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Carl Spitzweg 1808 München - 1885 München Der Angler am Waldbach. 1844. Öl auf Holz. Rechts unten mit der Signaturparaphe sowie datiert. 29,8 x 25,8 cm (11,7 x 10,1 in). • Besonders konzentriertes Motiv in der Komposition von Landschaft und Figur. • Aus der Phase der Orientierung an den französischen Zeichnern, vor dem Hintergrund Spitzwegs Mitarbeit an den „Fliegenden Blättern“, 1844 erstmals erschienen. • Eines der wenigen von Spitzweg datierten Werke, von besonderer Wichtigkeit im Oeuvre des Künstlers • Charakteristische humoristische Szene mit unnachahmlicher Spitzwegscher Ironie. Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. PROVENIENZ: Privatbesitz Schweiz. Privatsammlung Baden-Württemberg. LITERATUR: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, WVZ-Nr. 281 (m. Abb.). Wohl Verkaufsverzeichnis Nr. 44: 'Fischende (2ter gemalter in Frak.. auf Holz) sh. No. 31, 1844 Jänner, Hannover, 36 Thaler, p. ct. retour, 1845, 14. Mai Straßburg, Gulden 90 Rheinische, 1845 Mannheim verkauft für 90 Gulden.' Deutsches Kunstarchiv Nürnberg, Nachlass Hermann Uhde-Bernays, I.B, Materialsammlung zu Spitzweg, Ordner 'Bilder der Frühzeit' (Abb.). Siegfried Wichmann, Carl Spitzweg und die französischen Zeichner, Ausst.-Kat. Haus der Kunst München, 1985, S. 137, Nr. 101 (m. Abb.), S. 426. Siegfried Wichmann, Carl Spitzweg. Der Angler. Dokumentation, Starnberg-München, R.v.u.a.K. 1995, S. 24f., Bayerische Staatsbibliothek München, Inv.-Nr. Ana 656 SW 76. Dieses Motiv des Anglers entsteht in einer Zeit, in der sich Spitzweg intensiv mit der Karikatur und der spitzen Feder der französischen Zeichner beschäftigt. Der Maler, Grafiker und Verleger Kaspar Braun gründet 1844 in München die illustrierte Zeitschrift „Fliegende Blätter“, für die er auch Spitzweg als Mitwirkenden Zeichner gewinnen kann. Vorbild waren die satirischen Pariser Blätter „Charivari“ und „La Caricature“, in denen Größen wie Paul Gavarni, Gustave Doré oder Honoré Daumier ihre treffenden Karikaturen veröffentlichten. Auch die „Fliegenden Blätter“ werden für ihre zielsichere Charakterisierung des deutschen Bürgertums schnell bekannt. Zwischen Gedichten, Erzählungen und Vermischtem tragen vor allem die Illustrationen solcher Blätter zu einer panorama-artigen Typologie der Gesellschaft bei, bei denen besonders das gesetzte Bürgertum ins Zentrum des Spottes rückt. Aus Figuren der „Fliegenden Blätter“ geht schließlich auch der die Zeitspanne der ersten Hälfte des 19. Jahrhunderts bezeichnende Begriff des „Biedermeier“ hervor. Gekennzeichnet ist diese Zeit der Restauration bis zum Beginn der bürgerlichen Revolution von 1848 von einem Rückzug ins Private, in die kleinen Freuden des Alltags und einer Abkehr von politischen oder gesellschaftlichen Turbulenzen. Der Gestaltung des privaten Lebens und der Freizeit wird dagegen immer größere Aufmerksamkeit zuteil. Einen solchen gutsituierten, wohl aus dem städtischen Raum stammenden Bürger hat es hier in die Waldeinsamkeit verschlagen, wo er sich an einem kleinen Bach zum Angeln niedergelassen hat. Die Kleidung mit Frack und Weste, blütenweißer Halsbinde und hohem schwarzen Zylinderhut scheint nicht gerade zweckdienlich, auch die Nickelbrille weist ihn eher als Gelehrten oder Beamten denn als Naturburschen aus. Seine Unerfahrenheit spricht auch aus der instabilen Lage, in die er sich mit der Wahl des abschüssigen Steins am Ufer des Baches gebracht hat. Mit hochgezogenen Augenbrauen erblickt er seinen Fang am Ende der Leine - vermutlich hätte er sich aufgrund der durchgebogenen Angelrute einen dickeren Fisch erhofft. Ein nächstes Unglück scheint sich zudem abzuzeichnen - wie lange mag der rutschige Stein den Angler noch vor einem Tauchgang bewahren? Solche persönlichen Erlebnisse verschmelzen mit der genrehaften und zugleich karikaturesken Typologie, aus der Spitzweg seine berühmten Sonderlingsgestalten herausformt. Diese haben sich ganz ihrer Passion verschrieben und gehen ihr in schönstem Dilettantismus aber mit nicht unerheblichem Eifer nach – im Grunde so wie Spitzweg seiner Malerei. Auch Spitzweg als Münchner Bürger ist wie der Angler viel in den Bergen und auf dem Land unterwegs, als Maler und ebenso ausgestattet mit Nickelbrille dürfte er selbst durchaus als Sonderling wahrgenommen worden sein. Die Vielfalt der Abwandlungen des Angler-Motivs in unterschiedlichen Techniken lassen darauf schließen, dass Spitzweg schon in den frühen 1830er Jahren das Bildthema aufgenommen hatte und aus dem einsamen Sonntagsfischer eine seiner beliebten Sonderlingsfiguren gemacht hatte. Dieser „Angler“ ist darüber hinaus eines der seltenen Werke mit Datierung, die Spitzweg nur in Ausnahmefällen auf Wunsch von Auftraggebern oder wenn ihm ein Gemälde besonders gelungen schien der Signatur hinzufügte. [KT] Aufrufzeit: 09.12.2023 - ca. 13.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Great Britain stamps in Davo printed album plus 8 stock books quantities of mint and used. 1840 1d black and 2d blue, 1847 - 54 embossed, 1883 2sh 6d, 5 sh, 10 sh. used, Edward VII - 10 sh used, GV seahorses - 10 sh used. Later issues mint, plus packets. (1 Plastic Box)

