several old folds, image size 330 x 585mm (13 x 23 inches), framed mounted and glazed. Cruikshank was an enthusiatic exponent of the temperance movement. His original painting of this image was huge. It measured 13 x 7.5 feet and took Cruikshank two years to complete. (1)

* Gillray (James). The Zenith of French Glory; - The Pinnacle of Liberty. Religion, Justice, Loyalty & all the Bugbears of Unenlightened Minds, Farewell!, pub. H.Humphrey, Feb. 12th 1793, etching on wove with vibrant original hand colouring, tipped on to near contemp. paper, very slight marginal soiling, 355 x 250mm (14 x 9.75 inches) A searing prophetic caricature of London as it would appear after a French invasion. The English church and judiciary swing from the street lights. St. Pauls burns in the distance and the King lies beneath the blade of the Guillotine. A ragged `sans culottes` plays the fiddle whilst watching the scenes of chaos in the streets below. (1)

* Gillray (James). Anti-Saccharrites,-or-John Bull and his Family leaving of the use of Sugar. To the Masters & Mistresses of Families in Great Britain, this noble Example of Oeconomy is respectfully submitted. pub. H.Humphrey March 27th 1792, etching on wove with bright original colouring, later pencil manuscript annotations to image, narrow margins, one short closed tear to upper margin, repaired on verso with sellotape, margins strengthened on verso with later paper, 315 x 410mm (12.25 x 16 inches)King George III, Queen Charlotte and their daughters practice frugality in support of the anti slave trade movement. Gillray implies that the kings enthusiasm is more to do with saving money than an enthusiasm for the abolitionist cause. (1)

* Gillray (James). A Man of Importance, pub. H.Humphrey, May 16th 1799, etching on wove with orig. hand colouring, near contemp. ink manuscript annotation beneath title, professional restoration to lower right margin, 355 x 255mm (14 x 10 inches) A caricature of the Earl of Moira. Moira was frequently attacked by the Tory press for his meddling in Irish politics. Th verses beneath the cartoon are taken from the `Anti-Jacobin`, a Tory propoganda journal which was infamous for its virulence and bitterness. (1)

* Gillray (James). A Democrat, - or - Reason & Philosophy, pub. H.Humphrey March 1st, 1793, etching with bright original hand colouring, trimmed inside plate mark and glued onto old album page, 345 x 240mm (13.5 x 9.5 inches. Charles Fox is shown as a revolutionary `sans culottes` with blood stained hands, the legs of a goat and the implication of a serious attck of flatulence. This was one of the most un-subtle caricatures of Fox ever published. The ironic `Ca ira` was the chorus of a democratic song of the day. This image was one of the few caricatures of the statesmen to which he truly took offence. (1)

* Gillray (James). The Reception in Holland, pub H.Humphreys, Sept. 8th 1799, etching on wove with bright orig. hand colouring, signs of earlier adhesion on verso, 265 x 365mm (10.5 x 14.5 inches) The Prince of Orange is shown receiving a raptuous reception from the ladies of Holland. Gillray`s perception of the `reception` was somewhat premature because the British Army found little if any support from the Dutch and were compelled to make a rather hasty retreat. (1)

* Gillray (James). The Reception of the Diplomatique & his suite, at the Court of Pekin, pub. H.Humphrey, Sept. 14th 1792, etching on wove with pale orig. hand colouring, 315 x 400mm (12.25 x 15.75 inches) Great Brtain`s Embassy in China was led by Lord Macartney who famously ignored the etiquette of the Chinese court and refused to abase himself in front of the Emperor on the grounds that such prostrations were unbecoming for a representative of the British Sovreign. As a result he was summarily dismissed and told to leave Peking within two days. As well as destroying Macartney`s career it removed any influence that Britian had in China for several years. One of Lord Macartney`s attaches described the experience thus. `We entered Pekin like paupers, remained in it like prisoners and departed from it like vargrants`. The magnitude of the diplomatic disaster is brilliantly captured by Gillray in this scathing political caricature. (1)

