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Lot 200
A pair of mid-century rosewood metamorphic lamp tables, each of unusual configuration having a lift-out bookmatched rosewood veneered top reversing to a polished black surface to the underside, no maker's marks but in a similar style to a model by Danish designer Ole Wanscher48 x 76 x 46cmSuper condition with good figuring to the veneers on the top and only light wear to the black surfacesStucturally sound with no play in the joints
Lot 24
An Art Nouveau silver mounted Royal Doulton coffee service, comprising six flambé glazed cups with pierced Art Nouveau holders, six silver coffee bean spoons and six silver saucers, all bearing the maker's mark for Roberts & Belk and hallmarked Sheffield 1933, the underside of the cups stamped 'Royal Doulton Flambe'the cups, 6cm high; the saucers, 8.5cm diameterOne cup with a small chip to rim, otherwise in good overall condition noting some light scratching and wear commensurate with age and use.
Lot 248
§ Murray McNeel Caird Urquhart (1880-1972) Portrait of Juley (Behrend) on Bess with her dog Chippy and Watership Down in the distancesigned and dated 'MURRAY / URQUHART / 1923' (lower left)oil on canvas43 x 50.5cmProvenance:The Collection of J.L. Behrend EsqThe Collection of George Behrend Esqwith J.L.W. Bird Fine Art, LondonExhibited:London, J.L.W. Bird Fine Art, Christmas Exhibition, 18-23 December 1978, cat. no.33The surface with light surface dirt and with a handful of very minor scattered accretions, would benefit from a very gentle clean, but overall in nice and presentable condition. Has not been relined. Under UV three small areas in the sky show some retouching. See additional images.
Lot 26
A Macintyre Moorcroft Dura ware jug, pattern no. 356816, circa 1902, of 'Kimberly' shape, the body tube line decorated with a motif of stylised open and closed poppies amongst scrolling foliage, in shades of brown and green over a peach ground, printed marks to underside16cm high together with a Moorcroft Pansy pattern bottle vase, decorated over a sage green ground, impressed and painted marks to underside, original paper label 21cm highThe jug in good condition, noting some light crazing and a fwe scratches within the glaze, the vase also in good overall condition, but some blistering to the glaze at the rim and minor glaze chips, also to the rim.
Lot 272
§ Lady Rose Henriques (1889-1972)The Clothes Sale, East Londonsigned and dated 'HENRIQUES 60' (lower left)oil on board50 x 60cm The daughter of James Henry Loewe, a banker’s agent from Brighton, and Emma (née Immerwahr) a transplant from Beuthen in Upper Silesia, Rose Louise Henriques (née Loewe) was born in Stoke Newington, London, in 1889. Born to a prominent Jewish orthodox family, Rose was both encouraged to explore her passions and talents and was afforded the practical and financial resources to do so. After showing early promise as a musician, Rose, then aged 16, was sent to live with her aunts in Breslau (now Wrocław) where she trained as a pianist and became fluent in German. However, her musical education was interrupted when, in 1914, just prior to the outbreak of the First World War, Rose was forced to return to London.It was shortly after her return to the United Kingdom that Rose met her future husband, Basil Henriques. Basil, himself a philanthropist concerned with social work, quickly convinced Rose to abandon any professional artistic aspirations and, instead, dedicate herself to a life of altruistic pursuits. In March 1914, Basil had established the Oxford and St George Jewish Boys' Club at 125 Cannon Street Road, Stepney, the aim of which was to offer education, recreation and holidays to the deprived Jewish children of London’s East End. In 1915, a year prior to the pair’s marriage, Rose founded a corresponding group for Jewish girls and was instrumental in the management and day to day running of both clubs, whilst Basil was fulfilling his military duties. Once reunited and married, the pair established the St George's Jewish Settlement which offered broad and far-reaching welfare services including mother and baby welfare, help for the aged, the promotion of education and participation in Jewish religious life and in the arts. Initially based in Betts Street, in 1929 the premises of the settlement moved to Berner Street, which was subsequently renamed Henriques Street in recognition of Rose and Basil. In addition to her local social work, following the Second World War, Rose travelled to Germany where she worked alongside several Jewish welfare groups at the former Bergen-Belsen concentration camp and later, upon her return to London, was appointed as the chair of the British Ose Society for promoting mental and physical health and foundered Workrooms for the Elderly in east London. In 1964, Rose was awarded the Henrietta Szold Award for services to the Jewish community and in 1971 was awarded the CBE for her social work in the East End.Although Rose committed much of her life to philanthropy, she continued her artistic practice and could often be found snatching lively vignettes of everyday life in the nearby Jewish communities of Aldgate, Spitalfields and Whitechapel. Although best known for her striking depictions of wartime London, witnessed first-hand during her roles as a VAD nurse in the First World War and as an air-raid warden in the Second World War, the present lot offers an important and fascinating insight into Jewish life in London during the latter half of the 20th century and is demonstrative of her bold use of colour and assertive handling of paint.Some typical surface dirt and some yellowing of the varnish layer commensurate with age, would benefit perhaps from a very gentle clean. One very small loss of paint om the top left corner (see image five) and on or two very minor accretions visible under strong light, mostly localised to the top half of the board, otherwise in nice, presentable condition.
