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Barbara Rae, RA RSA, RSW ( Scottish b.1943-) 'Kylesku Hillside' limited edition coloured etching, signed with pencil and numbered 4/10, dated '88, framed under glass with Scottish Gallery label verso, 24 x 16cm

After Rembrandt (1606 - 1669) Christ Healing The Sick, a 19th century lithographic print of an etching, framed under glass 65 x 55cm including frame

Barbara Rae, RA RSA, RSW ( Scottish b.1943-) 'Winter Plateau' limited edition coloured etching, signed with pencil and numbered 5/30, dated '88, framed under glass with Scottish Gallery label verso, 65 x 50cm

* GEORGE BAIN (SCOTTISH 1881 -1968), A GREEK LABOURER drypoint etching on paper, signed, titledmounted, framed and under glassoverall size 33cm x 26cm

TWO ETCHINGS BY M M MUDGE AND AN ETCHING BY MARY MACKAY depicting the Tollbooth, Edinburgh, The Forth Bridge and St Giles Cathedral, Edinburgheach mounted, framed and under glassoverall size 37cm x 29cm Qty: 3Further images now online

After Sir Frank Dicksee "Harmony" After Sir Frank Dicksee, 'Harmony', hand tinted etching, framed in gilt mount52cm x 35.5cmDamage to gilt mount

Herbert Thomas Dicksee (British 1862-1942) "The Last Furrow" Signed in pencil in the margin, etching.30cm x 59cm (11.75in x 23.25in)The print is in good, original condition. The paper has browned universally across the sheet and there are some minor spots of foxing and light creases in the margins. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

*AUGUSTUS JOHN (1878-1961) Self portrait in a black gown c. 1905, etching, the image 16cm x 9.5cm Provenance: Private Collection, IrelandPrivate Collection, Dorset

BOB DYLAN (B. 1941) THE DRAWN BLANK SERIES a full set sealed edition of six medium format giclee prints on Hahnemuhle 350gsm Museum etching paper: 'Train Tracks', 'Woman in Red Lion Pub', 'Man on a Bridge', 'Amangansett', 'Truck' and 'Still Life with Peaches' each signed by the artist,53 from the numbered edition of 295, printed by GTZ Fine Art Editions, published by Washington Green Fine Art in association with Black Buffalo Artworks, each sheet size 91.5cm x 71cm, each work with a signed and numbered certificate of authenticity. (6 housed in the original 'Drawn Blank' portfolio case)Provenance: Purchased from Westover Gallery, 2008.

*TRACEY EMIN (B. 1963) 'Kate Moss' 2006, signed, titled, dated and numbered 117/250 in pencil, polymer gravure etching, 41cm x 58.5cm

*TREVOR PRICE (B. 1966) 'Shooting Star' 2017, signed, titled and numbered 14/75 in pencil to the margin, drypoint and etching, the image 24cm x 25cm; together with another limited edition print by the same artist: 'Moonlight Sonata', 2017, signed, titled and numbered 8/75 in pencil to the margin, drypoint and etching, the image 23cm x 25.5cm (2) Provenance: Sarah Wiseman Gallery, South Parade, Oxford

DAVID BIRTWISTLE ( b. 1947) 'Worms' Coloured etching, artist's proof Signed in pencil 16cm x 22.5cm (plate size) Condition Report : good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

G. PARKINSON - AN ARTISTS PROOF ETCHING & AQUATINT MODERNIST FIGURE STUDY

William Miller, 1886, etching boys fishing, together with H Pore, etching and three other prints

After Lawrence Alma-Tadema, 'An Eloquent Silence', etching on paper, published in 1891 by L. H Lefevre, bears Christies label to verso, 48.5x39cm

Andrew Watson Turnbull (1874-1957), lake scene, drypoint etching, Academy Proof blind stamp, signed lower right, 21x30cm

