G
Grosven
nor Printts
19 Sheelton Streeet
Coveent Gardeen
L
London WC2H
W
9JN
Tel: 02
20 7836 19779
Fax: 02
20 7379 66995
E-mail: grosvenorp
[email protected]
www
w.grosveno
orprints.com
Dealers
D
in A
Antique Priints & Book
ks
Cattalogue 53
Iteem 47: Benjjamin Wesst, ' He is noot here: for he
h is risen. &
&c.'
For other images
i
from
m this list please
p
see our
o web sitee
www
w.grossvenorp
prints.ccom
Registered in England No. 1305630 Registerred Office: 2, Casstle Business Villlage, Station Roaad, Hampton,
Middlessex. TW12 2BX. Rainbrook Ltd. D
Directors: N.C. Taalbot. T.D.M. Rayment. C.E. Elliis. E&OE
VA
AT No. 217 6907
7 49
alllowing them to
t make printss which arguaably
reesembled draw
wings more thaan any earlierr printmaking
teechnique. Unliike many print
ntmaking techn
niques,
litthography req
quired no speccial training ass artists could
work
w
directly onto the plate aand leave speccialist
prrinters to actuaally make the prints. For th
his reason
many
m
artists wh
ho were not tra
rained printmaakers (such as
Géricault
G
and Delacroix)
D
ofteen worked in lithography.
Stock: 36954
[View
ws of St. Hellena; Illustrrative of Its
Scenery & Historical Associations
A
s. From
Photograph
hs By G.W. Melliss, Esq
q. Surveyor-General of the Island, 1857.] [4] The
T Briars.
[6] Longwoood, Old Hoouse. [7] Front View of
Longwood House. [8] Longwood
L
New
N House.
[9] Bertran
nd's Cottagee Longwood. [11] St.
Paul's Chu
urch. [12] Oaak Bank.
1.
W. Gauci lithh. Vincent Broooks Imp. [n.d
d., c.1857.]
Tinted lithoggraphs. Very scarce.
s
Sheet size:
s
145 x
245mm (5¾ x 9½") each. Light foxing.
£4220
Seven of thirrteen plates froom, 'Views off St. Helena;
Illustrative of Its Scenery & Historical Associations.
A
W. Melliss, Essq. SurveyorFrom Photoggraphs By G.W
General of thhe Island', pubblished in 1857
7.
In 1815, the B
British governnment selected
d the island off
Saint Helenaa as the place of
o detention of Napoleon
Bonaparte. H
He was taken to
t the island in
n October 18115,
staying at thee Briars paviliion (plate 4) on
o the groundss
of the Balcom
mbe family's home
h
until hiss permanent
home, Longw
wood House (pplates 6, 7 and
d 8), was
completed. H
He died there on
o 5th May 18
821. During thhis
period, Saintt Helena remained in the Eaast India
Company’s ppossession, buut the British government
g
m
met
additional coosts arising froom guarding Napoleon.
N
Thee
island was sttrongly garrisooned with Brittish troops, annd
naval ships ccircled the islaand. Abbey Tra
avel: 318: 4, 66,
7, 8, 9, 11, 122.
Stock: 36891
A wh
hite Moorish
h Boy, with a dish of
Couscassow
w, a Timbucctoo Slave Child,
C
and a
free Negro Boy.
2.
G. Beauclerkk pinxit. On Sttone by Giles.. Printed by
Engelmann, Graf, Coindett & Co. [n.d., c.1830.]
Sheet size: 1000 x 135mm (4
4 x 5¼"). £1440
Lithograph. S
Three smiling children waalk in a line tow
wards the
B
carries a
viewer. On thhe left, the 'whhite Moorish Boy',
tagine on hiss head, steadyiing it with botth hands. In thhe
w holds ontoo
centre is the 'Timbuctoo Slave Child', who
t left, as herr arm is held bby
the clothing oof the boy to the
the 'Free Neggro Boy' on thhe right.
Stock: 36315
[Threee banditti on
o horsebacck menacingg a
crouching ffigure.]
3.
[Anon., c.1810.]
mm (10½ x
Pen lithograpph, scarce; sheeet 270 x 340m
13½"). Stainiing and mouldd to edges.
£1880
Dramatic earrly pen lithogrraph. The new
w medium
allowed artissts to draw directly onto a prepared stonee,
4..
[Raggeed figure witth cloth]
TB
B [Thomas Baarker]
Peen lithograph on india backked onto thickeer paper with
watercolour
w
waash by Thomas
as Barker, 235 x 150mm
(9
9¼ x 6"). Stain
ning and surfaace loss to ind
dia.
Damaged.
D
£140
Liithograph from
m Thomas Bar
arker's (1769-1847) 'Forty
Liithographic Im
mpressions Froom Drawings by Thomas
Barker, Selected from His Sttudies of Rusttic Figures
After
A
Nature' (1
1813), the firsst one-man colllection of
litthographs eveer printed in En
England. Many
y of the
stones, still beaaring Barker's original draw
wings, are in
th
he Victoria Art Gallery, Batth. Plate I.
Barker was borrn in Wales buut known as "B
Barker of
ng man. As
Bath", after the city he moveed to as a youn
n expert on freesco techniquee, Barker adviised on the
an
reedecoration off the Houses oof Parliament in
i 1841. For
th
he complete seet of 'Forty Litthographic Im
mpressions'
seee ref. 13436
Stock: 36711
5..
[Boy leaning againnst rocks]
TB
B [Thomas Baarker]
Peen lithograph, with period w
wash by T. Baarker; sheet
23
35 x 166mm (9¼
( x 6¼"). L
Laid on thick paper;
p
tear on
leeft.
£140
Liithograph from
m Thomas Bar
arker's (1769-1847) 'Forty
Liithographic Im
mpressions Froom Drawings by Thomas
Barker, Selected from His Sttudies of Rusttic Figures
After
A
Nature' (1
1813), the firsst one-man colllection of
litthographs eveer printed in En
England. Many
y of the
stones, still beaaring Barker's original draw
wings, are in
th
he Victoria Art Gallery, Batth.
Barker was borrn in Wales buut known as "B
Barker of
ng man. As
Bath", after the city he moveed to as a youn
n expert on freesco techniquee, Barker adviised on the
an
reedecoration off the Houses oof Parliament in
i 1841. For
th
he complete seet of 'Forty Litthographic Im
mpressions'
seee ref. 13436. Ex: collectioon of the Late Hon.
H C.
Leennox-Boyd.
Stock: 36936
6..
[Two seeated womeen]
TB
B [Thomas Baarker]
Peen lithograph, with period w
wash by T. Baarker; sheet
23
35 x 160mm (9¼
( x 6¼"). L
Laid on thick paper;
p
tear on
leeft.
£140
Liithograph from
m Thomas Bar
arker's (1769-1847) 'Forty
Liithographic Im
mpressions Froom Drawings by Thomas
Barker, Selected from His Sttudies of Rusttic Figures
After
A
Nature' (1
1813), the firsst one-man colllection of
litthographs eveer printed in En
England. Many
y of the
stones, still beaaring Barker's original draw
wings, are in
th
he Victoria Art Gallery, Batth.
Barker was born in Wales but known as "Barker of
Bath", after the city he moved to as a young man. As
an expert on fresco technique, Barker advised on the
redecoration of the Houses of Parliament in 1841. For
the complete set of 'Forty Lithographic Impressions'
see ref. 13436. Ex: collection of the late Hon. C.
Lennox-Boyd.
Stock: 36703
7.
[Standing figure with staff]
TB [Thomas Barker]
Pen lithograph, early unfinished proof; sheet 235 x
150mm (9¼ x 5¾"). Glued to backing sheet at top
corners; water staining.
£150
Lithograph from Thomas Barker's (1769-1847) 'Forty
Lithographic Impressions From Drawings by Thomas
Barker, Selected from His Studies of Rustic Figures
After Nature' (1813), the first one-man collection of
lithographs ever printed in England. Many of the
stones, still bearing Barker's original drawings, are in
the Victoria Art Gallery, Bath.
Barker was born in Wales but known as "Barker of
Bath", after the city he moved to as a young man. As
an expert on fresco technique, Barker advised on the
redecoration of the Houses of Parliament in 1841. For
the complete set of 'Forty Lithographic Impressions'
see ref. 13436. Ex: collection of the late Hon. C.
Lennox-Boyd.
Stock: 36704
8.
[Child holding out cap for charity]
TB [Thomas Barker]
Pen lithograph on india with watercolour wash by T.
Barker, very rare; 230 x 160mm (9¼ x 6¼"). Paper
tone and staining lower right.
£220
Lithograph from Thomas Barker's (1769-1847) 'Forty
Lithographic Impressions From Drawings by Thomas
Barker, Selected from His Studies of Rustic Figures
After Nature' (1813), the first one-man collection of
lithographs ever printed in England. Many of the
stones, still bearing Barker's original drawings, are in
the Victoria Art Gallery, Bath.
Barker was born in Wales but known as "Barker of
Bath", after the city he moved to as a young man. As
an expert on fresco technique, Barker advised on the
redecoration of the Houses of Parliament in 1841. For
the complete set of 'Forty Lithographic Impressions'
see ref. 13436
Stock: 36705
9.
[Child crouched with jug]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper with
watercolour wash by T. Barker, 230 x 160mm (9¼ x
6¼"). Paper tone. Slight tear.
£220
Lithograph from Thomas Barker's (1769-1847) 'Forty
Lithographic Impressions From Drawings by Thomas
Barker, Selected from His Studies of Rustic Figures
After Nature' (1813), the first one-man collection of
lithographs ever printed in England. Many of the
stones, still bearing Barker's original drawings, are in
the Victoria Art Gallery, Bath. Plate II.
Barker was born in Wales but known as "Barker of
Bath", after the city he moved to as a young man. As
an expert on fresco technique, Barker advised on the
redecoration of the Houses of Parliament in 1841. For
the complete set of 'Forty Lithographic Impressions'
see ref. 13436
Stock: 36706
10.
[Two seated children.]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper,
early unfinished proof; india 230 x 150mm (9¼ x 6").
Paper tone, slight staining at corners.
£220
Unfinished impression of a lithograph from Thomas
Barker's (1769-1847) 'Forty Lithographic Impressions
From Drawings by Thomas Barker, Selected from His
Studies of Rustic Figures After Nature' (1813), the first
one-man collection of lithographs ever printed in
England. Many of the stones, still bearing Barker's
original drawings, are in the Victoria Art Gallery, Bath.
Barker was born in Wales but known as "Barker of
Bath", after the city he moved to as a young man. As
an expert on fresco technique, Barker advised on the
redecoration of the Houses of Parliament in 1841. For
the complete set of 'Forty Lithographic Impressions'
see ref. 13436
Stock: 36707
11.
[Two figures]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper with
watercolour wash by Thomas Barker, 230 x 165mm
(9¼ x 6¼"). Trimmed into india border; staining top
centre.
£220
Lithograph from Thomas Barker's (1769-1847) 'Forty
Lithographic Impressions From Drawings by Thomas
Barker, Selected from His Studies of Rustic Figures
After Nature' (1813), the first one-man collection of
lithographs ever printed in England. Many of the
stones, still bearing Barker's original drawings, are in
the Victoria Art Gallery, Bath.
Barker was born in Wales but known as "Barker of
Bath", after the city he moved to as a young man. As
an expert on fresco technique, Barker advised on the
redecoration of the Houses of Parliament in 1841. For
the complete set of 'Forty Lithographic Impressions'
see ref. 13436
Stock: 36710
12.
[Three children in ragged clothes]
TB [Thomas Barker]
Pen lithograph on india backed onto thicker paper,
india 220 x 140mm (8¾ x 5½"). Crease and tearing to
india top left.
£220
Separately published lithograph from Thomas Barker's
'Forty Lithographic Impressions From Drawings by
Thomas Barker, Selected from His Studies of Rustic
Figures After Nature' (1813), first one-man collection
of lithographs ever printed in England. Many of the
stones, still bearing Barker's original drawings, are in
the Victoria Art Gallery, Bath.
Barker (1769-1847) was born in Wales but known as
"Barker of Bath", after the city he moved to as a young
man. As an expert on fresco technique, Barker advised
on the redecooration of the Houses of Parrliament in
1841. For thee complete set of 'Forty Lith
hographic
Impressions'' see ref. 13436.
Stock: 36709
13.
[You
ung Boy Seatted 1803]
Thomas Barkker del.
Pen lithograpph, very rare; separately issued early
lithograph froom Specimenns of Polyautog
graphy,
published in 1803 by Philiipp Andre; sheeet 275 x
¾ x 8¼"). Glueed to backing sheet at
210mm (10¾
corners. Creease across cenntre. Overall staining. £3880
Barker (17699-1847) He alsso published 'Forty
Lithographicc Impressions From Drawin
ngs by Thomass
Barker, Seleccted from His Studies of Ru
ustic Figures
After Nature' (1813), the first
f
one-man collection
c
of
lithographs eever printed inn England. Maany of the
stones, still bbearing Barkerr's original draawings, are inn
the Victoria A
Art Gallery, Bath.
B
Barker was bborn in Wales but known ass "Barker of
Bath", after tthe city he mooved to as a yo
oung man. As
an expert on fresco techniqque, Barker ad
dvised on the
nt in 1841. Exx
redecoration of the Housess of Parliamen
Boyd; For the
collection off the Late Hon. C. Lennox-B
pressions' see
complete set of 'Forty Lithhographic Imp
ref. 13436
Hagar comforted bby the Angel. Copied
by
y H. Wyatt, from an Orriginal Draw
wing by
Claude
C
Lorra
aine, in the ppossession of
o Mr.
Ford.
6.
16
H.
H Wyatt, aquat. John Ford, L
Lithographed. [n.d.,
c.1820.]
For the Rt.
Liithograph, verry rare. Top leeft in pencil "F
Hon.
H Earl Spen
ncer"; Printed aarea 200 x 24
40mm (8 x
9½
½").
£130
An
A amateur lith
hograph copieed from a sketcch from
Claude's 'Liber Veritatis', thee 'Book of Tru
uth' that
uthenticated his paintings. E
Ex Collection of
au
Christopher
C
Lennox-Boyd.
Stock: 36489
17
7.
[Man's head.]
[n
n.d., c.1810.]
Fiine lithograph
h. Printed areaa 180 x 180mm
m (7 x 7").
£260
A man's head, with
w hair flow
wing down oveer his high
co
ollar. An amaateur lithograpph. Ex: Collecction of The
Hon.
H C. Lennoxx-Boyd.
Stock: 36478
Stock: 36810
14.
[Eldeerly woman with bag.]
TB [Thomas Barker]
Pen lithograpph on india baacked onto thiccker paper,
india 225 x 1145mm (8¾ x 6"). Tearing to
t india at
edges; slight staining. Dam
maged.
£1440
from Thomas Barker's
B
(176
69-1847) 'Fortty
Lithograph fr
Lithographicc Impressions From Drawin
ngs by Thomass
Barker, Seleccted from His Studies of Ru
ustic Figures
After Nature' (1813), the first
f
one-man collection
c
of
lithographs eever printed inn England. Maany of the
stones, still bbearing Barkerr's original draawings, are inn
the Victoria A
Art Gallery, Bath.
B
Barker was bborn in Wales but known ass "Barker of
Bath", after tthe city he mooved to as a yo
oung man. As
an expert on fresco techniqque, Barker ad
dvised on the
nt in 1841. Foor
redecoration of the Housess of Parliamen
L
Impressions'
the complete set of 'Forty Lithographic
see ref. 134336
Stock: 36708
15.
[Cavvalry officer and horse.]
[Anon., c.1818]
Pen lithograpph, Slade 18188 watermark; sheet 195 x
245mm (7¾ x 9½"). Trimm
med.
£1880
Early pen lithhograph. The new medium allowed artistts
to draw direcctly onto a preepared stone, allowing
a
them
m
to make printts which arguably resembleed drawings
more than anny earlier printtmaking techn
nique. Unlike
many printm
making techniqques, lithograp
phy required nno
special trainiing as artists could
c
work dirrectly onto thee
plate and leavve specialist printers
p
to actu
ually make thee
prints. For thhis reason manny artists who were not
trained printm
makers (such as Géricault and
a Delacroix))
often workedd in lithographhy. Ex: collecttion of the latee
H. C. Lennoxx-Boyd.
Stock: 36951
18
8.
[Head of
o the Meduusa.]
Da
D Vinci pinxt.. [ms lower leeft] [Anon., c.1
1820]
Peen lithograph, very scarce; ssheet 275 x 385mm (10¾
x 15"). Slight fo
oxing; crease on right.
£320
h from the fam
mous painting
g of the
Eaarly lithograph
medusa's
m
head (Florence,
(
Uff
ffizi). This prin
nt was
prrobably made around the saame time that Percy Bysshee
Sh
helley wrote his
h poem 'On tthe Medusa off Leonardo
daa Vinci in the Florentine Gaallery'. Like Shelley, the
maker
m
of this prrint probably bbelieved the painting
p
to be
by
y Leonardo. Itt is now consiidered to be by
y an
an
nonymous artiist of the Flem
mish school, c..1620-30. Ex:
co
ollection of thee Late Hon. C
C. Lennox-Boyyd
Stock: 36935
19
9.
[Apollo
o as a wingedd warrior.]
C Heath del.
med; sheet 320
0 x 235mm
Peen lithograph, rare & trimm
(1
12½ x 9¼"). Vertical
V
creasee; nicks to edg
ges.
£260
Eaarly lithograph
h by Charles H
Heath (1785-1
1830),
laandscape and figure
f
engraveer. A precocio
ous talent and
paart of a family
y of printmakeers, Heath wass early to
ex
xperiment with
h new techniqques. He exhib
bited
litthographs such as this at Soomerset Housee from 1802
to
o 1806, and thiis print was inncluded in the 1806 edition
off the first portfolio of artistss' lithographs, 'Specimens
off Polyauthograaphy' (first eddition publisheed by Philipp
André in 1803). The new medium allowed artists to
draw directly onto a prepared stone, allowing artists to
make prints which arguably resembled drawings more
than any earlier printmaking technique. Unlike many
printmaking techniques, lithography required no
special training as artists could work directly onto the
plate and leave specialist printers to actually make the
prints. For this reason many artists who were not
trained printmakers (such as Géricault and Delacroix)
often worked in lithography. Ex: collection of the Late
Hon. C. Lennox-Boyd
Stock: 36934
20.
[Oriental man reading a large book]
[by Henry Singleton, 1803]
Pen lithograph, sheet 225 x 315mm (8¾ x 12½"). Very
damaged; losses.
£90
Early lithograph by Henry Singleton (1766-1839),
painter. A professional portrait painter from the age of
sixteen, Singleton was commissioned by Benjamin
West to paint a large group portrait of the Royal
Academicians in 1796, but Singleton never became an
academician himself. He was known for his history
paintings initially, but later moved into decorative and
pastoral subject matter, often designed with a view to
engraving.
This print, a rare excursion into printmaking for
Singleton, was included in the 1806 edition of the first
portfolio of artists' lithographs, 'Specimens of
Polyauthography'. The new medium allowed artists to
draw directly onto a prepared stone, allowing artists to
make prints which arguably resembled drawings more
than any earlier printmaking technique. Unlike many
printmaking techniques, lithography required no
special training as artists could work directly onto the
plate and leave specialist printers to actually make the
prints. For this reason many artists who were not
trained printmakers (such as Géricault and Delacroix)
often worked in lithography. Ex: collection of the Late
Hon. C. Lennox-Boyd.
Stock: 36943
21.
[Study of a Tree.]
[R.L. West 1802.]
Pen lithograph, sheet 310 x 230mm (12¼ x 9").
Trimmed to image, losing text along bottom.
£370
One of the twelve pen lithographs from 'Specimens of
Polyautography', the first set of artist's lithographs ever
published (by Philipp André in 1803). The new
medium allowed artists to draw directly onto a
prepared stone, allowing artists to make prints which
arguably resembled drawings more than any earlier
printmaking technique. Unlike many printmaking
techniques, lithography required no special training as
artists could work directly onto the plate and leave
specialist printers to actually make the prints. For this
reason many painters who were not trained printmakers
(such as Géricault and Delacroix) produced
lithographs.
Made by Raphael Lamar West (1766-1850), history
painter and son of Benjamin West, who also
contributed to the polyautography series. Between
1800 and 1802 he unsuccessfully tried to emmigrate to
an uninhabited part of the US. After some success in
his early career, in later years he seems to have
concentrated upon selling his father's pictures, and had
to apply for financial assistance from the Royal
Academy. This print shows the prevalent influence of
Salvator Rosa's dramatic landscapes. Ex: collection of
the late Hon. C. Lennox-Boyd; Man, '150 Years of
Artists' Lithographs', cat. 2.
Stock: 36700
22.
Abbeville 1817.
A. Long. [n.d., c.1817.]
Rare amateur lithograph with hand colour. Printed area
230 x 320mm (9 x 12½").
£90
The town square of Abbeville in Picardie, the towers of
St. Vulfran Collegiate Church behind.
Amelia Long (née Hume) (1772-1837), married
Charles Long who was created Baron Farnborough in
1826. Lady Farnborough was Thomas Girtin's
favourite pupil, and her work was widely admired by
professional artists and drawing masters. For a
sketchbook by the artist see V&A E.21080-1957. Ex:
collection of the Hon. Christopher Lennox-Boyd.
Stock: 36580
23.
[Three warriors in mountains.]
[B. M. Fischer, c.1810.]
Pen lithograph, sheet 320 x 215mm (12½ x 8½").
Trimmed.
£260
Early pen lithograph. The new medium allowed artists
to draw directly onto a prepared stone, allowing them
to make prints which arguably resembled drawings
more than any earlier printmaking technique. Unlike
many printmaking techniques, lithography required no
special training as artists could work directly onto the
plate and leave specialist printers to actually make the
prints. For this reason many artists who were not
trained printmakers (such as Géricault and Delacroix)
often worked in lithography. Ex: collection of the late
H. C. Lennox-Boyd.
Stock: 36950
24.
[Man and horse crossing bridge.]
TB [Thomas Barker, monogram lower left.]
Pen lithograph, rare; sheet 310 x 235mm (12½ x 9").
Tear and hole bottom; foxing; creases.
£220
Early pen lithograph by Thomas Barker of Bath (17671827), painter and lithographer who in 1803
contributed to the first set of lithographs ever
published.
Probably taken from "Thirty Two Lithographic
Impression from Pen Drawings of Landscape Scenery",
1814. Views around Bath, Wales, the Lake District and
elsewhere. Ex: collection of the late Hon. C. LennoxBoyd.
Stock: 36702
25.
[Tree in a landscape with figures seated
by river]
Will. Delamotte del. Oxford 1805.
Lithograph, very scarce; sheet 230 x 320mm (9 x
12½"). Very creased.
£80
Early lithograph by William Delamotte (1775-1863),
landscape artist. Delamotte lived in Oxford from 1798
working as a drawing master, and most of his works
from this period were made in the vicinity. He later
became a draawing master at the Royal Military
M
Colleege
in Sandhurst. Influenced by
b Girtin's wattercolour stylee,
was one of a grroup of landsccape artists alsso
Delamotte w
including Coonstable and Turner,
T
who to
ook to makingg
oil sketches iin the open.
Stock: 36811
[Treee in a landsccape with fig
gures seated
d
by river]
26.
Will. Delamootte del. Oxford 1805.
Lithograph, vvery scarce; shheet 230 x 320mm (9 x
12½"). Tearss & losses to corners.
c
£1660
Early lithogrraph by Williaam Delamotte (1775-1863),
landscape arttist. Delamottee lived in Oxfford from 179 8
working as a drawing masster, and most of his works
from this perriod were madde in the vicinity. He later
became a draawing master at the Royal Military
M
Colleege
in Sandhurst. Influenced by
b Girtin's wattercolour stylee,
was one of a grroup of landsccape artists alsso
Delamotte w
including Coonstable and Turner,
T
who to
ook to makingg
oil sketches iin the open.
Stock: 36812
27.
Heyw
wood.
F.W. Trenchh imp.
( x 13").
Lithograph, pprinted area 195 x 330mm (7¾
Hole in text aarea; creasingg to edges.
£1330
Woodland sccene by amateeur artist F.W. French,
perhaps show
wing Heywoodd, now part off Greater
Manchester. Ex: collectionn of the Late Hon.
H C. LennooxBoyd.
Stock: 36944
28.
[Twoo horses pullling large lo
og.]
[Anon., c.18007]
Pen lithograpph, sheet 215 x 305mm (8½
½ x 12").
Creasing, trim
mmed.
£1990
Early pen lithhograph. The new medium allowed artistts
to draw direcctly onto a preepared stone, allowing
a
them
m
to make printts which arguably resembleed drawings
more than anny earlier printtmaking techn
nique. Unlike
many printm
making techniqques, lithograp
phy required nno
special trainiing as artists could
c
work dirrectly onto thee
plate and leavve specialist printers
p
to actu
ually make thee
prints. For thhis reason manny artists who were not
trained printm
makers (such as Géricault and
a Delacroix))
often workedd in lithographhy. Ex: collecttion of the latee
H. C. Lennoxx-Boyd.
Stock: 36952
[Landscape with fiigures by lak
ke, and
ro
owing boat]
9.
29
[A
Anon., c.1810]]
Laarge Pen litho
ograph, very sccarce, sheet 305 x 380mm
(1
12 x 15"). Slig
ght stain spots in centre; two
o very samll
ho
oles at top.
£220
Eaarly pen lithog
graph. The new
ew medium alllowed artists
to
o draw directly
y onto a prepaared stone, allo
owing them
to
o make prints which
w
arguablly resembled drawings
more
m
than any earlier
e
printma
making techniq
que. Unlike
many
m
printmaking techniquees, lithography
y required no
sp
pecial training
g as artists couuld work direcctly onto the
pllate and leave specialist prinnters to actuallly make the
prrints. For this reason many artists who were not
traained printmaakers (such as Géricault and
d Delacroix)
offten worked in
n lithography.
Stock: 36953
30
0.
The Ra
amparts at M
Montreuil 18
817.
A.
A Long. [n.d., c.1817.]
Rare amateur liithograph withh very large margins.
m
Prrinted area 195 x 260mm (77¾ x 10¼"). Foxing.
F
£95
An
A old fortress on the outskirrts of Paris.
Amelia
A
Long (n
née Hume) (17772-1837), married
m
Charles Long who
w was createed Baron Farn
nborough in
826. Lady Farrnborough wass Girtin's favo
ourite pupil,
18
an
nd her work was
w widely adm
mired by proffessional
arrtists and draw
wing masters. F
For a sketchb
book by the
arrtist see V&A E.21080-19577.
Stock: 36541
31
1.
[Four lithographs iin original wrappers]
w
Etchings
E
No. 4
P..S. Munn [181
11]
Fo
our lithograph
hs in wrapperss, Plates II & IV
I
watermarked
w
'J. Whatman 18810'; 240 x 410mm (9½ x
16
6").
£450
Fo
our sheets of tree
t studies. E
Early lithograp
phs by Paul
Saandby Munn (1773 - 1845)). Munn was named
n
after
hiis godfather, Paul
P Sandby, w
who gave him
m his first
in
nstructions in watercolour
w
ppainting. He first exhibited
att the Royal Accademy in 17998 and was a frequent
f
co
ontributor of topographical drawings to th
hat and other
ex
xhibtions. He drew some off the views of Britton's
"B
Beauties of En
ngland and Waales". He pain
nted little
affter 1832, wheen he devoted himself chieffly to music.
Stock: 36808
32.
