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Lot 50

WALTER DENDY SADLER, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING (also signed by the engraver) DATED 1895, Published 1895, The Lawyers Office, 13” x 18”

Lot 51

WALTER DENDY SADLER, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Published 1889, Gentleman in Morning Suit with Cat in attendance by a cottage door, 10” x 6”

Lot 52

WALTER DENDY SADLER, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Published in 1913, Huntsman and Cottage Interior, 11” x 8”

Lot 53

WALTER DENDY SADLER, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Published in 1889, The After Dinner Conversation, 11” x 16”

Lot 60

AFTER REMBRANDT, BLACK AND WHITE ETCHING, Portrait of a Lady seated, 6” x 4 ½”; and AFTER C SCHUT, PAIR OF ANTIQUE BLACK AND WHITE ENGRAVINGS, Madonna and Child, 3” x 2 ½” (3)

Lot 180

M GUPTE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Inscribed “Toilet” (two wading birds), 5” x 8”

Lot 207

HERBERT DICKSEE, INITIALLED TO THE IMAGE, COLOURED ETCHING, Published 1899, “Anxious Hearts”, 26” x 19”

Lot 208

HEDLEY FITTON, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, “Amborise”, 16” x 9”

Lot 209

ALFRED HARTLEY, SIGNED IN PENCIL TO MARGIN, SEPIA ETCHING, A lakeside promenade, 12” x 15”

Lot 224

MORTIMER MENPES RI RBA RE, SIGNED TO IMAGE, BLACK AND WHITE ETCHING, DATED 1884, Portrait of an Old Lady with Cloth Headress; and 19TH CENTURY BLACK AND WHITE ETCHING, A Brigand, 10” x 7” and 8” x 5” (2). 225. JOHN CYRIL HARRISON, SIGNED IN PENCIL TO MARGIN, A FOLDER OF LIMITED EDITION COLOURED PRINTS, (FOR THE NORFOLK NATURALISTS TRUST), Published 1981, “Brent Goose”, “Shoveler”, “Shelduck”, “Pintail”, 10” x 6” (4)

Lot 226

AFTER W JOY, BLACK AND WHITE LITHOGRAPH, “The Killarney Steamer”, 8” x 12” (A/F); and JOHN SELL COTMAN, BLACK AND WHITE ETCHING, St Benet’s Abbey, 9” x 14” (A/F) (2)

Lot 227

INDISTINCTLY SIGNED TO MARGIN, COLOURED ETCHING, “Indian Sarode”, 11” x 9”

Lot 266

AFTER J M W TURNER, ENGRAVED BY FRANK SHORT, SEPIA ETCHING, (SIGNED IN PENCIL TO MARGIN BY FRANK SHORT), ‘Sheep washing, Windsor’, 7” x 10”

Lot 271

THOMAS DANIEL, BLACK AND WHITE ETCHING, “Norwich Castle”, 13” x 19”; AFTER DAVID HODGSON, ENGRAVED BY D GAUCI, BLACK AND WHITE LITHOGRAPH, “Norwich Cathedral”; and AFTER H NINHAM, ENGRAVED BY L HAGHE, BLACK AND WHITE LITHOGRAPH, “Norwich Cathedral”, 10” x 7” (3)

Lot 317

FRANCIS KELLY, LIMITED EDITION BLACK AND WHITE ETCHING (5/15) ‘Triptych’, 15” x 19”

Lot 334

E HERBERT WHYDALE, SIGNED IN PENCIL TO MARGIN, ETCHING, Nearing the Hilltop, 8” x 10” (unframed)

Lot 335

WILLIAM PALMER ROBINS, SIGNED AND DATED 1924 IN PENCIL TO MARGIN, ETCHING, Inscribed “Near Stalham”, 5” x 9” (unframed)

Lot 336

WILLIAM PALMER ROBINS, SIGNED AND DATED 1922 IN PENCIL TO MARGIN, ETCHING, Inscribed “Stokesby”, 4 ½” x 7 ½” (unframed)

Lot 337

WILLIAM PALMER ROBINS, SIGNED AND DATED 1924 IN PENCIL TO MARGIN, ETCHING, Inscribed “Haymaking on the Waveney”, 7 ½” x 13” (unframed)

Lot 338

WILLIAM PALMER ROBINS, DATED 1920 IN PLATE, ETCHING, Haystack by a Windmill (inscribed in pencil to margin “4th State”), 9” x 14” (unframed)

Lot 339

WILLIAM PALMER ROBINS, SIGNED AND DATED 1919 IN PENCIL TO MARGIN, ETCHING, Flatford Lock, 5” x 8” (unframed)

