An original watercolour on paper by David Walsby, signed in the lower right corner. A wooden bench sits under a mature tree beside calm water, with reflections and soft green woodland beyond. It has a cream mount and a dark wood frame with a Lancaster framer's label on the back. A good fit for a cottagecore or farmhouse-style room.

Vintage, probably late 20th century. The frame measures 38 x 45cm.

Watercolour has long been a favourite with British landscape painters because its thin washes catch changing light so well.

Good condition, with only minor wear to the frame.

An original watercolour on paper by David Walsby, signed in the lower right corner. A winding country road runs between wooded hills and conifers under a pale blue sky. It has a cream mount and a dark wood frame with a Lancaster framer's label on the back. A good fit for a cottagecore or farmhouse-style room.

Vintage, probably late 20th century. The frame measures 40 x 36cm.

Good condition, with only minor wear to the frame.

Watercolour is painted in thin transparent washes, which is why distant hills in a picture like this seem to glow.

A calm lake scene with sailing boats out on the water, mountains rising behind and a little red-roofed cottage tucked among the trees. Oil on canvas, signed 'Barrett' lower right (not me!), in a decorative gilt frame with a scroll and shell border. Framed size 87 x 47cm.

Palette-knife work like this builds up thick ridges of paint that catch the light differently depending on the angle you view it from.

Good condition, just minor age-related wear.

Vintage. A peaceful piece for above a sofa or fireplace, with a bit of Hollywood Regency glamour from the frame.

A soft pastel still life on paper of fruit and vegetables scattered across a warm grey-brown ground - a carrot, cabbage, sliced tomatoes, an aubergine, an orange, a garlic bulb, a lime, shallots, an apple and a pepper, each with a soft chalky texture and visible paper grain. Signed "M.C.P." in pencil lower left. Green-edged mount, glazed, in a plain wooden frame; 55 x 44cm overall.

Soft pastel is about as direct as painting gets - colour goes straight from stick to paper with no brush, water or oil in between, which is why the tones stay so fresh.

Good condition with only minor wear; no damage to frame, glass or mount.

Vintage. A cheerful farmhouse-style kitchen or dining room piece.

Charming original watercolour of Anne Hathaway's Cottage, Stratford-upon-Avon, signed and dated A.D. Bell 1950.

A beautifully executed period watercolour depicting the famous Shakespearean landmark surrounded by colourful cottage garden flowers. Presented in an attractive rustic pine frame with mount.

Original watercolour

Signed A.D. Bell

Dated 1950

Subject: Anne Hathaway's Cottage

Framed size: 64 x 53 cm

Good vintage condition, with some age staining to the backing paper on the reverse

A lovely piece for collectors of British watercolours, Shakespeare memorabilia, or traditional country cottage artwork.

A pretty antique watercolour by E. Hamilton, one of a set of English village scenes - this one shows a whitewashed thatched cottage with a colourful garden beside a church, its spire rising behind and birds scattered across a soft sky. Signed, in a stepped card mount within a gilt frame, glazed. The painting measures about 19 x 13.5cm, framed to around 33.5 x 29cm.

E. Hamilton's cottage and village scenes have sold through UK auction houses for decades, from small regional salerooms to established fine art rooms.

Good condition with just minor wear consistent with its age.

Victorian, 19th century, English. Others from the same set are listed separately - lovely hung together as a cottagecore group.

An original watercolour of a wide open view, looking out from a grassy hillside with a windblown tree, across fields and a lake towards a double-peaked hill under a soft pink and blue sky. Signed J. Higgins lower right, with a second, fainter signature lower left. In a cream mount with a thin gold slip, in a wood-effect frame, 49 x 64cm.

The speckled texture in the sky is called granulation, which happens when heavier pigments like ultramarine settle into the dips of the paper as the wash dries.

In good condition with minor wear: a few small white flecks where the paper surface has lifted, and a faint vertical scuff line near the right-hand signature.

Vintage, late 20th century. A peaceful piece for a farmhouse-style or grandmillennial room.