[Fam
mily and horrses resting near
n
water] 4
P.S. Munn 18813
Pen lithograpph, rare; sheett 280 x 205mm
m (11 x 8").
Occasional w
wash colouringg to figures, creasing.
Trimmed.
£1330
3-1845). Munnn
Lithograph bby Paul Sandby Munn (1773
was named aafter his godfaather, artist Pau
ul Sandby,
followed his namesake intto watercolourr painting. He
went on a skeetching expeddition to Wales with John S ell
Cotman in 18802 and from 1807 was maaking use of thhe
new medium
m of pen lithoggraphy, which he used in
several sets oof landscape prints.
p
Ex: colllection of the
Late Hon. C. Lennox-Boydd.
35
5.
St Genevieve from
m The Gardeen of the
Luxembourg
L
. 1817.
Stock: 36945
Stock: 36578
33.
Newllands.
M.A.T. Whittby ex. et Del.. 1826. Newlaands Press.
Rare amateurr lithograph. Printed
P
area 23
30 x 330mm ((9
x 13"), with vvery large maargins.
£1660
The country seat of Newlaands, with a paair of anglers in
the foregrounnd.
Naval officerr Sir William Cornwallis bo
ought Newlannds
in 1799, livinng there with the
t widow of Cornwallis' fllag
captain, Johnn Whitby, whoo died in 1806
6, then leavingg
the estate to hher on his deaath in 1819. Mary
M Anne
Theresa Whiitby was an am
mateur lithographer who
established a private press at Newlands.. Ex: Collectioon
of the late Hoon. C. Lennoxx-Boyd; For a London view
w
by Whitby, seee ref. 19290.
Stock: 35814
A.
A Long. [n.d., c.1817.]
Rare amateur liithograph withh very large margins.
m
Prrinted area 280 x 210mm (111 x 8¼") Witth a cat addedd
in
n pencil.
£110
Amelia
A
Long (n
née Hume) (17772-1837), married
m
Charles Long who
w was createed Baron Farn
nborough in
826. Lady Farrnborough wass Thomas Girrtin's
18
faavourite pupil,, and her workk was widely admired
a
by
prrofessional arttists and draw
wing masters. For
F a
skketchbook by the
t artist see V
V&A E.21080
0-1957. Ex
co
ollection of Th
he Hon Christo
topher Lennoxx-Boyd.
English
h Troops. Boois de Boulo
ogne Sept.r
1.. 1815.
36
6.
A.
A Long. [n.d., c.1817.]
Rare amateur liithograph withh hand colour and very
laarge margins. Printed
P
area 2200 x 270 (8 x 10½"). £160
An
A English cam
mp on the outsskirts of Paris with tents
an
nd straw huts, shortly after W
Waterloo.
Amelia
A
Long (n
née Hume) (17772-1837), married
m
Charles Long who
w was createed Baron Farn
nborough in
826. Lady Farrnborough wass Thomas Girrtin's
18
faavourite pupil,, and her workk was widely admired
a
by
prrofessional arttists and draw
wing masters. For
F a
skketchbook by the
t artist see V
V&A E.21080
0-1957. Ex
co
ollection of Th
he Hon Christo
topher Lennoxx-Boyd.
Stock: 36577
37
7.
[Two fiigures in a laandscape]
[A
Anon., c.1810]]
Peen lithograph, J. Whatman w
watermark (PT) printed
arrea 260 x 180m
mm (10¼ x 7"").
£95
Unidentified
U
eaarly lithographh showing the influence of
Saalvator Rosa, whose treacheerous landscap
pe were
significant in sh
haping the conncepts of subllime and
omantic repressentations of nnature in the laate Georgian
ro
peeriod. Ex: colllection of the LLate Hon. C. Lennox-Boyd
L
Stock: 36940
34.
[Old Tree with castle
c
in the distance.]
Hearne, 18033 [signature inn bottom rightt-hand corner]].
Very rare, sccarce and earlyy pen lithograp
ph, sheet 293 x
216mm (11½
½" x 8½"). Sm
mall tears, mad
de up bottom
left corner.
£2440
744 - 1817),
Early lithogrraph by Thomaas Hearne (17
watercolourist and topograaphical draugh
htsman. By thhe
uperceded by
19th century Hearne's worrk had been su
ung artists, so
more recent ddevelopmentss amongst you
this is an inteeresting experriment with the new medium
m
of lithographhy. Ex collection of the Latee Hon. C.
Lennox-Boydd; For anotherr impression see
s ref. 8652
Stock: 36813
38
8.
[Two fiigures in a laandscape]
[A
Anon., c.1810]]
Peen lithograph, sheet 250 x 1170mm (9¾ x 6¾"). Glued
to
o backing boarrd at corners; ssurface loss on
o left filled
in
n ink.
£140
Unidentified
U
eaarly lithographh showing the influence of
Saalvator Rosa, whose landsccapes were sig
gnificant in
sh
haping the con
ncepts of subliime and romaantic
reepresentations of nature in th
the late Georg
gian period.
Exx: collection of
o the Late Hoon. C. Lennox--Boyd
Stock: 36939
39
9.
[Blasted tree with ppensive trav
veller.]
Ric. Cooper dell. 1802
Peen lithograph, scarce; sheett 230 x 320mm
m (9¼ x
12
2½"). Nicks an
nd tears to edgges; hole middle right,
lo
osses on left & right bottom
m, trimmed.
£140
Eaarly lithograph
h by Richard Cooper (1740
0-1814). The
so
on of another engraver,
e
Coooper worked for
fo a time in
Itaaly, where he befriended A
Alexander Run
nciman and
deeveloped a sty
yle of landscappe painting sim
milar to that
off Runciman (h
he became knoown as the 'En
nglish
Poussin'). Affter marrying in
i Edinburgh in 1777,
Cooper settleed in London around 1787, where he
dedicated him
mself to drawiing (he becam
me drawing
master at Etoon) and printm
making. This liithograph wass
included in thhe first portfoolio of artists' lithographs,
l
'Specimens oof Polyauthogrraphy'. The neew medium
allowed artissts to draw directly onto a prepared stonee,
allowing artists to make prrints which arguably
resembled drrawings more than any earliier printmakinng
technique. U
Unlike many prrintmaking tecchniques,
lithography rrequired no sppecial training as artists couuld
work directlyy onto the platte and leave sp
pecialist
printers to acctually make thhe prints. For this reason
many artists who were nott trained printm
makers (such as
o
worked in
i lithographyy.
Géricault andd Delacroix) often
Ex: collection of the Late Hon.
H C. Lenno
ox-Boyd.
d Delacroix)
traained printmaakers (such as Géricault and
offten worked in
n lithography. Ex: collection of the Late
Hon.
H C. Lennoxx-Boyd.
Stock: 36941
Stock: 36947
40.
[Ruin
ned abbey among
a
trees]]
[by Richard C
Cooper, 1802]
Pen lithograpph, sheet 220 x 325mm (9 x 12½"). Glueed
to backing shheet. Trimmed to subject.
£2440
Early lithogrraph by Richarrd Cooper (17
740-1814). Thhe
son of anotheer engraver, Cooper
C
worked
d for a time inn
Italy, where hhe befriendedd Alexander Runciman and
developed a style of landsccape painting similar to thaat
k
as the 'English
of Runcimann (he became known
Poussin'). Affter marrying in
i Edinburgh in 1777,
Cooper settleed in London around 1787, where he
dedicated him
mself to drawiing (he becam
me drawing
master at Etoon) and occasiionally printm
making. This
lithograph w
was included inn the 1807 edition of the firsst
portfolio of aartists' lithograaphs, 'Specimens of
Polyauthograaphy'. The new
w medium allo
owed artists too
draw directlyy onto a prepaared stone, allo
owing artists tto
make prints w
which arguablly resembled drawings
d
morre
than any earllier printmakinng technique. Unlike many
printmaking techniques, liithography req
quired no
c
work dirrectly onto thee
special trainiing as artists could
plate and leavve specialist printers
p
to actu
ually make thee
prints. For thhis reason manny artists who were not
trained printm
makers (such as Géricault and
a Delacroix))
often workedd in lithographhy. Ex: collecttion of the Latte
Hon. C. Lennnox-Boyd.
Stock: 36948
41.
[Old Trees with old man, a girl
g and dogg]
R. Corbould 1802 [in imagge lower rightt]
m (9¼ x 12½"").
Pen lithograpph, rare; sheett 235 x 315mm
Glued to thicck backing sheeet; loss to low
wer left cornerr.
£1330
Early lithogrraph by Richarrd Corbould (1757-1831), aan
versatile artisst who workedd in many media and styless
although chieefly remembeered as a desig
gner of book
illustrations. This lithograpph was includ
ded in the firstt
portfolio of aartists' lithograaphs, 'Specimens of
Polyauthograaphy'. The new
w medium allo
owed artists too
draw directlyy onto a prepaared stone, allo
owing artists tto
make prints w
which arguablly resembled drawings
d
morre
than any earllier printmakinng technique. Unlike many
printmaking techniques, liithography req
quired no
c
work dirrectly onto thee
special trainiing as artists could
plate and leavve specialist printers
p
to actu
ually make thee
prints. For thhis reason manny artists who were not
Evenin
ng Thou Brinngest All [tittle in
reeverse, in Greek]
42
2.
H.
H Fuseli del [1
1802, first pubblished 1803]
Peen lithograph, sheet 210 x 3315mm (8¼ x 12¼").
Trrimmed, losin
ng printed areaa top and left, small nicks
an
nd tears; verticcal crease on lleft; foxing to
o edges.£1800
Th
he most famous early pen liithograph. Fuseli's print
(aalso known as 'Lady at a Wiindow') was published
p
as
on
ne of the twelv
ve pen lithogrraphs from 'Sp
pecimens of
Po
olyautography
y', the first sett of artist's lith
hographs ever
pu
ublished (by Philipp
P
André in 1803). Thee new
medium
m
alloweed artists to drraw directly on
nto a
prrepared stone, allowing artiists to make prrints which
arrguably resem
mbled drawingss more than an
ny earlier
prrintmaking tecchnique. Unlikke many printtmaking
teechniques, lith
hography requi
uired no speciaal training as
arrtists could wo
ork directly onnto the plate and
a leave
sp
pecialist printeers to actuallyy make the prin
nts. For this
reeason many paainters who w
were not trained
d printmakerss
(ssuch as Géricaault and Delaccroix) produceed
litthographs.
Fu
useli (1741-18
825), painter aand writer, waas born in
Sw
witzerland butt spent much oof his career in
i England.
At
A the time of this
t work (saidd by Weinglasss to
reepresent Fuseli's wife Sophiia) he was Pro
ofessor of
Paainting at the Royal
R
Academ
my. In 1804 he
h was also to
beecome Keeperr of the RA, thhe only time someone
s
has
heeld both positiions simultaneeously. Weing
glass 171;
Man,
M '150 Yearrs of Artists' LLithographs', cat.
c 3. Ex:
co
ollection of thee late Hon. C.. Lennox-Boyd
d.
Stock: 36699
in
ncluded in the first portfolioo of artists' lith
hographs,
'Specimens of Polyauthograp
P
phy'. The new
w medium
alllowed artists to draw directtly onto a prep
pared stone,
alllowing artistss to make print
nts which argu
uably
reesembled draw
wings more thaan any earlierr printmaking
teechnique. Unliike many print
ntmaking techn
niques,
litthography req
quired no speccial training ass artists could
work
w
directly onto the plate aand leave speccialist
prrinters to actuaally make the prints. For th
his reason
many
m
artists wh
ho were not tra
rained printmaakers (such as
Géricault
G
and Delacroix)
D
ofteen worked in lithography.
Exx: collection of
o the Late Hoon. C. Lennox--Boyd.
Stock: 36938
43.
[Cavvalry Chargee.]
[Conrad Gessner, 1801.]
Pen lithograpph, sheet 230 x 315mm (9 x 12½"). Goodd
impression; ppinhole top ceentre.
£4550
Pen lithograpph, probably taken from 'Sp
pecimens of
Polyautograpphy', the first set
s of artist's lithographs
l
evver
published (byy Philipp Anddré in 1803). The
T new
medium allow
wed artists to draw directly
y onto a
prepared stonne, allowing artists
a
to makee prints which
arguably reseembled drawinngs more than
n any earlier
printmaking technique. Unnlike many printmaking
techniques, liithography reqquired no special training aas
artists could work directlyy onto the platee and leave
p
For thiss
specialist prinnters to actuallly make the prints.
reason manyy painters who were not train
ned printmakeers
uced
(such as Gériicault and Dellacroix) produ
lithographs.
Made by Connrad Gessner (1764-1826), Swiss artist
working in E
England 1796--1804. Ex: colllection of the
late Hon. C. Lennox-Boydd.
Stock: 36701
44.
[Landscape with
h old trees by
y water.]
[by Henry Riichard Grevillle, c.1804.]
Pen lithograpph, sheet 305 x 220mm (12 x 8¾").
Trimmed.
£2660
ville, Lord
Early lithogrraph by Henryy Richard Grev
Brooke, 3rd E
Earl of Warw
wick (1779–185
53) and
included in thhe first portfoolio of artists' lithographs,
l
'Specimens oof Polyauthogrraphy'. The neew medium
allowed artissts to draw directly onto a prepared stonee,
allowing artists to make prrints which arguably
resembled drrawings more than any earliier printmakinng
technique. U
Unlike many prrintmaking tecchniques,
lithography rrequired no sppecial training as artists couuld
work directlyy onto the platte and leave sp
pecialist
printers to acctually make thhe prints. For this reason
many artists who were nott trained printm
makers (such as
o
worked in
i lithographyy.
Géricault andd Delacroix) often
Ex: collection of the Late Hon.
H C. Lenno
ox-Boyd.
Stock: 36937
45.
[Landscape with
h old trees by
y water.]
[by Henry Riichard Grevillle, c.1804]
Pen lithograpph, very rare; sheet 305 x 22
20mm (12 x
8¾"). Fine im
mpression; verry slight hole. Trimmed.
£2660
ville, Lord
Early lithogrraph by Henryy Richard Grev
Brooke, 3rd E
Earl of Warw
wick (1779–185
53) and
46
6.
[Rural landscape w
with horse and
a cart]
F..J. Man[skirscch del.]
Peen lithograph, sheet 220 x 3300mm (8¾ x 11¾").
Glued
G
to thick card;
c
trimmedd inside imagee on right;
paaper tone and damage upper
er left. Damag
ged.
£130
Eaarly lithograph
h by Franz Jooseph Manskirrsch (176818
830), who speent most of hiss career in Lon
ndon before
moving
m
to Danzzig, Poland byy 1822. This lithograph
was
w included in
n the 1806 ediition of the first portfolio off
arrtists' lithograp
phs, 'Specimen
ens of Polyauth
hography'.
Th
he new mediu
um allowed art
rtists to draw directly
d
onto
a prepared ston
ne, allowing arrtists to make prints which
mbled drawingss more than an
ny earlier
arrguably resem
prrintmaking tecchnique. Unlikke many printtmaking
teechniques, lith
hography requi
uired no speciaal training as
arrtists could wo
ork directly onnto the plate and
a leave
sp
pecialist printeers to actuallyy make the prin
nts. For this
reeason many arrtists who werre not trained printmakers
p
(ssuch as Géricaault and Delaccroix) often wo
orked in
litthography. Exx: collection off the Late Hon
n. C. LennoxBo
oyd.
Stock: 36942
[The Angel] He is not here: fo
or he is
riisen. &c.
47
7.
B. West 1801 [first publishedd 1803]
Peen lithograph, sheet 325 x 2230mm (12¾ x 9"), on
orriginal backing
g sheet with a sepia aquatin
nt border.
Sttrong impression. Backing ssheet trimmed
d at sides.
£5000
Teext from Mattthew 28:6, in w
which the ang
gel of the
reesurrection dirrects women loooking for thee crucified
Jeesus to 'see thee place where He was lying
g'.
A landmark in the
t history off lithograph, th
his original
prrint by Benjam
min West has bbeen describeed as 'the first
litthograph of arrtistic merit evver done in an
ny country'
(F
Felix Man). It was publishedd as one of the twelve pen
litthographs from
m 'Specimenss of Polyautog
graphy', the
firrst set of artistt's lithographss ever published (by
Ph
hilipp André in
i 1803). The new medium allowed
arrtists to draw directly
d
onto a prepared sto
one, allowing
arrtists to make prints which aarguably resem
mbled
drrawings more than any earliier printmakin
ng technique.
Unlike
U
many prrintmaking tecchniques, litho
ography
reequired no speecial training aas artists could
d work
diirectly onto th
he plate and leaave specialist printers to
acctually make the
t prints. Forr this reason many
m
painters
who
w were not trrained printmaakers (such ass Géricault
an
nd Delacroix) produced lithhographs.
West
W (1738-182
20) was an Annglo-Americaan painter of
hiistorical scenees around and after the timee of the
American
A
War of Independennce. He was the second
prresident of thee Royal Acadeemy in London, serving
from 1792 to 18
805 and againn from 1806 un
ntil his death.
Exx: collection of
o the late Honn. C. Lennox-B
Boyd; Man,
'150 Years of Artists' Lithogrraphs', cat. 1.
Stock: 36698
[Counttry cottage, w
with homecoming
la
abourer carrrying an axee]
49
9.
[A
Anon. after J Renton,
R
c.18220]
Peen lithograph, very scarce; vverso in ink F.W.
F
Half
Peenny July 25th
h, 1818; sheett 215 x 310mm
m (8½ x
12
2¼"). Glued to
o backing sheeet; internal teaars lower
rig
ght. Slight ho
ole where prevviously folded
d.
£220
Copy of an 180
09 lithograph bby J. Renton (1799-1841,
(
fl.). According to Michael Caampbell, Rentton is
nknown as a printmaker
p
apaart from two early
e
un
po
olyautographss, 'however, hee was an activ
ve and
su
uccessful painter of portraits
ts, figurative subjects and
laandscapes'. Caampbell also suuggests the Laake District
ass a likely locattion for this im
mage, given th
hat he often
ex
xhibited viewss of the area. E
Ex: collection
n of the Late
Hon.
H C. Lennoxx-Boyd.
Stock: 36949
West (1738-1820) was an Anglo-Ameriican painter off
me of the
historical sceenes around annd after the tim
American W
War of Indepenndence. He waas the second
president of tthe Royal Acaademy in London, serving
from 1792 too 1805 and agaain from 1806
6 until his deatth.
Man, '150 Yeears of Artists' Lithographs', cat. 1. Ex:
collection off the late Hon. C. Lennox-Bo
oyd.
Stock: 36697
50
0.
Sagro Monte
M
di Vaarese.
E.T.F. delin.t 1823.
h very large m
margins. Printted area 245 x
Liithograph with
26
65mm (9¾ x 10½").
1
Paper ttoned.
£120
An
A amateur print by Lady Ellizabeth Thereesa Feilding.
Born Fox-Stran
ngways, she m
married twice: to William
Davenport
D
Talb
bot and Admirral Charles Feeilding. Her
so
on by her first marriage wass photography
y pioneer
William
W
Henry Fox Talbot (FFebruary 1800
0-77). Ex:
Collection
C
of Th
he Hon. C. Leennox-Boyd.
Stock: 36466
[Ruined church in a field with
h tree and
seeated figure]]
48.
51
1.
B. West 1801 [first publishhed 1803]
Pen lithograpph, sheet 315 x 225mm (12½ x 9"). Glueed
to backing shheet; trimmed, losing text below image.
Unidentified collector's staamp verso.
£22000
Matthew 28:6, in
i which the angel
a
of the
Text from M
resurrection ddirects womenn looking for the crucified
Jesus to 'see the place wheere He was lyiing'.
A landmark iin the history of lithograph,, this original
print by Benjjamin West haas been descriibed as 'the firrst
lithograph off artistic meritt ever done in any country'
(Felix Man). It was publishhed as one of the twelve peen
lithographs ffrom 'Specimeens of Polyautography', the
first set of arrtist's lithograpphs ever publiished (by
Philipp Andrré in 1803). Thhe new mediu
um allowed
artists to draw
w directly ontto a prepared stone,
s
allowinng
artists to makke prints whicch arguably resembled
drawings moore than any eaarlier printmak
king techniquue.
Unlike manyy printmaking techniques, liithography
required no sspecial traininng as artists could work
directly onto the plate and leave specialist printers to
F this reason
n many painterrs
actually makke the prints. For
who were noot trained printtmakers (such
h as Géricault
and Delacroiix) produced lithographs.
Liithograph, verry scarce; sheeet 255 x 330m
mm (10 x
13
3"). Damaged, torn. Manusccript in ink veerso: 'By Mrs
Arnold
A
Warring
gton [?] An eaarly lithograph
hic sketch
su
upposed to be in 1806'.
£130
In
nteresting early
y lithograph ccombining thee Romantic
laandscape tropees of the solitaary figure, ruin
ned church
an
nd gnarled treee.
[The Angel] [Hee is not here: for he is
risen. &c.]
Stock: 36809
[Two fiigures by rivver, pouring
g milk into
pa
ails for tran
nsport, prob ably in the
Netherlands]
N
52
2.
Jaames Clarke Hook
H
[pencil ssignature]
Ettching with laarge margins, pplatemark 120
0 x 210mm
(4
4¾ x 8½"). Creases
£75
One
O of few etch
hings by landsscape and histtory painter
Jaames Clarke Hook
H
(1819-19907). Hook sp
pent two yearss
in
n Venice study
ying Italian artt in the 1840s, and joined
th
he Etching Clu
ub in 1850 (the
he same year as
a Samuel
Paalmer becamee a member). T
This scene dem
monstrates
Hook's
H
particular interest in rrural labour (h
he was
paarticularly draawn to seascappes showing fishermen
f
and
-w
women at work); milking taakes place in background.
b
Although hiss name has falllen into obscu
urity, Hook's
work was adm
mired by Bauudelaire and Ruskin, and artt
historian Tim
m Barringer claims that 'his best work beaars
comparison w
with the marinne paintings of the celebrateed
nineteenth-ceentury Americcan painter Winslow
W
Homeer'
(DNB).
Stock: 35905
[Mad
donna and child?]
c
From
m a very rarre
etching of tthe same sizze by Andrea
a Meldolla iin
the Collectiion of Richaard Ford.
53.
R.F. Scul. onnly 20 taken off. 1823.
Crayon-mannner etching, alll text in ink mss,
m very
scarce. Image 170 x 90mm
m (10½ x 3½"))
£880
A
Meldo
olla (c. 1510/55An amateur eetching after Andrea
1563, also knnown as Andrrea Schiavone)).
Richard Fordd (1796-1858)) was an art co
onnoisseur whho
travelled widdely in Europee and wrote a guidebook to
Spain. Whenn he died of Brright's diseasee he left a fine
collection off pictures to hiis widow Mary
y.
Stock: 36479
[Untiitled landscaape with wa
aterfall and
wooden briidge, Wales]]
54.
Drawn by Roobert Price Essq.r. Engraved
d by James
Basire. [n.d.. c.1760.]
Etching and aquatint in craayon manner, printed in
½x
sepia, with laarge margins, scarce. 290 x 400mm (11½
15¾"). Tearss and soiling inn margins.
£1880
A rare print, apparently froom a sketchbo
ook by amateuur
artist Robert Price (1717-11761) of Foxleey,
Herefordshirre, who was taaught to draw by Giovanni
Battista Busiiri while in Roome on his graand tour, whicch
commenced in 1738. His son
s was Sir Uvedale Price,
o the Picturessque' (1794),
baronet, authhor of 'Essay on
parodied by JJane Austen inn 'Northangerr Abbey'.
The engraverr is James Bassire the elder (1730-1802),
(
Master of William Blake. BM
B 1880,080
07.18: 'probabbly
taken from a drawing bookk'. Ex Collectiion of the Honn.
Lennox-Boydd.
Christopher L
Stock: 36411
A Vieew of Caynaaut in the pa
arish of
Llanvrotheen near Tratth Mawr in
Merionethsshire.
55.
Drawn by Roobert Price Essq.r. Engraved
d by James
Basire. [n.d.. c.1760.]
Etching and aquatint in craayon manner, with large
1
Marginns
margins, scarrce. 290 x 4000mm (11½ x 15¾").
chipped and soiled.
£1880
ook by amateuur
A rare print, apparently froom a sketchbo
artist Robert Price (1717-11761) of Foxleey,
Herefordshirre, who was taaught to draw by Giovanni
Battista Busiiri while in Roome on his graand tour, whicch
commenced in 1738. His son
s was Sir Uvedale Price,
o the Picturessque' (1794),
baronet, authhor of 'Essay on
parodied by JJane Austen inn 'Northangerr Abbey'.
The engraverr is James Bassire the elder (1730-1802),
(
Master of William Blake. The BM has a similar platee
BM
'probably takken from a draawing book' (B
1880,0807.188). Ex Collecttion of the Hon
n. Christopheer
Lennox-Boydd.
Stock: 36410
56
6.
[Untitleed landscappe with waterfall and
wooden
w
bridg
ge, Wales]
Drawn
D
by Robeert Price Esq.rr. Engraved by
y James
Basire. [n.d.. c.1760.]
uatint in crayoon manner, veery large
Ettching and aqu
margins,
m
scarcee. 290 x 400m
mm (11½ x 15¾
¾"). Margins
crreased and soiled, three worrm holes top left.
l
£180
A rare print, apparently from
m a sketchbook
k by amateur
arrtist Robert Prrice (1717-17661) of Foxley,,
Herefordshire,
H
who was taugght to draw by
y Giovanni
Battista Busiri while
w
in Rom
me on his grand
d tour, which
ommenced in 1738. His sonn was Sir Uvedale Price,
co
baaronet, author of 'Essay on tthe Picturesqu
ue' (1794),
paarodied by Jan
ne Austen in 'N
Northanger Abbey'.
A
Th
he engraver iss James Basiree the elder (17
730-1802),
Master
M
of Williiam Blake. BM
M 1880,0807.1
18: 'probably
ta
aken from a drrawing book'. Ex Collection
n of the Hon.
Christopher
C
Lennox-Boyd.
Stock: 36409
57
7.
[Motheer and child in a hayfielld]
J.C. Hook A.R.A. [with penccil signature]
Ettching on indiia with very laarge margins; before plate
No;
N platemark 120 x 155mm
m (4¾ x 6"). Uncut
U
sheet.
£75
One
O of few etch
hings by landsscape and histtory painter
Jaames Clarke Hook
H
(1819-19907). Hook joined the
Ettching Club in
n 1850 (the saame year as Saamuel Palmer
beecame a memb
ber) and this sscene is taken from a
po
ortfolio publisshed by the cluub in 1857. Th
he
ag
gricultural settting demonstrrates Hook's particular
p
in
nterest in rural labour (he wa
was also drawn
n to seascapes
sh
howing fisherm
men and -wom
men at work). Although his
naame has fallen
n into obscuritty, Hook's work was
ad
dmired by Bau
udelaire and R
Ruskin, and arrt historian
Tiim Barringer claims
c
that 'hiis best work bears
b
co
omparison witth the marine ppaintings of th
he celebrated
niineteenth-centtury Americann painter Winsslow Homer'
(D
DNB).
Stock: 35906
58
8.
[Motheer and child in a hayfielld] 15
J.C. Hook A.R.A.
Ettching on indiia with very laarge margins, platemark
12
20 x 155mm (4¾
( x 6"). Unccut sheet.
