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Gwyn Jones The Customs House Kings Lynn . Hand coloured etching. 8 x 11 inches

VIEW OF FORE STREET EXETER ETCHING SIGNED HAYMAN AND DATED 1942

Fritz Feigler (1889 - 1948), etching, farm cart, signed in pencil 1920, no. 29/30, image 10.5" x 16", framed, and William Lee Hankey, pencil drawing on paper, old Hastings, framed (2)

Sheila Oliver, coloured etching, Cornish Irises, signed in pencil, no. 42/185, plate size 16" x 11.5", framed

Peter Partington, artist's proof coloured etching, Teal, signed in pencil, image 7.5" x 11", framed

A Percy Lancaster Signed Etching, No.3 of Series, Fruit Stall in Market, 20 x 17cms

Edmund Blampied (1886-1966), 'Sea Breeze' etching, framed and glazed, internal dimensions, 21cm x 16cmcondition notelight staining to etching around the mount. No foxing, slightly sunken in the mount. Signed to border in pencil verso with paper label from previous frame 

Hester Frood (1882-1971), 'Cottages in the Camargue' etching, framed and glazed, internal dimensions, 23cm x 9.5cm

A framed and glazed signed etching H.50 W.57cm

PABLO PICASSO 'Rapt Avec Celestine, Ruffian, Fille Et Seigneur Avec Son Valet',etching on paper, signed in pencil, 78cm x 72cm, framed. (Subject to ARR - please see Buyers Conditions)

Joseph Simpson (1879-1939), Young Footbaler, black and white etching, signed in pencil to lower margin, 28 x 25cm, unframed

English School (20th Century), Woolbridge Manor, Dorset, black and white etching, 22 x 19cm, together with 3 further etchings by various artists (4)

AR Charles Mayes Wigg (1889-1969), Broadland Scene with Windmill, black and white etching, 22 x 25cm, trimmed

Andrew F Affleck, RSE (1874-1935), 'Palazzo, Loredan', black and white etching, signed in pencil to lower right margin, 37 x 29cm

H R Wilson (20th Century), Continental Mountain Landscape, black and white etching, signed in pencil to lower left margin, 51 x 40cm

AR Edmund Blampied (1886-1966) "A Jersey Shore" black and white etching, signed and numbered 99/100 in pen to lower margin, 19 x 27cm Provenance: Alex Reid & Lefevre Ltd, 1a King Street, St James, London

Ian Strang (1886-1952), Les Baux de Provence, etching 1937, signed, titled and dated, plate 213, edition of 100 proofs, 22cm x 37cm

A SURREALIST ETCHING TOGETHER WITH OTHER MIXED MEDIA

Etching (Dimensions: 16.5cm x 10.5cm (6.5in x 4.25in))

Stewart Robertson: a framed etching depicting a river, bridge and city - signed in pencil

†J. Boucher: a gilt framed watercolour depicting a mountain lake landscape - sold with another depicting a farmstead, a framed etching, an engraving, etc.

Beth Altabas: a framed coloured print view of Seaton, Devon - sold with a framed monochrome etching of Durham Cathedral by Sir. Henry Rushbury

An unframed dry point etching depicting a reclining nude female figure - sold with a York engraving and a T. Cuneo coloured print of a concrete pontoon

Large Medieval Style Sword, Good Quality and Design, Handle with Good Detail Showing Snakes, Scull and Cross Bow, Very Well Done, Very Heavy, Has Some Etching to Blade. 46 Inches In length, Display Purposes Only.