A pretty antique Victorian watercolour of an English village lane, with thatched and tiled cottage roofs tucked behind flowering hedges, autumn trees beyond, and a shawled figure walking home along the path. Signed E. Hamilton lower left, in a gilt frame with a soft fabric-effect mount. The painting measures about 19 x 13.5cm, framed to around 33.5 x 29cm.

Village lanes like this were among the most popular subjects for a modest Victorian watercolour, painted to hang in ordinary parlours rather than grand collections.

Good condition, with just a little light spotting to the sky, typical of its age.

Victorian, English. A charming cottagecore piece for a bedroom or landing.

A lovely little watercolour of Ye Horns Inn at Goosnargh, near Preston - the black-and-white pub above its stone wall, lilac tumbling over the top and the lane curving away past the gable end. Signed S. Gray and dated 1997. Mounted and glazed in a mahogany-effect frame with a gilt slip, 39 x 47cm overall.

Ye Horns started life as a coaching inn in 1782.

Good condition with only minor wear; a few knocks and a small loss to the finish along one edge of the frame.

Painted in 1997, in England. A proper bit of Lancashire for the wall, with a cottagecore feel to it.

A pretty antique watercolour by E. Hamilton, one of a set of English village scenes - this one shows a riverside cottage with ducks gathered along the bank. Signed, in a stepped card mount within a gilt frame, glazed. The painting measures about 19 x 13.5cm, framed to around 33.5 x 29cm.

Stepped card mounts like these were a popular framing trick, adding depth around a small watercolour without needing a bigger picture.

Good condition with just minor wear consistent with its age.

Victorian, 19th century, English. Others from the same set are listed separately - lovely hung together as a cottagecore group.

A serene mountain view by Jo Crayston: snow-capped peaks rise behind a dense forest of dark conifers, with a river running through the valley below. Soft blues and purples in the distant mountains contrast with the rich greens of the foreground - it has the feel of the Canadian Rockies or similar alpine scenery. Oil on board, 40.5 x 30.5cm.

Painting on board rather than canvas was popular with amateur and professional painters alike from the 1950s on - it's rigid, cheap and doesn't sag.

Good condition with minor wear; the surface is clean and sound.

English, 1970s. A peaceful 70s back-to-nature piece for a study or cabin-style 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 pretty hand-stitched cross stitch panel of a rose bush, worked right down to the roots, in a plain black frame under glass. The frame measures 16 x 92cm - a long, slim piece that suits a narrow wall or above a door.

Cross stitch is one of the oldest embroidery techniques around, with surviving examples well over a thousand years old.

Good condition, colours still bright and clear, just minor wear.

Vintage. A cottagecore piece with real hand-made charm.

A charming antique original watercolour of the Gorges du Verdon in Provence, monogrammed H.C. The painting sits on a textured mount in its original wood frame, with the old iron hanging loops and braided cord still on the back. 27 x 22cm including the frame.

The Gorges du Verdon is often called Europe's Grand Canyon, with limestone cliffs rising up to 700 metres above the river.

Good antique condition. The painting is still vibrant, with natural age-toning to the mount and light, honest surface wear to the frame.

Probably painted in France, c.1900-1930s. A lovely French country or Parisian vintage piece for a small wall.

An original watercolour and ink painting titled 'Porthmadog', by the Anglesey artist Alan Kirkpatrick. The scene shows a three-masted schooner, named Dorothy and registered at Caernarfon, moored at the quayside with dockworkers unloading timber, hills rising in the distance beyond the harbour. Signed by the artist, with his own printed label to the reverse confirming the title. Presented in a wood frame with gilt slip, glazed and wire-fitted for hanging, overall framed size 69 x 57cm. Good condition with only minor age-related wear to the frame.

Kirkpatrick spent much of his career as an engineer, eventually managing Wylfa nuclear power station on Anglesey, before retiring in 1989 to paint full time - his detailed, well-researched maritime scenes went on to be exhibited widely across Wales, with examples held at Oriel Môn. Porthmadog itself was once one of Wales's busiest slate ports, its harbour thick with three-masted schooners exporting roofing slate worldwide through the 19th century, a scene this painting captures with real attention to detail.