Four albums of world stamps with GB 1883, 5 SH rose used, British Commonwealth and foreign plus loose in packets (1)Charity lot being sold on behalf of RSPB

A George III hallmarked silver goblet. The early 19th century goblet having a square plinth base rising to a tapered stem holding a bulbous cup with gilded interior. The goblet having an etched floral repeated pattern to rim and central monogram. Hallmarked for London, 1804. AF Goblet, misshaping to base. Makers mark SH attributed to Solomon Hougham. Weight approx 214g. Measures approx 8.5cm x 15.2cm. 

Sehr feine Kutscheruhr. Von P. Rimbault London, Lit.: sh. Baillie und Britten. Graviertes, vergoldetes Messingehäuse. Emailzifferblatt (unbed. St.). Zentrale Stoppsekunde. Verglaster Gehäuseboden, Spindelwerk mit Kette und Schnecke. Silberner, feinst gravierter und perforierter Spindelkloben. Platine und Zifferblatt bez. w. o. Ø 7,9 cm. Ende 18. Jh.

Bankett-Tischtuch. Bordüren mit Sommerblumen und Eierstabkanten. Leinendamast. Gesticktes Monogramm SH. Um 1900. 195 x 410 cm

Moderner Memoryring mit edlen vielfarbigen TurmalinenDeutschlandRosègold 750/-, gestempelt, Juwelier Punze: SH. 16 facettierte, triangelförmige Turmaline ( Paraidafarben-rosa-dunkelgrün-violettrot-gelblichrosa ), zus. ca. 7,03 ct. Neuwert, ungetragen. Ringgröße: 56. Ca. 4,85 g g.Goldschmiedetechnische Ausführung: dieser Memoryring wurde umlaufend bestückt mit Farbfeinen Turmalinen in Zargengriff - Chatons.

Badge. Scottish. Argyll Highland Rifles Victorian head-dress badge circa 1865-75. Fine scarce die-cast small bronze crowned ornate coiled bugle horn mounted with Boar's head to the voided centre. Loops. Front rebronzed GC Became a VB of the A & SH on 1st July 1881, redesignated 5th VB 1st December 1887. Provenance. Ex Hugh King Collection PAYMENT BY BANK TRANSFER ONLY ON RECEIPT OF INVOICE

SH; a pair of George III hallmarked silver pierced oval salts with blue glass liners, London, indistinct marks, 9 x 5.5cm and a pair of mustard spoons, London 1832, combined approx 3.24ozt/100g.