Gillray (James). Alecto and her Train at the Gate of Pandoemonium - or - The Recruiting Sarjeant enlisting John Bull into the Revolution Service, pub. S.W.Fores July 4th 1791, etching on laid with original hand colouring, narrow margins, 390 x 435mm (15.25 x 17 inches) Fox, Sheridan and Lord Stanhope are shown with the Devil recruiting John Bull to the revolutionary cause that was flourishing in France. The Crown and Anchor tavern in the back ground was situated in the Strand and was a notorious meeting place for those who backed the appeasement of France and Napolean, or even out and out revolution. (1)

* Gillray (James). The Death of the Great Wolf. We have overcome all Opposition! - exclaimed the Messengers, - ÒI`m satisfiedÓ. - said the Dying Hero & Expired in the Moment of Victory, pub. H.Humphrey Dec 17th 1795, etching on wove with fine original hand colouring, bottom margin trimmed just inside plate mark, signs of earlier adhesion on verso, 330 x 440mm (13 x 17.25mm) A Parody on Benjamin West`s famous painting. The dying hero is Pitt who had been famously defeated in the House of Commons. He is supported by Dundas who offers him a last glass of wine. (1)

* Gillray (James). Blowing up the PIC NIC`s - or - Harlequin Quixotte attacking the Puppets, pub. H.Humphreys April 2nd. 1802, etching on wove with original hand colouring, laid onto old album page, trimmed to plate mark, 350 x 255mm (13.75 x 10 inches) The Pic-nic society was founded by Lady Albina Buckinghamshire; it was highly exclusive and was patronised by several fashionable stars of the stage. Its `raison d`etre` was to perform burlesque farce accompanied by luxurious food and drink. The society`s performances presented a threat to the regular theatre who perceived that the patronage of the better classes would be drawn away. A charge of lascivious immorality was raised against the Pic-nics and they become an easy target for the more scurrilous sections of the press. Gillray shows the great actors of the day - led by Sheridan - leading an attack on a performance. The names of the newspapers which most strongly condemned the Pic-nic society flow from Sheridan`s quill pen. The implication being that the principal instigator and author of the most virulant critisism against the society was Sheridan himself. (1)

Gillray (James). Lilliputian Substitutes, Equiping for Public Service, pub. H.Humphreys, May 28th. 1801, etching on wove with original hand colouring, slight dust soiling to margins, signs of earlier adhesion on verso, 245 x 355mm (9.5 x 14 inches) A satire on the weakness and incapcity of the men who succeeded Pitt`s cabinet. (1)

Gillray (James). The Bulstrode Siren, pub. H.Humphrey April 14th. 1803, etching with extensive roulette work on wove with fine bright original hand colouring, trimmed to plate mark and laid on an old album page, 355 x 265mm (14 x 10.5 inches) Mrs. Billington, who was as famous for her size as she was for her musical ability is shown serenading the Duke of Portland, with whom she lived, at his mansion at Bulstrode. (1)

Gillray (James). A Standing-dish at Boodles, pub. H.Humphrey May 28th 1800, etching on wove with bright original hand colouring, laid onto modern paper, 245 x 200mm (9.5 x 8 inches) A gentle caricature of Sir Frank Standish at his customary window seat at his London club, Boodles. Standish was a famous race horse owner who won the Derby stakes in 1795, 1796 & 1799. (1)

* Gillray (James). Integrity retiring from Office!, pub. H.Humphrey Feb. 24th 1801, etching with aquatint, bright original hand colouring, old mount staining to margins, slight overall toning, 255 x 355mm (10 x 14 inches) Gillray shows Pitt leading his ministers from the Treasury following their resignation in February of 1801. The scruffy Whigs, anxious to fill the vacated offices of state are held at bay by Henry Addington who was prime minister from 1801-1804 and is depicted as a sentry. (1)

* Gillray (James). The Generae of Patriotism, - or - The Bloomsbury Farmer planting Bedfordshire Wheat, pub. H.Humphrey Feb. 3rd. 1796, etching on wove with original hand colouring, trimmed to, or just inside plate mark, laid on old album page, 245 x 345mm (9.5 x 13.5 inches) The Duke of Bedford, a republican peer who owned large farming estates, is shown sowing his fields with gold under the genial and benevolent rays of the Sun (Charles Fox). The resultant crop of French revolutionary `bonnets-rouge` and Jacobite daggers springs up behind him. Sheridan drives the plough pulled by `John Bull`. It is open to conjecture if the lightening which is destroying the crop in the distance is meant to be a political or a divine intervention. (1)

