A pair of mid-century framed prints after Impressionist paintings, one after Mary Cassatt and one after R.E. Miller. Each 46 x 49cm.

Mary Cassatt was the only American artist invited to exhibit with the French Impressionists in Paris.

Good vintage condition with minor wear.

Mid-century. A soft, pretty pair for a bedroom or landing - very grandmillennial.

An antique 1911 hunting lithograph by Lionel Edwards (1878-1966), titled "Tally Ho!". It features verse by the Victorian sporting poet George Whyte-Melville. An authentic first-edition stone lithograph, printed by J.L. Goffart of Brussels and published by Lawrence & Jellicoe, London. In its original period black frame, 69 x 54cm.

Lionel Edwards was one of the best-loved British sporting artists, and during the First World War he served with the Army Remount Service, buying horses for the front.

Beautiful clean condition.

Made in England, 1911. A classic piece for a country house hallway, a study or a boot room, with a real old-world feel.

A mid-century screenprint on canvas by the French artist Bernard Dufour (1922-2016), titled "Deux Jeunes Filles" (Two Young Girls) - a relaxed bohemian study of two young women in sunhats. Signed by the artist. On its original wooden stretcher with a gilt-accented outer moulding. 52 x 42cm.

Dufour trained as an agricultural engineer before turning to painting after the Second World War, and went on to show with the Galerie Pierre in Paris.

Good condition with just minor wear.

Made in France, mid-20th century. A lovely boho vintage or Parisian vintage piece for a bedroom or sitting room.

A pencil-signed, numbered limited edition print of a kingfisher perched on a frosty fence post among winter grasses, by the wildlife artist Steven Townsend. Numbered 86/500 and signed in the lower margin, in a mahogany-effect frame with a gilt slip and cream mount, under glass. The frame measures 55 x 46cm. Printed in the United Kingdom in the late 1990s, and a good fit for a cottagecore or country kitchen wall.

Townsend is entirely self-taught and was named Artist of the Year by the Fine Art Trade Guild in 1999.

Good condition with just minor wear.

A softly atmospheric harbour scene, with sailing boats resting on calm water and a hillside town rising behind, in a coastal grandmother style. This is a signed limited edition print of "Misty Calm" by Ted Dyer, published by Beside The Wave in 1994, number 171/500 and pencil signed by the artist in the lower margin. It sits in a gilt frame with a dark blue slip and a wide cream mount, glazed, and comes with the original numbered Beside The Wave limited edition certificate. Made in England, 1994. Framed size approximately 65 x 77cm.

Beside The Wave was founded in 1989 by brothers John and Ted Dyer, and Ted is one of Cornwall's most widely collected living artists.

Good condition, just minor age wear.

A framed vintage print titled "Night Patrol" by Vernon Ward, showing a flight of wildfowl crossing a dusky sky above a still lake, published by George Rowney & Sons of London. The frame carries the original trade label of O.W. Annetts, printseller and framer of Sutton and Epsom. 41.5 x 49cm framed.

Vernon Ward trained at the Slade under Henry Tonks and became one of the most widely reproduced British artists of the mid-20th century.

Good condition overall, with some staining to the lower left corner of the mount and light wear to the frame.

English, 1950s. A classic for a country cottage or boot room.

A framed limited-edition landscape print by J.A. Hurley of a winding country lane through rolling countryside beneath mature trees. Hand-signed in pencil by the artist, blind-stamped, and dated '92 within the image. Mounted and glazed in a gilt-effect wooden frame, approx. 68 x 51cm.

The little embossed blind stamp in the margin is the publisher's mark of authenticity for a limited edition - you can feel it with a fingertip.

Good vintage condition with age-related wear to the frame, and some foxing/discolouration to the mount behind the glass.

1992. A traditional countryside scene for a farmhouse-style hallway, study or living room.

A cheerful pair of early 20th century humorous prints by Clarence Lawson Wood (1878-1957). "The Sky Above the Cliff Glowed" shows a seaside cliff warning-sign mishap (signed under his pseudonym "Ernest"), and "He Tore His Ugly Trousers" has a French gendarme running from a British bulldog (signed Lawson Wood). Each sits in a matching rustic knotty pine glazed frame, 38 x 32cm, with the handwritten story captions preserved on the back.

Lawson Wood is best remembered for Gran'pop, his mischievous cartoon chimpanzee, who appeared on everything from postcards to children's annuals in the 1930s.

Good condition with just minor wear.

Made in England, c.1910-25. A fun pair for a cloakroom, study or anyone who loves Edwardian seaside humour.

A striking large antique chromolithograph of the allegorical figure of Faith - a classical female figure in flowing white robes with a purple cloak, holding a cross-topped staff and gazing upward against a dramatic mountain backdrop. Set in an ornate gilt gesso frame with beaded and leaf-carved detail, glazed, 55 x 70cm overall.

Chromolithography let the Victorians mass-produce vivid, many-coloured pictures, bringing gallery-style religious and allegorical art into ordinary parlours for the first time.

Good condition with some scattered light foxing to the print, typical of its age, and minor wear to the gilt frame.

Victorian, late 19th century. A grand old-world piece with a real dark academia feel.

A genuine antique line engraving of "John Knox Reproving the Ladies of Queen Mary's Court", after the portrait painter Alfred Edward Chalon RA, engraved by William Thomas Roden and published by Joseph Hogarth of London in 1851. The same print is held by the National Portrait Gallery and the National Galleries of Scotland. It would sit happily in an antiquarian or dark academia room.

Made in England in 1851. It is in a black frame with glazing, which measures 42 x 54cm.

Alfred Edward Chalon was born in Geneva and became Painter in Watercolours to Queen Victoria.

Good condition, with light foxing to the paper and gentle toning consistent with its age.