Five: Ship’s Steward for General Mess E. Woodland, Royal Navy Ashantee 1873-74, no clasp (E. Woodland, Dom. 2.Cl. H.M.S. Tamar. 73-74); South Africa 1877-79, no clasp (E. Woodland, Dom. 1.Cl. H.M.S. “Tamar”) official corrections to latter half of surname and rate corrected from 2nd to 1st Class; Egypt and Sudan 1882-89, dated reverse, no clasp (E. Woodland, Sh. Stewd. H.M.S. “Tamar”); Royal Navy L.S. & G.C., V.R., narrow suspension (Edwin Woodland, Sh. Stewd. for Gen. Mess H.M.S. Tamar) impressed naming, name and part of rank officially corrected; Khedive’s Star 1882, generally good very fine and rare (5) £1,400-£1,800 --- Provenance: Captain K. J. Douglas-Morris Collection of Naval Medals, Dix Noonan Webb, October 1996. Edwin Woodland was born in Portsea, Hampshire, in February 1852. He joined the Royal Navy as a Ward Room Officer’s Servant in February 1868. Subsequent service included with H.M.S. Asia, as the Admiral’s Domestic on the Agincourt, and as the Captain’s Servant on H.M.S. Crocodile. In May 1873 Woodland joined the Tamar and in this ship earned a remarkable tally of five medals covering three campaigns. He entered H.M.S. Tamar as Domestic 2nd Class and gained the following promotions whilst on board: Domestic 1st Class (October 1876), Acting Ship’s Steward 3rd Class (May 1877), Assistant Ship’s Steward (August 1877), Acting Ship’s Steward (September 1879), and finally Ship’s Steward for General Mess (September 1880), in which rate he received his L.S. & G.C. medal in April 1882, being finally paid off from the Tamar in June 1883. Woodland was ultimately pensioned to shore when invalided from the Royal Naval Hospital, Portsmouth, on 6 May 1892 suffering from Bright’s disease. Sold with copied service papers.

Eight: Victualling Chief Petty Officer W. Brumham, Royal Navy India General Service 1854-95, 1 clasp, Burma 1885-7 (W. Brumham, S. A. Asst., H.M.S. Bacchante.); Egypt and Sudan 1882-89, dated reverse, 1 clasp, Alexandria 11th July (W. Brumham. S. S. Asst. H.M.S. Alexandra.); China 1900, no clasp (W. Brumham, Sh. Std., H.M.S. Centurion.); 1914-15 Star (107858, W. Brumham, S. S. R.N.); British War and Victory Medals (107858 W. Brumham. V. C. P.O. R.N.); Royal Navy L.S. & G.C., V.R., narrow suspension (Wm. Brumham, Ship’s Stewd. H.M.S. Euphrates.) impressed naming; Khedive’s Star, dated 1882, unnamed as issued, mounted on card for display, cleaned, light contact marks overall, generally very fine, and a rare combination of awards (8) £1,400-£1,800 --- Provenance: Dix Noonan Webb, March 2008. William Brumham was born in Portsmouth, Hampshire, in January 1863. He joined the Royal Navy as a Ship’s Steward’s Boy in February 1879, and served with H.M.S. Alexandra in Egypt, including the bombardment of Alexandria, in 1882. Brumham advanced to Ship’s Steward Assistant, and served as that rate with H.M.S. Bacchante from July 1885 until May 1886. Subsequent service included with H.M.S. Euphrates between September 1890 and May 1891 (awarded L.S. & G.C.). Brumham advanced to Ship’s Steward in July 1889, and served with H.M.S. Centurion from February 1897 until September 1901. He was shore pensioned in June 1906, but recalled for service with the outbreak of the Great War. Brumham served with the cruiser H.M.S. King Albert between August and October 1914, before serving the remainder of the war as Victualling Petty Officer at H.M.S. Victory I. Sold with copied service papers and medal rolls entries.

Pair: Ship’s Steward T. Bunker, Royal Navy Queen’s South Africa 1899-1902, no clasp (T. Bunker, Sh. Std: H.M.S. Doris); Royal Navy L.S. & G.C., V.R., narrow suspension (Thos. Bunker. Sh. Stewd. 2nd Cl. H.M.S. Urgent.) impressed naming, mounted on card for display, generally good very fine (2) £160-£200 --- Thomas Bunker was born in Alverstoke, Hampshire, in February 1859. He joined the Royal Navy as Ship’s Steward’s Boy in February 1877, and advanced to Ship’s Steward in July 1889. Service included in H.M. Ships Urgent, from November 1886 to January 1889, and Doris, from January 1899 to May 1901. Bunker was discharged to pension in July 1904. Sold with copied service papers.

