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Catalogue: Arts
[Meandering Landscape.]
[Meandering Landscape.]
[H.B. Ker.]
[n.d. c.1812.]
Etching. 78 x 190mm (3 x 7½"). Cut on right.
Landscape with meandering road in foreground turning to the right, fields and hills in the background. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 34792]   £90.00   (£108.00 incl.VAT)
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Meeting of Jephthah and his Daughter
Meeting of Jephthah and his Daughter
Painted by Edwin Long, R.A. Engraved by Herbert Bourne.
London May 2nd. 1892, Published by Fairless & Beeforth. 128, New Bond Street. W. Copyright Registered.
A mixed-method engraving. 674 x 921mm. 26½ x 36¼. Uncut. Mint.
Edwin Long (1829-1891) was born in Bath, had an early and precocious talent for drawing, studied at the RA Schools from 1849, and also was a student under John Phillip, who encouraged him to travel. in 1874 he visited Egypt and Syria, and this was the start of his career as an Orientalist painter. He developed a rich, exotic style, strong in detail and often on canvases of large size, allowing him to show long processions, enormous palaces or sweeps of mountains on an epic scale. His best years were in the 1870s-80s, when he was a popular, successful artist specialising in biblical stories and life in ancient Egypt. He became ARA in 1876 and RA in 1881. Jephthah's victorious return having defeated to the Ammonites, so be met on his return by his daughter, his only child.
“And Jephthah made a vow unto the LORD: ‘If you give the Ammonites into my hands, whatever comes out of the door of my house to meet me when I return in triumph from the Ammonites will be the LORD’s, and I will sacrifice it as a burnt offering.’ Then Jephthah went over to fight the Ammonites, and the LORD gave them into his hands. He devastated twenty towns … When Jephthah returned to his home in Mizpah, who should come out to meet him but his daughter, dancing to the sound of tambourines! She was an only child. Except for her he had neither son nor daughter. When he saw her, he tore his clothes and cried, ‘Oh! My daughter! You have made me miserable and wretched, because I have made a vow to the LORD that I cannot break.’ ‘My father,’ she replied, ‘you have given your word to the LORD. Do to me just as you promised, now that the LORD has avenged you of your enemies, the Ammonites” (Judges 11:30-36, NIV). This picture with The Martyr and Days of Mourning [see ref:14085 & 14094] make the trilogy.

[Ref: 14087]   £260.00  
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Merab.
Merab.
Painted by Edwin Long, R.A. Engraved by Herbert Bourne.
London October 6th. 1890. Published by Fairless & Beeforth. 128, New Bond Street, W. Copyright Registered.
Mixed-method engraving. 630 x 400mm. 24¾ x 15¾". Uncut. Mint.
Edwin Long (1829-1891) was born in Bath, had an early and precocious talent for drawing, studied at the RA Schools from 1849, and also was a student under John Phillip, who encouraged him to travel. in 1874 he visited Egypt and Syria, and this was the start of his career as an Orientalist painter. He developed a rich, exotic style, strong in detail and often on canvases of large size, allowing him to show long processions, enormous palaces or sweeps of mountains on an epic scale. His best years were in the 1870s-80s, when he was a popular, successful artist specialising in biblical stories and life in ancient Egypt. He became ARA in 1876 and RA in 1881. Merab was Saul’s eldest daughter. According to the Bible, she was meant to marry David, but she was given in matrimony to Adriel the Meholathite, while David married Merab’s younger sister Michal. The Painting was sold in London by Sotheby's January 1995.
[Ref: 14082]   £260.00  
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The Baby-House
The Baby-House
J.E. Millais R.A. [1872]
Etching on india, platemark 145 x 185mm (5¾ x 7¼"). Uncut sheet.
Etching by Pre-Raphaeilite painter John Everett Millais (1829-96), who frequently returned to the theme of childhood in his popular etchings. Lewis Carroll's 'Alice in Wonderland' had been published in 1865/6 with John Tenniel's famous illustrations, and this etching reflects the widespread influence of that book. This print was published the year after Millais' caricature was published in 'Vanity Fair' with the caption 'A converted Pre-Raphaelite', demonstrating how much Millais' art had changed since his Pre-Raphaelite years (c.1848-54).
Hartnoll 30 (only published edition)
[Ref: 35881]   £350.00  
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[Summer Indolence.]
