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![*Barry (James, 1741-1806). The Grecian Harvest Home, 1791 [1792], etching and engraving on laid paper, a slightly later reis](https://cdn.globalauctionplatform.com/3628d5ff-59e1-4f54-ba6d-a88d00b7880a/5c367de6-e090-4ef1-a9a0-3f1d0ed59944/468x382.jpg)
Lot 407
*Barry (James, 1741-1806). The Grecian Harvest Home, 1791 [1792], etching and engraving on laid paper, a slightly later reissue, some marks and short tears to margins, trimmed to plate mark, and with some marks and soiling, a few short closed tears, laid down on later card, image size 39.5 x 49 cm (15.5 x 19.25 ins), framed and glazed See Pressly (1981) 18. The second in the series of six large prints issued in 1792, depicting the artist's murals in the Great Room of the Society of Arts, Manufactures and Commerce, in London, known as The Progess of Human Culture and Knowledge. The present work may be from the volume of prints by James Barry, issued after his death, entitled A Series of Etchings by James Barry, from his original and justly celebrated paintings in the ...Society of Arts, 1808. (1)
Lot 412
*Callot (Jacques, 1592-1635). Les Misères et les malheurs de la guerre... mis en lumière par Israel son amy, Paris, 1633, collection of twenty etchings on laid paper, consisting of title, another title in Dutch from the Schenk edition, and plate numbers 2, 3, 8 (2), 10 (2), 11, 12, 13 (2), 14(2), 15 (2), 16 (2) and 18 (2), some of which are later reprints or copies in reverse, each with plate number and French captions by Marolles, trimmed just inside platemark, 82 x 184 mm (3.25 x 7.25 ins) or similar, together with La Vie de l'Enfant Prodigue, 1635, set of eleven etchings by Israel Silvestre after Callot, on laid paper, with inscriptions but before numbers, trimmed to platemark, some marks and soiling, 62 x 82 mm (2.5 x 3.25 ins), all mounted in 19th century half calf album, 4to (29 x 22.5 cm), plus a group of six etching by Callot from the series Capitano de Baroni (37)
Lot 420
*Stanley (Harold John, 1817-1867). The Tyrol painter Haller's first studies, 1852, pencil on laid paper (watermarked Honig), signed with initials and dated lower right, additionally inscribed by the artist to upper right 'Drawn for Payne', together with five other similar pages from the artist's sketchbook, depicting various genre scenes and illustrations, each signed with initials and dated, most with captions in pencil by the artist, sheet size 23.5 x 16 cm (9.25 x 6.25 ins), plus other various drawings and prints, mainly 19th century pencil studies, including a landscape sketch by Sir George Beaumont (1753-1827), an etching by Waterlo inscribed to verso Schweickhardts Sale 1799, two rough pencil sketches attributed to George Romney, circa 1780 (taken from his sketchbooks sold at Sotheby's circa 1910), a pen, ink and monochrome wash view of Hornby Castle, Lancaster, 1822, by a follower of William Gilpin, and a pencil landscape study by William Dyce, inscribed At Castle Fraser, an etched view of Plymouth by Hollar, 1676, two early 19th century pencil and watercolour studies of birds, etc., all contained in 20th century plastic album (approx. 30)
Lot 440
*Follower of Rembrandt (van Rijn, 1606-1669). Head of a man with plumed hat and cloak, etching on laid paper, hand finished with brown wash, probably 18th century, plate size 116 x 88 mm (3.5 x 4.5 ins), thread margins, glue stains to upper edge, together with Rembrandt (van Rijn, 1606-1669), Cottage beside a Canal: View of Dresden, 1645 [but later], (Bartsch 228), etching on laid paper, an 18th century copy in reverse, with watermark of a crown and G R within a laurel enclosed by a circle, plate size 140 x 206 mm (5.5 x 8.1 ins), blank margins to three sides (top margin trimmed to platemark), plus four other reprints of Rembrandt etchings, various (6)
Lot 441
*Rossini (Luigi, 1790-1857). Veduta dell'Arco di Costantino, escavato e ristaurato da Papa pio VII regnante, Rome, 1821, etching on wove paper, some marks, plate size 41 x 49 cm (16 x 19.25 ins), together with Veduta di fianco del Panteon preso nel vicolo del Grottino, Rome, 1821, etching on wove paper, plate size 61 x 44 cm (24 x 17.25 ins), both in modern antique-style black and gilt frames, glazed (unexamined out of frames), plus Brun (Jo Jovanni), Veduta della Basilica di S: Pietro in Vaticano, [Rome], Carlo Losi, 1785, copper engraving on laid paper, some minor marks and pale discolouration to margins, plate size 43 x 60.5 cm (17 x 23.75 ins), narrow margins, old wood frame, glazed (3)