Lot 277
§ Simon Bussy (1870-1954) An Asian Fairy-bluebirdsigned with monogram and dated 40 (lower left)oil on board26.5 x 21cmProvenance:Purchased directly from the artist by Pamela, Lady Glenconnor (1903-1989)by whom gifted to Anne, Lady Glenconner (1932-)and by descent within the family to the present ownerBorn to a family of shoemakers in Dole, France, during a period in which the provincial bourgeoisie classes were rapidly expanding, Simon Bussy was the first in his family afforded the opportunity to liberate himself from the restrictive shackles of the family trade. Although an accomplished painter of portraits and landscapes, it is for his small-scale studies of animals, particularly those of birds and reptiles, that Bussy is perhaps best known today.As a young man, Bussy was awarded a scholarship to study at the local drawing school, before travelling to Paris to study under Gustave Moreau at the École des Beaux-Arts. Whilst he gained valuable experience under Moreau, the Symbolist works of his mentor were of little consequence to Bussy, who cited Japanese prints and the works of painters, such as James Abbott McNeill Whistler and Edgar Degas, as his primary influences.After a successful solo exhibition at the hugely influential and innovative Galerie Durand-Rue, in 1901, Bussy left Paris for London. Upon his arrival in the city, Bussy was quickly introduced to the fashionable Bohemian scene by his friend and fellow artist, William Rothenstein. It was during this time that Bussy was introduced to Dorothy Strachey, who, in 1903, would become his wife. As a novelist in her own right and as the sister of Lytton Strachey, Dorothy and Simon were closely associated with the Bloomsbury Group and would often host members, including Vanessa Bell and Duncan Grant, at their marital home, Le Souco, in Roquebrune, near Monaco.Alternating between Roquebrune and London, it was in the United Kingdom, specifically at London Zoo, where Bussy is known to have created most of his animal studies. Discussing these works, Bussy wrote: “Every work is an invention, a poetic composition, not only decorative. In the animals I paint and in the environment around them there is no element that has not been the subject of a patient observation”. Indeed, through his bold and confident presentation of colour, simplification of form and space and the meticulous and nuanced interpretation of the character of each animal, the present lots demonstrate the seamless confluence of the formal and the more ineffable and totemic qualities that have made Bussy’s works so collectable.The board with a light layer of surface dirt and some negligible accretions (mostly isolated to the lower left quadrant). Paint layer appears in good order overall, though there are some networks of very fine cracks largely located to the sky and buildings. Colours appear bright and strong. See additional images.
Lot 284
§ Lucy Harwood (1893-1972) Avenue of treessigned to the reverseoil on canvas49 x 59.5cmThe surface quite dirty with a number of small scattered accretions and a light brown liquid staining running down the centre of the image. Paint layer appears generally stable with no flaking of cleavage. Some very minute pinholes in the canvas at each corner and at the top and bottom edges, likely done by the artist during execution. Canvas is in plane, but tension perhaps slightly slack. Would benefit from a clean, but generally in sound condition.
Lot 288
§ Eric Woodward (20th century) Grasshopperssigned and dated 'EJ. WOODWARD 55' (lower right)wax tempera on board39 x 75cmOverall in very nice condition, a handful of very minor accretions on the body of the large grasshopper and some light surface scratches visible under torchlight, otherwise in good condition.