[Summer Indolence.]
J.E. Millais 1861.
Etching on india, platemark 180 x 255mm (7 x 10") very large margins. Foxing to edges.
Two girls in a field, one of whom chains together newly-picked flowers. Etching by Pre-Raphaeilite painter John Everett Millais (1829-96), who frequently returned to the theme of childhood in his popular etchings. This print was made in 1861, the year that Millais returned from Scotland to live in London (residing in Cromwell Place, South Kensington). Plate from 'Passages from 'Modern English Poets Illustrated by the Junior Etching Club' (1862). This plate was reissued in 1874/5 (reissues can be identified by the absence of the 1861 publication line found on this impression).
Hartnoll 28; for 1870s restrike see ref. 35880.
[Ref: 41168]   £190.00   (£228.00 incl.VAT)
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[Summer Indolence.]
[Summer Indolence.]
J.E. Millais 1861.
Etching, platemark 180 x 255mm (7 x 10"). Crease top left; soiling and scuff marks.
Two girls in a field, one of whom chains together newly-picked flowers. Etching by Pre-Raphaeilite painter John Everett Millais (1829-96), who frequently returned to the theme of childhood in his popular etchings. This print was made in 1861, the year that Millais returned from Scotland to live in London (residing in Cromwell Place, South Kensington). This impression is a reissue of the plate dating to 1874/5 (the original 1861 publication line has been scratched out).
Hartnoll 28
[Ref: 35880]   £160.00   (£192.00 incl.VAT)
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[Ruth]
[Ruth]
[J.E. Millais A.R.A.] 1858
Etching on india with very large margins, platemark 180 x 130mm (7 x 5"). Uncut sheet; foxing to margins.
Early etching by Pre-Raphaeilite painter John Everett Millais (1829-96). From 'Passages from the Poems of Thomas Hood, illustrated by the Junior Etching Club' (1858). The print illustrates the often-anthologised poem of the same name by Hood (1799-1845), specifically the fourth stanza: 'And her hat with shady brim,/ Made her tressy forehead dim;-/ Thus she stood amid the stooks/ Praising God with sweetest looks'. This print was made during the six years Millais and his wife Effie spent living in Scotland. Effie had annulled her marriage to the critic (and Millais' former mentor) John Ruskin in order to marry the artist, and to escape the bitterness and gossip surrounding their controversial marriage they lived in Perth. This period saw a change in Millais' art as he moved away from the close observation of his Pre-Raphaelite period to produce works more concerned with evoking an overall mood.
Hartnoll and Eyre 26
[Ref: 35884]   £280.00  
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[The Young Mother]
[The Young Mother]
J.E. Millais A.R.A. [1857]
Etching on india, very large margins, platemark 210 x 160mm (8¼ x 6¼"). Good impression. Uncut sheet.
Early etching by Pre-Raphaeilite painter John Everett Millais (1829-96), who frequently depicted subjects of children alone or with their mothers in his popular etchings. This print was made during the six years Millais and his wife Effie spent living in Scotland (probably informing the landscape shown here). Effie had annulled her marriage to the critic (and Millais' former mentor) John Ruskin in order to marry the artist, and to escape the bitterness and gossip surrounding their controversial marriage they lived in Perth. This period saw a change in Millais' art as he moved away from the close observation of his Pre-Raphaelite period to produce works more concerned with evoking an overall mood. Published in the portfolio 'Etchings for the Art Union of London by the Etching Club' (1857)
[Ref: 35883]   £220.00  
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The Ramparts at Montreuil 1817.
The Ramparts at Montreuil 1817.
A. Long.
[n.d., c.1817.]
Rare amateur lithograph with very large margins. Printed area 195 x 260mm (7¾ x 10¼"). Foxing.
An old fortress on the outskirts of Paris. Amelia Long (née Hume) (1772-1837), married Charles Long who was created Baron Farnborough in 1826. Lady Farnborough was Girtin's favourite pupil, and her work was widely admired by professional artists and drawing masters.
For a sketchbook by the artist see V&A E.21080-1957.
[Ref: 36541]   £95.00   (£114.00 incl.VAT)
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[Four lithographs in original wrappers]
[Four lithographs in original wrappers] Etchings No. 4
P.S. Munn [1811]
Four lithographs in wrappers, Plates II & IV watermarked 'J. Whatman 1810'; 240 x 410mm (9½ x 16").