Antoine-Marie-Melotte(1722-1795) attributed.a monumental documentary Flemish oak diorama panel (CIRCA.1745-50) carved in 3-dimension ,of very fine quality, depicting an equestrian battle scene executed by one of the last great baroque wood carvers who trained under the most important 17th century sculptor Simon -Cognoulle.(1687-1744)this carved panel was influenced by the alexander the great cult which swept through Europe in the late 17th century and early 18th century in fashion and design,the panel is a direct interpretation carved in wood ,of the huge oil painting ,painted in 1665 by louis X1V court painter Charles-Le-Brun(1619-1690)of monumental size.470cmx1264cm.which now hangs in the louvre museum,paris,and titled alexander the great and porus(puru) during the battle of the hydaspes,depicting the captured indian king porus who is being carried by Macedonian soldiers,around and beyond is the aftermath of the great battle,alexander is to the right of centre,as in le-bruns majestic heroic oil painting,alexander wearing his exuberant plumes in his helmet on his mounted steed bacephalus,at his side the mounted general Hephaestion,conversing with the captive king.Even as a prisoner porus was not to be cowed ,and when alexander asked him how should he be treated,porus told him as a king to a king,and that was how he was treated.sadly for alexander his faithful loyal old battle horse bacephalus died of his wounds after the battle.........APPENDIX..see- exhibition The myth of Alexander.De.Groot.Hermitage-Amsterdam,on the 8th of September -2010- to 8th march -2011.an extract as mentioned in the exhibition catalog .on the first floor room setting ,admire the magnificent carved wood wall panels by the master carver antoine-marie-merlotte from liege,belgium,who has directly translated in wood ,Charles -le- bruns majestic oil paintings of the immortal alexanders collective battles from antiquity ,they are off the finest quality influenced in wood-sculpture.....LITERATURE.see etching by Sebastian -Le-Clerc(,french.1637-1714),after Le-Brun.titled .aAlexander pities the misfortunes of King Porus and receives him as a friend ..etching by Gerard Audran...(.lyons.1640-1703 ) .Alexander and King Porus,held by the national trust collection at dunster castle.uk. the panel offered is probably from a fireplace or overmantle- back, of the period.(size of panel 36"x78") in unrestored condition,with some defects to the carving,and cracks to the 3 panel hewn planked panel back , not in original frame,see images with close ups..

Russell Flint Original Etching of a Semi Draped Girl, Ink Signed Russell Flint and Numbered XIII, Framed and Glazed. Size 14 x 10 Inches.

A near relic light cavalry Officer’s sword, blade 33” by Hobson & Sons, with a little etching and owner’s crest, triple bar hilt (worn and pitted, pommel missing), and a 1796 light cavalry blade with part of non matching hilt (worn and pitted) (2)

A 1796 pattern infantry Officer’s sword, straight fullered blade 32”, with traces of etching, brass hilt with double shell guard, the inner portion turning down, crossguard and quillon into urn shaped pommel with prominent stud, simulated wirebound grip. Basically GC for age, the hilt retaining traces of gilt (blade worn, with dark patina, shell guard a little loose).

A .177” BSA Cadet air rifle, number B58647 (1946-49) GWO & C, the chamber etching visible; also a .177” BSA Cadet Major air rifle, number CA 73207 (1949-55). GWO & basically GC (no finish remaining, traces of cylinder etching). (2) Any air weapon purchased by post or online which was manufactured after 1939 cannot be sent directly to the purchaser, but has to be sent to a nominated Registered Firearms Dealer.

A .177” BSA Cadet Major air rifle, number CA98594 (1949-55), fitted with sling swivels. GWO &C, retaining much original blued finish, chamber etching clear; and another, number CC 23289 (1955-57). GWO & basically GC (worn, no cylinder etching visible, the butt has been extended) (2) Any air weapon purchased by post or online which was manufactured after 1939 cannot be sent directly to the purchaser, but has to be sent to a nominated Registered Firearms Dealer.

ENGLISH SCHOOL, SNOWY LANDSCAPE, PASTEL, STOKESAY CASTLE, ETCHING AND THREE OTHERS, INDISTINCTLY SIGNED IN PENCIL, 12 X 18CM AND SMALLER (5)

* Dicksee (Herbert Thomas, 1830-1896). Memories, C. E. Clifford, 1892, uncoloured etching after Frank Dicksee, remarque below image of two staves of music, signed in pencil by both artist and engraver, 505 x 630 mm, framed and glazed (Qty: 1)