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.

An antique original watercolour of a whitewashed thatched cottage, tucked behind a garden full of flowers and autumn shrubs, with a little black dog trotting down the lane and a stream and wooden gate in the foreground. Signed and dated "C.S. Hill 1914" lower right, so it was painted in the last summer before the First World War. In a cream and grey double mount with a fine wash line, glazed, in a gilt wooden moulding, with a framer's label from Framework, Harrogate on the back. English school. Frame size 40 x 36cm.

Thatched cottages were one of the best-loved subjects of Edwardian watercolour, made famous by Helen Allingham, whose cottage paintings were reproduced in books and on postcards across the country.

Condition is good for its age, with clean, bright colours and just minor wear to the frame.

Painted in England, 1914. The soft cottage garden colours suit a cottagecore or grandmillennial wall.

A peaceful countryside scene - a stream winding through wildflower meadow towards misty hills, with sheep grazing beyond a screen of autumn trees. Signed 'C. Wilder' lower left, in a burgundy and gold frame with glass, framed size 100 x 70cm. Good condition, minor wear only.

The gallery's old compliments slip is still stuck to the back, and its '081' phone number pins the framing to a narrow window between 1990 and 1995, just before London's dialling codes changed again.

A charming original botanical watercolour of wildflowers with trailing convolvulus, finely painted with a light, natural touch and monogrammed by the artist. Mounted and glazed, 42 x 37cm overall.

Convolvulus gets its name from the Latin convolvere, "to entwine", after the way its stems twist around other plants.

Good condition with just minor wear.

Mid-to-late 20th century, c.1960s-80s. A lovely cottagecore or botanical piece for a kitchen, hallway or bedroom.

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.

An original pencil portrait of James Callaghan, head and shoulders in a suit and tie, signed V. Hancock and dated 1977 - drawn while he was in Downing Street. Sketchbook sheet, 35 x 26cm.

Callaghan is the only person ever to have held all four great offices of state: Chancellor, Home Secretary, Foreign Secretary and Prime Minister.

Good condition with minor wear - a scattering of small gold paint spots around the edges of the paper and a few light creases.

English, 1977. A great piece of political history for a study or dark academia gallery wall.

A finely detailed Victorian watercolour of York Minster rising above the trees, viewed across the River Ouse with two loaded barges moored in the foreground and an old crenellated stone gatehouse by the water. Signed "York" and "E.C. Crowther" and dated 188-, the last digit worn but placing it in the 1880s. Gilt frame with a wash-line mount, under glass, measuring 43 x 35cm. A good antiquarian piece for anyone with a York or Yorkshire connection.

The paper has some scattered foxing, mostly across the sky and the mount, which is typical for a watercolour of this age, and the colours remain bright.

York Minster's twin west towers took the best part of 250 years to complete, so the building spans several distinct phases of Gothic architecture.

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.

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 original oil painting of a traditional English forge. A blacksmith bends over to shoe a sturdy grey horse, the fire glowing behind him, with an anvil and tools in the foreground and a thatched cottage glimpsed through the open doorway. It is signed J.C. for Jo Crayston, whose signed oil-on-board works typically date to the 1970s. It has a gilt inner frame with a neutral woven mount, and the framed picture measures 29 x 34cm. A good fit for a cottagecore or farmhouse-style room.

Vintage, 1970s. Painted in England.

By the 1970s tractors and cars had largely replaced working horses, so village forges like this were already fading into nostalgia.

Good condition with only minor wear consistent with age, and no damage to the paint surface.

A peaceful watercolour landscape by Keli Clark, a well-known Edinburgh and East Lothian artist, showing rolling Scottish farmland under a wide, cloud-filled sky, with a distant church and treeline anchoring a field of ripened gold.