Four sheets of tree studies. Early lithographs by Paul Sandby Munn (1773 - 1845). Munn was named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. He drew some of the views of Britton's "Beauties of England and Wales". He painted little after 1832, when he devoted himself chiefly to music.
[Ref: 36808]   £450.00   view all images for this item
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[Family and horses resting near water] 4
[Family and horses resting near water] 4
P.S. Munn 1813
Pen lithograph, rare; sheet 280 x 205mm (11 x 8"). Occasional wash colouring to figures, creasing. Trimmed.
Lithograph by Paul Sandby Munn (1773-1845). Munn was named after his godfather, artist Paul Sandby, followed his namesake into watercolour painting. He went on a sketching expedition to Wales with John Sell Cotman in 1802 and from 1807 was making use of the new medium of pen lithography, which he used in several sets of landscape prints.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36945]   £130.00   (£156.00 incl.VAT)

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Le Naufrage de Virginie.
Le Naufrage de Virginie. Paul alloit s’élancer à la mer, lorsque je le saisais par le bras: mon fils, lui dis-je, voulez vous périr? Que j aille à son secours s’écria-l’il, ou que je meurt!__Paul et Virginie.
Peint par Lambert. Gravé para Felix Mizelle.
Se Vend à Paris à la Manufacture de papiers peints, chez Arthur et Comp.e sur le Boulevard. [n.d. c.1800.]
Aquatint and etching, 414 x 565mm (16¼ x 22¼").
The shipwreck. Paul watches on in horror from the shore as a ship is hurled by a huge wave towards rocks on the tropical island of Mauritius; he is restrainted by one white and two black companions. Virginia and a blac slave stand on the deck of the doomed ship. The most famous ship name in the history of Mauritius is the slaveship St. Géran which, whilst bringing colonists, was shipwrecked in 1744 on fringing reef of island's northeast coast. Only nine survived the wreck and it did inspire the novel Paul et Virginie by Bernadin de St. Pierre. In the novel Virginie, out of modesty, refuses to remove her clothes so that the sailor can carry her to shore and is consequently drowned. On shore grief stricken Paul dies soon afterwards. The novel was written on the eve of the French Revolution by Jacques-Henri Bernardin de Saint-Pierre, and it records the fate of a child of nature corrupted by the false, artificial sentimentality that prevailed at the time among the upper classes of France.
See Ref: 18009 for a rare coloured version of the scene
[Ref: 28894]   £450.00  

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Le celebratissime Statue rappresentanti la Favola di Niobe...che ha suggerito la prima idea di questo soggetto l'Autore D.D.
Le celebratissime Statue rappresentanti la Favola di Niobe...che ha suggerito la prima idea di questo soggetto l'Autore D.D.
C.R. Cockerell Archo: Inglese invento e incise 1816.
Etching, very scarce. 529 x 604mm. 20¾ x 23¾".
The Niobid statues from the Uffizi Gallery, arranged in the pediment of a temple, to tell the story of Niobe, with Niobe under the apex, clasping one of her daughters to her and defying Latona, six other figures on each side, in order of height, looking upwards and rushing or gesturing towards her; an inset below showing a classical temple with the pediment. With a text in Italian giving the history of the statues and explaining Cockerell's reasons for arranging the figures as he has.
BM: 1941,0918.65.
[Ref: 23075]   £390.00  
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[Old Tree with castle in the distance.]
[Old Tree with castle in the distance.]
Hearne, 1803 [signature in bottom right-hand corner].
Very rare, scarce and early pen lithograph, sheet 293 x 216mm (11½" x 8½"). Small tears, made up bottom left corner.
Early lithograph by Thomas Hearne (1744 - 1817), watercolourist and topographical draughtsman. By the 19th century Hearne's work had been superceded by more recent developments amongst young artists, so this is an interesting experiment with the new medium of lithography.
Ex collection of the Late Hon. C. Lennox-Boyd; For another impression see ref. 8652
[Ref: 36813]   £240.00  
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Das Wünder=Bild des Olympischen Jupiters von Gold ünd helffernbein [...] La Statue Colossale du Jupiter Olympien, composée d'or et d'ivoire [...]