* Cruikshank (George, 1792-1878). Snuffing out Boney!, T. Tegg, 1814, etching with contemporary hand colouring, trimmed to neatline, 345 x 235 mm, together with Giant Grimbo & the Black Dwarf or Lord G_ & the Printer's Devil, G. Humphrey, 24th July 1819, etching with contemporary hand colouring, slight marginal dust and finger soiling, 205 x 255 mm, with A View in Green Street with a Roland for a Blake!, Fores, March 22nd 1822, etching with contemporary hand colouring, some toning and staining, 240 x 345 mm plus Anglo-Parisian Salutations' or Practice par excellence! G. Humphrey, June 10th 1822, etching with contemporary hand colouring, 250 x 345 mm and Princely Predilections or Ancient Music and Modern Discord, M. Jones,1st April, 1812, etching with contemporary hand colouring, old folds, 205 x 475 mm, plus another five etchings similar by Cruikshank, various sizes and condition, and Cruikshank (Robert Isaac, 1789-1856). An Arrival at Mother Wood's, G. Humphrey, June 19th 1820, etching with contemporary hand colouring, small margins, 260 x 390 mm, with Whims of the moment or the Bedford Level !!, S. W. Fores, Nov. 20th, 1795, etching after G. M. Woodward with contemporary hand colouring, 240 x 360 mm, plus Nine Tailors making a Man! or Foreign Habits for a Native Prince!, J. Sidebotham, 1819, etching with contemporary hand colouring, toned overall, slight staining and creasing, 235 x 335 mm and The Last Shilling, Laurie &Whittle, May 24th 1808, etching with contemporary hand colouring with the lyrics of a song by Charles Dibdin below, thread margins, some dust soiling, trimmed to plate mark, overall size 285 x 220 mm, with another four etchings similar after Isaac Cruikshank, various sizes and condition (Qty: 18)

* Gillray (James, 1757-1815). Tiddy-Doll, The great French Ginger-Bread Baker, drawing out a new Batch of Kings..., H. Humphrey, Jany. 23rd,1806, etching with contemporary hand colouring, trimmed to neatline, small chip torn from upper left corner, 255 x 380 mm, together with Judge Thumb. Or-Patent Sticks for Family Correction: Warranted Lawful! [1782], hand coloured etching, trimmed to neatline, tipped on to later paper, 190 x 140 mm, with The Pigs Possessed - or the Broadbottm'd Litter running headlong into ye Sea of Perdition...., 1806 [but later state, probably published in 'The Satirist'], etching with contemporary hand colouring, old folds, some offsetting, 325 x 255 mm, and The Tempest or Prospero Triumphant - a sketch from the pictures lately exhibited at the National Gallery [6th May 1827], mixed method engraving with contemporary hand colouring, trimmed to image and laid on later paper, old fold, title added in manuscript below image, margins frayed and worn with slight loss to manuscript title, 305 x 415 mm plus another twelve caricatures after James Gillray from later editions and publications, various sizes and condition (Qty: 16)

* Rowlandson (Thomas, 1756-1827). The Tooth Ache, or, Torment & Torture, John Fairburn August 1st, 1823 [but a slightly later impression], hand coloured etching, large margins, 265 x 210 mm, with another copy similar, together with A Musical Doctor and His Scholars, circa 1815, aquatint with contemporary hand colouring, trimmed to image, 325 x 240 mm, with The Rival Candidates, W. Humphrey, April 8th, 1784, hand coloured engraving, trimmed to plate mark, 230 x 340 mm, plus Sir Cecil's Budget for Paying the National Debt, Mrs. Dacheray, March 30th, 1784, etching with contemporary hand colouring, thread margins, slight mount staining, 230 x 330 mm, and two other caricatures by Rowlandson, various sizes and condition (Qty: 7)

* Sayer (Robert & Smith John, publishers). The March of the Medical Militants to the Siege of Warwick-Lane Castle in the Year 1767, 1768, uncoloured satirical print engraved by J. June, 265 x 365 mm, together with The Confectioner General Setting forth the H _n Desert, [1743], uncoloured engraved satirical print, 200 x 330 mm, with John of Gant in Love or Mars on his Knees, [1749], uncoloured engraved satirical print, 240 x 330 mm, plus Bretherton (Charles). The Shaver and the Shave, published J. Bretherton , 1772, uncoloured etching after Bunbury , occasional marginal closed tears, 250 x 235 mm, and Laurie & Whittle, publishers). Monmouth Street Mutton, 1798, uncoloured engraving, some marginal staining and finger soiling, one repaired closed tear, 200 x 245 mm, with De Beauvais (Nicolas). Le Chevalier Michel Descazeaux du Halley, circa 1747, uncoloured etching after C. Banks, slight dust soiling and creasing, 325 x 235 mm, plus The Lyon in Love, or the Political Farmer. An Aesopian Tale, Applicable to the present Times, [1738], uncoloured engraved satire with verse below, slight creasing and dust soiling, 330 x 205 mm, together with another eighteen uncoloured engraved and etched 18th century satires and caricatures, various sizes and condition (Qty: 25)

