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Lot 523A
Par M, Bonne M'tre De Mathe'matiq 1771, Carte du Royaume D'Ecosse Framed map of Scotland under glass measuring approximately 40cm high x 52cm wide externally J, Bartholomew Junr Edinburgh, Upper Estuary of the Clyde and adjoining country Framed map of ports and harbours on the west coast of Scotland under glass measuring approximately 59cm high x 41cm wide externally La Citta di Venezia Framed map of the city of Venice under glass measuring approximately 37cm high x 60cm wide externally Avril Paton "Snow Fall" signed framed print under glass measuring approximately 44cm high x 51cm wide and a framed etching of Sauchiehall St, Glasgow under glass measuring 35cm high x 28cm wide (5) Condition Report:Available upon request
Lot 204
* Gillray (James). What can little T. O. do? - why drive a Phaeton and Two!! - Can little T. O. do no more? - yes, drive a Phaeton and Four!!!!, H.Humphreys, 1st May 1801, etching with aquatint and contemporary hand-colouring, old folds, slight overall toning, some adhesion scaring to the verso, 265 x 680 mm, together with French Volunteers marching to the Conquest of Great Britain, H. Humphrey, October 25th 1803, etching with contemporary hand-colouring, slight staining, trimmed with slight loss along the vertical margins, 210 x 595 mmQTY: (2)NOTE:BM Satires 9759 & 10117.The first described caricature mocks the whig MP Thomas Onslow. Onslow was best known for his mania for driving his 'four in hand' phaeton.
Lot 206
* Gillray (James). A Democrat, or Reason & Philosophy, London: H. Humphreys, March 1st, 1793, etching on wove with contemporary hand colouring, trimmed to platemark, repaired upper right and lower corners, 350 x 250 mmQTY: (1)NOTE:BM Satires 8310.The famous and brutal caricature of Charles James Fox portrayed as a sans-culotte revolutionist, celebrating the execution of Louis and singing the revolutionary anthem Ca ira (All will be well!) with blood on his hands."As an image of revolutionary excess, it could hardly be equalled, and it is no surprise that Fox is said to have been deeply offended by it." (Jim Sherry, 2020)
Lot 219
* Gillray (James). Phaeton alarm'd! H. Humphrey March 22nd 1808, etching with contemporary hand-colouring, large margins, borders a little toned and dust soiled, some marginal closed tears, later ink marginalia and some ink linear marks affecting the printed image, 340 x 375 mmQTY: (1)NOTE:BM satires 10972.A somewhat sycophantic caricature by Gillray depicts Canning as Phaeton driving a chariot across the sky in a semi-heroic composition. Gillray is gentle with the Foreign Secretary depicting him travelling across a celestial panorama, filled with malevolent opponents. Below the panorama is a map of Europe set ablaze by the Napoleonic wars.
Lot 229
* Gillray (James). The Union Club, London: H. Humphreys, Jan 21st, 1801, etching on wove with contemporary hand colouring, slight mount staining, narrow margins, old mount hinges to verso, 300 x 440 mm QTY: (1)NOTE:BM Satires 9699.Gillray's The Union Club is considered to be the most brilliant and influential depiction of the effects of inebriation in the history of caricature. The scene is a disorderly dinner of the Union Club at Cumberland House. The important politicians of the day celebrate the first coalition parliament of 1801 with a glorious drunken riot. Richard Brinsley Sheridan is sprawled over the table, spilling a bottle of wine as he raises his glass, Charles James Fox is sleeping in his chair and The Prince Regent is slumped under the table. All manner of objects are thrown through the air, vicious fights are breaking out and a brass band performs in the background.
Lot 220
* Gillray (James). Portrait of an Irish Chief; drawn from Life at Wexford, July 10th, 1798, etching on wove with contemporary hand colouring, good margins, slight mount staining, old blue paper, glue residue and mount hinges to verso, 260 x 360 mmQTY: (1)NOTE:BM Satires 9236.The print shows a rebel Irish Chief at Wexford, presumably overseeing an attack on loyalist houses. The bloody Wexford Rebellion began in late May of 1798 when members of the United Irishmen in and around the area retaliated against the British for the execution of 36 suspected rebels at Dunlavin Green.