Das Wünder=Bild des Olympischen Jupiters von Gold ünd helffernbein [...] La Statue Colossale du Jupiter Olympien, composée d'or et d'ivoire [...]
Joan: Bernard: Fischers v: E: delineav.
[Leipzig, 1725.]
Engraving with very large margins; 305 x 430mm (12 x 17"). Spotting.
The chryselephantine statue of Zeus, sculpted by Phidias for the Temple of Zeus at Olympia. One of the Seven Wonders of the Ancient World, it was destroyed during the fifth century AD. The descriptive text, in German & French, tells that Erlach based this image on the description of Pausanias, the Greek traveller of the 2nd century AD, who descriptions of classical sites have frequently been authenticated by modern archaeologists. This plate was published in Johann Bernhard Fischer von Erlach's 'Entwürst Einer Historischen Architectur', a study of the architecture of the ancient world. Fischer von Erlach (1656-1723) was a successful Austrian architect: his baroque works include the Schönbrunn Palace, Karlskirche, and the Austrian National Library in Vienna. He also studied ancient architecture, publishing 'A Plan of Civil and Historical Architecture' in 1721, taking on classical influences in his building.
[Ref: 33735]   £420.00  
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[One-Arch Bridge.]
[One-Arch Bridge.]
[n.d. c.1812.]
Etching. 120 x 145mm (4¾ x 5¾"). Cut.
View of a small one-arch bridge over a river, tall trees on the left bank, and a house behind at right. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34820]   £60.00   (£72.00 incl.VAT)
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Triumphal Arch
Triumphal Arch [...] Done from the Original Design for the said Arch, painted by Mr. Oram, and Erected in Westminster Hall, for the Coronation of Their Majesties King George the Third, and Queen Charlotte, September 22d 1761.
W. Oram Inven.t. A. Walker Sculp.t
Rare engraving, platemark 475 x 320mm (18¾ x 12½"). Small margins. Creases to edges and tears in margins just into title area on right.
The triumphal arch designed by painter and architect William Oram (d.1777) for the coronation of George III. While as an architect only one building by Oram is known (although he did several smaller jobs on royal residences, including designing and painting the staircase at Buckingham House and repairing the paintings on the staircase at Hampton Court), as a landscape artist Oram's paintings and prints are now seen by some as pre-dating the picturesque theories associated with William Gilpin.
[Ref: 37019]   £190.00   (£228.00 incl.VAT)
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[Outskirts of a Wood.]
[Outskirts of a Wood.]
Ker.
[n.d. c.1812.]
Soft-ground etching. 145 x 202mm (5¾ x 8"). Cut.
View of the outskirts of a wood, which is seen on the right; hill in the background. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34821]   £60.00   (£72.00 incl.VAT)
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St Genevieve from The Garden of the Luxembourg. 1817.
St Genevieve from The Garden of the Luxembourg. 1817.
A. Long.
[n.d., c.1817.]
Rare amateur lithograph with very large margins. Printed area 280 x 210mm (11 x 8¼") With a cat added in pencil.
Amelia Long (née Hume) (1772-1837), married Charles Long who was created Baron Farnborough in 1826. Lady Farnborough was Thomas Girtin's favourite pupil, and her work was widely admired by professional artists and drawing masters.
For a sketchbook by the artist see V&A E.21080-1957. Ex collection of The Hon Christopher Lennox-Boyd.
[Ref: 36578]   £110.00   (£132.00 incl.VAT)
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This Pavement
This Pavement Was found at West-Dean near Salisbury in March 1741, is compos'd of Black & White Stones halftg an Inch Each; & is now to be seen intire.
[n.d., c.1770]
Engraving with large margins, scarce, platemark 190 x 130mm (7½ x 5"). Creased.
Example of the interest in English history in the eighteenth century, typified by the activities of the Society of Antiquaries, which saw many examples of early pavements, mosaic fragments and other ruins dissimentated through prints.
[Ref: 31855]   £190.00   (£228.00 incl.VAT)
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[Two figures in a landscape]
[Two figures in a landscape]
[Anon., c.1810]
Pen lithograph, sheet 250 x 170mm (9¾ x 6¾"). Glued to backing board at corners; surface loss on left filled in ink.
