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Gillray (James) Midas Transmuting All Into [Gold] Paper, etching with original hand-colouring, on wove paper without watermark, numerous marginal pencil inscriptions, platemark 355 x 250 mm (14 x 9 7/8 in), sheet 412 x 297 mm (16 1/4 x 11 3/4 in), good margins, exposure lines and some toning, residual parts of a blue-paper album leaf affixed verso, minor handling creases, unframed, published by Hannah Humphrey, 1797Literature:BM Satires 1797⁂ A double-edged satire on Pitt for the stoppage of gold payments, and on the Opposition as factious and Jacobinical. Pitt is depicted as a colossal figure bestride the Rotunda of the 'Bank of England', his arms and legs are very thin, but his body is formed of a (transparent) sack distended with gold coins and inscribed '£'.

Gillray (James) The Giant-Factotum amusing himself, etching with original hand-colouring, on wove paper without watermark, a number of people identified in pencil within the lower margin, sheet 352 x 250 mm (13 7/8 x 9 7/8 in), trimmed to or just within the platemark, some minor toning to edges of the sheet, pencil inscriptions verso, unframed, published by Hannah Humphrey, 1797Literature:BM Satires 8980⁂ Pitt arrogantly bestrides the Speaker's chair, towering high above the galleries of the House. He plays cup (or rather spike) and ball with the globe, on which 'France' is disproportionately large, the British Isles small and obscure. [BM]

Gillray (James) The National Parachute,-or-John Bull conducted to plenty & emancipation, etching with original hand-colouring, an excellent impression of this scarce print, on cream wove paper without watermark, sheet 353 x 244 mm (13 7/8 x 9 1/2 in), trimmed just within the platemark, minor toning, unframed, published by Hannah Humphrey, 1802Literature:BM Satires 9877⁂ Pitt stands beside John Bull in a basket, inscribed 'Sinking Fund', which is attached to an elaborate pagoda-like parachute. The print seems to relate to Addington's National Debt Reduction Bill by which Pitt's two Sinking Funds were amalgamated. [BM]

Gillray (James) Broad-Bottom Drones storming the Hive, - Wasps, hornets, & bumble bees, joining in the attack, etching with original hand-colouring, a good impression of this scarce print, on Whatman wove paper with partial watermark, platemark 255 x 355 mm (10 x 14 in), sheet 300 x 402 mm (11 3/4 x 15 7/8 in), even toning, marginal nicks and small losses with fine split in the upper centre, not affecting the image, unframed, published by Hannah Humphrey, 1808Literature:BM Satires 10984⁂ An illustration of the theme that politics are a mere struggle between the Ins and the Outs, with the Opposition being satirized individually.

Gillray (James) Charon's Boat. -or- the Ghost's of "all the Talents" taking their last voyage, etching with original hand-colouring, an excellent impression on thick Whatman wove paper with watermark, platemark 250 x 350 mm (9 3/4 x 13 3/4 in), sheet 287 x 404 mm (11 3/8 x 15 3/4 in), good margins, minor spotting, light handling creases visible in the margins, unframed, published by Hannah Humphrey, 1807 Literature:BM Satires 7371 ⁂ The 'Broad-Bottom Packet' sails through the mouth of a cave towards the distant shore, where the spirits of the departed stand waving a welcome. Its occupants, the defeated Ministers, are all naked. Satire on the the fall of the Ministry on the question of the Roman Catholics' Army and Navy Service Bill. [BM]

Gillray (James) Confederated-Coalition;-or-The Giants storming heaven;-with, the Gods alarmed for their everlasting-abodes, etching with original hand-colouring, on wove paper without watermark, sheet 445 x 337 mm (17 1/2 x 13 1/4 in), trimmed to or just within the platemark, upper left corner with small loss replaced in careful facsimile, vertical crease to right quadrant, minor even toning, some minor tape stains to extremities, unframed, published by Hannah Humphrey, 1804Literature:BM Satires 10240 ⁂ A 'parody of the Grand Manner, as applied to the sordid realities of contemporary power struggles' [Timothy Hyman BM], contrasting a Baroque heaven with the army of Neo-Classical male nudes who are assailing it.

