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Arthur John Trevor Briscoe (1873-1943) British. "Outward Bound", Etching, Signed and Numbered 33/75 in Ink, and Inscribed and Dated '192.' on a label on reverse, 10" x 16". Provenance: The Fine Art Society, London.

Arthur John Trevor Briscoe (1873-1943) British. "Manning the Pumps", Etching, Signed and Numbered 34/75 in Ink, and Inscribed on a label on reverse, 12.25" x 9". Provenance: James Connell & Sons Ltd, London.

Arthur John Trevor Briscoe (1873-1943) British. "Mizzen Topmast Crosstrees", Etching, Signed and Numbered 3/75 in Ink, and Inscribed on a label on reverse, 14" x 10". Provenance: James Connell & Sons Ltd, London.

J Shapland, 'Exeter from the River', watercolour, signed, approx. 30x35cm, together with E Mary Shelley, 'West View Exeter Cathedral', etching, signed limited edition no. 78/150, and three other watercolours (5)

A rectangular wall mirror with gilt ormolu frame; an architectural print; a gilt framed print on canvas - The Cardinals; a framed etching (4)

A hand coloured etching map of Derbyshire

ALEX H. KIRK, HORSES IN A FIELD, SIGNED, ETCHING, 30 X 21CM

Scrap albums. A folio album of printed illustrations, costume, scraps and vignettes, circa 1830s, containing over 300 prints and engravings on 57 leaves, many hand-coloured, including traditional costume of Switzerland, Greece, Austria, Germany and England, many engraved plates after Hogarth, four costume plates from Otto Magnus Stackelberg's Costumes et Usages des Peuples de la Grece Moderne, 1825, (plus a further four images from the same work trimmed to the image outline), an original watercolour of a Pompeian-style Roman goddess on a black background, signed in ink below S.Essex, a lithograph of Niccolo Paganini entitled, The Modern Orpheus, Opera House June 3rd 1831 [by Richard Lane, from Sketches of the Musical World], some glue staining and trimmed with loss of part of the caption at foot, colour lithographs after L. Bouilly, an etching by Giovanni Battista Mercati (circa 1600/circa 1642) of the Mystic Marriage of Saint Catherine, after Correggio, 1620 (trimmed to image), numerous small engravings of female beauties, military heroes, landscapes, etc., all mounted to album leaves, some leaves loose, original morocco-backed green cloth, worn and broken on spine, folio (37.5 x 27.5cm, 14.75 x 10.75ins) (-)

*Boilly (Louis-Leopold, 1761-1845). Steel Balsam, Perfect Felicity [and] Oh! The Plague!, D. Alexander, 1824, together three English lithographs after Boilly, contemporary hand colouring, slight dust and finger soiling, each approximately 280 x 220 mm, together with McLean (T., publisher), Living made easy. Revolving Hat..., 1830, etching with contemporary hand colouring, 170 x 265 mm (4)

*Bunbury (Henry William, 1750-1811). Billiards, Watson & Dickinson, 1780, uncoloured stipple engraving, slight spotting, 300 x 395 mm, together with, A Hail Storm, circa 1790, hand coloured etching, 245 x 345 mm, and another copy similar, with A family picture, circa 1790, etching with contemporary hand colouring, slight marginal staining, 250 x 345 mm, plus Recruits, Laurie & Whittle, 1794, uncoloured stipple engraving, trimmed to plate mark, slight toning, 320 x 280 mm, and Courier Francois, J. Bretherton, circa 1790, etching with contemporary hand colouring, trimmed to plate mark and toned overall, 310 x 440 mm, together with another twenty-four uncoloured etchings and engravings by or after W. Bunbury, various sizes and condition (30)

*Bunbury (Henry William, 1750-1811). The Xmas Academics. A combination game at whist, J. Bretherton, 1773, uncoloured etching, trimmed to plate mark, 270 x 390 mm, together with A Militia Meeting, J. Bretherton, 1773, uncoloured etching, trimmed to plate mark, 265 x 390 mm, with Warley Ho!. J. Bretherton, 1782, uncoloured etching, 275 x 400 mm, plus Commodore St. Jago returning victorious, 1782, hand coloured etching, 275 x 190 mm, and Mutual Accusation, J. Bretherton, 1774, uncoloured etching, some staining and dust soiling to margins, 235 x 305 mm, with another twenty-six uncoloured etchings by or after Bunbury, various sizes and condition (31)

*Caricatures. A mixed collection of approximately forty cartoons and caricatures, mostly 19th century, including Woodward (George Moutard), The Sailor's Defence, Thos. Tegg, circa 1815, etching with contemporary hand colouring, good margins, some repaired marginal closed tears, 250 x 345 mm, together with Gillray (James, after), L'Assembl‚e Nationale - or - Grand cooperative Meeting at St. Ann's Hill..., circa 1810, hand coloured etching, published in 'London & Paris', old folds, trimmed to image, 250 x 345 mm, mounted, with Marks (J. L.), Old bags at fault at the sound of the Chancery Bell, E. King, 1826, etching with contemporary hand colouring, 250 x 350 mm, plus Holland (W. publisher), Had -n - Tun! Or a great man badger'd!!, 1804, etching with contemporary hand colouring, some adhesion scarring to verso, 240 x 345 mm, and Fores (S. W. publisher), The Downfall of Despotism, or the beloved & legitimate Petticoat maker on his Marrow bones!, 1820, etching with contemporary hand colouring, 240 x 340 mm, with others similar, including examples by Holland, Fores, 'The Satirist', Cruikshank, Marks, Tregear, Sayer, Jones, Tegg and Phillips, various sizes and condition (approx.40)

