Keys Prints 09 January 2009

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Keys Prints 09 January 2009 Powered By Docstoc
					                                         Keys Prints 09 January 2009

1. G D LESLIE AND FREDERICK STACPOOLE, SIGNED IN PENCIL TO MARGIN BY BOTH, ANTIQUE BLACK AND WHITE ENGRAVING, Mother
with her young Children seated on a bench with other children, 16 x 3140-50
2. ERNEST PARTON, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE PHOTOGRAVURE, A Tranquil River Landscape, 18 x 12 (A/F); and
ARTHUR VEREY, SIGNED IN PENCIL TO MARTIN, BLACK AND WHITE ETCHING, Lady in a Rowing Boat on a River by a Mill, 16 x 21 (A/F) (2)
3. AFTER THOMAS STEWARDSON, ENGRAVED BY WILLIAM WARD, BLACK AND WHITE MEZZOTINT, Published 1814 by William Ward, The
Right Honourable George Earl of Onslow, 23 x 16
4. AFTER W H SULLIVAN, LATE 19TH CENTURY CHROMOLITHOGRAPH, Waterloo, 19 x 27 (A/F), in Birds-Eye Maple frame50-60
5. AFTER SAMUEL CARTER, ENGRAVED BY A LUCAS, COLOURED ENGRAVING, PUBLISHED 1882, Young Freebooters, 22 x 1840-50
6. AFTER P WOUVERMAN, PUBLISHED 1816, BLACK AND WHITE ENGRAVING, The Village Festival, 10 x 14
7. EARLY/MID-19TH CENTURY, SET OF THREE HAND-COLOURED ENGRAVINGS OF DENTAL INTEREST, Easing the Toothache; Charming
Well Again; and Gentle Emetic, 9 x 7, laid-down (3)
8. AFTER T ALLOM, G PICKERING ETC, A GROUP OF TEN HAND-COLOURED BOOKPLATES, Named Topographical Views, 5 x 4, within
uniform modern gilt frames
9. ROBERT DIXON, SIGNED TO THE IMAGE, BLACK AND WHITE ENGRAVING, PUBLISHED YARMOUTH 1820, South Gate, Yarmouth, 7 x 9;
and AFTER REMBRANDT, ENGRAVED BY EDMUND GIRLING, BLACK AND WHITE ETCHING, The Merchant, 9 x 7, laid-down (2)30-50
10. AFTER G SCHALCKEN, ENGRAVED BY I SMITH, ANTIQUE BLACK AND WHITE MEZZOTINT, M Magdalene, 13 x 10 (A/F); together with five
further framed prints and engravings (6)
11. AFTER REINHART, TWO DRY POINT ETCHINGS, Studies of Dogs and Goats, 4 x 5 (2)
12. AFTER S ALKEN, ENGRAVED BY SUTHERLAND, A SET OF FOUR COLOURED AQUATINTS, A Few Knowing Fanciers at an Evening Pigeon
Show; The Westminster Pit ...; A Set-To at the Fives Court ...; and Scene at the Breaking-Up of a Fashionable Rout, 4 x 7 (4)100-120
13. A GROUP OF FIVE ASSORTED 18TH CENTURY AND LATER COLOURED AND BLACK AND WHITE ENGRAVINGS, mainly Figure Subjects,
various small sizes (5)
14. AFTER ROWLANDSON, BUNBURY ETC, A GROUP OF NINE ASSORTED COLOURED CARTOONS AND SIMILAR, various sizes (9)60-80
15. EARLY 19TH CENTURY COLOURED AQUATINT, European Factories at Canton in China, 15 x 29, laid-down, badly damaged
16. AFTER S ALKEN, A SET OF FIVE COLOURED AQUATINTS, A Few Knowing Fanciers at an Evening Pigeon Show; The Westminster Pit ...; A
Set-To at the Fives Court ...; Scene at the Breaking-Up of a Fashionable Rout; and The Notorious Black Billy , 4 x 7 (5)40-50
17. A GROUP OF FOUR EARLY 19TH CENTURY BLACK AND WHITE ENGRAVINGS, Portraits of Henry IV, King of France; Charles V, Emperor of
Germany; Maximilian, Emperor of Germany; and James I, King of Great Britain, 11 x 9, one framed, three unframed (4)
18. 18TH CENTURY FRENCH AND DUTCH SCHOOLS, A GROUP OF THREE NAMED TOPOGRAPHICAL ENGRAVINGS, In Delft, Amsterdam etc,
various sizes (3)30-50
19. EARLY 18TH CENTURY HAND-COLOURED ENGRAVING, La Navigation dans la glace, et cherecher du Baleine (an early whaling subject), 12 x
1680-100
20. 18TH CENTURY FRENCH SCHOOL, THREE HAND-COLOURED ENGRAVINGS, Named London Views, each approximately 11 x 15 (3)40-60
21. AFTER R HILLS, PUBLISHED 1825, HAND-COLOURED AQUATINT, Family Group with Donkeys by an Old Cottage, 10 x 1335-45
22. AFTER G BRAGG, PUBLISHED BY VINCENT BROOKS, COLOURED LITHOGRAPH, The Crystal Palace, 11 x 18 (A/F)
23. HENRY T GREENHEAD (ENGRAVER), SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE MEZZOTINT, PUBLISHED 1899, Portrait of a
Society Lady in Woodland Setting, 20 x 1835-45
24. AFTER J HOPPNER, ENGRAVED BY S BRIDGEWATER, BLACK AND WHITE MEZZOTINT, PUBLISHED 1897, The Sisters, 20x 1740-50
25. 18TH CENTURY BLACK AND WHITE MEZZOTINT, Mary Lady Boynton, 23 x 15 (A/F); and LATE 19TH CENTURY COLOURED STIPPLE
ENGRAVING, Portrait of a Society Lady, 21 x 18 (2)
26. WILLIAM HENDERSON (ENGRAVER), SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE MEZZOTINT, PUBLISHED 1902, Portrait of
Mother and Child by a Monument, 21 x 13; J B VANLOO, ENGRAVED BY B BARON, ANTIQUE BLACK AND WHITE ENGRAVING, CIRCA 1756,
Her Royal Highness Augusta Princess Dowager of Wales , laid-down, 19 x 16; and AFTER SIR J REYNOLDS, ENGRAVED BY S COUSINS,
UNDATED BLACK AND WHITE MEZZOTINT, Portrait of a Society Lady in Parkland Setting, 21 x 15 (3)40-60
27. W HUMPHREY (PUBLISHED), HAND-COLOURED ENGRAVING, PUBLISHED 1784, Money Lenders, 9 x 1330-40
28. AFTER J HUDSON, ENGRAVED BY A MILLER, BLACK AND WHITE MEZZOTINT, PUBLISHED 1754, Sir Peter Warren, Vice Admiral of the Red
Squadron , 11 x 8
29. AFTER D WILKIE, ENGRAVED BY A RAIMBACH, PAIR OF BLACK AND WHITE ENGRAVINGS, Rent Day; and Blind-Mans Buff, 16 x 24 (2)
30. AFTER M SEYMOUR LUCAS, BLACK AND WHITE PHOTOGRAVURE, PUBLISHED IN 1893, We Are But Little Children Weak, 10 x 15
31. AFTER SIR T LAWRENCE, ENGRAVED BY R M MEADOWS, COLOURED STIPPLE ENGRAVING, PUBLISHED 1805, Mr Kemble in the
Character of Coriolanus, 27 x 17 (A/F)
32. 19th CENTURY ENGLISH SCHOOL, BLACK AND WHITE MEZZOTINT, Portrait of Young Girl Seated in Landscape (trimmed to margins,
laid-down), 17 x 13
33. AFTER CHARLES LEES, ENGRAVED BY HENRY QUILLEY, BLACK AND WHITE MEZZOTINT, PUBLISHED BY ALEXANDER HILL, The Right
Reverend David Low ------, 11 x 9; and AFTER JOHN SIMPSON, ENGRAVED BY BENJAMIN P GIBBON, BLACK AND WHITE MEZZOTINT, Dated
1839, His Grace, Arthur Duke of Wellington, 16 x 13 (2)
34. AFTER GEORGE CARTER, ENGRAVED BY VALENTINE GREEN, BLACK AND WHITE MEZZOTINT, Published 1776, The Wounded Hussar, 18
x 1440-50
35. AFTER T STOTHARD, ENGRAVED BY L SCHIAVONETTI AND J HEATH, 19TH CENTURY BLACK AND WHITE ENGRAVING, Pilgrimage to
Canterbury, 10 x 35 (A/F), within a carved walnut frame60-80
36. AFTER GEORGE SANDERS, ENGRAVED BY JOHN RICHARDSON JACKSON, BLACK AND WHITE MEZZOTINT, Published 1848, Admiral Sir
Charles Rowley ----, 12 x 10
37. AFTER J VAN HUYSUM, COLOURED MEZZOTINT, Circa 1778, A Flower Piece, 19 x 15150-200
38. AFTER T MOORE, ENGRAVED BY G HUNT, HAND-COLOURED AQUATINT, PUBLISHED 1825, The Attack upon the Stockades near Rangoon