A vintage print of "And When Did You Last See Your Father?" by William Frederick Yeames, painted in 1878. A young Royalist boy is questioned by Parliamentary officers during the English Civil War. It is in a gilt wooden frame, glazed, with a Boots Pure Drug Co Picture Department label on the back. A good antiquarian or dark academia piece for a study or hallway.

Vintage, era uncertain, made in England.

The original painting hangs in the Walker Art Gallery in Liverpool and is one of the best-known Victorian narrative pictures.

Good condition for its age. The print and glass are clean and the frame has light wear, with some flaking to the paper backing.

A large framed colour reproduction of Alexandre Cabanel's famous 1863 painting 'The Birth of Venus', showing Venus reclining on sea foam with a flurry of winged cherubs above her. It sits within a deep arch-topped gilded mount and a giltwood frame with a fluted outer profile and beaded inner slip. Frame 60 x 49cm.

Napoleon III bought the original straight from the 1863 Paris Salon, and the stir it caused made Cabanel a professor at the École des Beaux-Arts that same year - it now hangs in the Musée d'Orsay.

The giltwood frame has general wear and gilding losses, mainly at the outer edges and corners where the gesso shows through, and the print has yellowed slightly with age.

Late 19th/early 20th century. A romantic grand tour or Hollywood Regency piece.

Built up from bark, dried grasses and pressed plants, with a hunter and his spear silhouetted against a sunlit hillside. Lovely warm sandy tones and real texture to it, in a light wood frame, . Signed M. Barker, with a Redditch framer's label on the back. 1970s. Frame 28 x 33cm.

Good condition with minor wear - a little light spotting to the bark surface and a small tear to the backing paper.

Pictures made from pressed plants have a name of their own in Japan - oshibana - and the craft there goes back more than 500 years.

Proper 70s back-to-nature, and a change from the usual framed print.

An antique Edwardian print titled 'Wait a Minute', after the 1894 painting by Arthur J. Elsley, showing a laughing little girl wrapping a napkin round a wriggling puppy at the dinner table. Signed by Elsley within the plate, with the title mounted separately below on its own card, behind glass in a dark oak frame with a gilt slip. Frame 59 x 49cm.

Elsley became so well known for scenes of children and dogs that his pictures turned up everywhere from Christmas magazine supplements to soap adverts in the early 1900s.

Good condition overall, with a couple of small age spots to the mount and light general toning - no chips or cracks to frame or glass.

Edwardian, c.1905, English. Sweet in a nursery or a cosy auntie sitting room.

An antique late Victorian photographic print of 'Wedded' by Lord Leighton PRA, exhibited at the Royal Academy and one of his best-loved paintings, showing a newlywed couple embracing beneath a Roman archway. Published by The Artistic Photographic Company of Baker Street, London, it sits in a dark carved wood frame with a decorative edge and gilt slip, glazed. Frame 52 x 72cm.

Leighton was made Baron Leighton the day before he died in 1896, giving him the shortest-lived peerage in British history - just one day.

Good condition, with light chips to the frame's dark finish at a couple of the corners.

Victorian, c.1890s, English. Its companion print, 'Whispers of Love', is listed separately - they make a lovely pair for a grand tour or dark academia wall.

A pair of St Michael (M&S) oriental prints, 'Oriental Sewing' and 'Oriental Reading' by Jen, in dark faux bamboo frames with their original labels. Each 22cm tall.

Faux bamboo frames were a 1980s favourite, harking back to the Regency craze for chinoiserie at Brighton Pavilion.

Good vintage condition with minor wear.

1980s-90s. A sweet pair for an eclectic expat aunt corner.

A finely worked pencil-signed etching of a black-and-white timber-framed hall at Brereton Green, Cheshire, by the Cheshire etcher R.A. Riseley (Fellow of the Royal Society of Arts), titled in pencil below the image. In a slim black frame with a cream mount, glazed, 29 x 23cm.

Brereton was the home of a famous old death-omen legend: a black tree trunk was said to float up in the pool shortly before the head of the family died, a story recorded as far back as 1586.

Good condition overall, with a small foxing mark to one corner of the etching, light toning to the mount, a little wear to the frame and a creased backing paper (see photos).

Made in England, early 20th century. A lovely piece of Cheshire for a cottagecore or farmhouse-style wall.

A soft, atmospheric antique Victorian print titled 'Whispers of Love' - a couple in classical dress share a quiet moment beside a colonnade, published as the companion picture to Lord Leighton's celebrated 'Wedded'. Published by The Artistic Photographic Co. Ltd of Baker Street, London, in an ornate dark carved wood frame with a gilt slip, glazed, 52 x 72cm overall.

Victorian publishers loved selling pictures in matched pairs, so a parlour could have a picture either side of the fireplace.

Good overall, with some expected toning to the mount and a couple of small chips to the frame's dark finish at the corners.

Victorian, c.1890s, English. The companion print, 'Wedded', is listed separately - lovely as a pair on a grand tour-style wall.

An antique 1911 hunting lithograph by Lionel Edwards (1878-1966), titled "Not a Drawing Room Story". It comes from his much-loved 'Hunting Types' series. An authentic first-edition stone lithograph, printed by J.L. Goffart of Brussels and published by Lawrence & Jellicoe, London. In its original period black frame, 69 x 53cm.

Lionel Edwards was one of the best-loved British sporting artists, and during the First World War he served with the Army Remount Service, buying horses for the front.

Beautiful clean condition.

Made in England, 1911. A classic piece for a country house hallway, a study or a boot room, with a real old-world feel.

An Edwardian sepia print of Miller's Dale in the Derbyshire Peak District after Elmer Keene, with the River Wye winding beneath steep wooded hills. Signed Elmer Keene in one corner and titled Miller's Dale in the other. In a dark wood frame with a cream mount, glazed, 50 x 33cm overall.