Six: Master at Arms T. Arding, Royal Navy China 1900, no clasp (T. Arding, A.B., H.M.S. Dido.); 1914-15 Star (188145. T. Arding. Sh. Cpl. 1., R.N.) with remnant of named card box of issue; British War and Victory Medals (188145 T. Arding. M.A.A. R.N.); Defence Medal; Royal Navy L.S. & G.C., G.V.R., 1st issue (188145 Thomas Arding, Sh. Corpl. 1Cl. H.M.S. Ganges II) nearly very fine and better (6) £400-£500 --- Thomas Arding was born in Grove, Berkshire, on 9 February 1880 and joined the Royal Navy as a Boy Second Class on 25 March 1896. He served in H.M.S. Dido from 10 May 1898 to 11 January 1902, and was promoted Able Seaman on 1 April 1900. Advanced Ship’s Corporal on 20 March 1909, he was awarded his Long Service and Good Conduct Medal on 18 March 1913, and served during the Great War in a variety of ships and shore based establishments, being advanced Master at Arms on 5 February 1917. He was shore pensioned on 9 June 1921, and subsequently joined the Royal Fleet Reserve.

A DIAMOND 'COLLIER DE CHIEN' BANGLE, BY HERMÈSThe oval hinged bangle highlighted with two pyramidal motifs pavé-set with brilliant-cut diamonds, mounted in 18K rose gold, signed Hermès, numbered, with maker's mark, French assay mark, with certificate of authenticity from Hermès,  photocopy of invoice,  maker's case and outer box, size SH, inner diameter 5.6cm Condition Report: Superficial signs of wear, overall in good conditionNumbered: 22A554997Total gross weight approx. 25.6gRetail prices on Hermes website: €8,800.-https://www.hermes.com/fr/fr/product/bracelet-collier-de-chien-petit-modele-H115405Bv00SH/

Mid 7th-6th century B.C. Holes close to the rim for attachment of a lining; the surface executed in repoussé technique, filled by scenes horizontally divided with guilloche of two interlaced serpents; in the lower register two opposed lions (an antithetic pair, a lion and a lioness), both in profile, attacking a boar; the lions with open jaws and prominent muscles; the mane marked, and the tails forming a reversed S-curve between the hind legs; the anterior part of the boar collapsing under the lion's attack; rosettes filling the field and in the upper register, two large bosses separating three semi-human figures, maybe representing evil spirits, advancing in crouching pose with elbows bent and hands palm-upwards, rosettes and fungi in the field, their arms elevated in prayer; restored. See Rawlinson, G.M.A., The five great Monarchies of the Ancient Eastern World, III vol., New York, 1881; Schmidt, E.F., Persepolis II, Contents of the Treasures and other discoveries, Chicago, 1957; Soudavar, A., Iranian complexities, a study in Achaemenid, Avestan and Sassanian controversies, Houston, 1999; Garrison, M., 'Notes on a boar hunt (PFS 2323) in Bulletin of the Institute of Classical Studies vol. 54, No. 2 (2011), pp.17-20; Muscarella, O.W., Archaeology, Artifacts and Antiquities of the Ancient Near East, Boston, 2013. 495 grams, 42 x 25 cm (16 1/2 x 10 in.).From the collection of a West London businessman, formed in the late 1980s-early 1990s. Property of an important West London collector. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by a metallurgic analytical report, written by metallurgist Dr Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 618/129067. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11982-209461.Our specimen is a well preserved decorative votive plaque of Early Achaemenid age, although some elements could suggest the plaque as belonging to the late Elamite period. Usually these plaques are rectangular in shape and contain one or more figures. One of the predominant figures is the lion, an old symbol of power in Ancient Mesopotamia. It appears often in a similar form, for example in the Achaemenid seals (Schmidt, 1957, pp.42-44), as a hunter. The king of the beasts was considered a worthy foe, but sometimes was used as a symbol of the dynasty. Boars are also visible in seal patterns (Rawlinson, 1881, p. 240; Schmidt, 1957, pp.12,15,40,41,49). The rosette motif is well known in the Achaemenid art, like on Miho's Artaxerxes plate (Soudavar, 1999, p.11) or in decorated architectural fragments left on the ground in Persepolis (Soudavar, 1999, p.20 fig.14), and, more important, in the famous Otane's plaque (Soudavar, 1999, p.29 fig.32; p. 42 fig. 41a-b-c) or on the plaque reporting the Behistun text (Soudavar, 1999, p. 56 fig. 45). The rosette is a representation of solar emblems, and it is already visible in works of the first millennium B.C. (Muscarella, 2013, pp. 682-683, 781), and on the diadems of the Elamite rulers represented in the Achaemenid art. The representation of the Ansh?nite sun flower under a rosette vary in shapes and it is not always clear whether it predates the Darian Persepolitan style. Here, the presence of convex more than concave rosettes points more to a date anterior to Darius' kingdom (522-486 B.C.). The representation of the snakes is singular, considering that there is a general negativity in the Persian ancient culture associated with the word (snake) and the animosity that Zoroastrianism developed towards snakes. However, according to the Sh?hn?meh, the discovery of fire was ushered by the appearance of a magical snake, at which the legendary king Hushang threw a stone; it missed its mark but hit another stone and produced sparks that lit a fire. The Achaemenid Empire dominated the Near East and the eastern Mediterranean for about two centuries, from the mid-sixth to the mid-fourth BC, when it was conquered by Alexander the Great and the last Persian king, Darius III Codomannus, was killed by his generals. It was one of the largest empires in the world and in many ways one of the most successful. Votive plaques were dedicatory offerings in the temple, like a modern ex-voto. The motive of the boar hunt in Achaemenid art is visible on seals, and represents the warriors (lions) hunting the enemy (ibex, boar), a typical war-training exercise for soldiers, commanders and princes. The theme of the boar hunt by Persian warriors has traditionally been associated closely with later Achaemenid glyptic from the western realms of the empire, but in this ancient plaque representation the lions appear symbolically replacing the warriors.