Gillray (James) Pacific-Overtures,-or-A Flight from St Cloud's-"Over the Water to Charley."-A new dramatic peace now rehearsing, etching with original hand-colouring, the first state (of two), with contemporary ink inscriptions identifying individuals within the crowd, on wove paper without watermark, platemark 300 x 385 mm (11 3/4 x 15 1/8 in), sheet 330 x 445 mm (13 x 17 1/2 in), minor exposure lines within the margins, affixed at the lower left corner onto paper support, small nick lower centre, unframed, 1806Literature:BM Satires 10549⁂ An excellent impression of the first state, with contemporary ink inscriptions and before the Prince of Wales was altered to Lord Derby, which was said to be on account of the offence given to the King by the Prince's association with Mrs. Fitzherbert.

Gillray (James) Le Coup de Maitre, etching with original hand-colouring, on wove paper, platemark 262 x 375 mm (10 3/8 x 14 3/4 in), small margins, the upper edge trimmed to or just within the margin, affixed partially onto paper support, minor handling creases, unframed, published by Hannah Humphrey, 1797Literature:BM Satires 9039⁂ Fox appears as a hirsute brigand aiming a pistol at a target of the British constitution, suspended from an ancient oak tree, continuing the theme of presenting him as a furious Jacobin, dating back to the September Massacres of 1802, inscribed in the plate 'This Print copied from the French Original, is dedicated to the London Corresponding Society'.

Gillray (James) Stealing Off;-or-Prudent Secession, etching with original hand-colouring, an excellent impression with contemporary marginal ink inscriptions identifying those depicted, on wove paper without watermark, platemark 255 x 362 mm (10 x 14 1/4 in), sheet 280 x 387 mm (11 x 15 1/4 in), minor exposure lines and light browning, small nick to upper left corner but well outside the image, minor residual bits of album leaf verso, unframed, published by Hannah Humphrey, 1798Literature:BM Satires 9263 ⁂ Charles James Fox (radical Whig politician, 1749-1806) flees in terror through the doorway of the House of Commons, taking an enormous stride. Satire alluding to the diplomatic consequences of the Battle of the Nile on the Opposition. [BM]

Gillray (James) The Magnanimous Minister, chastising Prussian-Perfidy, etching with original hand-colouring, an excellent impression on wove paper, sheet 240 x 345 mm (9 1/2 x 13 1/2 in), mounted on support, unframed, published by Hannah Humphrey, 1806.Literature:BM Satires 10560⁂ Satire on Fox's stance over the Prussian embargo of British shipping, as he threatens a cowering Frederick William III with a raised sword, at the same time giving the impression of British unpreparedness for war, as Napoleon sneaks up behind him to steal a look at Fox's State of the Nation address held behind his back

Gillray (James) Shrine at St Ann's Hill, etching and aquatint with hand-colouring, a very good impression on wove paper with watermark date '1794', platemark 360 x 260 mm (14 1/4 x 10 1/4 in), sheet 410 x 290 mm (16 1/4 x 11 1/2 in), good margins, minor exposure lines, surface dirt and stains but mainly to margin, the lower right corner slightly trimmed in the margin, and smaller loss to upper left corner margin, neither affecting the platemark or image, small repaired tear to right margin, toning and stains visible verso, small hole between the l's in 'Hill', unframed, published by Hannah Humphrey, 1798Literature:BM Satires 9217⁂ A satire on the retirement of Charles James Fox (1749-1806) to St. Ann's Hill, during the secession from parliament in 1797.

Gillray (James) Search-Night; _or_ State Watchmen, mistaking, etching with original hand-colouring, on wove paper, sheet 260 x 358 mm (10 1/4 x 14 in), tipped onto card support, trimmed to or just within the platemark, small split to upper right corner, small tear to centre right edge, other small nicks and minor losses to extremities, unframed, published by Hannah Humphreys, 1798Literature:BM Satires 9189Provenance: Sale. Bonhams London, Old Master, Decorative, Modern and Contemporary Prints, includ. Caricatures, November 21st, 2005, lot 48⁂ O'Connor, O'Coigley, Binns, and two others were arrested in Margate when about to embark for France to urge (on behalf of the United Irishmen) the prompt dispatch of an invading fleet to Ireland. Binns was a leading member of the London Corresponding Society. The important arrest was due to Pitt's secret service, which had information from Hamburg of the Franco-Irish plans.