* Williams (Charles, active 1797-1830). The Night Mare - or Magistractical Vigilance, Thomas Tegg, Nov 9th. 1816, etching with contemporary hand colouring, 250 c 355 mm, together with The Doctor Administering his Gilded Pill, published S. W. Fores, March 29th, 1802, etching with contemporary hand colouring, good margins, 335 x 225 mm, with The Comforts of a Modern Gala..., published Thomas Tegg, circa 1810, etching after G. M. Woodward with contemporary hand colouring, occasional marginal repaired closed tears, some marginal dust and finger soiling, 240 x 345 mm, plus They have been Weighed in the Balanc e and are found Wanting, published Walker, 1809, etching with contemporary hand colouring, trimmed to plate mark, 240 x 340 mm, and Tom Tack's Ghost, published T. Tegg, Feb 7th 1808, etching with contemporary hand colouring, eight verses of poetry below image, good margins, 280 x 215 mm, with Mrs Clarke's Patent Extinguisher, published J. Blacklock, 1800, etching with contemporary hand colouring, trimmed to neatline, 340 x 230 mm, with another four similar caricatures by Williams, various sizes and condition (Qty: 11)

* Woodward (George Moutard, 1760-1809 ). An Easy Reply..., S. W. Fores, 1804, etching with bright contemporary hand colouring, eight lines of verse below caricature, trimmed to plate mark, torn with slight loss to corners, 295 x 375 mm, together with The Effects of Prosperity [and] The Effects of Truth, S. W. Fores, 1794, two etched linear caricatures displayed on two tiers, each with contemporary hand colouring, trimmed to plate mark, each approximately 345 x 475 mm, with Symptoms of Matrimony !! [and] Symptoms of Crim Con !!, circa 1785, two etched linear caricatures displayed on two tiers, one hand coloured and one uncoloured, trimmed to neatline with some marginal fraying, each approximately 325 x 460 mm, plus Admonition and Gratitude, Thomas Tegg, 1807, etching with contemporary hand colouring, trimmed to neatline, 240 x 320 mm, with two others similar (Qty: 8)

Godefroy (Louis) . The Complete Etchings of Adriaen Van Ostade , San Francisco, Alan Wofsy Fine Arts, 1990, numerous monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, large 8vo, together with: Mende (Matthias) , Hans Balding Grien, Das Graphische Werk..., Unterschneidheim, 1978, numerous monochrome illustrations, bookplate to front pastedown, front gutters slightly cracked, original cloth in dust jacket, covers slightly toned & rubbed, folio and Damiani (Sandro) , Incisioni di Heinrich Aldegrever nella raccolta di stampe della Pinacoteca Tosio-Martinengo in Brescia (Collana "Opere D'Arte in Bresci II), 1974, numerous monochrome illustrations, original cloth in dust jacket, covers slightly marked & rubbed to head & foot, folio, plus other etching & print reference, including The Prints of Lucas Van Leyden & His Contemporaries, by Ellen S. Jacobowitz & Stephanie Loeb Stepanek, Princeton University Press, 1983, many in original cloth, some in dust wrappers, some paperbacks, 8vo/folio (Qty: Approximately 95)

Young (John) , A Catalogue of the Collection of Pictures, of the Most Noble the Marquess of Stafford, at Cleveland House, London, containing an Etching of Every Picture, and accompanied with Historical and Biographical Notices, 2 volumes, London: Hurst, Robinson & Co., 1825, half-title, 104 engraved plates on india paper (including portrait frontispiece to first volume), some toning and spotting, all edges gilt, contemporary gilt decorated dark green straight-grain morocco, extremities slightly rubbed, folio, together with: ibid. , A Catalogue of the Pictures at Grosvenor House, London..., London: Printed by W. Bulmer & W. Nicol, 1820, half-title, 45 engraved plates of 46 (lacking plate 5), contemporary half sheep, some wear to extremities, 4to, ibid. , A Catalogue of the Pictures at Leigh Court, near Bristol: the Seat of Philip John Miles, Esq., London: Printed by W. Bulmer and W. Nicol, 1822, half-title, 33 engraved plates, scattered spotting, contemporary half sheep, joints splitting at ends and short tear to spine, board edges worn, 4to, Strong (S. Arthur) , The Masterpieces in the Duke of Devonshire's Collection of Pictures, London: Franz Hanfstaengl, 1901, photogravure portrait frontispiece and 60 plates, top edge gilt, contemporary dark green half morocco by Riviere & Son, gilt blocked armorial of the Duke of Devonshire to upper board, folio, (Qty: 5)