Miller's Dale station once had five platforms, remarkable for such a tiny village, because passengers changed trains there for Buxton. It closed in 1967.

Good condition with just minor wear.

Early 20th century, made in England. A peaceful Peak District view with an old-world feel, lovely for a cottage or study.

A vintage print by English artist Douglas E. West, showing two wallers building a dry stone wall, a wheelbarrow of stone and a boy with his dog looking on, with a farmhouse and walled hillside behind. Gilt frame with a double mount, glazed, 32 x 27cm.

Dry stone walls are built without a scrap of mortar - just the shape, weight and balance of the stones - and the craft is still practised the same way today.

Good condition, with just light general wear.

Late 20th century, English. A natural fit for a farmcore or Dales-cottage wall.

A vintage early 20th century colour lithograph from Lionel Edwards' 'Hunting Types' series, titled 'Old Mr. Barleycorn','Old Mr Barleycorn','Lord Nelson Pottery', in its original black frame. 61 x 49cm.

Lionel Edwards (1878-1966) was one of the great British sporting artists, and his 'Hunting Types' gently poked fun at the characters you'd meet on any hunting field.

Some scuffs, small tears and colour loss to the paper, staining to the mount and a torn backing paper; please see the photos.

English, c.1910-1920. Full of country house character for a study or boot room.

A small Italian pietra dura plaque, inlaid with cut pieces of semi-precious stone and mother of pearl set into a black stone ground, forming a bright spray of flowers and leaves in turquoise green, orange, blue and white. Framed in wood with a cream mount, overall 15 x 12.5cm. An old label on the back reads "An Italian pietra dura plaque of floral design".

Pietra dura is a centuries-old Florentine craft, sometimes called "Florentine mosaic" - each petal and leaf is an individually shaped sliver of stone fitted together like a tiny puzzle, rather than painted on.

Good condition with just minor wear consistent with age.

Made in Italy, mid-20th century. A little grand tour souvenir with an old-world feel.

An antique Edwardian print carrying the printed signature of Arthur J. Elsley. A girl in a wide-brimmed hat plays with two kittens, one on her lap and the other up on its hind legs tugging at her sash, beside a basket of daisies. The frame is a handsome carved dark wood one with acanthus corners, a foliate vine down each side and a gilt slip. A lovely cottagecore or grandmillennial piece.

Made in England, c.1900-1910. Frame measures 66 x 82cm.

The bottom rail of the frame carries a small plaque reading "DONT PULL".

Good condition, with a couple of small age splits to the carving at the top corners, as is common for a frame of this age.

An original antique sepia photograph of the Great Sphinx, buried in sand to its shoulders with only the head and back showing, and the Great Pyramid rising behind. Victorian or Edwardian, taken in Egypt. It's mounted in grey with a slim gilt slip in a mahogany-toned frame, framed later. Frame measures 33 x 40cm, and the photograph is strung. A proper curiosity core, grand tour piece for a study, hallway or collector's wall.

The sand is how you can date it. The Sphinx wasn't dug free until the excavations of 1925 to 1936, so this was taken before that.

Good condition with gentle age to the print and only minor wear to the frame.

A large Victorian etching of a quiet river winding beneath tall pines, with sheep grazing on the far bank under a big, cloud-filled sky, made by the French etcher Théophile Chauvel after a painting by Benjamin Williams Leader. Pencil signed by both B.W. Leader and Chauvel in the lower margin. Black wood frame with a gilt slip, under glass, measuring 108 x 86cm. Late 19th century, with the sort of old-world, dark academia presence that suits a big wall.

The paper shows its age, with tide marks and foxing across the lower mount reaching the edge of the print, general toning, and some wear and chipping to the frame finish.

Chauvel made etchings after several of Leader's landscapes, which let far more people hang a Leader on their wall than could ever afford the paintings.

A framed lithograph by English artist Douglas E. West of a horse and loaded cart pausing outside a whitewashed village cottage, with a pair of large cart wheels propped against the wall and a dog watching on. Behind glass in a gilt frame with a dark patterned mount and gilt double border; 34 x 29cm overall.

Douglas E. West (1931-2007) made his name painting Edwardian and interwar English village life, and his work has sold through auction houses across the UK and Europe.

Good condition with minor wear consistent with age.

Late 20th century, English. A lovely cottagecore scene for a hallway or snug.

A small vintage cartoon print by Bert Thomas, cut from a 1920s-30s British humour magazine and mounted on card. It shows a boxer's cornerman sponging him down between rounds, with a dry printed caption underneath: "Second (busy with sponge). 'Funny thing, 'Arry, you begin to remind me o' somebody.'" Print measures 16 x 12cm.

Good condition overall, with a light vertical crease down the centre from an old fold, a small area of paper wear near the top edge, and some light fraying to the corners of the mount.

Thomas is best remembered for "Arf a Mo, Kaiser" - a cartoon he dashed off in ten minutes during the First World War that went on to raise nearly a quarter of a million pounds for soldiers' tobacco and cigarettes.

A finely worked etching of a street scene in Boston, Lincolnshire, with the tower of St Botolph's Church - the famous Boston Stump - rising above the rooftops and figures going about the market street below. Signed J.E. Francis within the plate and titled "St Botolph's, Boston, Lincs" on the original card mount. 30 x 40cm.

The Stump is so tall it was once used as a landmark by sailors crossing the Wash, and Boston, Massachusetts takes its name from this very town.

The mount has some light foxing and gentle age toning, though the etching itself stays crisp and well defined.

Made in England, Victorian or Edwardian. Lovely for anyone with Lincolnshire roots, or a modern medieval-style hallway.