Unidentified early lithograph showing the influence of Salvator Rosa, whose landscapes were significant in shaping the concepts of sublime and romantic representations of nature in the late Georgian period.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36939]   £140.00   (£168.00 incl.VAT)
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[Two figures in a landscape]
[Two figures in a landscape]
[Anon., c.1810]
Pen lithograph, J. Whatman watermark (PT) printed area 260 x 180mm (10¼ x 7").
Unidentified early lithograph showing the influence of Salvator Rosa, whose treacherous landscape were significant in shaping the concepts of sublime and romantic representations of nature in the late Georgian period.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36940]   £95.00   (£114.00 incl.VAT)
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[Titlepage and woodcut illustration from Hieronymus Rodler, 'Eyn schön nützlich büchlin und underweisung der kunst des Messens [...]']
[Titlepage and woodcut illustration from Hieronymus Rodler, 'Eyn schön nützlich büchlin und underweisung der kunst des Messens [...]']
[Simmern: Hieronymus Rodler, 1531]
Two woodcuts, one with letterpress in black and red ink; very scarce; sheets 290 x 185mm (11½ x 7¼") and 175 x 170mm (7 x 6¾"). Both glued to backing sheet.
Two woodcut illustrations of artists at work, one showing five men at work in a studio, the other showing an artist depicting the view from his window. From Hieronymus Rodler's 'Eyn schön nützlich büchlin und underweisung der kunst des Messens mit dem Zirckel Richtscheidt oder Linial. Zu nutz allen kunstliebhabern furnemlich den Malern, Bildhawern, Goldschmiden, Seidenstickern, Steynmetzen, Schreinern, auch allen andern, so sich der kunst des Messens (Perspectiva zu latin gnant) zugebrauchen lust haben...' (1531). Rodler adapted ideas from Albrecht Dürer's 1525 'Unterweysung der Messung', simplifying them to make them accessible to a wider range of craftsmen.
[Ref: 43669]   £480.00   view all images for this item
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[A decorated urn on a plinth]  Vase in the Garden at Petworth.
[A decorated urn on a plinth] Vase in the Garden at Petworth.
A L [monogram of Amelia Long on stone.]
[British, n.d., c.1837.]
Rare lithograph, 295 x 205mm. 11½ x 8". Original card mount watermarked 1837, with ink ruled border. Some light foxing.
An attractive and detailed study of garden furniture at Petworth House, Sussex. Amelia Long (née Hume), Lady Farnborough (1772-1837). In 1793 she married Charles Long, created Baron Farnborough in 1826. An amateur etcher and a vigorous patron of the arts, she assisted the watercolourist Thomas Girtin (1775-1802) to make his one visit to Paris in 1801. Lady Farnborough was Girtin's favourite pupil, and her work was widely admired by professional artists and drawing masters. Her watercolours also show the influence of her contemporary John Varley.
[Ref: 27036]   £140.00   (£168.00 incl.VAT)

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[Thatched cottage in a landscape]
[Thatched cottage in a landscape]
H Ker 1807 [top left] / 1807 [lower left]
Pen lithograph with large margins, rare; printed area 225 x 310mm (8¾ x 12¼"). Slight creasing; on cream wove paper.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35466]   £220.00  
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[Thatched cottage in a landscape]
[Thatched cottage in a landscape]
H Ker 1807 [top left] / 1807 [lower left]
Pen lithograph with large margins, rare, printed area 225 x 310mm (8¾ x 12¼"). On white wove paper; watermarked 'C 1806'; crease lower right. Fine impression.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35467]   £260.00  
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[Shepherd resting in a field.]
[Shepherd resting in a field.]
Boyne [by John Boyne, 1806]
Pen lithograph, sheet 225 x 310mm (8¾ x 12½"). Glued to original backing sheet at top corners with printed border. Foxing.
Early lithograph by John Boyne (1750s-1810), Irish watercolour painter and engraver who lived a colourful and varied life. After moving to England at 9 years old and serving an apprenticeship to engraver William Byrne, Boyne soon gave up printmaking to join a company of strolling actors in Essex. He later took to the pearl-setting trade and worked as a drawing-master. Nonetheless he exhibited regularly at the Royal Academy in his later years, with works including Shakespearean heads reminiscent of J.H. Mortimer, and busy Rowlandsonesque social scenes. This print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography', showing that even towards the end of his life Boyne was involved in new technical developments in printmaking. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: The collection of the Hon. Christopher Lennox-Boyd.