Lot 340

SIR FRANK SHORT, SIGNED IN PENCIL TO MARGIN, ETCHING, Inscribed “Walberswick Pier September 1890”, 6” x 9” (unframed)

Lot 341

CHARLES J WATSON, SIGNED IN PENCIL TO MARGIN, ETCHING, Hotel De La Poste 1913, 8” x 9” (unframed)

Lot 342

CHARLES J WATSON, SIGNED IN PENCIL TO MARGIN, ETCHING, Inscribed “Arles 1894”, 7” x 9 ½” (unframed)

Lot 344

CHAS CHAPLIN, SIGNED AND DATED 1963 IN PENCIL TO MARGIN, ETCHING, Inscribed “New Forest Glade 45”, 7” x 10”

Lot 347

CATHERINE MAUD NICHOLLS, SIGNED IN PENCIL TO MARGIN, ETCHING, Vicarage Hill, Alton, Hants, 6” x 9 ½” (unframed)

Lot 351

MARTIN HARDIE, SIGNED IN PEN TO MARGIN, TRIAL PROOF ETCHING, Port Manchin, 7 ½” x 6 ½” (unframed)

Lot 352

TOM MAXWELL, SIGNED IN PENCIL TO MARGIN, ETCHING, The Scottish Provident Building, 11” x 10”; and E M PAIGE, SIGNED IN PENCIL TO MARGIN, ETCHING, A Fortified Town, 5 ½” x 9 ½” (2) (unframed)

Lot 358

REVEREND EDWARD THOMAS DANIELL, BLACK AND WHITE ETCHING, A Continental River Scene with Bridge and Castle, 5” x 7 ½”

Lot 361

FRANK HENRY MASON, SIGNED IN PENCIL TO MARGIN, COLOURED ETCHING, Scarborough, 6” x 16”

Lot 363

CONSTANCE MARY POTT, SIGNED IN PENCIL TO MARGIN, ETCHING, The Stand October 1905, 7 ½” x 9”

Lot 364

WILLIAM PALMER ROBINS, SIGNED IN PENCIL TO MARGIN, ETCHING, Mercury Lane, Canterbury, 9” x 6”

Lot 365

W LAIDLAW, SIGNED IN PENCIL TO MARGIN, FOUR ETCHING, Bake House Close; St Giles Cathedral; Hollywood Palace; Advocates Close (all Edinburgh), assorted sizes (4)

Lot 369

INDISTINCTLY SIGNED IN PENCIL TO MARGIN, ETCHING, Old London Bridge, 6 ½” x 12; plus S FORDWAY, SIGNED IN PENCIL TO MARGIN, ETCHING, Unicorn Inn, Shrewsbury, 8” x 7 ½” (2)

Lot 371

WILLIAM LIONEL WYLLIE, SIGNED IN PENCIL TO MARGIN, ETCHING, HMS Orion, 10 ¾” x 7 ¾”

Lot 375

FRANK HARDING, SIGNED IN PENCIL TO MARGIN, ETCHING, Waterloo Bridge, 6” x 14”

Lot 379

ROWLAND LANGMAID, SIGNED IN PENCIL TO MARGIN, ETCHING, Inscribed “Spit Head”, 3 ½” x 12” (unframed)

Lot 380

EILEEN A SOPER, SIGNED IN PENCIL TO MARGIN, ETCHING, Young Children freeing a Bird from its Cage, 4” x 7”

Lot 381

ARTHUR BRISCOE, SIGNED IN INK TO MARGIN, LIMITED EDITION (53/75), ETCHING, The Fore Gallant Sail, 9” x 13 ½” (unframed)

Lot 382

LOUIS WHIRTER, SIGNED IN PENCIL TO MARGIN, ETCHING, ‘Durham Cathedral’, 9” x 11 ½”

Lot 387

HENRY JAMES STARLING ARE, SIGNED IN PENCIL TO MARGIN, ETCHING, Horstead Mill, Norfolk, 8” x 10”

Lot 388

HENRY JAMES STARLING ARE, SIGNED IN PENCIL TO MARGIN, ETCHING, Rackham Court, Norwich, 7 ½” x 5”

Lot 389

HENRY JAMES STARLING ARE, SIGNED IN PENCIL TO MARGIN, ETCHING, George IV Yard, Burr Street, Norwich, 9” x 8”

Lot 390

HENRY JAMES STARLING ARE, SIGNED IN PENCIL TO MARGIN, ETCHING, Cow Gate, Norwich, 12” x 10”

Lot 392

LEONARD R SQUIRRELL, SIGNED IN PENCIL TO MARGIN, ETCHING, ‘Dover Castle’, 7 ¼” x 13”