*Cruikshank (George). Lacing in style - or a dandy midshipman preparing for action, T. Tegg, 1819, etching with contemporary hand colouring, slight staining, largely confined to margins, 245 x 345 mm, together with The head of a great nation in a queer situation! S. Knight, 1813, etching with contemporary hand colouring, trimmed to plate mark, some adhesion scarring on verso, 245 x 345 mm, with Emperor Boney escaping from Leipsic under cover !!, S. Knight 1813, etching with contemporary hand colouring, trimmed to plate mark, some adhesion scarring on verso, 245 x 345 mm, plus A Long Headed Minuet!!, T. Tegg, circa 1810, etching with contemporary hand colouring, mount stained, some staining to margins, 235 x 340 mm, and A curious Junto of slandering elves - or - listners seldom hear good of themselves, H. Humphrey, 1817, etching with contemporary hand colouring, 250 x 355 mm, with English Generals on the Peace establishment, J. Sidebotham, 1816, etching with contemporary hand colouring, trimmed to image, 220 x 320 mm, together with another eleven etchings by G. Cruickshank, occasional duplicates, various sizes and condition (17)

*Cruikshank (Isaac Robert, 1789-1856). Twelfth Night, Thomas Tegg, 1812, etching with contemporary hand colouring, one repaired marginal closed tear, 235 x 335 mm, with another copy similar, together with The Flying Party, G. Humphrey, 1827, etching with contemporary hand colouring, some marginal finger soiling, 350 x 245 mm, with A tale of terror!!, Thomas Tegg, circa 1800, etching with contemporary hand colouring, small margins, 240 x 320 mm, plus The sailor and the quack doctor, T. Tegg, circa 1805, etching with contemporary hand colouring, slight mount staining, 240 x 345 mm, and John Bull advising his superiors, published S. W. Fores, 1803, etching with contemporary hand colouring, 370 x 270 mm, with The martyrdom of Louis XVI. King of France..., S. W. Fores, 1793, etching with contemporary hand colouring, marginal soiling and fraying, 245 x 210 mm, with another eight similar etchings after Cruickshank, various sizes and condition (15)

*Cruikshank (Isaac Robert, 1789-1856). The Spread Eagle, Gracechurch Street, S. W. Fores, 1808, etching with bright contemporary hand colouring, signed and initialled by the artist to lower left, 340 x 245 mm, together with Comparative anatomy - or the dandy tribe, published S. W. Fores, 1818, etching with contemporary hand colouring, trimmed to plate mark, 240 x 330 mm, with The Scotch cottage of Glenburnia, T. Tegg, circa 1810, etching with contemporary hand colouring, 240 x 345 mm, plus The phantasmagoria or a review of old times, published T. Williamson, 1803, etching with contemporary hand colouring, trimmed to plate mark, 250 x 350 mm, and Scotch washing, Thomas Tegg, circa 1810, etching with contemporary hand colouring, slight staining in margins, 240 x 345 mm, together with Lord Mum sucking his thumb!!, S. W. Fores, 1796, etching with contemporary hand colouring, trimmed to plate mark, 345 x 210 mm, with another nine caricatures similar after I. R. Cruickshank, various sizes and condition (15)

*Cruikshank (Isaac Robert, 1789-1856). The Dual - or Charley longing for a pop, S. W. Fores, 1798, etching with contemporary hand colouring, 265 x 405 mm, together with A specimen of Scotch modesty, S. W. Fores, 1798, engraved caricature with contemporary hand colouring, central vertical fold, slight staining, 350 x 480 mm, with Administring to an old friend!! Or the rapid effects of Whitbread's Intire, S. W. Fores, 1805, etching with contemporary hand colouring, trimmed to plate mark, 345 x 245 mm, plus Long heads upon change. Or the return of Ld. Lauderdale, T. Tegg, circa 1810, etching with contemporary hand colouring, some dust and finger soiling to margins, 250 x 350 mm, and The three orders of St. Petersburgh, S. W. Fores, 1800, etching with contemporary hand colouring, 330 x 220 mm, together with Strong symptoms of loyalty, S. W. Fores, circa 1800, etching with contemporary hand colouring, 245 x 375 mm, with One of the family!!, S. W. Fores, 1795, etching with contemporary hand colouring, trimmed to plate mark, 345 x 245 mm, plus A Hint for another statue - or a sketch of a modern weather cock, S. W. Fores, 1804, etching with contemporary hand colouring, trimmed with thread margins, 325 x 220 mm, and Taking an emetic, S. W. Fores, 1800, etching with contemporary hand colouring, one marginal repaired closed tear, trimmed to plate mark, slight marginal staining, 295 x 215 mm (9)