[Ref: 39429]   £450.00  
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[Blasted tree with pensive traveller.]
[Blasted tree with pensive traveller.]
Ric. Cooper del. 1802
Pen lithograph, scarce; sheet 230 x 320mm (9¼ x 12½"). Nicks and tears to edges; hole middle right, losses on left & right bottom, trimmed.
Early lithograph by Richard Cooper (1740-1814). The son of another engraver, Cooper worked for a time in Italy, where he befriended Alexander Runciman and developed a style of landscape painting similar to that of Runciman (he became known as the 'English Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and printmaking. This lithograph was included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36947]   £140.00   (£168.00 incl.VAT)
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[Ruined abbey among trees]
[Ruined abbey among trees]
[by Richard Cooper, 1802]
Pen lithograph, sheet 220 x 325mm (9 x 12½"). Glued to backing sheet. Trimmed to subject.
Early lithograph by Richard Cooper (1740-1814). The son of another engraver, Cooper worked for a time in Italy, where he befriended Alexander Runciman and developed a style of landscape painting similar to that of Runciman (he became known as the 'English Poussin'). After marrying in Edinburgh in 1777, Cooper settled in London around 1787, where he dedicated himself to drawing (he became drawing master at Eton) and occasionally printmaking. This lithograph was included in the 1807 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36948]   £240.00  
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[Old Trees with old man, a girl and dog]
[Old Trees with old man, a girl and dog]
R. Corbould 1802 [in image lower right]
Pen lithograph, rare; sheet 235 x 315mm (9¼ x 12½"). Glued to thick backing sheet; loss to lower left corner.
Early lithograph by Richard Corbould (1757-1831), an versatile artist who worked in many media and styles although chiefly remembered as a designer of book illustrations. This lithograph was included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36941]   £130.00   (£156.00 incl.VAT)
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Evening Thou Bringest All [title in reverse, in Greek]
Evening Thou Bringest All [title in reverse, in Greek]
H. Fuseli del [1802, first published 1803]
Pen lithograph, sheet 210 x 315mm (8¼ x 12¼"). Trimmed, losing printed area top and left, small nicks and tears; vertical crease on left; foxing to edges.
The most famous early pen lithograph. Fuseli's print (also known as 'Lady at a Window') was published as one of the twelve pen lithographs from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. Fuseli (1741-1825), painter and writer, was born in Switzerland but spent much of his career in England. At the time of this work (said by Weinglass to represent Fuseli's wife Sophia) he was Professor of Painting at the Royal Academy. In 1804 he was also to become Keeper of the RA, the only time someone has held both positions simultaneously.
Weinglass 171; Man, '150 Years of Artists' Lithographs', cat. 3. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36699]   £1,800.00  

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[Cavalry Charge.]
[Cavalry Charge.]
[Conrad Gessner, 1801.]
Pen lithograph, sheet 230 x 315mm (9 x 12½"). Good impression; pinhole top centre.
Pen lithograph, probably taken from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. Made by Conrad Gessner (1764-1826), Swiss artist working in England 1796-1804.
Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36701]   £450.00  
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[Landscape with old trees by water.]
[Landscape with old trees by water.]
[by Henry Richard Greville, c.1804.]
Pen lithograph, sheet 305 x 220mm (12 x 8¾"). Trimmed.
Early lithograph by Henry Richard Greville, Lord Brooke, 3rd Earl of Warwick (1779–1853) and included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36937]   £260.00  
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[Landscape with old trees by water.]
[Landscape with old trees by water.]
[by Henry Richard Greville, c.1804]
Pen lithograph, very rare; sheet 305 x 220mm (12 x 8¾"). Fine impression; very slight hole. Trimmed.
Early lithograph by Henry Richard Greville, Lord Brooke, 3rd Earl of Warwick (1779–1853) and included in the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36938]   £260.00  
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[Apollo as a winged warrior.]
[Apollo as a winged warrior.]
C Heath del.
Pen lithograph, rare & trimmed; sheet 320 x 235mm (12½ x 9¼"). Vertical crease; nicks to edges.