Lot 480
*Haden (Sir Francis Seymour, 1818-1910). On the Test, 1859, etching with drypoint on wove paper, an artist's proof, unsigned, old pale mount stain, plate size 152 x 225 mm (6 x 8.8 ins), sheet size 215 x 285 mm (8.5 x 11.3 ins), mounted, together with a lithograph of a mother and child by James Ardern Grant (1885-1973), a wood engraving by Sydney Lee (1866-1949) titled On the Mediterranean, signed and numbered 37/50, Marjorie Holmes (1907-1992), The Trough, & The Goats, two etchings, each signed in pencil Marjorie Fenning (the artist's maiden name), mounted, Mabel Lee Hankey, Woman Seated, colour etching, signed in pencil, plate size 15 x 10.2 cm (6 x 4 ins), with margins, framed and glazed, and Phyllis Clarke, Harbour Scene, 1934, woodcut, signed and dated in pencil, sheet size 125 x 80 mm (5 x 3.2 ins), mounted (7)
Lot 489
*Ray-Jones (Raymond, 1886-1942). Self-portrait wearing a hat, 1915-21, etching on laid paper, watermarked F.J. Head & Co., signed in pencil, plate size 33 x 24.7 cm (13 x 9.75 ins), with margins, framed and glazed, together with Lamp-light (E.I.P.), etching on laid paper, signed in pencil, plate size 203 x 182 mm (8 x 7.2 ins), with margins, framed and glazed, with original printed label to verso Considered to be the artist's greatest print, the self-portrait wearing a hat was exhibited at the Seventh Exhibition of Modern Masters of Etching at the Leicester Galleries in 1922, at which all impressions were sold out on the first day. The work was described as "one of the finest etched portraits of contemporary times". (2)
Lot 494
*Strang (William, 1859-1921). A Matter of Fact, 1901, etching with aquatint, the second state, signed in pencil, with annotation regarding the state by David Strang, plate size 14.5 x 20 cm (5.75 x 7.9 ins), with margins, light spotting to edges, framed and glazed, together with The Farmer's Boy, 1902, etching with aquatint, a touched proof of the first state, initialled and annotated by David Strang in pencil to lower margin, plate size 22.5 x 17.5 cm (8.8 x 6.9 ins) with short margins, framed and glazed, plus The Greengrocer's Shop, 1884, etching, signed by William Strang and David Strang in pencil, plate size 17.7 x 22.7 cm (7 x 9 ins), framed and glazed, and three other etchings by William Strang, including one signed of a peasant couple, dated 1911, and a portrait of Thomas Hardy (second and final state), 1893, and another of women fieldworkers, all framed and glazed Strang 492, 535 & 78 for the first three works respectively. (6)
Lot 495
Tanner (Robin, 1904-1988). Illustration for Thomas Gray's Elegy, 1980, etching, signed with initials in pencil, and dated 1981, as published in Thomas Gray, Elegy written in a Country Churchyard, published by Robin Garton, 1981, in an edition of 100, plate size 138 x 144 mm (5.45 x 5.95 ins), sheet size 255 x 185 mm (10 x 7.25 ins), top edge gilt, original dark brown quarter morocco gilt, with paper wrapper, and publisher's cardboard box Garton 41, ii/ii. This copy numbered 77, and additionally signed by Robin Tanner to the limitation leaf. (1)
Lot 498
*Walcot (William, 1874-1943). The Thames from Waterloo Bridge, 1913, etching on cream wove paper, with plate tone, from the published edition of 100, signed in pencil lower right, plate size 95 x 180 mm (3.75 x 7 ins), framed and glazed, with Doig, Wilson, & Wheatley, Edinburgh label to verso (1)
Lot 499
*Walcot (William, 1874-1943). Battery Park, New York (from the New York set), 1923, etching and drypoint on A.C. & H.W. Dickins handmade paper, from the edition of 375, with watermark, signed in pencil, publisher's blindstamp to lower right blank margin, plate size 146 x 146 mm (5.75 x 5.75 ins), sheet size 267 x 302 mm (10.5 x 11.75 ins), mounted (1)
Lot 611
*@Hockney (David, 1937-). My Bonnie Lies Over the Ocean, 1962, etching with aquatint printed in red, blue and black with collage on Crisbrook handmade paper, signed and dated in pencil and numbered 36/50, printed by Ron Fuller and Peter Matthews at the Royal College of Art, London, pale toning, some handling marks to margins, plate size 45 x 45 cm (17.7 x 17.7 ins), sheet size 56.5 x 80 cm (22.25 x 31.5 ins), framed and glazed Tyler 29. Scottish Arts Council 13. Lyndsey Ingram (2017) 11. (1)