£75
One
O of few etch
hings by landsscape and histtory painter
Jaames Clarke Hook
H
(1819-19907). Hook joined the
Ettching Club in
n 1850 (the saame year as Saamuel Palmer
beecame a memb
ber) and this sscene is taken from a
po
ortfolio publisshed by the cluub in 1857. Th
he
ag
gricultural settting demonstrrates Hook's particular
p
interest in rurral labour (he was also draw
wn to seascap es
showing fishhermen and -w
women at work
k). Although hhis
name has falllen into obscuurity, Hook's work
w
was
admired by B
Baudelaire andd Ruskin, and art historian
Tim Barringeer claims that 'his best work
k bears
comparison w
with the marinne paintings of the celebrateed
nineteenth-ceentury Americcan painter Winslow
W
Homeer'
(DNB).
Stock: 35907
59.
[Shep
pherd and family
f
in thee hills]
J.C. Hook A..R.A.
Etching on inndia with veryy large margin
ns, platemark
120 x 155mm
m (4¾ x 6"). Uncut
U
sheet. Slightly
S
foxedd.
£775
h
painterr
One of few eetchings by lanndscape and history
James Clarkee Hook (1819-1907). Hook joined the
Etching Clubb in 1850 (the same year as Samuel Palm
mer
became a meember) and thiis scene is tak
ken from a
portfolio pubblished by the club in 1857. The
agricultural ssetting of a shepherd, his faamily and flockk,
demonstratess Hook's particcular interest in rural labouur
(he was also drawn to seasscapes showin
ng fishermen
me has fallen
and -women at work). Althhough his nam
into obscurityy, Hook's worrk was admireed by Baudelaaire
and Ruskin, aand art historiian Tim Barrin
nger claims thhat
'his best workk bears compaarison with the marine
paintings of tthe celebratedd nineteenth-ceentury
American paainter Winslow
w Homer' (DN
NB).
2.
[Rusticc courtship]
62
Richard Redgraave [pencil siggnature] / RR 1860 1864
[in
n plate lower right]
Ettching, very laarge margins; platemark 20
00 x 285mm
(8
8 x 11¼").
£75
Tw
wo figures in a forest settinng, one of few etchings by
paainter and artss administratorr Richard Red
dgrave (180488
8). Redgrave became
b
a Royyal Academiciian in 1851,
an
nd having focu
used upon thee struggles of the
t poor in
hiis early work, moved towarrds landscape themes
th
hereafter.
By the time thiss print was maade Redgrave's output as
n artist had decreased as he became an in
nfluential arts
an
ed
ducator and ad
dministrator. A
Along with Heenry Cole he
su
upervised the South Kensing
ngton Museum
m (now the
Victoria
V
& Albert Museum), organized thee British art
seections for inteernational exhhibitions in Lo
ondon and
Paaris, and serveed as surveyorr of the queen
n's pictures
(w
writing a 34-vo
olume cataloggue of painting
gs in the
Royal Collectio
on). He also w
wrote an imporrtant history
off British painting (1866). Thhe tranquility of this scene
might
m
be consid
dered in relatio
ion to the tireless work of
Redgrave in theese many capaacities.
Stock: 35910
Stock: 35908
60.
[Shep
pherd and family
f
in thee hills]
J.C. Hook A..R.A.
Etching on inndia, very largge margins; pllatemark 120 x
155mm (4¾ x 6"). Uncut sheet.
s
£775
h
painterr
One of few eetchings by lanndscape and history
James Clarkee Hook (1819-1907). Hook joined the
Etching Clubb in 1850 (the same year as Samuel Palm
mer
became a meember) and thiis scene is tak
ken from a
portfolio pubblished by the club in 1857. The
agricultural ssetting of a shepherd, his faamily and flockk,
demonstratess Hook's particcular interest in rural labouur
(he was also drawn to seasscapes showin
ng fishermen
me has fallen
and -women at work). Althhough his nam
into obscurityy, Hook's worrk was admireed by Baudelaaire
and Ruskin, aand art historiian Tim Barrin
nger claims thhat
'his best workk bears compaarison with the marine
paintings of tthe celebratedd nineteenth-ceentury
American paainter Winslow
w Homer' (DN
NB).
Stock: 35909
61.
[Mussicians and Nudes.]
N
Maurin delinneavit. Imp. litthog. de Chabert. Le
Georgion feccit. [n.d., c.18335.]
Lithograph. S
Sheet: 490 x 335mm,
3
(19¼ x 13¼"). Larrge
£1440
margins. Ligght foxing in margins.
m
Exterior scenne in which a pair
p of musiciians sit by a
well while onne woman fillls up a jug and
d a second
accomapaniees them on a flute.
fl
In the disstance a
shepherd herrds a flock of sheep.
s
Stock: 36586
63
3.
Callirh
hoe.
J. B. Cipriani in
nv.t. et del. F. Bartolozzi scculp.
m, (5 x 6"). Triimmed withinn
Sttipple. Sheet: 130 x 155mm
pllate and publiccation line.
£140
A half-length portrait of the ccharacter Calllirhoe, a
prrotagonist from
m Chariton's nnovel of the saame name set
in
n 400 BC Syraacuse in whichh the supernaturally
beeautiful Callirhoe marries C
Chaereas. How
wever,
Chaereas' jealou
usy causes a cchain of unforrtunate events
leeading to yearss of separationn. Evidence of Chariton's
no
ovel only appeears in a 13th Century manu
uscript and
th
he story was not published uuntil the 18th Century. de
V:
V 376 II of II.
Stock: 36856
[L'Alleegro.] How F
Faery Mab the Junket
ea
at [ms].
64
4.
C.W. Cope. [Pu
ublished for thhe Etching Clu
ub by Joseph
Cundall, 12, Olld Bond Streett, 1849.]
ky, sheet 110
Ettching on indiia, showing faairies in the sk
x 165mm (4½ x 6½"). Trimm
med.
£75
Scene illustrating John Milton's poem 'L'Allegro', by
history painter Charles West Cope (1811-90). From an
edition of the poem with twenty illustrations by
members of the Etching Club, of which Cope was a
founding member. Cope is primarily remembered for
his frescoes in the House of Lords and the peers'
corridor, but in addition to his academic renderings of
historical and literary subjects, he was a talented
printmaker.
Stock: 35887
65.
L'Allegro. She was pincht, and pull'd
she sed.
C.W. Cope [c.1849] [Published for the Etching Club
by Joseph Cundall, 12, Old Bond Street, 1849.]
Etching on card with letterpress printed in red, showing
fairies in the sky, sheet 115 x 165mm (4½ x 6½").
Trimmed
£75
Scene illustrating John Milton's poem 'L'Allegro', by
history painter Charles West Cope (1811-90). From an
edition of the poem with twenty illustrations by
members of the Etching Club, of which Cope was a
founding member. Cope is primarily remembered for
his frescoes in the House of Lords and the peers'
corridor, but in addition to his academic renderings of
historical and literary subjects, he was a talented
printmaker.
Stock: 35886
66.
L'Allegro Hence loathed Melancholy /
Of Cerberus, and blackest midnight born,/ In
Stygian Cave forlorn/ 'Mongst horrid shapes,
and shreiks, and fights unholy,
C.W.C. [Charles West Cope] [Published for the
Etching Club by Joseph Cundall, 12, Old Bond Street,
1849]
Etching on india, sheet 250 x 165mm (9¾ x 6¼").
Trimmed; slight foxing.
£95
Scene illustrating John Milton's poem 'L'Allegro', by
history painter Charles West Cope (1811-90). From an
edition of the poem with twenty illustrations by
members of the Etching Club, of which Cope was a
founding member. Cope is primarily remembered for
his frescoes in the House of Lords and the peers'
corridor, but in addition to his academic renderings of
historical and literary subjects, he was a talented
printmaker.
Stock: 35889
67.
L'Allegro To bed they creep [ms]
C.W.C. / 1848 [Published for the Etching Club by
Joseph Cundall, 12, Old Bond Street, 1849]
Etching on india, sheet 130 x 160mm (5 x 6¼").
Trimmed
£75
Scene illustrating John Milton's poem 'L'Allegro', by
history painter Charles West Cope (1811-90). From an
edition of the poem with twenty illustrations by
members of the Etching Club, of which Cope was a
founding member. Cope is primarily remembered for
his frescoes in the House of Lords and the peers'
corridor, but in addition to his academic renderings of
historical and literary subjects, he was a talented
printmaker.
Stock: 35888
68.
[Meditation]
[by Charles West Cope, c.1844]
Etching on india with large margins, platemark 150 x
110mm (6 x 4¼").
£130
A woman sat at a desk with open bible, with painting
of the Virgin and Child on the wall. Etching by history
painter Charles West Cope (1811-90). From 'Etched
Thoughts of the Etching Club', of which Cope was a
founding member, and illustrative of a poem by Joseph
Hall, Bishop of Norwich. Cope is primarily
remembered for his frescoes in the House of Lords and
the peers' corridor, but in addition to his academic
renderings of historical and literary subjects, he was a
talented printmaker.
Stock: 35890
69.
[Milton's Dream of his Deceased Wife]
24
C.W. Cope R.A.
Etching on india with very large margins, platemark
120 x 120mm (4¾ x 4¾"). Uncut sheet.
£150
Etching by history painter Charles West Cope (181190), widely regarded as the finest of his prints. Cope is
primarily remembered for his frescoes in the House of
Lords and the peers' corridor, but in addition to his
academic renderings of historical and literary subjects,
he was a talented printmaker. He was a founder
member of the Etching Club (whose members also
included Samuel Palmer), whose 1857 portfolio this
formed part of. Cope, who often depicted themes
relating to the poet John Milton, had exhibited a
painting of the same subject at the Royal Academy in
1850.
Stock: 35893
70.
[Morning Prayer]
[by Charles West Cope, c.1844]
Etching on india with large margins, platemark 155 x
105mm (6 x 4¼").
£130
A woman kneeling in front of a crucifix, with an open
bible in front of her. Etching by history painter Charles
West Cope (1811-90). From 'Etched Thoughts of the
Etching Club', of which Cope was a founding member,
and illustrative of a poem by Joseph Hall, Bishop of
Norwich. Cope is primarily remembered for his
frescoes in the House of Lords and the peers' corridor,
but in addition to his academic renderings of historical
and literary subjects, he was a talented printmaker.
Stock: 35891
74
4.
L'Alleg
gro Towers + Battlements it sees
[m
ms]
[b
by Thomas Creswick] [Publlished for the Etching Club
by
y Joseph Cund
dall, 12, Old B
Bond Street, 1849]
Ettching on indiia, letterpress pprinted in red
d, sheet 110 x
16
65mm (4¼ x 6¼").
6
Trimmeed; very slightt foxing. £75
Sccene illustratin
ng John Miltoon's poem 'L'A
Allegro', by
laandscape paintter Thomas Crreswick (1811
1-69). From
an
n edition of the poem with ttwenty illustraations by
members
m
of thee Etching Clubb published in
n 1849.
Creswick exhib
bited prolificallly and successsfully at the
Royal Academy
y throughout hhis career (he became an
R.A. in 1851) and
a his etchinggs 'demonstrate a sure
grrasp of the tecchnique and coonventions off etching
(D
DNB). Ray 217
71.
[The Stolen Kisss]
C.W. Cope R
R.A.
Etching on inndia, with veryy large margin
ns; platemark
125 x 105mm
m (5 x 4¼"). Uncut
U
sheet.
£1330
A young mann enters through a window to kiss a
sleeping wom
man. Etching by
b history paiinter Charles
West Cope (1811-90), from
m 'Etchings fo
or the ArtE
Club', of which Coppe
Union of Lonndon by the Etching
was a foundiing member. Cope
C
is primarrily
remembered for his frescooes in the House of Lords annd
a
to hiss academic
the peers' corrridor, but in addition
renderings off historical annd literary subjjects, he was a
talented printtmaker.
Stock: 35892
72.
L'Alllegro
T. Creswick [Published foor the Etching Club by Josepph
Cundall, 12, Old Bond Strreet, 1849]
r sheet 135 x
Etching on inndia, letterpress printed in red,
165mm (6½ x 6¼"). Trimm
med.
£775
L'Allegro' by
Scene illustraating John Miilton's poem 'L
landscape paainter Thomas Creswick (18
811-69). From
m
an edition off the poem (whhich had long been a populaar
w twenty illlustrations by
subject for viisual artists) with
members of tthe Etching Club,
C
published
d in 1849.
Creswick exhhibited prolifiically and succcessfully at thhe
Royal Acadeemy throughouut his career (h
he became ann
R.A. in 1851) and his etchhings 'demonsttrate a sure
grasp of the ttechnique andd conventions of etching
(DNB). Ray 217
Stock: 35899
73.
[L'Alllegro]
Tho.s Creswiick [Publishedd for the Etchiing Club by
Joseph Cunddall, 12, Old Bond
B
Street, 18
849]
Etching on inndia, letterpress printed in red,
r sheet 150 x
165mm (6 x 6½"). Trimmeed.
£775
L'Allegro' by
Scene illustraating John Miilton's poem 'L
landscape paainter Thomas Creswick (18
811-69). From
m
an edition off the poem (whhich had long been a populaar
w twenty illlustrations by
subject for viisual artists) with
members of tthe Etching Club,
C
published
d in 1849.
Creswick exhhibited prolifiically and succcessfully at thhe
Royal Acadeemy throughouut his career (h
he became ann
R.A. in 1851) and his etchhings 'demonsttrate a sure
grasp of the ttechnique andd conventions of etching
(DNB). Ray 217
Stock: 35900
Stock: 35897
75
5.
[L'Alleegro] Towerr'd cities pleease us then
[m
ms]
[b
by Thomas Creswick] [Publlished for the Etching Club
by
y Joseph Cund
dall, 12, Old B
Bond Street, 1849]
Ettching on indiia, letterpress pprinted in red
d, sheet 110 x
16
65mm (4¼ x 6¼").
6
Trimmeed; slightly du
usty.
£75
Sccene illustratin
ng John Miltoon's poem 'L'A
Allegro' by
laandscape paintter Thomas Crreswick (1811
1-69). From
an
n edition of the poem (whicch had long beeen a popular
su
ubject for visu
ual artists) withh twenty illustrations by
members
m
of thee Etching Clubb, published in
n 1849.
Creswick exhib
bited prolificallly and successsfully at the
Royal Academy
y throughout hhis career (he became an
R.A. in 1851) and
a his etchinggs 'demonstrate a sure
grrasp of the tecchnique and coonventions off etching
(D
DNB). Ray 217
Stock: 35898
76
6.
Edwin..
Paainted by Sir Joshua
J
Reynoolds / Engraved by C.H.
Hodges
H
Pub.d as
a the act direccts Feb.y 18th
h by J. Rising
No.
N 21 Princes St. Cav.sh Sqq.re.
Mezzotint
M
with small marginns, platemark 360
3 x 260mm
m
(1
14¼ x 10¼"). Paper tone; goood impressio
on; collector's
stamp of Bernaard Houthakkeer verso. Sligh
htly foxed.
£320
Character study
y after a paintiing from the 1770s
1
by Sir
oshua Reynold
ds (1723-17922). When the painting
p
was
Jo
au
uctioned in 17
796 it was idenntified as Edw
win, the hero
from 'The Minsstrel', a poem ppublished in 1771
1
by
Reynolds' friend James Beatttie. The poem
m describes
th
he childhood of
o Edwin, a shhepherd boy brrought up in
so
olitary, mountainous countrry, and his resp
ponse to
naature. William
m Wordsworthh was among the
t many who
ad
dmired the wo
ork.
Th
his impression
n formerly in tthe collection
n of Bernard
Houthakker,
H
18
884-1963), Am
msterdam-baseed dealer and
pu
ublisher. A paarticular focuss of Houthakkeer's buying
was
w the work of Charles How
ward Hodges (1764-1837),
a British portrait painter and engraver who
o moved to
he Netherlandss in 1792.
th
Reynolds' paintting was recenntly sold by Christie's
C
(3
December
D
2013
3). Ex Collectiion of the Latee Hon. C.
Leennox-Boyd; Hamilton
H
p.1447 (only state)); L.1272. Ex
Collection
C
Ladyy Eva Dugdalle, Sotheby's 27/10/1920.
2
Stock: 36504
John
nson and Bosswell / To Siir W. Templle
1871 Broad
dlands / R.C
C. Lucas. 'M
Mrs Boswell
who was on
ne of the larrge class with
h small min
nds
said that sh
he had seen a man lead a bear but
she never a bear lead a man until she saw Dr
Johnson an
nd her husbaand'. This class is still a
vast majoriity. A lady refused
r
to in
nspect my
Johnson deesigns, sayin
ng the doctorr nor his
works weree prett subjeects for whicch I have
given her th
he nightmarre making th
he doctor an
nd
his books h
her incubus.
77.
R.C. Lucas ssculptor 1865
Etching printted in blue inkk, with very laarge margins;
rare; 180 x 270mm (7 x 100½").
£1660
he sculptor
Humorous sccene apparentlly etched by th
Richard Cockkle Lucas (1800-83). Lucass' works
included a statue of Dr Johhnson in Lichffield, adjacentt
h combines two
t jokes. Thee
to the catheddral, and here he
first is a depiiction of Johnson leading Boswell
B
by thee
nose; secondd is a parody of
o Fuseli's 'Nig
ghtmare' in
which a wom
man of Lucas' acquaintance is haunted byy
his sculpture of Johnson (w
who she consiidered unfit ass a
subject for arrt).
The print is sseemingly deddicated to William Francis
Cowper-Tem
mple (1811-80), politician. Cowper
C
inherited manny of Lord Paalmerstone's esstates, includiing
Broadlands, at Romsey. Luucas himself was
w a regular
guest at Broaadlands. CS 166.i; Ex: collecction of the Hoon.
C. Lennox-Booyd
Stock: 36367
When
W
Oberon lifts
l the spell, order is restored once
more.
m
Shakespeeare took the nname of Titan
nia from
Ovid's
O
Metamo
orphoses, and tthe theme of
traansformation is central to thhe play.
Stock: 36986
79
9.
Paradise Lost. B.55 L.2
R. Westall R.A. del. / Rich. E
Earlom Sculp. Publish'd
Ju
une 4. 1795, by J. & J. Boyddell, & G. Niccol,
Sh
hakespeare Gaallery, Pall Ma
Mall, & No. 90,, Cheapside.
Sttipple, sheet 325 x 230mm ((12¾ x 9"). Trimmed
T
in
nside platemarrk.
£85
Adam
A
and Eve in the Gardenn of Eden. One of a series
off illustrations to Milton's eppic poem 'Paraadise Lost'.
Exx Collection of Christopherr Lennox-Boyd
d.
Stock: 36527
80
0.
Paradise Lost. B.88 L.44
R. Westall R.A. del. / Rich. E
Earlom Sculp. Publish'd
Ju
une 4. 1795, by J. & J. Boyddell, & G. Niccol,
Sh
hakespeare Gaallery, Pall Ma
Mall, & No. 90,, Cheapside.
Sttipple, sheet 325 x 230mm ((12¾ x 9"). Trimmed
T
in
nside platemarrk.
£75
Ev
ve reaches forr the apple whhich was to cau
use the Fall
off Man. One off a series of illlustrations to Milton's
M
epic
po
oem 'Paradise Lost'. Ex Colllection of Chrristopher
Leennox-Boyd.
Stock: 36526
L'Alleg
gro. There tto the Spicy nut-brown
alle [ms]
81
1.
R. Redgrave 18
848. [Publisheed for the Etch
hing Club by
Jo
oseph Cundalll, 12, Old Bonnd Street, 1849
9.]
Ettching on indiia, letterpress pprinted in red
d, sheet 130 x
16
65mm (6½ x 6¼").
6
Trimmeed.
£75
Sccene illustratin
ng John Miltoon's poem 'L'A
Allegro' by
paainter and adm
ministrator Ricchard Redgrav
ve (1804-88).
Frrom an edition
n of the poem
m (which had lo
ong been a
po
opular subjectt for visual arttists) with tweenty
illlustrations by members of tthe Etching Cllub,
pu
ublished in 18
849. Redgravee became a Ro
oyal
Academician
A
in
n 1851, and haaving focused
d upon the
struggles of thee poor in his eaarly work, mo
oved towards
laandscape them
mes thereafter. He was also an
a influential
arrts administrattor. Ray 217
Stock: 35915
Midssummer Nigghts Dream Act
A IV, Scen
ne
I. Oberon,, Queen of th
he Fairies, Puck,
P
Bottom
m
and Fairiess attending &c.
&
78.
Painted by H
Henry Fuseli R.A.
R Engraved
d by Tho.s
Ryder & Thoo.s Ryder Jun..r. Pub. Dec.r, 1803 by J. & J.
Boydell at thhe Shakespeare Gallery Palll Mall & at Noo.
90 Cheapsidee London.
Stipple, openn letter proof. Fine impressiion. Platemarkk:
480 x 600mm
m (19 x 23½")). Small hole in
i left margin
outside of plaate. Trimmedd inside platem
mark on 3 sidees
.
£3220
m 'A Midsumm
mer Night's Drream'; Oberonn
A scene from
casts a spell oon Titania, soo that she falls in love with
the first persoon she sees onn awakening, which happenns
to be Bottom
m the Weaver, wearing an assses' head.
[Ellen Orford]
O
["II from my window
w
saw
hiis blooming bride,/ Andd my seducer smiling at
heer side;/ Hope lived till then"]
82
2.
Rich.d Redgrav
ve / Etching C
Club [1844]
Ettching on indiia, very large m
margins; plateemark 195 x
16
65mm (7¾ x 6½").
6
Text efffaced. Uncut.
£75
Elllen Orford, One
O of few etcchings by pain
nter and arts
ad
dministrator Richard
R
Redgra
rave (1804-88)). In 1837
Redgrave was a founding meember of the Etching
E
Club,
un
nder whose au
uspices this prrint was publisshed in 1844
(aas part of 'Etch
hed Thoughts of the Etching
g Club').
Redgrave's worrks of the 18400s focused up
pon the plight
off the underpriv
vileged, as shoown by this print, which
illlustrates an ep
pisode from G
George Crabbee's 'The
Borough'.
Crabbe's colllection includeed various stu
udies of the
poor, along w
with indictmennts of the worrkhouse, and
discussion off prisons and schools.
s
One of
o the
characters waas Ellen Orforrd, described as
a having liveed
a savage life through whicch an indestrucctible Christiaan
faith shines tthrough. Here she looks outt of the windo w
and sees her 'seducer' withh his 'blooming
g bride'. The
mbered now as the source fo
for
collection is chiefly remem
Peter Grimes', in which
Benjamin Brritten's opera 'P
Britten ampliified the role of
o Ellen Orforrd to one of thhe
principal rolees opposite the eponymous Suffolk
fisherman.
d became an
In later yearss Redgrave paainted less and
influential arrts educator annd administrattor, working
with museum
ms, internationnal exhibitionss, writing bookks
and becominng surveyor off the queen's pictures.
p
Stock: 35912
[platee from 'Poem
ms on the Abolition
A
of
the Slave T
Trade']
83.
Smirke R.A. pinx.t / E. Scriven Sculpt. Pub. by R.
Bowyer, Palll Mall, Dec.r 1 1809.
Stipple, sheeet 280 x 210mm
m (11 x 8"). Trimmed
T
insidde
platemark; sllight foxing.
£1110
Plate from a volume of thrree poems to celebrate
c
the
banning of thhe slave trade by Britain in 1805:
Montgomeryy's 'The West Indies',
I
Grahaame's 'Africa
Delivered'; aand Elizabeth Benger's
B
'A Po
oem,
Occasioned bby the Abolition of the Slav
ve Trade in
1806'. For thhe complete voolume see ref. 21739.
Stock: 36929
[platee from 'Poem
ms on the Abolition
A
of
the Slave T
Trade']
84.
Smirke R.A. pinx.t / Worthhington Sculp
pt. Pub. by R.
Bowyer, Palll Mall, Dec.r 1 1809.
Stipple, sheeet 260 x 205mm
m (10¼ x 8"). Trimmed
inside platem
mark.
£1110
Plate from a volume of thrree poems to celebrate
c
the
banning of thhe slave trade by Britain in 1805:
Montgomeryy's 'The West Indies',
I
Grahaame's 'Africa
Delivered'; aand Elizabeth Benger's
B
'A Po
oem,
Occasioned bby the Abolition of the Slav
ve Trade in
1806'. For thhe complete voolume see ref. 21739.
Stock: 36928
[Saraah Delaval, Countess
C
off
Mexborouggh]
85.
[by Thomas W
Worlidge]
Etching withh very large margins, platem
mark 105 x
85mm (4 x 3¼"). Good im
mpression on laaid paper.
£1110
(
coun
ntess of John
Portrait of Saarah Delaval (d.1821),
Savile, first eearl of Mexboorough. It was at a visit to
their residencce at Cannon Park, Hampsh
hire, that actorr
and playwrigght Samuel Fooote suffered his
h famous
accident after being throw
wn from the Du
uke of York's
horse.
Worlidge (17000 - 1766), 'th
he English
By Thomas W
Rembrandt' aand a pupil off Alessandro Maria
M
Grimalddi,
whose daughhter Arabella he
h married. W42;
W
D65.
Stock: 36931
[Greek
k inscriptionn: 'Let no strranger to
th
he Muses enter'] The Exxhibition of the Royal
Academy.
A
1787.
6.
86
H.
H Ramberg del.t. P.A. Martiini Parm.s feccit Londini.
Pu
ublish'd as thee Act directs JJuly 1. 1787 by
y A.C. De
Po
oggi, No.7 St Georges Row
w, Hyde Park. [but later.]
Ettching. Sheet 355 x 485mm
m (14 x 19") Thread
margins.
m
£580
Th
he Great Room
m at Somersett House durin
ng the visit of
th
he Prince of Wales
W
(George IV), drawn with
w detailed
reealism but with
h a certain hum
umorous intenttion. George
stands at the fro
ont, holding hhis hat, cane an
nd catalogue,
gu
uided by Sir Joshua Reynollds who is holding his eartru
umpet. Each picture
p
is num
mbered and can
n be
id
dentified from the R.A. Cataalogue, for example: '26',
'T
The assassinatiion of David R
Riccio' by Opiie, R.A. elect;;
an
nd '154', 'Walllworth killing Wat Tyler', by
b Northcote,
allso R.A. elect.
Th
he Greek inscription in the title is inscrib
bed over the
en
ntrance to the Great Room. See BM Satirres: 7219.
Stock: 35921
[Greek
k inscriptionn: 'Let no strranger to
th
he Muses enter'] The Exxhibition of the Royal
Academy.
A
1787.
87
7.
H.
H Ramberg del.t. P.A. Martiini Parm.s feccit Londini.
Pu
ublish'd as thee Act directs JJuly 1. 1787 by
y A.C. De
Po
oggi, No.7 St Georges Row
w, Hyde Park. [but c.1820.]
Ettching. Sheet 370 x 520mm
m (14½ x 20½"),
watermarked
w
18
820. Trimmedd to platemark
k, repaired
teears.
£680
Th
he Great Room
m at Somersett House durin
ng the visit of
th
he Prince of Wales
W
(George IV), drawn with
w detailed
reealism but with
h a certain hum
umorous intenttion. George
stands at the fro
ont, holding hhis hat, cane an
nd catalogue,
gu
uided by Sir Joshua Reynollds who is holding his eartru
umpet. Each picture
p
is num
mbered and can
n be
id
dentified from the R.A. Cataalogue, for example: '26',
'T
The assassinatiion of David R
Riccio' by Opiie, R.A. elect;;
an
nd '154', 'Walllworth killing Wat Tyler', by
b Northcote,
allso R.A. elect.
Th
he Greek inscription in the title is inscrib
bed over the
en
ntrance to the Great Room. See BM Satirres: 7219.