Presented in a gilt wood frame under glass, with the artist's own studio label on the backing board. Framed size approximately 35 x 40cm.

Clark is self-taught and her original paintings have gone on to be held in private collections in more than twenty countries around the world.

Good condition with minor wear consistent with age, including some light spotting to the card mount.

A softly painted half-timbered thatched cottage scene, complete with a duck pond, brick footbridge and a pair of mallards. Oil on canvas, signed D. Prior lower left. Framed size approximately 64 x 50cm.

The backing board carries an old handwritten label about New Alresford in Hampshire, noting that cloth from the town was once thickened at the local fulling mill - a nice bit of wool trade history on the back.

Condition is good with just minor wear, no chips or cracks.

Mid-to-late 20th century, English. A natural fit for a cottagecore or farmhouse-style room.

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 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.

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.

An original watercolour, "Ryedale Harvest Time", by Edw. Fuller of Pickering - pale gold stubble fields, a hedge line and drystone wall running down the middle distance, and a great soft wash of a Yorkshire sky over the top half. Signed Fuller lower right and titled on the back. Slim gilt frame with a cream mount, 40 x 50cm.

The whole Vale of Pickering below these hills was a huge glacial lake at the end of the last Ice Age, which is why the valley floor is so flat and grows corn so well.

Good condition with only minor wear - gentle toning to the mount and light marks to the gilt frame.

Painted in Yorkshire, England, c.1970s-80s. A lovely farmcore wall piece, and there's a companion watercolour, "Ryedale Spring Time", by the same hand listed separately - they'd hang beautifully as a pair.

A really atmospheric antique watercolour, signed and dated "W. Baker 1911" lower left. A ruined castle tower stands on a rocky headland among tall Scots pines, with a little sailing boat and its crew drifting past on still water. Misty blue mountains fill the distance, and there are more sails further up the loch and reeds in the foreground. The palette is soft and calm, very much of its Edwardian time.

It's presented in a cream mount with fine ruled wash lines, inside a gilt moulding. It measures 70 x 54cm in the frame. Painted in Britain.

Scots pine is Britain's only native pine, and its flat-topped silhouette became the shorthand for Highland scenery in Victorian and Edwardian painting.

It's in good antique condition with minor wear, and the colours are still fresh. There are a couple of tiny marks on the mount and light rubbing to the frame, in keeping with its age.

It would sit well in an old-world or grandmillennial room, a study or a cosy hallway.

An antique oil painting signed A. Buckley and dated 1893 - a quiet countryside scene with a river running over rocks, a stone bridge, a farmhouse, tall trees and cattle grazing in the fields. Painted in a naive style with plenty of period character.

Presented in a gilt frame. Measures 53 x 40cm.

A late Victorian original for a country cottage, farmhouse or anyone who collects British naive art.

Good antique condition with age-related wear consistent with its age.

A joyful burst of springtime by Jo Crayston - daffodils, tulips and pansies arranged with forget-me-nots, primulas and delicate stems against a soft sage-green ground. Oil on canvas board, signed Jo Crayston lower right. 40.5 x 30.5cm.

The daffodil is the national flower of Wales, traditionally worn on St David's Day, the first of March.

Good condition with minor wear consistent with age; the yellows and pinks are still bright, with no cracks.

Painted in England in the 1970s. A cheerful cottagecore piece for a kitchen or sunny hallway.

A finely detailed original marine watercolour by Paul McAvilley, showing the Royal Navy man-of-war Ajax under sail and flying the white ensign, with the fleet around her and a small sailing boat crossing in the foreground. The rigging, gun ports and stern gallery are all picked out in fine pen work against soft washes of sky and sea. Signed lower right. Double mounted in cream with a dark inner line, glazed, in a silver-grey limed moulding, professionally framed by The Picture Shop, Chorley (label dated May 2008). Size in frame 57 x 48cm.

The 74-gun HMS Ajax of 1798 sailed seventh in Nelson's column at Trafalgar, commanded on the day by her first lieutenant, because her captain had been called away as a witness at a court martial.