AFTER JAMES MCNEILL WHISTLER; etching and drypoint, 'The Riva, No. 2', from the Second Venice Set, unsigned, with detached seal, 20 x 29cm, framed and glazed.Additional InformationGood overall condition. The ink is strong and clear, no foxing or blemishes, frame with minor chipping to gilding and craquelure to gilding.

AFTER JAMES MCNEILL WHISTLER; etching and drypoint, 'San Biagio', from the Second Venice Set, with Whistler's butterfly sign to centre-left, 20 x 29cm, framed and glazed.Additional InformationBlemish right centre of the image just above the boat, also two rectangular discoloured patches near the top of the image, ink is not as strong as lot number 1400, with fading in parts. Chipping and craquelure to frame in parts.

THEOPHILE ALEXANDRE STEINLEN (1859-1923); pencil signed etching, figures walking in landscape scene, signed lower left, 22.5 x 30cm, framed and glazed.

TOM MACKENZIE (1947-2018); a signed limited edition coloured etching, 'Druim Na Cleoch', mountain valley scene, 9/40, 49.5 x 60.5cm, framed. (D)Additional InformationMount very loose in frame, paper itself wavy. Colours somewhat faded. Frame worn, mounts somewhat tired.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Louis Whirter Edinburgh From St Anthony's Chapel Etching, entitled and signed in pencil in glazed frame, 34 x 22cm

E.H. LACEY, 'THE INVALID' ETCHING, SIGNED IN PENCIL LOWER LEFT & FRAMED

Swiss Alps.- Glacier.- Malgo (Simon, engraver, active 1745-c.1800) View of the Torrent of the Lutschinen, and of the Glaciers where it takes it's Source, fine large plate of the river's source, which is found in the Bernese Oberland region of Switzerland, flowing from Grindelwald to Zweilütschinen, after a drawing made on the spot by Louis Bélanger, and a painting by P. van Leberghe, etching and aquatint with hand-colouring on laid paper, explanatory text below in English and French, platemark 560 x 710 mm. (22 x 28 in), under glass, handling creases, minor surface dirt, presented in elaborate gilt frame by Sebastian D'Orsai, published by G. & W. Nicol, Colnaghi in London, and P. F. Fauche in Hamburg, [circa 1800]⁂ Scarce. Another impression is held in King George III's Topographical Collection [see BL Maps K.Top.85.65.3]

Swiss Alps.- Glacier.- Merigot (James, engraver, 1760-1824) View of the Source of the Trient and of the Glacier from whence it flows, fine large plate of the Trient Glacier situated in the Mont Blanc Massif in the canton of Valais, Switzerland, after a drawing made on the spot by Châtelet, and a painting by P. van Lerberghe, etching and aquatint with hand-colouring on laid paper, explanatory text below in English and French, platemark 560 x 710 mm. (22 x 28 in), under glass, handling creases, minor surface dirt, presented in elaborate gilt frame by Sebastian D'Orsai, published by G. & W. Nicol, Colnaghi in London, and P. F. Fauche in Hamburg, [circa 1800]⁂ Scarce. Another impression is held in King George III's Topographical Collection [see BL Maps K.Top.76.85]

Swiss Alps.- Glacier.- Merigot (James, engraver, 1760-1824) View of the Glaciers and of the Lake of Kandersteig, fine large plate of Oeschinen Lake in the Bernese Oberland, Switzerland, after a drawing made on the spot by Châtelet, and a painting by P. van Lerberghe, etching and aquatint with hand-colouring on laid paper, explanatory text below in English and French, platemark 560 x 710 mm. (22 x 28 in), under glass, handling creases, small tear going just into letters in the lower centre, minor surface dirt, presented in elaborate gilt frame by Sebastian D'Orsai, published by G. & W. Nicol, and Colnaghi, London, 1801⁂ Scarce. Another impression is held in King George III's Topographical Collection [see BL Maps K.Top.85.65.1.]