Lot 308
§ Ken Howard OBE, Hon RBA, PPNEAC, RA, ROI (1932-2022) Figure against a balustrade, Venicesigned 'Ken Howard.' (lower right)oil on board, unframed25.5 x 20cmOil on canvas board, unframed, the corners with slight rubbing, but otherwise good. The surface has a number of light diagonal scratches, but these appear to have been created by the artist during execution, otherwise in nice condition
Lot 31
A Clarice Cliff Winston Churchill toby jug, circa 1940, modelled as the First Sea Lord seated on a British bulldog and holding a camouflage-painted battleship, the integral plinth base inscribed 'Going into action and may God defend the right', printed Royal Staffordshire Pottery and Clarice Cliff marks and hand painted 'No 34' to the underside31cm highIn seemingly good condition with no apparent damages or repairs, examined under UV light. Minor crazing only.
Lot 314
§ Edward Wesson RI, RSMA (1910-1983) By the Seinesigned 'Wesson' (lower right)oil on board, unframed27 x 37cmWould benefit from a light clean as the surface has accumulated some dirt. Edges of the unframed board have suffered some small knocks and there is a small loss in the upper left corner.
Lot 32
The full set of eleven Wilkinson character jugs, designed by Sir Francis Carruthers Gould, depicting the allied commanders of the First World War and comprising Lord Kitchener, holding a jug inscribed 'Bitter for the Kaiser'; Admiral Beatty, holding a shell inscribed 'Dread Nought'; Field Marshall Haig, seated upon a tank, titled 'Push and Go' to the base; Admiral Jellicoe, holding a jug inscribed 'Hell Fire Jack'; Marshall Joffre, holding a shell inscribed '75mm Ce que joffre'; Lord French, holding a jug inscribed 'French Pour Les Francais'; the Rt. Hon. D. Lloyd George, holding a shell titled 'Shell Out!'; Marshall Foch holding a champagne bottle inscribed 'Au Diable Le Kaiser'; General Botha, holding a jug inscribed 'Loyalty'; Woodrow Wilson, with an aeroplane on his lap, the base inscribed 'Welcome! Uncle Sam'; King George V, holding a globe, the base inscribed 'Pro Patria', all with printed marks, facsimile signatures and retailer's marks for Soane & Smiththe largest 31cm highWoodrow Wilson with a small chip to the underside of one wing of the plane, Lord French with some small paint loss to the blue on one Union Jack, Field Marshall Haig with some light paint loss to the propellor handle, otherwise, all in generally good condition, noting some crazing to all.
Lot 338
§ Tessa Newcomb (1955-) Dog in the watersigned with initials and dated 89 (lower right)oil on board, unframed20 x 30cmOil on board which has been mounted, probably using glue, to a larger board. The top right hand corner of the board has a small dog-ear loss and the other edges and corners with small nibbles etc. The surface of the board has a number of light scratches and one or two deeper scratches resulting in minor paint loss. See additional images.
Lot 349
William Black (20th century) Hills and Riverssigned and dated 'William Black 64' (lower right)ink and watercolour, unframed15 x 21.5cm;together with an untitled composition of boats and circlessigned and dated 'William Black 65' (lower right)ink and watercolour, unframed21.5 x 15cmHills and Rivers: Overall in nice condition, the sheet with typical age toning, though this is light and uniform throughout. The outermost edges along the top of the sheet with some deeper discolouration, though this is only evident upon very close inspection. One small crease approx 1cm in the left hand margin, some very minor undulation of the sheet and the margins also with some paint marks caused by the artist during execution.Untitled: In nice overall condition, the sheet slightly toned with age but this is uniform and even throughout. Minor undulation to sheet, otherwise good.
Lot 350
William Black (20th century) A group of four works, to include two abstract studies, a harbour abstract, and a bottle still lifethree signed 'William Black' (lower right); one signed 'W Black' (lower right)ink and watercolour, unframed9 x 11.5cm, 9.5 x 12cm, 10 x 11.5cm and 12 x 9.5cm Harbour Abstract: The sheet with typical toning, this is mostly even, but deepening slightly in the left-hand margin. Perhaps some slight fading, but overall goodBottled Sunshine: Typical age toning throughout, mostly light but deepening in colour at the top right, some very slight fading, but overall good conditionAbstract (1): Some slight fading to watercolour, slight age toning with one instance of negligible foxing along the top edgeAbstract (2): Slight fading commensurate with age, sheet likely toned though it is difficult to ascertain due to the watercolour over the top, overall in nice condition
Lot 356
William Black (20th century) Coastal Abstractsigned 'William Black' (lower right)oil on paper laid to board, unframed71 x 56.5cmOil on paper that has been stuck down to board, edges of the paper support are a little rough, particularly along the top edge. The surface with a typical but light layer of surface dirt and with a few minor scattered accretions. Pint layer in generally good condition, but, upon close inspection, with one small area where a fine network of drying cracks has appeared.