Stock: 35920
[Greeek inscriptioon: 'Let no stranger
s
to
the Muses eenter'] The Exhibition of
o the Royall
Academy. 11787.
88.
H. Ramberg del.t. P.A. Maartini Parm.s fecit
f
Londini.
7 by A.C. De
Publish'd as tthe Act directts July 1. 1787
Poggi, No.7 St Georges Roow, Hyde Parrk.
mm (15 x
Etching withh thread margins 380 x 530m
20¾"). Wearr to edges. Reepaired margin
ns on right &
left.
£7220
The Great Rooom at Somerrset House durring the visit oof
the Prince off Wales (George IV), drawn
n with detailedd
realism but w
with a certain humorous
h
inteention. Georgge
stands at the front, holdingg his hat, canee and cataloguue,
h
his earrguided by Sirr Joshua Reynnolds who is holding
trumpet. Eacch picture is nuumbered and can
c be
C
for example: '26',,
identified froom the R.A. Catalogue,
'The assassinnation of Daviid Riccio' by Opie,
O
R.A. eleect;
and '154', 'W
Wallworth killinng Wat Tyler', by Northcotte,
also R.A. eleect.
The Greek innscription in thhe title is inscribed over thee
entrance to thhe Great Room
m. BM Satiress: 7219.
Stock: 35918
89.
[The Abundancee of Egypt]
W.H. Hunt [1854/7]
ns, platemark
Etching on inndia with veryy large margin
155 x 120mm
m (6 x 4¾"). Uncut
U
sheet. Only
O publishedd
edition.
£2550
hings by PreThe best knoown of the fivee original etch
Raphaelite paainter William
m Holman Hun
nt (1827-19100).
Holman Hunnt travelled to the Near Eastt in the 1850s,,
visiting Cairoo, Nazareth, Beirut,
B
the Ced
dars of Lebanoon
and Damascuus between 18854 and 1856. The visit
distanced Hoolman Hunt froom his Pre-Raaphaelite
colleagues, bbut resulted in several succeessful artworkks.
This etching relates to Hollman Hunt's 'T
The Afterglow
w
in Egypt' (Soouthampton C.A.G.) which he began in
Giza in 18544 (a smaller veersion is in thee Ashmolean
Museum).
t Art Unionn
Published in the portfolio 'Etchings for the
of London byy the Etching Club' (1857) in an edition oof
500. The porrtfolio also inccluded Holman
n Hunt's 'The
Desolation of Egypt'. Harttnoll 14; for 'T
The Desolatioon
of Egypt' seee ref. 35879.
Stock: 35878
90.
[The Desolation of Egypt.]
W.H. Hunt [1854/7].
ns, platemark
Etching on inndia, with veryy large margin
50 x 115mm (2 x 4½"). Unncut sheet. On
nly published
edition.
£2550
a Giza. One oof
The landscappe surroundingg the Sphinx at
five original etchings by Pre-Raphaelite
P
e painter
man Hunt (18827-1910), wh
ho visited Egyypt
William Holm
when travelliing through thhe Near East between
b
1854
and 1856. It iis thought thaat the etching was
w begun
either at Gizaa or Jerusalem
m.
Published in the portfolio 'Etchings for the
t Art Unionn
of London byy the Etching Club' (1857) in an edition oof
500. The porrtfolio also inccluded Holman
n Hunt's 'The
Abundance oof Egypt'. Harrtnoll 15; for 'The
'
Abundannce
of Egypt' seee ref. 35878.
Stock: 35879
91
1.
The Ba
aby-House
J.E
E. Millais R.A
A. [1872]
Ettching on indiia, platemark 1145 x 185mm
m (5¾ x 7¼").
Uncut
U
sheet.
£350
Ettching by Pre--Raphaeilite ppainter John Everett
E
Millais
(1
1829-96), who
o frequently reeturned to the theme of
ch
hildhood in his popular etchhings. Lewis Carroll's
C
'A
Alice in Wonderland' had beeen published in 1865/6
with
w John Tenn
niel's famous iillustrations, and
a this
ettching reflectss the widespreead influence of
o that book.
Th
his print was published
p
the year after Millais'
caaricature was published
p
in 'V
Vanity Fair' with
w the
caaption 'A conv
verted Pre-Rapphaelite', dem
monstrating
ho
ow much Milllais' art had chhanged since his
h PreRaphaelite yearrs (c.1848-54)). Hartnoll 30 (only
pu
ublished editio
on)
Stock: 35881
92
2.
[Summ
mer Indolencce.]
J.E
E. Millais 186
61.
Ettching, platem
mark 180 x 2555mm (7 x 10""). Crease top
leeft; soiling and
d scuff marks.
£160
Tw
wo girls in a field,
f
one of w
whom chains together
neewly-picked flowers.
fl
Etchinng by Pre-Rap
phaeilite
paainter John Ev
verett Millais ((1829-96), wh
ho frequently
reeturned to the theme of childdhood in his popular
p
ettchings. This print
p
was madde in 1861, thee year that
Millais
M
returned
d from Scotlannd to live in London
L
(residing in Cro
omwell Place,, South Kensin
ngton).
Th
his impression
n is a reissue oof the plate daating to
18
874/5 (the orig
ginal 1861 pub
ublication line has been
sccratched out). Hartnoll 28
Stock: 35880
93
3.
[Ruth]
[JJ.E. Millais A.R.A.] 1858
Ettching on indiia with very laarge margins, platemark
18
80 x 130mm (7
( x 5"). Uncuut sheet; foxing to margins.
£280
Eaarly etching by Pre-Raphaeeilite painter Jo
ohn Everett
Millais
M
(1829-9
96). From 'Passsages from th
he Poems of
Th
homas Hood, illustrated byy the Junior Ettching Club'
(1
1858). The print illustrates tthe often-anth
hologised
po
oem of the sam
me name by H
Hood (1799-18
845),
sp
pecifically the fourth stanzaa: 'And her hatt with shady
brrim,/ Made heer tressy forehe
head dim;-/ Th
hus she stood
am
mid the stookss/ Praising Good with sweeteest looks'.
Th
his print was made
m
during tthe six years Millais
M
and
hiis wife Effie spent living inn Scotland. Efffie had
an
nnulled her maarriage to the critic (and Miillais' former
mentor) Johnn Ruskin in orrder to marry the
t artist, and to
escape the biitterness and gossip
g
surroun
nding their
controversiall marriage theey lived in Perrth. This perio d
saw a changee in Millais' arrt as he moved
d away from tthe
close observaation of his Prre-Raphaelite period to
produce workks more conceerned with evoking an
overall moodd. Hartnoll annd Eyre 26
Stock: 35884
94.
[The Young Motther]
J.E. Millais A
A.R.A. [1857]]
Etching on inndia, very largge margins, pllatemark 210 x
160mm (8¼ x 6¼"). Uncuut sheet; foxing
g to margins.
£1880
Early etchingg by Pre-Raphhaeilite painterr John Everettt
Millais (18299-96), who freequently depiccted subjects oof
children alonne or with theiir mothers in his
h popular
etchings.
This print waas made durinng the six yearrs Millais and
his wife Effiee spent living in Scotland (p
probably the
landscape shhown here). Efffie had annullled her
marriage to tthe critic (and Millais' former mentor) Johhn
Ruskin in ordder to marry thhe artist, and to
t escape the
bitterness andd gossip surroounding their controversial
c
marriage theyy lived in Pertth. This period
d saw a changge
in Millais' artt as he movedd away from th
he close
observation oof his Pre-Rapphaelite period
d to produce
works more cconcerned witth evoking an overall moodd.
Published in the portfolio 'Etchings for the
t Art Unionn
of London byy the Etching Club' (1857)
Stock: 35882
95.
[The Young Motther]
J.E. Millais A
A.R.A. [1857]]
Etching on inndia, very largge margins, pllatemark 210 x
160mm (8¼ x 6¼"). Goodd impression. Uncut sheet.
£2220
Early etchingg by Pre-Raphhaeilite painterr John Everettt
Millais (18299-96), who freequently depiccted subjects oof
children alonne or with theiir mothers in his
h popular
etchings.
This print waas made durinng the six yearrs Millais and
his wife Effiee spent living in Scotland (p
probably
informing thee landscape shhown here). Effie
E
had
annulled her marriage to thhe critic (and Millais' formeer
t artist, and to
mentor) Johnn Ruskin in orrder to marry the
escape the biitterness and gossip
g
surroun
nding their
controversiall marriage theey lived in Perrth. This perio d
saw a changee in Millais' arrt as he moved
d away from tthe
close observaation of his Prre-Raphaelite period to
produce workks more conceerned with evoking an
overall moodd.
Published in the portfolio 'Etchings for the
t Art Unionn
of London byy the Etching Club' (1857)
Stock: 35883
96
6.
Etching
gs by W.m. Delamotte.
Pu
ub.d 1837. By
y W.m Delamootte RM Colleege, near
Bagshot.
Laarge folio, original half morrocco gilt presentation
biinding, marbleed endpapers w
with presentattion label on
frontpastedown
n; etched fronttispiece and 27 etchings on
20
0 pages. Bindiing very wornn, plates foxed
d and dampstained.
£750
A collection off topographicaal sketches of English
E
and
Eu
uropean sceneery by William
m Delamotte (1775-1863),
(
pu
ublished as a prize
p
for the R
Royal Military
y College in
Saandhurst, wheere Delamotte was drawing master.
In
nfluenced by Girtin's
G
waterccolour style, Delamotte
D
was
w one of a grroup of landsccape artists alsso including
Constable and Turner,
T
who to
took to making
g oil sketches
n the open.
in
Th
he text gilt-em
mbossed on thhe cover reads 'Royal
Military
M
Colleg
ge. Presented ffor Attention to,
t and
Prrogress in, Lan
ndscape Draw
wing'; the Colllege
prresentation lab
bel reads 'Pressented to Genttleman Cadet
[A
Alexander B. Rooke]
R
for Atttention to, and Progress in,,
[L
Landscape Draawing Novem
mber, 1836.]'. Rooke
(b
b.1822) becam
me an ensign (w
without purch
hase) in the
77
7th Foot the fo
ollowing yearr.
Stock: 37006
97
7.
[The Prrogress of SSeduction.]
Paainted by G. Morland.
M
Engrrav'd by A. Gaabriel. [n.d.,
c.1790.]
gs, complete, sstitched on lefft edge. Each
Seet of 6 etching
pllate 280 x 320
0mm (11 x 12½
½") Very larg
ge margins,
un
ncut. Wear to edges.
£980
"T
The Progress of
o Seduction" complete set of six scenes
off the downfall and penitencce of Lætitia, seduced
s
by a
faaithless lover. These plates w
were engraved
d by Amedeo
Gabrielli
G
(1749 - 1817) after the stipples published
p
by
Jo
ohn Raphael Smith
S
in 1789.. See Ref: 36865 for
co
omplete set. Ex:
E Collection of Hon. Chriistopher
Leennox-Boyd. D'
D Oench 300 copies; Frankkau: 214-19
Stock: 35800
98.
[The Progress off Seduction]
Painted by G
G. Morland. Enngrav'd by A. Gabriel. [n.d..,
c.1790.]
Five out of siix etchings (laacking plate 3) with large
margins. Eacch plate 280 x 320mm (11 x 12½").
Spotting.
£6990
m The Progresss of Seductionn
Five out of siix scenes from
showing the downfall and penitence of Lætitia,
L
seduced by a faithless loveer. These platees were
engraved by Amedeo Gabrielli (1749 - 1817) after thhe
D'
stipples published by Johnn Raphael Smiith in 1789. D
Oench: 300 ccopies. Frankkau: 214-19
Stock: 36865
Vreu
ugde over dee Vrede gesllooten
tusschen dee Bataafschee Republiek
k en
Engeland, tte Amiens den
d 27 Maarrt A.o 1802.
99.
C. Meijer, innv. et del. J.E. Marcus sculp
p. 1802.
[Amsterdam c.1802.]
with etching, veery scarce; Sh
heet 630 x
Engraving w
490mm (24¾
¾ x 19¼"). Reepairs, laid on backing papeer.
£5880
A Dutch alleegory of the Trreaty of Amieens in 1802. Thhe
people dancee around a plinnth on which Britannia
B
and a
female allegoory of the Batavian Republiic stand
together. To the left a female 'War' is kn
nocked from th
the
sky by a lighhtning bolt. Jooy about the peace concludeed
at Amiens onn March 27, 1802, between the Batavian
Republic andd France and Britain.
B
On a pedestal standd
the British annd Dutch virgins with their flags, among
them a cornuucopia with grrape and grain
n. To the
ot Ceylon) waas something tto be celebrateed. However
no
th
he ensuing peaace only lastedd a year and Cape
C
colony
was
w lost perman
nently in 18066.
A preparatory sketch
s
of the bbottom right corner
c
is in
th
he Rijksmuseu
um.
htttps://www.rijkksmuseum.nl//en/collection//RP-T-1888A--1430
Stock: 36855
10
00. [Allego
ory of the arrts and scien
nces]
G.D.
G Heuman del
d et sculpsott Norib: 1739
En
ngraving, plattemark 270 x 180mm (10½ x 7"). tear at
bo
ottom; bottom
m right corner m
missing; creasse lower left.
£75
A man in his study attended bby two womeen gesturing
to
owards different books: seem
mingly an alleegory of
diifferent forms of learning. In the foregrou
und a pile of
diifferent objectts including a skeleton, cello, measuring
in
nstruments and
d a mask.
By George Dan
niel Heumannn (1691-1759),, Nuremberg
nd engraver.
drraughtsman an
Stock: 36631
Colourring. From tthe Originall Picture in
th
he Ceiling in
n the secondd room of thee Royal
Academy.
A
10
01.
Angelica
A
Kaufffman Pinx.t. Jo
John & Josiah Boydell,
ex
xcudit 1787. F.
F Bartolozzi SSculpsit. Publiished Jan.y
1sst 1787 by Joh
hn & Josiah B
Boydell. No. 90
0 Cheapside,
Lo
ondon.
Sttipple with very large margi
gins. Platemark
k: 320 x
30
00mm (12½ x 11¾").
£390
A young womaan, seated on lo
low rocks by a woodland,
ho
olding a palattte and brushess in her left haand, and
an
nother brush in
n her right. Shhe extends herr right arm up
to
owards a rainb
bow above. A small chameleon can be
seeen on the ground below. W
Within an oval.
After
A
Angelica Kauffman, RA (1741 - 180
07), a Swissbo
orn Austrian Neoclassical
N
ppainter who haad a
su
uccessful career in London and Rome.
Stock: 36886
Learnin
ng's a Happpiness to Ma
an Below;
[/] 'Tis from that
t
source tthe Stream''s of Plenty
flow. Seek th
here ye Younng, the Anch
hor of your
Mind;
M
[/] Theere Suffringg Age, a bless'd
Provision find.
10
02.
B. Picart inv. F. Morellon la Cave sculp. [n
n.d., c.1780.]
ngraving, marrgins on 3 sidees. Sheet: 125
5 x 210mm, (55
En
x 8¼"). Some paper
p
tone. Teears and nicks to edges
.
£45
Athena,
A
goddesss of knowledgge, sits on a th
hrone
su
urrounded by gods
g
and puttii who read bo
ooks on the
steps below herr.
Stock: 36038
monument daances elated people
p
left sen
nd a man with
binoculars onn the sea, righht weapons aree buried and
used to cut bread.
blic of Francee
After Hollannd had becomee a sister-repub
R
in 17
795, she and
after the fall of the Dutch Republic
her colonies became targetts of the Britissh. The Dutchh
us the return oof
had suffered considerable losses and thu
W Indies (buut
Cape Colonyy and their collonies in the West
10
03. Harvesst.
Bassan in. B. Lens
L
Exc. [n.d.., c.1690.]
Mezzotint
M
with small marginns. 160 x 185m
mm (6¼ x
7¼
¼"). Top left tip
t creased.
£160
An
A allegorical 'Summer' scenne, represented with a
piicnic scene wiith workers gaathering sheav
ves behind. It
was
w painted by Jacopo Bassaano (c.1510/18
8-1592) and
engraved by Bernard Lenss II (1659-172
25), probably
from the enggravings by Johann Sadeler c.1581. BM:
1997,0928.17. Ex Collectiion of the Hon
n. Christopherr
Lennox-Boydd.
After
A
the painting 'The Cumaaean Sibyl' (1616-17) by
Domenichino
D
(1581-1641), nnow in the Gaalleria
Borghese, Rom
me.
Stock: 36841
Stock: 36462
104. The H
Hours Crow
wning Virtuo
ous Love.
R. Cosway. R
R.A. pinx.t. T. Ryder Sculp
p.t. Publishe'd as
the Act direccts, 15.th. Novv.r. 1786 by S..Watts, No.500
Strand, Londdon.
Stipple printeed in sepia wiith small marg
gins. Fine. Rarre.
Plate: 145 x 190mm, (5¾ x 7½"). Bit du
usty.
£1660
Set in a rounndel, two childdren representiing 'The Hourrs'
a one placess a
flank the figuure of Love onn either side and
crown of roses upon his heead. Daniell: 186.
Stock: 36847
105. [Inno
ocence.]
[Ph. Mercier Pinxt. / Richdd Houston Feccit] [Printed fo
for
Map & Printseeller, opposite Fetter Lane,
Robt Sayer M
Fleet Street. Price 1s 6d.]
Mezzotint wiith small marggins, very finee, platemark
355 x 255mm
m (14 x 10"). Proof
P
before letters;
l
very
scarce, uncleeaned title areaa. Collector's stamp of the
Late Hon. Chhristopher Lennnox-Boyd veerso.
£3660
Young girl hholding a crookk under her arrm, a lamb
beside her. O
Originally issuued as a pair with
w another
plate, 'Pride',, in which a giirl with a peaccock's feather in
her hair is shhown besides a peacock.
After a 'fancyy picture' by Philip
P
Mercierr (1691-1760) ,
Berlin-born ppainter and etccher who worrked in Londonn,
York and Porrtugal. CS 1355 i/ii
Stock: 36506
106. Aprill.
[n.d., c.1770.]
5mm, (4¼ x 7 ").
Fine copper eengraving. Plaate: 105 x 175
Damage to leeft edge.
£665
Figure of Appril leans up aggainst a wall on
o which a
flower in a pot is perched; behind her arre several treees
in full leaf.
Stock: 36039
107. May..
[n.d., c.1770.]
5mm, (4¼ x 7 ").
Fine copper eengraving. Plaate: 105 x 175
Some slight sstaining to lefft edge.
£665
A figure of M
May picks flow
wers while beh
hind her figurres
dance aroundd a may pole.
Stock: 36040
108. Musiic.
Domenichinoo pinxt. M. Beenedetti Sculp
p.t. [n.d.,
c.1797.]
S
size: 2800 x
Stipple; ink ccollector's marrk on verso. Sheet
195mm (11 x 7¾"). Trimm
med inside plaatemark. £1990
A seated figuure, wearing a decorative heead-piece,
depicted withh a music boook. The subject has the
attributes of St. Cecilia, thhe Patron Saint of musicianss
music, and thee viola di gam
mba, seen in thhe
and Church m
background tto the right, annd sheet music are indicativve
of the artist pportraying the subject as thee saint.
10
09. [The Nightmare.]
[aafter Henry Fu
useli.] [n.d., c. 1790.]
Aquatint,
A
printeed in sepia, rar
are. Printed areea 135 x
16
60mm (5¼ x 6¼").
6
Some sppotting.
£380
Henry
H
Fuseli's famous
f
paintiing 'The Nighttmare', with a
woman
w
hanging
g over the sidee of her bed, a position
su
upposed to cau
use nightmarees, an incubus sitting on herr
stomach. A glassy-eyed horsse pokes its heead throught
th
he drapes.
Fu
useli (1741-18
825) exhibitedd the painting at the Royal
Academy
A
in 1782, before sellling it for for twenty
gu
uineas: a stipp
ple by Thomass Burke was published
p
by
Jo
ohn Raphael Smith
S
in Januaary 1783, earn
ning more
th
han £500. Thiss aquatint verssion was appaarently copied
from Burke's sttipple. The paiinting is now in the Detroit
In
nstitute of Artss. Ex Collectioon of the Hon. Christopher
Leennox-Boyd. Weinglass: 677B "Le Cocheemar" 1784.
Stock: 36460
[The Siick Child] [["Hush my babe
b
be stilll
an
nd slumber / Holy angeels guard thy
y bed"]
11
10.
Rich.d Redgrav
ve / Etch Clubb [1844]
Ettching on indiia, very large m
margins; plateemark 185 x
13
35mm (7¼ x 5¼").
5
Proof beefore addition
nal text added..
Crease upper leeft margin.
£75
One
O of few etch
hings by paintter and arts ad
dministrator
Richard Redgraave (1804-88)), in which an angel looks
ov
ver an unwell child (in the ffinal state it was
w
acccompanied by
y verse by Reedgrave). In 18
837 Redgravee
was
w a founding member of thhe Etching Clu
ub, under
whose
w
auspicess this print waas published in
n 1844.
Kathryn
K
Mooree Heleniak (DN
NB) writes that: 'it was in
th
he 1840s that Redgrave
R
prodduced his mosst memorable
paaintings, 'lesso
ons of philanthhropic appeal on behalf of
th
he oppressed and
a miserable'', and this prin
nt, like many
off his works in this period, ddraws attention
n to the perils
an
nd trials facing
g humanity.
In
n later years Redgrave
R
paintted less and beecame an
in
nfluential arts educator and administrator, working
with
w museums, international exhibitions, writing
w
books
an
nd becoming surveyor
s
of thhe queen's picttures.
Stock: 35913
14. [The Holy
H Virgin aand Infant Jesus]
J
[In
11
His
H Majesty'ss Collection]]
[G
Guido pinxot. Gondolfi del. t / Gondolfi & Bartolozzi
scculp.nt]
Ettching and eng
graving with llarge margins, platemark
25
50 x 185mm (9¾
( x 7¼"). R
Rare proof befo
fore letters.
£220
Virgin
V
and child after the paiinting by Guid
do Reni
(1
1575-1642) in the Royal Coollection (currently hangingg
in
n Hampton Co
ourt Palace). A
According to de
d Vesme, the
paainting was accquired by Geo
eorge III's libraarian Richard
Dalton
D
in Bolog
gna, and Daltoon had the paiinting
en
ngraved by G. Gandolfi in 11770 before en
ngaging the
more
m
esteemed Bartolozzi too retouch the plate.
p
The
Royal Collectio
on, however, sstate that inventories
reecord the paintting as havingg been bought by George
III himself. De Vesme 135 i/i/ii
111. [Jaco
ob's Vision.]]
Drawn & enggraved by Geoorge Sanders [1845].
Mezzotint, very rare; sheet 310 x 240mm
m (12¼ x 9½"").
Cut down froom large sheett of three Old Testament
scenes.
£1880
Patriarch Jacoob dreaming of
o a staircase tto
The biblical P
heaven durinng his flight from Esau, as described
d
in thhe
book of Geneesis. Originallly this was parrt of a large
(approx 48 x 73cm) sheet consisting of three scenes
(the others beeing Moses onn the Mountaiin and Elijah
addressing G
God).
Stock: 36933
Lot A
And His Dau
ughter. Fro
om the
Original Piicture in thee Collection of the
Proprietor..
112.
Arnould de G
Gelder Pinxit. Dunkarton Scculpsit.
Publsihed Appril 25th 17877, by John & Josiah
J
Boydelll.
No. 90 Cheappside, Londonn.
Mezzotint wiith large marggins. Fine impression. Rare..
£3550
Lot and one oof his daughteers, in the cave in the
mountains, sitting side by side. They aree leaning
g
in his right
r
hand fallls
towards eachh other as the goblet
into her left. He holds her chin, drawing
g her towards
ment figure, a son
s of
him. Lot is ann Old Testam
Abraham's yooungest brothher. On the desstruction of
Sodom, he w
was rescued wiith his family by divine
intervention, but against innstruction, hiss wife turned
back to look at the city, uppon which shee turned into a
c
pillar of salt. Ex Oettingerr-Wallenstein collection
Sotheby's Lot 736, 13/11/997. Ex collectiion of
Lennox-Boydd.
Christopher L
Stock: 36641
113. [Motther and Child.]
Elias Martin fecit. Publishhed Decem.br. 1779.
m
Plate :
Hand-coloured stipple with very large margins.
m, ( 5 x 6¾"). Fine.
£1880
130 x 170mm
A scene in w
which a motherr holds her bab
by to her
shoulder whiile behind her a man and an
nimals look onn.
By Elias Marrtin, A.R.A. Swedish,
S
born Stockholm inn
1739, died Sttockholm 1818. He came to
o London in
1768, becom
ming a Royal Academy
A
studeent the next
year and wass elected A.R.A in 1770.
Stock: 36334
Stock: 36930
11
15. S: Giov
vanni Battist
sta.
Guido
G
Reni dip
p: Guis: Calend
ndi inc: [n.d., c.1800.]
c
Sttipple with etcching. Sheet siize: 295 x 225
5mm (11¾ x
8¾
¾"). Trimmed
d inside plate. Slight stain on
o left. £120
Saaint John the Baptist
B
preachhing to the mu
ultitude in the
wilderness,
w
seated full-lengthh in animal sk
kins with
crross, pointing upwards; afteer Guido Reni.
Stock: 36565
11
16. [The Dream of St. Helena] [tw
wo states]
Paaulo Veronesee Pinx.t / Lum
mb Stocks R.A
A. Sculp.t
18
881
Tw
wo engravings on india, eacch platemark 255 x
16
60mm (10 x 6¼").
6
Both hinnged to backin
ng sheet. £95
Tw
wo states (onee unfinished, oone finished) of an etching
off Veronese's 'D
Dream of St. H
Helena' (Lond
don, National
Gallery),
G
rewarrding close com
mparison of th
he two.
By Lumb Stock
ks (1812-92), one of the forremost
xponents of steel engravingg, elected RA in
i 1872.
ex
Stock: 36388
11
17. [The Im
mmaculate C
Conception.. Or. the
Assumption
A
of
o the Virginn.] From th
he Original
in
n the Possesiion of John Blackwood Esq.r.
Bar.t. Murillo pinx.t.
p
McArddell Fecit. [n.d
d., c.1750.]
Mezzotint.
M
Colllector's ink staamp on reversse, 'Kurt
Klemperer'.
K
Plaatemark: 505 x 350mm (20 x 13¾").
Th
hread marginss. Light horizoontal creases to
t centre. A
feew small scufff marks to sheeet.
£320
Th
he Virgin is seeen with her lo
long hair hang
ging loose,
heer eyes raised upwards and hands across her breast.
Sh
he is suspendeed on a cloud supported by cherubs
caarrying lilies, roses
r
and palm
ms, a crescentt moon under
heer feet. More cherubs
c
can b e seen in the clouds
c
above.
So
ometimes cataalogued with tthe title 'Assum
mption of the
Virgin'.
V
After
A
Bartolom
mé Esteban Muurillo (1617 - 1682) ,
paainter of portraits and genree scenes, but especially
e
reenowned for his
h paintings oof children and
d his religious
works,
w
includin
ng his many veersions of the 'Virgin of
th
he Immaculatee Conception' dispersed thro
oughout
in
nternational art collections.
Fo
or a proof beffore letters imppression, see item
i
ref:
36
6649. Le Blanc: 5. II of II. E
Ex collection of
Christopher L
Lennox-Boydd. Lugt: K. Kleemperer.
Goodwin: 2116.