Pair of Seymour Duncan humbucker pickups to include an SH-1N and an SH-4

3 PETER HVIDT & ORLA MOLGAARD NIELSEN Stühle, Modell "350" SOBORG Furniture Factory, Dänemark um 1960, Teakholz-Rahmen, Sitz und Rücken aus hellem Geflecht, am Boden gemarkt "Made in Denmark", H 75cm, B 49cm, SH 45cm

Seven boxed Corgi The Aviation Archive 1:72 diecast model helicopters to include AA37608 Westland Wessex HU5, AA37609 Westland Wessex, AA39104 Westland Whirlwind HAR10, AA39103 Westland Whirlwind HAR MK.10, AA33401 Falklands 20th Anniversary, AA3410 Westland Sea King HAS.MK.1 and AA33412 Military Airpower Sikorsky SH-3D Sea King. Diecast ex, with stands & accessories, unchecked for completeness, some boxes showing storage wear

Around 28 boxed 1/48 plastic model kits to include Airfix, Revell, Italeri, ICM, SMER, Eduard, Dora Wings, Hobby Boss etc featuring Airfix 05102 BAe Harrier GR3, Hobby Boss 85801 P-40M, Kitty Hawk SH-2F Seasprite etc, unbuilt and appearing complete (two boxes)

Collection of boxed Technics Hi-Fi equipment to include Sh-AV500 AV Processor, SU-A800 Stereo Integrated Amplifier, ST-G4L Quartz Synthesiser, SL-P2 Compact Disc Player, SL-PJ11 CD Player and SL-JS1-1 Automatic Turntable System. Items not tested but are all in excellent/near new condition with no visible dust present on internal electrics etc). No instructions. (6)

Sean Henry (British, born 1965)Donkey signed with initials, dated and numbered 'SH 98 4/6' (to reverse of left shoe)painted bronze on a wooden plinth176cm (69 5/16in) (including base); 85cm (33 7/16in) high (excluding base)Footnotes:ProvenanceWith Davies & Tooth, London, where acquired by the present owner Private Collection, U.K.LiteratureT. Flynn, Sean Henry, Scala, London, 2008, p. 145, illustratedThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A Technics stacking system to include a CD player SL-PJ11, and a CD player SL-PJ44, a graphic equalizer SH-E70 and a pair of Technics speakersLocation: A1M

Robert Whittaker (1939-2011), Chiswick Park London May 1966, print of The Beatles, signed with title date and photographers name in the margin. 23 x 21 cm (SH) (see illustration).