Swiss Alps.- Glacier.- Merigot (James, engraver, 1760-1824) View of the Source of the Rhone and of the Glacier from whence it Issues, fine large plate of the Rhône Glacier and the source of the river, one of the primary contributors to Lake Geneva, after a drawing made on the spot by Châtelet, and a painting by P. van Lerberghe, etching and aquatint with hand-colouring on laid paper, explanatory text below in English and French, platemark 560 x 710 mm. (22 x 28 in), under glass, handling creases, several small marginal tears going, minor surface dirt and damp-stains, presented in elaborate gilt frame by Sebastian D'Orsai, published by G. & W. Nicol, and Colnaghi, London, 1801⁂ Scarce. Another impression is held in King George III's Topographical Collection [see BL Maps K.Top.86.33.2].

A Set of Microscope Photographs by Geller, English, mid Victorian, with possible owners label to both top tray and case body ‘WILLIAM OVEREND GELLER’ good quality French polished mahogany slide case, velvet lined with lift out tray, top tray holds 42 microphotographs with some having W.O.G ( William Overend Geller) on the label, others with hand written labels, along with other slides. Geller, William Overend, b1804 – d 1881, was a 19th century painter and engraver who was active in London. He was an accomplished master of mixed-method engraving which included various printing techniques such as mezzotinting, aquatinting, engraving and etching. Another interest of his was the newly emerging technology of photography, he was reported as doing good work for both Amadio and Samuel Highly, he built his own camera for producing microphotographs, He exhibited at the British Institution from 1834 to 1846. Note: The slides are accompanied by a DVD of all the microphotographs photographed through a microscope, a small archive of information, mainly taken from internet sources, a copy of Geller’s obituary dated 1881, A copy of the summary of Geller’s life and works, published in The Bradford Antiquary of 1895, which includes numerous personal anecdotes by his daughter, Angelina Geller, who was also a notable artist.

Camille Pissarro (1830-1903) - 'Countryside at Osny' signed, also extensively inscribed on an exhibition label verso, black and white dry point etching, 4.5" x 6" (pl) - **Provenance with William Weston Gallery, 7 Royal Arcade, Albemarle Street, London, W1X 3HD, the etching is from the first edition of 100 impressions issued in 1894 for L'Estampe Originale, March 1894 and Ref Delteil 70, first date of two, before the re-touching of the plate. Leymarie- Melot 6 and 9. The label dated 1975/3

James Cassie R.S.A. (1819-1879) - Beach scene at low tide with figures unloading a fishing boat, signed with the artist monogram and dated 1872, pencil and water colour, 3.25" x 5"; together with a signed etching depicting figures at a flower market outside a large a building with Doric columns, indistinctly signed and bearing a blind stamp CP, 13.5" x 9.75" (2)

After John Brunsdon A.R.C.A (1933-2014) - 'Tremadoe Bay', inscribed with the title and numbered 4/100, coloured aquatinted etching, 23.5" x 17.75" (pl)

After John Brunsdon A.R.C.A. (1933-2014) - 'Welsh Mining Village', inscribed with the title and dated 1975 and numbered 8/100, coloured aquatinted etching, 23.5" x 17.75"

Keep Within Compass, 19th-century hand-coloured etching, Carington Bowles, 15cm by 11cm, mounted. Freemasonry / Masonic Interest

William Heath, uncoloured etching, satirical caricature of Robert Peel kicking night-watchmen off the edge of a cliff while waving a rattle inscribed 'New Police'. Published in London by Thomas McLean, 3 October 1829. Framed & glazed

Augustus John (1878-1961), Old Man of Liverpool, signed and dated in the plate, 1902, signed in pencil to margin l.r., etching on laid paper, 14cm by 10cm (plate-mark), some toning from previous mount, framed & glazed

The Coronation of H. M. King Edward VII, etching, engraved by F. Languillermie after Edwin A. Abbey, London: Thomas Aguew & Sons, 1907, bearing several signatures to lower border, 'Victoria', 'Mary', 'Edward VII', 'George R', and others, the ink worn/bleeding so a little indistinct. Framed & glazed, 67cm by 101cm

Colour lithograph after Louis Wain, cat wearing dunce cap, framed and glazed. Together with Magic Music, colour etching by Fred Millar after Averil Burleigh, 1918, signed by Millar in pencil, bearing blind-stamp, framed & glazed (2)