Lot 208
* Gillray (James). Contemplations upon a Coronet, London: H. Humphreys, March 20th, 1797, etching on wove with contemporary hand colouring, good margins, some tears and contemporary ink annotations to margins, old paper residue to verso, 360 x 260 mm QTY: (1)NOTE:BM Satires 9074.Actress Elizabeth Farren sits at her dressing table and cold-heartedly contemplates her future marriage to the Earl of Derby, who she had been having an affair with, after receiving the news that his wife had died.
Lot 226
* Gillray (James). The Grand-Signior retiring, London: H. Humphreys, May 25th, 1796, etching on wove with contemporary hand colouring, slight mount staining, good margins, minor margin tears, slight oxidization with show-through plus some paper residue on verso, 260 x 360 mm QTY: (1)NOTE:BM Satires 8807. The feeble Earl of Jersey lights the way to his wife’s bed for the Prince of Wales who tells the Earl ‘"va-t'en!" meaning ‘Go!’. The Countess of Jersey was the Prince’s favourite mistress and served as one of Princess Caroline’s ladies-in-waiting as instructed by the Prince.
Lot 221
* Gillray (James). Search-Night; - or - State Watchman Mistaking Honest Men for Conspirators, London: H. Humphreys, March 20th, 1798, etching on wove with bright contemporary hand colouring, trimmed to image, repaired lower left corner, a few insignificant wormholes, old mount hinges to verso, 260 x 360 mm QTY: (1)NOTE:BM Satires 9189.The ‘State Watchmen’ (Prime Minister William Pitt and Secretary of State for the Home Department Henry Dundas) are shown to be invading a secret meeting of the most prominent Whigs of the day (Charles James Fox, Richard Brinsley Sheridan, Horne Tooke etc.) as they make their treasonous plots against the country. Like the rats in the foreground, The Whigs hurry to escape or hide to avoid arrest.
Lot 228
* Gillray (James). The Pigs Possessed - or - the Broad Bottom'd litter running headlong into ye Sea of Perdition, H. Humphrey, April 18th 1807, etching on wove with contemporary hand-colouring, trimmed to the plate mark and window mounted on later paper, 415 x 305 mm, mountedQTY: (1)NOTE:BM satires 10719.King George III - in his role as 'Farmer George' is shown driving his parliament off a cliff using a pitchfork and his boot, having lost patience with their incompetence. The 'Ministry of All the Talents' was a coalition government formed under William Wyndham Grenville after William Pitt's death in January 1806. The fall of this coalition ministry after only 15 months in office was precipitated by the King's strong opposition to the Army Bill which proposed to extend Catholic emancipation to the armed forces.
Lot 217
* Gillray (James). Middlesex Election, London: H. Humphreys, August 7th, 1804, etching on wove with contemporary hand colouring, contemporary ink manuscript annotations below title, narrow margins, trimmed to top margin with no loss to image, a few repaired tears, 505 x 350 mm QTY: (1)NOTE:BM Satires 10264.Sir Francis Burdett, scarcely caricatured, sits in a carriage on the way to the hustings, past a large cheering mob. The radical politician Horne Tooke drives the carriage. Streams of election literature slip out of his pocket. Amongst the politicians pulling the carriage is Charles James Fox dressed as a ragged chimney sweeper, the Duke of Norfolk and Duke of Northumberland in aprons and the Duke of Bedford as a farmer. Francis Rawdon-Hastings, 1st Marquess of Hasting stands in the foreground, beating a drum. Behind him is a lamp-post from which hangs a rat labelled 'No Ministerial Rats'.