Gillray (James) The Bear and his Leader, etching and aquatint with original hand-colouring, on wove paper, sheet 245 x 345 mm (9 3/4 x 13 1/2 in), tipped onto card support, trimmed to or just within the platemark, small repaired splits to upper centre, minor spotting, unframed, published by Hannah Humphrey, 1806Literature:BM Satires 10566⁂ Satire on the 'Broad Bottom' coalition Ministry, with Fox as a muzzled dancing bear led by Grenville, accompanied by Sidmouth as a blind violinist and the chancellor, Lord Herny Petty, as a dancing monkey.

Gillray (James) Hope, etching with original hand-colouring, an excellent impression on wove paper without watermark, sheet 253 x 200 mm (10 x 7 7/8 in), trimmed to borderline, minor printers' crease to centre right edge, unframed, published by Hannah Humphrey, 1802Literature:BM Satires 9854⁂ William Dickinson, M.P., returned for Somerset in 1796, and was an undistinguished and apparently silent member, except that he seconded the Clergy Non-Residence Bill, 7 Apr. 1802. Henry Addington speaking through the door in the House of Commons, announced in his budget speech on 5 April a loan of £25,000,000.

Gillray (James) "More pigs than teats", -or- the new litter of hungry grunters, sucking John-Bulls-old-sow to death, etching with original hand-colouring, on wove paper without watermark, platemark 250 x 355 mm (9 7/8 x 14 in), sheet 275 x 385 mm (10 3/4 x 15 1/8 in), good margins, minor nicks and losses to extremities, faint exposure lines with some browning, unframed, published by Hannah Humphrey, 1806Literature:BM Satires 10540⁂ Satire showing John Bull, depicted as a yokel farmer, overlooking in alarm at an exhausted sow in a dilapidated sty who is set upon by 32 piglets with heads of politicians, led by Fox and Grenville.

Gillray (James) An Old Maid on a Journey, after a design by Brownlow North, etching with original hand-colouring, an excellent impression on wove paper without watermark, platemark 257 x 382 mm (10 1/8 x 15 in), sheet 275 x 405 mm (10 3/4 x 15 7/8 in), unframed, published by Hannah Humphrey, 1804Literature:BM Satires 10300⁂ The old maid is said to be Miss Banks, whose collection of prints was given to the British Museum by her brother, Sir Joseph.

Gillray (James) The fashionable mamma, - or - the convenience of modern dress, etching and stipple-engraving with original hand-colouring, platemark 350 x 245 mm (13 3/4 x 9 5/8 in), sheet 367 x 264 mm (14 1/4 x 10 3/8 in), laid onto card support, minor spotting and browning, unframed, published by Hannah Humphrey, 1796Literature:BM Satires 8897

Gillray (James) The Reconciliation, etching with original hand-colouring, on wove paper without watermark, numerous pen and ink annotations within the margin identifying those depicted, platemark 255 x 355 mm (10 x 14 in), sheet 285 x 420 mm (11 1/4 x 16 1/2 in), minor browning, a few small marginal nicks, unframed, published by Hannah Humphrey, 1804Literature:BM Satires 10283⁂ George III steps forward to embrace the Prince of Wales, who throws himself into his father's arms, saying, "against Heaven - and before thee, and am no more worthy------".

Gillray (James) The Guardian-Angel, etching with hand-colouring, an excellent impression on wove paper without watermark, platemark 380 x 265 mm (15 x 10 1/2 in), sheet 485 x 335 mm (19 1/8 x 13 1/4 in), a few small repaired marginal tears, handling creases, unframed, published by Hannah Humphrey, 1805Literature:BM Satires 10389⁂ Satire on the long-drawn out legal struggle between Mrs. Fitzherbert and the Seymour family for the guardianship of Mary Seymour, daughter of Lord Hugh Seymour, Mrs. Fitzherbert promising to educate her as a Protestant. The contest for the child is here related to the movement for Catholic Emancipation sponsored by the Opposition. [BM]

Gillray (James) Temperance enjoying a frugal meal, etching and stipple-engraving with original hand-colouring, on wove paper without watermark, sheet 347 x 274 mm (13 5/8 x 10 3/4 in), trimmed within the platemark, some browning, tipped at upper corners into mount, unframed, published by Hannah Humphrey, 1792Literature:BM Satires 8117 ⁂ Satire on the supposed miserliness of the King and Queen, which was a favourite subject of caricature; the frugality of the King's meals was well known.