Lot 622
*Procktor (Patrick, 1936-2003). Municipal Gardens, Johannesburg (from the South African Suite), etching with aquatint on wove paper, signed and inscribed AP in pencil, an artist's proof aside from the edition published by Editions Alecto, publisher's blindstamps to lower edge, with full margins, 172 x 120 mm (6.75 x 4.75 ins), framed and glazed (1)
Lot 632
The Tower Of London; A collection of antique publications relating to The Tower Of London. Comprising; ' The Tower - A Series Of Etchings With Vignettes ' by CRB Barrett, pub. Catty & Dobson 1889. First edition, in stiff red cloth boards, featuring 13 full page tissue guarded etchings, each of which is followed by a page or more of text. Along with ' Authorised Guide To The Tower Of London,' by WJ Loftie, London, 1894 - second revised edition in soft paper covers with illustrations and plans, 'Authorised Guide To The Tower Of London,' 1937 and a Tower Of London etching print signed by the artist HG Hampton (1889-1943). Largest measures 38.5 cm.
![*Catesby (Mark). Rubecula American. The Blew bird, [1731 or later], etching with contemporary hand colouring, water colour fa](https://cdn.globalauctionplatform.com/5d649fdf-273f-443c-be59-a89000a7dba0/76fa5284-af87-4877-e0dd-a698e4c0b74a/468x382.jpg)
Lot 231
*Catesby (Mark). Rubecula American. The Blew bird, [1731 or later], etching with contemporary hand colouring, water colour faded, small rust hole to image, 265 x 360 mm, mounted, framed and glazed Originally published in 'The natural history of Carolina, Florida, and the Bahama Islands: containing the figures of birds, beasts, fishes, serpents, insects, and plants ; particulary the forest-trees, shrues, and other plants...,'. (1)
Lot 253
*London. Boydell (J. publisher), A View of Westminster Bridge, 1753, hand coloured engraving, title and description repeated in French, 250 x 415 mm, mounted, framed and glazed, together with Higham (Thomas), View of the Architectural Improvements in the Vicinity of the Bank and the Mansion House, circa 1840, hand coloured engraving, 215 x 410 mm, mounted, framed and glazed, with Wallis (Henry), The Bank of England & Royal Exchange Cornhill, with King WIlliam Street, circa 1840, hand coloured engraving, stained, 220 x 415 mm, mounted, framed and glazed, plus Ashworth (G. C.), Pump Court, Temple, circa 1940, uncoloured etching, titled and signed in pencil by artist below image, 240 x 305 mm, mounted, framed and glazed (4)
Lot 268
*Transport. The New Steam Carriage, published Thos. McLean, circa 1830, hand coloured aquatint after G. Morton, 290 x 400mm, mounted, framed and glazed, together with Stop him who can!! an English patentee introducing a French hobby-horse - or a bit of a push down Highgate-hill to Long acre, circa 1830, etching with contemporary hand colouring, trimmed to image, some creasing, repaired closed tears affecting image, 250 x 350 mm, mounted, framed and glazed, with Truminer (C., publisher), Ludwigs Eisenbahn von Nurnberg und Furth, circa 1840, early German railway lithograph with contemporary hand colouring, horizontal and vertical folds, 285 x 325 mm, mounted, framed and glazed (3)
Lot 281
*Cruikshank (Isaac 1764 - 1811). The Graces of 1794, published S. W. Fores, July 21st. 1794, etching with contemporary hand colouring, one small ink stain to upper left of image, slight creasing, 390 x 330 mm, framed and glazed A rather extreme version of the popular conceit of lampooning the fashions of the day with the central figure being completely bare-breasted. A description and comment from M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VII, 1942, noted that: According to the 'Sporting Magazine', iv. 228, July 1794, 'feminine dress of the present fashion is, perhaps, the most indecent ever worn in this country. The breast is altogether displayed; and the whole drapery, by the wanton management of the wearer in throwing it behind her, is made to cling so to the figure, that nothing can be said to be completely concealed. Well may it be necessary to veil the face'. BM no. 8571. (1)
Lot 284
