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An 1846 etching of an Abbey near Shrewsbury.

A quantity of pictures to include a print titled 'Temperance Enjoying a Frugal Meal', a Birket Foster print, an unsigned Oil on canvas of Sailing boats, etching of Churches, etc.

A print of Pink Footed geese near Criffel by H. Monahan and an etching of An Old Fashioned Corner, Buckhaven, by Neil McInnes 1929, 14 1/2'' x 18 1/2''.

Susie Perring. Jack of Diamonds. Aquatint Etching on paper, 25 x 25.5cm. Signed. Susie Perring attended the London College of Printing from 1963-1967. Thereafter she persued a successful career as a graphic designer, working with well-known design groups. She is now a printmaker working in etching and aquatint. Susie has exhibited widely in the UK and abroad, with seven Royal Academy Summer Exhibitions and numerous commissions for P&O cruise liners: Queen Mary 2, Oriana, the Pride of Rotterdam and the Pride of Hull. Her work is in many galleries in the UK and abroad. It is in private corporate collections in the UK, including John Lewis; BP, Clifford Change and Citigroup. She has also taught art for Dulwich Picture Gallery's Education Department and at the London College of Communication. www.susieperring.com

John Howard. Seven of Spades. Pencil, pastel, marker, collage on board, 28.5 x 20.5cm. Signed. John Howard is a fine art printmaker based in Cornwall, with a particular interest in traditional techniques and practices, especially etching. As well as creating his own work he runs a printmaking studio in a fabulous eco-building on the estuary in Penryn, offering courses, workshops and open access to other printmakers. He is an Associate Lecturer at Falmouth University. The suit of spades derives from the suit of swords in tarot cards. The double-edged sword can be both positive and negative, with power and force being used in constructive or destructive ways and I wanted the spades to evoke a sense of physical strength. Seven is a special number in many cultures but I was immediately reminded of the Seven Samurai and one of its many iconic film posters which provided initial inspiration. The suit of swords in tarot is also associated with the element of air and I linked the idea of the garden spade with feelings of working in the open air and the positive impact that the natural environment has on our wellbeing. Websites: www.johnhowardprintmaker.com www.johnhowardprintstudios.com Email: john@johnhowardprintstudios.com

Robert Herdman-Smith (British 1879-1945): 'Micklegate Bar York', coloured etching together with a watercolour of the same scene and five original shipping pictures plus others

James Chalmers Park (British 1858-?): 'Edinburgh University', etching signed and titled together with a Heaton Cooper print and large collection other pictures

λ GERALD LESLIE BROCKHURST (BRITISH 1890-1978) CASPER Etching Signed in pencil and signed with initials within the plate Plate 19.7 x 14.5cm (7¾ x 5½ in.) Provenance: Chas. A. Jackson, Manchester

A Ltd. edition etching "Hare" signed Peter Partington (31/75) along with "James Cockrel" (53/75) signed Rosamund C Jones

A Victorian inlaid overmantle mirror along with an etching of "Lamb Row, Chester" by G Cuitt, 1814

William Lionel Wyllie, sailing vessels and battleships off a coast, coloured etching, signed in pencil, 19cms x 39cms

William Lionel Wyllie, sailing ships off Cowes, etching signed in pencil, 13cms x 19cms

William Lionel Wyllie, H.M.S. Victory afloat off Portsmouth, etching signed in pencil, 23cms x 50cms

Rowland Langmaid, H.M.S. Dreadnought leaving Portsmouth harbour, etching signed in pencil, 19cms x 37cms

A 19th century silhouette portrait Profile of a young woman with lace collar Framed Picture size 8 x 6cm Overall size 16 x 13cm Together with an early 20th century oval portrait photograph, etching of a sleeping child, pen and ink drawing of Peter Rabbit and a print of a small child

ALISON COX 20th Century British School Scillonian Dry Dock Penzance x 2 Coloured etching Each picture size 40 x 56cm Each overall size 63 x 77cm Together with Shipping In The Harbour and two further smaller etchings

STRATHEARN Etching Framed and glazed Picture size 7.3 x 22cm Overall size 22.7 x 37.5cm

KATE HALL Archeopteryx Etching Signed, numbered and titled Picture size 18 x 18cm Overall size 38 x 29cm Together with five etchings from the same artist

* JO GANTER RSA (BRITISH b. 1963), FLECKING PLACE IIetching on paper, signed, titled, dated '97 and numbered 5/15image size 23cm x 31cm, overall size 45cm x 61cm Framed and under glass.