by Sir Archibald Campbell KCB on the 28th May 1824, 10 x 1430-40
39. AFTER O B CARTER, ENGRAVED J C BOURNE, 19TH CENTURY COLOURED LITHOGRAPH, View of Palace of Shereef , 10 x 14
40. A LINCRUSTA-WALTON, BAS-RELIEF OF QUEEN VICTORIA TO CELEBRATE HER DIAMOND JUBILEE IN 1897, (see label verso), 13
diameter
41. AFTER CASPAR, ENGRAVED BY W HOLLAR, BLACK AND WHITE ENGRAVING, PUBLISHED 1665, Portrait of Thomas Hobbes, 8 x 6
42. AFTER R F M McINTYRE, BLACK AND WHITE PHOTOGRAVURE, PUBLISHED 1903, A Quiet Nook , 11 x 17, in decorative simulated walnut
frame
43. AFTER FRED MORGAN, HAND-COLOURED PHOTOGRAVURE, Sir Roger de Coverley, 15 x 19
44. A MID-19TH CENTURY FRENCH BLACK AND WHITE LITHOGRAPH, PUBLISHED 1854, The Defenders of Right and Liberty in Europe
(translates as), 14 x 2350-70
45. A GROUP OF FIVE 19TH/20TH CENTURY PENCIL ENGRAVINGS, Fashion and Figure Subjects, various sizes (5)
46. AFTER P REINAGLE, ENGRAVED BY J CALDWELL, COLOURED ENGRAVING, Blue Passion Flower, 17 x 14, (margins trimmed)
47. AFTER P P RUBBENS, ANTIQUE BLACK AND WHITE ENGRAVING, The Holy Family, 12 x 1650-70
48. AFTER N DANCE, ENGRAVED BY E DICKER, 18TH CENTURY BLACK AND WHITE MEZZOTINT (BEFORE LETTERS), Richard Jenner
Bishop of Peterborough 1757, 13 x 11; and AFTER SIR THOMAS LAWRENCE, ENGRAVED BY S COUSINS, BLACK AND WHITE MEZZOTINT,
Published 1842, The Most Honourable Richard Marquess Wellesley -------, 11 x 9 (2)
49. AFTER THOMAS KITCHIN, ANTIQUE HAND-COLOURED MAP, The Countries Thirty Miles Round London, 18 x 20
50. AFTER THOMAS GAINSBOROUGH, ENGRAVED BY RICHARD EARLOM, BLACK AND WHITE MEZZOTINT, Published 1783 by J Boydell, Girl
and Pigs, 14 x 18 ; and one other; and AFTER GEORGE MORLAND, ENGRAVED BY WILLIAM WARD, BLACK AND WHITE MEZZOTINT,
Published 1791 by Thomas Simpson, Travellers, 17 x 21 (3)60-80
51. AFTER SIR J REYNOLDS, ENGRAVED BY J WARD, BLACK AND WHITE MEZZOTINT, The Prince of Wales and Advisors, 18 x 25 (A/F)
52. ROSENBERG (INDISTINCTLY SIGNED TO MARGIN BOTTOM LEFT), BLACK AND WHITE ETCHING, Coastal View with Boat and Cottages in
Distance, 8 x 11 (A/F)
53. AFTER JOHN STURT, ANTIQUE HAND-COLOURED MAP, Britannia Saxonica, 15 x 12
54. AFTER ROBERT MORDEN, LATE 17TH CENTURY HAND-COLOURED MAP OF GLOUCESTERSHIRE, PUBLISHED 1695, 13 x 16
55. AFTER GEORGE MORLAND, ENGRAVED BY JOHN YOUNG, BLACK AND WHITE MEZZOTINT, Published 1788 by James Birchall, Credulous
Innocence, 18 x 14; and AFTER H W BURGESS, ENGRAVED BY SAMUEL COUSINS, BLACK AND WHITE MEZZOTINT, Published 1835, -----The
Interior of the late House of Commons -----, 22 x 17 (2)55-70
56. CARINGTON BOWLES (PUBLISHER), LATE 18TH/EARLY 19TH CENTURY HAND-COLOURED ENGRAVING, Christ Restoreth a Blind Man to
Sight, 13 x 9 (A/f); and BLACK AND WHITE ENGRAVING, La Citta die Firenze, Capitale del Gran Ducato di Toscana, 6 x 13 (2)40-50
57. AFTER H VON ANGELI, BLACK AND WHITE MEZZOTINT, Published 1879 by Henry Graves and Co, Portrait of Thomas Grosvenor Wilton (Earl
of Egerton) Commodore of the Royal Yacht Squadron, 19 x 14
58. AFTER SIR WILLIAM BEECHEY, ENGRAVED BY W SAY, BLACK AND WHITE MEZZOTINT dated 1811, The Right Honourable Lord
Porchester, Colonel of the West Somerset Yeomanry, 11 x 10; AFTER HOLBEIN, COLOURED AQUATINT, Portrait of a Cleric, 15 x 13, (2)
59. FRANK O SALISBURY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION COLOURED PRINT, PUBLISHED CIRCA 1935, The Heart of the
Empire, May 6th 1935 (The Thanksgiving Service at St Pauls Cathedral), 18 x 29; AFTER SUSAN CRAWFORD, SIGNED IN PENCIL TO MARGIN,
LIMITED EDITION COLOURED PRINT (154/25), PUBLISHED BY THE TRYON GALLERY LIMITED, LONDON, Grey Mare and Foal, 21 X 29; and
one other framed modern coloured print (3)
60. AFTER JOHN CONSTABLE, ENGRAVED BY DAVID LUCAS, BLACK AND WHITE MEZZOTINT (BEFORE LETTERS), The Rainbow, Salisbury,
22 x 27150-200
61. AFTER W DENDY SADLER, TWO HAND-COLOURED ENGRAVINGS, ONE PUBLISHED 1900, The Roast Beef of Old England; and The Plaintiff
and The Defendant, 16 x 20 (2)35-50
62. AFTER R HALFKNIGHT, SIGNED TO THE IMAGE, PAIR OF BLACK AND WHITE ETCHINGS, River Landscapes with Boats and Churches, 12 x
20 (2)
63. AFTER T L ROWBOTHAM, PAIR OF CHROMOLITHOGRAPHS, PUBLISHED 1867/8, Children Before Country Cottages, 7 x 19, decorative gilt
frames40-50
64. AFTER J GENDALL, ENGRAVED BY J STADLER, COLOURED AQUATINT, PUBLISHED 1817, North East View of Westminster Abbey, 14 x 19;
together with four further framed coloured engravings, various subjects, various sizes (5)
65. INDISTINCTLY SIGNED TO MARGIN, BLACK AND WHITE ETCHING, Continental Market Scene (inscribed), 12 x 16; and AFTER E
MEISSONIER, ENGRAVED BY A GERARD DARBICHE, BLACK AND WHITE ETCHING, The Brothers Van Den Velde, 10 x 8 (2)30-40
66. A PAIR OF FRENCH BLACK AND WHITE PRINTS (FROM A PUBLICATION), Les Lorettes, 8 x 6 (2)
67. AFTER C AUBRY, HAND-COLOURED LITHOGRAPH, Cou Cou, 9 x 13; together with six further framed black and white engravings, frames etc
(7)40-50
68. AFTER SIR GEORGE HAYTER, ENGRAVED BY H T RYALL, The Coronation of Queen Victoria, 22 x 34; and AFTER SIR GEORGE HAYTER,
ENGRAVED BY C E WAGSTAFF, BLACK AND WHITE ENGRAVING, PUBLISHED 1844, The Marriage of Queen Victoria, 22 x 33
69. PAIR OF ANTIQUE BLACK AND WHITE ENGRAVINGS, The East Side of the Abbey Gate of St Benet, Norfolk; and The North West View of the
Abbey Gatehouse , 8 x 12 (2)40-60
70. AFTER S AND N BUCK, ANTIQUE BLACK AND WHITE ENGRAVING, DATED 1738, The North View of Mettingham Castle and College, in the
County of Suffolk, 8 x 14; and ANTIQUE BLACK AND WHITE ENGRAVING (FROM ENGLAND DISPLAYED), View of Orford Castle in Suffolk, 5 x 8
(2)30-40
71. MID-19TH CENTURY BLACK AND WHITE MEZZOTINT, The Young Queen Victoria with Albert receiving a Gift from Duke of Wellington, 16 x 19
72. AFTER THOMAS STOTHARD, ENGRAVED BY CHARLES AND JOHN KEYSE SHERWIN, BLACK AND WHITE ENGRAVING ON SILK, The
Death of Lord Robert Manners, 23 x 16
73. AFTER G MORLAND, ENGRAVED BY W WARD, TINTED ENGRAVING, A Farm Workers Repast, 16x 19 (A/F); together with two further
unframed black and white engravings (3)30-40
74. AFTER J CONSTABLE, ENGRAVED BY D LUCAS, BLACK AND WHITE MIXED METHOD ENGRAVING, Yarmouth, Norfolk, 5 x 840-50
75. A GROUP OF SIX VARIOUS FRAMED COLOURED PRINTS AND BLACK AND WHITE PHOTOGRAPHS, Norfolk Interest, various sizes (6)
76. MID-19TH CENTURY ENGLISH SCHOOL, A SET OF FIVE HAND-COLOURED ENGRAVINGS, Views of Cambridge Colleges, each
