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ZHU WEI (1966-) - CHINA DAIRY NO. 51 Lithograph on paper, signed and editioned 31/999 70 x 52cm Condition: Condition Report Warping to board along left and right sides, and paper at bottom left. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Graham Charnton - Three Oaks, limited edition print, signed, titled and numbered in pencil to the margin, 30 x 24cm; M. Beresford-Williams - Wet sand, lithograph, signed, titled and numbered in pencil to the margin from an edition of 75; and an original acrylic on paper (3)

After David Roberts - Jerusalem April 3rd 1839, lithograph, set of four sporting prints in one frame from Fores's Sporting Scraps, and one other topographical colour engraving - Miscellaneous British Scenery (3)

ARR Bernard Cheese, 1925-2013, Village in Provence, lithograph, signed in pencil and numbered 48/60 in pencil, 56 x 39cm

ARR John Piper, 1903-1992, Abstract Composition, coloured lithograph, signed in pencil to the margin, published by Contemporary Lithographs Ltd, London, 64 x 48cmOverall condition looks to be complete. The paper may have yellowed slightly with age. Appears to be a crease in the paper to the margin just above the signature and maybe another nearer the top, but it is difficult to tell behind the glass. Clearly signed. Frame looks quite modern, but is sound. Removed from the house clearance of a local artist.

ARR Belinda King, contemporary, Kilpeck Angel, lithograph, signed and numbered 11/30 to the margin in pencil, 17 x 17cm

ARR Chloe Cheese, b1952, Basket of Lemons, lithograph, signed in pencil and numbered 76/160, 23 x 21cm

ARR Henry Spencer Moore, OM, CH, FBA, 1898-1986, Figures in Settings, circa 1949-51, coloured lithograph, facsimile signature to margin, 54 x 36cm. Provenance: Removed from the estate of a Suffolk artist. For a similar example see Tate Gallery collection Ref: P02973. The owner had noted: Collographic print of studies for sculpture, printed by Ganymed (Press) from the artist’s original drawing. This particular print was one of only two of these proofs made, using the colour yellow in the printing. Moore decided that it should be replaced with blue which was then used for the final edition, on sale to the public, “My” print remained in the Ganymed archive (“not for sale”) until it was given to me as a “leaving present” by Ann Sidgewick (the boss) when I left the gallery. This is therefore a unique print, being slightly different from the other yellow one.”

L/E lithograph Snowline by Peter Brook - Approx IS 56cm x 77cm

PAUL HOGARTH RA (1917-2001), CONGO RIVER, lithograph, signed and numbered 20/195, framed under glass, 75 x 55cm

Henry Maximilian Beerbohm (British, 1872 - 1956), ' Dante in Oxford, Proctor: "Your name and college?" ', 34 x 20.5cm, and ' Samuel Taylor Coleridge, Table Talking ', 22 x 32.5cm, lithograph/prints, both framed and glazed (2)

John West Giles (British 1830-1865), hand coloured lithograph, 'The Newbury Coat'. Circa 1840, 55cm x 75cm, framed and glazed