Lot 223
* Gillray (James). The Contrast, or Things as they Are, H. Humphrey, Nov. 12th 1796, etching with contemporary hand-colouring, vertical margins trimmed to the neatline, old folds, torn with a small area of loss to the left-hand margins, repaired in facsimile, 320 x 580 mmQTY: (1)NOTE:BM Satires 8834.One of Gillray's rarer images. A large format caricature satirizing the contrast between the British & French systems of government at the time of the French Revolution. On the left, "The British Constitution, its Basis, the Happiness of the People", illustrated by a functioning government, characterised by a sea-going empire, government by Paine's Rights of Man, Loyalty, Virtue & Honor. In contrast, the right-hand panal shows "Democracy or French Constitution, its Basis, Despotism. Along the cliff top is a line of gallows labelled "Liberty & Equality, or all on a Level" and below is a gruesome allegorical depiction of 'Blood, Terror & Oppression'. On the ground is a pile of old planks with the words Religion, Public Credit, Monarchy, Law, Trade, Honor, Arts, Virtue, Loyalty & Science. The names of Robespierre, Marat & Santerre appear on the central cross-bar of a double gibbet. Subtle it is not, but as a piece of jingoistic propaganda, it is hard-hitting and extremely effective.
Lot 207
* Gillray (James). A March to the Bank, S. W. Fores, Augt 22nd 1787, uncoloured etching, torn with loss to the margins, professionally repaired, slight spotting and dust soiling to the margins, 425 x 550 mmQTY: (1)NOTE:BM Satires 7174. This is the second state of the print. In the first state, the fallen fishwife who is being trampled by a diminutive popinjay of an officer had her pudenda outlined and exposed. In this second state, Gillray has added extra folds to her skirt in a sparse attempt to hide her modesty. However, he has also rather slyly added an eel which has escaped from her basket, which nips at the tiny penis of the fallen baby boy.The Gordon riots of 1780 led to fears for the security of the Bank of England and the subsequent introduction of a daily guard. These soldiers were regarded as a public nuisance because they marched two abreast along the Strand, Fleet Street and Cheapside showing scant, if any consideration for pedestrians.The Cariacture has several long repaired closed tears affecting the printed image. Revised estimate.
Lot 218
* Gillray (James). Modern-Elegance, A Portrait, London: H. Humphreys, May 22nd 1795, etching on wove with contemporary hand colouring, good margins, minor spotting, old mount hinges to verso, 305 x 250 mm QTY: (1)NOTE:BM Satires 8719.Although the title does not reveal the identity of the sitter, it is often and consistently annotated with the name of Lady Charlotte Campbell, one of the most eligible and attractive young women in the country at the time.“This ironically titled print lies at the intersection of at least three genres: a portrait caricature, a satire of women's vanity and dress, and a parody of fashionable modern portraiture.” (Jim Sherry, 2023)
Lot 224
* Gillray (James). The Death of the Great Wolf..., H. Humphrey, Dec 17th 1795, etching with aquatint on laid, bright contemporary hand-colouring, trimmed to the plate mark on the lower margin, slight adhesion scaring to the verso, 330 x 445 mm QTY: (1)NOTE:BM Satires 8704.Gillray's caricature of the Tory administration and their supporters is a parody of Benjamin West's The Death of Wolfe of 1771, which commemorated the 1759 Siege of Quebec. The cartoon mocks the government's overreaction to domestic radical agitation in light of the revolutionary events in France. The heavy ministerial forces in the background are disproportionate to the small number of unarmed sans-culottes visible to the far left. In the foreground, the mortally wounded Prime Minister, William Pitt is supported by the conservative political writer Edmund Burke and the Secretary of State for War Henry Dundas. Instead of staunching the wound, Dundas offers Pitt a glass of port - one of Pitt's well-known weaknesses - and in the place of the Mohawk Indian of West's original sits a near-naked Baron Loughborough, the Lord Chancellor, with the purse of the Great Seal and a monstrous wig of office replacing the Mohawk's beaded bag and headdress.