*Cruikshank (Isaac Robert, 1789-1856). The city sheep shearing, S. W. Fores, 1809, etching with contemporary hand colouring, slight adhesion scarring to verso, 220 x 335 mm, together with Symptons of affection or a specimen of marital prowess, S. W. Fores, 1791, etching with contemporary hand colouring, 260 x 400 mm, with The Doctor administering his gilded pill..., S. W. Fores, 1802, etching with contemporary hand colouring, 330 x 225 mm, plus The Phantasmagoria - or - a review of old times, T. Williamson, 1803, etching with contemporary hand colouring, 245 x 350 mm, and The quarrell abount pensions amicably settled, S. W. Fores, 1796, etching with contemporary hand colouring, trimmed to plate mark and window mounted, 255 x 370 mm, with A hint for another statue - or a sketch of a modern weather cock, S. W. Fores, 1804, etching with contemporary hand colouring, trimmed to plate mark, 340 x 240 mm, and Petition Mongers in full cry to St. Stephens!! Beware of wolves in sheeps clothing, S. W. Fores, 1795, etching with contemporary hand colouring, trimmed to plate mark, some dust and finger soiling to margins, 270 x 325 mm, together with eight further caricatures by Isaac Cruikshank, but all uncoloured, various sizes and condition (15)

*Cruikshank (George, 1792-1878). The Imposter, or Obstetric Dispute, T.Tegg, 1814, etching with contemporary hand colouring, 250 x 350 mm, together with All's right; a farce as performed at the Haymarket!!, D. Smith, 1828, etching with contemporary hand colouring, 225 x 300 mm with Giant Grumbo & the black dwarf. Or Lord G - & the printer's devil, G. Humphrey, 1819, etching with contemporary hand colouing, some soiling to margins, 205 x 255 mm, plus The Trip-hell alliance, S. Knight, 1813, etching with contemporary hand colouring, trimmed to neatline, 235 x 340 mm, and A party of pleasure, G. Humphrey, 1822, etching with contemporary hand colouring, trimmed and window mounted, some marginal closed tears but not affecting image, 260 x 375 mm, with another sixteen etchings, thirteen with contemporary hand colouring, varuious sizes and condition (21)

*Elmes (William). John Bull reading the extraordinary Red book, Thos. Tegg, circa 1820, etching with bright contemporary hand colouring, good margins, 250 x 350 mm, together with Rowlandson (Thomas), Paul preaching to the Britons, circa 1815, aquatint with contemporary hand colouring, slight staining to margins, 335 x 255 mm, with Heath (William), A family party takeing an airing, Thos. Tegg, 1819, etching with contemporary hand colouring, slight staining to margins, 240 x 350 mm, plus Newton (Richard, after), [An undertakers visit], Thos. Tegg, circa 1820, etching with contemporary hand colouring, trimmed with loss of title, some near contemporary manuscript crossing out of text, 245 x 330 mm, and Heath (William), Slugs in a Saw-Pit. Hell to pay, or the direful courage of Dolla Lolla, S. W. Fores, circa 1815, etching with contemporary hand colouring, trimmed to image, some dust soiling, slight creasing, 240 x 370 mm, together with The measure of happiness, or, A royal visit to the Dey of Tunis or the Great Plenipo, S. W. Fores, 1820, etching with contemporary hand colouring, some closed tears and staining to margins, 250 x 350 mm (6)

*Gillray (James, 1756-1815). Delicious Weather, & Very Slippy Weather, H. Humphreys, 1808, two engraved caricatures with contemporary hand colouring, both trimmed to plate mark, some dust soiling and with old adhesion scarring on verso of 'Very slippy weather', this print is also reticulated in pencil, each approximately 260 x 205 mm, together with Jove in his chair, E. D'Achery, 1782, uncoloured etching, trimmed to plate mark, slight mount staining, 245 x 340 mm, with Bunbury (H.), Love and Wind, [1791], uncoloured mixed method engraving printed in sepia, toned overall, 250 x 210 mm, plus Hogarth (William), England plate 2nd. 1756 [but 19th century impression], uncoloured engraving, 320 x 385 mm (5)

*Gillray (James, 1756-1815). The Union Club, 1801, etching with contemporary hand colouring, mount staining, trimmed to plate mark on lower border, 300 x 440 mm A glorious riot of a cartoon with all the leading political figures of the day engaged in a drunken party. Chamber pots, bottles of wine, furniture and glasses fly through the air, fights break out and various politicos are shown asleep, slumped on the floor, vomiting or fighting. The cartoon celebrates the first coalition parliament of 1801 and the dinner of the new Union Club held at Cumberland House, to celebrate the Queen's birthday on January 19th of that year. (1)

*Gillray (James, 1756-1815). Fortune Hunting, H. Humphrey, 1804, etching with bright contemporary hand colouring, small margins with slight staining in corners, one marginal repaired closed tear, 260 x 385 mm, together with The sound of the Horn!! - or - the danger of riding an old hunter, H. Humphrey, 1807, etching with contemporary hand colouring, trimmed to image, lower margin extended, 245 x 345 mm (2)

*Gillray (James, 1756-1815). Pylades & Orestes, H. Humphrey, 1797, etching with contemporary hand colouring, large margins, slight staining to borders, slight spotting, some adhesion scarring to verso, 360 x 260 mm, together with A Spencer & a Threadpaper, H. Humphrey, 1792, mixed method engraving with bright contemporary hand colouring, trimmed to plate mark, some dust and finger soiling to margins, some adhesion scarring to verso, 270 x 215 mm, with How to ride with elegance thro' the streets..., H. Humphrey, 1800, etching with contemporary hand colouring, small margins, slight spotting and staining on verso and recto, 335 x 270 mm, plus Grace, Fashion and Manners from the Life, circa 1818, etching and stipple with contemporary hand colouring, small margins, 255 x 205 mm, and Wha wants me ?, H. Humphrey, 1792, etching with contemporary hand colouring, 270 x 220 mm (5)