Stock: 36400
Stock: 36648
12
20. [Woma
an Reading.]]
[C
Charles West Cope,
C
c.1844..]
Ettching on indiia with additioons in pencil, platemark
p
10
00 x 70mm (4 x 2¾"). Ms bbelow '1st. retouched by
Mr.
M Cope'; foxiing to marginss.
£200
Prroof etching, retouched
r
by hhistory painter Charles
West
W Cope (1811-90) and sim
milar to other of his
ettchings such as
a those for 'Ettched Though
hts of the
Ettching Club' (1844). Cope w
was a founderr member of
th
he Etching Clu
ub.
118. [The Immaculate Conceptio
on. Or. the
Assumption
n of the Virgin.]
[Bar.t. Murillo pinx.t. McA
Ardell Fecit.] [n.d., c.1750.]]
mpression.
Mezzotint. Scare proof beffore letters im
( x 13¾"). Thread
T
marginns.
Platemark: 505 x 350mm (20
c
£4550
Light horiznttal creases to centre.
A scarce prooof before letteers impression
n. The Virgin iis
seen with herr long hair hannging loose, her
h eyes raise d
upwards andd hands across her breast. Sh
he is suspendeed
ng lilies, rosess
on a cloud suupported by chherubs carryin
and palms, a crescent mooon under her feeet. More
cherubs can bbe seen in the clouds abovee.
Sometimes ccatalogued witth the title 'Assumption of th
the
Virgin'.
M
(1617 - 1682) ,
After Bartoloomé Esteban Murillo
painter of poortraits and gennre scenes, bu
ut especially
a his religioous
renowned forr his paintingss of children and
works, includding his manyy versions of th
he 'Virgin of
the Immaculaate Conceptioon' dispersed th
hroughout
international art collectionns.
3
Ex
For a letteredd impression, see item ref: 36648.
collection off Christopher Lennox-Boyd.
L
Goodwin:
216.
Stock: 36649
Stock: 35885
12
21. L'Oreillle m'est chaarmeé...
D.
D Teniers S.P.I.A. Pictor a C
Cubiculis. J. Vanden
V
Bruggen Fecit et
e excudit. Bruux. [Brussels, n.d.,
c.1660.]
Mezzotint
M
with large margins
ns, very rare. 310 x 230mm
(1
12¼ x 9"). 'Bru
ux' in publicat
ation line weak
kly inked.
£260
An
A old letchero
ous peasant sittting in a taverrn drinking,
lisstening to a yo
oung woman pplaying the flu
ute. Engravedd
an
nd published by
b Jan Vandenn Bruggen (c.1648-90)
affter David Ten
niers the younnger (1610-90)). BM:
18
893,1018.46. Ex Collectionn of Christoph
her LennoxBo
oyd.
Stock: 36535
12
22. [Three figures gath
hered aroun
nd a fire.]
Quadro
Q
di Pietro Paulo R
Rubens Alto
o Piedi 4.
Onz.
O 1 Largo
o Piedi 3 Onzz. 3
C. Hutin delin. / C.F. Boece Sculps [c.1810]
ngraving, plattemark 430 x 3330mm (17 x 13"). Uncut
En
sh
heet with very
y large marginns. Fine.
£240
Itaalian engravin
ng of a scene aattributed to Rubens
R
of
th
hree figures in a cave gatherred around a small
s
fire.
Stock: 36532
The C
Captive. I beheld
b
is bod
dy half
wasted awaay...
119.
Joseph Wrighht, pinxit. Rydder, sculpsit. John
J
& Josiahh
Boydell excuudit 1786. Pubblished Oct 1, 1786, by Johnn
& Josiah Boyydell Engraveer No. 90 Cheaapside Londonn.
Stipple, printted in colours and hand-finiished with verry
large marginns. 375 x 475m
mm. Extremely
y fine. £13550
S
An illustratioon to Laurencee Sterne’s 'A Sentimental
Journey' (17668). The noveel comprises th
he reflections of
the sensitive traveller, Yorrick: in Paris, threatened wiith
flects upon thee terrors of thee Bastille, in a
arrest, he refl
section titledd ‘The Captivee’. By focusing imaginativeely
on a single, ssuffering prisooner, Yorick is able to
conjure the ddeepest emotioons, which thee reader is
invited to shaare.
The painting was finished by Wright in Rome in 17744:
v
changedd.
it is now lostt. Egerton: P228 iv/iv, with verse
Ex Collectionn of the Hon. Christopher Lennox-Boyd.
L
12
23. Basle. A.
Drawn
D
& Etcheed by J.M.W. Turner R.A. Engraved
E
by
C.Turner. Publiished as the A
Act directs by J.M.W.
J
urner, Harley Street.
Tu
Mezzotint
M
with some etchingg and very larg
ge margins.
Pllate: 285 x 210mm, (11¼ x 8¼"). Foxing
g.
£280
Pllate V from Paart I of Turnerr's 'Liber Stud
diorum' 180718
819. A view of
o the bridge aacross the Rhin
ne in the
Sw
wiss city of Basel, several m
men row in bo
oats and rafts.
Th
he sun shines over the builddings and hillss. Rawlinson:
5 1st Published
d State; Whitm
man: 867.
Stock: 36499
Richard Earlom
m to much accl
claim some thiirty years
eaarlier. In many
y ways Turnerr's project invited
co
omparisons wiith that of his great precursor.
Ra
awlinson: 45 1st published state. Rare.
Stock: 36495
River Wye.
W
[Letteered above the image
'E
E. P.']
12
26.
Ben A
Arthur, Scootland. [Letttered above
the image 'M'.]
124.
Drawn & Etcched by J.M.W
W. Turner Esq
q. R.A. P.P.
Engraved byy T. Lupton. London Pub. Jaan 1. 1819 by
J.M.W. Turnner, Queen Annne Street.
Mezzotint annd etching witth very large margins.
m
Platemark: 210 x 290mm (8¼
(
x 11¼").
£3660
ween rocky hiillsides which curve down
A ravine betw
from either sside, with mouuntains in the distance
d
and
boulders in thhe foregroundd.
Plate 69 from
m Part XII of Turner's
T
'Liber Studiorum'.
The Liber Stuudiorum was published in several
s
parts
between 1807 and 1819, by
b which time Turner's
position as thhe pre-eminennt British landscape painter of
his day was aassured. In thiis series, excep
ptional amonggst
Turner printss for the extennt of the artist's involvementt,
he sought to emulate the 17th century French artist
Claude Lorraaine. Claude's 'Libro di Verrita', a book off
drawings sold to the Dukee of Devonshirre, had been
engraved by Richard Earloom to much accclaim some
thirty years eearlier. In manny ways Turneer's project
invited compparisons with that
t of his greeat precursor.
Rawlinson: 669. State II of IV. Rare.
Stock: 36494
125. Peat Bog, Scotland.
Drawn & Etcched by J.M.W
W. Turner Esq
q.r R.A.
Engraved byy G. Clint. Pubblished April 23.
2 1812 by
J.M.W. Turnner, Queen Annne Street.
Mezzotint wiith etching wiith very large margins;
Turner's sale blind stamp in
i lower right corner.
(
x 11¼"). Some foxing
Platemark: 210 x 290mm (8¼
Small hole in upper margin.
on reverse. S
£3880
In the centre,, a morass in deep
d
shadow, with mountaiins
on the right. In the foregroound, men are cutting turf,
and to the lefft is a horse annd cart.
Rawlinson (pp.110) noted thhat 'Peat Bog has always
ranked amonng the great plates of the Lib
ber. Finer
mezzotint woork than that of
o the sky wou
uld be
impossible; bbut it was of necessity
n
so deelicate that it
can only adequately be seeen in early imp
pressions.'
m Turner's 'Libber Studiorum
m'. The Liber
Plate 45 from
Studiorum w
was published in
i several partts between
1807 and 18119, by which time
t
Turner's position as thhe
pre-eminent British landsccape painter off his day was
ngst Turner
assured. In thhis series, exceptional amon
prints for thee extent of the artist's involv
vement, he
sought to em
mulate the 17thh century Fren
nch artist Clauude
Lorraine. Claaude's 'Libro di
d Verita', a bo
ook of drawinngs
sold to the D
Duke of Devonnshire, had beeen engraved bby
Drawn
D
& Etcheed by J.M.W. Turner Esq. R.A.
R P.P.
En
ngraved by W.
W Annis. Publlished May 23
3. 1812, by
J.M
M.W. Turner.. Queen Annee Street West.
Mezzotint
M
with etching with very large maargins.
Pllatemark: 210 x 290mm (8¼
¼ x 11¼").
£290
Th
he river Wye, curving rounnd from the lefft, with cows,
a horse and bath
hers on the neear bank, a briidge on the
faar left and Cheepstow Castle on the steep, wooded, far
baank, beneath which
w
is a bargge.
Pllate 48 from Turner's
T
'Liberr Studiorum'. The
T Liber
Sttudiorum was published in several parts between
b
18
807 and 1819,, by which tim
me Turner's po
osition as the
prre-eminent British landscappe painter of his
h day was
asssured. In this series, excepttional amongsst Turner
prrints for the ex
xtent of the art
rtist's involvem
ment, he
so
ought to emulaate the 17th ceentury French
h artist Claudee
Lo
orraine. Claud
de's 'Libro di V
Verita', a book
k of drawings
so
old to the Duk
ke of Devonshhire, had been engraved by
Richard Earlom
m to much accl
claim some thiirty years
eaarlier. In many
y ways Turnerr's project invited
co
omparisons wiith that of his great precursor.
Ra
awlinson: 48. III of V.
Stock: 36496
12
27. [Still liffe banquet p
piece.]
[b
by Robert Rob
binson and pubblished by Isaaac Beckett,
c.1680-1700.]
Mezzotint,
M
platemark 240 x 1180mm (9½ x 7"). Small
margins.
m
£180
Sttill life with crrabs, prawns, fruit and silveer tobacco
jaar. Previously attributed to JJohn Smith, th
his print has
since been reatttributed to thee less well-kno
own Robert
Robinson (1674
4, fl.-d.1706), decorative paainter and
mezzotinter.
m
Exx Collection of Christopherr LennoxBo
oyd. Le Blancc: 481 II of II.
I.
Stock: 36531
12
28. [The Bravo.] Alt. 228. Lat. 24 unc.
u
Giorgio
G
pinx. V.Prenner
V
inc. [n.d., c.1730.]
En
ngraving with
h mezzotint. Shheet: 160 x 22
25mm, (6¼ x
9""). Trimmed within
w
plate. L
Laid on album sheet. £120
A engraving off 'The Bravo', cc.1520 which was
orriginally attibu
uted to Giorgiione but has siince been
reeattributed to Titian.
T
One m
man grabs another from
beehind by his sh
houlder.
Stock: 36456
Mezzotint,
M
very
y rare & fine. Proof before letters.
l
Pllatemark: 455 x 330mm (188 x 13"). Ligh
ht creasing to
sh
heet. Small ho
ole in left marggin.
£480
A white horse starting
s
backw
wards at the lig
ghtning in a
th
hunderstorm, in a forest, witth trees blown
n by the wind
beehind it and a path proceediing right to lefft lined with
bu
ushes.
After
A
George Morland
M
(17622/3 - 1804), paainter,
esspecially of sccenes of Engliish rural life an
nd
piicturesque landscapes. Ex co
collection of Christopher
C
Leennox-Boyd.
Stock: 36984
129. Cred
dulous Innoccence. [&] Seduction.
Painted by G
G. Morland. Enngrav'd by J. Young.
Y
Londoon
Pub.d Nov.r 5, 1788, by Iaa.s Birchall No
o.473, Strand..
3
(20 x 14"). Damagge
Pair of mezzootints. 506 x 355mm.
to upper areaa.
£5990
A pair of sceenes set in rusttic settings: a young womaan
sitting in a baare interior, unnaware of a young man whho
peers slyly thhrough the winndow, listenin
ng attentively to
another wom
man in tatteredd clothes with a broadbrimmed hatt, who reads her palm; and a young womaan
wearing a moob cap, shawl and apron, sittting at the dooor
of a thatchedd cottage, her left
l arm hookeed over the
back of her cchair, reading a letter. Theree is a basket
upside downn beside her, annd a bird drink
king from a
plate on the gground next too it. A young man
m is seen
bribing a seccond woman behind
b
a tree next
n to the
1646 [listed].
cottage to thee right. Chaloner Smith: p.1
Ex collectionn of Christophher Lennox-Bo
oyd. Ex
Oettingen-W
Wallerstein Colllection Sotheb
by's 13/11/97..
Stock: 36981
[Fairr Persian.] See
S the fair Persian
waiting forr the Gleamss. That lightt Devotion in
n
her artless Breast. Uncconscious th
hat her Eyes
more poten
nt Beams. Chase from dispairing
d
Lovers balm
my Rest.
130.
Painted by M
Maria Cosway.. From an orig
ginal picture inn
the possessioon of the Righht Honorable Elizabeth
E
Ladyy
Dowr Littletoon. Engraved by James Waalker. Publisheed
April the 20tth 1784 by Ja.s Walker Upp
per Mary le
Bone Street, near Titchfielld Street.
Very rare. Platemark: 350 x 400mm (13¾
¾x
Mezzotint. V
15¾"). Creasses to sheet. Foxing. Damag
ge to upper annd
lower left corrners.
£4220
A woman dreessed in whitee, with clasped
d hands adorinng
the sun risingg over mountaains in the disttance.
After painterr, miniaturist, draughtswom
man, etcher,
musician andd educationalist Maria Cosw
way (1759 1838). Cosw
way studied in Rome and waas elected
member of F
Florence Acaddemy 1778 and
d in London inn
1779. In 1781 she marriedd the painter Richard
R
Coswaay.
mith: 20. State I of II. Ex co
ollection of
Chaloner Sm
Christopher L
Lennox-Boydd.
Stock: 36983
131. [The Frightened
d Horse.]
Painted by G
G. Morland. Enngraved by E. Bell [in
manuscript bbelow image]. London. Publish'd Oct.r 1sst
1800 by E. B
Bell, No.45 Isllington R.d, N.r
N Sadlers
Wells [in maanuscript below
w image].
13
32. [Allego
orical scene]
Glauber
G
Leon. Schenk exc. [pprobably engrraved c.1670,
th
his impression c.1720]
Mezzotint,
M
very
y scarce; plateemark 220 x 260mm
2
(8½ x
10
0¼"). Glued to
o backing sheeet.
£420
Eaarly allegoricaal mezzotint.
Stock: 36391
13
33. The Go
olden Age.
Paainted by B. West,
W
Historica
cal Painter to his
h Majesty.
En
ngraved by V. Green, Engrraver to his Majesty, and to
th
he Elector Palaatine. Publish''d by J. Boydeell, Engraver
in
n Cheapside, June 4.th 17777.
Mezzotint
M
Plateemark: 475 x 5570mm (18¾ x 22¼").
Th
hread marginss. Light creasiing and rubbin
ng to surface
.£450
A domestic scene in a styliseed Eastern settting. A
mother
m
is seen sitting to the ffront and sewiing, watching
heer sleeping young child besi
side her. A catt sits in a
baasket below. An
A elderly couuple, the man seated, are in
th
he doorway to the right withh a dog. A ruraal landscape
caan be seen bey
yond. Within aan oval.
Fo
or a pair, 'The Golden Age [&] The Silveer Age', see
iteem ref: 29074
4. CS 159. Whiitman: 203. Ex
E
Collection:
C
Thee Late Honourrable Christop
pher LennoxBo
oyd.
Stock: 36646
13
34. The Go
olden Age.
Paainted by B. West,
W
Historica
cal Painter to his
h Majesty.
En
ngraved by V. Green, Engrraver to his Majesty, and to
th
he Elector Palaatine. Publish''d by J. Boydeell, Engraver
in
n Cheapside, June 4.th 17777.
Mezzotint
M
with large margins
ns; Platemark: 475 x
57
70mm (18¾ x 22¼"). Lightt foxing and ru
ubbing to
su
urface.
£420
A domestic scene in a styliseed Eastern settting. A
mother
m
is seen sitting to the ffront and sewiing, watching
heer sleeping young child besi
side her. A catt sits in a
beesket below. An
A elderly couuple, the man seated, are in
th
he doorway to the right withh a dog. A ruraal landscape
caan be seen bey
yond. Within aan oval.
Fo
or an open lettter proof imprression, see iteem ref:
36
6646. For a paair, 'The Goldeen Age [&] The Silver
Age',
A
see item ref:
r 29074. CSS: 159. Whitm
man: 203. Ex
Collection:
C
Thee Late Honourrable Christop
pher LennoxBo
oyd. Ex Oetttinger-Wallensstein collectio
on Sotheby's
Lo
ot 736, 13/11//97.
Stock: 36645
Mezzotint
M
with large margins
ns. Platemark: 445 x
54
40mm (17½ x 21¼"). A few
w very small marks
m
to
prrinted area.
£450
Stt Peter, standin
ng to the left, is seen warm
ming his hands
att a fire, while a serving girl points to him
m, asking if
Peeter is not onee of Christ's foollowers, oppo
osite a young
man
m in a plumeed hat. A tablee with a group
p of soldiers,
pllaying a game of dice in bacckground.
Th
he original paainting is now in the Pushkin Museum,
Moscow.
M
Leettered below the image in English and Russian
R
with
a dedication fro
om the engravver to 'Catherin
ne the Secondd
mpress and Autocratrix of aall the Russiass'. Ex
Em
co
ollection of Ch
hristopher Lennnox-Boyd. Ex
E OettingenWallerstein
W
Collection, Sotheeby's 13/11/97
7.
135. [Lion
n.]
I. Graham Piinx.t. J. Daniel Sculp.t. Lon
ndon Publish'dd
June 29. 1792 by John Muurphey, No.20 Berkely Streeet,
Edgeware Rooad.
Hand coloureed mezzotint, very scarce. Sheet
S
size: 48 0
x 610mm (188¾ x 24"). Triimmed to imaage with
damage. Laiid on backing sheet. Some repaired
r
tears..
Rubbing to ssurface.
£12550
mage of a Lion emerging fro m
A wonderfully striking im
wer, crouched on
a dark cave, llooking directtly at the view
its forelegs aas if ready to pounce.
p
After John G
Graham (1755--1817), painteer and teacher of
art.
Stock: 36897
136. [Banditti with a female capttive.]
Mortimer Pinnxit. J.R. Smitth Sculpsit. Pu
ublished
Feb.14th 17880 by J. Boydeell Engraver in
n Cheapside
London.
0 x 12"). Threaad
Mezzotint, pllatemark 255 x 305mm (10
margins; glueed to backing sheet at corneers. Good
impression oof a rare print.
£2660
Banditti scenne after John Hamilton
H
Morrtimer (174079), publisheed soon after the
t artist's deaath. Influencedd
by the workss of Salvator Rosa
R
(immensely popular
during the peeriod), Mortim
mer incorporatted Rosa's
disturbing baanditti and occcult subject matter
m
in the
1770s. This pprint is usuallyy regarded as a generic
banditti scenne: a preparatoory drawing in
n the collectionn
(
in the Brritish Museum
m)
of Richard Payne Knight (now
hed in
was etched bby Robert Blytth and publish
November 17780 with the title
t
'Banditti Returning'.
R
However, a rrelated paintinng by Mortimeer (Newcastle ,
Hatton Galleery) is titled 'T
The Sacrifice of
o Polyxena'. IIn
Euripides' plaays, Polyxenaa was sacrificeed at the end oof
the Trojan W
War to appeasee the gods. Ex:: collection off
the Hon. C. L
Lennox-Boyd;; Ex: Collectio
on Christopheer
Mendez; D'O
Oench 145. Frrankau: Not in
n.
Stock: 36371
137. Peterr Denies Chrrist.
Moisé Valenntin pinxit. Jam
mes Walker feecit. From the
Original Pictture in the Impperial Gallery at St.
Petersburg. P
Publsih'dJan.yy 1, 1792 asthee Act directs bby
Ja.s Walker S
St. Petersburgg, W. Hodges Queen
Q
Street
Mayfair and R. Blamire, Strand,
S
London
n.
Stock: 36993
13
38. [Woma
an and Childd.]
Rembrandt Pinx
xit. Ja.s Walkker Eng.r to heer J.M and
memb.r
m
of the Imp.l
I
Acad.y oof Arts St. Petersburg
feecit. Publish'd Jan.y 1. 17922 as the Act directs by Ja.s
Walker
W
S. Peterrsburg, W. Hoodges Queen Street
S
May
Faair and R. Blaamire, Strand, London.
Mezzotint
M
with small marginns. Platemark: 510 x
£190
36
60mm (20 x 14¼"). Marks tto surface.
An
A elderly lady
y seated with hher right arm around
a
a
sm
mall child, hollding a cameoo in her left haand in her lap.
Th
he child, leaniing against heer knee, is read
ding an open
bo
ook.
Leettered below the image in English and Russian
R
with
a dedication fro
om the engravver to 'Catherin
ne the Secondd
mpress and Autocratrix of aall the Russiass'. Ex
Em
co
ollection of Ch
hristopher Lennnox-Boyd. Chaloner
C
Sm
mith: 25. III off III.
Stock: 36994
13
39. [Rembr
randt's Motther.]
Rembrandt pinx
x.t. R.Houstonn fecit. Sold by
b R.d
Houston
H
near Drummonds,
D
C
Charing Crosss. [n.d.,
c.1750.]
Mezzotint.
M
Plattemark: 350 x 250mm (13¾
¾ x 9¾").
Th
hread marginss.
£190
A portrait of 'R
Rembrandt's M
Mother', after Rembrandt.
R
An
A elderly wom
man plucking fowl, sitting whole-length
w
to
o the left pluck
king a large foowl on her lap
p. For a proof
beefore letters im
mpression, seee item ref: 368
820. Ex
co
ollection of Ch
hristopher Lennnox-Boyd. Chaloner
C
Sm
mith: 148. I. Charrington:
C
885 II of II.
Stock: 36819
14
40. [Rembr
randt's Motther.]
[R
Rembrandt pin
nx.t. R.Houstoon fecit.] [n.d., c.1750.]
Mezzotint
M
with small marginns. Proof beforre letters.
Collector's blind stamp, 'G' inn lower right corner.
ut to
Pllatemark: 350 x 250mm (133¾ x 9¾"). Cu
pllatemark at bo
ottom.
£260
A portrait of 'R
Rembrandt's M
Mother', after Rembrandt.
R
An
A elderly wom
man plucking fowl, sitting whole-length
w
to
o the left pluck
king a large foowl on her lap
p.
Fo
or a lettered im
mpression, seee item ref: 368
819. Ex
co
ollection of Ch
hristopher Lennnox-Boyd. Chaloner
C
Sm
mith: 148. I. Charrington:
C
885 I of II.
Stock: 36821
141. [Rem
mbrandt's Mother.]
M
[Rembrandt ppinx.t. R.Houuston fecit.] [n.d., c.1750.]
Mezzotint wiith large marggins. Proof beffore letters
impression. P
Platemark: 350 x 250mm (1
13¾ x 9¾").
£3330
A portrait off 'Rembrandt's Mother', afterr Rembrandt.
woman pluckinng fowl, sitting
g whole-lengtth
An elderly w
to the left pluucking a largee fowl on her lap.
l
For a letteredd impression, see item ref: 36819.
3
Ex
collection off Christopher Lennox-Boyd.
L
Chaloner
Smith: 148. II. Charringtonn: 85 I of II.
Stock: 36820
142. [Judiith and Holo
ofernes]
Guido Reni IInvent. / W. Vaillant
V
fe [n.d
d., c.1670]
Mezzotint, very scarce; plaatemark 390 x 250mm (15¼
¼
mmed to platem
mark; rubbed.
£3660
x 9¾"). Trim
Judith holdinng the head off Holofernes, whom
w
she
beheaded as he was about to destroy Jud
dith's home ciity
Mezzotint by Wallerant Vaaillant (1623of Bethulia. M
77), one of thhe early masteers of the med
dium. Engraveed
after the painnting by Guidoo Reni (1575-1642), the
autograph veersion of which is in the Sed
dlmayer
Collection inn Geneva. Ex: collection of the late Hon. C.
Lennox-Boydd
Mezzotint
M
with large margins
ns. Platemark: 500 x
35
55mm (19¾ x 14"). Light fo
foxing. A few scratches to
prrinted area.
£360
A young womaan wearing a m
mob cap, shaw
wl and apron,
sitting at the do
oor of a thatchhed cottage, heer left arm
ooked over thee back of her chair, reading
g a letter.
ho
Th
here is a basket upside dow
wn beside her, and a bird
drrinking from a plate on the gground next to it. A young
man
m is seen brib
bing a secondd woman behin
nd a tree next
to
o the cottage to
o the right.
A companion print
p
to item reef: 36981, 'Creedulous
In
nnocence'. Ex collection of C
Christopher Lennox-Boyd.
L
Exx Oettingen-W
Wallerstein Coollection, Soth
heby's
13
3/11/97.
Stock: 36990
Stock: 36390
143. Cupiid, in the Ch
haracter of a Link Boy.
Sir Joshua Reynolds pinx.t / John Dean fecit. Londonn,
R. Sayer & J. Bennett,
B
Map & Printsellerss
Printed for R
No. 53 Fleet Street: as the Act directs Aug.t
A
15, 17777
5¼ x 11"). Sm
mall
Mezzotint, pllatemark 390 x 280mm (15
margins.
£3330
J
Engraving affter a 1774 paiinting by Sir Joshua
Reynolds, noow in the Allbbright-Knox Art
A Gallery,
Buffalo. Reyynolds' cupid is
i very much the
t Georgian
street urchin in tattered cloothes; the phalllic positioninng
of his torch rreminds us thaat link boys ussed their torchhes
to lead loverss (as well as prostitutes)
p
aro
ound the city aat
night before street lightingg. Hamilton p.145 iii/iii; Seee
Richard Wenndorf, 'Sir Joshhua Reynolds: the Painter iin
Society'
Stock: 36515
Susan
nna and thee two Elderss. It is betterr
for me to faall into yourr hands, and
d not to do itt,
then to Sin in the sightt of the Lord
d. susan.
verse.23.
144.
P.P. Rubens pinx / J. Simoon fec et excud
d [n.d., c.17200]
Mezzotint wiith very large margins, platemark 350 x
250mm (13¾
¾ x 9¾"). Creaase.
£2660
Engraving affter a paintingg by Rubens' of
o which the
present wherreabouts are unnknown. The painting had
previously beeen engraved by one of Rub
bens' favouredd
engravers, Luucas Vorsterm
man, and the print
p
was
probably madde directly froom Vorstermaan's print. Ex:
collection off the Hon. C. Lennox-Boyd;
L
Hollstein 4
1
(under Vorstterman, copy);; Schneevogt 11.87
Stock: 36377
145. Sedu
uction.
Painted by G
G. Morland. Enngrav'd by J. Young.
Y
Londoon.
Pub. Nov.r 5. 1788 by Ja.ss Birchall No. 473, Strand.
The Go
ood Shepherrd. From th
he Original
in
n the possesssion of T. Liister Parkerr Esq.r
14
46.
J. Northcote pin
nx / S.W. Reyynolds sculp.t [c.1810]
Mezzotint
M
with large margins
ns, platemark 570
5 x 395mm
(2
22½ x 15½"). Fine early imp
mpression; creaase upper left;
gllue stain lower right.
£420
Th
he infant Chriist as the Goodd Shepherd, after
a
a
paainting by Jam
mes Northcotee (1746-1831),, painter and
au
uthor, in the co
ollection of hiis patron Thom
mas Lister
Paarker of Brow
wnsholme.