Henri de Toulouse-Lautrec (French 1864-1901), 'Portrait d’un Homme #1', drypoint etching, 1898, the plate 17x10.5cmProvenance: from the estate of Professor James Griffin, formerly White's Professor of Moral Philosophy at Oxford University and an Emeritus Fellow of Corpus Christi college, Oxford

Herbert Gordon Warlow (1885-1942), camel rider in the desert, drypoint etching, signed and numbered 8/50, 12.5x25cm

M*Carder (20th/21st Century)Study of a nude three quarter length stretching Signed, oil on board; together with a Middle Eastern/North African townscape, signed David Rose, dated 1966, a boat in a cove, oil on board, signed A A Rasmussen, still life of flowers,signed Bladen and dated (19)33, indistictly signed and dated (19)83 etching (5)

Richard Spare (b.1951), 'Foxglove', etching in colours, 20/75, signed. H.67 W.64cm.

Pablo Picasso, Etching 'Seated Nude, The Vollard Suite' dedicated to Ambrose Vollard who gave Picasso his first exhibition in Paris in 1901 aged 19 This ‘etching’ is plate signed and numbered copy 479/1200 with a distinctive extra etching of a woman’s fac

WOLS (Alfred Otto Wolfgang Shulze)An abstractSigned in pencilA limited edition etching No. 35/5011 x 9cm (Image size)In the form of a folded booklet with text by Will Groham, produced by Galerie Europe 50 Faubourg St-Honore Paris du 8 fevrier au mars 1963

William Lionel Wyllie RA (1851-1931) British 'The battle of Trafalgar', etching, signed lower left, 43 cm x 76 cm, within a glazed black painted frame, the reverse with 'W.R Deighton' label with title

E. Marseglia 'Diogenesosis' lithograph etching print 14/35 signed in lower margin

J Govier A.R.C.A nude study etching 44x32cm

Four prints, comprising after James Priddey, View Of Snowdon, colour etching, 26cm x 30cm, print of a hare, art by R S Prime, signed limited edition print number 12 of 95, 52cm x 34cm, golfing related photograph, and after Julio Amaro, the black and white study of vegetable pickers, print, 21cm x 29cm.

Wim van der Meij (Dutch, 20th/21stC). Corus Staal, Nederland, view of a port town from the water, black and white etching, indistinctly signed and titled, dated 2006, limited edition 6/150, 2nd staat, 16cm x 28cm.

AFTER HUGH PATON "Venice", black and white etching, inscribed lower left "James Welsh's Trial Proof for The Venice Set", signed to the margin in pencil, together BARTOLOZZI AFTER GUERCINO "Christ and St. John", sepia print, five various watercolours, print on silk of "Winged figures" and coloured engraving "All a blowin'!", published November 1st 1812 by S & J Fuller (9) CONDITION REPORTS Trial proof etching "Venice". Overall measurements including frame 22.2 cm x 44.2 cm. Image size 5.4 cm x 30.1 cm. Condition appears good with arguably slight browning to the paper. The mount is browned particularly to the top and bottom edge. Frame with some scuffs to the edging but basically sound. See images for further detail on this piece and other items in the lot.

AFTER CATHERINE GRUBB "Pavane for a dead infanta", coloured etching, limited edition No'd. 12/12, signed and dated 1972 lower right, 63 cm x 47 cm, together with AFTER CATHERINE GRUBB "The girl who fell in love with a peacock", coloured etching, limited edition No'd. 4/30, signed and dated 1973 lower right, 48.5 cm x 63.5 cm and LATE 20TH CENTURY SCHOOL "Study of an estuary with pylons and industrial buildings in distance", pastel on paper, indistinctly signed lower left, 53 cm x 75 cm, together with various other landscape prints (7)

* Gillray (James). An Old Maid on a Journey, H. Humphrey, November 20th 1804, etching with contemporary hand colouring, corners trimmed to the painted margin, 255 x 380 mmQTY: (1)NOTE:BM Satires 10300. The caricature is purported to show Miss Sarah Sophia Banks (sister of the naturalist Sir Joesph Banks) arriving at an inn (The Cock in Breeches) with her entourage. Miss Banks was an enthusiastic print collector and numismatist, whose collection was gifted to the British Museum by her brother after her death.