*Gillray (James, 1756-1815). Taking Physick, H. Humphrey, 1800, etching with bright contemporary hand colouring, trimmed to image, 255 x 190 mm, together with Be gone dull care, - I prithee begone from me !, H. Humphrey, 1801, etching with contemporary hand colouring, trimmed to image, 225 x 275 mm, with Les Membres du Conseil des Anciens, H. Humphrey, 1798, etching with contemporary hand colouring, small margins, 255 x 195 mm, plus a Scotch poney - commonly call'd a Galloway, H. Humphrey, 1803, etching with contemporary hand colouring, small margins, some adhesion scarring to verso, 250 x 200 mm, and National Discourse, W. Humphrey, 1780, [but early 19th century impression], etching with contemporary hand colouring, good margins, 225 x 255 mm (5)

*Gillray (James, 1756-1815). A broad hint of not meaning to dance, H. Humphrey, 1804, etching with contemporary hand colouring, trimmed to image, 250 x 375 mm, together with Venus attired by the Graces, H. Humphrey, 1800, etching with contemporary hand colouring, trimmed to image, 245 x 350 mm, with " and would'st thou turn the vile reproach on me ?", H. Humphrey, 1807, etching with contemporary hand colouring, trimmed to plate mark, occasional marginal repaired closed tears, 245 x 345 mm, plus Miss, I have a monstrous crow to pluck with you !!, H. Humphrey, 1794, etching with contemporary hand colouring, good margins, slight staining to borders, 260 x 325 mm (4)

*Gillray (James, 1756-1815). Every rogue is a coward, H. Humphrey, 1801, etching with contemporary hand colouring, slight toning, 255 x 265 mm, together with Venus a la Coquelle - or - the Swan-sea Venus, H. Humphrey, 1809, etching with contemporary hand colouring, trimmed to image, 260 x 365 mm, with Les Invisibles, H. Humphrey circa 1815, etching and stipple with contemporary hand colouring, good margins, 245 x 310 mm, plus "Miss I have a monstrous crow to pluck with you !!", H. Humphrey, 1794, etching with contemporary hand colouring, good margins, 250 x 325 mm (4)

*Gillray (James, 1756-1815). Opening of the Budget; - or - John Bull giving his breeches to save his Bacon, H. Humphrey, 1796, etching with contemporary hand colouring, trimmed to plate mark, some adhesion scarring on verso, 250 x 355 mm, together with The Wounded Lion..., H. Humphrey, 1805, etching with contemporary hand colouring, trimmed to image, 260 x 360 mm, with Preparing for the Grand Attack - or - a private rehearsal of the ci-devant Ministry in danger, H. Humphrey, 1801, etching and aquatint with bright contemporary hand colouring, trimmed to plate mark, 255 x 355 mm, plus Pity the sorrows of a poor old man, H. Humphrey, 1796, etching with contemporary hand colouring, trimmed to plate mark, some adhesion scarring to verso, 350 x 245 mm (4)

*Gillray (James, 1756-1815). Political Mathematician's shaking the Broadbottom'd Hemispheres..., H. Humphrey, 1807, uncoloured etching, torn with some loss to image, replaced in facsimile, several repaired marginal closed tears, laid on modern stiff paper, 320 x 420 mm, mounted, together with Membre du Directoire executif [and] Les Membres du Conseil des Cinqts, H. Humphrey, 1798, two etched caricatures from the 'French Habits' series, 'Les Membres du Conseil...,' laid on later card, stained and with near contemporary ink annotations to the image, each approximately 250 x 190 mm, mounted, with The Rakes's Progress at the University, - No. 4, H. Humphrey, 1806, hand coloured etching, trimmed to image, 245 x 345 mm, mounted, plus Gillray (James, after), Middlesex Election, 1804 - a long pull, a strong pull and a pull all together, circa 1805, etching with contemporary hand colouring, old folds, slight spotting, 255 x 350 mm, mounted (5)

*Gillray (James, 1756-1815). Coming in at the Death, H. Humphrey, 1800, etching with aquatint, contemporary hand colouring, slight mount staining, 255 x 360 mm, mounted, together with The Arch-Duke, H. Humphrey, 1796, etching with contemporary hand colouring, trimmed to image, slight adhesion scarring to verso, 350 x 235 mm, mounted, with My Poll and my Partner Joe, H. Humphrey, 1796, stipple engraving with contemporary hand colouring, trimmed to image with one margin extended, 250 x 280 mm, mounted (3)

*Gillray (James, 1757-1815). One of the advantages of a Low Carriage, H. Humphrey, 1801, etching with bright contemporary hand colouring, good margins, one marginal repaired closed tear, 260 x 360 mm, together with another copy, trimmed to image, with A Cockney and his wife going to Wycombe, H. Humphrey, 1805, etching with contemporary hand colouring, trimmed to image, some adhesion scarring on verso, 250 x 360 mm, plus The fall of the Phaeton..., S. W. Fores, 1788, etching with sparse later hand colouring, repaired tear in right hand margin, just affecting image, other marginal repaired tears, 250 x 350 mm Together four Gillray caricatures relating to the trials and indignities of travelling by coach. (4)