A vintage sepia print of the famous "St Kilda Parliament", the daily gathering of the island men outside their cottages on Hirta, after an 1880s photograph by G.W. Wilson of Aberdeen. It is in a wooden frame with a gilt slip on a grey mount, a good curiosity core piece for a study or hallway. The print was made in the later 20th century and the subject is Scotland.

The men met each morning to discuss the day's business, and photographs of the custom became some of Wilson's best sellers before the island was evacuated in 1930.

Good condition, with gentle warm toning to the sepia. The glass is missing from the frame, so a new pane will need fitting.

Limited edition print by Tom Byrne, professionally framed and mounted. Depicts a nostalgic street scene with figures, bicycles and a traditional corner shop/pub, creating a classic atmospheric British scene.

Signed by the artist

Limited edition 254/500

Professionally framed and

Overall frame size: 43cm x 50cm

Good condition with only minor age-related wear

A lovely piece for a traditional home, study, hallway or vintage-inspired interior.

This framed print shows a gentleman in a top hat and long coat, carrying two young children on horseback as they cross a shallow ford, with a farmstead and village church visible in the distance. The scene has the gentle, storybook feel of a Victorian country illustration, printed in soft watercolour-style tones. Prints like this were a popular way for Victorian households to bring colour into the home, since chromolithography — a new printing process developed in the mid-1800s — made reproductions of paintings affordable for ordinary parlours for the first time.

The print measures approximately 20 x 30cm and sits within a dark green wooden frame with a gilt slip. There's some light foxing (age spotting) to the cream mount and a few small chips to the frame's finish at the corners, both typical of a piece with some age behind it - the print itself remains bright and undamaged. A nice decorative piece for anyone who loves equestrian or country scenes.

A pretty antique hand-coloured Victorian engraving of Flamborough Head on the Yorkshire coast, showing the famous chalk stacks and natural arch in the bay with tiny figures strolling the beach below. Published by Rock & Co of London, numbered 2540 in the plate and titled "The Selwicks, Flamborough Head". In its original black frame with a gilt beaded edge and double card mount, glazed, 22 x 27cm overall.

Flamborough's chalk cliffs are Britain's most northerly chalk sea cliffs, part of the very same band of chalk that forms the White Cliffs of Dover over 200 miles to the south.

Good condition for its age, with light foxing and toning to the mount but the colour still bright.

Made in England, circa 1850s. A lovely little coastal grandmother piece.

A beautiful antique hand-coloured engraving titled "Entrance to Shields Harbour", depicting a bustling coastal scene with fishermen, boats and views across the harbour towards Shields. Engraved by William Finden (1787–1852) after the painting by British marine artist George Balmer (1806–1846), published circa 1836–37 and later widely circulated in topographical books of the 1840s.

This impression has a contemporary handwritten pencil inscription reading "Shields 1837" in the bottom-left margin - a nice early detail for collectors of maritime history and Tyneside topography.

The central engraving is sharp and nicely detailed. There is visible age-related foxing (small brown spotting) on the surrounding cream mount and left margin, consistent with a genuine 19th-century paper item.

Housed in a classic dark wood frame that is structurally sound and ready to hang.

A pencil-signed, hand-coloured etching by the French printmaker Marcel Julien Baron, looking across the Seine to Notre-Dame with the bouquinistes' green book boxes lining the quay and a few Parisians stopping to browse. Cream painted frame with a gilt slip, glazed, measuring 35 x 26cm. Made in France in the early to mid 20th century, a nice parisian vintage piece for a study or kitchen.

The riverside bookstalls shown here are such a fixture of Paris life that UNESCO added the bouquinistes to its Intangible Cultural Heritage list in 2019.

Good condition for its age, with some light foxing and age spots to the mount and a small chip to the paint on the frame.

Six antique plates from Bardeleben and Haeckel's Atlas of Applied (Topographical) Human Anatomy for Students and Practitioners, mounted together in one frame. They show the human torso in layers - kidneys, the major blood vessels in red and blue, muscles, ribs, spine and pelvis, and the organs of the abdomen. Every structure is numbered, the plates carry their Roman numeral plate numbers, and a measured scale runs alongside each drawing. Labels are in Latin anatomical shorthand. It hangs landscape, three plates across and two down. A striking piece for a study, clinic, or a curiosity core or dark academia interior.

Edwardian, c.1906 (English edition published by Rebman, London). Size 70 x 60cm including frame.

Karl von Bardeleben was professor of anatomy at Jena and helped found the Anatomische Gesellschaft, the German anatomical society, in 1886.

Condition is good for its age, with general wear. The clear protective film over the plates has rippled in places, mostly across the lower row, the joins between the six sheets can be seen, and the grey painted frame has small chips and rubbing to the edges and corners.

A pencil-signed print by Yorkshire artist Andrew Gilmour, showing a lad having a kick-about on the wet flagstones of Wards Place in Batley, right underneath a "No Ball Games" sign. Finely detailed monochrome work, with gas lamps and terraced rooftops behind. Sheet 30 x 42cm.

Gilmour drew his own name and the street name into the paving slabs, so there's a hidden signature within the picture as well as the pencilled one below it.

Good condition with only minor wear.

English, dated 1993. A nostalgic Northern street scene with a modern vintage feel, lovely in a hallway or a snug.

1930s James H. Dowd lithograph print of a fairy dancing with a little boy, oval mount.

A lovely 1931 print of a tousled little fairy with tattered wings whirling a small boy round in a dance, full of movement and mischief. Set in a cream double oval mount with a fine gold inner edge, with the original A Mayland print dealer label on the back. Measures 20 x 15cm.

Good vintage condition, with a few faint marks and light spotting to the mount; the print itself is clean.

Dowd was one of Punch magazine's best-loved artists between the wars, famous for catching children at play in a few quick pencil strokes.