* Gillray (James). The Pic-Nic Orchestra, H. Humphrey, April 23rd 1802, etching with bright contemporary hand-colouring, trimmed to neat line, 255 x 355 mmQTY: (1)NOTE:BM satires 9921. The caricature shows a very spherical Lady Buckinghamshire, who sits at the piano. To her left is Lady Salisbury blowing a French Horn. Colonel Greville, with his back to the artist, is playing a violin and from his coat pocket hangs a paper: "Pic Nic Concert - Imitations - Nightingale by Lord C. - Tom Tit Lord ME. - Jack daw Genl G. Screech Owl Lady B. - Poll Parrot..." A diminutive Lord Mount Edgcumbe plays the cello, whilst, behind him, a towering Lord Cholmondeley plays the flute.

* Gillray (James). Lordly Elevation, H. Humphrey, Jany. 6th 1802, etching with aquatint and bright contemporary hand-colouring, large margins, 265 x 210 mmQTY: (1)NOTE:BM Satires 9905. Lord Kirkcudbright stands at his dressing table, perched on top of an immense baron's coronet which serves as a foot-stool, regarding himself in a draped mirror. The unfortunate Lord Kirkcudbright was born a hunchback and had succeeded to his baronetcy only two weeks earlier on the death of his father. Although deformed, the bottle of Velnos syrup on his dressing table - a popular remedy for venereal disease - and the strategically placed hilt of his sword suggest that he is excited by his future prospects with the opposite sex.

* Gillray (James). The Legacy, William Holland, November 10th 1786, uncoloured etched caricature, 320 x 430 mm, framed and glazed, together with Rowlandson (Thomas). [The Contrast], 1792, British Liberty [and] French Liberty, Which is Best, 1792, uncoloured etching of two allegorical medallions with text below each, trimmed with partial loss to the title along the upper margin and small areas of loss to the printed image, some creasing and staining, 225 x 355 mm, framed and glazedQTY: (2)

* Gillray (James). True Reform of Parliament, i.e. - Patriots lighting a revolutionary bonfire in New Palace Yard, H. Humphrey, June 14th 1809, etching with contemporary hand-colouring, good margins, two additional old vertical folds, 295 x 415 mmQTY: (1)NOTE:BM satires 11338. Sir Francis Burdett harangues his colleagues who are setting a fire, lit by historical statutes, on the cobbles of Palace Yard. He holds a 'bonnet rouge' and he points towards Westminster Hall, which is being stoned and demolished by the mob. To the right in the foreground, the Marquis of Buckingham and Lord Grenville, fat and gouty, skulk away, bent double, their heavy backsides exaggerated their heads removed by the right margin, each carrying a large bag of money, labelled Family Pickings, £400000; and Exchequer Pickings.

* Gillray (James). The Bulstrode Siren, H. Humphrey April 14th. 1803, etching with extensive roulette work on wove with bright contemporary hand-colouring, appears to be laid onto later card, 355 x 260 mm, framed and glazedQTY: (1)NOTE: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.

* McLean (Thomas, publisher). A New Years Gift, 1827, aquatint with bright contemporary hand colouring, initialled 'E. W.' (who is unidentified), trimmed to plate mark and window mounted onto later paper, 320 x 240 mm, together with Jones (Thomas). A Regular Damper - and no Mistake, S. Gans, Jany. 1st 1830, aquatint with bright contemporary hand colouring, window mounted onto later paper, 330 x 215 mm, with Gillray (James). The King of Brobdingnag and Gulliver, [1803, but the London und Paris edition, circa 1804], etching with contemporary hand-colouring, 215 x 175 mmQTY: (3)

* Gillray (James). Metallic-Tractors, H. Humphrey, November 11th 1801, etching and aquatint with bright contemporary hand-colouring, 250 x 345 mm, together with two copies of a smaller version published in 'London und Paris', circa 1802, one with bright contemporary hand colouring, the other toned overall, old folds, 180 x 220 mmQTY: (3)NOTE:Dr. Elisha Perkins (1741-1799), was an American quack doctor and the inventor of a pair of electrified metallic tractors said to cure various diseases. His son Benjamin, advertised the 'cure' in various periodicals between 1798 and 1802. The cartoon shows Dr Perkins applying his invention to the boils on the nose of a citizen possibly intended to represent John Bull. The lean detached physician is contrasted with the stout and highly distressed patient undergoing 'therapy'.