*Heath (William, 1795-1840). A short ride in the long walk or the ponies posed!!, S. W. Fores, 1824, engraving with contemporary hand colouring, one marginal repaired closed tear, 245 x 255 mm, together with Slugs in a saw pit, hell to pay or the direful courage of Dolla Lolla, S. W. Fores, 1810, engraving with contemporary hand colouring, trimmed to plate mark, slight chipping to margins, slight dust soiling, 255 x 400 mm, with Protestant Descendency; a putt at the church, T. McLean, 1829, etching with contemporary hand colouring, 255 x 375 mm, plus Knock and ye shall enter, T. McLean, circa 1820, etching with contemporary hand colouring, some chipping and slight staining to margins, 375 x 260 mm, and Irish M.P.s, T. Mclean, circa 1820, etching with contemporary hand colouring, 255 x 375 mm, with Melancholy loss of the medal, circa 1820, etching with contemporary hand colouring, 260 x 370 mm, plus Maternal management or a plot discovered, Thos. McLean, 1829, engraving with contemporary hand colouring, thread margins, 340 x 245 mm, and Peeling a Charley, Thos. McLean, 1820, etching with contemporary hand colouring, trimmed to plate mark, 245 x 360 mm, together with The unexpected visit or more then welcome, S. W. Fores, 1820, etching with contemporary hand colouring, 240 x 345 mm, with A kiss at the congress. A legitimate embrace at Aix la Chapelle, between Alexander the Great and Louis the Large & others Dramatis Persona, S. W. Fores, 1818, etching with contemporary hand colouring, 235 x 335 mm (10)

*Heath (William, 1795-1840). Which is the dirtiest. So foul the stains will be indelible, S. W. Fores, 1820, etching with contemporary hand colouring, 250 x 355 mm, together with The Royal Milling Match, S. W. Fores, 1811, etching with contemporary hand colouring, small margins, 250 x 355 mm, with The Blessings of Military Law-givers, J. Gails, 1829, etching with contemporary hand colouring, 260 x 365 mm, plus A Buck and a Doe, Thos. McLean, 1827, etching with contemporary hand colouring, trimmed to image and window mounted, 250 x 360 mm, mounted, and The Steam Boat, Thos. McLean, 1827, etching with contemporary hand colouring, trimmed to image and window mounted, 350 x 250 mm, together with No genius, Thos. McLean, circa 1825, etching with contemporary hand colouring, 260 x 370 mm, with Daring and Impudent Robbery!!!, Thos. McLean, 1829, etching with contemporary hand colouring, trimmed to plate mark, 245 x 355 mm, plus A trifling misunderstanding or a military tea party - Effects of a field education, Thos. Mclean, circa 1828, etching with contemporary hand colouring, trimmed to image, window mounted, 250 x 360 mm, and A bold stroke for a wife, no chicken hazard!!!, S. W. Fores, 1822, etching with contemporary hand colouring, trimmed to plate mark, 235 x 300 mm, plus Rats in the barn, or John Bull's famous old dog Billy astonishing the varment, Thomas McLean, circa 1828, etching with contemporary hand colouring, 260 x 370 mm, with five other similar examples by W. Heath, but only two with hand colouring, various sizes and condition (15)

*Heath (William, 1795-1840). Modern Peeing Toms who deserve to be sent to Coventry!!! Thos. McLean, circa 1830, etching with contemporary hand colouring, trimmed to image and window mounted, 235 x 375 mm, together with A pair of fashionables, Thos. McLean, 1827, etching with contemporary hand colouring, some soiling to margins, slight staining, 370 x 255 mm, with A point of law, T. McLean, circa 1828, etching with contemporary hand colouring, trimmed to plate mark, slight dust soiling, 245 x 355 mm, plus The peel thrown away or one mans meat is another mans poison, Thos. McLean, 1829, etching with contemporary hand colouring, 265 x 360 mm, and Matchless eloquence thrown away or 267 against little Joey and his shining friend, T. McLean circa 1828, etching with contemporary hand colouring, 360 x 255 mm, together with A new Italian farce called the Green Bag by Permission, S. W. Fores, 1820, etching with contemporary hand colouring, 255 x 345 mm, with A labourer in a good cause, Thos. McLean, circa 1828, etching with contemporary hand colouring, trimmed to plate mark, 350 x 255 mm, plus Cabriolet or shelter versus pelter - For the rain it raineth every day - Shakespeare, Thos. McLean, 1829, etching with contemporary hand colouring, trimmed to plate mark, 255 x 360 mm, and The Spanish dance, T. McLean, 1830, etching with contemporary hand colouring, toned overall, margins strengthened on verso, trimmed to plate mark, 260 x 375 mm, with The Misfortune of having short legs or the power of the flock loseing his stick !, Thos. McLean, 1830, etching with contemporary hand colouring, some mount staining, slight spotting, 255 x 350 mm (10)