approximately 3 x 5 (5)30-40
77. G HUMPHREY AND S W FORES, PUBLISHED 1783/8, TWO BLACK AND WHITE POLITICAL CARTOONS, Junction of Parties; and The Fall of
Phaeton; and two others (4)
78. AFTER J B LADBROOKE, SOME SIGNED AND DATED TO THE PLATES, A SET OF NINE BLACK AND WHITE SOFT GROUND
ENGRAVINGS, Norfolk Churches, each approximately 8 x 10 (9)
79. A GROUP OF NINE EARLY/MID-19TH CENTURY HAND-COLOURED AND BLACK AND WHITE ENGRAVINGS, Norfolk Views, various sizes (9)
80. A COLLECTION OF NINE ASSORTED PRINTS, WATERCOLOUR AND PHOTOGRAPHS, various subjects, various sizes (9)
81. A GROUP OF FIVE 19TH CENTURY HAND-COLOURED ENGRAVINGS, mainly coastal views, various sizes (5)
82. FRANK MOLE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, A Country Church, 5 x 3; and JOSEPH KIRKPATRICK,
SIGNED, BLACK AND WHITE AQUATINT, Netley Abbey, 7 x 6 (2)
83. AFTER S OWEN, ENGRAVED BY R G REEVE, A SET OF FOUR COLOURED AQUATINTS, PUBLISHED 1828, Tilbury Fort; The Custom
House; Sheerness and Gravesend, 7 x 10; plus one other (5)
84. GERTRUDE HAYES (NORWICH ART CIRCLE), SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Inscribed Woodlands, 7 x 11,
mounted but unframed; ARCHIBALD WARD, SIGNED PENCIL DRAWING, Inscribed The Docks, Ipswich, 7 x 10; together with an etching by the
same artist of a Suffolk Farm; and two others (6)
85. HENRY WILKINSON, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION COLOURED ETCHING, (1/75), A Sportsman with Dog in Landscape,
4 x 3; and PAIR OF COLOURED ENGRAVINGS, Pheasant in Stubble; and Red-Legged Partridges, 7 x 9 (3)30-40
86. GRAINGER SMITH, SIGNED IN PENCIL TO MARGIN, TWO BLACK AND WHITE ETCHINGS, Canterbury; and Gloucester, 11 x 7; and one other
(3)40-50
87. EARLY 20TH CENTURY FRENCH SCHOOL, (INDISTINCTLY SIGNED TO MARGIN), PAIR OF COLOURED ETCHINGS, Ornamental Fountains,
each approximately 5 x 8 (2)
88. JOSEPH SIMPSON, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Portrait of an Old Lady, 10 x 7, unframed
89. CAPTAIN R G MATHEWS, SIGNED PENCIL DRAWING, A Memory of The Potteries (see information verso), 6 x 8
90. A GEURTENS, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION BLACK AND WHITE ETCHING, (43/100), Figures in a Windswept and
Rainy Town Square, 14 x 930-40
91. WILLIAM RENISON, SIGNED IN PENCIL TO MARGIN, THREE BLACK AND WHITE ETCHINGS, Cathedral and Windmill subjects, various sizes,
unframed (3)60-80
92. SYDNEY ROBERT FLEMING JONES, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, The Star and Garter Home, Richmond,
9 x 1530-40
93. HENRY ROBERT ROBERTSON, SIGNED TO IMAGE, BLACK AND WHITE ETCHING, Female Head and Shoulders Portrait, 4 x 2
94. ROWLAND LANGMAID, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, St Pauls from Bankside (see label verso), 9 x
780-100
95. WILLIAM LIONEL WYLLIE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, A Naval Review, 9 x 14300-400
96. WILLIAM LIONEL WYLLIE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Boats by a Continental Fortress, 7 x 15100-150
97. CECIL CHARLES WINDSOR ALDIN, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION BLACK AND WHITE ETCHING, (22/150), Portrait of a
Scottie Dog, 6 x 8200-250
98. CHARLES MAYES WIGG, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Inscribed Barton Broad, 8 x 11100-120
99. WILFRED C APPLEBY, SIGNED IN PENCIL TO MARGIN, PAIR OF BLACK AND WHITE ETCHINGS, Kings College, Aberdeen University; The
University of Aberdeen Marischal College, 12 x 11 (2)
100. SIR FRANK SHORT, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE AQUATINT, Moonlit Landscape with Figure by a Hayrick (see
original label verso), 9 x 1160-80
101. STEPHEN GOODEN, SIGNED AND DATED 1925 TO MARGIN, BLACK AND WHITE ETCHING, Landscape with Trumpeter astride a Lion, 6
diameter circular
102. OLIVER HALL, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Inscribed Rain on the Lancashire Fells, 8 x 1060-80
103. GERALD M BURN, SIGNED IN PENCIL TO MARGIN, COLOURED ETCHING, Inscribed The Rose Window, Rheims, 14 x 1030-40
104. HEDLEY FITTON, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Inscribed Juliets House, Verona (see labels verso), 14 x
9100-130
105. HEDLEY FITTON, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, The Little Market Place Vicenza, Near Venice (see label
verso), 16 x 1170-90
106. WILLIAM RENISON, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, A York Gate with the Minster in background, 17 x 12
107. SIR FRANK SHORT, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE WORKING PROOF MEZZOTINT, The Rescue, 17 x 23150-200
108. VICTORIA HINE, ONE MONOTONE WATERCOLOUR AND TWO ETCHINGS IN TWO FRAMES, View of Norwich and the Cathedral; and
ATTRIUTED TO SIR ALFRED JAMES MUNNINGS, (BEARS INITIALS), BLACK AND WHITE ETCHING, Ploughing Scene, (see inscriptions front and
verso), 2 x 4 (3)
109. LEONARD RUSSELL SQUIRRELL, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE AQUATINT, Inscribed Low Tide at Boston, 9 x
13100-130
110. LEONARD RUSSELL SQUIRRELL, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE AQUATINT, Approaching Storm, a Suffolk River
Estuary, 8 x 12140-180
111. PERCY ROBERTSON, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Piccadilly Circus (see label verso), 7 x 10100-120
112. J LEWIS STANT, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Micklegate Bar, York, 12 x 8
113. LEONARD JOHN SMITH, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, The Pitcher, (see artists label verso), 13 x 890-120
114. CATHERINE MAUD NICHOLS, RE (NORWICH ART CIRCLE), SIGNED TO THE IMAGE, BLACK AND WHITE ETCHING, PUBLISHED 1912,
Norwich Cathedral, 19 x 1450-70
115. INDISTINCTLY SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Inscribed Tower of London, 7 x 11 , mounted but
unframed100-150
116. SIR FRANK SHORT. SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Village Scene with Windmill in Foreground, 7 x 12,
mounted but unframed100-120
117. A EVERSHED, W H MAY, GEORGE THOMAS AND ONE OTHER, GROUP OF FOUR EARLY 20TH CENTURY BLACK AND WHITE
ETCHINGS, Coastal and River Scenes with Boats, each approximately 5 x 7 (4)
118. SYBIL ANDREWS, SIGNED IN PENCIL TO MARGIN, TWO BLACK AND WHITE ETCHINGS, St Ethelberts Gate, Norwich; and Rue Malpalm,
Rouen; and one other, various sizes (3)80-100
119. WILLIAM PALMER ROBINS, SIGNED AND DATED 1920 TO MARGIN, BLACK AND WHITE ETCHING, The White Mill (see label verso), 9 x