*Cruikshank (George, 1792-1878). The Pall Mall Apollo or R - ty in a Blaze!!!, published in 'The Scourge', March 1st 1816, aquatint with contemporary hand colouring, old folds, 205 x 485 mm, mounted [BM 12746], together with Odds & Ends for Febuary (sic) 1816, engraving with contemporary hand colouring, margins torn with slight loss and repaired, old folds, 215 x 490 mm, mounted [BM 12714], with John Bull in the Council Chamber, published July 1st 1813, etching with contemporary hand colouring, old folds, 200 x 490 mm, mounted [ BM 12066] (3)
Lot 287
*Dighton (Richard). An Illustrious Consort, published T. McLean, 1818, etching with contemporary hand colouring, mount stained, 215 x 185 mm, together with Old Q-uiz the old Goat of Piccadilly, published R. Dighton, 1796, hand coloured etching, mount stained, 245 x 205 mm, with A Good Whip, published T. McLean, 1818, etching with contemporary hand colouring, 280 x 225 mm, with another seventeen etched caricatures, most with contemporary colouring, some mount staining and toning, various sizes and condition (20)
Lot 289
*Dighton (Richard). A Lawyer & his Client, May 1812, etching with contemporary hand colouring, 275 x 215 mm, mounted, framed and glazed, together with Landseer (Thomas), Cow and Calf, published Darton & Clarke, circa 1870, hand coloured etching, 215 x 275 m, mounted, framed and glazed, with Dean & Co., (publishers), The Princess Royal on her favourite pony in the Duke of Athol's Park, circa 1842, lithograph with contemporary hand colouring, 215 x 270 mm, mounted, framed and glazed Provenance: Gerald Tyrwhitt-Wilson, 14th Lord Berners, Faringdon House, Oxfordshire. (3)
Lot 302
*Gillray (James). Political Amusements for Young Gentlemen; - or - The Old Brentford Shuttlecock, between Old Sarum, & the Temple of St. Steevens, published H. Humphrey, March 15th, 1801, etching with contemporary hand colouring, near contemporary marginalia identifying the protagonists, slight spotting to margins, 255 x 360 mm BM 9716. (1)
Lot 303
*Gillray (James). Palemon and Lavinia, published H. Humphrey, January 23rd. 1805, etching with bright contemporary hand colouring, some dust soiling and marginal closed tears, not affecting image, 255 x 360 mm, together with Miss, I have a monstrous crow to pluck with you!!, published H. Humphrey Nov. 1st. 1794, engraving with contemporary hand colouring, some adhesion marks to verso, trimmed to plate mark, 240 x 295 mm, with - and would'st thou turn the vile reproach on me?, published H. Humphrey, Feby. 2nd. 1807, etching with contemporary hand colouring, some adhesion marks to verso, 245 x 345 mm, and Cymon & Iphigena [published H. Humphrey, May 1796], engraving with contemporary hand colouring, trimmed to image with loss of publication line, laid on later paper, 235 x 270 mm (4)
Lot 304
*Gillray (James). British Tars towing the Danish Fleet into Harbour; - the Broadbottom Leviathan trying to swamp Billy's old Boat & the little Corsican tottering on the Clouds of Ambition, published H. Humphrey, Oct 1st. 1807, etching with contemporary hand colouring, trimmed to plate mark, slight adhesion scarring to verso, 250 x 360 mm BM 10762. (1)
Lot 307
*Gillray (James). Pylades & Orestes, published H. Humphrey, April 1st 1797, engraving with contemporary hand colouring, trimmed to image with margins strengthened on verso, 350 x 250 mm, together with A Military Sketch of a Gilt Stick or Poker Emblazoned, published H. Humphrey, June 11th 1800, engraving with contemporary hand colouring, good margins, 250 x 200 mm, with - so Skiffy-Skipt on with his wonted grace, published H. Humphrey, Feb. 1st 1800, engraving with contemporary hand colouring, trimmed to image, slight staining, adhesion scarring to verso, 250 x 175 mm, plus Taking Physick, published H. Humphrey, Feby. 6th 1800, hand coloured etching, 260 x 200 mm, with another uncoloured example with some dust soiling, creasing and repaired marginal closed tears (5)
Lot 308