* Gillray (James). Charon's Boat or the Ghosts of "all the Talents" taking their last Voyage - from the Pope's Gallery at Rome, H. Humphrey, 1807, etching with aquatint with contemporary hand-colouring, good margins, slight dust and finger soiling to the borders, 245 x 350 mm, together with a smaller hand-coloured example, published in 'London und Paris, old folds, laid on later brown paper, 240 x 335 mmQTY: (2)NOTE:BM Satires 7371. Grenville had fallen foul of the king and had fallen from office. This is in effect, Gillray's epitaph. A lumbering overloaded boat steers towards Hades where Charles Fox - who had died the previous year - waits to greet it. The huge bottoms of the Grenvillites threaten to capsize the vessel, Sheridan is being sick and the sail carries the motto of Catholic Emancipation, whilst the mast is topped by the feathers of the Prince of Wales. One of Gillray's last great political satires.

* Gillray (James). The Introduction of the Pope to the Convocation at Oxford, by the Cardinal Broad-Bottom, Golgotha - i.e. - The Place of the Skulls, H. Humphrey, December 1st 1809, etching with bright contemporary hand-colouring, slight dust soiling to the margins, upper margin strengthened on verso, 270 x 375 mm QTY: (1)NOTE:BM 11338. A satire on the approaching election for the Chancellorship of Oxford University. Grenville, dressed as a cardinal, heads a small group processing towards the Devil. Behind Grenville walks the Pope, and he holds up Grenville's robe. Napoleon crouches behind the Pope, holding on to his robes and hiding under his mantle. Sycofantic bishops bow low to the assembled group sweeping the ground with their mitres.

* Gillray (James). Introduction of Citizen Volpone & his Suite at Paris - vide The Moniteur & Cobbetts Letters, H. Humphrey, November 15th 1802, etching with bright contemporary hand colouring, large margins, 250 x 355 mm, together with a smaller hand-coloured edition, published in 'London und Paris', old folds, slight spotting, 170 x 225 mmQTY: (2)NOTE:BM satires 9892. In September 1802, Charles James Fox visited Paris and Gillray imagines a scene where he is presented - alongside a morbidly obese - Lady Holland, to Bonaparte. Fox and Bonaparte did meet, but not in the circumstances depicted in this caricature. Gillray represents Fox and his entourage as craven and obsequious, Kow Towing in the presence of a diminutive, lean and sallow Bonaparte.

* Gillray (James). John Bull and the Alarmist, H. Humphrey, September 1st, 1803, etching with aquatint and bright contemporary hand-colouring, 16 lines of verse below the image, large margins, 325 x 355 mm, together with a smaller hand coloured edition of the caricature, published in 'London und Paris', 165 x 215 mmQTY: (2)

* Gillray (James). Armed Heroes; vide Military Appearances, at St Stephens & at St Cloud's, on ye day of Defiance, H. Humphrey, May 18th 1803, etching with bright contemporary hand-colouring, 255 x 355 mm, together with a smaller hand-coloured edition published in 'London und Paris', old folds, 165 x 220 mmQTY: (2)NOTE:BM satires 9996. In March 1803 the King instructed parliament that Great Britain must prepare for war, two months later (on the 15th of May) the King declared war in the usual British manner by legalising the capture of enemy ships. Gillray marked the moment with 'Armed - Heroes' which shows a less than martial Addington cheered on by his nepotistic appointees facing Bonaparte across the English channel. Addington stands astride a dish bearing 'The Roast Beef of old England'