1340-60
120. WILLIAM LEE HANKEY, SIGNED IN PENCIL TO MARGIN, AND ALSO WITH EMBOSSED INITIALLED STAMP, BLACK AND WHITE
ETCHING, In The Harvest Field, 6 x 8180-220
121. HENRY G WALKER, SIGNED IN PENCIL TO MARGIN, PAIR OF COLOURED ETCHINGS, Figures before Country Cottages in Summer, 9 x 8
(2)
122. EVEREST LUMINAIS, BLACK AND WHITE ETCHING, Norse Equestrian Figures, 10 x 7
123. KOMIJATI, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Woodman in a Clearing, 12 x 840-50
124. GEORGE VERNON STOKES, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION COLOURED ETCHING, (31/75), Pointer Dogs on the
Scent, 8 x 10
125. AIDAN KIRKPATRICK, SIGNED AND DATED 1975/6 TO THE MARGINS, PAIR OF LIMITED EDITION BLACK AND WHITE ETCHINGS (2/100
and 37/200), Inscribed Framlingham; and Blythburgh, 8 x 9 (2)
126. AFTER J S COTMAN, BLACK AND WHITE ENGRAVING, View of Castor Castle, 11 x 840-50
126A. AFTER S & N BUCK, BLACK AND WHITE ENGRAVING, PUBLISHED 1741, The South-East Prospect of the City of Norwich, 10 x 31100-150
127. AFTER FREDERICK GOODALL, ENGRAVED BY FREDERICK STACPOOL, (SIGNED BY BOTH IN PENCIL TO MARGIN), BLACK AND
WHITE MEZZOTINT, The Palm Offering, 28 x 1935-40
128. AFTER W P FRITH, COLOURED ENGRAVING, An English Merry-Making in the Olden Time, 20 x 34 (A/F)30-40
129. SIMON GOLDENBERG, INITIALLED, THREE MIXED MEDIA PICTURES (PRINT BASED), Figs and Berries, 5 x 7; Lemon, 9 x 7 ; and Bread, 9
 x 7 (3)100-130
130. AFTER COTES, ENGRAVED BY CORBUTT, EARLY 19TH CENTURY REVERSE COLOUR ENGRAVING, Mrs Sandys, 12 x 1060-80
131. LATE 19TH CENTURY, BLACK AND WHITE PHOTOGRAPH, Portrait of a Gent Seated within a good quality previously gilded gesso frame, 8 x
6
132. VICTORIAN SCHOOL, BLACK AND WHITE ENGRAVING, Portrait of a Lady, 8 x 6 , attached shield-shaped brass plaque inscribed HRH The
Duchess of Kent Presented by Her Majesty Queen Victoria to Lady Mary C Nisbet Hamilton
133. S AND J FULLER (PUBLISHERS), PUBLISHED 1824, A SET OF TWELVE COLOURED ENGRAVINGS, Months of the Year, 6 x 5 (12)150-200
134. C TAYLOR (PUBLISHER), A SET OF FOUR SEPIA ENGRAVINGS IN ONE FRAME, PUBLISHED 1787, Spring; Summer; Autumn and Winter,
each approximately 3 x 2
135. AFTER FERDINAND BOLL, ENGRAVED BY RICHARD EARLOM, REVERSE ENGRAVING ON GLASS, A Lady Reading, 15 x 1230-40
136. AFTER V A, PAIR OF 19TH CENTURY COLOURED LITHOGRAPHS, Royaume de Saxe; and Royaume de Hannovre, 6 x 4 (2)
137. GEORGE BAXTER, COLOURED OIL PRINT, The Descent From the Cross, 7 x 5 , in original mount and frame
138. AFTER H ROSENBERG, ENGRAVED BY F BARTOLOZZI, SEPIA STIPPLE ENGRAVING, PUBLISHED 1788, The Death of Cora, 7 x 6 60-80
139. MID/LATE 18TH CENTURY ENGLISH SCHOOL, ROUGE STIPPLE ENGRAVING, Cupid and three Classical Ladies in Landscape, 11 diameter
circular45-60
140. AFTER J B CIPRIANI, ENGRAVED BY F BARTOLOZZI, ROUGE STIPPLE ENGRAVING, PUBLISHED 1783, Prosperity, 5 x 640-60
141. AFTER A KAUFFMAN, ENGRAVED BY F BARTOLOZZI, ANTIQUE SEPIA STIPPLE ENGRAVING, A group of Classical Figures, 14 x 16,
unframed, (A/F)30-40
142. AFTER C MONNET, ENGRAVED BY V M PICOT, ANTIQUE ROUGE STIPPLE ENGRAVING, A Family Group in Interior, 11 x 9 and AFTER A
KAUFFMAN, ENGRAVED BY J DELATTRE, ROUGE STIPPLE ENGRAVING, PUBLISHED 1782, Moulins, 11 diameter circular, unframed, (2)45-60
143. AFTER A KAUFFMAN, ENGRAVED BY G W RYLAND, ROUGE STIPPLE ENGRAVING, PUBLISHED 1777, Juno Sestum a Venera Postulat, 11
 diameter circular, unframed40-50
144. AFTER F BARTOLOZZI, ANTIQUE COLOURED STIPPLE ENGRAVING, Clytie, 8 diameter circular80-120
145. AFTER F BARTOLOZZI, ROUGE STIPPLE ENGRAVING, Classical Group in a Woodland, 8 diameter45-60
146. F B COE (LITHOGRAPHER), MID 19TH CENTURY BLACK AND WHITE LITHOGRAPH, Railway Station at Norwich, 1844, 8 x 1230-40
147. FRANK PATON, SIGNED IN PENCIL TO MARGIN (BOTTOM LEFT), Recollections of a Record Reign, 4 x 6 (A/F)
148. AFTER ETTORE TITO, A PACKET OF FOUR ART-DECO PERIOD COLOURED WOODBLOCK PRINTS, Quatre Proverbs, 7 x 6, unframed,
within original folder (4)200-300
149. KYFFIN WILLIAMS, SIGNED IN INK, EXHIBITION CATALOGUE OF PAINTINGS OF PATAGONIA AT THE LEICESTER GALLERIES, CORK
STREET, LONDON, MARCH 1970
150. A PACKET OF FOUR ASSORTED OLD MASTER TYPE ENGRAVINGS, Figure and Landscape subjects, various sizes, unframed (4)
151. JOSEPH STANNARD, MONOGRAMMED AND DATED 1827 TO THE IMAGE, BLACK AND WHITE ETCHING, Fishermen with Dog on a Beach,
4x6
152. JOSEPH STANNARD, REVERSE SIGNED TO IMAGE, BLACK AND WHITE ETCHING, Coastal Scene with Fishermen and Boats, 4 x 3 ,
mounted but unframed80-100
153. AFTER J B CROME, ENGRAVED BY H E DAWE, BLACK AND WHITE MEZZOTINT, (PROOF BEFORE LETTERS), St Benets Abbey, 13 x 11
80-100
154. AFTER J REID, ENGRAVED BY F JONES, TINTED LITHOGRAPH, A View of the New Town of Lowestoft , 13 x 37100-150
155. AFTER WILLIAM HOGARTH, A COLLECTION OF APPROXIMATELY FORTY HAND COLOURED ENGRAVINGS, Historic and Comical Figure
subjects50-70
156. SUTTON PALMER, ENGRAVED BY DAVID LAW, BLACK AND WHITE ETCHING, dated 1892, Extensive River Landscape with Cattle Watering,
Castle in Distance, 20 x 14, mounted but unframed (A/F)
157. J ALPHAGE BREWER, SIGNED IN PENCIL TO MARGIN, TINTED ETCHING, The Rose Windows, Rheims Cathedral, 21 x 1530-50
158. AFTER GUSTAVE DORE, ENGRAVED BY VARIOUS, THREE LARGE BLACK AND WHITE ENGRAVINGS, Published 1877 and later, Religious
Subjects, 22 x 31, unframed (A/F) (3)50-60
159. VANITY FAIR, SEVENTEEN COLOURED LITHOGRAPHS, Characters of the Age, each approximately 13 x 7 (17)
160. AFTER WILLIAM SHAYER SNR, ENGRAVED BY E TILY, SIGNED BY THE LATTER TO THE MARGINS, Published 1928/32, GROUP OF FIVE
COLOURED MEZZOTINTS, The Gleaners; Gypsies; The Rabbit Seller; The Village Festival; Leaving for Market, various sizes (5)200-250
161. AFTER R ANSDELL, ENGRAVED BY W H SIMMONS, TINTED LITHOGRAPH, PUBLISHED 1852, Rabbit, 12 x 2040-50
162. AFTER SIR DAVID WILKIE, ENGRAVED BY C G LEWIS, The Card Players, 16 x 2130-40
163. AFTER HANS HEYSEN, COLOURED PRINT, Autumn Pastoral, 14 x 18; AFTER ALBERT NAMATJARA, COLOURED PRINT, James Range
Country, Central Australia, 14 x 19; and AFTER D PRATT, COLOURED PRINT, Battle-Scarred Warriors, Australia, 18 x 26 (conditions vary) (3)30-40
164. GEORGE BAXTER, PAIR OF COLOURED OIL PRINTS, Reception of the Rev John Williams at Tanna C.L. Number 82A; Massacre of Rev J
Williams C.L. Number 82B, 8 x 12 (A/F) (2)
