Prints, Maps and Posters

British School – ‘Survey, Oxford Road & Swallow Street, new ground to be built on’, 17th/early 18th century manuscript ink and pencil plan of Swallow Street, north of Piccadilly in the West End of London, including parts of Bond Street, Albemarle Street, Lord Burlington’s Garden, Glasshouse Street, Luster Street, Beake Street and Oxford Street, on laid paper, sheet size 48cm x 37cm, mounted on card.

After John Mackay – ‘Map of the Grosvenor estate in St George’s Parish as it was in the year 1723’, late 19th/early 20th century manuscript ink and watercolour plan on paper backed to linen, sheet size 46.5cm x 67cm.

Robert Havell – A Panorama of London, six aquatints, published 1822, each approx. 8.5cm x 63cm, mounted onto two sheets of card.

Matthaeus Seutter – ‘Ordines Sacri Romani’ (Holy Roman Empire), two 18th century engravings with later hand-colouring on laid paper, each sheet size 52.5cm x 60.5cm.

Paul Sandby – ‘View from the North side of the Virginia River, near the Manour Lodge’, etching with engraving on laid paper, published by John Boydell 1772, sheet size 35cm x 59cm.

Thomas Kitchin – ‘Calcutta as in MDCCLVI’, late 18th/early 19th century engraving on laid paper, 23cm x 74cm, within a Hogarth style frame.

Jonathan Bailey, after William Scott - 'To His Grace the Duke of Norfolk this View of Arundel Castle…', 19th century etching with aquatint, 48cm x 60cm, within a stained wood and gilt frame, together with an early 20th century etching of Eton College by Thomas Hemy.

Johannes Kip - ‘Le Palais et Park de St. James’s, St. James Palace and Park’, 18th century engraving with later hand-colouring on laid paper, 33.5cm x 46cm, together with a quantity of 18th, 19th and 20th century engravings and lithographs of London interest, within a folio.

Richard Bernard Godfrey – ‘Sheffield Place Sussex’, etching with engraving, published by F. Blyth 1778, sheet size 28.5cm x 21.5cm, together with 31 other 18th and 19th century engravings by different hands and a watercolour.

John Harris, after William Henry Davis – ‘The Everingham Short Horned Prize Cow’, aquatint with later hand-colouring, published by Fores 1843, 53.5cm x 69cm, within a maple frame, together with a restrike engraving after Thomas Landseer, 'Portrait of the Celebrated Short Horned Cow, Bracelet'.

Leslie Moffat Ward – ‘The Langdales From Tarn Hows’, 20th century etching on laid paper, signed, titled, dated ‘46 and inscribed ‘working proof’ in pencil, sheet size 30cm x 39cm, together with another etching by the same hand, ‘Under the Stern, Poole’ and one further etching by Horace William Williamson, ‘The Mountain Stream’.

Henry Rushbury – Stirling Castle, early 20th century etching on laid paper, signed in pencil recto, titled verso, 21.5cm x 31cm, within a gilt frame.

Sydney Ferris – ‘Thames Barges’, early 20th century etching, signed, titled and editioned 6/75 in pencil, 10.5cm x 12.5cm, within a gilt frame, together with three further etchings by the same hand.

Edmund Blampied – ‘The Two Coves’ (Anthropomorphic Dogs), 20th century lithograph, signed in pencil, titled in ink, sheet size 47.5cm x 38cm, together with two similar signed lithographs by the same hand.

Nat Long [Nathaniel John Long] — ‘The Surfriders’, mid-20th century etching with aquatint, signed, titled, and inscribed ‘trial proof’ in pencil, sheet size 41cm x 46.5cm, together with twenty-eight further etchings by the same hand. Note: Nat Long (1893-1955) studied at the Bournemouth School of Art and later worked as a graphic designer for Garrett & Atkinson and Birn Brothers amongst others. He served in the First World War with 1/4th Hants in India and Mesopotamia.

Peter Carreras – ‘Gondolieri’, 20th century colour etching, signed, titled and editioned 4/25 in pencil, 20.5cm x 26cm, together with 18 further etchings by the same hand.

Peter Carreras – ‘Morning Cockerel’, 20th century colour etching with aquatint, signed, titled and editioned 4/50 in pencil, 16cm x 10cm, within an ebonized wood frame, together with three other etchings by the same hand.

Frank Alford – Workers Strike, etching with drypoint on laid paper, signed and dated 1921 in pencil, sheet size 46.5cm x 29.5cm, together with a large quantity of other etchings by the same hand and a woodcut by H.G. Webb after Frank Brangwyn, ‘Picking Fruit’. Note: Frank Alford was a Welsh artist, architect and property developer, who worked as Frank Brangwyn’s studio assistant from 1918-1922. Alford played a key role in projects such as Jefferson City, Selfridges, South African Stations of the Cross, and the Japanese Art Gallery. During his time with Brangwyn, Alford kept a compelling diary, and his remarkable skills and aptitude led to him being praised by Brangwyn as 'the best assistant I ever had.' For related drawings, see lot 261.

Leslie Wood – ‘Save for the Future’ (Second World War National Savings Poster), 20th century offset lithograph, printed for H.M. Stationery Office by M.M.P. Ltd, issued by the National Savings Committee, sheet size 73.5cm x 93cm, together with two other examples of the same poster. Note: scarce.