Lot 360
William Black (20th century) Sea Urchinssigned and dated 'William Black 64' (lower right)ink and watercolour, unframed13 x 18cm;together with another untitled of boats and flowerssigned and dated 'William Black 63' (lower right)ink and watercolour, unframed13 x 20cm(2)Sea Urchins: Nice bright colours, some slight age toning to sheet, margins with some very minor blemishes likely caused by the artist during execution. Overall in nice condition.Untitled: The bottom edge rough and irregular, perhaps from being removed from a sketchbook. Typical light age toning most evident in the right-hand margin, perhaps some fading to the watercolour, but overall in nice, attractive condition.
Lot 361
William Black (20th century) Harboursigned and dated 'William Black 65' (lower right)ink and watercolour, unframed21.5 x 15cm;together with Birds and Boatssigned and dated 'William Black 65' (lower right)ink and watercolour, unframed21.5 x 15cm(2)Harbour: Typically age toned and with some foxing along the right-hand edge. The top edge with a very small but deep crease which has split slightly at the top (Birds and Boats: Overall in nice condition. Typically toned, though this is very light and uniform throughout, some very minor fading, otherwise in nice condition.
Lot 393
Amédée Marcel-Clément (1873-1950) Storm at Seasigned 'MarcelClément' (lower left); further signed oil on board, unframed60 x 92cmParisian-born painter, Amédée Marcel-Clément, possessed a dextrous and confident hand in all that he painted, from his lively wildlife subjects to his evocative landscapes and bustling urban Parisian cityscapes, though it is for his maritime scenes that he is most widely celebrated.Born in 1873, biographical information about Marcel-Clément is sadly lacking, but he is recorded as having completed his training at the Salon des Beaux-Arts in Paris, with contemporary records from the school describing a painting by the nascent artist as possessing an ‘accuracy of attitude, a truth of colouring that make this little genre painting one of the most interesting canvases of the exhibition.’ In 1903, Marcel-Clément made his debut at the Salon de la Nationale des Beaux-Arts - he continued to exhibit at the Salon and at the Salon des Indépendants for the rest of his career. Between 1913 and 1914, Marcel-Clément established an international reputation when he exhibited at the Walker Gallery, Liverpool and at the Royal Scottish Academy.Marcel-Clément’s virtuosity undoubtedly lies in his masterful handling of light, shade and colour. In the present lot, an astonishing example of Marcel-Clément’s proficiency, auroral sunlight bursts through the leaden veil of clouds and hangs above the languid, glassy surf as small boats in the foreground cut through the silvery tonalities of the water, leaving trails of lilac in their wake.Oil on hardboard, some areas of board showing through in thinner passages of paint. Slight areas of damage to all edges, with some paint losses in each corner. The surface shows some white scattered accretions throughout, but mainly located in the upper left quadrant. There is a small scuff through the signature and the lower right hand edge shows a small area of raised paint and discolouration (see additional images). Outermost edges of the board have not been varnished. The main image is the most closely representative of the real life colours.
Lot 406
§ Richard Bawden RWS, NEAC, RE (British 1936-) Southwoldsigned 'Richard Bawden' (lower right); numbered 42/75etching and aquatint34 x 47cmNot examined out of the frame. Condition is generally good, though there is some negligible undulation to the surface visible under raking light and the outer margins are typically toned commensurate with age, though this is light and uniform. Flies beneath glass but they are largely confined to the mountboard and not the image itself.
Lot 416
§ Sandra Blow RA (1925-2006) Side Effectsigned 'Sandra Blow' (lower right); numbered 26/50screenprint, unframed120 x 120cmSome minor handling creases and marks and with one or two minor knocks, some very light foxing along the outermost top and bottom edges, otherwise in nice, clean condition
Lot 420
§ Albert Irvin OBE, RA (1922-2015) Star IVsigned and dated 'Albert Irvin '93' (lower left); numbered 166/125screenprint67 x 91cmWith signed Wiseman Original certificate of authenticityNot examined out of the frame. Colours bright and strong, perhaps some minor age toning to the outer margins of the sheet, though this is light and uniform throughout. Some undulation of the sheet visible along the top edge and with some debris trapped beneath the glass, otherwise good.