165. ROBERT WALKER MACBETH, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, PUBLISHED 887, Ploughing Scene in Olden
Times, 23 x 33 (A/F), unframed30-50
166. AFTER G MORLAND, COLOURED PRINT, The Door of the Village Inn, 16 x 19
167. AFTER SIR JOHN EVERETT MILLAIS, ENGRAVED BY HERBERT THOMAS DICKSEE, BLACK AND WHITE ETCHING, PUBLISHED 1901,
Boyhood of Raleigh, 22 x 26, unframed50-70
168. HERBERT THOMAS DICKSEE, SIGNED IN PENCIL TO MARGIN, TWO BLACK AND WHITE ETCHINGS, PUBLISHED 1906/8, Cinderella, 24 x
18; and Lucky Dog, 18 x 12, unframed (2)100-150
169. HERBERT THOMAS DICKSEE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, PUBLISHED 1909, The Ruined Temple, 17
x 25, unframed80-120
170. HERBERT THOMAS DICKSEE, SIGNED IN PENCIL TO MARGIN, TWO BLACK AND WHITE ETCHINGS, PUBLISHED 1899/1906, Maternal
Care, 15 x 25; and Peace, 13 x 20, unframed (2)120-160
171. HERBERT THOMAS DICKSEE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, PUBLISHED 1900, In Enemys Country, 19 x
27, laid-down (A/F)50-80
172. HERBERT THOMAS DICKSEE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING (UNDATED), Against the Wind and Open
Sky, 10 x 23 75-90
173. HERBERT THOMAS DICKSEE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, PUBLISHED 1890, A Wanderer, laid-down,
12 x 18 (A/F)50-80
174. AFTER HERBERT THOMAS DICKSEE, GROUP OF THREE (UNSIGNED) BLACK AND WHITE ETCHINGS, Maternal Care, Published 1899;
Raiders; Published 1898; and Monarch of the Desert, Published 1894, (inscribed verso V Rare Working Proof ), side margins trimmed, 18 x 29 ,
unframed (3)80-120
175. AFTER ALEXANDER SAUERWEID, ENGRAVED BY J W AND H R COOK, PAIR OF BLACK AND WHITE ENGRAVINGS, PUBLISHED 1819,
The Battle of Waterloo, 18 x 28, unframed (2)100-150
176. A LARGE FOLDER OF ASSORTED 19TH/20TH CENTURY ENGRAVINGS AND PRINTS
177. A BOX OF ASSORTED PRINTS AND PHOTOGRAPHS
178. A COLLECTION OF APPROXIMATELY FIFTY 19TH CENTURY HAND COLOURED AND OTHER ENGRAVINGS, Mainly Figure subjects,
mounted but unframed50-70
179. EARLY 19TH CENTURY ENGLISH SCHOOL, COLOURED AQUATINT, View of the Grimma Suburb, Leipsic, 9 x 12; and IN THE MANNER OF
THOMAS SHOTTER BOYS, COLOURED LITHOGRAPH, The Shone, Brunnen Nuremberg, laid-down, 15 x 10, unframed (2)
180. 19TH CENTURY ENGLISH SCHOOL, HAND-COLOURED ENGRAVING, The Battle of Balaklava 25th October 1854, 7 x 21, unframed (A/F)
181. A FOLDER OF TWENTY-EIGHT BLACK AND WHITE LITHOGRAPHS, European Portraits, conditions vary50-70
182. A PACKET OF ASSORTED ANTIQUE PRINTS, INCLUDING ETCHINGS, JAPANESE WOODBLOCK PRINTS ETC
183. A PACKET CONTAINING THE REMAINS OF A SCRAP BOOK AND A FOLDER OF ETCHINGS AFTER HOGARTH
184. CLARE LEIGHTON, BARBARA GREG AND ELSBETH ROBERTSON, SIGNED IN PENCIL TO MARGIN, THREE WOOD ENGRAVINGS,
Landscape and Figure Subjects, various sizes, mounted but unframed (3)60-80
185. AFTER H B (JOHN DOYLE), A DISBOUND VOLUME OF APPROXIMATELY EIGHTY-FOUR BLACK AND WHITE POLITICAL SKETCHES
(mounted), each approximately 8 x 11150-250
186. SMALL FOLDER OF ASSORTED OLD MASTER TYPE AND OTHER ENGRAVINGS, Various subjects
187. A PACKET CONTAINING A SMALL COLLECTION OF VARIOUS ANTIQUE PRINTS AND PENCIL DRAWINGS, Norfolk Churches etc
188. A PACKET CONTAINING APPROXIMATELY 20 19TH/20TH CENTURY PRINTS AND ENGRAVINGS, Various subjects30-50
189. AFTER F TIDEMAND-JOHANNESSEN, A FOLDER OF SIX (OF TWELVE) WOODCUT PRINTS, Norway, 9 x 11
190. AFTER FRANK SOUTHGATE, A GROUP OF FIVE (REPEATED) LIMITED EDITION COLOURED PRINTS, Published 1987, A Wildfowler
(possibly Mr Pat Cringle), 12 x 18, unframed, (5)100-150
191. A FOLDER OF FRENCH TINTED PRINTS, Rouen Pendant La Guerre
192. JEAN ARMITAGE, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION COLOURED WOODCUT, Blue Budgerigars, 8 x 12, mounted but
unframed60-80
193. A PACKET OF ASSORTED PRINTS INCLUDING APE VANITY FAIR COLOUR PRINT, Position, 12 x 7
194. AFTER JOHN PIPER, REPRODUCTION COLOURED PRINT, A Church Facade, 27 x 15; and NEWSPAPER REPRODUCTION PRINT of the
David Hockney Picture Two Apples and One Lemon and Four Flowers, (2)
195. A PACKET OF ANTIQUARIAN AND 20TH CENTURY ENGRAVINGS, Various subjects, conditions vary50-70
196. A PACKET OF ASSORTED PRINTS AND ENGRAVINGS AND A DISBOUND VOLUME, YE JACKDAW OF RHEIMS
197. A PACKET OF ASSORTED PRINTS AND ETCHINGS INCLUDING A SMALL QUANTITY OF COLOURED PRINTS, from the publication Poultry
world
198. A SMALL COLLECTION OF ASSORTED 19TH/20TH CENTURY PRINTS, Including Dog interest30-40
199. PACKET OF ASSORTED 18TH/19TH/20TH CENTURY PRINTS AND ENGRAVINGS ETC30-50
200. A LARGE FOLDER OF ASSORTED 19TH AND 20TH CENTURY PRINTS AND ENGRAVINGS, FIGURE, LANDSCAPE ETC SUBJECTS30-40
201. AFTER MESSONIER, MORLAND ETC, FOLDER OF EIGHT ASSORTED EARLY 20TH CENTURY COLOURED MEZZOTINTS (SOME
SIGNED BY THE ENGRAVERS)30-40
202. A COLLECTION OF APPROXIMATELY FORTY-FIVE 19TH CENTURY/20TH CENTURY COLOURED AND BLACK AND WHITE PRINTS AND
ENGRAVINGS, Including Figure and Topographical subjects40-60
203. AFTER ROSSINI, A COLLECTION OF FOUR ANTIQUE BLACK AND WHITE ENGRAVINGS, Veduta dei Grandi Avanzi Degli Aquedotti di
Nerone, Veduta dell Arco di Settimio Sevro Nel Foro Boario, Veduta dell Altro Principale Ingresso, del Colosseo and Avanzo della Casa di Cola di
Rienzo, each approximately 14 x 18, mounted but unframed, (4)300-400
204. A COLLECTION OF APPROXIMATELY FORTY-EIGHT 19TH/20TH CENTURY PRINTS AND ENGRAVINGS, Military Interest, mounted but
unframed50-60
205. AXEL H HAIG, SIGNED IN PENCIL TO MARGIN, GROUP OF FIVE BLACK AND WHITE ETCHINGS, named Cathedral Interiors140-180
206. AFTER THOMAS WEBSTER, ENGRAVED BY W HOLL, BLACK AND WHITE ENGRAVING, PUBLISHED 1854, See-saw, 16 x 25, (A/F),
unframed and one other, (2)30-40
207. A LARGE FOLDER OF ASSORTED 19TH AND 20TH CENTURY PRINTS INCLUDING REPRODUCED ADVERTISING WAR TIME AND FILM
PRINTS, AND A LARGE FRAMED LITHOGRAPH WAR AND PEACE40-60
208. TOM BROWN, (SIGNED TOM B), WATERCOLOUR, A Jolly Coaching Party in Winter, 18 x 12, unframed40-60
209. A LARGE PORTFOLIO OF ASSORTED MAINLY 20TH CENTURY COLOURED PRINTS, AND G WILLIS-PRYCE, SIGNED OIL ON BOARD,
River Landscape, 8 x 1240-60
210. A BOX OF ASSORTED FRAMED PRINTS, ENGRAVINGS AND PHOTOGRAPHS
211. A PACKET OF FOUR ASSORTED 19TH/20TH CENTURY ETCHINGS AND ENGRAVINGS
212. AFTER DE MESSONIER, J M W TURNER ETC, A LARGE FOLIO OF SIX EARLY 20TH CENTURY COLOURED MEZZOTINTS, SIGNED TO
THE MARGINS BY THE ENGRAVERS, Figure and Landscape Subjects35-50