In good condition with minor wear, just a little light rubbing to the frame edges and a couple of small old price stickers on the backboard.

Painted in England before May 2008, depicting the Napoleonic era. A great piece for a study or nautical-themed room, with an old-world, dark academia feel.

A finely detailed original pen and ink drawing of East Gate, Chester, looking through the famous clock arch to the black-and-white Tudor-revival buildings beyond, finished with a soft watercolour wash. Titled "East Gate, Chester" and signed by the artist in the corner. Mounted on card, 35.5 x 25.5cm.

The Eastgate Clock was built in 1899 for Queen Victoria's Diamond Jubilee and is said to be the second most photographed clock in Britain, after Big Ben.

Good condition with minor wear.

Vintage, late 20th century, English. Lovely framed up for a study or hallway with a modern vintage look.

An original oil painting by the English artist Jo Crayston, signed and dated 1970 in black to the lower left. Tall beech trees in golden autumn leaf line a stream that winds out toward distant purple hills, with a rustic fence across the middle distance. The painting measures approximately 50 x 40cm, in a cream and gilt frame with a green slip. A cottagecore, farmhouse-style autumn landscape for a hallway or sitting room.

Good condition with minor wear consistent with age.

Beech leaves turn gold and copper rather than brown, which is why English landscape painters have returned to beech woods every autumn.

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 hand-stitched wool needlepoint of a green parrot with a pink and blue breast, perched in a stepped cream cartouche edged in lilac. Sprigs of blue, lilac, pink and orange flowers fill the taupe background. In a glazed mahogany-stained wooden frame with a gilt inner slip. Width 45cm. Probably late 20th century.

Parrots were a favourite subject of Victorian Berlin woolwork, and this design carries on that tradition.

In good condition with minor wear. The stitching is even and the colours are bright; a few small brown spots on the paper tape on the back don't affect the picture.

An old-world, cottagecore piece that would sit well in a grandmillennial or eclectic grandma room.

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.

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

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.

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.

An original watercolour, "Ryedale Spring Time", by Edw. Fuller of Pickering - pale green fields falling away to drystone walls, a farmstead under the hills and sheep dotted through the pasture. Signed Fuller lower right and titled on the back. Slim gilt frame with a cream mount, 40 x 50cm.

The great Ryedale abbeys, Rievaulx and Byland, ran enormous flocks over fields like these and grew rich selling the wool on to Italian merchants.

Good condition with only minor wear - gentle toning to the mount and light marks to the gilt frame.

Painted in Yorkshire, England, c.1970s-80s. A lovely farmcore wall piece, and there's a companion watercolour, "Ryedale Harvest Time", by the same hand listed separately - they'd hang beautifully as a pair.

A charming antique original watercolour of a timber-framed cottage with a picket fence, a figure by the gate and chickens on the lane. Signed A.E. Gibson and dated November 24th 1916. In a gilt frame with a cream mount, glazed, 20 x 13.5cm.

It was painted just a week after the Battle of the Somme finally came to an end on 18 November 1916 - a peaceful English scene from a very turbulent time.

Good condition commensurate with its age.

Made in England, 1916. A sweet cottagecore piece for a small wall or a bedside table.

A pretty little antique Edwardian wall mirror with a deeply embossed brass frame - ivy leaves and grapevines trail around a beaded border, with a warm, aged patina to the brass. Two small hooks sit above the bevelled mirror plate, handy for keys or a hairbrush. Frame 38 x 28cm.

Ivy was a favourite motif for Victorian and Edwardian metalworkers, a symbol of everlasting friendship and fidelity in the language of flowers.

Good condition with minor wear consistent with its age, no chips or cracks to the glass.

English, c. early 1900s. A lovely Arts and Crafts touch for a hallway or a grandmillennial bedroom.