* Gillray (James). Doctor Sangrado curing John Bull of Repletion with the kind offices of young Clysterpipe & little Boney, pub. H.Humphrey May 2nd. 1803, etching on wove with bright original hand colouring, laid onto an old album page, trimmed to plate mark, 265 x 365mm (10.5 x 14.5 inches) A satire based on a character from the novel `Gil Blas` by Alain-Rene Lesage where Dr Sangrado prescribes warm water and bleeding for every ailment. Dr Sangrado in Gillray`s caricature is Lord Addington who had controversially appointed his very young son to the lucrative clerkship of the Pells on a salary of £3000 per annum. Addington bleeds John Bull whose blood falls into the young boys hat and also into that of Napoleon Bonaparte. Sheridan and Fox hold out bowls of hot water hoping for a share of the riches being bled from John Bull. (1)

* Gillray (James). Introduction of Citizen Volpone & his Suite at Paris - Vide The Moniteur & Cobbetts Letters, pub. H.Humphrey, Nov. 15th 1802, etching on wove with original hand colouring, closed repaired tears to margins not affecting image, mount stained and toned overall, 255 x 360mm (10 x 14 inches) Charles Fox and his obese wife, together with Lord and Lady Holland, Sir Robert Adair, Arthur O`Conner and Erskine are making their abeyance to Napolean Bonaparte. Fox was certainly introduced to Bonaparte at a levee held at the Tuilleries, where Napolean was extremely polite and complimentary to Fox. Gillray, who did not share Fox`s republican sympathies, has depicted - somewhat unfairly - Fox and his party as sycophants fawning at Napoleans`s feet whereas in true life they met as equals. (1)

* Gillray (James). Search Night - or - State Watchmen mistaking Honest men for Conspirators. Vide State Arrests, pub. H.Humphrey, March 20th 1798, etching on wove with bright original hand colouring, laid onto an old album page, 260 x 360mm (10.25 x 14 inches) Pitt and Dundas break down the door on a coven of `conspirators`. This den of republicans is comprised of the leading members of the Whigs. Fox and Sheridan escape through the loft, The Dukes of Bedford and Norfolk flee up the chimney, three more hide under the table; only Lord Moira stands his ground. The room is littered with `bonnet-rouges`, broadsides of the guillotine and portraits of Napolean and Robespierre. A chest of Jacobite daggers spills onto the floor. (1)

* Gillray (James). Consequences of a Successfull French Invasion. No.III 2d. - Me teach de English Republicans to work - Scene. A Ploughed Field, pub. Js. Gillray, March 1st 1798, etching on wove with bright original hand colouring, trimmed to or just inside plate mark, laid on old album page, 305 x 390mm (12 x 15.5 inches) This satire was dsigned by Sir John Dalrymple and etched by Gillray. The image shows the consequences of a French Invasion on the English populace. This is plate three from a series of four, all published in March 1798. (1)

* Gillray (James). Grace Before Meat or a Peep at Lord Peter`s, pub. H.Humphrey, [1778], uncoloured etching on laid, signs of earlier adhesion on verso, later pencil marginalia below image, 250 x 350mm (9.75 x 13.75 inches) This is widely regarded as the first caricature designed and engraved by James Gillray. Lord Petre was a prominent and very wealthy Catholic Peer. King George III and the Queen had been invited to stay with Lord Petre and Gillray appears to have been scandalized that a Protestant sovereign should be seen accepting the hospitality of a Roman Catholic nobleman. Gillray depicts the King and Queen with their hands clasped in devotion whilst a Catholic priest intones Grace. Behind the King hangs a crucifix and a portrait of the Madonna. Gillray`s prejudice was perhaps to the fore as a `Bill for the Relief of Roman Catholics` had just been passed by both houses of Parliament - without opposition - that allowed Catholics and their priests to practice their faith without fear of persecution. The King`s actions, in staying with Lord Petre helped to hasten the removal of several hundred years of prejudice and illiberality which had not only resulted in a sectarian division between the two churches but had separated the monarch from a sizeable and influential minority of his subjects. (1)