Lot 421
§ Albert Irvin OBE, RA (1922-2015) Star IIsigned and dated 'Irvin '93' (lower left); numbered 116/125screenprint67 x 91cmWith signed Wiseman Original certificate of authenticityNot examined out of the frame. Colours appear bright and strong. Perhaps some minor age toning to the outer margins, though this is light and uniform throughout. Some undulation visible along the top edge, a little debris trapped beneath glass though this is largely isolated to the margins. Otherwise in nice condition.
Lot 455
§ Brendan Neiland (1941-) A group of three unframed screenprints, to include: Hampton Court, 1984, numbered 30/250, 85 x 60cm; Pimlico, 1975, numbered 48/50, 67 x 88cm; and Concourse, numbered 3/85, 95 x 69.5cmeach signed 'Brendan Neiland' (lower right)Hampton Court: Perhaps some very slight toning of the margins, with some light handling creases visible under raking light, but overall in nice, clean conditionPimlico: Some light handling creases to the margins and the lower margins with some grubby marks at the outermost margins, one further blemish along the right hand outermost edge, otherwise in nice conditionConcourse: With some overall age toning, and some very light handling creases, otherwise in nice condition.
Lot 465
§ Jean Dufy (1888-1964) La Promenadesigned 'Jean Dufy' (lower right); numbered 14/225lithograph52 x 66cmNot examined out of the frame, margins obscured by mount so not available for inspection. Perhaps some slight age toning to to the sheet, but this is light and uniform. Some light foxing in the lower left-hand corner, otherwise in nice, clean condition.
Lot 74
§ Rick Kirby (1952-), The Shard, 2012, welded stainless steel, mounted to a steel column base204cm high overall, the sculpture 110cm highIn generally good condition noting light rust spots.The sculpture itself is app. 50cm wide and 17cm deep, it is 110cm high, 204cm overall including the pedestal.
Lot 94
A Newlyn copper letter rack, the planished body embellished with a repoussé tulip motif, stamped Newlyn to the underside15 x 25 x 9.5cm together with an Art Nouveau copper casket, repoussé decorated with typical foliate motifs 9 x 24.5 x 12.5cmThe letter rack in good condition noting only light surface wear, the box rather tiney and with notable loss of finish.Whiplash decoration is repousse and not applied and is light gauge
Lot 1
A Baccarat Dupont glass concentric millefiori paperweight, set with a garland, centred by a stardust cane, encircled by a concentric ring of pink cog canes and a larger garland of pink pastry mould and green complex cogwheel canes 7cm diameter the second, a miniature example with a central cog cane surrounded by a ring of seven cogs and an outer ring composed of five Clichy roses separated by an arrangement of ten edelweiss canes 4.5cm diameterThe larger: a couple of light bruises and surface scratchingThe smaller: with several surface bruises/chips and some surface scratching
Lot 100
A Louis Vuitton lady's hat box or square steamer trunk, circa 1940s, the leather-bound monogrammed body with lift-out ribbon Cage Paradis, stamped to hardware46 x 51 x 44cmDimensions provided are in the order of h x w x d.In generally good condition, some fading and wear, a few signs of historic woodworm to timber rails on base, light rust to bracing, generally wear is commensurate with age and use.
Lot 106
A stainless steel and glass pendant light shade, the relief-moulded amber glass frieze attributed to Whitefriars26 x 24cmBy repute, the 10 glass cruciforms that make up the frieze were originally part of a glass 'wall' created by Geoffrey Baxter for Whitefriars.glass in super condition with no known faults of damageA few light marks and scuffing to the spun aluminium body
Lot 14
Edvin Ohstrom for Orrefors, a 'Girl and Dove' Ariel glass vase, of tapering opal form in clear crystal and electric blue glass and internally decorated with a bird and female profile, the design heightened with amber staining, acid-etched marks to underside21cm highIn good condition, free from damage or repair, very light surface wear only.