A large woven tapestry picture in the Rococo Revival style - a mother and child stroll past goats and sheep watering at a stream, while another woman waits by a wooden footbridge with her dog, a shepherd boy with his crook stands nearby, and a watermill is glimpsed through the trees beyond. Rich gilt composition frame with scrolling foliate and bead detail. Late 20th century. Frame measures 156 x 56cm.

The jacquard loom used to weave detailed scenes like this dates back to 1804 and worked with punched cards, a system often credited as an early ancestor of computer programming.

Good condition overall - light general toning to the weave, with a little surface wear and dust to the frame edges, but no tears or stains to the fabric. The brown paper backing on the reverse is badly torn (see photos), which doesn't affect the front.

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.

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

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.

A pretty still life by Jo Crayston: deep red roses with delicate purple campanula-like flowers and pale yellow accents against a soft green ground. Oil on canvas board, signed Jo Crayston lower left. 40.5 x 30.5cm.

Red roses have stood for love since at least Roman times, when they were linked with Venus, the goddess of love.

Good condition with minor wear; the surface is clean with no chips or cracks.

Painted in England in the 1970s. A lovely grandmillennial piece for a bedroom or sitting room.

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.

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.

Original watercolour of a Yorkshire farmstead - pantiled roofs, stone steps up to the granary door, a woman in the doorway and hens scratching about in the yard, all seen through the branches of a big old ash. Signed Ernest Burn lower right, and titled "On a Yorkshire Farm" on the artist's own label on the back, with his Bush Hill Park address in Enfield. Early 20th century. Framed and mounted, 36 x 32cm.

Good condition with minor wear - a few small foxing spots on the mount, light rubbing to the gilt frame and a tear to the brown backing paper.

Those orange pantiles are a Yorkshire giveaway - they first came into the east coast ports as ship's ballast on the Low Countries trade, and ended up on farm buildings right across the county.

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.

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.

An antique photogravure of the deer at Magdalen College, Oxford, after the painting by the Scottish artist John Henry Lorimer - signed and dated 1892 in the plate, with the title engraved beneath and Magdalen Tower rising behind the trees. A loose sheet, 37 x 26.5cm, with a crisp plate mark and wide margins.

Magdalen has kept a herd of deer in its grove since the early 1700s, and they still graze there today.

Good condition, with gentle age-toning to the paper and a small nick to the top left edge of the sheet, well away from the image.

Antique, 1892. Lovely dark academia wall art for a study, hallway or library once mounted.

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.

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.

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 statuesque oil painting of a tiger standing watchful in golden grassland beneath a pale sky, with fine white-brushed stripes across its chest and cheeks. Signed 'Rex' lower right, in the style of mid-to-late 20th century decorative studio oils. Unframed and unstretched, approximately 40 x 48cm.

No two tigers share exactly the same stripe pattern - it's as individual as a fingerprint.

Raw canvas edges and a little gentle creasing from storage, but no chips, cracks or tears to the paint.

Mid-to-late 20th century. A bold piece for a study or an eclectic expat aunt wall once stretched or framed.

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.

Good condition with just minor wear.

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

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.

Antique folding triple wall mirror with bevelled glass plates and decorative pierced crest. Solid timber construction with hinged side mirrors allowing adjustable viewing angles.

Attractive vintage triple folding mirror with decorative pierced gallery detail to the top. The side mirrors fold inwards, making it ideal as a dressing table mirror or wall-mounted vanity mirror.

Measures 62cm x 49cm closed and 62cm x 89cm fully open.

Good antique condition with age-related wear consistent with use. Central mirror with two hinged side mirrors and 3 wall mounting attachments.

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 softly painted country scene of a boy leaning over a stable door, smiling down at his liver and white spaniel as it looks up with its tongue out. Signed Marvin Grayson to the lower corner. Oil on canvas, 58 x 70cm, supplied unframed and unstretched, so it can be stretched or framed to suit. A grandmillennial, country house sort of picture.

The word spaniel comes from the Old French for Spanish dog, a nod to the country these gundogs were thought to have come from.

Good condition overall, with a fine paint crack near the boy's hair and a few gentle fold lines from storage.

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.