Materialien zur Vor- und Frühgeschichte der Photographie in Deutschland, nach 1800Antwortbrief des Diorama-Inhabers Carl Gropius in Berlin 1862 auf die Anfrage zum Nachlaß C.F. Schinkel und zu dessen Italienreisen. Vorhanden sind: 1) Briefbogen mit geprägtem Briefkopf "CARL GROPIUS BERLIN im Diorama", datiert Berlin, 29. Jan. 1862, ein weiterer Briefbogen daran ist unbeschriftet. – 2) Lithographie mit dem Bildnis von C.F. Schinkel 11 x 17 cm, von H. Schütze, Lith. Inst. von B. Kehse & Sohn, Magdburg. – Und: 3) Album der XXII. Thierstudien, von C. Reinhart in Rom, 1815, mit drei Original-Radierungen, in der Platte vom Künstler signiert – eine mit dem Datum Roma 1815, erschienen in Frankfurt am Main bei Johann Friedrich Wenner. Motiv: naturgetreue Darstellungen von jungen Hunden. – Zur Bedeutung und Verbindung von Reinhart, Schinkel und Gropius: Johann Christian Reinhart (1751 in Hof – 1815 in Rom), kgl. bay. Hofmaler und Freund Schillers war das unbestrittene Zentrum des deutschen Künstlerlebens in Rom. Bekannt wurde er durch seine wirklichkeitsgetreue Darstellungsweise, später durch seine Hinwendung zur Romantik. Aus rdklabor.de/ wiki/Diorama: Schinkel veranlaßte aufgrund seiner Italienreise um 1805 seinen Freund Wilhelm Ernst Gropius zur Gründung einer Maskenfabrik für "italienische Larven" und 1807 zur Eröffnung eines Mechanischen Theaters (ein Event-System als Frühform des Kinos), in dem lebensgroße Marionetten vor Schinkels be- oder durchleuchteten panoramaartigen perspektivisch-optischen Bildern agierten, vermutlich mit Geräuschen. Es folgte 1808 das Panorama von Palermo und 1821 eröffnete Daguerre in Paris sein Diorama. Stephan Oettermann, "Das Panorama" (1980), S. 158–160 zu Schinkels Panorama von Palermo von 1808: "Den größten Einfluß auf die Entwicklung des Dioramas hatte der Berliner Hoftheatermaler Carl Wilh. Gropius. Entscheidend auf dessen künstlerische Tätigkeit wirkte Karl Friedr. Schinkel ein, der sich in den ersten Jahren nach seiner italienischen Reise auch der Panoramenmalerei widmete." Gropius' Sohn Carl besuchte mehrmals Paris und das Diorama; daraufhin wurde nach Schinkels Plänen in Berlin ein solches Gebäude errichtet. Schinkel konnte erst dank der von ihm erstellten Panoramen eine Familie gründen und beim König bekannt werden, um jener berühmte Architekt zu werden. Seine Verbindungen zur Familie Gropius reflektierten die Photographie. Der mit Schinkel befreundete Seidenfabrikant J.C.Chr. Gropius schickte zum Schinkel-Bau des Gewerbeinstituts Berlin (Bauakademie) August 1839 aus Paris eine der ersten serienmäßigen Photokameras und Carl Gropius' Bruder George druckte 1839 in seinem dort befindlichen Verlag die "Praktische Beschreibung des Daguerreotypen". Am 21.9.1839 wurde auf der Versammlung deutscher Naturforscher und Ärzte in Pyrmont bekannt gegeben, daß in Berlin durch Wagner und Pistor daguerreotypische Aufnahmen gelungen seien, was zuvor der Presse durch George Gropius in der Bauakademie mitgeteilt wurde. Für nahezu 50 Jahre (1885–1933) wurde das Gebäude Sitz der Königlich Preußischen Meßbild-Anstalt, 1921 in Staatliche Bildstelle umbenannt. In 2019 wurde die Bundesstiftung Bauakademie als Trägerorganisation für den Wiederaufbau des Gebäudes gegründet. Start Price: EUR 180 Zustand: (3/–)Materials on the Prehistory and Early History of Photography in Germany, post-1800A reply from the owner of the Diorama, Carl Gropius, in Berlin in 1862, to an inquiry about the estate of C.F. Schinkel and his trips to Italy. Comprising: 1) Embossed letterhead of "CARL GROPIUS BERLIN im Diorama", dated 29 Jan. 1862, and another blank letterhead. – 2) Lithograph with the portrait of C. F. Schinkel, 11 x 17 cm, by H. Schütze, Lith. Inst. of B. Kehse & Sohn, Magdburg. – And: 3) Album of the XXII. Animal Studies (depictions of young dogs), by C. Reinhart in Rome, 1815, with three original etchings signed in plate by the artist, one dated Roma 1815, published in Frankfurt am Main by Johann Friedrich Wenner. – Note: Johann Christian Reinhart (1751 in Hof – 1815 in Rome), royal Bavarian court painter and friend of Schiller, was the undisputed center of ex-patriot German artistic life in Rome. He became known for his realistic depiction style, and later for his turn to romanticism. According to rdklabor.de/wiki/Diorama: Schinkel's trip to Italy in 1805 prompted his friend Wilhelm Ernst Gropius to set up a mask factory for "Italian masks" and in 1807 to open a mechanical theater, in which life-sized marionettes (presumably with dialogue) acted in front of Schinkel's illuminated panoramic optical perspective images. This was followed in 1808 by the Panorama of Palermo and in 1821 Daguerre opened his diorama in Paris. According to Stephan Oettermann (1980), "Das Panorama", p. 158–160, on Schinkel's Panorama of Palermo (1808): "The greatest influence on the development of the diorama was the Berlin court theater painter Carl Wilh. Gropius. Karl Friedr. Schinkel, who devoted himself to panorama painting in the first years after his Italian trip, had a decisive influence on his artistic activity." After Gropius' son, Carl, had visited Paris and the diorama several times, a similar building was constructed in Berlin according to Schinkel's plans. It was thanks to his panoramas that Schinkel was able to start a family, achieve recognition from the king and ultimately become a well-known architect. His connections to the Gropius family were based on photography. The silk manufacturer J.C.Chr. Gropius, a friend of Schinkel, sent one of the first mass-produced cameras from Paris to the Schinkel building of the Berlin Trade Institute (Bauakademie) in August 1839, and Carl Gropius' brother George printed the "Practical Description of the Daguerreotype" in 1839 in his publishing house there. On 21 September 1839, it was announced at the meeting of German natural scientists and doctors in Pyrmont that Wagner and Pistor had succeeded in taking daguerreotype photographs in Berlin, which had previously been announced to the press by George Gropius in the Bauakademie. For almost 50 years (1885–1933), the building was the headquarters of the Royal Prussian Messbild-Anstalt, renamed the Staatliche Bildstelle in 1921. In 2019, the Federal Foundation Bauakademie was founded as the sponsoring organization for the reconstruction of the building. Start Price: EUR 180 Condition: (3/–)

