Since 1763 the name 'Russborough' has been synonymous with collecting and dealing in fine art. In the closing decades of the last century the historic town of Port Hope has become home to Lord Russborough's Annex, which specialises in an individual mix of antique maps, paintings and prints.

While Lord Russborough's Annex features a great many works of museum calibre, we also offer a wonderful selection of prints priced at under $100.


An extract of our prints currently available:

Images of Childhood Romance
Boarding School Education
Elsley A. I'se Biggest
Elsley A. A young Briton
Elsley A. Pick-a-back/ Gee-up
Millais J.E. Cinderella
James MacNeill Whistler - 'Annie'
Kate Greenaway Pied Piper of Hamelin 'there was a rustling'
Kate Greenaway Birthday Tea
Staniland C.J. The Cockhorse Regiment

guess what ducking' the rain

A charming series of images of Childhood Romance ca. 1900-1910
Four of which are titled:
Ducking the rain, Guess What, A kiss from a Miss, Gallant Knight

Hand Tinted with white highlighting, stone lithographs. Images approx. 6 1/2 to 81/2 " x 7 1/2 set on Page size 9 7/8 x 8"     Matted glazed framed in mock bamboo wood frames 14 3/4 x 11 3/4"

Images of Juvenalia such as these have become very collectable in recent years, as they evoke the innocence of child hood and a bygone age

Ref 79BMacN2-9/DNN/ d.anaa> DOL each PRICE CODE B   EACH

Greenaway there was a rustling


Edmund Evans after Kate Greenaway

 "There was a rustling" 
Chromoxylograph (colour wood engraving), triple museum matted, glazed, gilt-wood frame.
7 7/8 x 6 3/4" (20 x 17.2 cm.) Frame: 14 3/4 x13 1/4"
Ref. WO2(185)/DVL/ s.ando>RLN   PRICE CODE B

An original wood Engraving after a drawing by Kate Greenaway, for the Pied Piper of Hamelin by Robert Browing, London 1888.

The wood engravings being executed by Edmund Evans, and printed in colour, by the process known as Chromoxylography. Most bear Greenaway's initials in the image and are guarenteed to be authentic.

Kate Greenaway (1846-1901) rose from a very private world to become one of the most famous and much loved illustrators of  children's books of the late 19th. cent. her works are much sought and heavily collected today, a century later. The enduring collectability of her work perhaps lies, not so much in their scarcity which is certainly a factor, but their simplicity, strength of line and design composition. Her charming illustrations capture and touch something in the hearts ofmany, evocative of a simpler time, now lost, in childhood long ago.

Edmund Evans (1826-1905) was a master craftsman specializing in coulour wood engraving or chromoxylography. To produce these engravings he used fiveseperate blocks : Black, Blue,Yellow, Red and Flesh, either singly or in combination to create different colours & tones.

Lord Russborough is pleased to be able to make these charming illustrations available to patrons, full framing service is available to enhance their appearance to decorate your room, that of a child, or loved one. They make wonderful presents.

Greenaway Birthday Tea full

birthday tea det

after Kate Greenaway
'Birthday Tea'

 Wood engraving published in 'The Graphic' April 7 1877 double museum matted, glazed, silver gilt-wood frame.
Size:18 3/4 x 11 5/8 " (47.6 x 29.5 cm.) Frame: 17 3/4 x 21 3/4" 
Ref. WO3(185)/SL/ s.ando>DOL    PRICE CODE B

 Following a game of Shuttlecock,(a cock and battledorelie upon the grass) four young bonneted girls take an afternoon al fresco Birthday Tea and cake, served them by the Birthday Girl 'being Mummy'. The latter shows off her newly coifed hair and all five wear their party dresses, in this delightful image of Victorian juvenalia after the painting by Kate Greenaway exhibited at the Dudley Gallery.

Staniland Cockhorse reg full

Staniland Cockhorse det

Charles Joseph Staniland

The Cockhorse Regiment - a mediæval episode. 1880

Wood engraving   double museum matted, glazed, silver gilt-wood frame.
Size:18 3/4 x 11 1/2" (47.6 x 29.2 cm.) Frame: 17 x 21" 
Ref. WO4(185)/SL/ s.ando>DOL    PRICE CODE B

Published in The Graphic  March 27 1880 Also appeared in as a centerfold engraving in Harper’s Young People  an illustrated children's newspaper published in 1880. Depicts a group of young children in Mediæval attire, astride cock horses, playing musical instruments and carring swords, jousting sticks and lances as they march in procession though a European town.

C. J. Staniland  1838-1916 was a prolific and highly respected artist equally at home illustrating children’s novels as he was painting still lifes, historical scenes, seascapes and portraits. He entered the Royal Academy in 1861. A decade later, he had moved to Hogarth Cottage, Chiswick, in 1871, where he was able to afford a monthly nurse for his son Charles and a domestic servant. He was elected an associate of the Royal Institute of Painters in Watercolours in 1875, and a full member in 1879, and a member of the Royal Institute of Oil Painters in 1883. As a painter, he exhibited widely, including at the Royal Academy, the Society of British Artists, the Fine Art Society, the Walker Art Gallery in Liverpool, Birmingham’s Royal Society of Artists, and the Royal Manchester Institution.

As an illustrator, he worked for a wide range of periodicals and book publishers. In 1869 he began a long association with The Graphic, a weekly illustrated newspaper which quickly became famous for the quality of its artwork, and later joined the paper’s staff. As an illustrator of children’s books, he worked in a range of genres  –  historical fiction (for example illustrating novels by G.A. Henty, W.H.G. Kingston, George Manville Fenn and Harry Collingwood), school stories (novels by Ascott R. Hope), religious works, family and domestic stories, and stories of the sea. 

Staniland seems to have retired from painting and illustrating in the early 1900s. At the time of the 1911 census, he was living at 1 Millfield Villas, Fleet, Hampshire, with his daughter Catherine. His wife was living with her daughter Ellen’s family (she had married Charles Cousins, an assurance clerk, in Dulwich. He died five years later, at Acock’s Green, Birmingham, in June 1916, apparently without leaving a will. His wife died in Edmonton, London, in March 1920.