The West View of Dolbadern Castle, in the County of Caernarvon — a 1983 Gwynedd Archives Service reprint of the original 1742 engraving by Samuel and Nathaniel Buck. Grey mount in a black frame with gold beading, overall 45 x 27cm. Good condition with minor wear.

Owain Goch spent around twenty years locked up in Dolbadarn's tower, put there by his own brother Llywelyn ap Gruffudd after their power struggle for control of Wales.

A small Victorian portrait print of Lady Gertrude Villiers, in a rosewood-veneer frame with a pressed gesso border, cord and ring hanging fitment to the back. Good condition with light age wear consistent with a piece over 140 years old.

This plate comes from Bygone Beauties, an 1883 book of Georgian society portraits engraved by Charles Wilkin after paintings by court favourite John Hoppner RA.

An original cartoon clipped from Punch magazine, showing a red-faced ringside second urging on his flagging boxer: "Don't be frivolous abaht it, 'Erbert. You've got 'im beat if you'll only take it seriously." Signed in the plate "Chas. Grave", neatly mounted on card at 16 x 12cm.

Good condition for its age, with only light, expected toning to the paper.

Grave made his name drawing sea captains and cruising yachts for Punch, so a boxing ring was rare territory for him.

A nice bit of curiosity-core wall art for a study, den or gallery wall, and just as at home with a boxing memorabilia collection.

An original early 20th century photograph - a quiet winter morning with wooden rowing boats drawn up among frozen reeds, deep snow over the bank and open marsh water beyond, in lovely soft sepia tones. Reframed at some point in a mahogany-effect moulding with a gold slip and grey mount, glazed. Frame 39 x 31cm.

Snow was one of the hardest subjects for early photographers - the glare off it on slow plates made winter views notoriously difficult to expose, so far fewer were ever attempted.

Good condition with minor wear, gentle age-toning and a few small spots to the sky, as you'd expect of an original print this old.

Antique, early 20th century. A proper farmhouse-style piece for a hallway, landing or bedroom wall.

A genuine Punch magazine boxing cartoon, cut from the page and mounted on card, signed "Frank Reynolds" in the plate. The corner man's line says it all: "Don't shingle 'im, 'Arry — knock 'is 'ead orf!"

Good condition for its age, with light toning typical of old paper — no tears or losses. Print measures 16 x 12cm, presented in a mount.

Reynolds was Punch's own art editor, and even found time to compete in the art competition at the 1928 Olympics.

An archival reprint of the 1742 engraving by Samuel and Nathaniel Buck, showing St Beuno's Church at Clynnog Fawr under its old name, Clunokvaur Abbey. This copy was published by Gwynedd Archives Service in 1983, and comes framed and glazed with a grey mount. Good condition, just minor wear.

For centuries the church kept a pair of "dog tongs" by the door, used to eject any unruly dogs that wandered in during a service.

Frame measures 45 x 27cm.

A hand-coloured etching by the French printmaker Marcel Julien Baron (1872-1956), looking along the Seine to Notre Dame with the bridges around the Île de la Cité stacked across the water, in a parisian vintage style. Pencil signed "Baron" lower right. Cream painted frame with a gilt inner slip, glazed, overall frame size 35 x 27cm. Made in France, early 20th century.

Baron hand-tinted every impression of his etchings himself, so no two prints pulled from the same plate came out coloured quite the same way.

Good condition with just minor wear and a few small foxing spots to the mount.

A genuine original antique map of Somersetshire, published in London by Langley & Belch on 2nd April 1817 - over 200 years old.

Original hand colouring to the borders, a detailed key of the historic Somerset "Hundreds", and an engraved view of St Vincent's Rock, Bristol, in the lower corner.

St Vincent's Rock is the cliff of the Avon Gorge where Brunel's Clifton Suspension Bridge would later be built - work on it didn't finish until 1864, nearly half a century after this map was printed.

The paper itself is in clean condition with crisp ink lines and no major water marks. It's in a black and gold frame, which is damaged - a piece of the wood moulding has broken off the top-left corner.

Atmospheric limited edition print by Tom Byrne, professionally framed and mounted. Features a nostalgic evening street scene with cobbled roads, shopfronts and figures under moonlight, capturing the character of a bygone era.

Signed by Tom Byrne

Limited edition 254/500

Professionally framed and glazed

Frame size: 43cm x 50cm

Good condition with minor wear, no chips or cracks.

An antique hand-coloured engraving of Danes Dyke, the steep wooded ravine near Flamborough on the Yorkshire coast, with a group of Regency-dressed visitors taking in the view. Engraved by J. Rogers after a drawing by Nathaniel Whittock, from the series of English topographical views the pair produced in the late 1820s. Black frame with a wide card mount, 22 x 18cm overall. A handwritten note on the back reads "Bought in Cornwall at St Ives! Returned to Bridlington in 1961" - it's been on quite a journey.

Despite its name, Danes Dyke has nothing to do with the Danes - it's a huge earthwork thought to date to the Iron Age, dug long before the Vikings ever reached Yorkshire.

Good condition, with the gentle toning and light watermarking you'd expect for its age. The glass is missing from the frame.

Made in England, circa late 1820s. A charming antiquarian piece for anyone who loves the Yorkshire coast.

A pen and pencil street scene of Harold Grove after the rain - a wet fish shop on the corner, an off licence further down, a gas lamp over the flagstones and smoke drifting from the chimney pots. A signed print of the artist's drawing, pencil-signed by Andrew Gilmour in the lower right margin. Sheet 42 x 30cm.

Look closely at the paving in the road - the artist has drawn his own name and the street's into the stones, so it's signed twice over.

Good condition with only minor wear.

English, late 20th century. Graphic monochrome that sits well in a modern vintage room.

A full set of 12 original colour educational posters from the late 1950s, illustrated by John Berry and issued to schools by the International Wool Secretariat. Each shows a ceremonial guard or regiment in front of a famous landmark, with a page of history beneath.