Der kleine Rechner, um 1895Wunderschön gestaltete Rechenscheibe für alle 4 Grundrechenarten von F. Soennecken's Verlag, Bonn. 4-sprachig (deutsch, englisch, französisch, spanisch). Maße: 23 x 31,5 cm, mit zusätzlicher Lithographie auf Pappe (ehemaliger Deckel der Schachtel). – Außerordentlich seltenes und dekoratives Exponat und Sammlungsstück! Start Price: EUR 350 Zustand: (3/2)Rare "Little Accountant" Calculator, c. 1895F. Soennecken's Verlag, Bonn, Germany. Beautifully designed calculating device for all four arithmetic operations, in English, German, French and Spanish, 9 x 12 1/2 in., with lithograph on detached box lid. Start Price: EUR 350 Condition: (3/2)

Jones, Allen, 1937 SouthamptonMaler, Bildhauer und Lithograph,gehört zu den wichtigsten Vertretern der britischen Pop Art.: Catwalk IIIFarbseriegraphie auf Velin, Blatt minimal gewellt, unten rechts sign./dat. '98', unten links lim. VII/XXX, 99x69cm, hinter Glas gerahmt, Z1-2.

Jones, Allen, 1937 SouthamptonMaler, Bildhauer und Lithograph,gehört zu den wichtigsten Vertretern der britischen Pop Art.: Catwalk IFarbseriegraphie auf Velin, Blatt minimal gewellt, unten rechts sign./dat. '98', unten links lim. VII/XXX, 99x69cm, hinter Glas gerahmt, Z1-2.

Jones, Allen, 1937 SouthamptonMaler, Bildhauer und Lithograph,gehört zu den wichtigsten Vertretern der britischen Pop Art.: Catwalk IIFarbseriegraphie auf Velin, Blatt minimal gewellt, unten rechts sign./dat. '98', unten links lim. VII/XXX, 99x69cm, hinter Glas gerahmt, Z1-2.

Richard Smith (British 1931-2016): 'Sun Curtain', layered lithograph on wove paper signed and dated '71 in the plate 91cm x 61cm (unframed)

Continental School (Contemporary): 'Everybody is Talking', lithograph with hand-colouring indistinctly signed and dated '72, 53cm x 35cm

After Claughton Pellew (1890-1966), "The Train", limited edition lithograph in colours, numbered 27/850 in pencil, pub. 2010 by The Bookroom Press, Brighton, 65x55.5cm, framed and glazed.