*Heath (William, 1795-1840). Preference [and] Necessity, Thos. McLean, 1828, pair of etchings with bright contemporary hand colouring, each trimmed to image and window mounted, slight spotting to margins, each approximately 280 x 215 mm, together with, The presentation of Dolla Lolla accompanied by the Mighty Thumb, Thos. McLean [1827], etching with contemporary hand colouring, trimmed to image, 240 x 360 mm, with Rats in the barn or John Bull's famous old dog Billy astonishing the varment, Thos. McLean, circa 1825, etching with contemporary hand colouring, toned overall, margins chipped with occasional closed tears but not affecting image, 255 x 370 mm, plus Bob Tail the Turnspit, Thos. Mclean, 1829, etching with contemporary hand colouring, slight staining, small margins, 255 x 365 mm, and French salutation [and] English salutation, Thos. McLean, 1829, etching with contemporary hand colouring, slight mount staining and spotting, 260 x 370 mm, together with Finis, Thos. McLean, 1829, etching with contemporary hand colouring, trimmed to image, 245 x 355 mm, with The man wot violates the grave, Thos. McLean, 1830, etching with contemporary hand colouring, trimmed to image, 355 x 240 mm, with another six caricatures by William Heath, all with contemporary hand colouring, various sizes and condition (14)

*Rowlandson (Thomas, 1756-1827). Business and Pleasure, Thomas Tegg, circa 1800, etching with contemporary hand colouring, 250 x 340 mm, together with Rural Sports - Cat in a Bowl, circa 1810, etching with contemporary hand colouring, 245 x 345 mm, with, odd fellows from Downing Street complaining to John Bull, circa 1800, etching with contemporary hand colouring, 245 x 345 mm, plus Macassar oil. An oily puff for soft heads, circa 1800, etching with contemporary hand colouring, 350 x 250 mm, and Doncaster fair or the industrious Yorkshirebites, circa 1810, etching with contemporary hand colouring, 245 x 345 mm, plus Pilgrims and the Peas, T. Tegg, 1807, engraving with contemporary hand colouring, thirty-one lines of text below image, 265 x 205 mm (6)

*Rowlandson (Thomas, 1756-1827). Dropsy courting Consumption, circa 1817, etching with contemporary hand colouring, 345 x 240 mm, together with The Parody - or Mother Cole and Loader, W. Humphrey 1794 [but slightly later impression], etching with contemporary hand colouring, 250 x 350 mm, with Doctor Gallipot placing his fortune at the feet of his Mistress. Thro' physic to the dogs, circa 1800, aquatint with contemporary hand colouring, 330 x 255 mm, plus She stoops to conquer, Thomas Tegg, 1815, etching with contemporary hand colouring, 245 x 340 mm, and The old woman's complaint, or the Greek alphabet, Thomas Tegg, circa 1800, etching with contemporary hand colouring, some dust and finger soiling to margins, 240 x 340 mm, with The Bull and Mouth, Thomas Tegg, circa 1800, etching with contemporary hand colouring, trimmed to plate mark, 330 x 235 mm (6)

*Rowlandson (Thomas, 1756-1827). Ducking a Scold, 1812, etching with contemporary hand colouring, 345 x 245 mm, together with Comedy in the Country [and] Tragedy in London, published Thomas Tegg, circa 1810, two etchings on one sheet (as published), both with contemporary hand colouring, slight finger soiling to margins, 345 x 245 mm, with Doncaster Fair or the Industrious Yorkshirebites, circa 1815, etching with contemporary hand colouring, 245 x 345 mm, plus A Long pull, a strong pull and a pull altogether, 1813, etching with contemporary hand colouring, slight soiling to margins, 245 x 350 mm, and A Theatrical candidate, [1809], etching with contemporary hand colouring and twelve lines of text below image, 345 x 245 mm with Dram-a-tic Demireps at their morning rehersal, Thomas Tegg, [1817], etching with contemporay hand colouring, some dust and finger soiling to margins, 240 x 345 mm (6)

*Rowlandson (Thomas, 1756-1827). The Dunghill Cock and Game Pullet. Or Boney beat out of the Pitt, Thomas Tegg, 1810, etching with contemporary hand colouring, trimmed to plate mark, some mount staining, partially re-margined on one border, 235 x 340 mm, together with Doctor Gallipot placing his fortune at the feet of his mistress. Thro' physic to the dogs, circa 1810, aquatint with contemporary hand colouring, 330 x 260 mm, with Volunteer wit or not enough for a prime, circa 1810, etching after Woodward with contemporary hand colouring, 245 x 345 mm, plus A tour to the lakes, circa 1815, etching with contemporary hand colouring, marginal closed tears repaired with sellotape and resultant staining to margins, slight overall toning, 345 x 240 mm, and Three weeks after marriage, or the great little emperor paying at Bo-peep, Thomas Tegg, 1810, etching with contemporary hand colouring, trimmed to image, slight creasing and dust soiling, 230 x 330 mm, with Paris Dilligence, Thomas Tegg, circa 1815, etching with contemporary hand colouring, trimmed to plate mark, some staining, 260 x 360 mm, with another three caricatures similar by or after Rowlandson, various sizes and condition (9)

*Rowlandson (Thomas, 1756-1827). A cat in pattens, 1812, etching with contemporary hand colouring, 345 x 245 mm, together with The rival candidates, W. Humphrey, 1784 [but later impression with watermark of 1828], etching with contemporary hand colouring, 235 x 350 mm, with The Mother's Hope, circa 1815, etching with contemporary hand colouring, trimmed to plate mark, some dust soiling, adhesion scarring on verso, 345 x 245 mm, plus Connoisseurs, circa 1810, aquatint with contemporary hand colouring, 340 x 255 mm, and Setting out for Margate, Thomas Tegg, circa 1815, etching with contemporary hand colouring, some dust soiling and staining, occasional marginal closed tears, 250 x 345 mm, with A Picture of Misery. His hand was iron and his heart was more, Thomas Tegg, circa 1815, etching with contemporary hand colouring, trimmed to image with slight loss to lower corners, 230 x 330 mm, with another seventeen caricatures by and after Rowlandson, some later impressions, several trimmed to image, various sizes and condition (23)