Lot 227
* Gillray (James). The Hopes of the Party prior to July 14th - From such wicked Crown & Anchor Dreams good Lord deliver us, S. W. Fores, July 19th, 1791, uncoloured etching on wove, a slightly later impression with a watermark of J. Whatman 1825, central fold strengthened on the verso, occasional repaired marginal closed tears and creasing, 360 x 505 mmQTY: (1)NOTE:BM Satires 7892.The date refers to the anniversary of the storming of the Bastille, on which day, a celebratory dinner had been held at the Crown and Anchor tavern on the Strand, shown in the background. Gillray was critical of the French Revolution almost from the start and this horrific image imagines the execution of George III by radicals including Fox and Sheridan. Fox is depicted as the masked executioner of George III, whilst Sheridan holds the King's ears to keep him still for the executioner's axe. Hanging from a lampost are Queen Charlotte and Pitt, their bodies jerking into sexual proximity and the position of Tooke who spreads the king's legs and thrusts his body between them is outrageously suggestive. It is remarkable for having been published just eighteen months before the execution of Louis XVI and it would have been impossible for it to have been printed after his death.
Lot 212
* Gillray (James). Exhibition of a Democratic Transparency with its Effect upon Patriotic Feelings...,..., H. Humphrey, April 15th 1799, uncoloured etching and aquatint caricature, large margins, faint pencil marginalia, central fold, 370 x 445 mmQTY: (1)NOTE: B.M satires 9369. The members of the Secret Committee of the Commons are seated around a table examining the documents relating to the United Irishmen and other revolutionary societies. A lamp on the table illuminates a large framed transparency. The transparency is irradiated, throwing into deep shadow, members of the Opposition in the foreground who flee from the room apparently in terror at what they have witnessed.
Lot 203
* Gillray (James). Visiting the Sick, H. Humphrey, July 18th 1806, etching with aquatint, contemporary hand-colouring, good margins, very slight dust and finger soiling to the borders, old tape on the verso, 260 x 360 mmQTY: (1)NOTE:BM Satires 10589. An arguably cruel print by Gillray of James Fox on his deathbed. Fox's legs are horribly swollen and bandaged. He is visited by numerous individuals, the most prominent being the Prince of Wales, who has his back to the observer. In the lower left of the image, Mrs Fox has fainted away and is attended by Lord Derby, whose mistress she had once been. Mrs Fitzherbert offers Fox a rosary whilst chucking him under the chin, whilst the Bishop of Meath offers little comfort with pious doctrinal warnings for Fox's soul. Sheridan weeps ostentatiously whilst Fox's political allies scheme in the doorway.
Lot 441
GROUP WATERCOLOURS & ETCHING, comprising pair watercolours of pheasant in landscapes by Trevor Parkin with pencil vignette drawings on the mounts, 25 x 40cms; E. J. Maybery watercolour of a stone bridge, 25 x 38cms; E.J. Maybery etching of 'Peter Pan in Kensington Gardens', 33 x 21cms; James Lewis Stuart coloured etching of 'Megavissey harbour' (pl) 34 x 25cms (5)Provenance: private collection Gwent
Lot 12
λ EUAN UGLOW (BRITISH 1932-2000) STILTON Etching Signed in pencil and numbered 11/15 Plate 12.5 x 10cm (4¾ x 3¾ in.)Provenance: Browse & Darby, London (with dedication verso) Condition Report: Unexamined out of glazed frame. Sheet appears to be stuck down at the corners. Otherwise appears to be in good original condition. Condition Report Disclaimer
Lot 314
Bob Dylan (American, b.1941) 'Statue of Liberty'giclée print in colours, 2008, signed 'Bob Dylan' in pencil l.r., numbered '278/295', printed by GTZ Fine Art Editions, New York' on Hahnemühle 350gsm Museum Etching, from 'The Drawn Blank Series' published by Washington Green Fine Art in association with Black Buffalo Artworks, complete with Washington Green Fine Art certificate of authenticityimage 54.5 x 40.75cmCondition ReportFramed: 85 x 68cmIn good condition. Well presented and ready to hang. Not viewed out of glazed frame.