David Jones (1895-1974) lithograph in colours taken from T.S. Eliots 'The Cultivation of Christmas Trees', published by Faber & Faber 1954, framed and glazed.

After Myles Birket Foster (1825-1899) Children congregate to play around a wooden cart in a pastoral landscape, lithograph in colours, bears monogram lower right 70x33.5cm, watercolour, unsigned, framed and glazed.

After Ronald "Carl", Giles (1916-1995), lithograph, given to the mother in law of the vendor (Stella Richards) by Giles. She was a piano player who worked for Ensa and played for silent movies in WWII. signed, 38x26cm, framed and glazed

Leonard Russell Squirrell (1893-1979), 'The Greenland Fishery Inn, King's Lynn', monochrome lithograph, bears facsimille signature, 27x23cm, framed and glazed

A Collection of Prints, including 43 colour lithograph plates after Pecheux, Arabesques et Ornemens depuis la Renaissance, Paris: Chaillou, as well as wallpaper designs and others.

Sammlungsnachlass: Ota Bubenicek, drei Landschaften, zwei Ölgemälde & Pastell, gerahmtOta Bubeníček, 1871 Uhříněves - 1962 Mladá Vožice, tschechischer Landschaftsmaler und Lithograph, Baumbestandene Seelandschaft im Abendlicht, Öl/Platte, 25,5 x 34 cm, sign., , im Goldstuckrahmen; Sommerliche Landschaft mit Bauerhäusern unter heranziehenden Gewitterwolken, Öl/Platte, ca. 38 x 52 cm, sign., im goldfarbenem Holzrahmen, verso alter Zeitungsauschnitt zur Ausstellung des Malers 1931; Sommerliche Landschaft mit Bauernhäusern inmitten von Bäumen, Wiesen und Feldern, Pastell, 30 x 40 cm, sign., hinter Glas im Goldstuckrahmen.Zum Künstler: Bubenicek studierte 1899-1904 an die Prager Kunstakademie bei Mařák und Ottenfeld. Er unternahm Studienreisen nach München und Paris, Belgien, Holland. Er ist bekannt für seine Landschaften mit sonnendurchfluteten Hütten, Straßen mit Fernblick, Feldern unter hohem Himmel und alten buschigen Bäumen. Er nahm an der ersten Ausstellung im Jahr 1900 im Rudolfinum teil und stellte danach Jahr für Jahr aus.

Map of "Europe After the Congress of Vienna", Neele Sculpt. Drawn and engraved for Thomson's New General Atlas, 1816, coloured lithograph 51x124cm, glazed and framed 76x150cm.Provenance: Chris Phylactou Collection.

Three prints comprising a lithograph by Hermann Franz Blauth (German active in Greece 1939-2012) numbered 35/42 IMP, 27x22cm, glazed and framed 50x45cm, "Safari" - monoprint, signed Daniel Ridgway and dated 1969, 27x33cm, glazed and framed 51x57cm together with an abstract print - artists proof signed Rea Wayland and dtd 69, 32x14cm, glazed and framed 50x45cm. (3)Provenance: Chris Phylactou Collection.

AFTER FRANCIS ABBOTT LORD HORATIO NELSON Hand-coloured lithograph, 1806 65 x 40cm (25½ x 15½ in.)TOGETHER WITH an engraving after William Hamilton of the defense of St Jean de Vere (2) Provenance: Private Collection, Phillimore Gardens, London

AFTER FRANZ XAVIER WINTERHALTER S.M. L'IMPERATRICE DES FRANÇAIS ENTOUREE DES DAMES DE SA COUR Lithograph in colours 74 x 99cm (29 x 38¾ in.) Provenance: Gatewick, Steyning, West Sussex

A Group Of Six Pictures To include two 19th century lithographs depicting A View near Aberystwyth, Ceredigion and A View of Scarborough, Yorkshire after William Daniell 23.5cm x 21cm; two modern reproduction prints of 19th century engravings after Joseph Farington of Blenheim Palace and Hampton Court, 22cm x 33.5cm; a reproduction print of a stone lithograph after Joseph Dodd of 'Speke Hall, The Garden Front, Lancashire', 23cm x 30cm; and a 19th century hand coloured engraving after Peter de Wint of Bramall Hall, 20cm x 29cm (6)