*Williams (Charles attrib.). A King-Fisher, S. W. Fores, 1826, etching with contemporary hand colouring, trimmed to plate mark, slight mount staining, margins strengthened on verso, 255 x 355 mm, together with Heath (William, attrib.), John Bull come to the Bone, circa 1813, etching with contemporary hand colouring, slight mount staining, 325 x 230 mm, with Elmes (William, attrib.), Polish Diet, with French Desert, Thos. Tegg, 1812, etching with contemporary hand colouring, trimmed to plate mark, 245 x 340 mm The first described item is a satire on King George IV who is depicted as a fisherman sitting in a pavilion beside the figure of his mistress, Elizabeth Conyngham. The King sits on gilded furniture and holds a fishing rod, with which he has caught a frog, which Elizabeth Conyngham attempts to remove from the river with a net. The King's bandaged gout ridden foot rests on a gilded footstool, with a kingfisher on the opposite bank to the left, and a view of the Royal Lodge and Windsor Castle in the background. (3)

*Williams (Charles). Sailors rigging ou Poll, circa 1815, etching after George Moutard Woodward, contemporary hand colouring, 245 x 340 mm, together with The three Georges' - The Patron, The Sovereign and the Patriot, published John Fairburn, 1827, etching with contemporary hand colouring, small margins, slight staining, 245 x 345 mm, with Sublime and Beautiful, published Thomas Tegg, 1810, etching with contemporary hand colouring, some staining, finger soiling and closed tears to margins, 340 x 240 mm, plus The casting vote or the Independant Speaker, published S W Fores, 1805, etching with contemporary hand colouring, slight staining, one repaired marginal closed tears, 350 x 250 mm, and A TŠte … TŠte, conversation on recent events, published S W Fores, 1805, etching with contemporary hand colouring, 355 x 245 mm, with another ten similar caricatures by Williams, all with contemporary hand colouring, various sizes and condition (15)

*Williams (Charles). A Shrewed Guess or the Farmers Definition of Parliamentary Debates..., Thomas Tegg [1813], etching with contemporary hand colouring, one repaired marginal closed tear, 245 x 345 mm, together with The City combat or the desperate attack at the English Baron, S. W. Fores, 1802, etching with contemporary hand colouring, slight marginal creasing, 245 x 390 mm, with another uncoloured example, with A burning shame, or throwing a light on the practice of pigeon plucking, S. W. Fores, circa 1805, etching with contemporary hand colouring, trimmed to plate mark and laid on later card, 245 x 345 mm, plus The game of see saw - or amusement for John Bull, Walker, 1809, etching with contemporary hand colouring, slight overall toning and fly spotting, 245 x 345 mm, and John Bull's first visit to his old friend the New Secretary, S. W. Fores, 1806, etching with contemporary hand colouring, trimed to image, torn with slight loss at lower left corner, 240 x 340 mm, with another seventeen caricatures after and by Williams, various sizes and condition (23)

*Williams (Charles). The Nightmare - or Magistractical vigilance, Thos Tegg, circa 1816, etching with contemporary hand colouring, 245 x 350 mm, mounted, together with Deerhurst's defeat or the end of unqualified ambition, published for the proprietors of Town Talk, circa 1812, etching with contemporary hand colouring, old folds, backed with later paper, folds strengthened on verso, marginal repaired closed tears, 250 x 425 mm, mounted, with The Crown and Anchor desperado or the Cracked Member, S. W. Fores, 1802, etching with contemporary hand colouring, trimmed to image, 240 x 335 mm, mounted, plus The Westminster seceder on fresh duty, S. W. Fores, 1801, etching with contemporary hand colouring, trimmed to plate mark, adhesion scarring on verso, 315 x 225 mm, mounted, and The ghost of Crim-con or a check to speculation, S. W. Fores, 1808, etching with contemporary hand colouring, trimmed to image, 240 x 340 mm, mounted, together with Sketches of Fairy-land or a comparison between England & Lilliput Pl. 1 & Pl. 2, circa 1810, two etchings with six caricatures per sheet (as published), both with contemporary hand colouring, 235 x 330 mm, mounted (7)

*Woodward (George Moutard). The Genius of Caricature and his friends celebrating the completion of the second volume of the Caricature Magazine in the Temple of Mirth, Thomas Tegg, July 2nd, 1808, etching with contemporary hand colouring, 235 x 340 mm, together with Three rooms on a floor or Clerical comfort at an Inn, published Wm. Holland, 1814, etching with contemporary hand colouring trimmed to image and laid on later card, repaired marginal closed tear, 235 x 430 mm, with Making a Sailor an odd fellow!!, circa 1810, etching with contemporary hand colouring, trimmed to image on vertical margins, 230 x 330 mm, with another seven etchings similar after Woodward, various sizes and condition The first described item shows a group of five men and three women seated around a table in the Apollo library. Numerous caricatures decorate the walls. The central character is belived to be Thomas Tegg, the man on the right raising his glass is possible Woodward, the man with his back to the viewer engaged in conversation with the woman on his left bears a resemblance to Isaac Cruikshank and the man of the left with the 'drinker's nose' is possibly Thomas Rowlandson. (10)