Lot 216
▲ Henry Moore OM CH FBA (1898-1986) 'Mother and Child IX'etching, 1983, signed 'Moore' in pencil l.r., inscribed and numbered 'PLIX 60/65' l.l.plate 21 x 20cmCondition ReportFramed: 62.5 x 58.5cmSheet: 52 x 43.5cmAppears to be in good condition. Viewed out of the glazed frame there is extremely slight cockling but in our opinion this does not affect enjoyment of the work. Hinge mounted with two small pieces of tape applied to the reverse of the top edge. Well presented and ready to hang.
Lot 226
▲ Julian Trevelyan RA (1910-1988) 'Hay-cart'etching and aquatint in colours, signed 'Julian Trevelyan' in pencil l.r., inscribed with title and numbered '29/65'plate 35 x 48cmCondition ReportFramed: 62 x 82cmLight cockling with some small scattered speckles of foxing. A slight crease mark to the margin in the centre of the left edge. A couple of thunderbugs trapped behind the glazing. Not viewed out of glazed frame.
Lot 84
▲ After Pablo Picasso 'Carmen', 1949etching, from an unnumbered edition of 289 printed by Atelier Roger Lacourière, Paris, on Montval wove, to illustrate an 1845 novella by Prosper Mérimée31 x 24cmProvenance: Purchased from Wiseman Originals, London.Condition ReportFramed: 46.5 x 37.5cmTime staining with some discolouration to the edges of the sheet. The print is part of a larger sheet folded in half and printed with text, please see additional condition images. Overall the sheet measures 33 x 52cm. Light cockling with some small spots of foxing starting to emerge. Unsigned.
Lot 174
▲ Prunella Clough (1919-1999) 'Tip Landscape', 1960signed 'Clough' l.r., gouache over etchingplate 8.5 x 12.5cmProvenance: The Estate of Christopher Bangs.Condition ReportFramed: 27 x 27.5cmTime staining. Acid discolouration to the margins caused by the mount. Not viewed out of glazed frame.
Lot 83
▲ André Lhote (French, 1885-1962) Reclining nude etching, signed in pen l.r., numbered '11/100'plate 15.5 x 18.5cmCondition ReportFramed: 41 x 41cmA small black speck to the right margin l.c., and a small dirty mark to the margin in the upper left corner. On close inspection there are some very faint scratches visible to the background of the etching which are from the printing plate rather than a later issue with condition. The print itself is crisp and sharp. Not viewed out of glazed frame.
Lot 217
▲ Henry Moore OM CH FBA (1898-1986) 'The Artist's Hand II', 1979etching, signed 'Moore' in pencil l.r., numbered 'IX/X', printed on Rives by James Collyer and John Crossley, London, with printers' blind stamp l.r.sheet 37 x 50cm, unframedProvenance: Gifted to the present owner by the Henry Moore Foundation.'The Artist's Hand II' is an etching from the portfolio 'The Artist's Hand' which consisted of two etchings and three lithographs created from drawings that Henry Moore made of his own hands. The portfolio was produced in three different editions and the work offered for sale is from an edition of 10 portfolios numbered I/X to X/X.Condition ReportPlate 25 x 18.5cmMount: 45 x 53cmThere is a border of light discolouration where the work has been framed with a mount. Extremely slight cockling. The work has been hinge mounted with two pieces of tape applied to the reverse of the top edge. Overall, presents well.
Lot 241
▲ Dame Paula Rego RA (Portuguese-British, 1935-2022) 'Secrets & Stories'etching and aquatint on Arches wove, 1989, signed 'Paula Rego' in pencil l.r., numbered '4/50', printed by Culford Press, and published by the artist and Marlborough Graphics, Londonplate 33 x 51.5cmCondition ReportFramed: 63 x 80cmAppears to be in good condition. Well presented and ready to hang. Not viewed out of glazed frame.
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