A Large Group Of Pictures To include a signed watercolour by Owen Frederick Morgan (1867-1951) of Old Farm, Kent, 15cm x 23cm; A 19th Century English School, charcoal and wash watercolour of a view of North Wales, dated 1849 and signed with initials D.M.D, 18.5cm x 27.5cm; a hand coloured print after Thomas Rowlandson titled 'series of the Country', 13.5cm x 17.5cm; Capture of the two top sail slave schooner, Bolodora, after William John Huggins (1781-1845), 27cm x 46cm; two maps of Corfu and Minorca Majorca and Ivica, 21cm x 16cm; a reproduction print after Sir William Russell Flint of a female nude, 14cm x 7cm; a baxter print of Venice, 15cm x 9.5cm; a unsigned watercolour of a horse outside a domed building, 22cm x 15cm and a 19th century lithograph, 21cm x 31.5cm (qty)

St Ives School Phase Iinscribed A/P and signed with cypherlithograph43cm x 48cm

David Gentleman (British, b.1930-) White Cliffs of Doversigned lower right in pencil - numbered edition 112/250lithograph41cm x 53cm

After C J Greenwood (19th Century)A prospect of Cartmel Priory, with workers building a stone wall and sheep scattered at rest before the priory, lithograph, engraved by Isaac Shaw, printed by G Hullmandel, published by Isaac Shaw, 81 Great Portland Street, London, in fabric-covered mount and Victorian oak frame under glass, 41 x 50 cm overall

From the Henry De Silva Collection  A Collection of Prints to include:  1842: The Duel, steel engraving from Shakespeare’s Twelfth Night (20 x 16 cm) by William Powell Frith. 1845: Photographic reproduction of a coloured lithograph (24 x 20 cm) by Cham (Charles Amédée de Noé), mounted.  Mid-19th c: Boys fencing from Every Boy’s Book (15 x 10 cm), mounted. 1856-58: Coloured steel engraving of a single stick fight from Shakespeare’s Henry IV Part II (21 x 16 cm) by George Cruickshank. 1873: The Death of Sir George Staunton, steel engraving (26 x 21 cm) by John Blake MacDonald. 1882: Assault-at-Arms in St James’s Hall, conducted by the London Athletic Club, steel engraving (24 x 17.5 cm) from the Illustrated London News of five scenes by Alfred Chantrey Corbould. 1894: Nach dem kampf engraving of two women fencers (17 x 12 cm) by J Koppay from Moderne Kunst, mounted. 1901: The Final Round – Mr Montgomerie (Oxford Fencing Club) and Mr Evan James (the winner), drawing of the 1901 foil final by the artist-engraver-fencer Frederick Townsend (32 x 22 cm mounted. 1968: Coloured facsimile copy of a copperplate engraving from Angelo’s L’Ecole des Armes, 1765, reprinted in Switzerland in 1968. – two  other coloured facsimile copies from another reprint of the same work. 

WW1 JOHN BULL TOUCH WOOD CHARM 2.5cm long x 1.9cm wide, in the form of John Bull, convex wooden body on a silver surround with a lithograph Union Jack to verso, stamped Rd No 642336, Silver. On a rolled gold, 42cm long, fetter and cable link chain with chenier and bayonet clasp. Weight 5.1 grams.