Includes the Edinburgh City Police Pipe Band, British Grenadier Guards, Royal Canadian Mounted Police, United States Marines, Swiss Papal Guard, French Republican Guard, Italian Bersaglieri, Dutch Grenadier Guards, Royal Danish Life Guard, Belgian Royal Escort, Swedish Royal Life Guards Squadron and Norwegian King's Guard.

Each measures 47 x 33.5cm.

John Berry was an official war artist during the Second World War before going on to illustrate the much-loved Ladybird "People at Work" books.

Good vintage condition with light edge wear and gentle curl from storage. The Mounties print has a small tear to the bottom margin and the Norwegian King's Guard has small edge tears and creasing to the side margins, all clear of the pictures.

Great for a mid-century gallery wall, a study or anyone with an interest in military history.

An antique photograph of a bearded countryman leading his donkey and cart down a lane, with a boy riding along and a woman spinning wool at a cottage doorway - a genuine glimpse of rural life over a century ago. Mahogany-effect frame with a gilt slip, glazed, 30 x 19cm.

Cottage spinning was a traditional home industry already fading out as the mills took over wool production.

Good for its age, with gentle fading and toning typical of an original photograph.

Victorian or Edwardian, c.1880-1910. A proper farmcore piece for a kitchen or hallway.

A framed set of signed prints by Percy Monkman showing Malham and Esholt in Yorkshire. Each 44 x 33cm.

Percy Monkman was a Bradford bank clerk who became one of the city's best-loved artists, and he was also a well-known comic actor and entertainer.

Good condition with minor wear.

English, Yorkshire. A lovely pair for anyone who loves the Dales.

A hand-tinted cartoon cutting from a vintage comic weekly, showing a battered boxer being consoled - not entirely convincingly - by his corner men after a beating in the ring. Glazed and framed, with the original pen-and-ink and watercolour colouring still bright. Condition is good for its age, with just light, even toning to the paper.

Cartoons like this were a Punch speciality - deadpan captions sending up the melodrama of the boxing ring, decades before trash talk became part of the sport's own theatre.

Print measures 16 x 12cm. One of four different vintage cartoon prints currently in stock, each sold separately.

A small, softly grey-tinted antique engraving of Flamborough Light House, dated 1806 and signed "Hall" in the plate - the old tower on the clifftop, a couple of wind-bent trees beside it, and sailing ships out on the water beyond. Titled "Flamborough Light House" below. In a wood-grained frame with a gilt slip and card mount, glazed, approximately 32 x 22cm overall.

The tower shown isn't the lighthouse Flamborough is famous for today - that one was only finished in 1806, the very year this print is dated. This is the older chalk tower built in 1674, which was never actually lit.

Good condition, with light foxing to the mount, a bit of wear to one corner of the frame's finish and a torn backing paper (see photos).

Made in England, 1806. A lovely bit of Georgian coastal history with a coastal grandmother feel.

An antique Victorian hand-coloured engraving of a sportsman out after snipe, his dog working the rough ground ahead and a farmstead on the hill beyond. Plate-titled "Snipe Shooting" beneath the image, laid into a cream and sage green card mount, 25.5 x 21cm.

Snipe were reckoned the hardest bird in Britain to hit because of their zig-zag flight - anyone good enough to bring one down was called a sniper, which is where the word comes from.

Good condition with minor wear and gentle age-toning to the paper.

Victorian, mid-19th century. A classic for a boot room, study or country-house wall.

An antique hand-coloured engraving of Bridlington Quay, with the harbour full of sailing ships and visitors strolling along the pier in their best clothes. Published January 1830, engraved by J. Shury after N. Whittock. Double-mounted in a black frame with a delicate beaded edge, glazed, approximately 25 x 19.5cm overall.

Bridlington's North Pier took 27 years to build (1816-1843), so this 1830 view catches it while it was still going up.

Good condition, with light age-toning to the paper typical for a print of this date.

Made in England, 1830. A charming bit of coastal Yorkshire history with a coastal grandmother feel.

An antique Münchener Bilderbogen (Munich Picture Sheet), No. 465, "Der Virtuos" (The Virtuoso), designed by Wilhelm Busch and published by Braun & Schneider of Munich. Marked "3. Auflage" (3rd edition), dating it to the 1860s. The sheet measures 44.5 x 35cm and has all fifteen original hand-coloured panels, following a wild-haired pianist as he works himself into an ever more frantic performance, each scene captioned with a musical term (Silentium, Scherzo, Fortissimo Vivacissimo and so on).

"Der Virtuos" is often counted among the earliest true comic strips, telling its story through movement and expression rather than dialogue.

Good for its age, with foxing and staining to the lower edge and corners and light wear to the paper edges, but all fifteen panels are bright, clear and complete.

Antique, 1860s, made in Germany. A great find for collectors of early comic art, music lovers or a dark academia wall.

A finely detailed engraved view of Bangor Cathedral, originally drawn by Samuel and Nathaniel Buck in 1742 for their well-known Buck's Antiquities series, this copy reprinted by Gwynedd Archives Service in 1983. Framed and glazed, grey mount, black frame, overall 45 x 27cm. Good condition, minor wear only.

Bangor Cathedral is thought to stand on a deliberately low, inconspicuous site, possibly chosen so as not to catch the eye of Viking raiders arriving by sea.

A genuine original antique county map of Cornwall by the London engraver and mapmaker John Cary, dated 1st January 1793. Finely engraved on copperplate with original hand-coloured boundary outlines, a compass rose, and an inset map of the Isles of Scilly in the upper corner.

John Cary's county maps were prized for their accuracy, and in 1794 he was commissioned by the Postmaster General to survey the main roads of England.