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 charming country mill scene by Jo Crayston: a brick-built millhouse with a big water wheel, the stream running past green banks and flowering grasses, with a tree on the left and a gate on the right framing the mill. Oil on a Rowney canvas panel, signed J. Crayston lower left. 40.5 x 30.5cm.

George Rowney & Co, the London artists' suppliers who made the canvas panel, was founded in 1783 and is still going today as Daler-Rowney.

Good condition with minor wear, no cracks or significant damage.

Painted in England in the 1970s. A gentle farmhouse-style piece with a real 70s back-to-nature feel.

A lovely ink and watercolour of Baildon Moors by the Yorkshire artist Jean E. Barker, signed and titled "Baildon Moors" on the mount. Snow-covered stone cottages sit beneath bare winter trees, with warm lamplight glowing in the windows against a soft grey sky. The artist's own label is on the back. In its original black frame and mount, glazed, 26 x 33cm overall.

Baildon Moor above the village is scattered with Bronze Age cup-and-ring marked stones, among the best-preserved examples of prehistoric rock art in Yorkshire.

Good condition, with just light age wear to the frame edges.

Painted in Yorkshire, England, mid-20th century. A cosy winter scene with a real cozy auntie feel.

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.

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.

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.

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.

An original oil painting on Daler board by Jo Crayston, signed J. Crayston - a charming riverside boat-building scene with figures, boats, trees and water in a peaceful countryside setting. In a wooden frame.

Daler board was launched in Britain in the 1940s as a ready-made painting surface, and quickly became a favourite with amateur and professional painters alike.

Good condition with just minor wear.

Painted in England. A lovely decorative piece for a cottage, study or hallway, with a gentle 70s back-to-nature feel.

A detailed watercolour study of a weathered stone wall and old wooden steps in Whitby, painted by Harrogate artist John Belderson and titled 'Old Whitby Wall' on his own studio label on the back. Soft washes build up the texture of the stone, with a scatter of wildflowers picking their way through the cracks.

Signed and dated lower right - the final digit is faint but appears to read 1998. In a sage-green washed frame with a double mount, glazed. The frame measures 57 x 76cm.

Good condition, with just light general wear to the frame.

Whitby's old town is threaded with around a hundred historic 'yards' - narrow passageways and outdoor stone stairways that still connect its different levels today.

A moody seascape by Jo Crayston: a solitary lighthouse stands tall against a dramatic purple and lavender sky, its beam cutting through the gloom, with white-capped waves crashing on the rocks below. Oil on a Rowney canvas panel. 40.5 x 30.5cm, portrait.

George Rowney & Co, the London artists' suppliers who made the canvas panel, was founded in 1783 and is still going today as Daler-Rowney.

Good condition with minor wear; the paint surface is intact with no cracks, and the colours have kept their depth.

Painted in England in the 1970s. A striking coastal piece for a hallway or a seaside-style room.

A cottagecore-style original painting of two much-loved teddy bears sharing a book, one in little round spectacles, with a sleeping kitten curled up beside them on a frilled cushion and a yellow floral quilt. A painted banner at the bottom reads "Love From Brett", a lovely personal touch. Signed "J Joy" lower left. Painted in thick, textured brushwork on Daler-Rowney watercolour board, set in a circular cream mount with a dark wood frame and gold slip. A grandmillennial little picture that would suit a nursery, a reading corner or a teddy bear collection.

Size: 31 x 31cm including the frame. Age: vintage, late 20th century. The board is Daler-Rowney Bockingford, made in Bracknell, England.

The teddy bear takes its name from US President Theodore "Teddy" Roosevelt, after a 1902 hunting trip that inspired a famous newspaper cartoon.

Good condition with minor wear. The paint is sound, and there is some light spotting to the mount. The back has masking tape and a partly torn paper label from the backing board.

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.