Gillray (James) A Voluptuary Under the Horrors of Digestion, etching and stipple-engraving with original hand-colouring, on laid paper with large Strasbourg Lily watermark, sheet 345 x 274 mm (13 1/2 x 10 3/4 in), trimmed within the platemark, faint exposure lines to extremities, minor browning, tipped at upper corners into mount, unframed, published by Hannah Humphrey, 1792Literature:BM Satires 8112⁂ A corpulent Prince of Wales rests in an armchair by a dining table covered with the remains of his substantial meal, his waistcoat and trousers all but unbuttoned, an overflowing chamber pot rests on unpaid bills, his gambling debts and related items lie on the floor.

Gillray (James) The Orangerie:-or-the Dutch Cupid reposing, after the fatigues of Planting, etching with original hand-colouring, on wove paper without watermark, platemark 260 x 355 mm (10 1/4 x 14 in), sheet 278 x 360 mm (10 7/8 x 14 1/4 in), right margin trimmed with thread margin only, minor exposure lines and browning, unframed, published by Hannah Humphrey, 1796Literature:BM Satires 8822⁂ William V of Orange, a naked fat Cupid, lies on his back asleep on a low plateau of grass sprinkled with flowers. He has been planting orange-trees, and these surround him, of varying sizes, in pots and in tubs; the oranges are the heads of infants, all with his own features. Dream-figures float towards him on clouds, all women in an advanced state of pregnancy. It was said that 'when the Prince of Orange resided at Hampton Court, his amours with the servant-maids were supposed to be very numerous'. [BM]

Gillray (James) The Reception in Holland, etching with original hand-colouring, an excellent impression on wove paper without watermark, platemark 260 x 360 mm (10 1/4 x 14 1/8 in), sheet 297 x 440 mm (11 3/4 x 17 1/4 in), minor spotting, unframed, published by Hannah Humphrey, 1799Literature:BM Satires 9414 ⁂ The fat Prince of Orange, just landed, stands impassively, surrounded by exuberantly loyal Hollanders. Two fat Dutchwomen throw their arms round him and kiss his cheeks. The landing of the British troops on the 27th August was opposed by General Brune with French and Batavian troops. However, the French troops retreated after confused fighting, and the Dutch fleet obeyed without resistance a summons to hoist the Orange flag and surrender.

Gillray (James) The King of Brobdingnag, and Gulliver. -Vide. Swift's Gulliver: Voyage to Brobdingnag, etching and aquatint with original hand-colouring, an excellent impression on wove paper, sheet 310 x 250 mm (12 1/4 x 9 3/4 in), tipped onto mount support, minor browning, unframed, published by Hannah Humphrey, 1803Literature:BM Satires 10019 ⁂ George III, half length, stands in profile to the left, a holding a tiny Napoleon on the palm of his right hand, and inspecting him through a spy-glass. Lord Holland notes (MS.) that the print was shown to the King who exclaimed 'quite wrong quite wrong no bag with uniform!!!'. [BM]

Gillray (James) The King of Brobdingnag and Gulliver. (Plate 2d.), etching with original hand-colouring, on wove paper without watermark, platemark 350 x 450 mm (13 3/4 x 17 3/4 in), sheet 425 x 575 mm (16 3/4 x 22 1/2 in), wide margins, some browning, repairs to marginal tears visible verso, nothing affecting the image, unframed, published by Hannah Humphrey, 1804Literature:BM Satires 10227⁂ The King and Queen sit on chairs of state intently watching a rectangular tank in which Napoleon as Gulliver sails his little boat, manoeuvring the single sail. Behind the King's chair Lord Salisbury stands stiffly, holding his wand of office. [BM]

Woodward (George Moutard, 1760-1809) Grotesque caricature of a Georgian Gentleman, point of the brush and ink, watercolour, inscribed 'G.M. Woodward' in the lower right corner, on buff wove paper without watermark, sheet 220 x 165 mm (8 5/8 x 6 1/2 in), hinged onto old paper support, spotting, and exposure lines, handling creases and small nicks to edges, unframed, [circa 1790s]⁂ Highly distinctive drawing by the caricaturist from Stanton by Dale, Derbyshire; a contemporary of Gillray and Rowlandson. The present sheet bears some comparison to the grotesque portraits found in the etching by Isaac Cruikshank after Woodward, A collection of hobgoblins [see BM Satires 8915], as well as the many giant headed caricatures produced after Woodward's drawings in the 1790s.