En
ngraved by Saamuel William
m Reynolds, th
his print is
no
ot in the stand
dard reference book on Reyn
nolds' work.
Exx Collection of the Late Hoon. C. Lennox--Boyd; Not in
Whitman.
W
Stock: 36503
14
47. The Dr
ream.
Paainted by R.W
Westall. Engravved by J.R.Sm
mith.
[L
London. Published Sept.r 6,, 1791 by J.R.Smith, No 31
King
K
Street, Co
ovent Garden.]]
Mezzotint, shheet 280 x 2955mm (11 x 11
1½"). Trimme d
inside platem
mark, losing puublication linee. Stain at topp
off image.
£3220
man asleep hoolding a book. The print waas
A young wom
originally isssued as a pair to 'the Roman
nce', which
shows her reading before she
s falls asleeep. Text addedd
k she read as a
to the publishhed state identified the book
'Lovesick talle, / That thrillls the soul and
d fans the fire''.
A (1765-1836),, a related
After Richardd Westall RA
watercolour bby whom is inn the Allen Memorial Art
Museum, Obberlin College, Ohio. D'Oen
nch 318;
Frankau 1188 i of ii.; Ex Coollection of th
he Late Hon. C
C.
Lennox-Boydd; for 'The Dreeam' as a pairr with 'The
Romance' seee ref. 5623
Stock: 36502
The T
Tribute Money From the
t Originall
Picture in tthe Collectioon of Robertt Udny Esq..r
148.
Bernardo Strrozza, commonly called Preetre Genoese
Pinxit / John & Josiah Boyydell Excudit 1787 / Hodgees
hn & Josiah
Sculpsit Publlished May 1sst 1787 by Joh
Boydell No 990 Cheapside,, London
Mezzotint wiith large marggins, platemark
k 440 x 540m
mm
(17¼ x 21¼""). Fine.
£3990
Large mezzootint after a paainting by Bern
nardo Strozzi
now in the M
Museum of Finne Arts, Budap
pest, but whicch
at the time beelonged to thee collector and
d merchant
Robert Udnyy. Jesus, in thee centre of the composition,,
responds to tthe Pharisees' devious questtioning with thhe
response 'Rennder to Caesaar the things th
hat are Caesar''s,
and to God thhe things that are God's' (M
Matthew 22:17 21). Painted after Strozzi'ss arrival in Venice, the workk
shows the inffluence of norrthern European realism on
Strozzi's style. Ex: collectiion of the Hon
n. C. LennoxF
Oettin
ngenBoyd; Van deer Feltz 590; From:
Wallerstein C
Collection, Soothebys 13/11//97 Lot 736.
Stock: 36364
A fine mezzotin
nt portrait of A
Amelia Opie, wife of the
arrtist John Opiee, one hand raaised as she tellls a story to
a group of five young womenn and children
n clustered
obably her chilldren. Chalon
ner Smith
arround her, pro
15
57; Whitman 246.
2
Ex: Colllection of the late Hon.
Christopher
C
Lennox-Boyd.
Stock: 36354
15
50. Beautie
es of Brightoon. Almack
ks_____The
Ball
B Room.
Paainted by T. Harper.
H
Engravved by A. M. Huffam.
Pu
ublished by S.S. Folker. Bri
righton_J. Bro
ooker 5
So
outhampton Row,
R
London, Nov.r 1829. and
a T. Rittnerr
Boulevard Mon
ntmartre, Pariss.
Mezzotint
M
with original handd colour, small margins.
On
O watermarkeed paper, 'J. W
Whatman. 1829
9'. Sheet size:
26
60 x 210mm (10¼
(
x 8¼"). T
Trimmed inside plate at
lo
ower edge. Cu
ut at bottom.
£160
A fashionably dressed
d
youngg woman in a ball gown,
walking
w
to the left
l and lookinng towards the viewer. Her
arrms are crosseed holding a sm
mall fan in her right hand,
heer hair dressed
d up with a rosse. A room with a frieze
an
nd chandelierss can be seen iin the backgro
ound.
Stock: 36326
[Hope Deferred]
D
'A
And hopes and
a fears
th
hat kindle ho
ope [...]
15
51.
C.W.C. 1877
mark 260 x 1900mm (10¼ x 7½"). Uncut
Ettching, platem
sh
heet; signed by
y artist in penc
ncil. Slight creeasing. £150
Ettching by history painter Chharles West Cope
C
(181190
0), widely regarded as the fi
finest of his prrints. Cope is
prrimarily remem
mbered for hiss frescoes in the
t House of
Lo
ords and the peers'
p
corridorr, but in additiion to his
accademic rendeerings of histoorical and literrary subjects,
hee was a talenteed printmakerr. He was a fou
under
member
m
of the Etching Club (whose memb
bers also
in
ncluded Samueel Palmer).
Th
his late etchin
ng, which from
m the verses below the
im
mage suggest the
t depiction oof thwarted ho
opes, was
orriginally one of
o a pair with hhis etching 'H
Hush'. For
'H
Hush' see ref. 35895
3
Stock: 35896
149. A Wiinter's Tale..
Engraved byy V. Green, Meezzotinto Eng
graver to his
blished Dec.r
Majesty and to the Electorr Palatine. Pub
V. Green and Son, No. 29 Newman
N
Streeet,
1st 1785 by V
Oxford Streeet, London. See vend chez lw
wa Freres Torrre,
Marchants d''Estamps.
Very scarce sscratch letter proof
p
mezzotiint. 535 x
625mm (21 x 24½"). Veryy fine impressiion, small
margins.
£6550
15
52. [Hush]
C.W.C. 1878
mark 260 x 1900mm (10¼ x 7½"). Uncut
Ettching, platem
sh
heet; signed by
y artist in penc
ncil. Slight creeasing on
rig
ght.
£140
Ettching by history painter Chharles West Cope
C
(181190
0), widely regarded as the fi
finest of his prrints. Cope is
prrimarily remem
mbered for hiss frescoes in the
t House of
Lo
ords and the peers'
p
corridorr, but in additiion to his
accademic rendeerings of histoorical and literrary subjects,
hee was a talenteed printmakerr. He was a fou
under
member
m
of the Etching Club (whose memb
bers also
in
ncluded Samueel Palmer).
Th
his late etchin
ng of a womann caring for a baby
b
(made
so
oon before he left London too retire to the country) was
orriginally one of
o a pair with 'Hope Deferreed'. For
'H
Hope Deferred
d' see ref. 358996
Stock: 35895
153. [The Companion.]
C.W. Cope R.A.
Etching on india, with very large margins, platemark
90 x 130mm (3½ x 5"). Uncut sheet.
£95
Etching by history painter Charles West Cope (181190), widely regarded as the finest of his prints. Cope is
primarily remembered for his frescoes in the House of
Lords and the peers' corridor, but in addition to his
academic renderings of historical and literary subjects,
he was a talented printmaker. He was a founder
member of the Etching Club (whose members also
included Samuel Palmer), whose 1857 portfolio this
formed part of. A related drawing is in the British
Museum.
Stock: 35894
154. The Culprit Detected.
Drawn on Stone by Will.m Fairland, from an original
Picture by Rob.t Farrier. Printed by C. Hullmandel.
London. Published by J. Dickinson, 114, New Bond S,t
15th, April, 1831.
Lithograph on chine collé. 410 x 275mm (16 x 10¾").
Backing paper age-toned at edges of large margins.
£160
A boy being caught scrumping, his hat full of apples
from the orchard behind, one shoe still caught in the
gate. A man raises his belt to beat the him. Ex:
Collection of The Hon. C. Lennox-Boyd.
Stock: 36464
155. Les Enfants Qui Donnent À Manger Aux
Canards. Gravée d'aprés le Tableau de M.r
W. Hamilton.
W. Hamilton pinx.t. Gravé par Sunlach. [n.d., c.1800.]
Engraving with very large margins. Platemark: 175 x
190mm (7 x 7½").
£140
A young boy and girl feeding ducks by a pond. The
boy is seen holding back a dog who jumps towards the
pond, whilst the girl stands with a basket in the centre.
Trees can be seen in the backgrond. Within a oval.
Italian copy.
Stock: 36459
tender Thought, / To teach the young Idea how
to shoot, / To pour the fresh Instruction o'er
the Mind, / To breathe th' inspiring Spirit, and
to plant / The generous Purpose in the glowing
Breast.
Emma Crewe, Delin.t. C.W. White Sculp.t. [n.d.,
c.1780.] Bit later.
Etching with stipple, rare. Platemark: 280 x 300mm
(11 x 12").
£180
A young woman, seated in profile to the right, reading
to three small children, each smiling and looking
towards the viewer. Eight lines of verse inscribed
below the image from 'Spring' by James Thomson
(1700-1748), first published in 1728.
Emma Crewe (active c.1780 - 1818) was a 'gifted
amateur artist' who painted the frontispiece to Erasmus
Darwin's 'The Loves of the Plants'. She also provided
designs for Josiah Wedgewood's studio, used for
cameos and plaques.
Stock: 36987
158. [Girl Playing a Lute.]
Gaspard Netscher. Franquinet fecit. Imp.lith.de
Chabert, rue Cassette, N.o.20.
Lithograph with very large margins. On India. Sheet:
330 x 490mm, (13 x 19¼"). Faint foxing.
£140
Portrait of a young woman, dressed in a fur-lined coat
playing a lute.
Stock: 36712
159. [Mother reading to child.]
E. Martin Inv.t & sc. [n.d., c.1799.]
Stipple with hand colour, very fine. Platemark: 225 x
145mm (9 x 5¾").
£180
A mother sits in a chair, to the left, in front of a
window, reading to a child who stands on a small
cushion with her back to the viewer. An open book can
be seen on a table below the window.
By Elias Martin, A.R.A. Swedish, born Stockholm in
1739, died Stockholm 1818. He came to London in
1768, becoming a Royal Academy student the next
year and was elected A.R.A in 1770.
Stock: 36345
The Power of Innocence. [/] Le Pouvoir
de L'Innocence. A married couple of fashion
havin had a trifling difference together [...]
156.
Tho.s Stothard pinxt. Thane ex. Joseph Strutt sculp.
London Publish'd June 1. 1792 by J. Thane, Rupert
Street Hay Market.
Stipple, fine with very large margins. Platemark: 330 x
355mm (13 x 14").
£260
A scene within a fashionable interior, where a little girl
is pleading with her father to make up with her mother,
after they have had a disagreement. A groom is seen
waiting outside with a horse and carriage in the
background to the left. Within an oval .
After English painter, illustrator and engraver Thomas
Stothard (1755 - 1834).
Stock: 36445
157. Instruction. Then infant Reason grows
apace, and calls / For the kind Hand of an
assiduous Care: / Delightful Task! to rear the
160. [Music Lesson]
[n.d., c.1830.]
Tinted lithograph with large margins. Sheet: 330 x 495,
(13 x 19¼). Cut and laid on sheet as issued. Some
faint foxing.
£140
An interior scene in which a seated man plays an oboe
while another leans over and corrects his playing, a
music book lies open between them.
Stock: 36713
161. The Vicar of the Parish Receiving His
Tithes. [&] The Curate of the Parish Return'd
From Duty.
Painted by H. Singleton. Engrav'd by T. Burke. London
Pub.d Oct.r 31, 1793, by I. Brydon at his Looking
Glass & Print Warehouse, Charing Cross.
Pair. Stipple printed in colour with large margins.
Platemark: 435 x 330mm (17 x 13") each.
£450
An interior scene with a yooung lady stan
nding by a
i a smock whho
window, gestturing towardds a little boy in
holds a pigleet in a basket of
o straw, and looking
l
at a
man who sits to
t right at his desk,
d
holding a
stout clergym
quill with a ssheaf of paperrs in front of him.
h
[&] Interiior
with a youngg lady sitting holding
h
a pair of bellows inn
her lap, lookiing up to left towards
t
her husband the
curate, who eenters to left, his
h daughter walking
w
besidee
him and holdding his hand, a book underr her arm, and a
little dog jum
mping up at him
m.
Stock: 36351
16
65. La Surprise. Die U
Uberraschun
ng.
Nach
N
Rioult lith
h v. C.J. Wernner. Druck v. F.W.
F
Koscky.
K
Verlag
g v. Koscky & Ende in Fran
nkfurt [n.d. c.
18
850.]
Liithograph with
h fine hand coolour. Printed area 230 x
£160
34
45mm (9 x 13½").
A pair of naked
d woman bathe
hers, surprised on the shore.
Th
he artist, Louiis Edouard Riooult (1790-18
855), painted
a number of succh scenes. Ex:: Collection off The Hon. C.
Leennox-Boyd.
Stock: 36477
162. The P
Pipe, the Poot, and the Paper.
P
[Anon., c.1810]
1
(4½ x
Lithograph, sscarce; printedd area 115 x 160mm
6¼"). Soiled.
£990
Man smokingg and readingg the paper, wiith his dog
sleeping on tthe floor and a boxing pictu
ure on the walll.
In 1842 an arrticle in Blackkwood's magazine describedd
how for manny Londoners, 'the fireside, the
t pipe, the
pot, and the ppaper, are theiir amusementss: the latter
affords them
m a reflection, as
a it were, of whatever
w
he crowd,
amusement is going forwaard, without th
fatigue, or troouble of assistting there'. Exx: collection of
the Late Honn. C. Lennox-B
Boyd
Stock: 36946
The G
Golden Age. [&] The Siilver Age. H
H.
Walton. Ch
harles West.. [&] B. Wesst. Facius.
163.
Painted by B
B. West Historrical Painter to
o His Majesty..
Engraved froom the Originaal Picture by Facius.
F
[&] H .
Walton Pinxiit. Charles Weest Sculpsit. Publish'd
P
Jan.yy.
1.st. 1778 byy John Boydell Engraver in Cheapside
London. [&] Publish'd Seppt.r. 2.d. 1782 by John
n.
Boydell Engrraver in Cheappside London
Stipples prinnted in sanguinne with large margins,
m
very
mm, (12¾ x 11¾").
1
£4550
rare pair. Plaate: 325 x 300m
A pair of imaages depictingg stages of chiildhood. In onne
a young mothher watches as her child sleeeps, in the
background aan older couplle sit and stan
nd by a door
way. [&] A ggirl in a bonneet sits looking out across a
landscape, neext to her is pllaced a baskett of chickens.
For a pair inn mezzotint seee ref: 29674.
Stock: 36837
The S
Singers. From the Orig
ginal Picturee
Painted by Hemskirk Jun.r
J
In thee Collection of
Mr Marrisall.
164.
Hemskirk junn.r pinx.t. R.E
Earlom fecit. Published
P
Oct..r
24th 1768, byy J.Boydell Enngraver, in Ch
heapside
London.
m
Mezzotint wiith very large margins, raree. 305 x 360mm
(12 x 14¼").
£4660
n a tavern, onee
Three peasannts sitting arouund a barrel in
holding up a glass, anotherr holding a lon
ng printed sonng,
m smoking whiile
singing. A foourth man stannds over them
a fifth man uurinates in the corner.
Engraved byy Richard Earloom after Egbeert van
Heemskerck II (c.1674 - 1744). Ex: Colllection of Thee
Hon. C. Lennnox-Boyd. Exx Oettinger-Wa
Wallenstein
Collection Sootheby's Lot 736,
7 18/11/97.
Stock: 36463
16
66. Leonid
das.
Paainted by Benj
nj.n West, Esqr
qr. Engrav'd by
y C.H.
Hodges.
H
Publish'd May 1st. 11789, by John
n & Josiah
Boydell, No. 90
0, Cheapside, London.
ngraving with
h etching, raree. 495 x 600mm
m (19½ x
En
23
3½"),, with tisssue cover as iissued. Narrow
w margins
to
op and bottom, as issued, daamp stain on right.
r
£520
Leeonidas II, kin
ng of Sparta 2254-235 BC, sitting in
ju
udgement on his
h son-in-law
w Cleombrutus, who had
ussurped his thro
one (ruling ass Cleonbrutus II, 242-241
BC). Leonidas's daughter ple
leads for her husband's
h
life,
ment.
reesulting in the pair's banishm
Benhamin Wesst (1738-1820)), the Pennsylvanian
paainter best kno
own for his 'D
Death of Wolfee', took a
story from Plutarch for this ppainting, whicch he showed
att the second ex
xhibition of thhe newly-form
med Royal
Academy,
A
1768
8. The painting
ng now residess in the Tate
Gallery.
G
Ex: Co
ollection of thee Hon. Christopher
Leennox-Boyd.
Stock: 36536
16
67. [Landscape with trrees and mo
ountains.]
[W
William Pether after Alexannder Cozens.]
Mezzotint,
M
scarrce & fine; verry large margiins,
pllatemark 240 x 320mm (9½
½ x 12½"). Un
ncut.
£420
Illlustration to 'A
A New Methood for Assistin
ng the
In
nvention in Drrawing Originnal Compositio
ons of
Laandscape' (1786) by Alexannder Cozens (1717-86),
laandscape paintter. Publishedd shortly beforre his death,
th
his publication
n was the culm
mination of thee system for
in
nventing landsscapes which C
Cozens had worked
w
on
th
hroughout his life, and for w
which he is mo
ost famous.
Th
he system desscribed how acccident and ch
hance
(p
particularly ink
k blots) couldd assist in com
mposition.
While
W
the text and
a most platees are by Cozeens, the
ceelebrated mezzzotinter Williaam Pether eng
graved the
fin
nal five platess (including thhis one), repro
oducing a blot
and five drawings made from it. Ex: collection of the
Hon. C. Lennox-Boyd; a related drawing is in the
British Museum (1941,1213.717).
Stock: 36365
168. [Moonlit river scene with rowing boat]
Thomas Creswick / Etching Club March 1839
Etching on india with large margins, platemark 95 x
150mm (3¾ x 6").
£75
Skilful etching in the Dutch manner by landscape
painter Thomas Creswick (1811-69), published in the
portfolio 'Etched Thoughts by the Etching Club' (the
influential printmaking society which Creswick was
part of, alongside Samuel Palmer and Charles West
Cope, among others). Creswick exhibited prolifically
and successfully at the Royal Academy throughout his
career (he became an R.A. in 1851) and his etchings
'demonstrate a sure grasp of the technique and
conventions of etching (DNB).
Stock: 35901
169. [Landscape with figures; river and
moutnains in distance]
Etching Club / Thomas Creswick May 1839
Etching on india with large margins, platemark 65 x
160mm (2½ x 6¼"). Slight foxing.
£75
Skilful etching in the Dutch manner by landscape
painter Thomas Creswick (1811-69), published in the
portfolio 'Etched Thoughts by the Etching Club' (the
influential printmaking society which Creswick was
part of, alongside Samuel Palmer and Charles West
Cope, among others). Creswick exhibited prolifically
and successfully at the Royal Academy throughout his
career (he became an R.A. in 1851) and his etchings
'demonstrate a sure grasp of the technique and
conventions of etching (DNB).
Stock: 35902
170. [An Evening Walk]
T. Creswick R.A. [published 1857]
Etching on india with very large margins, platemark
160 x 145mm (6¼ x 5¾"). Uncut sheet.
£75
Etching by landscape painter Thomas Creswick (181169), published by the Etching Club in 1857. The
Etching Club was the influential printmaking society
which Creswick was part of, alongside Samuel Palmer,
who is believed to have been influenced by Creswick
in his own printmaking. Creswick exhibited prolifically
and successfully at the Royal Academy throughout his
career (he became an R.A. in 1851) and his etchings
'demonstrate a sure grasp of the technique and
conventions of etching (DNB).
Stock: 35903
171. The Overshot hill [ms]
T. Creswick R.A. [published 1857]
Etching on india with very large margins, platemark
145 x 125mm (5¾ x 5"). Uncut sheet.
£75
Etching by landscape painter Thomas Creswick (181169), published by the Etching Club in 1857. The
Etching Club was the influential printmaking society
which Creswick was part of, alongside Samuel Palmer,
who is believed to have been influenced by Creswick
in his own printmaking. Creswick exhibited prolifically
and successfully at the Royal Academy throughout his
career (he became an R.A. in 1851) and his etchings
'demonstrate a sure grasp of the technique and
conventions of etching (DNB).
Stock: 35904
172. [Set of Six Decorative Landscapes.]
Viveres delin. et sculp. London, Printed for Rob.t.
Sayer; Printseller in Fleet Street, 1787.
Etching with very large margins. Plate: 125 x 80mm,
(5 x 3¼").
£190
Set of six etchings depicting pastoral scene which
include figures sailing, walking and fishing.
Stock: 36446
173. [Riverside Cottage.]
E. Martin Inv.t & Sculp.t. Publi.d December 14. 1799.
No. 8. Leicester Street.
Etching with hand colouring, large margins and very
fine. 145 x 125mm (5¾ x 5"). Paper worn in small area
of bottom left corner, inside the platemark. Light
staining to sheet.
£160
A picturesque view of a large thatched cottage to the
right of a shallow river which is in the centre. Three
figures are seen on the left bank, whilst a man rides a
horse and leads another in the water. Other buildings
can be seen in the distance.
By Elias Martin, A.R.A. Swedish, born Stockholm in
1739, died Stockholm 1818. He came to London in
1768, becoming a Royal Academy student the next
year and was elected A.R.A in 1770.
Stock: 36343
174. "Christmas" From Bampfylde's Sonnet
S. Palmer [etched 1850, this impression 1882].
Etching with very large margins, platemark 120 x
105mm (4¾ x 4"). Blindstamp in plate lower right.
£750
Shepherd returning home with his flock for Christmas.
Early etching by Samuel Palmer (1805-81), a key
figure in English Romantic painting and follower of
William Blake. The work was inspired by a sonnet by
Sir Joshua Reynolds' contemporary John Bampfylde,
which imagines the pleasure of the shepherd at
Christmas 'Who when his teeming flocks are
homeward had,/ To blazing hearth repairs, and nutbrown beer'. The critic P.G. Hamerton described the
print as 'one of the most thorough pieces of etched
chiaroscuro in existence, the notes of light and dark
being all faultlessly in tune, like the notes of a wellplayed melody'.
Lettered as published in 'Samuel Palmer, A Memoir',
by the artist's son A.H. Palmer (1882), in which he
writes that it was one of his father's 'most successful
plates'. Alexander 4 (iv of v).
Stock: 35875
175. [The Herdsman's Cottage; or, Sunset.]
Sunrise [ms].
S.P. [Samuel Palmer, etched 1850, this impression
c.1872-80.]
Etching with very large margins, platemark 125 x
105mm (5 x 4"). Slightly dusty in margins on left.
£480
Sunset (ratheer than a sunriise, as it was often
o
thought tto
have shown) by Samuel Paalmer (1805-8
81), a key figuure
wer of William
m
in English Roomantic paintting and follow
Blake. The critic P.G. Ham
merton wrote of
o the print: 'inn
me pearl or diam
mond withoutt a
its own way, it is like som
c
thinggs
flaw, but peaarls and diamoonds are very common
upon the eartth in comparisson with etchiings of this
quality'.
blications
This etching was published in three pub
between 1872 and 1880, without
w
changees to the platee.
i known to haave been
The plate forr this etching is
destroyed byy 1882. Alexannder 3 (ii of ii)).
Stock: 35877
ompleted etchings (made affter he joined the
t Etching
co
Club in 1850) are
a consideredd some of his finest
f
T work recaalls the pastorral landscape
acchievements. The
off Palmer's earllier Shoreham
m period. An im
mpression of
th
he print is know
wn which beaars an inscriptiion in
Paalmer's hand from
f
'L'Allegrro' by John Milton, thought
to
o be the sourcee for this subjeect: 'To hear the
t lark begin
hiis flight,/ And singing startlle the dull night,/ From his
watch-towre
w
in the skies,/ Tilll the dappled
d dawn doth
risse'.
Pu
ublished in thee portfolio 'Ettchings for thee Art Union
off London by th
he Etching Clu
lub' (1857). Allexander 2
(vvii of viii).
Stock: 35874
['Thee Rising Moon', also known as 'An
English Pastoral]
176.
Samuel Palm
mer [1857]
Etching on inndia, with veryy large margin
ns, platemark
150 x 220mm
m (6 x 8¾"). Slight
S
foxing lower
l
left
around platem
mark. Uncut sheet. Dusty at edges. £6220
Pastoral scenne by Samuel Palmer (1805-81), a key
figure in Engglish Romanticc painting and
d follower of
William Blakke. When Palm
mer made thiss print, it was
the largest pllate he had etcched in his carreer. Accordinng
to the artist's son A.H. Palm
mer, the desig
gn was first
hind houses aat
suggested byy bars of moonnlight seen beh
Margate, whiile it also refeerences time sp
pent by Palmeer
in Shoreham
m and Villa d'E
Este.
t Art Unionn
Published in the portfolio 'Etchings for the
of London byy the Etching Club' (1857). Alexander 4
(vii of ix).
Stock: 35876
17
78. Silver Thames.
T
R. Redgrave 18
887.
Ettching on indiia, very large m
margins; plateemark 200 x
28
85mm (8 x 11¼").
£130
View
V
on the Th
hames with a ppunt, sailing boats
b
and
an
ngler, executed by the paintter and arts ad
dministrator
Richard Redgraave (1804-88)) shortly beforre his death.
Redgrave becam
me a Royal Ac
Academician in
n 1851, and
haaving focused upon the struuggles of the poor
p
in his
eaarly work, moved towards llandscape them
mes
th
hereafter.
By the time thiss print was maade Redgrave was
esssentially in reetirement, havving spent the second half
off his career priimarily as an iinfluential artts educator
an
nd administrattor. Along witth Henry Colee he
su
upervised the South Kensing
ngton Museum
m (now the
Victoria
V
& Albert Museum), organized thee British art
seections for inteernational exhhibitions in Lo
ondon and
Paaris, and serveed as surveyorr of the queen
n's pictures
(w
writing a 34-vo
olume cataloggue of painting
gs in the
Royal Collectio
on). He also w
wrote an imporrtant history
off British painting (1866). Inn this late etch
hing he
an
nticipates the etching
e
revivaal which was gathering
g
momentum
m
at this time, and iin which view
ws of the
Th
hames would be amongst thhe favoured su
ubjects of its
prractitioners.
Stock: 35914
[The Su
urvivers (sicc)] ['Just ho
opeless on
th
he melancho
oly main']
17
79.
177. [The Skylark]
Samuel Palm
mer [etched 18850, this impreession 1857].
Etching on inndia with veryy large margin
ns, platemark
120 x 100mm
m (4¾ x 4"). Uncut
U
sheet.
£6550
Rural morninng scene, an early work by Samuel Palmeer
(1805-81), a key figure in English Romantic paintingg
B
Palmer's thirteen
and followerr of William Blake.
Rich.d Redgrav
ve / Etch Clubb [1844]
Ettching on indiia, very large m
margins; plateemark 105 x
14
40mm (4 x 5½
½"). Proof befo
fore additionall text added.
£75
Fiive survivors of
o a storm loook upon a less fortunate
sh
hipmate, in an illustration too a poem by Bishop
B
Jeeremy Taylor (1613-67). Onne of few etch
hings by
paainter and artss administratorr Richard Red
dgrave (180488
8). In 1837 Reedgrave was a founding member of the
Ettching Club, under
u
whose aauspices this print
p
was
pu
ublished in 18
844. Kathryn M
Moore Heleniak (DNB)
writes
w
that: 'it was
w in the 18440s that Redgrrave producedd
hiis most memorable paintinggs, 'lessons of philanthropicc
ap
ppeal on behallf of the oppreessed and miserable', and
th
his print, like many
m
of his w
works in this peeriod, draws
atttention to the perils and triaals facing hum
manity.