(1870 Bersenbrück - 1944 Osnabrück)"Unter den Linden" (auch betitelt "Dorfpolitiker"). OriginaltitelRadierung u. Aquatinta/Papier, 1910. R. u. sign.; Wvz. Hamm D31. Eines von ca. 400 sign. Exemplaren. Breitrandiges Exemplar. Leicht gebräunt. Plattenmaß ca. 33 cm x 45,5 cm; Blatt ca. 45 cm x 58,5 cm. Rahmen.Etching and aquatint on paper, 1910. Hand-signed. One from an edition of ca. 400 signed copies. Wide margins. Minor light toning.

(1746 Fuendetodos/Aragón - 1828 Bordeaux)"El sueño de la razón produce monstruos" (Der Schlaf [Traum] der Vernunft gebiert Ungeheuer)Radierung u. Aquatinta/Papier, um 1797-1799. L. u. betitelt, r. o. in der Platte die Nr. "43". Wasserzeichen der Calcografia Nacional mit Dat. 1970. Als 43. Blatt der insgesamt 80 in der innovativen Aquatintatechnik ausgeführten Radierungen aus Goyas 1799 erstmals veröffentlichter Sammlung "Los Caprichos" (Launen, Einfälle) gehört es zu den bedeutendsten und meistinterpretierten grafischen Werken der Kunstgeschichte. Es zeigt Goya schlafend an einer Art Tisch, umgeben von unheimlichen nächtlichen Wesen, und war ursprünglich als Titelblatt der Sammlung geplant. Da sich von der Erstausgabe der "Caprichos" von 300 nur 27 Exemplare verkauften, bot Goya 1803 die Restauflage und Platten König Karl IV. von Spanien zum Kauf an. Erst viel später erschienen etliche Neuausgaben der "Caprichos", zuerst circa 1821-1836, zuletzt 1970. Plattenmaß ca. 21,6 cm x 15,2 cm; Blatt ca. 37 cm x 26,5 cm. Rahmen. Die original Druckplatte befindet sich im Museo de Calcografía Nacional, Madrid.Etching and aquatint on paper, circa 1797-1799. Sheet no. 43 of the portfolio "Los Caprichos", first published 1799, later editions are published 1821-1970. Titled on the plate. Watermark by the Calcografia Nacional, dated 1970.

(1867 Nolde - 1956 Seebüll)"Dorfstraße". OriginaltitelRadierung, Velin, 1908. Sign. u. dat.; Drucker-Sign. von Otto Felsing, Berlin. Unterhalb im Blattrand bez. "1. Zustand" u. betitelt. Wvz. Schiefler/Mosel/Urban 112 I (von II). Eins von nur 19 Exemplaren. Kraftvoller Abzug der seltenen Grafik mit tiefen Plattentönen. Alt auf Karton kaschiert, gleichmäßig leicht gebräunt, ger. Anschmutzungen im breiten Blattrand. Plattenmaß 26,2 cm x 21,5 cm; Blatt ca. 43,5 cm x 31,7 cm. Rahmen. Etching on wove paper, 1908. Hand-signed and dated by the artist, further hand-signed by the printer Otto Felsing, Berlin. One of a small edition of 19. Laid on cardboard, minor light toning over the whole sheet, minor stains to the wide margins.

(1864 Trier - 1918 Stettin)Torfkähne auf der HammeRadierung/Papier, um 1898. In der Platte r. u. sign. Knitterungen. Plattenmaß 32,2 cm x 43 cm; Blattmaß ca. 39,5 cm x 49,5 cm. Rahmen.Etching on Paper. Signed on the plate. Some creasing.

(1904 Figueras - 1989 ebenda)"L’aimé est déjà comme un troupeau de chevaux"/"Beloved Is As Fair As A Company of Horses"/"Die Geliebte ist schön wie eine Pferdeherde". OriginaltitelRadierung mit Pochoir u. Goldauflage/Velin, 1971. Bez. u. nummeriert 90/250. Vgl. Wvz. Michler/Löpsinger 475c, S. 461. Aus dem Zyklus "Das Hohe Lied des Salomon". Plattenmaß 40 cm x 24 cm; Blatt 57 cm x 38 cm. Rahmen.Etching, pochoir (stencil colouring) and gilding on wove paper. Inscribed and numbered 90/250.