Early lithograph by Charles Heath (1785-1830), landscape and figure engraver. A precocious talent and part of a family of printmakers, Heath was early to experiment with new techniques. He exhibited lithographs such as this at Somerset House from 1802 to 1806, and this print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography' (first edition published by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36934]   £260.00  
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[Rural landscape with horse and cart]
[Rural landscape with horse and cart]
F.J. Man[skirsch del.]
Pen lithograph, sheet 220 x 300mm (8¾ x 11¾"). Glued to thick card; trimmed inside image on right; paper tone and damage upper left. Damaged.
Early lithograph by Franz Joseph Manskirsch (1768-1830), who spent most of his career in London before moving to Danzig, Poland by 1822. This lithograph was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36942]   £130.00   (£156.00 incl.VAT)
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[Oriental man reading a large book]
[Oriental man reading a large book]
[by Henry Singleton, 1803]
Pen lithograph, sheet 225 x 315mm (8¾ x 12½"). Very damaged; losses.
Early lithograph by Henry Singleton (1766-1839), painter. A professional portrait painter from the age of sixteen, Singleton was commissioned by Benjamin West to paint a large group portrait of the Royal Academicians in 1796, but Singleton never became an academician himself. He was known for his history paintings initially, but later moved into decorative and pastoral subject matter, often designed with a view to engraving. This print, a rare excursion into printmaking for Singleton, was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography'. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36943]   £90.00   (£108.00 incl.VAT)
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[The Angel]
[The Angel] He is not here: for he is risen. &c.
B. West 1801
[first published 1803]
Pen lithograph, sheet 325 x 230mm (12¾ x 9"), on original backing sheet with a sepia aquatint border. Strong impression. Backing sheet trimmed at sides.
Text from Matthew 28:6, in which the angel of the resurrection directs women looking for the crucified Jesus to 'see the place where He was lying'. A landmark in the history of lithograph, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was published as one of the twelve pen lithographs from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Man, '150 Years of Artists' Lithographs', cat. 1. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 36697]   £5,000.00   view all images for this item
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[The Angel]
[The Angel] [He is not here: for he is risen. &c.]
B. West 1801
[first published 1803]
Pen lithograph, sheet 315 x 225mm (12½ x 9"). Glued to backing sheet; trimmed, losing text below image. Unidentified collector's stamp verso.
Text from Matthew 28:6, in which the angel of the resurrection directs women looking for the crucified Jesus to 'see the place where He was lying'. A landmark in the history of lithograph, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was published as one of the twelve pen lithographs from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Ex: collection of the late Hon. C. Lennox-Boyd; Man, '150 Years of Artists' Lithographs', cat. 1.
[Ref: 36698]   £2,200.00   view all images for this item
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[Cicero.] De Mamore Pomfret, apud Oxons.
[Cicero.] De Mamore Pomfret, apud Oxons.
Drawn & Engrav'd by J.K. Sherwin Engraver to His Majesty & His Royal Highness the Prince of Wales.
[London: Richard Bentley, 1866.]
Engraving, with large margins. Plate 323 x 260mm. 12¾ x 10¼". Slight crease on left.
A statue of Cicero (106BC-43BC), the Roman orator who was made consul in 63 BC. Standing here holding a scroll in his left hand at waist level and another object is his right. Published in John Timbs's "Club Life of London; with anecdotes of the clubs, coffee houses, and taverns of the metropolis, during thr 17th, 18th, and 19th centuries". One of the ancient Greek and Roman statues from the collection of the Countess of Pomfret in 1755. The statues formerly belonged to the Earl of Arundel before later being passed to the University of Oxford.
[Ref: 24749]   £160.00   (£192.00 incl.VAT)
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[Putney Heath.]
[Putney Heath.]
HBK.
[n.d. c.1812.]
Etching. 114 x 152mm (4½ x 6"). Cut.
View on Putney Heath, with a straight road leading through fields in foreground, and fenced areas with trees in background. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34799]   £95.00   (£114.00 incl.VAT)
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[Illustration to 'Pygmalion' by J.J. Rousseau]
[Illustration to 'Pygmalion' by J.J. Rousseau] Pigmalion.
C. Eisen inv.
A Paris chez Basan
Engraving, platemark 150 x 95mm (6 x 3¾") large margins.
Probably one of a set of six illustrations to Rousseau's dramatization of the Pygmalion story after designs by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus. Although unsigned, this engraving is probably by Emmanuel de Ghendt.