213. AN EARLY 20TH CENTURY AMERICAN SCHOOL, PAIR OF COLOURED ENGRAVINGS, Estuary Scenes with Sailing Boats, Print Line States
Copyright in USA 1926 by A G & H W Dickins inc, New York, 5 x 16, (2)
214. A SET OF THREE LATE 19TH/EARLY 20TH CENTURY JAPANESE COLOURED WOOD BLOCK PRINTS, Female Costume Subjects, 14 x 9,
(with fold lines to centres) in uniform gilt Bamboo effect frame60-80
215. AN EARLY 20TH CENTURY COLOURED AND GILDED BLOCK PRINT, A Village Square with Figures beneath Parasols, 5 x 8
216. AFTER HIROSHIGE, COLOURED WOOD BLOCK PRINT, A Puzzle Tree, 8 x 5 40-50
217. EARLY/MID 20TH CENTURY CHINESE SCHOOL, WATERCOLOUR ON FABRIC, Three Figures Seated by Lakeside, 21 x 20 (scroll)
218. TWO 19TH/20TH CENTURY JAPANESE COLOURED WOOD BLOCK PRINTS, Three Figures with Sedan Chair and a group of Figures with
Horse, 14 x 10, (2)60-80
219. A GROUP OF THREE 19TH/20TH CENTURY JAPANESE COLOURED WOOD BLOCK PRINTS, Landscape Subjects with Figures, 8 x 14,
(3)100-150
220. A SET OF THREE 19TH/20TH CENTURY JAPANESE COLOURED WOOD BLOCK PRINTS, Warriors on Foot and Horseback, 13 x 9,
conditions vary, (3)40-60
221. AN EARLY 20TH CENTURY JAPANESE COLOURED WOOD BLOCK PRINT, A Grotesque Figure beneath an Umbrella in Rain, 12 x 830-40
222. A SET OF THREE 19TH/20TH CENTURY JAPANESE COLOURED WOOD BLOCK PRINTS, Figure Subjects, 14 x 9, (3)60-80
223. BERYL COOK, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Poetry Reading, 18 x 14400-500
224. BERYL COOK, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (220/300), COLOURED PRINT, Taxi, 19 x 25500-600
225. AFTER ENRICO BAJ, COLOURED LITHOGRAPH, Head Study, 25 x 19100-120
226. RICHARD BAWDEN, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (4/75), COLOURED PRINT, Inscribed The Glade, 20 x 15 35-50
227. PATRICK OROSA, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (9/9), COLOURED PRINT, Inscribed Starfish, 18 x 1330-40
228. DAVID KOSLER, SIGNED IN PENCIL, LIMITED EDITION COLOURED PRINT (15/36), An Oriental Pheasant, 20 x 2730-40
229. INDISTINCTLY SIGNED IN PENCIL TO MARGIN, LIMITED EDITION COLOURED LITHOGRAPH (85/350), Rounding the Point, 15 x 2430-40
230. GREENWOOD, SIGNED AND DATED 80, LIMITED EDITION COLOURED LITHOGRAPH (89/250), Winter Ridge, 16 x 18 and one other,
(2)30-40
231. INDISTINCTLY INSCRIBED LOWER RIGHT, COLOURED LITHOGRAPH, Courtyard in the Laimgrube Vienne , 11 x 13, plus two other prints (3)
232. LIZ JARDINE, SIGNED IN PENCIL TO MARGIN, COLOURED LITHOGRAPH, Inscribed Placid, 25 x 9
233. CHERYL ROBERTS, GROUP OF FOUR BLACK AND WHITE LITHOGRAPHS, Figure Studies, 6 x 6 (4)
234. KAY BOYCE, GROUP OF FOUR SIGNED COLOURED LITHOGRAPHS, Female Studies, assorted sizes (4)100-120
235. BRIAN LEWIS, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (81/500), COLOURED PRINT, Inscribed With Best Wishes, Wendy and
Danny. Anns House, Willow Lane, Norwich and Best Wishes, 8 x 16, mounted but unframed
236. INDISTINCTLY SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (34/350), COLOURED PRINT, Abstract Figurative Study, 9 x 7
237. SALVADOR DALI, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (187/200), COLOURED LITHOGRAPH WITH BLIND STAMP, King of
Aragon, 14 x 10 200-250
238. AFTER LETTICE APPERLY, THREE COLOURED LITHOGRAPHS, Theatrical Studies, 6 x 9 (3)80-100
239. HELEN BRADLEY, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Going Through The Enchanted
Garden, 11 x 14 , mounted but unframed90-120
240. D SWAN, SIGNED AND DATED 61, MIXED MEDIA, Abstract Study, 7 x 5 50-80
241. HENRY HOLZER, MONOGRAMMED IN PENCIL TO MARGIN, COLOURED WOODBLOCK PRINT, Chrysanthemums, 7 x 5 30-40
242. P HUGHES, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE WOODBLOCK PRINT, Shepherds Going to Bethlehem (from a Gothic
wood carving, Utrecht), 5 x 3
243. AFTER SIR WILLIAM NICHOLSON, TWO COLOURED LITHOGRAPHS, T for Trumpeter and W for Waitress, 9 x 7, (2)60-80
244. MARY FARL POWERS, SIGNED AND DATED 1986 TO MARGIN, LIMITED EDITION COLOURED PRINT (3/10), Abstract Study, 19 x
26200-250
245. MARY FARL POWERS, SIGNED IN PENCIL TO IMAGE, LIMITED EDITION COLOURED PRINT (6/15), Abstract Study, 21 x 29200-250
246. MARY FARL POWERS, SIGNED AND DATED 1986 TO MARGIN, LIMITED EDITION COLOURED PRINT (6/8), Abstract Study, 19 x 25200-250
247. ELAINE MARSHALL, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF, Inscribed Reflected Crane, Lovells Wharf, Greenwich
River Walk Four, 8 x 5
248. VICTOR MIGNOT, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Dancers, 13 x 10
249. SIR WILLIAM RUSSELL FLINT, SIGNED IN PEN TO MARGIN, SEPIA LITHOGRAPH, Miss Hermione Duval, 6 x 4 150-180
250. A SMALL COLLECTION OF EIGHT FRAMED AND UNFRAMED BLACK AND WHITE AND COLOURED GERMAN ENGRAVINGS (Inscribed)
(8)
251. INDISTINCTLY SIGNED AND INSCRIBED LONDON 1912 IN PENCIL TO MARGIN, LITHOGRAPH, Inscribed Indifference, 17 x 11 60-80
252. No lot
253. BRIAN SOWERBY, SIGNED IN INK TO MARGIN, SEVEN BLACK AND WHITE ETCHINGS, Landscape and Still Life subjects, assorted sizes,
five framed (7)30-40
254. EXHIBITION POSTER FOR L S LOWRY - MOTTRAM MEMORIAL EXHIBITION, 4-17 JUNE 1977, The Old Courthouse,
Mottram-in-Longdendale, 24 x 1630-40
255. MOYA COZENS, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (1/10), COLOURED PROOF, Inscribed Majorcan Under Water, 15 x 20,
unframed40-50
256. A COLLECTION OF WORKS BY TEACHERS AND STUDENTS OF THE WORKING MENS COLLEGE, MORNINGTON CRESCENT, LONDON,
IN 1954 FOR THE CENTENNIAL CELEBRATION OF THE FOUNDING OF THE COLLEGE BY WILLIAM MAURICE AND OTHER
PHILANTHROPISTS: CROMWELL COOKE, SIGNED SILK SCREEN, Back Yard; ALFRED HARRIS, SIGNED LINO CUT, Rocks Italy; DANIEL
BURDEN, SIGNED LINO CUT, Still Life; ANTHONY YOUNGS, SIGNED LITHOGRAPH, St Ives; IVOR FOX, LIMITED EDITION (4/25) ETCHING,
Maritime Landscape; DONALD MELBOURNE, SIGNED WOOD ENGRAVING, Dawn; JOHN GRIFFITHS, LINO CUT, Signals, Wandsworth Road;
JOHN ELGAR, SIGNED SILK SCREEN, Paddington Basin; BRUCE LACEY, SIGNED ETCHING, Vultures; GEOFFREY WICKHAM, SIGNED
LITHOGRAPH, The Curraghs; plus two unsigned pen and wash drawings, assorted sizes (some framed and unframed)300-350
257. H J JACKSON, SIGNED AND DATED 64 IN PENCIL TO MARGIN, LIMITED EDITION (3/6), COLOURED LITHOGRAPH, The Great Eastern, 32
x 19100-120
258. INDISTINCTLY SIGNED IN PENCIL TO MARGIN, COLOURED LITHOGRAPH, Abstract Study of a Bird, 31 x 7 ; plus one further lithograph
(2)100-120