Lot 394

EDWARD MILLINGTON SINGE ARE, SIGNED IN PENCIL TO MARGIN, ETCHING, Venetian Landscape, 6” x 6”

Lot 395

INDISTINCTLY SIGNED IN PENCIL TO MARGIN, ETCHING, Giona Volendam – Holland, 9” x 6”

Lot 397

CHARLES J WATSON, SIGNED IN PLATE, ETCHING, Norwich Market Place, 9” x 12”

Lot 400

R GOFF, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Dated 1892, River landscape with cattle grazing in distance, 10” x 13”

Lot 408

INDISTINCTLY SIGNED IN PENCIL TO MARGIN, ETCHING, Horses in a landscape, 8” x 10”

Lot 411

FRANCIS SEYMOUR HADEN, SIGNED IN PENCIL TO MARGIN, ETCHING, Out of Study Window, 4” x 10”

Lot 475

THOMAS BLINKS AND FRANK PATON, SIGNED IN PENCIL TO MARGIN BY BOTH, ETCHING, Ferret Catching, 10 ½” x 8”

Lot 476

AFTER THOMAS BLINKS, BLACK AND WHITE ETCHING, Plough Horses, 9” x 12”

Lot 508

SIDNEY G HENSON, SIGNED IN PENCIL TO MARGIN AND DATED ’62, BLACK AND WHITE ETCHING, “Cannon Street Station, 5” x 7”; R S A, INITIALLED TO THE IMAGE, BLACK AND WHITE ENGRAVING, Lady tethering a goat; AFTER H CASSIERS, COLOURED LITHOGRAPH, “Sunday Afternoon”, 4” x 8” (3)

Lot 525

ERNEST MEISSONIER, ENGRAVED BY J JAQUET, SIGNED BY BOTH TO THE MARGIN, BLACK AND WHITE ETCHING, Published 1888, Napoleon reviewing his troops, 19” x 33”

Lot 575

JOHN CROME, BLACK AND WHITE ETCHING, “Track Beside a Parkland Fence, Road by Park Palings”, 4” x 7”

Lot 488

A Victorian 1895 Pattern Infantry Officer's Sword, the rusted single edge fullered steel blade bearing traces of etching, by Robert Mole & Sons, Birmingham, the edge stamped M2567, the nickel plated steel hilt pierced with crownded VR cypher, wire bound fishskin grip and pigskin covered scabbard.

Lot 1

William Lionel Wyllie, an etching "The River Tyne" with Tyne Bridge. 8.75ins. x 15ins., framed, signed in pencil. (see illustration)

Lot 302

A VICTORIAN NAVAL OFFICER'S SWORD BY WILKINSON & CO., SOUTHSEA, with 31 1/2in. single-edged fullered blade double-edged towards the point and etched with scrollwork, the Royal arms and a crowned fouled anchor, the forte signed 'WILKINSON & CO. / 16 ST. JAMES RD / SOUTHSEA', gilt-brass hilt with crowned fouled anchor, folding flap and lion's head pommel, and shagreen-covered wire-bound grip, in original brass-mounted black leather scabbard with two suspension rings (some wear to etching on blade and gilding on hilt).

Lot 309

A 'MAZEPPA' BOWIE KNIFE BY S. HANCOCK & SONS, SHEFFIELD, with 10in. clip-point blade signed 'S HANCOCK & SONS / PEA CROFT WORKS / SHEFFIELD', etched 'SELF DEFENDER' and with two marks of a running horse with a man strapped to its back marked 'MAZEPPA', German silver shaped guard, German silver grip with horn grip-scales, that on the left with a shaped inset German silver escutcheon named 'W.S. COLLINS' (some small scattered patches of pitting to blade, etching feint, grips worn), in original leather-covered scabbard with gilt border (chape missing, scabbard worn), with brown leather frog. Other Notes: The legend of Mazeppa originates from Poland and Russia. Mazeppa was born to a Polish noble family in Podolia. He became a page at the court of Jan Casimir, the King of Poland, but was caught with the wife of a count and as a punishment was lashed to a wild horse and turned loose. The horse died in the Ukraine where Mazeppa was rescued by a Cossack family who nursed him back to health. He became secretary to the Cossack hetman at the Russian Court, and at his death was appointed his successor. Czar Peter I made him Prince of the Ukraine, but in the subsequent war with Sweden Mazeppa deserted to Charles XII. After the defeat at Pultowa in 1709 Mazeppa fled to Valentia and then onto Bender. It is not known if he died of natural causes or was killed on the Czar's orders.

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