Sir Alfred James Munnings (1878-1959) Brown Jack, signed in pencil lower right, publisher's blind stamp lower left, lithograph, 45.5cm x 55.5cm (i), frame 77 x 83 cmCondition:The print is framed under glazing - not examined external to the frame. The sheet is in overall good condition, no obvious tears, losses or creasing. There is a blind stamp lower left and signed in pencil lower right. Generally in good condition, some general ageing (yellowing) to the sheet in the margins. Glass needs cleaning

Guido Molinari (1933-2004) Untitled litho, gesign., 23/30, 1992, 80 x 60 cm. [map] lithograph, signed and numbered 23/30

Mike Kelly (1954-2012) 'The uncanny' offset lithograph, gesign. l.o., 1993, 51/60, 65 x 50 cm. [1]

Henri-Théodore Fantin-Latour (1836-1904) Man en staand naakt litho. gesign. r.o., 88/100, 28 x 21 cm. lithograph, signed lower right [1]

Henri-Théodore Fantin-Latour (1836-1904) Venus Anadyomene litho. gesign. r.o., 45 x 30 cm. lithograph, signed lower right [1]

* DAMIEN HIRST (BRITISH b. 1965), WHERE THE LAND MEETS THE SEA offset lithograph on paper, signedframed and under glassoverall size 92cm x 67cm

William Scott R.A. (British, 1913-1989) Odeon Suite III (Archeus 21), Lithograph printed in colours, 1966, signed, dated and numbered 15/75, 65cm x 53cm, the frame 80cm x 71cmIf there is no condition report shown, please request

Colin VERITY (1924-2011) R.M.S Titanic - Departure From Queenstown Lithograph in colour, hand-signed by MIllvina Dean (2 February 1912 – 31 May 2009), the last living survivor of the sinking of The Titanic, together with a photograph of her signing. 47cm x 64.5cm including the frame.

White Star Line. R.M.S Olympic Plan of First class Accomodation Deck plan similar to one that would have been given to first class passengers on the Titanic, to show location of cabin; An original from the sister ship The Olympic, colour index and lithograph vignette of the ship, folded with some small tears, small amount of staining, a scarce survivor, May 1930. 100cm x 100cm

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (166/250) presentation colour lithograph - 'Fight For The Sky', Heinkel 111 crashed in field, signed and numbered in pencil, further signatures in the margin including Ben Bennions, Peter Olver, Geoffrey Wellum, Archie Winskill, Allan Wright, Terence Kane, Tony Iveson, Norman Hancock, George Unwin, Nigel Rose, Bob Doe, Patrick Bamburger, Paddy Barthropp (I) 40 x 67cmsProvenance: private collection CardiffAuctioneers notes: Depicts a Heinkel 111 that has been brought down, one of many never to make it home on this bright and sunny day. As the Luftwaffe bombers crew emerge from their broken aircraft, relieved to have survived the crash-landing, a Mk I Spitfire from No 66 Squadron roars low overhead to verify another victory. In the distance, Hurricanes from No 56 Squadron hurry back to North Weald to refuel and rearm. High above the battle rages, with dreadful vapour trails...Comments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (1244/1250) colour lithograph - 'Broken Silence', four Mosquito BIVs head out over Norfolk Broads in 1943, signed and numbered in pencil, additonally by Leonard Cheshire, John Cunningham and Ivor Broom in margin, (I) 43 x 67cmsProvenance: private collection CardiffAuctioneers notes: Comments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (217/1250) colour lithograph - 'Eagle Attack', Messerschmitts in flight, signed and numbered in pencil, further signed by Adolf Galland, Gunther Rall, Dietrich Hrabak and Walter Krupinski in th margin, (I) 47 x 74.5cmsProvenance: private collection CardiffAuctioneers notes: Depicts a mass of Me109s peelling off to attack Spitfires which have dived out of the sun upon a large formation of He111s. Me 109 & Bf 109 'Adlertag' Eagle Day! Hitler's code name for the start of the Luftwaffe's great and decisive aerial offensive intended to bring the RAF to its knees, clear the Spitfires and Hurricanes from the skies above the South coast of England, and prepare the way for the 250, 000 amassed German troops standing in readiness to cross the Channel.Comments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (217/1250) colour lithograph - 'Hurricane Force', Hurricanes and Heinkel 111s dogfighting over London, signed and numbered in pencil, additionally signed by Peter Townsend, Geoffrey Page, Peter Brothers, and another in the margin, (I) 46.5 x 74.5cmsProvenance: private collection CardiffComments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (217/1250) colour lithograph - 'Summer Victory', Spitfire flying over crashed German fighter, signed and numbered in pencil, four further pilot signatures in margin, (I) 47 x 74.5cmsProvenance: private collection CardiffAuctioneer's Notes: Depicts an episode during the height of the Battle of Britain, a Luftwaffe pilot, standing beside his downed Me109, looks on as Spitfires of 54 Squadron returning to base at Hornchurch, roar overhead. Comments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (ap 3/25) colour lithograph - 'Morning Thunder', Japanese Zeros attacking USS West Virginia with fire tug, signed and numbered in pencil with nine other pilot's signatures in margin, (I) 40 x 66.5cmsProvenance: private collection CardiffComments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (ap 3/25) colour lithograph - 'America Strikes Back', American Tomahawk and Japanese fighter dogfighting, signed and numbered in pencil with six other pilot's signatures in margin, (I) 40 x 61cmsProvenance: private collection CardiffComments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: JEFF PRITCHARD limited edition (459/950) colour lithograph - 'Clash Of Aces', Spitfires pursuing Messerschmitts, signed and numbered in pencil, additionally by Wind Commander Bob Stanford-Tuck and General Adolf Galland in the margin (I) 37 x 53cmsProvenance: private collection CardiffComments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: GERALD COULSON (British 1926-2021) limited edition (AP 31/45) colour lithograph - 'Country Life '43', farmer and dog observing Mosquitoes overhead, signed and numbered in pencil, additionally by Air Marshall, Sir Ivor Broom and other RAF personnel in margin, (I) 44 x 66cmsProvenance: private collection CardiffComments: framed and glazed, ready to hang