259. INDISTINCTLY SIGNED AND DATED 75 IN PENCIL TO MARGIN, LIMITED EDITION (26/50), COLOURED LITHOGRAPH, A Paper Collage, 15
x 15
260. MAURICE MILLIERE, SIGNED AND DATED 13 IN PENCIL TO MARGIN, LIMITED EDITION (91/100), COLOURED ETCHING, Study of an
Elegant Lady Seated in a Chair, 14 x 11120-150
261. LOUIS ICART, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (13/100), BLACK AND WHITE ETCHING WITH BLIND STAMP, Elegant
Lady Wearing Fur holding a Hat Box, 14 x 10350-450
262. PAUL S SHARPE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE LITHOGRAPH, Figure on a Bike with Dogs, 17 x 22
263. JEFFERY EDWARDS, TWO SIGNED IN PENCIL TO MARGIN LIMITED EDITION COLOURED LITHOGRAPHS, The Invitation; and Plagiarism;
plus ROSEMARY STRACHEY, SIGNED AND DATED 84 IN PENCIL TO MARGIN, LIMITED EDITION (6/100), COLOURED PRINT, French
Landscape, assorted sizes (3)70-90
264. BRENDAN NEWLAND, SIGNED AND DATED 76 IN PENCIL TO MARGIN, LIMITED EDITION (207/300), COLOURED LITHOGRAPH, Barracks,
14 x 20100-120
265. GUY MALET, SIGNED IN PEN TO MARGIN, BLACK AND WHITE WOOD ENGRAVING, Knaresborough, 11 x 750-60
266. AFTER WILLIAM BLAKE, TWO COLOURED LITHOGRAPHS, Classical Subjects, 13 x 10 (2)
267. AFTER AUGUSTUS JOHN, BLACK AND WHITE PRINT, Portrait of Aleister Crowley, 14 x 1130-40
268. NICHOLAS BARNHAM, SIGNED IN PENCIL TO MARGIN, LINO CUT AND WATERCOLOUR, Wells Whelk Boat Knot, 10 x 14
269. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (275/500), COLOURED LITHOGRAPH, Fly With Me, 10 x 12 50-70
270. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (334/500), COLOURED LITHOGRAPH, Turn To You, 10 x 12 40-50
271. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (248/600), COLOURED LITHOGRAPH, Love Makes Us Strong, 12 x
860-80
272. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (241/500), COLOURED LITHOGRAPH, Free as a Bird, 12 x 1050-70
273. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (137/500), COLOURED LITHOGRAPH, Dreams of the Ocean, 12 x
1070-90
274. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (173/500), COLOURED LITHOGRAPH, Into the Moon, 10 x 2070-90
275. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (415/500), COLOURED LITHOGRAPH, Romance Road, 16 x 845-60
276. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (25/500), COLOURED LITHOGRAPH, Love Lifts Us Up, 12 x 870-90
277. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (265/500), COLOURED LITHOGRAPH, Romance Road, 16 x 845-60
278. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (265/500), COLOURED LITHOGRAPH, Lovers Lane, 16 x 845-60
279. ADAM BARSBY, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (83/125), COLOURED LITHOGRAPH, Be Back Soon, 15 x 23280-320
280. ADAM BARSBY, SIGNED OIL, inscribed with the title See the Light, 14 x 22500-600
281. ROBERT TAYLOR, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (690/850), COLOURED PRINT, Steaming into Wind (countersigned by
Rear Admiral E R Anson), 12 x 18, plus AFTER ROBERT TAYLOR, COLOURED PRINT, The Red Arrows 1980, Signed in Pencil to Margin by
Squadron Leader Brian Hoskins, 13 x 18 , unframed, (2)45-60
282. AFTER ROBERT TAYLOR, THREE COLOURED PRINTS, Bekka Valley Gunfight, Wellington and Reach for the Skies, 12 x 18, unframed,
(3)40-60
283. ROBERT TAYLOR, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (762/850), COLOURED PRINT, Climbing Out, (countersigned by Sir
Arthur T Harris), 16 x 24, unframed50-60
284. ROBERT TAYLOR, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (424/850), COLOURED PRINT, Dawn Scramble, (also signed by Wing
Commander Stanford-Tuck), 16 x 24100-120
285. ROBERT TAYLOR, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (256/850), COLOURED PRINT, Crewing Up, (signed by Sir Arthur T
Harris), 16 x 2450-60
286. GERALD COULSON, THREE SIGNED IN PEN TO MARGIN COLOURED PRINTS, De Havilland Mosquito MK IV, Into Battle and Evening Flight,
22 x 29, unframed, (3)120-180
287. AFTER ROBERT TAYLOR, TWO COLOURED PRINTS, Memphis Belle, (signed by Captain Robert K Morgan), and Victory over Dunkirk, (signed
by Bob Stanford-Tuck), 13 x 18 , unframed, (2)45-60
288. ROBERT TAYLOR, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (315/850), COLOURED PRINT, Operations On, (further signed by Sir
Arthur T Harris), 14 x 22 plus AFTER ROBERT TAYLOR, COLOURED PRINT, Memorial Flight, (signed by Leonard Cheshire Johnnie Johnson and
Peter Townsend), 14 x 22, unframed, (2)80-120
289. AFTER ROBERT TAYLOR, COLOURED PRINT, Spitfire, (signed by Douglas Bader and Johnnie Johnson), 13 x 18 , unframed30-40
290. FRANK WOOTON, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (425/850), COLOURED PRINT, Blenheim MK IV, (further signed in the
margin by the Squadron Members), 15 x 24
291. ERIC H DAY, SIGNED IN PENCIL TO MARGIN, COLOURED PRINT, A Vulcan plus THREE FURTHER AVIATION PRINTS, Assorted Sizes, (4)
291A. ROBERT PINNOCK, SIGNED IN PENCIL TO MARGIN, TWO (REPEATED) LIMITED EDITION COLOURED PRINTS, 380 AND 381/1000, The
Steam Railway Elizabethan leaves Kings Cross, October 29th 1994, 16 x 28, and MAURICE GARDNER, SIGNED IN PENCIL TO MARGIN,
COLOURED PRINT, Lancasters in Flight during a Bombing Raid, 16 x 27, unframed, rolled, (3)
291B. CHARLES VICKERY, SIGNED IN PENCIL TO MARGIN, COLOURED PRINT, The Sea Witch, (also with Pencil vignette of Rowing Boat to
Margin), 25 x 32, unframed, rolled40-60
292. SIR WILLIAM RUSSELL FLINT, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Wooded River
Landscape, 19 x 26120-160
293. MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Published 1972 by Venture
Prints, Bristol, The Smoke of Battle, 23 x 2990-130
294. MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Published 1969 by Frost And
Reed, The Rising Wind, 35 x 23, mounted but unframed75-100
295. MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Published 1972 by Venture
Prints, Bristol, The Battle of Trafalgar, 28 x 36150-180
296. MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, COLOURED PRINT, Published 1966 by Frost and Reed, The Action between Java
and Constitution, December 1812, 19 x 2990-130
297. MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Published 1972 by Venture
Prints, Bristol, In Full Sail, 20 x 3690-130
298. AFTER MONTAGUE DAWSON, COLOURED PRINT, Published 1967 by Frost and Reed, Horn Abeam, 19 x 29
299. MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Published 1973 by Venture