In
n later years Redgrave
R
paintted less and beecame an
in
nfluential arts educator and administrator, working
with museums, international exhibitions, writing books
and becoming surveyor of the queen's pictures.
Stock: 35911
180. Falstaff & The Merry Wives of Windsor.
Pub.d Aug.t 1813.
Mezzotint with large margins. Part printed in colour
with additional hand colouring, very fine. Platemark:
555 x 450mm (23¾ x 17¾"). Light creases to sheet.
Small ink stain in title area. Small scuff to prnted area.
£450
A scene from Shakspeare's The Merry Wives of
Windsor'. Falstaff as Herne the Hunter, with stag's
horns on head, standing beside Mrs Page and Mrs
Ford, in the dense woodland of Windsor Forest, in
front of 'Herne's Oak'. The faces of a procession of
three fairies can be seen in the background to the right.
Ex collection of Christopher Lennox-Boyd.
Stock: 36643
181. Around my Fire an evening group to
draw, And tell of all I felt and all I saw.
E. Martin inv.t. J. Fred.k Martin Sculp.t. Publish'd as
the Act directs 1778. No. 8 Leicester Street, Leicester
Square, London.
Etching printed in brown ink, large margins. On
watermarked paper. Platemark: 175 x 200mm (7 x 8").
£160
An interior scene. A group are gathered around a large
roaring fire, listening to a gentleman speaking about
his life. Two small children and two dogs are sat on the
floor, with a number of adults sat around them. Books,
paintings, a mirror, and a bust on a plinth, furnish the
room.
The title of the print is taken from the poem, 'The
Deserted Village' by Oliver Goldsmith (1730 - 1774),
published in 1770.
By Elias Martin, A.R.A. Swedish, born Stockholm in
1739, died Stockholm 1818. He came to London in
1768, becoming a Royal Academy student the next
year and was elected A.R.A in 1770. After Elias
Martin, engraved by his younger brother, Johann
Frederick (1745-1808).
Stock: 36348
Miilton's Paradiise Losst illusttrated by
b Joh
hn Marrtin
Book
k 2, Line 1. [Satan
[
presiding at the
Infernal Coouncil] Prooof.
182.
Designed & E
Engraved by J.
J Martin Esq..r. J. Martin.
1824 [inscribbed in plate]. London
L
Publisshed by
Septimus Proowett, 23 Old Bond Street. 1825.
Mezzotint. P
Proof impressioon. Fine impression.
( x 13¾"); sheet
s
size: 3188
Platemark: 255 x 350mm (10
L
margins.
£15000
x 426mm (122½ x 16 ¾"). Large
Satan presidiing at the Infeernal Council; Satan, with hhis
right arm raissed, sitting onn a throne set on
o a sphere,
raised in the centre of a buuilding crowdeed with rebel
b rings of ligh
ht. One of
angels on tierred seats, lit by
Martin's finest mezzotints..
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Folio Editionn' but not bounnd up at publication time.
Balston 94. ((a) 4. CW: 300
Stock: 36909
Book
k 10, Line 1008. [Adam hearing
h
the
voice of thee Almighty] Proof.
183.
Designed & E
Engraved by J.
J Martin Esq..r. Printed by J.
Lahee. Published by Septimus Prowett, 62 Paternosteer
Row. 1826.
Proof impressioon. Fine impression.
Mezzotint. P
( x 13¾"); sheet
s
size: 3188
Platemark: 255 x 350mm (10
L
margins. Light foxinng.
x 426mm (122½ x 16 ¾"). Large
£5550
y; Adam and
Adam hearinng the voice off the Almighty
Eve coweringg in the depthhs of a forest, Adam
A
claspinng
his hands toggether and cranning his head up and away
from the lighht which strikees through thee branches on
the left, ashaamed when he hears the voicce of God. Evve
bo
owing her heaad, covering he
herself with heer hair and
leeaves.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 44.
Stock: 36903
18
84. Book 5, Line 136. [[Paradise - Adam
A
and
Eve
E - The Mo
orning Hym
mn] Proof.
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by J.
Laahee. Publisheed 1825 by Seeptimus Proweett, 23 Old
Bond Street.
Mezzotint.
M
Proo
of impressionn. Fine impresssion; T.
Dupuy
D
watermaark. Platemarkk: 255 x 350m
mm (10 x
13
3¾"); sheet sizze: 318 x 426m
mm (12½ x 16 ¾"). Large
margins.
m
Light foxing.
£900
Paaradise - Adam
m and Eve - T
The Morning Hymn;
H
a view
w
off Paradise, witth a lake in the
he centre, treess on the
op
pposite bank, surrounded byy woods behin
nd. Swans aree
seeen on the watter, preparing to fly, with Adam
A
and Eve
to
o the left, bowing in prayer, as sunlight brreaks across
th
he horizon.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 38
Stock: 36917
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 48.
Stock: 36899
Book
k 1, Line 1922. 9 [Satan on
o the
Burning Laake] Proof.
185.
Designed & E
Engraved by J.
J Martin Esq..r. Printed by
Chatfield & cco. Published by Septimus Prowett, 62
Paternoster R
Row. 1825.
Mezzotint. P
Proof impressioon. Fine impression.
( x 13¾"); sheet
s
size: 3188
Platemark: 255 x 350mm (10
L
margins.
£15000
x 426mm (122½ x 16 ¾"). Large
Satan on the Burning Lakee; a fantastic image depictinng
s
supportiing himself onn
Satan, with a helmet and spear,
his shield, roolling on the fiiery waves of a burning lakke
flowing amonng the rocks in
i a dark caverrn, looking
towards Beellzebub who fllounders besid
de him.
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Folio Editionn' but not bounnd up at publication time.
Balston 94. ((a) 4. CW: 27
18
87. Book 5, Line 308. [Paradise - with the
Approach
A
of the Archanngel Raphaell] Proof.
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by J.
Laahee. Publisheed 1825 by Seeptimus Proweett, 23 Old
Bond Street.
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾") sheeet size: 318
x 426mm (12½
½ x 16 ¾"). Lar
arge margins. Light
L
foxing
n margins.
in
£750
Paaradise - with the Approachh of the Archaangel
Raphael; a scen
ne in the Gardden of Eden, with
w Adam
an
nd Eve pointin
ng towards thee Archangel visible
v
am
mongst the treees in the distaance.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not boundd up at publicaation time.
Ba
alston 94. (a) 4. CW: 39.
Stock: 36918
Stock: 36905
Book 10, Line 312 & 347. [Briidge over
Chaos]
C
Prooff.
18
88.
Book
k 11, Line 2226. [ The ap
pproach of th
he
Archangel Michael] Prroof.
186.
Designed & E
Engraved by J.
J Martin Esq..r. Printed by
Chatfield & cco. Published by Septimus Prowett, 62
Paternoster R
Row. 1826.
Mezzotint. P
Proof impressioon. Fine impression.
( x 13¾"); sheet
s
size: 3188
Platemark: 255 x 350mm (10
L
marginss. Light foxingg.
x 426mm (122½ x 16¾"). Large
£4880
The approachh of the Archaangel Michaell; Adam and
Eve, clothed in animal skinns, are seen sttanding in
Paradise. Addam holds Evee by the arm ass they look
towards a ligght breaking behind a tree covered
mountain in tthe distance too the right, heeralding the
approach of tthe archangel..
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by
Chatfield & co.. Published byy Septimus Prowett, 62
w. 1826.
Paaternoster Row
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾"); sheeet size: 318
x 426mm (12½
½ x 16 ¾"). Lar
arge margins. Light
L
foxing
n margins.
in
£1500
Bridge over Ch
haos; a powerfful and mysterrious image
nderworld, coonsidered Marrtin's finest
deepicting the un
mezzotint.
m
A brridge is suspennded over the bottomless
ab
byss of Chaos, with the figuures of Satan, Sin and
Death
D
looking in
i awe of this new creation.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Folio Editionn' but not bounnd up at publication time.
Balston 94. ((a) 4. CW: 45
Stock: 36902
Book
k 1, Line 3144. [Satan aro
ousing the
fallen Angeels] Proof.
189.
Designed & E
Engraved by J.
J Martin Esq..r. Printed by
Chatfield & C
Coleman. Lonndon Publisheed by Septimuus
Prowett, 23 O
Old Bond Streeet. [1825.]
Mezzotint. P
Proof impressioon. Fine impression.
( x 13¾") sheet size: 3188 x
Platemark: 255 x 350mm (10
½ x 16 ¾"). Laarge margins.
£15000
426mm (12½
Satan arousinng the fallen Angels;
A
Satan on the right, iis
seen holding his spear withh his arms raised, standing on
a cliff overhaanging the burrning lake in a cavern of heell,
rousing the ffallen angels below,
b
one of Martin's
M
finesst
mezzotints.
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 28
Stock: 36907
Book 7, Line 339. [Creation of
o Light]
Proof.
19
90.
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by
Charfield & Co
oleman. Londoon Published by
b Septimus
d Bond Street.. 1825.
Prrowett, 23 Old
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾"); sh
heet size: 318
x 426mm (12½
½ x 16 ¾"). Lar
arge margins. Foxing.£1500
F
0
ght; a dramaticc image of Go
od dividing
Creation of Lig
h image seenn in the sky ab
bove the sea.
niight and day, his
Martin
M
exhibiteed a large oil ppainting of thiis subject
en
ntitled 'The Crreation' at the Society of Brritsh Artists inn
18
825.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 41.
Stock: 36919
Book 3, Line 365. [The Courtts of God]
Proof.
19
91.
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by
Chatfield & Co
o. London Pubblished by Sep
ptimus
d Bond Street.. 1825.
Prrowett, 23 Old
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾") sheet size: 318 x
42
26mm (12½ x 16 ¾"). Largge margins. Sm
mall rust spot
in
n lower right corner.
c
£1500
Th
he Courts of God;
G A city, seeen above an open court
su
urrounded by colonnades,
c
fu
full of angels, with several
in
n the foregroun
nd. Two are fa
facing each oth
her, playing
haarps.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 32
Stock: 36912
ve at the Foun
ntain; Eve stannding at the ed
dge of a pool,
Ev
diipping one toee in the water, raising her haand to her
heead, surprised as she discovvers her reflection. In a
laandscape with banks of wildd, overhanging
g trees.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 34.
Stock: 36913
Book 3, Line 501. [Satan view
wing the
asscent into Heaven]
H
Prooof.
19
94.
Book
k 1, Line 44. [The fall off the Rebel
Angels] Prooof.
192.
Designed & E
Engraved by J.
J Martin Esq..r. London
Published byy Septimus Proowett, 23 Old Bond Street.
1825.
Proof impressioon. Fine impression.
Mezzotint. P
( x 13¾"); sheet
s
size: 3188
Platemark: 255 x 350mm (10
ns.
£15000
x 426mm (122½ x 16 ¾").. Large margin
The fall of thhe Rebel Angeels; a fantasticc image of helll
showing inside of a chasm
m, into which flee
f rebel
ying with a staaff
angels. A figgure in the cenntre is seen fly
in one hand, holding his shhield above hiis head with hhis
left arm.
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Folio Editionn' but not bounnd up at publication time.
Balston 94. ((a) 4. CW: 266
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by
Chatfield & Co
o. London Pubblished by Sep
ptimus
d Bond Street.. 1825.
Prrowett, 23 Old
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾"); sheeet size: 318
x 426mm (12½
½ x 16 ¾"). Lar
arge margins.
£1500
t ascent intoo Heaven; Sattan, seen
Saatan viewing the
crrouching on daark rocks on tthe left, holdin
ng his spear
in
n his left hand,, looking backk over his shou
ulder towardss
a broad staircasse rising towarrds the shining gates of
Heaven,
H
where angels ascendd. One of Maartin's finest
mezzotints.
m
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 33
Stock: 36911
Stock: 36906
19
95. Book 4, Line 502. [Satan conttemplating
Adam
A
and Ev
ve in Paradiise] Proof.
Book
k 4, Line 4533. [Eve at th
he Fountain]]
Proof.
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by
Chatfield & Co
o. London Pubblished by Sep
ptimus
d Bond Street.. 1825.
Prrowett, 23 Old
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾"); sheeet size: 318
x 426mm (12½
½ x 16 ¾"). Lar
arge margins. Foxing.
F
£750
Saatan contempllating Adam aand Eve in Parradise; Adam
an
nd Eve sitting together on thhe left, watcheed by Satan
who
w hides behind a tall tree iin the right forreground, in
193.
Designed & E
Engraved by J.
J Martin Esq..r. Printed by J.
Lahee. London Published by Septimus Prowett,
P
23 O
Old
Bond Street. 1826.
Proof impressioon. Fine impression.
Mezzotint. P
( x 13¾") sheet size: 3188 x
Platemark: 255 x 350mm (10
½ x 16 ¾"). Laarge margins.
£8550
426mm (12½
a landscape w
with banks of trees on eitheer side and a
valley in the centre.
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Folio Editionn' but not bounnd up at publication time.
Balston 94. ((a) 4. CW: 355
Stock: 36914
Book
k 5, Line 5199. [Raphael conversing
with Adam
m and Eve] Proof.
P
196.
Designed & E
Engraved by J.
J Martin Esq..r. London
Published byy Septimus Proowett, 23 Old Bond Street.
1826.
Proof impressioon, extremely
y rare. Fine
Mezzotint. P
Platemark: 255 x 350mm (1
10 x 13¾");
impression. P
sheet size: 3118 x 426mm (12½
(
x 16 ¾")). Large
margins. Veery slight wrinnkling in centrre.
£15000
Raphael convversing with Adam
A
and Evee; the
Archangel R
Raphael sitting with Adam and
a Eve,
gesturing as hhe talks to theem, at the mou
uth of a mossyy
cave in lowerr left, with talll trees on the higher groundd
above. It apppears that no 'fformal' lettered proofs weree
issued of thiss mezzotint annd only a very
y few
impressions w
with the scratched 'proof', such
s
as this
example, seeem to have beeen pulled.
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Folio Editionn' but not bounnd up at publication time.
Balston 94. ((a) 4. CW: 400
Stock: 36921
Book 12, Line 641.. [Adam and
d Eve
drriven out off Paradise] P
Proof.
19
97.
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by J.
Laahee. Publisheed by Septimuus Prowett, 62
2 Paternoster
Row. 1827.
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾"); sheeet size: 318
x 426mm (12½
½ x 16 ¾"). Laarge margins. Light foxing.
he conclusion
n to 'Paradise L
Lost': "Adam and Eve
Th
drriven out of Paaradise". The figures are seeen in
wilderness
w
on a rocky path at the lower rig
ght of the
sccene. The etheereal light of E
Eden is visiblee between
ro
ocks behind th
hem. Broodingg skies are seeen in the
diistance, in the valley are two
wo dinosaurs.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 49
Stock: 36898
19
98. Book 1, Line 710. [[Pandemoniium] Proof.
Designed
D
& En
ngraved by J. M
Martin Esq.r. J. Martin.
18
824 [inscribed
d in plate]. Lonndon Publisheed by
Seeptimus Prowett, 23 Old Boond Street. 1825.
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾") sheet size: 318 x
42
26mm (12½ x 16 ¾"). Largge margins. Light foxing.
£1500
Paandemonium; Satan standinng on a cliff in
n the
fo
oreground, hollding his spear
ar, addressing hordes of
reebel angels asssembled on thhe rocks below
w him,
geesturing with his
h right handd towards the city
c of
paandemonium, with a dome llooming in the darkness
beehind thick, fo
ortified walls. One of Martin's finest
im
mages. An opp
posing illustraation to Heaveen, The
Rivers of Bliss (CW: 47); Reef: 36900.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
over ten thousand lines of verse. The poem concerns
the Biblical story of the Fall of Man, the temptation of
Adam and Eve by the fallen angel Satan and their
expulsion from the Garden of Eden. Begun by early
1824, this series of engravings was the result of a
comission from a little known American publisher
Septimus Prowett, who approached Martin to produce
mezzotint illustrations to accompany an issue of
Milton's text. Prowett's publication was released in four
different proof forms; this print is from the 'Imperial
Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 29
Stock: 36908
first published in 1667, consisting of ten books with
over ten thousand lines of verse. The poem concerns
the Biblical story of the Fall of Man, the temptation of
Adam and Eve by the fallen angel Satan and their
expulsion from the Garden of Eden. Begun by early
1824, this series of engravings was the result of a
comission from a little known American publisher
Septimus Prowett, who approached Martin to produce
mezzotint illustrations to accompany an issue of
Milton's text. Prowett's publication was released in four
different proof forms; this print is from the 'Imperial
Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 47.
Stock: 36900
Book 2, Line 727. [The conflict between
Satan and Death] Proof.
199.
Designed & Engraved by J. Martin Esq.r. Printed by
Chatfield & Coleman. London Published by Septimus
Prowett, 23 Old Bond Street. 1825.
Mezzotint. Proof impression. Fine impression.
Platemark: 255 x 350mm (10 x 13¾") sheet size: 318 x
426mm (12½ x 16 ¾"). Large margins.
£1500
The conflict between Satan and Death; Satan at the
gates of Hell, standing on the left with his spear poised
to strike Death, a dark monstrous figure, of whom only
the crown, eyes, claw and spear are visible, while Sin,
rushes between them with her arms outstretched, to
stop Satan attacking his son.
Fully lettered proof impression. From a series of prints
illustrating John Milton's (1608–1674) 'Paradise Lost',
first published in 1667, consisting of ten books with
over ten thousand lines of verse. The poem concerns
the Biblical story of the Fall of Man, the temptation of
Adam and Eve by the fallen angel Satan and their
expulsion from the Garden of Eden. Begun by early
1824, this series of engravings was the result of a
comission from a little known American publisher
Septimus Prowett, who approached Martin to produce
mezzotint illustrations to accompany an issue of
Milton's text. Prowett's publication was released in four
different proof forms; this print is from the 'Imperial
Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 31
Stock: 36910
200. Book 11, Line 78. [Heaven, The Rivers of
Bliss] Proof.
Designed & Engraved by J. Martin Esq.r. Printed by
Chatfield & co. Published by Septimus Prowett, 62
Paternoster Row. 1825.
Mezzotint. Proof impression. Fine impression.
Platemark: 255 x 350mm (10 x 14"); sheet size: 318 x
426mm (12 x 16"). Large margins. Light foxing.
£1150
Heaven, The Rivers of Bliss; A trumpet has been
sounded in Heaven to call the angels to witness a
proclamation from God. Two angels, one playing a
harp, the other, a trumpet, are seen on a rock in the
foreground, with a lake surrounded by trees and hills
behind, wiith groups of angels on the banks. An
opposing illustration to Pandemonium (CW: 29) Ref:
36908.
Fully lettered proof impression. From a series of prints
illustrating John Milton's (1608–1674) 'Paradise Lost',
201. Book 9, Line 780. [Satan tempting Eve]
Proof.
Designed & Engraved by J. Martin Esq.r. London
Published by Septimus Prowett, 23 Old Bond Street.
1826.
Mezzotint. Proof impression, extremely rare. Fine
impression. Platemark: 255 x 350mm (10 x 13¾")
sheet size: 318 x 426mm (12½ x 16 ¾"). Remainder of
Printer's name in right of title area very faint. £1500
Satan tempting Eve; Eve standing under a tree at the
edge of a pool, reaching up with one hand to hold a
bough, around which Satan, disguised as a serpent, is
entwined, holding an apple in the other, listening to the
snake. An early proof impressions such as this
example, is considered amongst the most beautiful and
atmospheric of Martin's 'Paradise Lost' mezzotints. It
appears that no 'formal' lettered proofs were issued of
this mezzotint and only a very few impressions with
the scratched 'proof', such as this example, seem to
have been pulled.
Fully lettered proof impression. From a series of prints
illustrating John Milton's (1608–1674) 'Paradise Lost',
first published in 1667, consisting of ten books with
over ten thousand lines of verse. The poem concerns
the Biblical story of the Fall of Man, the temptation of
Adam and Eve by the fallen angel Satan and their
expulsion from the Garden of Eden. Begun by early
1824, this series of engravings was the result of a
comission from a little known American publisher
Septimus Prowett, who approached Martin to produce
mezzotint illustrations to accompany an issue of
Milton's text. Prowett's publication was released in four
different proof forms; this print is from the 'Imperial
Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 42.
Stock: 36920
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 46
Stock: 36901
Book 4, Line 866. [The Angels guarding
Paradise at night]
n
Proof..
20
04.
Book
k 4, Line 8133 [Eve's Dreeam. Satan
aroused] Prroof.
202.
Designed & E
Engraved by J.
J Martin Esq..r. Printed by
Chatfield & C
Co. London Published
P
by Septimus
S
Prowett, 23 O
Old Bond Streeet. 1825.
Mezzotint. P
Proof impressioon. Fine impression.
( x 13¾") sheet size: 3188 x
Platemark: 255 x 350mm (10
½ x 16 ¾"). Laarge margins. Foxing. £12550
426mm (12½
Eve's Dream
m. Satan arouseed; Satan, with
h his shield
raised behindd his head, graasping his spear, opposite
Ithuriel, whoo stands on thee left with Zep
phon, while
Adam and Evve sleep in thee background..
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
1824, this serries of engravvings was the result
r
of a
comission froom a little knoown American
n publisher
Septimus Proowett, who appproached Marrtin to produc e
mezzotint illuustrations to accompany
a
an
n issue of
Milton's text. Prowett's puublication was released in foour
different prooof forms; this print is from the 'Imperial
Folio Editionn' but not bounnd up at publication time.
Balston 94. ((a) 4. CW: 366.
Stock: 36915
Designed
D
& En
ngraved by J. M
Martin Esq.r. Printed by J.
Laahee. London Published byy Septimus Pro
owett, 23 Old
Bond Street. 18
826.
Mezzotint.
M
Proo
of impressionn. Fine impresssion.
Pllatemark: 255 x 350mm (100 x 13¾"); sheeet size: 318
x 426mm (12½
½ x 16 ¾"). Lar
arge margins. Light
L
foxing
n margins.
in
£750
Th
he Angels guaarding Paradisse at night; an
n angel with a
heelmet and speaar standing onn a clifftop, sh
hining with
lig
ght in the dark
kness, with sev
everal smaller spirits
arround it, keepiing watch, witth Paradise beelow, the
moon
m
and stars above and a ssmall patch off light among
th
he trees where other angels kkeep watch on
n land, to the
lo
ower left.
Fu
ully lettered proof impressioon. From a seeries of prints
illlustrating John
n Milton's (16608–1674) 'Paaradise Lost',
firrst published in
i 1667, consiisting of ten books
b
with
ov
ver ten thousaand lines of veerse. The poem
m concerns
th
he Biblical story of the Fall of Man, the teemptation of
Adam
A
and Eve by the fallen aangel Satan an
nd their
ex
xpulsion from the Garden oof Eden. Begun
n by early
18
824, this series of engravinggs was the ressult of a
co
omission from
m a little know
wn American publisher
p
Seeptimus Prowett, who approoached Martin
n to produce
mezzotint
m
illusttrations to acccompany an isssue of
Milton's
M
text. Prowett's publiication was released in fourr
diifferent proof forms; this prrint is from thee 'Imperial
Fo
olio Edition' but
b not bound up at publicattion time.
Ba
alston 94. (a) 4. CW: 37.
Stock: 36916
Book
k 10, Line 8663. [Adam reproving
Eve] Prooff.
203.
Designed & E
Engraved by J.
J Martin Esq..r. Printed by J.
Lahee. Published by Septimus Prowett, 62 Paternosteer
Row. 1826.
Proof impressioon. Fine impression.
Mezzotint. P
( x 13¾"); sheet
s
size: 3188
Platemark: 255 x 350mm (10
L
margins. Light foxinng.
x 426mm (122½ x 16 ¾"). Large
£5550
n the left,
Adam reprovving Eve; Adaam standing on
clothed in annimal skins, is seen raising his
h left arm ass
he reproves E
Eve, who kneeels in front off him, coveringg
her face withh her hands annd hair.
Fully letteredd proof impresssion. From a series of prinnts
illustrating Joohn Milton's (1608–1674)
(
'Paradise Lostt',
first publisheed in 1667, consisting of ten
n books with
over ten thouusand lines of verse. The po
oem concerns
the Biblical sstory of the Faall of Man, thee temptation oof
Adam and Evve by the falleen angel Satan
n and their
expulsion froom the Gardenn of Eden. Beg
gun by early
Book 9, Line 995. [Eve presen
nting the
fo
orbidden fru
uit to Adam]] Proof.
20
05.
Designed
D
& En
ngraved by J. M
Martin Esq.r. J. Martin
18
824 [inscribed
d in plate]. Prin
inted by J. Lah
hee.
Pu
ublished 1827
7, by Septimuss Prowett, 62 Paternoster
Row.
Mezzotint. Proof impression. Fine impression; T.
Dupuy watermark. Platemark: 255 x 350mm (10 x
13¾"); sheet size: 318 x 426mm (12½ x 16 ¾"). Large
margins. Light foxing.
£550
Eve presenting the forbidden fruit to Adam; Eve,
standing on the right with one hand on the bough of the
tree, around which Satan, disguised as a serpent, is
entwined, holding out an apple in the other to Adam,
who sits on a rock under the tree.
Fully lettered proof impression. From a series of prints
illustrating John Milton's (1608–1674) 'Paradise Lost',
first published in 1667, consisting of ten books with
over ten thousand lines of verse. The poem concerns
the Biblical story of the Fall of Man, the temptation of
Adam and Eve by the fallen angel Satan and their
expulsion from the Garden of Eden. Begun by early
1824, this series of engravings was the result of a
comission from a little known American publisher
Septimus Prowett, who approached Martin to produce
mezzotint illustrations to accompany an issue of
Milton's text. Prowett's publication was released in four
different proof forms; this print is from the 'Imperial
Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 43.
Stock: 36904
206. The Spell.
[Anon.] London. Publish.d Jan.y 30 1783 by J. R.
Smith. no. 83 Oxford Street.
Stipple printed in brown ink, small margins. Platemark:
275 x 215mm (10¾ x 8½").
£160
An illustration to John Gay's 'The Spell'. The character
of Hobnelia stands in the clearing of a woodland,
looking down at the 'unbroken paring' or peel from the
apple which lies on the ground behind her. She smiles
and holds her hands open, realising the peel has formed
the initial of her 'true love', Luberkin.
Six lines of Gay's poem 'The Spell' are inscribed
below.
Stock: 36324
207. William and Margaret. Twas at the
silent solemn hour when night and morning
meet. In glided Margarets grimly ghost and
stood and William's feet.
Painted by J. Wright. Engraved by J. R. Smith.
Mezzotint Engraver to His Royal Highness the Prince
of Wales. London Publish'd April 12th - 1785 by J. R.
Smith No. 31. King Street, Covent Garden.
Mezzotint with large margins. Part printed in colour.
Platemark: 450 x 545mm (17¾ x 21½").
£520
The ghost of Margaret stands on the left, wrapped in a
sheet, holding up her left hand to frighten the man who
deserted her, who sits up, terrfied, in his four-poster
bed, raising the sheets above his head with his right
arm. From the celebrated ballad in 'Piercies Reliques of
Antient English Poetry Vol. 3 XVI', (1765) by Thomas
Percy, Bishop of Dromore (1729 - 1811), the first of
the great ballad collections, which was responsible for
the ballad revival in English poetry that was a
significant part of the Romantic movement. Ex
collection of Christopher Lennox-Boyd. State II of III.
Frankau: 377; D' Oench: 257 I of II; Clayton 1990: pg
26.