Bowles (Carrington, publisher) The Contrast, after Robert Dighton, satire on Anglo-French relations, with the thin Frenchman antagonising John Bull with the comment "Ve ave beat a you Dam-mi-na-bly", alluding to the conclusion of the American War of Independence, with Bull replying "You Lye Damnably", lettered in the margin, etching and mezzotint with full original hand-colouring, 355 x 250 mm (14 x 9 3/4 in), under glass, in 18th century frame, [1783]Provenance:Sale. Christie's South Kensington, British Mezzotints and Printed Handkerchiefs from the Collection of the Honourable Christopher Lennox-Boyd, March 12th, 2008, lot 7

Dighton (Robert), After. Geography Bewitched! or, a Droll Caricature Map of Ireland, "This portrait of Lady Hibernia Bull is humbly dedicated to her husband the great Mr. John Bull", etching, on cream wove paper without watermark, sheet 210 x 160 mm (8 1/4 x 6 1/4 in), tipped at edges into old window mount with verso visible, faint pencil inscription '1786' in the lower right, [BM Satires 8399], Bowles & Carver, circa 1780 [but probably circa 1830]

Limited Editions Club.- Poe (Edgar Allan) The Fall of the House of Usher, one of a few copies signed by the artist, etching, colour plates and illustrations by Alice Neel, original morocco-backed marbled boards, uncut, original cloth drop-back box, 1985 § Crane (Hard) The Bridge, photographs by Richard Benson, original cloth, 1981 § [Clemens (S.L.)], "Mark Twain". Roughing It, double-page colour plates by Noel Sickles, original cloth-backed boards, 1972 § Dreiser (Theodore) An American Tragedy, illustrations by Reginald Marsh, 1954 § Bierce (Ambrose) The Devil's Dictionary, wood-cut illustrations by Fritz Kredel, original morocco-backed cloth, 1972, limited editions signed by the artists, plates and illustrations, all but the first with slip-cases, first two with prospectuses loosely inserted, New York, Limited Editions Club; and 6 others for the club, v.s. (11) ⁂ The first includes a two-page tribute to Alice Neel by Raphael Soyer, and is signed by both Soyer and Neel; most were signed only by Soyer as Neel died during the production.

Edward Bawden & Eric Ravilious: 'Away We Go! Advertising London's Transport', Sparham, Mainstone Press, 2006, 1st edition, illustrated throughout, original pictorial wraps; P. Skipwith & B. Webb: 'Edward Bawden's London', V & A, 2011, 1st edition, colour & black & white ills. throughout, orig. cloth, dust wrapper; C. Bacon & J. McGregor: 'Edward Bawden', Cecil Higgins Art Gallery, 2008, orig. cloth, d/w; 'Eric Ravilious in Context', Fine Art Society, 2002, colour ills. throughout, orig. printed wraps; 'Signature. A Quadrimestrial of Typography and Graphic Arts', 1947, new series No.4, content includes Edward Bawden full page litho illustration of the original linocut "Campions and Columbine", John Piper half tone full page illustration of original etching and aquatint "Hall Place Chapel", plus other full page and in text ills. by Lynton Lamb, Michael Ayrton, Barnett Freedman, Michael Rothenstein etc, original printed wraps; C. Colvin: 'John Nash Book Designs', 1986, ills. throughout, orig. wraps; 'Artists at the Fry. Art and Design in the North West Essex Collection', 2003, orig. wraps, ills. throughout by Bawden and other Great Bardfield artists, orig. pictorial wraps; plus 4 titles by Ruth Artmonsky on Edward McKnight Kauffer, 20th Century art & design and interior design etc (11)

HENRY PERCY HUGGILL (1886-1957). A Continental wooded river landscape with figures and hill top chateau, signed in pencil lower right, etching on paper, framed and glazed, 35 x 25 cm

William Henry Hunt, watercolour and pencil sketch, horse head study, "Hassan", signed with initials WHH, a 19th century watercolour, cavaliers, and Gerard De Lairesse, etching, horse study, from Neueroffnete Schule Der Zeichnungskunst, plate no. 100, all framed (3)

2 limited edition pencil sketches, cat studies, Continental etching and another (4)

Sir Terry Frost R.A. (British b. 1915) The Quay, St Ives 1951, 2003 Colour etching Published by The Tate St Ives Signed and numbered 56/200 in pencil to the bottom with label to the verso Framed and glazed 51 x 22 cm (20 x 8.5 in) Sir Terence Ernest Manitou Frost RA (13 October 1915 – 1 September 2003) was a British abstract artist, who worked in Newlyn, Cornwall. Frost was renowned for his use of the Cornish light, colour and shape to start a new art movement in England. He became a leading exponent of abstract art and a recognised figure of the British art establishment.