Utagawa Hiroshige (1797-1858), a woodblock print from the series Fifty Three Stations of The Tokaido (circa 1900), titled The Sixteenth Station Yui (Travellers on a high cliff by the sea). 25 x 38 cm (SH) (see illustration). CONDITION REPORT: The back of this lot has the dealers label “Wolfs Newcastle on Tyne, 57 West Gate Road”, this looks mid to early 20th century. The telephone number is Newcastle 25714 (perhaps 1970's or earlier). It will not have been taken out of the frame after that date. Looking at the print itself we would say there is a strong possibility it is stuck down, it is certainly held very tightly and closely to the card at the back. The print itself has the occasional brown hole in line with moisture in the paper. There are four of these which are significant and visible. There is also the odd spot of foxing, this would indicate reasonable age to the print. There is also a crease to the margin bottom right. This is +/- 1 cm long. Further small scuff marks to the centre right of the image, otherwise the paper is intact.

Utagawa Hiroshige (1797-1858), Listening to insects at Dokan Hill, from the series Famous Places in the Eastern Capital (Tot Meisho) (circa 1900), with early 20th century gallery label Walter Jones Sloan Street London SW1 verso. 25 x 37.5 cm (SH) (see illustration). CONDITION REPORT: This print has Walter Jones, Sloan Street label to the back. The backboard itself looks to be pine in keeping with early 20th century framing. Again it has not been taken out of its frame since Walter Jones frame this print. Looking at the front, the indication is again that this print is stuck down in places, this would be totally in line with framing practices at that time. The paper of the print is entirely intact. There are no significant holes or areas of foxing or discolouration. There are occasional scuff marks and bits of dirt but overall in reasonable condition. This has not been examined out of its frame. One small light 0.5 cm tear to the margin top left, this probably does not run through the entire print.

Alfred Wainwright (1907-1991), a map of the County Of Westmorland, as it was on 31st day of March in the year of our Lord 1974, signed by Paul N Wilson Lord Lieutenant of The County and Alfred Wainwright bottom right. 51 x 59 cm (SH). ARR

Alfred Wainwright (1907-1991), an antiquarian map of the County Of Cumbria, commissioned in the year of our Lord 1980 by the High Sheriff of The County C.H. Bagot Esq. of Levens Hall. 69 x 49 cm (SH). ARR

Alfred Wainwright (1907-1991), an original pen and ink drawing, "Sgor Gaoith and S Goran Dubh Mor", original sketch very similar to but differing in composition from plate 310 Scottish Mountain Drawings Eastern Highlands volume 5, signed and inscribed with title. 17 x 21 cm (SH). ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "The Cliffs of Mayar, Glen Doll" this sketch is close to in composition but differs from plate 367 Scottish Mountain Drawings The Eastern Highlands volume 5, signed. 14 x 21 cm (SH). ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Monadh Mor", an original sketch similar in composition plate 313 Scottish Mountain Drawings The Eastern Highlands volume 5, signed. 14 x 21 cm (SH). ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Glen Trool", signed and inscribed with title. 16 x 21 cm (SH). ARR

Alfred Wainwright (1907-1991), an original pen and ink drawing "Loch Trool", signed and inscribed with title. 18 x 22.5 cm (SH). ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "The Roman Steps", signed and inscribed. 21 x 16 cm (SH) ARR (see illustration).

Alfred Wainwright (1907-1991), Tideswell Church, original pen and ink drawing, inscribed with title and signed lower right. 17.5 x 21 cm (SH). ARR

Alfred Wainwright (1907-1991), Heron Corn Mill, Beetham, original pen and ink drawing, inscribed with title and signed and dated 1978. 16 x 19 cm. (SH). ARR (see illustration).

Alfred Wainwright (1907-1991), Coniston Old Man, original pen and ink drawing, inscribed with title and signed. 19 x 16 cm. (SH) ARR (see illustration).

Alfred Wainwright (1907-1991), Eyam Hall, original pen and ink drawing, inscribed with title and signed. 19.5 x 17 cm. (SH). ARR

Alfred Wainwright (1907-1991), Hobcarton Pike, original pen and ink drawing, inscribed with title and signed. 18 x 22 cm. (SH) ARR (see illustration).

Alfred Wainwright (1907-1991), Cold Pike, original pen and ink drawing, inscribed with title and signed. 18 x 22 cm. (SH). ARR (see illustration).

Alfred Wainwright (1907-1991), The Dow Crag Ridge From Walna Scar, original pen and ink drawing, inscribed with title and signed. 175 x 21 cm. (SH) ARR (see illustration).