Hughes (Ted and Leonard Baskin). Flowers and Insects, some Birds and a pair of Spiders, 1st US edition, New York, 1986, colour illustrations by Leonard Baskin, original cloth, dust jacket, one or two light stains, 8vo, inscribed to Olwyn Hughes with an original drawing of a flower by Leonard Baskin at front, together with Thirty-Two Poems by Paul Celan, newly translated by Michael Hamburger, Embers Handpress, Norwich, 1985, original etching by Gisele Celan-Lestrange, original wrappers, 8vo, limited edition 66/100, signed by the artist and translator, plus Inside the Castle. Poems by Anthony Howell, Cresset Press, 1969, original cloth, dust jacket (some toning), 8vo, inscribed by the poet to Olwyn Hughes, with many others signed by Olwyn Hughes including The Art of Sylvia Plath, 1970 and Ted Hughes: A Critical Study by Terry Gifford and Neil Roberts, plus inscribed works to Hughes, some limited editions, Sceptre Press etc by poets Ruth Fainlight, Anthony Howell, Edward Lucie-Smith, John Rety, Martin Booth and Eddie Linden etc, and inscribed books from Emma Tennant, Michael Baldwin, Robert Nye and others Provenance: From the library of Olwyn Hughes (1928-2016), literary agent and sister of the poet Ted Hughes. (approx 80)

Whittington Press. The Garden of the Night, Twenty-Six Sufi poems translated by Iftikhar Azmi, with illustrations by Richard Kennedy, Andoversford: Whittington Press, 1979, frontispiece and full-page illustrations, top edge gilt, remainder untrimmed, original blue morocco by Weatherby Woolnough, gilt blocked to upper board, spine slightly faded, large 4to, contained in original slipcase, (limited edition XXVI/240, signed by the author & artist), together with loosely inserted etching by Richard Kennedy (signed in pencil and with limitation 12/40), with Shakespeare Head Press, Philobiblon Richard de Bury, Text and Translation of E.C. Thomas..., Oxford, 1960, two titles printed in colour, text in Latin & English, pictorial endpapers, top edge gilt, remainder untrimmed, original navy half morocco gilt, printed paper sidings to boards, torn glassine dust jacket, 4to, (limited edition 230/500), with Zuleika Dobson or an Oxford Love Story by Max Beerbohm, with a Forward and Illustrations by Osbert Lancaster, Oxford, 1975, black & white and double-page colour plates, top edge gilt, original navy purple quarter morocco gilt, striped paper covered boards, with slightly frayed glassine dust-jacket, large 8vo, contained in original slipcase, (limited edition 346/750, signed by Osbert Lancaster), plus Plays for an Irish Theatre. With Designs by Edward Gordon Craig, Printed by A.H. Bullen, at the Shakespeare Head Press, Stratford Upon Avon, 1911, four black & white plates including frontispiece, edges untrimmed, original cream cloth backed boards, paper title label to spine, 8vo (4)

D Graves (20thC). Ponte Vecchio, Florence, a limited etching, 106/200, signed, dated 1982, 22cm x 27.5cm; .

A WILFRED HUGGINS FRAMED AND GLAZED LIMITED EDITION ETCHING OF WESTMINSTER ABBEY SIGNED BY THE ARTIST

Mary Williams, Thatched cottages, signed lower right, watercolour, 26 x 37cm, together with a watercolour river view signed H Lines, an etching signed Anne Aspinall and titled 'Riding a Tiger', a 20th century gouache fashion drawing, indistinctly signed and a pen and ink drawing of Terriers with two dead rabbits by a different hand.

Mabel Oliver Parker, The Boat House, Shrewsbury School, signed and inscribed with title in pencil, etching, 17 x 25cm (PL)

Adeline S Ilingworth, cathedral interior, signed in pencil, etching, 38 x 27cm, together with a collection of prints to include views of Tynemouth Castle and a satirical print titled 'The way to destroy the peace of a connoisseur'.

R. Herdman Smith, pencil signed coloured etching, "The Rickshaw", 12cm x 18cm; and another Almond Blossom, 17.5cm x 13cm, (2)

Harry Becker, 1865-1928, pencil signed etching of a country lane with inscription to Charles Benham, "A souvenir of a charming day, August 27th 1925", 18cm x 15cm

A. Brient Le Mans (France) La place de l'hopitau original dry point etching, signed artist proof edition limited to 80 proofs only. Framed and glazed.(B.P. 24% incl. VAT)

A lake district scene tinted etching

A monochrome etching, a study of Hastings Pier, Albert Taylor, oil on panel, countryside view, and 2 others (4)

PIERRE ADOLPHE VALETTE (1876 - 1942) ORIGINAL ETCHING 'The Picnic' 5 1/2" x 4 1/2" (14 x 11.5cm)

PIERRE ADOLPHE VALETTE (1876 - 1942) ORIGINAL ETCHING 'Antonio Lamare of Ancoats Manchester' 5 1/2" x 4 1/4" (14 x 11cm)

NORMAN JAQUES (1922 - 2014) ETCHING WITH AQUATINT 'Rock on a seashore' Artists proof, signed and titled in pencil 14 1/2" x 17 3/4" (37 x 45cm)

BARBARA KARN. 'Falling Loves', & 'Eve'. Two etching aquatints. Both signed & titled artist's proofs. 21 x 28cm & 28 x 23cm.