* Gillray (James). Sin, Death and the Devil, pub. H.Humphrey June 9th 1792, etching on wove with bright original hand colouring, signs of adhesion on verso, slight staining to margins not affecting image, 320 x 400mm (12.5 x 15.75 inches) One of Gillray`s most biting and arguably offensive caricatures. Queen Charlotte, whose influence was said to have kept Pitt in power is depicted as a serpent tailed Medussa wth shrivelled breasts and a hand on Pitt`s crutch. Pitt as the character of death fights with the royal sceptre, whilst his opponent - Thurlow - depicted as Satan, wealds the speakers`s mace. The quarrel between Pitt and Thurlow resulted in the latter`s dismissal as Chancellor. (1)

* Gillray (James). The Republican Attack, pub. H.Humphrey, Nov 1st 1795, etching on wove with faded original hand colouring, mount stained, slight overall toning, trimmed with small margins 250 x 355mm (10 x 13.75 inches), together with Gillray (James),Dilettanti Theatricals, pub. H.Humphrey, Feb 18th 1803,etching on wove with orig. hand colouring, trimmed to margins, lacking printed title at base, occ. marginal closed tears causing slight loss to border, 300 x 480mm (11.75 x 19 inches), with Gillray (James),Counsellor O.P. - defender of our Theatric Liberties, pub. H.Humphrey, Dec. 5th 1809,etching on wove with orig. hand colouring, six lines of verse below image, old folds, some staining, later ink manuscript annotation below image but inside plate mark, occ. marginal closed tears not affecting image, signs of adhesion on verso, 350 x 250mm (13.75 x 9.97 inches) (3)

* Gillray (James). Ancient Music, pub. H.Humphrey, May 10th 1787, etching on laid with original hand colouring, thread margins, one marginal closed tear, 425 x 545mm (16.75 x 21.5 inches) King George and Queen Charlotte are lampooned as Hanoverian philistines as they clulessly listen to an `orchestra` of braying donkeys, caterwauling cats, Billingsgate porters and the screams of boys being flogged. The beatific expressions on the faces of the royal couple are matched only by the sycophancy of the two ugly female courtiers who stand behind the throne. This is the second state of the print where Gillray has taken advantage of the plates re-immersion in acid to add some bristles to the chin and a dew-drop to the nose of Queen Charlotte. (1)

* Gillray (James after). Presages of the Millenium; - with - The Destruction of the Faithful as revealed to the R Brothers the Prophet & attested by MB Halhead Esq., orig. pub. H.Humphrey June 4th. 1796, but later edition pub. John Miller & W.Blackwood, Edinburgh, [1820], etching with aquatint on wove, fine original hand colouring, slight water staining, trimmed inside plate mark to margins, 240 x 275mm (9.5 x 10.75 inches), framed, mounted and glazed. Pitt was politically dominant at this time and was opposed to a motion for peace with France brought forward by Wilberforce. Pitt is depicted as the skeletal figure of Death as he gallops on the white Hanoverian horse across a herd of pigs (Burke`s swinish multitude) and kicks the Opposition led by Fox, into the fires of hell. The little goblin like figure on the back of the horse is the Prince of Wales. A bold parody on the book of Revelation. (1)

* Gillray (James). Pen -Etration - This Title has no affinity to pen as connected with the Goose-Quill; - nor has it any allusion to Penguin, a stupid creature between a Fish & a Fowl:......, pub. H.Humphrey Aug. 6th 1799, etching on wove with original hand colouring, 260 x 190mm, framed, mounted and glazed. A biting caricature of John Penn. Penn was the hereditary Governer of the state of Pennsylvania but sold his inheritance on the outbreak of the American Revolution. Penn`s only other claim to fame was as the author of two volumes of rather weak poetry. The depiction of Penn as a knock-kneed chinless dandy who appears drunk, shows how devastating Gillray could be at instant and rapier like character assasination. (1)

* Gillray (James). The Union Club, pub. H.Humphrey Jan. 21st 1801, etching on wove with weak original hand colouring, 300 x 445mm (12 x 17.5 inches), framed, mounted and glazed. A glorious riot of a cartoon with all the leading political figures of the day engaged in a drunken party. Chamber pots, bottles of wine, furniture and glasses fly through the air, fights break out and various politicos are shown asleep, slumped on the floor, vomiting or fighting. The cartoon celebrates the first coalition parliament of 1801 and the dinner of the new Union Club held at Cumberland House, to celebrate the Queen`s birthday on January 19th of that year. (1)