(1858 Radeburg - 1929 Berlin)"Frau mit Pleureuse". OriginaltitelRadierung, Vernis mou und Stoffdruckverfahren/Bütten, 1903. Sign.-Stempel "H. Zille" in Schwarz. Wvz. Rosenbach 32IIId. Plattenmaß ca. 43,6 cm x 20,3 cm; Blatt ca. 54 cm x 29,5 cm.Etching and vernis mou on paper, approx. 1903. Signature stamp.

(1870 Bersenbrück - 1944 Osnabrück)"Primula veris". OriginaltitelRadierung u. Aquatinta/Papier, 1909. R. u. sign.; Wvz. Hamm D19. Eines von ca. 275 sign. Exemplaren. Breitrandiges Exemplar. Gebräunt. Plattenmaß ca. 29 cm x 38,5 cm; Blatt ca. 43 cm x 50,5 cm. Rahmen.Etching and aquatint on paper, 1909. Hand-signed. Wide margins. Light toning.

*** Please note, the description of this lot has changed ***Rembrandt van Rijn.- Hamerton (Philip Gilbert) Etching & Etchers, first edition, half-title, title in red & black with vignette copy of Rembrandt's "Self-portrait in flat cap", 35 etchings or drypoints, including an impression of Rembrandt's "Three Oriental Figures (Jacob and Laban?)", and others, 6 double-page or folding, occasional light foxing, hinges weak, original roan-backed cloth, rubbed, small loss to spine head, joints split at head and foot, g.e., 4to, 1868.

Gillray (James) Tiddy-doll, the great French-Gingerbread-Baker; drawing out a new Batch of Kings, etching with original hand-colouring on Whatman wove paper with partial watermark date '1808', platemark 258 x 380 mm (10 1/8 x 15 in), sheet 320 x 470 mm (12 1/2 x 18 1/2 in), good margins, some toning, minor spotting, unframed, published by Hannah Humphrey, unframed, 1806Literature:BM Satires 10581⁂ Satire on Napoleonic imperialism after The Battle of Austerlitz, following which Austria renounced all further rights over Bavaria, Würtemberg, and Baden, whose princes were vassal-allies of France. Napoleon is depicted as a London street seller of gingerbread cakes, with all Sovereigns and countries humiliated by him having been swept into the 'Ash-Hole'.

Gillray (James) Le débarquement du chevalier John Bull et de sa famille a Boulogne sur Mer. The landing of Sir John Bull & his family, at Boulogne sur Mer, three burly French fishwives carry on their backs three English visitors through the water from a boat, after Henry Bunbury, etching and aquatint with original hand-colouring, on two sheets of conjoined wove paper without watermarks, total sheet 258 x 690 mm (10 1/8 x 27 1/8 in), trimmed to or just within the platemark, repaired split to right side of upper edge, other small marginal nicks carefully repaired verso, handling creases, unframed, published by Hannah Humphrey, unframed, 1792Literature:BM Satires 8189

Gillray (James) Boney and Talley. The Corsican Carcase-Butcher's Reckoning Day, heading a 27-verse broadside, etching and aquatint with original hand-colouring, on wove paper without watermark, platemark 320 x 325 mm (12 1/2 x 12 3/4 in), letterpress text below, the sheet 595 x 360 mm 23 1/2 x 14 1/8 in), central horizontal fold, some offsetting, minor repaired nicks and small marginal losses, unframed, published by J. Ginger, 169 Piccadilly, Price Two Shillings and Six Pence, coloured. Printed by D. W. Shury Berwick Street, 1803Literature:BM Satires 10091⁂ An invasion satire from September, 1803, depicting Napoleon as a frenzied butcher, restrained by Talleyrand from launching himself at a huge bull standing on the cliffs of Dover, the channel filled with ships, the butcher's shop filled with the carcasses of a Spanish sheep, a Dutch pig, Swiss cow, a 'native breed' monkey, and others.