* Gillray (James). Triumphal Procession of Little Paul the Taylor upon his new Goose..., Hannah Humphrey, November 8th, 1806, etching with contemporary hand colouring, good margins, some dust and finger soilings to the borders, 245 x 350 mm, together with The High-Flying Candidate (i.e. Little Paul Goose) mounting from a Blanket, H. Humphrey, 11th November 1806, etching with contemporary hand colouring, good margins, some dust and finger soilings to the borders, upper margin strengthened on verso, 245 x 350 mmQTY: (2)NOTE:BM Satires 10608 & 10609 respectively.

* Darley (M.). A Temple Macaroni, Feby. 14th 1772, uncoloured etching, 170 x 120 mm, framed and glazed in a near-contemporary moulding, together with The Fortunate Macaroni, The Unfortunate Macaroni, A Connosieur (sic) Admiring a Dark Night Piece [and] Mons.r le Virtu, 1771 - 72, together four uncoloured etchings, "The Unfortunate Macaroni" with a worm track affecting the image, each approximately 170 x 120 mm, all framed and glazed in near contemporary mouldings, with Fores (S. W. publisher). Yae--ough, Cave Amice. Take heed my Friend, Feby. 11th 1800, etched caricature with contemporary hand-colouring, trimmed to neat line, 290 x 200 mm, plus Bunbury (H.). A Visit to the Camp, circa 1811, etched caricature by Thomas Rowlandson with contemporary hand-colouring, 175 x 245 mm, and Sandby (Paul, attrib.). John Bull's House Set in Flames, circa 1762, uncoloured etching, old folds, the margins strengthened on verso, 190 x 270 mm, with another four caricatures and drolls, including examples by or after Bretherton, Carlton House Magazine (publisher) and Carington Bowles (publisher), various sizes and conditionQTY: (12)

Palmer (Samuel). The Life and Letters of Samuel Palmer, Painter & Etcher, London: Seeley & Co, 1892, portrait frontispiece, original etching, 22 illustrations, lightly spotted, original blue cloth gilt, a few light marks, 8voQTY: (1)

* Starcke (C. after James Gillray). Scientific Researches! - New Discoveries in Pneumaticks! - or - an Experimental lecture on the powers of Air [1802], hand-coloured etching published in 'London und Paris', old folds, lower left corner trimmed, but not affecting the printed image, 260 x 350 mmQTY: (1)NOTE:An acidic comment on a public lecture at the Royal Institution. The audience includes recognisable politicians, diplomats and intellectual women (‘bluestockings’). They look amused or disgusted as Sir J. C. Hippisley is given nitrous oxide gas by the physician Thomas Garnett and his assistant Humphry Davy. A diary entry by Lady Elizabeth Holland relates an event very similar to what Gillray portrays. Gillray makes the most of a fart joke to reference the ‘hot air’ that contemporaries criticised in both gas research and radical politics. This print is one of several public attacks that led to nitrous oxide research being abandoned because of its proponents’ supposedly dangerous political views. Eight days after the publication of the original etching, Joseph Banks would propose Davy be promoted to Professor of Chemistry. Davy, however, failed to grasp the significance of the gas as an anaesthetic, treating it instead as a curio and conversation piece.

* Von Maron (Anton). Equiti Josepho Nicolao Azara Potentiss Caroli III. Hisp Reg. Catholici apud S. Sedem Pro Legato procuratorique Generali aequo Bonarum Artium Aestimatori etc...., [Camillo Buti] 1781 & 83, two engraved reliefs by Angelo Campanella, both with contempoary watercolour and gouache, slight spotting, each approximately 560 x 810 mm, framed and glazed, together with Rossini (Luigi). Veduta dell' antiche costruzioni fatte de Tarquinio dette il bel Lido..., Rome, 1823, uncoloured etching, slight spotting, old folds, 425 x 650 mm QTY: (3)NOTE:The first two items are part of a series of engravings of Roman frescos of the Villa Negroni, showing the "The Drunkenness of Hercules" and "Bacchus and Adrianne", plates V & VII.