Lot 1332
Hamilton Watch Co. 37500 aircraft clock, the 2.75" black dial with four subsidiary dials and centre seconds, within a black casing and upon a Perspex stand, 6" high overall; also a Russian aircraft clock, the 2.75" black dial with centre seconds and subsidiary hour and seconds dials, within a light grey metal casing and upon a Perspex stand, 6" high overall (2)
Lot 1337
The Hamilton chronometer watch (model 22), the 2.5" cream dial signed Hamilton, Lancaster, PA., U.S.A., with forty eight hour state of wind indicator and subsidiary seconds dial, within a light grey casing; also within a mahogany hinged case fitted to the front with a plaque inscribed with operating instructions and within a mahogany guard case with leather straps
Lot 1350
George Daniels - All In Good Time, very rare limited edition no. 5/27 and signed by the author, within a light brown Nigerian goatskin leather binding with concentric gilt decoration, the centre with a circular window displaying a clock wheel made and signed by George Daniels, within a drop-back box * This book is sold with a letter from the publishers, Peoples Archive, detailing the content and construction of the book
Lot 1513
French Boulle two train balloon mantel clock garniture, the 3.5" white dial signed Mouillard, Le Mans, the Mougin movement with outside countwheel and striking on a bell, within a gilt metal mounted balloon shaped case, 14" high (pendulum and key); also with a pair of matching twin light candelabra, 9" high
Lot 2322
French green onyx and gilt metal mounted two train mantel clock garniture, the Mougin movement with outside countwheel striking on a bell, the 3.25" cream painted dial inset into a pillar over a stepped base and surmounted by a kneeling Cupid, 13.5" high (pendulum and key); also a pair of matching two light candelabra, 11.25" high
Lot 2330
French black slate and rouge veined marble mounted two train mantel clock garniture, the S. Marti movement with outside countwheel striking on a bell, the 3.5" cream dial signed Sams Gallandon, within a stepped case applied with gilt metal mounts and surmounted by a classical urn, 18.25" high (pendulum and key); also a pair of matching five light candelabra, 17.25" high
Lot 186
Staunton (Sir George Leonard) engraved uncoloured map, A Chart of the Islands to the South of the Tchu-San on the Eastern Coast of China, generally laid down from one published by Alexander Dalrymple Esq.with additions and alterations by J. B. Arrow, c.1797, pub. London, W. Bulmer & Co. for G. Nicol, 21¾ x 14in. (55.25 x 35.5cm.); together with Sketch of the Pay-Ho or White River and of the Road from Pekin to Geho, taken 1793, H.W. Parish Royal Artillery, pub. 1796, 18 x 13½in. (45.75 x 34.25cm.), both mounted, unframed. (2)* Condition: - Tchu-San: Occasional spotting. Lower margin has two small tears and other tiny splits - possibly slightly trimmed.- Pay-Ho: Occasional light spotting. Several small handling creases. Otherwise good.
Lot 209
A pair of Chinese porcelain famille jaune erotic groups early 20th century, each depicting a male and female cavorting on a sofa, impressed four character seal marks to base, 6¾in. (17.2cm.) wide. (2)* Condition: One with restoration to back cushion, some light rubbing to edges, pleasing to the eye.
Lot 284
A Christofle silver plated part flatware set in the 'Perles' beaded pattern, to include eight dinner knives, 9½in. (24.2cm.), nine dinner forks, eleven starter forks, eight starter knives, eight fish knives, eight soup spoons, various other forks, knives, serving forks and spoons etc. (89)* Condition: A couple of pieces with blistering, light wear on a couple, overall good.
Lot 307
A Japanese lacquered wood square stand late 19th century, the red lacquer tray top on a black and gilt foliate decorated frame with curved supports and peripheral stretchers, 7¾in. (19.7cm.) square, 4½in. (11.5cm.) high.* Condition: Good condition - some gilt wear to edge of tray top and some light chipping to lacquer to edges of supports. Paint flake to underside of stretchers at one corner.
Lot 326
Charles Hunt (British, b.1806), after John Frederick Herring Snr. 'Mundig, the Winner of the Derby Stakes, Epsom, 1835'; 'St. Giles, The Winner of the Derby Stakes at Epsom, 1832', hand coloured aquatints, pub. S & J Fuller, 14 x 16¾in. (35.5 x 42.5cm.), modern fluted gilt frames. (2)* Condition: - Mundig: Light time staining. Occasional spotting, mainly to sky. Colours a little mellowed and possible light fading to reds.- St Giles: Time stained, spotting and some fading.
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