The map is crisp and clean with good strong colour, and sits under glass in a black and gold decorative wood frame. The back is sealed with brown paper and tape, with a cord hanger. Excellent antique condition.

Over 230 years old - a proper piece of Georgian cartography for anyone with a love of Cornwall.

A round wall plaque cast in a warm ivory tone, showing a classical Grecian woman in flowing robes beside a fluted column, reaching up to a grapevine spilling from an urn on a carved stand, with a jug and a Greek-key vase at her feet. A rope-twist border runs right around the edge, with a wire hanger fixed to the back. Approximately 33cm across.

Grape-harvest scenes like this are classical shorthand for Autumn, one of the "Four Seasons" themes sculptors and plasterers have borrowed from Roman relief carving for centuries.

In good condition with just minor wear - no chips or cracks.

Vintage. A lovely grand tour-style piece for a hallway, garden room or gallery wall.

A beautiful antique early 19th century botanical print of Pulmonaria officinalis (lungwort), finely detailed with crisp linework and period colouring, and printed with its original publication details. Mounted with a blue-bordered mount in a wooden frame with a brass inner trim. 34 x 42cm.

Lungwort's spotted leaves were thought to look like diseased lungs, so under the old 'doctrine of signatures' it was prescribed for chest complaints - hence the name.

The print is clean and well preserved, and the frame shows gentle age with a warm patina.

Early 1800s. A lovely piece for a botanical gallery wall, with a cottagecore or antiquarian feel.

An original page from the first English edition of Lavater's Essays on Physiognomy, printed for John Murray in London in 1789 - the copper-plate engraving on one side and the original letterpress text on the other. A young man asleep with his head resting on his hand, signed in the plate "Hall sculp." for John Hall, historical engraver to King George III. Laid onto a card mount, 25 x 20cm.

William Blake engraved some of the plates for this same book, years before he became famous.

Good condition, with the gentle age-toning you'd expect after more than two hundred years; no tears or foxing to the image.

Antique, 1789, English. Proper dark academia for a study or hallway wall.

An early twentieth-century sepia print, 32 x 25cm framed, showing a young child in eighteenth-century style dress standing on a grassy bank beside a flowering shrub, hands clasped over a gathered skirt. In its original glazed frame with hanging cord, and carrying a printed Medici Society Ltd label (63 Bold Street, Liverpool) to the back. Good condition overall, with light age toning, a small ink mark to the left of the image, and some perishing to the paper backing that doesn't affect the picture.

The Medici Society was founded in 1908, named after the art-loving Medici family of Renaissance Florence, with the aim of bringing fine art reproductions into ordinary homes.

An Edwardian sepia print of Haddon Hall in Derbyshire after Elmer Keene, showing the ivy-clad hall rising above the lane, with a tree arching over the steps. Signed Elmer Keene in one corner and titled Haddon Hall in the other. In a dark wood frame with a cream mount, glazed, 51 x 32cm overall.

Haddon Hall is one of England's best-preserved medieval and Tudor manor houses, and has been a filming location for Jane Eyre, Elizabeth and The Princess Bride.

Good condition, with just a little gentle age-toning to the mount. The backing paper on the reverse is torn and marked (see photos).

Early 20th century, made in England. A lovely old-world piece for a study, hallway or anyone with a soft spot for the Peak District.

An antique pen-and-ink style etching of Steep Hill in Lincoln, looking up the old cobbled street towards the cathedral, signed J.E. Francis in the plate. On its original sheet with a hand-ruled border, 30 x 40cm.

Steep Hill is one of England's steepest streets and is still lined with medieval buildings - among them the 12th-century Jew's House, one of the oldest stone town houses in Europe.

Good condition for its age, with a touch of light foxing to the sheet.

Late Victorian to Edwardian, c.1900, English. A great Lincolnshire local-history piece once mounted.

An antique late Victorian photogravure of Sir Joshua Reynolds' 1773 portrait of Lady Cockburn and her three small sons, with his pet macaw looking on. Engraved by Alfred Dawson, signed in the plate lower right. Unframed sheet, 26.5 x 36.5cm, with generous margins for a mount.

Reynolds signed this one along the embroidered hem of Lady Cockburn's gown - one of only a handful of paintings he ever put his name on.

Good for its age - light foxing and gentle toning, and a torn corner in the lower right margin, well away from the image.

Victorian. Proper dark academia wall material once framed.

A painted silk picture of a Japanese lady in a flowered kimono, reading under a maple tree in full autumn colour, with soft, luminous dyes and fine gold outlines throughout. In a dark wood frame, glazed, 35 x 25cm. Made in 1995 by Tracey Ann Shears of Cookridge Cottage Crafts, Leeds, with her original label and a handwritten note still on the back.

Those gold lines are gutta, a resist piped on by hand before any colour goes down, which keeps one dye from bleeding into the next.

Good condition with only minor wear.

English, 1995. One for an eclectic expat aunt room, alongside kimono silks and travel finds.

An antique etching titled "A Spanish Smuggler", showing a young smuggler tipping back a drink from a traditional jug. After the painting by American artist William Turner Dannat, engraved by French printmaker H. Toussaint, dated 1893. A good fit for an antiquarian or dark academia collection. The sheet measures 21 x 30cm.

Dannat was an American painter who studied in Paris under the Hungarian painter Munkácsy.

Good condition, with light age toning and a few small spots, consistent with a print of this age.

An original etching of the west front of Westminster Abbey by Arthur Spencer, issued as a signed artist's proof by Marion & Foulger Ltd of Bedford in 1918 and pencil-signed by the artist below the image. The publisher's printed label is still on the mount: "Original Etching (Signed Artist's Proof) by Arthur Spencer, Westminster Abbey (West Front)". Mounted on card, 29 x 40cm.

The abbey's famous twin west towers are actually Georgian, not medieval - designed by Nicholas Hawksmoor and only finished in 1745, centuries after the rest of the building.