Gillray (James) Georgey a' Cock-horse, etching with original hand-colouring, on wove paper without watermark, brown ink inscription in lower margin identifying the eccentric 'Col. George Hanger', platemark 345 x 265 mm (13 1/2 x 10 1/2 in), sheet 395 x 280 mm (15 1/2 x 11 in), small repaired nicks visible verso, repaired tear in the upper right, minor surface dirt, unframed, [BM Satires 8889], published by Hannah Humphrey, 1796; together with Gillray's representation of George Walpole as Mars [BM 9376], and the caricature of Charles Boothby Clopton as A Prince of the Old School [BM 9376], and Le Trèsorier [BM 9212] from the 'French Habits' series, etchings, all with original hand-colouring, various sizes, unframed, published by Hannah Humphrey, 1796-1800 (4)

Gillray (James) Uncorking Old Sherry, etching with original hand-colouring, on wove paper without watermark, sheet 350 x 255 mm (13 3/4 x 10 in), trimmed within the platemark, small loss within the image at the upper left corner, minor surface dirt and browning, signs of old adhesive visible verso, unframed, published by Hannah Humphrey, 1805Literature:BM Satires 10375⁂ Pitt stands before the commons, comprising opposition heads in bottles capped with small bonnets-rouge, holding and uncorking a bottle with Sheridan's head inside.

Gillray (James) The Plumb-pudding in danger: -or- State Epicures taking un Petit Souper, etching with hand-colouring, on wove paper without watermark, sheet 257 x 358 mm (10 x 14 in), trimmed to or just within the platemark, some toning to extremities of sheet, minor spotting, published by Hannah Humphrey, 1805Literature:BM Satires 10371⁂ The most famous of all Gillray's satirical caricatures, if not the most famous of all political cartoons. Napoleon Bonaparte and William Pitt face each other across a steaming 'plum-pudding' globe, both intent on carving themselves a substantial portion of the world.

Gillray (James) Making-Decent; -i.e.- Broad-Bottomites Getting into the Grand Costume, etching with original hand-colouring, an excellent impression on wove paper without watermark, platemark 250 x 350 mm (9 3/4 x 13 3/4 in), sheet 270 x 372 mm (10 5/8 x 14 3/4 in), contemporary ink inscriptions within margins, minor nick to upper edge, light browning, unframed, published by Hannah Humphrey, 1806Literature:BM Satires 10531⁂ Members of the new Ministry in a handsome room prepare themselves for office, each intent on his toilet, with contemporary brown ink inscriptions within the margins identifying Addington, Sheridan and others.

Gillray (James) Lilliputian-Substitutes, Equiping for Public Service, etching with original hand-colouring, an excellent impression on wove paper without watermark, platemark 250 x 358 mm (9 7/8 x 14 in), sheet 320 x 418 mm (12 1/2 x 16 1/8 in), wide margins with some exposure lines and minor toning, creases to the upper marginal corners with one just touching the upper left corner of the image, to small tape stains within the upper corners but well outside the images, unframed, published by Hannah Humphrey, 1801Literature:BM Satires 9722⁂ Satirising the perceived deficiencies of the new Ministry, all depicted in ill-fitting oversized clothes following the resignation of Pitt.

Gillray (James) The Wounded Lion, etching with original hand-colouring, on wove paper without watermark, sheet 262 x 362 (10 1/4 x 14 1/4 in), thread margins, two small repaired splits to lettered margin, residual album leaf support verso, small nick to the lower right corner, unframed, published by Hannah Humprhey, 1805Literature:BM Satires 10421⁂ Parody of Aesop's Fable depicting Melville, the embattled First Lord of the Admiralty, as a wounded lion under fire from St Vincent's 'Whitbread' cannon, and attacked by 'the sculking herd of the forest' including a fox, a snake with the head of Grey, and rats in legal wigs.

Gillray (James) John Bull bother'd or The geese alarming the Capitol, etching and aquatint with original hand-colouring, on wove paper without watermark, sheet 314 x 395 mm (12 1/4 x 15 1/2 in), thread margins, small repair to upper right corner with associated stain, unframed, published by Hannah Humphrey, 1792Literature:BM Satires 8141⁂ A terrified Pitt clutches John Bull, an armed yokel, both on a parapet watching a flock of geese approaching by moonlight, a satire of Pitt's pre-emptive summoning of the militia to counter rumours of rising revolution amongst the Scots and the Irish.

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.