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

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

A large original oil painting by Joe Nouyer, a British artist whose work has appeared at auction houses including Bonhams. This piece depicts an Alpine scene, with jagged snow-capped peaks rising above a traditional wooden chalet tucked among autumn-coloured trees, built up with thick palette-knife work that gives real texture and depth throughout. Signed lower right. Canvas measures approximately 92 x 52cm, held in a cream linen-effect frame.

Good condition overall with just light age-related wear to the frame; the canvas itself is clean and stable with no tears or losses. Nouyer's work turns up at auction fairly rarely, with past sales including a leopard study at Bonhams and a horse scene at a US saleroom, so this alpine subject is a nice addition to that spread.

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.

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.

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

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.

A beautiful matching pair of vintage ornate gilt wall mirrors with cherub decoration to the base. Heavy composition/plaster frames with an attractive Rococo, French-inspired design, and the original mirror plates. Approximately 32 x 23cm each.

Rococo takes its name from the French rocaille, the shell and rock work used to decorate 18th-century grottoes - hence all those swirling scrolls.

Good vintage condition for their age, with light age-related wear to the mirror plates that adds character.

Lovely either side of a mantelpiece or bed, for a French country, Hollywood Regency or eclectic interior.

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 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.

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 original oil painted onto a jointed wooden panel - a deer pausing at the edge of a still pool, deep green woodland closing in behind and a little light breaking through the canopy. Beautifully moody and tonal, a proper dark academia piece. Dates to around 1900.

Landseer's Monarch of the Glen made deer the must-have subject for Victorian parlours, and painters were still meeting the demand half a century later.

Condition is good for its age with honest wear: there's an old split running down the board joint through the middle of the picture, a scattering of small paint losses, and some old filler showing on the reverse. The frame has been painted gold at some point. Hanging rings already fitted.

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 original oil portrait of Sam, a handsome black-and-tan collie cross, signed by the artist Phil Clark and dated 1999. Oil on canvas board in a plain waxed wood frame, 33 x 43cm, with the original framer's label from Faire Frame of Andover on the back.

The dog's name lettered in the opposite corner to the signature is the traditional mark of a commissioned portrait - it's how the painter recorded whose dog it was.

Condition is good with only minor wear, no damage to the canvas or the frame.

Painted in England in 1999. Warm and full of character, just right for an English country house or farmhouse-style look.

A striking long tapestry panel showing children at play in a country garden — feeding geese, gathering blossom, and pushing a little wheelbarrow of flowers — woven in soft pinks, sage green and cream. Housed in a wide gilt gesso frame with a moulded leaf border.

Measures 195 x 71cm, mid-20th century.

The scene was likely woven on a Jacquard loom, the same punched-card technology from 1804 that later inspired the punch cards used in early computers.

Good condition, with just the light wear expected for its age.

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.

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

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.

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.

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.

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.

A Victorian Berlin woolwork picture, stitched in wool on canvas - a little girl gathering flowers with her spaniel beside her, framed by a wreath of roses and lilies. In its original mahogany frame with a gilt slip, 44 x 44cm.

Good condition for its age, colours gently softened and a little wear to the frame. The back is the original wooden board with a string hanger.

Berlin woolwork was stitched from hand-coloured charts shipped over from Germany, and the craze for it reached nearly every parlour in Victorian Britain.

A warm, cosy piece for a snug corner or a cottage stairway.

An original oil painting on board by the English artist Jo Crayston, from the 1970s. A group of tall trees stand along a riverbank, with a red barn in the distance and a yellow cottage framed by blossoming apple trees under a soft spring sky. Signed Jo Crayston to the lower right. The painting measures approximately 50 x 35cm, in a gilt frame with a black and white patterned slip. A pleasing cottagecore, farmhouse-style spring landscape.

Good condition with minor wear consistent with age, including some fine craquelure to the paint surface.

Painting in oils on board rather than canvas was a common, more affordable choice at the time, and it has held up well.

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.

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.

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.

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

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.

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

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.

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.

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.

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 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.

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.

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.

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

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.

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 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.

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

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.

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.

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.

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.

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

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

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.

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

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.

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.

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.

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.

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.