‡ MILITARY / AVIATION CLUB HOUSE: ROBERT TAYLOR (British b.1946) limited edition (815/1250) lithograph - 'Knight's Cross', Russian and German dogfight, signed and numbered in pencil with Luftwaffe Ace Oberts Erich Hartmann KC with Oak Leaves, Swordss & Diamonds signature to margin, (I) 44 x 66.5cmsProvenance: private collection CardiffNotes: This is a rare, reasonably early Robert Taylor print and it is hard today to find examples such as this one. The print is signed by the artist, Robert Taylor and Oberst Erich Hartmann KC (1922 - 1993), also nicknamed "The Blond Knight Of Germany" by friends and "The Black Devil" by his enemies, who is the most successful fighter ace in the history of aerial combat. He claimed 352 enemy aircraft shot down (of which 345 were flown by the Soviet Air Force, and 260 of which were fighters) in 825 combat sorties while serving with the Luftwaffe, Germany's air force, in World War II. In this print, Erich Hartmann in his Me109 closes in to within 100 metres of a Russian Ilyushin II, one of his many close encounters high over the Eastern Front. Comments: framed and glazed, ready to hang

Revd W H Carpendale (Former/Late Liet Her Majesty's Indian Navy) British, 19th Century School'Panoramic View of Bombay', 'Taken from Malabar Hill', coloured lithograph, the print with labelled specific viewpoints, the hardwood frame with a gilt border, 40.5cm x 213cm; together with Plan of Bombay, to accompany The Panoramic View From Malabar Hill (2) With small tear on the margin. Areas of water damage/staining. Some foxing. Signs of wear consistent with age and use. Central fold has split the print into two parts. The left and right parts of the print are not in line with one another. Potential areas of time/UV fade/discolouration.

E. D. WALKER; a colour lithographic print, 'The Titanic', 38 x 65cm, framed and glazed, together with W. P. Grey, lithograph, 'Bock Again, Ports of Liverpool & Manchester in 1960 - Re-action', cartoon depiction of the Mersey, 23.5 x 62cm, framed and glazed (2).

† DAME ELISABETH FRINK RA (1930-1993); a limited edition lithograph, 'Corrida I', no. 33/72, numbered and signed to lower margin, titled to gallery label verso, 57.5 x 77cm, framed and glazed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orgSotheby's receipt and copy catalogue page verso.

THE OPIUM SHIPS AT LINTIN IN CHINA, 1824., DUNCAN (E.), LITHOGRAPH, PUB. MR. HUGGINS, LONDON 1838 From a Painting in the profession of John Gover Esq. by W.J. HUGGINS, Marine Painter to His late Majesty William the 4th..., mounted, framed and under glass 73cm x 95cm