[Ref: 46498]   £140.00   (£168.00 incl.VAT)
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Designs for Free Churches, Manses and Schools
Designs for Free Churches, Manses and Schools James Raeburn Architect, Edin.
Drawn and presented by Rob.t R. Raeburn. Fr. Schenck Lith. Edin.r [1845]
Lithograph, printed area approx. 250 x 390mm (9¾ x 15¼"). Creases.
Architectural designs promoting the work of Scottish architect James Raeburn (1787-1851) and drawn here by his son Robert Reid Raeburn (1819-88), also an architect. James was principal clerk at the Scottish Office of Works until its abolition in 1839, whereupon he retired to set up his own practice. The Dictionary of Scottish Architects suggests that James' 3 Warriston Place address at the time these designs were published indicates that his practice had not flourished, and this sheet of designs (including churches for Montreal and Banff in Canada) was presumably made in an attempt to generate more business. It also publically indicated the Raeburns' support of the Free Church of Scotland following the Disruption of 1843. Following James' death in 1851, Robert Reid continued his father's practice, living in Edinburgh for the remainder of his career.
[Ref: 43412]   £260.00  
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[Ram.]
[Ram.]
HBK.
[n.d. c.1812.]
Etching. 108 x 148mm (4¼ x 5¾").
Long-horned ram; head and part of the body, directed to right; printed on right side of sheet. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34827]   £60.00   (£72.00 incl.VAT)
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[Nude with hands on head]
[Nude with hands on head]
H:C T.R. del et fecit 1751
Rare etching, 200 x 145mm (8 x 5¾") very large margins.
Etching by amateur printmaker and Fellow of the Royal Society, Sir Thomas Reeves (c.1744-88, fl.).
[Ref: 40176]   £120.00   (£144.00 incl.VAT)
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Drawings from Original Pictures of Philip Reinagle, Esq. R.A.
Drawings from Original Pictures of Philip Reinagle, Esq. R.A. No. 2. Mrs Wrightson (subscriber's name in contemporary ink mss].
By an Amateur.
[n.d., c.1826.]
Imperial folio, original printed wrappers, four lithographic plates on india, stitched. Wear to edges.
Four untitled British landscape scenes presented in their original wrapper, apparently the complete second installment of what became a series of 16 plates after Reinagle. We have seen another wrapper with the subscriber's same in the same handwriting, suggesting it was written by the anonymous 'Amateur'.
See BM 1894,0417.546 for a bound set of 16 plates, also unattributed.
[Ref: 40879]   £280.00   view all images for this item
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[Country cottage, with homecoming labourer carrying an axe]
[Country cottage, with homecoming labourer carrying an axe]
[Anon. after J Renton, c.1820]
Pen lithograph, very scarce; verso in ink F.W. Half Penny July 25th, 1818; sheet 215 x 310mm (8½ x 12¼"). Glued to backing sheet; internal tears lower right. Slight hole where previously folded.
Copy of an 1809 lithograph by J. Renton (1799-1841, fl.). According to Michael Campbell, Renton is unknown as a printmaker apart from two early polyautographs, 'however, he was an active and successful painter of portraits, figurative subjects and landscapes'. Campbell also suggests the Lake District as a likely location for this image, given that he often exhibited views of the area.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36949]   £220.00  
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[River Landscape.]
[River Landscape.]
H.B. Ker 1812.
[n.d. c.1812.]
Etching. 109 x 156mm (4¼ x 6¼"). Cut.
River landscape, with trees on the right bank in foreground, partly wooded left bank, and hill at centre background. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34826]   £60.00   (£72.00 incl.VAT)
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[River Landscape; Lock.]
[River Landscape; Lock.]
[H.B. Ker.]
[n.d. c.1812.]
Etching. 151 x 230mm (6 x 9"). Cut.
River landscape with lock in foreground, partly wooded banks, and hills in the background. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34807]   £120.00   (£144.00 incl.VAT)
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[River Landscape with Wooded Banks.]
[River Landscape with Wooded Banks.]
[HK.]
[n.d. c.1812.]
Etching. 101 x 156mm (4 x 6¼"). Trimmed.
River landscape with wooded banks; shed and house on the left bank. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34815]   £60.00   (£72.00 incl.VAT)
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