Alfred Wainwright (1907-1991), Hartsop Dodd, original pen and ink drawing, inscribed with title and signed. 20 x 17.5 cm. (SH) ARR (see illustration).

Alfred Wainwright (1907-1991), Roman Bridge, original pen and ink drawing, inscribed with title and signed. 17 x 21 cm. (SH) ARR (see illustration).

Alfred Wainwright (1907-1991), Malham, print, inscribed with title and signed. 19.5 x 20 cm. (SH), together with a second Wainwright print, signed and inscribed with title Cautley. 16 x 23 cm (SH) (2). ARR

Alfred Wainwright (1907-1991), Thirlmere, print, inscribed with title and signed. 19.5 x 25 cm. (SH), together with a second print after Wainwright titled Ashness Bridge, inscribed with title and signed. 20 x 25 cm (2). ARR

Alfred Wainwright (1907-1991), Ullswater From St Sunday Crag, print, inscribed with title and signed. 20 x 25 cm. (SH). ARR

Alfred Wainwright (1907-1991), Bowfell From Lingmoor Fell, print, inscribed with title and signed. 20 x 25 cm. (SH) ARR

Alfred Wainwright (1907-1991), Fountains Abbey, print, inscribed with title and signed, together with a second print after Wainwright, signed and titled Ingleborough, each 19 x 25 cm. (SH) (2). ARR

Alfred Wainwright (1907-1991), Scafell Pike From Throstlegarth, print, inscribed with title and signed. 20 x 25 cm. (SH). ARR

Alfred Wainwright (1907-1991), Langdale Pikes From Lingmoor Fell, print, inscribed with title and signed. 19 x 25 cm. (SH). ARR

After Keith Shackleton (British 1923-2015) "The North Face of Mount Everest" limited edition print 331/1000, signed by the artist in the margin, also signed by John Hunt, NE Oval, John Mowell, Chris Bonnington, Doug Scott and Keith Shackleton, 55 cm x 75 cm (SH),

After J Lincoln Rowe "Kangchenjunga Yalung Face" limited edition print, 300/100, signed by the artist lower right also signed by four climbers who ascended in 1955: George Band, Jo Brown, Norman Hardy and Tony Streather, 44 cm x 63 cm (SH).

After Theodore Howard Somervell OBE (1890-1975) "Mount Everest from Rongbuk", 1925, offset lithograph, signed to the lower margin by mountaineers, Michael Ward, John Boyle, Jack Longland, Charles Warren, Stephen Venables, Charles Clark, Doug Scott and Chris Bonnington, 37 cm x 49 cm (SH) (see illustration).

After Joseph Mallard William Turner RA (1775-1851), Whitehaven Cumberland, engraved by W.R. Smith, hand coloured steel engraving. 22 x 27 cm (SH).

Jamie Boyd (born 1948), theatrical scene, print inscribed with title, signed in pencil in the margin and numbered 18/100. 96 x 71 cm (SH). together with a second unframed print after the same hand (2).

Victor Venner (1869-1913), a motoring scene from the Edwardian period, signed in the margin in pencil, chromolithograph. 44 x 64 cm (SH).

Earl Haig (Scottish 1918-2009), Border Reivers, signed in pencil lower right 40/50, screen print. 55 x 72 cm (SH). ARR (see illustration).

After Herbert Dicksee, a greyhound, signed lower left and inscribed in pencil, restrike print. 36 x 55 cm (SH). CONDITION REPORT: This print has not been examined out of its frame. This print is a photographic reproduction, it is not an engraving.

Snaffles (Charles Payne), The Stone Faceder, signed in pencil lower left alongside bridle incised stamp, reproduction print. 50 x 42.5 cm (SH) (see illustration).

Snaffles (Charles Payne), The Timber Merchant, signed lower right in pencil, with bridle incensed stamp mark, reproduction print. 48 x 42 cm (SH).

Margaret Pilkington (1891-1974), Italian Landscape, signed to lower left and inscribed State No. 2, 2/8, wood engraving. 19 x 14 cm (SH). CONDITION REPORT: This wood engraving has not been examined outside of its frame. There is one clear patch of staining which is brown and to the bottom left margin over and above the letter MA in the artists signature. The remainder of the paper is intact, no tears or holes. There is one crease visible middle right to the margin. It is clearly signed, inscribed with title and numbered in pencil.