MIKE BIRTCHNELL (BORN 1948) UNTITLED II ‡ Signed etching58cm x 43cm

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."A peu pel llibre".Etching on Rives paper, copy 7/75.Hand signed and dated.Hatz d'Ignacio Chillida de San Sebastián Printing.Size: 12 x 25 cm (print); 65 x 50 cm (paper); 75 x 59 cm (frame).Engraving from the book "A peu pel llibre" with poems by Joan Brossa, etchings by Chillida and frontispiece by Pere Gimferrer, published by Polígrafa in Barcelona. Polígrafa summarises in its synopsis "The harshness of Brossa's poems, violent and harsh in their nakedness, combine with the serenity of Chillida's engravings. Each combination of poem and engraving constitutes, in fact, a triptych, formed by the title, on the title page, the text by Brossa and the engraving by Chillida, so that each of these elements contrasts with the previous one. At the same time, the title acts as a bridge to the optical and almost tactile poetry of the engravings".Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

Thomas Rowlandson (1756-1827) British, 'A Mad Dog in a Coffee House', hand coloured etching, 11.5" x 16" (29 x 41cm).

Thomas Girtin (1775-1802) British, 'View of Pont Neuf', etching and aquatint, 9.5" x 23" (24 x 58cm).

Thomas Girtin (1775-1802) British, 'View of The Tuileries and a Bridge', etching and aquatint, 10" x 23.5" (25 x 60cm).

Herbert Thomas Dicksee (1862-1942) British, A crouching tiger, etching, signed in pencil, with blind stamp, 18.75" x 28.75" (48 x 73cm).

Henry Wilkinson (1921-2011) British, mounted huntsmen with their dogs, etching in colours, signed in pencil and numbered 99/100, 11" x 15.5" (28 x 39.5cm).

Graham Clarke (b. 1941), 'Botanist', etching in colour, signed and inscribed A/P, 5.25" x 6.75" (13 x 17cm).

Valerie Thornton, A facade, coloured etching and aquatint, numbered 9/50 and signed in pencil, 15.75" x 20.75", (40x53cm).

Charles Tunnicliffe, Rainbow Trout, etching, signed in pencil, 6" x 8.75", (15.5x22.5cm) (unframed).

Thomas Blinks, etching of a Jack Russell terrier, 23.5" x 17.75", (60x43cm) and 6 other engravings of canine subjects by different hands, 4 at 5.5" x 8", (10x14cm) and 2 at 5.75" x 8.75", (14.5x22cm)(unframed) (7).

Herbert Dicksee print after an etching titled, 'Footsteps', two terriers in an interior, published by Frost and Reed Ltd, 14.75"x 21.5", (37x54.5cm).

Pictures to include Alan Whitehead and David Short watercolours, limited etching, and various printsLocation:

Graham Vivian Sutherland OM (British, 1903-1980), "Fight between Workers and Drones", etching and aquatint on Magnani wove paper, signed in pencil lower right and numbered 59 of an edition of 66, metal frame, 17 ½ x 14in. (44.4 x 35.5cm.); accompanied by the Exhibition Catalogue of the fourteen Etchings and Aquatints in the series "Bees" produced by Graham Sutherland. The Catalogue was published to coincide with the exhibition at Marlborough Fine Art (London) Ltd, 6 Albemarle Street, London June - July 1977., * Provenance: The Pallas Gallery Ltd, London, 5th July 1978., ** Notes: Plate 14 from the suite "The Bees". Printed after 2nd March 1977 in , four colours: yellow, violet, brown & black on Magnani paper. Etched by the artist in collaboration with Eleonora and Valter Rossi and printed in Rome by Adriano Corazzi and Antonio Di Leo. Marlborough Fine Art Edition, London & Rome., ** Good condition, full margins. Acidic mount., Good condition, full margins. Acidic mount.