Prints, Bristol, The Pagoda Anchorage, 24 x 29, mounted but unframed75-100
300. AFTER WILLIAM LIONEL WYLLIE, COLOURED LITHOGRAPH, Trafalgar 2.30pm, 17 x 3280-120
301. AFTER SIR JOSEPH NOEL PATON, ENGRAVED BY JAMES FAED, (SIGNED BY BOTH TO MARGIN), BLACK AND WHITE ENGRAVING,
Satan Watching the Sleep of Christ in the Wilderness of Temptation, 20 x 27, (arched top), unframed80-120
302. AFTER T J BARKER, ENGRAVED BY CHARLES G LEWIS, PROOF MEZZOTINT, Published 1858, Wellington AND Blucher, 24 x 44
(unframed)150-200
303. AFTER FRANCIS GRANT, ENGRAVED BY JAMES SCOTT, HAND COLOURED ENGRAVING, Published 1859, James John Farquharson,
Esquire, 29 x 26, unframed80-120
304. AFTER FREDERICK TAYLER, ENGRAVED BY T L ATKINSON, HAND COLOURED MEZZOTINT, Weighing the Deer, 25 x 35, unframed70-90
305. AFTER O W BRIERLEY, HAND COLOURED LITHOGRAPH, Published 1855, Meeting of the English and French Fleets, 14 x 2540-50
306. AFTER SAMUEL WALTERS, ENGRAVED BY H PAPPERILL, TWO AQUATINTS, Homeward and Outward Bound, 9 x 12, (2)30-40
307. AFTER SYDNEY MUSCHAMP, TWO EARLY 20TH CENTURY BLACK AND WHITE ENGRAVINGS, Mischief and Her First Dancing Lesson, 18
x 9 plus ONE FURTHER ENGRAVING, (3)40-60
308. AFTER A BARZAGHI CATTANEO, ENGRAVED BY RICHARD JOSEY, BLACK AND WHITE ENGRAVING, Lady Jane Grey, 27 x 9,
unframed40-60
309. AFTER C LUCY, ENGRAVED BY C W SHARPE, HAND COLOURED ENGRAVING, Published 1854, Nelson, 17 x 13, unframed45-60
310. WALTER RICHARDS, SIGNED IN PENCIL TO MARGIN, COLOURED ETCHING, Bruges Cathedral --------, 18 x 13
311. AFTER J J AUDUBON, A SET OF FIVE REPRODUCTION COLOURED PRINTS, Florida Jay, Canada Goose, Carolina Pigeon or Turtle Dove,
Blue Jay and Great American Cock Male Wild Turkey, 18 x 12 within uniform gilt frames, (5)100-150
312. PETER SCOTT, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, PUBLISHED 1941 BY ARTHUR
ACKERMANN, Geese in Flight over Salt Marshes, 14 x 2030-40
313. AFTER J C HARRISON, COLOURED PRINT, Grouse in flight over a Cornfield, 12x 17
314. RICHARD ROBJENT, SIGNED IN PENCIL TO MARGIN, COLOURED PRINT, Partridge at the edge of a Field, 18 x 14
315. AFTER A THORBURN, THREE MODERN LIMITED EDITION COLOURED PRINTS (424/850), Grouse and Pheasant in Natural Habitat, 14 x 19
(3)80-110
316. AFTER J GOULD AND H C RICHTER AND W HART, A SET OF FOUR COLOURED LITHOGRAPHS, Tringa Canutus, Cursorius Gallicus;
Porzama Minuta; Vanellus Cristatus, each approximately 13 x 20400-500
317. AFTER A THORBURN, PAIR OF EARLY 20TH CENTURY BLACK AND WHITE PHOTOGRAVURES, Wild Goose Stalking A Successful Shot;
Sprintime in the Highlands, 13 x 19 (2)60-80
318. RAYMOND C WATSON, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION, ARTISTS PROOF WITH BLIND STAMP, (314/500) Long Tail
Tits, 10 x 1440-50
319. JOHN CYRIL HARRISON, SIGNED IN PENCIL TO MARGIN, SET OF FOUR LIMITED EDITION COLOURED PRINTS, (129/500), Published by
the Norfolk Naturalist Trust, Pintail, Brentgoose, Shoveller, Shelduck, 9 x 6, (4)80-100
320. AFTER THORBURN, LIMITED EDITION COLOURED PRINTS (9/500), PUBLISHED BY THE TRYON GALLERY 1975, A Woodcock in Snow, 10
x 1460-80
321. AFTER ARCHIBALD THORBURN, EARLY 20TH CENTURY COLOURED PRINT, Wood Pigeons, 7 x 9
322. AFTER R DAVID DIGBY, LIMITED EDITION COLOURED PRINT (146/200), Blackgame, (see label verso), 15 x 1130-40
323. COLIN W BURNS, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION COLOURED PRINT, (112/475), A Summer Broadland Landscape with
Boat and Mill, 14 x 2050-60
324. COLIN W BURNS, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION COLOURED PRINT, (449/475), A Norfolk Winter River Landscape with
Geese in Flight, 14 x 2050-60
325. AFTER R SCANLAN, PAIR OF COLOURED ENGRAVINGS, Horse Dealing, No 1 and No 2, 11 x 15, (2)
326. AFTER G D GILES, BLACK AND WHITE PHOTOGRAVURE, Published 1892, The Blue Riband, 17 x 19, original Oak Frame40-60
327. AFTER C B NEWHOUSE, ENGRAVED BY R G REEVES, PAIR OF EARLY/MID 19TH CENTURY AQUATINTS, A False Alarm on the Road to
Gretna, One Mile from Gretna, 11 x 15, (2)30-40
328. AFTER E A S DOUGLAS, PAIR OF EARLY 20TH CENTURY HAND COLOURED ENGRAVINGS, Summer and Winter, (Horse Trotting
Subjects), 8 x 13, (2)
329. GEORGE DENHOLM ARMOUR, SIGNED IN PENCIL TO MARGIN, SET OF FOUR EARLY 20TH CENTURY CHROMOLITHOGRAPHS,
PUBLISHED 1906, A Good Suit in Diamonds; A Grand Slam; Spades, The Refuge of the Destitute; Getting the Lead in the Wrong Hand, 13 x 10
(4)75-100
330. AFTER L THACKERAY EDWARDS, SET OF THREE EARLY 20TH CENTURY CHROMOLITHOGRAPHS, PUBLISHED 1902, For Sale Without
Reserve; By Order of the Owner; By Private Treaty, 9 x 14 (3)70-90
331. AFTER CECIL ALDIN, CHROMOLITHOGRAPH, The Mitre Inn at Oxford, 14 x 2480-100
332. AFTER GEORGE STUBBS, ENGRAVED BY WILLIAM WOOLLETT, PAIR OF 20TH CENTURY HAND COLOURED ENGRAVINGS, Shooting
(Plates 1 and 2), 15 x 20 (2)40-60
333. AFTER A C HAVELL, COLOURED LITHOGRAPH, Published 1887 from the Foress Hunting Incidents Series Half-a-Minute! and Tally Ho!, 13 x
2940-50
334. SIR ALFRED JAMES MUNNINGS, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Published 1927 by
Frost & Reed, Gypsies and Caravans, 17 x 21100-130
335. SIR ALFRED JAMES MUNNINGS, SIGNED IN PENCIL TO MARGIN, ARTISTS COLOURED PROOF WITH BLIND STAMP, Published 1929, by
Frost and Reed, Huntsman and Hounds going Out, (faded), 15 x 20200-250
336. AFTER CECIL ALDIN, PAIR OF EARLY 20TH CENTURY CHROMOLITHOGRAPHS, Dutch Boys and Girls Playing, 13 x 38, (2)80-100
337. AFTER J PARDON, ENGRAVED BY H MEYER, COLOURED AQUATINT, DATED 1819, Equestrian Match against Time for 600 Guineas, to
Ride from Canterbury to London Bridge in 3 hours , 9 x 13
338. AFTER C CROMBIE, EARLY 20TH CENTURY COLOURED PRINT, A ROUGH NIGHT ASHORE! , (Snooker Related), 7 x 10
339. A LATE 19TH/EARLY 20TH CENTURY ENGLISH SCHOOL, CHROMO LITHOGRAPH, Fur and Feather, 14 x 1930-40
340. No Lot
341. AFTER A STRUTT, PAIR OF SEPIA PRINTS, HIGHLIGHTED WITH COLOUR, Hunting Scenes, 6 x 9, (2)
342. AFTER SNAFFLES, EARLY 20TH CENTURY COLOURED LITHOGRAPH, PUBLISHED 1913, The Glad Throng Goes Laughing Along, 12 x
38250-300
343. AFTER L THACKERAY EDWARDS, SET OF FOUR EARLY 20TH CENTURY COLOURED LITHOGRAPHS, PUBLISHED 1902, By Order Of
The Owner; On View; By Private Treaty; For Sale Without Reserve, 9 x 14 (4)160-220
344. AFTER LAWSON WOOD, PAIR OF EARLY 20TH CENTURY COLOURED PRINTS, The First and Cold Sport, 16 x 11, (2)40-60

				
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