Prints, Maps and Posters

C. Müller - 'Utsigt af Kongl Slottet och nya Bron…', 'Utsigt of Stockholm med en del af Staden och Riddarcholmen at Malare sidan', 'Utsigt a fen del af hamnen och Blasieholmen tagen från sjösidan nedanfore Konung Gustaf IIIs staty' and 'Utsigt af Stockholm', four monochrome lithographs by F. Verner, each sheet size 48.5cm x 59cm.

C. Reinhart - 'Rovine cagionate in Tivoli il di 16 Novem're 1826 dall' escrescenza dell Aniene', early 19th century monochrome engraving, sheet size 47cm x 65cm, together with seven further prints, including a late 18th century engraving by John Kent 'Corte in Corsica'.

Thomas Moule - 'Plan of Boston', mid-19th century engraving with later colour, 25cm x 19cm, within a gilt frame, together with three maps by Cary.

George Houston - 'Twenty Echings of Ayrshire', a set of 22 monochrome etchings circa 1913, each 13cm x 19cm, all contained within an original portfolio. Note: a piece of paper dated June 1913 tipped to the reverse of the title states that this is a 'special set, one of 25 - printed & selected by Geo Houston for Arthur Kay. Provenance: bookplate of Arthur Kay designed by his wife Katharine Cameron to portfolio.

Anthonie Waterloo - Rural Scene with Figures near a Bridge, monochrome engraving, sheet size 15cm x 17.5cm, together with another engraving by Waterloo and a further engraving attributed to Waterloo.

Follower of Rembrandt - Half Length Portrait of a Gentleman wearing a Hat, monochrome etching, 8.5cm x 7.5cm, within a gilt frame, together with three etchings published by S. Hooper and a further engraving, 'Windsor Castle'.

Jodicus Hondius II - 'Barbaria, Descriptio Barbariae Africanae' (Map of Spain and North Africa from Bertius' Tabularum geographicum contractarum libri septum), 17th century engraving with later colour, 10.5cm x 14cm, together with another similar map, 'Scio, Decriptio Chii Ins' (Map of Chios) and a collection of other prints including two etchings by E. Joyce Shillington Scales.

A pair of 19th century colour stipple engravings, 'The Cottage Girl' and 'The Cottage Boy', each 17cm x 13cm, both within verre églomisé mounts and gilt composition frames.

After Raphael - The Conestabile Madonna and Child, overpainted print, label verso, 18cm x 18cm, within a replica gilt composition frame.

Joseph Moore - 'Rangoon, The Position of part of the Army previous to attacking the Stockades on the 8th July 1824' and 'View of the Lake and part of the Eastern Road from Rangoon, taken from the Advance of the 7th Madras Native Infantry', two early 19th century hand-coloured aquatints, each image size 25cm x 37cm, within ebonized frames.

After Gérard de Lairesse - Juno surprising Jupiter and Io, 18th century engraving, 11cm x 15cm, within a painted and gilt frame, together with another engraving of similar interest.

After Thomas Lawrence - Portrait of a Gentleman beside a Desk, mezzotint by George Clint circa 1803, sheet size 50cm x 35cm, within a Hogarth style frame, together with another similar mezzotint.

William Westall - 'Oxford', hand-coloured lithograph, 23cm x 33cm, within a Hogarth style frame, together with a small collection of other prints.

A 19th century colour mezzotint, Gentleman with a Female Farm Worker, 28.5cm x 41.5cm, within a gilt composition frame, together with a colour stipple engraving, Young Man and Dog, 42cm x 29cm, within a gilt frame and two picture frames.

After Samuel Drummond - The Death of Nelson at the Battle of Trafalgar, 21 October 1805, hand-coloured engraving, 52.5cm x 64cm, within a painted and gilt frame, together with an engraving after George Morland.

Clarence E. Blackburn - 'The Tower Bridge, London', mid-20th century monochrome etching heightened with white, signed and titled in pencil, 27cm x 38.5cm, within a Hogarth style frame.

Dorsey Potter Tyson - Archer, early 20th century hand-coloured etching, signed and editioned 14/100 in pencil, 21.5cm x 16cm, within a stained wood frame.

Jean S. Burns - 'Agricultural Show, Cumberland', wood-engraving, signed, dated 1931 and editioned 6/30 in pencil, 19cm x 21.5cm, within an oak frame, together with another wood-engraving by Burns, 'The River'.

Anne Chassar Dallas - Chelsea Embankment, early 20th century wood-engraving, signed and editioned 3/35 in pencil, together with three further prints, including an etching by Alfred J. Bennett.