Henry Moore O.M., C.H. (British, 1898-1986), 'Head of Girl', soft ground etching, 1981, on wove paper, signed and numbered J4/50 in pencil, printed by Michael Rand, London, published by Raymond Spencer Company Ltd, with margins, 11.5 x 12in. (29 x 30.5cm.), in silvered frame with plain ivory mount. Good condition. Slight cockling to sheet and a little dirt spotting to underside of glass. No other faults.

Patricia Miller (British, late 20th century), 'Potato Planting, Rozel', etching, signed in pencil lower right, titled in pencil lower left and numbered 6/36, framed, 14¾ x 19½in. (37.5 x 49.5cm.). Acidic mount.

Edmund Blampied R.E. (Jersey, 1886-1966), Two Horses, etching, signed lower right in ink, framed, 4 5/8 x 7½in. (12 x 19cm.). Light time staining and acidic mount.

Edmund Blampied RE (Jersey, 1886-1966), 'A Jersey Vraic Cart', drypoint etching, signed "Blampied 1939" in the right lower corner of the plate, signed in ink lower centre, published in 1939, edition not known, 8 9/16 x 11 1/16in. (21.8 x 28.1cm). * Notes: Catalogue Raisonné Appleby & Arnold No.183

E. C. Boon (British, early 20th century), Bulb planting above Rocquaine, Guernsey. * pencil on wove paper, signed lower right. * 6¾ x 9¾in. (17.1 x 24.75cm.); together with an etching by A. Sines, 'an old street, Guernsey' [Berthelot Street], signed and titled, 8 7/8 x 6 7/8in. (22.5 x 17.5cm.). (2). *

Robert Tilling (R.I., M.B.E. (British, 1944-2011), 'Distant Island'. * watercolour, signed, inscribed and dated 2002 verso, further presentation inscription by artist above. * 11¾ x 7¾in. (29.8 x 19.7cm.); together with a signed artist's proof etching by the same hand, untitled, signed and inscribed to margin, 7¾ x 9 7/8in. (19.7 x 25cm.). (2). * Good condition, with no faults.

Edward Julius Detmold (British, 1883-1957), Tabby Kitten, etching and drypoint, signed in pencil lower right “E.J. Detmold”, 1926, framed, 9¾ x 12½in. (24.8 x 31.7cm.).. * Foxed and lightly time stained. Acidic mount.

Hedley Fitton (British, 1859-1929)., The Pantheon, Rome, etching with drypoint, executed in 1913, signed in pencil lower right “Hedley Fitton”, framed, 17¾ x 22in. (45 x 55.9cm.).. * * The Pantheon is generally considered to be Hedley Fitton's most accomplished etching.. * Behind glass. Unexamined out of frame but appears to be lightly foxed and lightly time stained but otherwise in good condition.

Edmund Blampied R.E., R.B.A. (Jersey, 1886-1966), Kicking Horse. * terracotta maquette, signed lower centre “Blampied”, English, early 19th century, gilded frame with a lamb’s tongue sight edge, 4 1/8 x 5 1/8in. (10.5 x 13cm.). * * The maquette is related to the drypoint etching “Flies” of 1913 and the bronze sculpture Kicking Horse of 1924 (Catalogue Raisonné, Arnold & Appleby, No.17 & BZ.1). Maquettes by Edmund Blampied are extremely rare.. * Good condition, mane possibly with losses, some wear to frame, very appealing to the eye.

John G. Mathieson (Scottish, fl.1918-1940), “Winter Brands of Dune”, etching, signed in pencil lower centre, framed, 12½ x 9 1/8in. (31.8 x 23.2cm.).. * Good condition.. * . *

JOSEPH DAVIE (SCOTTISH b.1965) NOT A TYPICAL HERO..BUT LOVABLE ALL THE SAME  Etching, signed lower right, inscribed, numbered (1/20), 38 x 38cm Together with JEAN CLAUDE, etching and two further studies of Glasgow, signed BRUCE (4) Condition Report:Available upon request

EUAN L HENG (SCOTTISH b.1945) SEATED FEMALE IN CONTEMPLATION  Etching, signed lower right, numbered (6/6), 30 x 21cm  Together with a further woodblock print by the same hand (2) Condition Report:Available upon request