* Gillray (James). Sketch of the Interior of St Stephens as it now stands, H. Humphrey, March 1st 1802, etching with bright contemporary hand-colouring, good margins, some old adhesion scaring to the verso, 360 x 260, together with another smaller hand coloured edition, published in 'London und Paris', old folds, 235 x 175 mmQTY: (2)NOTE:BM Satires 9843. The new Prime Minister, Henry Addington address the House of Commons on the subject of a peace treaty. Gillray has noticeably left Addington uncaricatured, whereas Hawkesbury, sitting behind him with his finger to his mouth is the epitome of ministerial uncertainty and incompetence and the caricature of Wilberforce (holding a stick) is particularly brutal.

* Gillray (James). The King of Brobdingnag and Gulliver, H. Humphrey, June 26th 1803, etching with aquatint on wove, bright contemporary hand colouring, one repaired closed tear, 315 x 255 mmQTY: (1)NOTE:BM Satires 10019. George III holds a spyglass to his eye to examine a Lilliputian Napoleon whom he holds in the palm of his hand. The King pronounces that '...you be one of the most pernicious little odious reptiles ever suffered to crawl upon the surface of the earth'. A fine example of Georgian jingoism and anti-French propaganda.

* Gillray (James). Bat Catching..., [H. Humphrey, 1803], etching with aquatint, contemporary hand-colouring, trimmed with loss of the publisher's inscription above the image, the remaining margins trimmed to plate mark, margins extended with later paper, 250 x 330 mm, together with an uncoloured later edition published in 'London und Paris', old folds, 170 x 220 mmQTY: (2)NOTE:BM 9964. Addington and Hawkesbury, in the gateway of the Treasury (inscribed 'Granary'), lure three bats, with the heads of Grey, Sheridan, and Tierney. Addington kneels on one knee holding out a dark lantern and a hat with a tricolour cockade filled with papers inscribed 'Sinecure', 'Place', 'Annuity', 'Pension' & 'Post'. Hawkesbury, standing behind him, holds out a net to capture the greedy Harpie-like politicians, enticed towards the light.

* Gillray (James). Integrity retiring from Office! H. Humphrey, Feby. 24th 1801, etching with aquatint, bright contemporary hand-colouring, large margins, slight dust and finger soiling to the borders, sparse near-contemporary manuscript annotations to the verso, 255 x 360 mm, together with a smaller hand-coloured version published in 'London und Paris', old folds, 170 x 225 mmQTY: (2)NOTE:BM Satires 9710. Prime Minister William Pitt the Younger is shown retiring from office, having resigned over King George III's refusal to include the emancipation of Irish Catholics in the Act of Union. The rowdy Whig opposition - depicted as little more than a mob - is held at bay by a guardsman.

* Gillray (James). Physical Aid,-or-Britannia recover'd from a Trance; -also, the patriotic courage of Sherry Andrew: & a peep thro' the Fog, H. Humphrey, March 14th 1803, etching with bright contemporary hand-colouring, large margins, slight staining, 265 x 365 mmQTY: (1)NOTE:BM Satires 9972. Set on a cliff-top looking out to sea, a recumbent and dishevelled Britannia, having just awoken to the danger, cries out for assistance. She is supported by Addington and Hawkesbury and defended by Sheridan. Fox hides his eyes from the threat by holding his hat in front of his face. Beyond the fog, however, the French fleet is visible, led by Napoleon

* Gillray (James). Britannia between Death and the Doctors, H. Humphrey, May 20th 1804, etching with contemporary hand-colouring, trimmed to the neat line, 255 x 375 mm, together with a smaller uncoloured edition published in 'London und Paris', old folds, 170 x 220 mmQTY: (2)NOTE:BM satires 10244. A satire on the change of government and the exclusion of Fox from Pitt's Ministry. It implies that because of Addington's incompetence and passivity, the country is ill-prepared and isolated before the threat of invasion. Britannia sits, propped up in bed by pillows, her shield (together with an olive branch) beside her. Pitt, the new doctor, kicks Addington through the door with one foot, whilst the other one stamps on the face of Fox, who lies on the ground, kicking wildly. Death lurks behind the bed curtains, depicted as a skeleton with the head of Napolean, wielding a spear which is aimed at Britannia's heart.