Good condition, with light toning to the mount consistent with its age.

Made in England, 1918. A lovely piece of antique London for a dark academia study or a gallery wall.

A poignant piece of naval history - this oval photograph shows H.M.S. Cassandra of the 6th Light Cruiser Squadron, with her service history hand-lettered beneath: commissioned at Barrow in June 1917, sunk by a mine off the Gulf of Riga on 5th December 1918. Set in a polished wood frame with grey mount and glass, the frame measures 39 x 34cm.

On the reverse, in old ink, a family hand has noted that a "W.W.V" was aboard when she went down, recalling the water as very cold but the transfer to another ship an easy one - a genuine first-hand account of surviving the sinking, which came only weeks after the Armistice while the Royal Navy was supporting Estonia and Latvia against the Bolsheviks in the Baltic.

Condition is good with minor wear and light surface marking to the mount. The back is covered with its old paper backing, pinned in place.

An antique fashion plate from the Paris journal Le Follet, numbered 607, showing three ladies in crinoline-era day dresses in black, ivory and sea green, with a decanter set and a candle sconce behind them. The printed caption names the Paris address of the journal and carries a London agent's imprint beneath. The plate is hand coloured and sits in a slim gilt frame with a pale blue-grey mount, under glass. Made in France in the 1860s, a nice vintagecore piece for a dressing room or bedroom.

Plates like this were engraved on steel and then coloured by hand, one at a time, which is why no two copies have quite the same colours.

Good condition for its age, with light toning to the paper and a few small age spots.

An antique French fashion plate from Le Journal des Dames et des Demoiselles, Belgian edition, numbered 462, showing two ladies and a small boy in a drawing room, one in a blue tiered flounced crinoline gown with black lace and a lace shawl, the other in a grey gown with lace trim, with the boy in a brown velvet suit. The caption credits the modes to Alexandrine and the fabrics to the Maison Delisle. The plate is hand coloured and sits in a slim gilt frame with a cream mount, under glass. Made in France in the 1850s, a good grandmillennial find.

Fashion plates were how Victorian dressmakers and their customers saw the latest Paris styles, and the fabric supplier was often named in the caption as part of the advert.

Good condition for its age, with toning and some light foxing and staining to the mount and paper.

An antique original etching of Mill Street, Warwick, inscribed and dated 1885 in the plate. A horse and cart wait on the cobbles below a row of leaning timber-framed houses, with the church spire in the distance. In a cream card mount, 30 x 19cm.

Mill Street was one of the few streets to escape the Great Fire of Warwick in 1694, which is why its medieval timbers still lean over the road today.

Good condition for its age, with gentle toning to the paper and a little light spotting to the mount.

Made in England, 1885. Lovely modern medieval feeling for a hallway, study or stairwell.

A hand-coloured pen and ink print of Rose and Crown Yard, just off Briggate in Leeds, showing Binks's Rose & Crown Hotel sign hanging over the cobbles. Mounted on card; the mount measures 30 x 25cm.

Rose and Crown Yard was one of Leeds' old courtyard "folds" running back off Briggate, laid out on medieval burgage plots - Joseph Binks is recorded as the innkeeper there through the 1880s.

Good condition with just minor wear.

Vintage, English. A great local-history piece for a Leeds or Yorkshire wall.

An original hand-coloured engraving from William Curtis's Botanical Magazine, plate number 287, showing a leafy flowering stem with pale blue and white flowers. The publication line reads "Pub by W. Curtis, St Geo. Crescent, Jan 1, 1795". Black frame with a gilt bead inner edge and a cream mount, glazed. Published in London in 1795, an antique piece with plenty of old-world, antiquarian appeal for a study, hallway or conservatory.

Curtis launched the Botanical Magazine in 1787 and it is still published today, making it one of the longest-running botanical periodicals in the world.

Good condition for its age, with toning and foxing to the mount and paper, and some staining to the upper mount.

An original antique 1871 Vanity Fair caricature of the Scottish novelist George Whyte-Melville, captioned "The Novelist of Society", showing him in a top hat with a ginger-brown beard, seated on a sofa with a walking stick. Drawn by James Tissot under his pseudonym "Coïdé", Men of the Day No. 32. Black wood frame under glass, frame measures 22 x 37cm. Published in England, a very antiquarian, dark academia piece for a study or library wall.

Whyte-Melville's hunting novels made him one of the best-loved writers of his day, and he died as he'd lived, killed in a riding accident out with the hounds in 1878.

Good condition for its age, with light toning typical of a piece this old and no chips or cracks to the frame or glass.

A genuine 18th century engraved and hand-coloured map of Bedfordshire by the London cartographer Robert Morden, drawn up for Camden's Britannia. The strapwork title cartouche, hachured hills and lettered "Hundreds" key are hallmarks of his groundbreaking county map series.

Framed and glazed at roughly 26 x 32cm. A paper guarantee label from a previous dealer, Elizabeth Antiques, is still taped to the back, describing it as a Robert Morden map dated 1701.

Robert Morden once published a whole set of English county maps printed onto a pack of playing cards, so people could learn their geography over a hand of cards.

Good condition for its age, with light overall toning and a centre crease from its original life folded into a book.

A signed print of a bay racehorse, head study in an oval vignette, warm chestnut against a soft blue-grey ground. Signed V. Walpole Hancock and dated 1975. The mount measures 23 x 18cm.

On the reverse, a pencil sketch of the same head sits beside a note reading "Red Rum?" along with the artist's name and Cawthorne, Barnsley. Good condition with just minor wear.

Red Rum was at the height of his fame in 1975, fresh from back-to-back Grand National wins.

A bit of equestrian chic for a hallway, study or tack room. Other works by the same artist are listed separately.

Framed it would carry £32-35.