* Gillray (James). The Union-Club, pub. H. Humphrey, 21 Jan, 1801, hand coloured etching on wove paper, some contemp. ink marginalia to the margins and verso naming the characters depicted, plate dimensions 300 x 445 mm. This scene of drunken debauchery was a response to a formal print published to celebrate the first meeting of the Union Club, founded after England and Ireland were united in 1800. In the original illustration of the grand inaugural dinner, the Prince of Wales presided over a convivial scene seated on an elaborate throne. Gillray's version highlights the contentious nature of the Union by showing the Prince lying drunk under the table. Above him, the opposition leader Charles James Fox is collapsed in a chair, his feet propped on the table. All those not incapacitated or fighting drink a toast to the Union. Prominent among them are the Irish MP Lord Moira in a green jacket and Lord Cholmondely who raises his hat. The well-known fop Sir Lumley St George Skeffington dances in tipsily from the far right on the arm of an Irish friend. (National Portraits Gallery). (1)
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* Gillray (James, 1756-1815). Push-Pin, pub. Hannah Humphrey, April 17th 1797, hand-coloured etching, some browning, mainly to margins, sheet size approx. 263 x 335 mm, together with Heath (Henry), Ayez pite dun pauvre aveugle!! [Charles X-Louis Philippe in Exile], pub. S. W. Fores, 1830, hand-coloured etching, with margins, sheet size approx. 395 x 265 mm, plus Cruikshank (Isaac, attrib.), A Royal Salute, pub. S. W. Fores, August 28, 1820, hand-coloured etching, depicting Queen Caroline with Bergami, small repair to upper left corner, with margins, sheet size approx. 275 x 425 mm. (3)
Gillray (James, 1756-1815). French-Taylor, fitting John Bull with a Jean de Bry, pub. Hannah Humphrey, 18 November 1799, hand-coloured etching, paper watermarked Turkey Mill J Whatman, plate size approx. 325 x 263 mm (14.25 x 10.3 ins), a little fraying to edges, and one or two minor marginal tears, just touching plate surface, together with The Friend of Humanity and the Knife-Grinder, pub. Hannah Humphrey, 4 December 1797, hand-col. etching, some overall light toning and discol. to corners, a little chipped with minor loss to lower margin, not affecting text, plate size approx. 360 x 250 mm (14.5 x 8 ins), plus Rowlandson (Thomas), A Table Dhote, or French Ordinary in Paris, pub. Rowlandson, No. I James Street, Adelphi, May 30, 1810 hand-col. etching, sheet size approx. 260 x 360 mm, and two hand-col. etched caricatures by Argus, entitled Kissing Hands or New Appointments, pub. E. Walker, February 10th 1806, & The New Minister or As it should be, pub. Walker, February 1806, each with yellow wash border, sheet size approx. 250 x 350 mm and inverse. (5)
* Heath (William). We have the Exhibition to ExamineÓ, pub. Mclean, c.1820, hand coloured etching, image size 240 x 355 mm, together with A Ballad Singer/A Match Woman/A Dealer in Greens, pub. McLean, c.1820, hand coloured etching, 245 x 345 mm, and one other similar etching by Heath, plus Rowlandson (Thomas), Hodges Explanation of a Hundred Magistrates, Thomas Tegg, c.1815, hand coloured etching, a little creased with one short tear, image 225 x 330 mm, plus others including a Dighton published by McLean, a pair of hand coloured aquatints by A.Courcell entitled I am Tird of Reading and So am I of Working, each 175 x 140 mm and laid onto a sheet. (8)
* Hogarth (William, 1697-1764). A Midnight Modern Conversation, 1732-33, b&w etching with engraving, a lifetime impression, second state of three (Paulson 128), printed on pale cream thick laid paper, a few minor marks and crease to lower right corner, with margins, sheet size approx. 377 x 489 mm, mounted on backing card. (1)
* Rowlandson (Thomas). Admiral Nelson recreating with his Brave Tars after the Glorious Battle of the Nile, pub. Ackermann, 20 Oct, 1798, uncoloured etching showing Nelson, his officers and sailors drinking on the deck of the Vanguard with verse beneath, one small closed tear, image size 253 x 330 mm, together with Miseries Personal, pub. 12 June, 1807, uncoloured etching by Rowlandson, image size 225 x 350 mm, and Wapping, 21 Sept, 1807, uncoloured etching by Rowlanson, image size 230 x 335 mm, and Miseries of Human Life, Oct 1807, uncoloured etching by Rowlandson, image size 295 x 230 mm, plus A Peep into the Retreat at Tinnehinch, pub. T. Whittle, 1st may 1799, uncoloured etching by Rowlandson of Henry Grattan (1746-1820) the Irish nationalist, image 185 x 250 mm, plus two uncoloured etchings by Rowlandson after George Moutard Woodward entitled Fashion and Fancy, both published by Ackermann in April 1801, each 215 x 180 mm. All on wove paper. One watermarked Ruse & Turner 1805. (7)
* Rowlandson (Thomas, 1756-1827). A Bait for the Kiddies on the North Road, pub. Thomas Tegg, May 5th 1810, hand-coloured etching, trimmed to plate mark, approx. 319 x 227 mm, mounted on early 19th c. blue backing paper, together with Love and Dust, pub. Thomas Tegg, June 4, 1810, hand-coloured etching, trimmed to plate mark, approx. 316 x 227 mm, mounted on early 19th c. blue backing paper. Grego ii 184 f & BM 7444A. 1st state. (2)
Robinson (C.E.). A Royal Warren or Picturesque Rambles in the Isle of Purbeck, Typographic Etching Co., 1882, five etched and five photogravedÓ plts. by Alfred Dawson, full-page map, other illusts., slight foxing, orig. buckram, gilt, together with Eyton (R.W.), A Key to Domesday... an Analysis and Digest of the Dorset Survey, 1888, orig. cloth, a little rubbed, and St George (Henry, and Lennard, Sampson), The Visitation of the County of Dorset, Taken in the Year 1623. Edited by John Paul Rylands, Harleian Soc., 1885, nine plts. of seals and signatures, orig. cloth, spine worn, and Foster (J.J.), Wessex Worthies (Dorset). With an Introductory Note by Thomas Hardy, 1920, 216/325 copies, thirty-one plts., light foxing, orig. cloth-backed boards, a trifle rubbed, and Nightingale (J.E.), The Church Plate of the County of Dorset, Salisbury, 1889, sixteen plts. and text illusts., name on title-page, orig. cloth, a trifle rubbed, and three others, 4to and royal 8vo. (8)
William Douglas Macleod (20th century), Desert scene with camels and figures, a city beyond dated in the plate 1928, signed in ink below and numbered XXXII A 20 x 33.5cm;, Oxen hauling in a boat etching, signed below 16 x 35cm;, together with 5 etchings by William Montgomerie including a distant view of Venice (7)
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