* Gillray (James). The Bear and his Leader..., H. Humphrey, May 19th 1806, etching with aquatint, bright contemporary hand colouring, large margins, slight staining to the borders, old adhesion scaring to the verso, 245 x 345 mm, together with a smaller uncoloured example published in 'London und Paris', old folds, some staining, 175 x 225 mmQTY: (2)NOTE:BM Satires 10566. Grenville controls a dancing bear which has the features of Charles Fox and which clasps a bonnet rouge. Grenville wealds a large club labelled 'Cudgel for Disobedient Bears'. Lord Henry Petty is depicted as a little monkey holding the bear's tail, the music is provided by Henry Addington (Viscount Sidmouth) in the guise of a one-legged blind fiddler

* Gillray (James). Uncorking Old Sherry, H. Humphrey, March 10th 1805, etching with contemporary hand-colouring, large margins, slight overall toning, 360 x 255 mmQTY: (1)NOTE:BM satires, number 10375. Pitt stands in the House of Commons, facing the Opposition benches; he causes a tremendous explosion by uncorking a bottle containing the bloated and scowling face of Sheridan.

* Gillray (James). A Pair of Polished Gentlemen, H. Humphrey, March 10th 1801, etching with aquatint, bright contemporary hand-colouring, slight spotting and staining, near contemporary ink marginalia outside the platemark, 355 x 260 mmQTY: (1)NOTE:BM Satires number 9699. The caricature shows Sir Lumley Skeffington and Colonel Montagu Mathew, two 'men-about-town' who were good friends. Gillray shows their heads emerging from the highly-polished boots. Both men were illustrated in Gillray's "The Union Club" where they are depicted as boisterous and highly intoxicated.

* Gillray (James). The King of Brobdingnag and Gulliver (plate 2nd)..., H. Humphrey, Feby. 10th 1804, etching and aquatint with contemporary hand-colouring, torn with slight loss to the lower right corner, repaired, slight overall toning, thread margins, 340 x 450 mm, together with a smaller edition with contemporary hand-colouring, originally published in 'London und Paris', old folds, 255 x 315 mmQTY: (2)NOTE:BM satires 10227.

* Gillray (James). Pillars of the Constitution, H. Humphrey, Feby. 1st. 1809, etching with bright contemporary hand-colouring, thread margins, old adhesion scaring to the verso, 355 x 260 mmQTY: (1)NOTE:Richard Sheridan and the Duke of Norfolk, bloated and senile, stagger tipsily onto the pavement of St. James's Street, having just left their club, Brooks. After the title is a watchman's cry " Three o'clock & a Cloudy Morning".

* Gillray (James). "More Pigs than Teats" - or - the new litter of hungry grunters, sucking John-Bulls-old-sow to death, H. Humphrey, March 5th 1806, etching with contemporary hand-colouring, good margins, slight dust and finger soiling to the borders, 245 x 355 mm, together with a smaller hand-coloured example originally published in "London und Paris", old folds, folds strengthened and repaired on verso, 240 x 330 mmQTY: (2)NOTE:BM Satires 10540. A satire on the new 'Broad-Bottomed' ministry with its multiple politicians, all scrambling for position and preferment. The plight of the exhausted sow, attempting to succour this enormous and clamouring brood, is observed by a dismayed John Bull in the familiar guise of a decent country yokel.

Various pictures and prints to include a pastel by Mike Lord, signed 'M Lord 1990' and titled 'Crag' to verso, an etching and various lithographs including Parisian scenes etc.