*Gillray (James). The Wounded Lion..., "and now, all the sculking herd of the forest, some out of Insolence, others in Revenge, some, in fine, upon one Pretence, some upon another, fell upon him by Consent - but nothing went so near the Heart of him in his Distress, as to find himself batter'd by the Heel of an Ass." - Vide Aesop's Fables - published H. Humphrey, July 16th 1805, etching with contemporary hand colouring, thread margins, 260 x 360 mm Scarce Gillray cartoon showing Lord Melville depicted as the wounded lion, with blood flowing from wounds inflicted by a cannon and from the bites of a snake (Grey - Whitbread's brother-in-law) and a Fox (Charles James Fox). A dog (Kinnaird) bites the lions tail. Under the lion's paws are papers _ 'Plans for Manning of the Navy - List of ships built in 1804 . . . of ye Line'; 'Abolition of Impress'. The cannon - shaped like a giant tankard - is fired by St. Vincent who crouches behind a withered tree. Part of the blast from the cannon - labelled 'Condemnation without trial' - strikes Britannia beneath the heart and she sits apparantly mortally wounded at the base of an oak tree. (1)
Lot 310
*Gillray (James). Theatrical Mendicants relieved - have pity upon all our Aches & Wantes, published H. Humphrey. Jany. 15th 1809, etching with aquatint with contemporary hand colouring, good margins, slight dust soiling and staining largely confined to borders, adhesion scarring to corners on verso, 265 x 360 mm BM 11413. (1)
Lot 323
*Maritime. A collection of six caricatures all relating to sailors and the sea, 19th century, including Roberts (Piercy), Nautical Experience, published Thomas Tegg, 1818, etching with contemporary hand colouring, trimmed to plate mark and tipped on to later paper, 250 x 325 mm, mounted, together with Williams (C.), A Naval Enquiry with a Naughtical explanation, published S. W. Fores, 1805, etching with contemporary hand colouring, trimmed to image, some adhesion scarring to verso, 240 x 335 mm, mounted, with Tregear (G. S., publisher), Shiver my topsails mate, lend us your hand. I wish I may get it, circa 1825, lithograph with contemporary hand colouring, some staining and old watercolour marks to margins, 335 x 200 mm, mounted, plus Williams (C.), The Sailor's Defence, published Woodward, circa 1810, etching with contemporary hand colouring, one repaired closed tear affecting image, 240 x 350 mm, mounted, and Rowlandson (Thomas), A Sailor's Marriage, published R. Ackermann, 1805, etching with contemporary hand colourings, slight toning, 265 x 340 mm, mounted, with one other similar (6)
Lot 328
*Rowlandson (Thomas). Dropsy courting Consumption, circa 1810, etching with contemporary hand colouring, trimmed to neatline, slight dust soiling, 325 x 230 mm, together with A Nincompoop or Hen Peck'd husband, published T. Tegg, circa 1820, etching with contemporary hand colouring, trimmed to neatline, slight dust soiling, 320 x 220 mm, with The Bull and Mouth, published T. Tegg, circa 1820, etching after Woodward, contemporary hand colouring, trimmed to image, 325 x 225 mm (3)
Lot 331
*Rowlandson (Thomas). A Monkey Merchant, 1806, etching with contemporary hand colouring, good margins, 295 x 235 mm, together with Odd fellows from Downing Street complaining to John Bull, circa 1820, etching after Woodward, contemporary hand colouring, slight dust soiling and staining to margins, 245 x 345 mm (2)
![*Rowlandson (Thomas, 1756-1827). A Lamentable case of a Jury-man, published Thomas Tegg, [1815], etching with contemporary ha](https://cdn.globalauctionplatform.com/5d649fdf-273f-443c-be59-a89000a7dba0/f1fc2822-359f-4f01-f85c-a9f5c3dc1051/468x382.jpg)
Lot 332
*Rowlandson (Thomas, 1756-1827). A Lamentable case of a Jury-man, published Thomas Tegg, [1815], etching with contemporary hand colouring, 235 x 325 mm, mounted, framed and glazed A judge waits too long before allowing an incontinent jury man to withdraw. The results are evident as his fellow jurers hold their noses. (1)
Lot 336
*Seymour (Robert). A Parliamentary Game of Shuttlecock, published Thoma McLean, circa 1830, etching with contemporary hand colouring, good margins, 245 x 345 mm, with another copy similar, together with The Church in Danger, or a very uncommon Paris Dinner, published Thomas McLean, circa 1830, etching with contemporary hand colouring, slight staining, 370 x 260 mm, with The Catholic Sovereign Safety-Coach. A new start from Windsor Castle, a regular out and outer, published S. W. Fores, 1829, etching with contemporary hand colouring, 250 x 375 mm, plus, Ab - n - hy and the Barrister, published Thomas McLean, circa 1830, etching with contemporary hand colouring, trimmed to neatline, 245 x 350 mm, with another approximately forty etchings and engravings, various sizes and condition (approx.44)
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