Stock: 36644
208. A Collection of Favorite Anthems,
Services &c. in Score, Selected from the Works
of Drs. Nares, Clarke, Stevens, Pratt and other
eminent composers [in image] No.11 [in ink]
G.B. Cipriani inv. / F. Bartolozzi sculp aqua fortis
London, Published by Coventry & Hollier, 71, Dean
Street, Soho. Ent. Sta. Hall. Price 4/Etching printed in brown, sheet 320 x 230mm (12½ x
9"). Trimmed inside platemark.
£120
Frontispiece to a volume of music, probably a late
state. The plate was likely used originally for another
purpose, with the plate later altered and the new text
added.
Stock: 35961
209. [Woman mourning and embracing a
tomb in the form of a pot]
G.B. Cipriani inv. / F. Bartolozzi sculp. Published as
the Act directs Nov. 20 1776
Etching, sheet 155 x 160mm (6 x 6¼"). Trimmed
inside platemark; slight foxing.
£70
Title page to 'Miscellaneous works of Ph. D. Stanhope,
Earl of Chesterfield' (1777). In a later state this print
was identified as Bathsheba mourning her husband
Uriah. de Vesme 1694.2
Stock: 35960
210. Wisdom is the principal thing... The
Explanation of the Frontispiece. [/] Wisdom
casting forth the Rays of Learning and
Knowledge over the Island of [/] Great Britain
& Ireland and Britania on herright hand with
and Angel [/] decending to her with a Crown of
Laurel.
[John Hinton, at the King's Arms in St. Paul's ChurchYard, London.1749.]
Engraving. Sheet: 130 x 200mm, (5 x 8"). Some paper
tone on left edge.
£60
The figure of Wisdom stands holding a large book and
an oil lamp while light radiates from her over a map of
the British Isles. Frontispiece to 'The Universal
Magazine' Vol IV, 1749.
Stock: 36042
211. Boy & Dog. In the Collection of his
Grace the Duke of Norfolk.
B. Murillo Pinxit. Caroline Watson Sculpsit. Publish'd
Sep.r 1st 1781 by John Boydell Engraver in Cheapside
London.
Stipple with very large margins. 230 x 180mm (9 x 7").
Uncut.
£130
An oval portrait of a boy feeding his dog, after Spanish
painter Bartolomé Esteban Murillo (1617-82). The
engraver, Caroline Watson (1760-1814), was the
daughter of James Watson: she was one of the few
female print engravers and publishers of the period.
Ex: Collection of The Hon. C. Lennox-Boyd.
Stock: 36468
The History and Dscription, with
Graphic Illustrations, of Cassiobury Park,
Hertfordshire: The Seat of the Earl of Essex.
212.
By John Britton, F.S.A. London: Published by the
Author, Burton Street. MDCCCXXXVII [1837].
Large folio, modern half calf gilt, new endpapers; pp.
32, 22 aquatint plates with wood engravings in the text.
Frontis with repaired tear, all plates with some foxing.
£550
First published 1816. Four of the plates are after
paintings by Joseph Mallord William Turner (1775 1851) and six after Augustus Charles Pugin (1762–
1832), who were invited to sketch Cassiobury by the
owner, George Capell-Coningsby, 5th Earl of Essex, in
1797. Rawlinson: 818-821.
Stock: 37005
213. Scrap title.
Published 1833 _ by Ackermann & Co. Strand.
Aquatint with superb hand colour with gold highlights;
1830 J. Whatman watermarked paper. 305 x 245mm
(12 x 9¾").
£120
A title page ffor a scrap albbum, with an architectural
a
caprice with a macaw, monkey, greyhou
und, vase withh
flowers, guitar and goldfissh bowl, with space in the
middle for ann inscription. The colour is particularly
fine.
Stock: 35791
214. [Unu
used visiting card of puttti.]
[n.d., c.1780.]
£995
Stipple, rare. 85 x 130mm (3½ x 5¼").
A visiting caard with blankk central areas for the
inscription, ffeaturing a paiir of putti, onee wearing a
winged helm
met and tying a bale, the otheer writing in a
notebook.
ws of the Princcipal
Pllate from 'Pictturesque View
Monuments
M
in the Cemetery of Père La Ch
haise, near
Paaris', which co
omprised of teen coloured litthographs by
Jo
ohn Thomas Serres
S
(1759-11825). Serres, who like his
faather Dominic specialized inn marine painting, was alsoo
a skilled printm
maker althoughh his later yeaars were
ogged by finan
ncial difficultities. Serres dieed in the
do
saame year that this
t volume w
was published.. Ex:
co
ollection of thee Late Hon. C
C. Lennox-Boyyd; Abbey
11
15.8
Stock: 36764
Stock: 35853
The S
Sepulchral Chapel
C
& Sa
arcophagus.. /
Of Abelard
d & Eloise.
215.
J.T. Serres [iin image]
Lithograph w
with fine handd-colouring, veery scarce; sheeet
420 x 265mm
m (16½ x 10½
½"). Trimmed on left. Paperr
watermarkedd J. Whatman 1824.
£1440
The tomb of Peter Abelardd (1079-1142)) and Héloïse
haise Cemeteryy,
d'Argenteuil (1092?-1164)) in Père Lach
c
loveers in history,
Paris. Amonggst the most celebrated
Abelard and Héloïse were separated by circumstance
but continuedd a passionatee corresponden
nce, and the
survival of thheir letters proovided the bassis for their
posthumous celebrity. In thhe 18th century works by
Alexander Poope and Jean-Jacques Roussseau celebrateed
their love. Thhe remains off the couple weere moved in
1817 to the G
Gothic tomb shhown here, which drew maany
visitors to thee cemetery.
21
16. [Monument to Abeelard and Héloïse]
H
J.T. Serres fec.tt [in image]
h fine hand-coolouring, very
y scarce;
Liithograph with
Paaper watermarrked J. Whatm
man 1824; sheeet 420 x
26
65mm (16½ x 10½").
£160
Th
he tomb of Peeter Abelard (11079-1142) an
nd Héloïse
d'Argenteuil (1092?-1164) inn Père Lachaisse Cemetery,
Paaris. Amongstt the most celeebrated loverss in history,
Abelard
A
and Hééloïse were seeparated by cirrcumstance
bu
ut continued a passionate coorrespondencee, and the
su
urvival of their letters provid
ided the basis for their
po
osthumous cellebrity. In the 18th century works by
Alexander
A
Popee and Jean-Jaccques Rousseaau celebrated
th
heir love. The remains of thee couple weree moved in
18
817 to the Gotthic tomb show
wn here, whicch drew manyy
viisitors to the cemetery.
c
Threee such visitorrs can be
seeen here conteemplating the m
monument.
Pllate from 'Pictturesque View
ws of the Princcipal
Monuments
M
in the Cemetery of Père La Ch
haise, near
Paaris', which co
omprised of teen coloured litthographs by
Jo
ohn Thomas Serres
S
(1759-11825). Serres, who like his
faather Dominic specialized inn marine painting, was alsoo
a skilled printm
maker althoughh his later yeaars were
dogged by finnancial difficuulties. Serres died
d in the
same year thaat this volumee was publisheed. Ex:
collection off the Late Hon. C. Lennox-B
Boyd; Abbey
115.9
Stock: 36770
217. The C
Chapel
J.T. Serres [iin image]
Lithograph w
with fine handd-colouring, veery scarce; sheeet
420 x 265mm
m (16½ x 10½
½"). Slight staiining lower
right off imagge.
£1220
The chapel oof Père Lachaiise Cemetery in
i the suburbss
of Paris, withh funerary proocession. Com
mpleted in 182 3,
the chapel was designed byy the neo-classsical architecct
Étienne-Hipppolyte Godde (1781-1869), who was alsoo
responsible ffor the entrancce to the cemeetery. The
immense mauusoleum of poolitician and historian
h
Adolphe Thiers (1797-18777) was later built
b
next to itt.
Picturesque Viiews of the Priincipal
Plate from 'P
Monuments iin the Cemeteery of Père La Chaise, near
Paris', whichh comprised off ten coloured lithographs bby
John Thomass Serres (17599-1825). Serrees, who like hiis
father Dominnic specializedd in marine paainting, was allso
a skilled prinntmaker althouugh his later years
y
were
dogged by finnancial difficuulties. Serres died
d in the
same year thaat this volumee was publisheed. Ex:
collection off the Late Hon. C. Lennox-B
Boyd; Abbey
115.1
Stock: 36772
218. [The Dragon Tomb, Père La
achaise
Cemetery]
J.T. Serres [iin image]
Lithograph w
with fine handd-colouring, veery scarce; sheeet
420 x 265mm
m (16½ x 10½
½"). Staining to
o edges. £1330
The 'Dragon tomb' (namedd after the 'bossquet du
Dragon grove' where it is sittuated) in Pèree
Dragon' or 'D
Lachaise Cem
metery, Paris. A designated
d historical
monument, itt contains som
me of the first monuments inn
the cemeteryy. On the left is the cenotaph
h dedicated too
Antoine de G
Guillaume-Laggrange (1781--1807), a
military officcer killed in Poland during the
t Napoleoniic
Wars. Designned by the neoo-classical arcchitect ÉtienneeHippolyte Goodde (1781-18869), it showss a portrait of
the dedicateee, with an alleggory of sorrow
w.
Plate from 'P
Picturesque Viiews of the Priincipal
Monuments iin the Cemeteery of Père La Chaise, near
Paris', whichh comprised off ten coloured lithographs bby
John Thomass Serres (17599-1825). Serrees, who like hiis
father Dominnic specializedd in marine paainting, was allso
a skilled prinntmaker althouugh his later years
y
were
dogged by finnancial difficuulties. Serres died
d in the
same year thaat this volumee was publisheed. Ex:
collection off the Late Hon. C. Lennox-B
Boyd; Abbey
115.3/4
Stock: 36771
[Tom
mbs of La Foontaine, Mollière and
Jacques DeeLille.]
219.
J.T. Serres [iin image]
Lithograph w
with fine handd-colouring, veery scarce; sheeet
420 x 265mm
m (16½ x 10½
½"). Slight marrks lower righht
off subject.
£1880
Th
he tombs of th
he fabulist Jeaan de La Fontaaine (162195
5), playwrightt Molière (16222-73) and poet Jacques
Delille
D
(1738-1813) at Père L
Lachaise Cem
metery in the
su
uburbs of Paris. When the ccemetery open
ned in 1804 it
was
w located far from the centtre of the city and attracted
feew funerals. The transfer off the remains of
o La
Fo
ontaine and Molière
M
were ppart of a strategy to raise
th
he profile of th
he cemetery.
Pllate from 'Pictturesque View
ws of the Princcipal
Monuments
M
in the Cemetery of Père La Ch
haise, near
Paaris', which co
omprised of teen coloured litthographs by
Jo
ohn Thomas Serres
S
(1759-11825). Serres, who like his
faather Dominic specialized inn marine painting, was alsoo
a skilled printm
maker althoughh his later yeaars were
ogged by finan
ncial difficultities. Serres dieed in the
do
saame year that this
t volume w
was published.. Ex:
co
ollection of thee Late Hon. C
C. Lennox-Boyyd; Abbey
11
15.5/6/7
Stock: 36765
22
20. Miscelllaneous Tom
mbs.
J.T. Serres [in image]
i
h fine hand-coolouring, very
y scarce; sheett
Liithograph with
42
20 x 265mm (16½
(
x 10½")..
£120
To
ombs in Père Lachaise Cem
metery in the suburbs
s
of
Paaris. Plate from
m 'Picturesquee Views of thee Principal
Monuments
M
in the Cemetery of Père La Ch
haise, near
Paaris', which co
omprised of teen coloured litthographs by
Jo
ohn Thomas Serres
S
(1759-11825). Serres, who like his
faather Dominic specialized inn marine painting, was alsoo
a skilled printm
maker althoughh his later yeaars were
ogged by finan
ncial difficultities. Serres dieed in the
do
saame year that this
t volume w
was published.. Ex:
co
ollection of thee Late Hon. C
C. Lennox-Boyyd; Abbey
11
15.3/4
Stock: 36768
22
21. Miscelllaneous Tom
mbs
J.T. Serres [in image]
i
h fine hand-coolouring, very
y scarce; sheett
Liithograph with
42
20 x 265mm (16½
(
x 10½").. Slight stainin
ng lower
rig
ght off image.
£140
To
ombs in Père Lachaise Cem
metery in the suburbs
s
of
Paaris. Plate from
m 'Picturesquee Views of thee Principal
Monuments
M
in the Cemetery of Père La Ch
haise, near
Paaris', which co
omprised of teen coloured litthographs by
Jo
ohn Thomas Serres
S
(1759-11825). Serres, who like his
faather Dominic specialized inn marine painting, was alsoo
a skilled printm
maker althoughh his later yeaars were
ogged by finan
ncial difficultities. Serres dieed in the
do
same year that this volume was published. Ex:
collection of the Late Hon. C. Lennox-Boyd; Abbey
115.3/4
Stock: 36773
222. The Paraclete.
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet
420 x 260mm (16½ x 10½"). Slight marks lower right
off subject.
£120
The Oratory of the Paraclete, a Benedictine monastery
founded by Peter Abelard (1079-1142) in FerreuxQuincey, France. After Abelard became abbot of the
Abbey at Saint-Gildas-de-Rhuys he left the Paraclete to
his wife Héloïse d'Argenteuil (1092?-1164), who
became its abbess and spent the rest of her life there.
Their remains were buried there but later moved twice,
first to the church of Nogent-sur-Seine and then to Père
Lachaise Cemetery, Paris.
Plate from 'Picturesque Views of the Principal
Monuments in the Cemetery of Père La Chaise, near
Paris', which comprised of ten coloured lithographs by
John Thomas Serres (1759-1825), including one of the
joint tomb of Abelard and Héloïse in the cemetery.
Serres, who like his father Dominic specialized in
marine painting, was also a skilled printmaker although
his later years were dogged by financial difficulties.
Serres died in the same year that this volume was
published. Ex: collection of the Late Hon. C. LennoxBoyd; Abbey 115.10. For the tomb of Abelard and
Héloïse see ref. 36764
Stock: 36766
223. [Tombs in Père Lachaise Cemetery.]
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet
420 x 265mm (16½ x 10½").
£130
The tombs of Catherine-Dominique de Pérignon, 1st
Marquis de Grenade (1754-1818), François Joseph
Lefebvre, First Duke of Danzig (1755-1820), and
André Masséna, 1st Duke of Rivoli, 1st Prince of
Essling (1758-1817), at Père Lachaise Cemetery in the
suburbs of Paris. A soldier sits contemplating the tomb
of Pérignon. All three commanders occupied
prominent roles in the French military during the rule
of Napoleon.
Plate from 'Picturesque Views of the Principal
Monuments in the Cemetery of Père La Chaise, near
Paris', which comprised of ten coloured lithographs by
John Thomas Serres (1759-1825). Serres, who like his
father Dominic specialised in marine painting, was also
a skilled printmaker although his later years were
dogged by financial difficulties. Serres died in the
same year that this volume was published. Ex:
collection of the Late Hon. C. Lennox-Boyd; Abbey
115.5/6/7
Stock: 36767
224. The Porter's Lodge.
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet
420 x 265mm (16½ x 10½"). Slight staining lower left.
£120
Porter's lodge at the entrance to Père Lachaise
Cemetery in the suburbs of Paris, with mourning
visitors and view towards the city in the distance. Plate
from 'Picturesque Views of the Principal Monuments
in the Cemetery of Père La Chaise, near Paris', which
comprised of ten coloured lithographs by John Thomas
Serres (1759-1825). Serres, who like his father
Dominic specialized in marine painting, was also a
skilled printmaker although his later years were dogged
by financial difficulties. Serres died in the same year
that this volume was published. Ex: collection of the
Late Hon. C. Lennox-Boyd; Abbey 115.2
Stock: 36769
Rocher de Gayette lequel se sentit en
deux lors ede la passion de Nostre Seigneur
Chapelle de la Trinité
225.
Gravé par Israel Silvestre. P. Mariette ex Avec privil.
du Roy [c.1670]
Etching, platemark 120 x 205mm (4¾ x 8¼"). Creased
in middle.
£95
The city of Gaeta in the province of Latina, Italy,
emphasising the 'Montagna Spaccata', the vertical cliffs
jutting onto the coast. From a series of 'Diverses vues
de ports de mer d'Italie et autres lieux' by French
printmaker Israel Silvestre.
Stock: 36395
226. Ponte Senatorio oggi detto Ponte rotto.
Israel Silvestre del. Piranesi sc. [n.d., c.1748.]
Etching. 130 x 255mm (5 x 10").
£220
Senatorial Bridge, today called the Broken Bridge,
with a collapsed span. Published in Piranesi's 'Antichità
Romanae de Tempi della Repubblica, e de' primi
Imperatori', after a design by the 17th century French
artist Israel Silvestre.
Stock: 36480
227. Hannibal's Arch in Manorel in
Catalonia. Plate III. 1775.
H. Swinburne [pencil signature].
Etching, rare; Sheet 175 x 155mm (7 x 6¼"). Trimmed
within plate, mounted on album paper.
£130
A sketch of a steep bridge with a decrepid arch at one
end.
Henry Swinburne (1743-1803) travelled through Spain
with Sir Thomas Gascoigne 1775-6, publishing
'Travels through Spain in the Years 1775 and 1776 in
which several monuments of Roman and Moorish
Architecture are Illustrated by Accurate Drawings
taken on the Spot' in 1779. State i of ii, before rework
in sky and on buttress of bridge. Ex: Collection of The
Hon. C. Lennox-Boyd.
Stock: 36481
228. Hannibal's Arch in Manorel in
Catalonia. Plate III. 1775.
H. Swinburne [pencil signature].
Etching, rare. Sheet 175 x 155mm (7 x 6¼"). Trimmed
within plate, mounted on album paper.
£130
A sketch of a steep bridge with a decrepid arch at one
end.
Henry Swinbburne (1743-1803) travelled
d through Spai
ain
with Sir Thom
mas Gascoignne 1775-6, pub
blishing
'Travels throuugh Spain in the
t Years 177
75 and 1776 inn
which severaal monuments of Roman an
nd Moorish
Architecture are Illustratedd by Accuratee Drawings
taken on the Spot' in 1779. State ii of ii, with rework in
sky and on buuttress of briddge. Ex: Colleection of The
Hon. C. Lennnox-Boyd.
Stock: 36482
Beau
uties of Brigh
hton. No. 5
Almacks______The Carrd Room.
229.
Painted by T
T. Harper. Enggraved by A. M.
M Huffam.
Published byy S.S. Folker. Brighton_J.
B
Brooker
B
5
Southamptonn Row, Londoon, Nov.r 1829
9. and T. Rittnner
Boulevard M
Montmartre, Paaris.
Mezzotint wiith original haand colour and
d very large
margins. Plattemark: 250 x 195mm (9¾ x 7¾"). Lightt
mount burn.
£2330
A fashionablly dressed youung woman staanding in a baall
room hung w
with chandeliers, wearing a pale gown wiith
puffed sleevees, head tilted to right, with
h her hair
dressed up w
with pearls.
bbons and a muff.
m
Amarylliis was a charaacter in the
rib
firrst of the threee major workss of the Latin poet Virgil,
Th
he Eclogues.
By George Tow
wnley Stubbs ((1748 - 1815??), son of
paainter George Stubbs (17244 - 1806).
Stock: 36550
The sprrightly Sylvvia trips alon
ng the
grreen, [/] Shee runs, but hhopes she do
oes not run
un
nseen; [/] While
W
a kind glance at heer pursuer
flies, [/] How much at var
ariance are her
h feet and
ey
yes.
23
32.
En
ngrav'd by Geeo. Townley SStubbs. Pub.d. March 10,
17
784 as the Actt directs, Londdon.
Sttipple printed in brown ink with large maargins.
Pllatemark: 240 x 190mm (9½
½ x 7½").
£240
A fashionably dressed
d
youngg woman stand
ds with her
baack to the view
wer, turned fac
acing the left. She
S wears a
pllumed hat and
d holds a fur m
muff.
Below the imag
ge is a verse taaken from 'Th
he First
mon', by Alexxander Pope (1688–1744).
Paastoral, or Dam
By George Tow
wnley Stubbs ((1748 - 1815??), son of
paainter George Stubbs (17244 - 1806). Lenn
nox-Boyd: 28
Stock: 36549
Stock: 36825
23
33. The Yo
oung Anglerrs.
Drawn
D
from Naature and on SStone by the Rev.d
R
T.
Kilby.
K
Printed by
b T.H. Skeltoon, Southamp
pton. [n.d.,
c.1850.]
ph on india wi
with very large margins.
Tiinted lithograp
Prrinted area 310 x 255mm (112 x 10"). Fox
xing.
£90
Th
he Reverend Thomas
T
Kilbyy (1794-1868)) is best
kn
nown for his 'S
Scenery in thee Vicinity of Wakefield',
W
18
843.
Stock: 35812
230. Savoir Vivre__S
Sans Six Sous. [&] Savoiir
Vivre___Saans Souci.
Pub.d as the Act directs 222.d Dec.r 1783
3 and Engrav'dd
by Geo. Tow
wnly Stubbs Loondon.
Pair of stipplles with etchinng, printed in brown,
b
large
margins. Plattemark: 240 x 190mm (9½ x 7½") each.
Slight staininng right of Sanns Souci.
£4550
A pun in Frennch: A womaan standing with a bonnet annd
a striped skirrt, looks at herr purse as she holds it upsidde
down (roughhly, without sixxpence); [&] A fashionablyy
dressed younng woman in half-profile
h
to the left lookss
with a smile at a wine glasss she is holdin
ng in her raiseed
right hand. Inn the left handd she has a botttle of wine.
(without a caare).
By George T
Townley Stubbbs (1748 - 181
15?), son of
painter Georgge Stubbs (17724 - 1806). CLB
C List G T
Stubbs 26 & 27.
Stock: 36548
231. Amaryllis. Videe Spectator No.
N 144.
Engraved byy Geo. Townleey Stubbs. Pub
blish'd Feb.y
20.th 1784 ass the Act Direects, London.
Stipple printeed in brown innk with large margins,
m
veryy
scarce. Platem
mark: 240 x 190mm
1
(9½ x 7½").
£3220
A fashionablly dressed youung woman staands to the
front, facing the right. Shee wears a fur robe, a hat with
th
23
34. Gimcra
ack.
George
G
Stubbs pinx.t. Geo T
Townley Stubb
bs sculp.t.
En
ngraver to Hiss R.H. the Prinnce of Wales. London,
Republished Ju
un 4th 1817, byy Edw.d Orm
me, Bond
Sttreet.
Hand
H
coloured stipple with vvery large marrgins.
Pllatemark: 200 x 250mm (8 x 9¾")
£950
Th
he racehorse Gimcrack,
G
stan
anding to the right,
r
held by
th
he reigns by hiis trainer.
Gimcrack
G
was one
o of the moost admired off all
eiighteenth century race horsees and the pain
nting was
co
ommissioned in 1765 by hiss owner Fredeerick St John,
2n
nd Viscount Bolingbroke.
B
O
Only 14 handss high the
ho
orse won its fiirst ever race aat Newmarkett that year.
Though smalll Gimcrack went
w on to racee against all thhe
top racehorsees of the day, with 27 wins out of 36 racees.
This plate is from the reisssue by Edward
d Orme of
a remaining plates
p
after
1817, after hhe purchased all
Stubbs' deathh. Lennox-Boyyd: 123 III
Stock: 36893
A fine portrait of
o one of the m
most famous racehorses
r
of
alll time, Eclipse, standing to right in a land
dscape near
on
ne of the four rubbing-downn houses at Newmarket, its
reeins held by a groom as his jjockey, Samu
uel Merrit,
ap
pproaches. Eclipse achievedd notable victo
ories for his
ow
wners William
m Wildman annd later, Dannis O'Kelly
an
nd concluded his career as a successful sttallion.
After
A
printmakeer and painterr George Stubb
bs (1724 18
806). Stubbs was
w a painter oof portraits, an
nimal
piictures, heroicc animal historries and poeticcal scenes of
ru
ural life. In 1758, he began hhis dissections of horses,
which
w
led to hiss most famouss engraved wo
ork 'The
Anatomy
A
of thee Horse' in 17666. ARA 1780
0, see item
reef: 5777. Lenn
nox-Boyd stattes that no imaage of this
state has been seen.
s
Lennox-B
Boyd: 125, sta
ate I of II.
Stock: 36547
235. Mam
mbrino.
George Stubbbs pinx.t. Geoorge Townley Stubbs sculp..t.
Engraver to H
His R. H. the Prince of Walles. London,
Republished June 4th 18177 by Edw.d Orme
O
Bond
Street.
Stipple with hand colourinng with very laarge margins.
( x 9¾").
£9550
Platemark: 200 x 250mm (8
t left, with a
The racehorsse 'Mambrino', standing to the
landscape beehind. A cottagge and fence are
a seen beyonnd
at the left.
was intended to
t be an illustrration to
'Mambrino' w
'Review of thhe Turf', 17944, Stubbs havin
ng
commissioneed his son to engrave
e
the plaates in the earrly
1790s. Howeever, this platee is from the reissue
r
by
Edward Orm
me of 1817, aftter he purchased all
remaining plates after Stubbbs' death. Len
nnox-Boyd: 1 09
III.
Stock: 36892
23
37. Volunteer.
George
G
Stubbs pinx.t. Geo: T
Townley Stubbs Sculp.t
En
ngraver to Hiss R.H. the Prinnce of Wales. London,
Pu
ub.d. Dec.r 17
794 by Messrss. Stubbs; Turf Gallery,
Conduit Street.
hing, printed iin colour with
h large
Sttipple and etch
margins,
m
very rare in this statte. Platemark:: 205 x
25
55mm (8 x 10
0").
£1250
A vivid portraitt of Volunteerr, a chesnut so
on of Eclipse
ou
ut of a mare by Tartar, foaleed in 1780 and
d bred by
Dennis
D
O'Kelly
y who originallly called him Comet but
ch
hanged his nam
me to Volunteeer in 1785. In
n 1793
Volunteer
V
was covering marees at the O'Keelly stud at
Canons for 10 guineas.
g
After
A
printmakeer and painterr George Stubb
bs (1724 18
806). Stubbs was
w a painter oof portraits, an
nimal
piictures, heroicc animal historries and poeticcal scenes of
ru
ural life. In 1758, he began hhis dissections of horses,
which
w
led to hiss most famouss engraved wo
ork 'The
Anatomy
A
of thee Horse' in 17666. ARA 1780
0, see item
reef: 5777. Lennox-Boyd: 1177, state II of III
II.
Stock: 36546
236. Eclip
pse.
George Stubbbs pinx.t. Geoo. Townley Stu
ubbs sculp.t
Engraver to hhis R.H. th Priince of Waless. London,
Published Seept.r. 1. 1796, by Messr.s Sttubbs, Turf
Gallery, Connduit Street, Hanover
H
Square.
Stipple printeed in colour with
w large margins, open
letters, extrem
mely rare. Plaatemark: 205 x 255mm (8¼
¼x
10").
£15000
23
38. Americ
can Eclipse.
Fiisher P.b. And
derson. [n.d., cc.1825.]
Wood
W
engravin
ng, rare. Sheett: 225 x 130mm, (9 x 5").
£120
Illlustration from
m 'The Sportinng Magazine' of American
Ecclipse (1814-4
47) an undefeaated thorough
hbred
American
A
raceh
horse.
Stock: 36333
Portrraits of theirr Majesty's and the
Royal Fam
mily Viewing the Exhibittion of the
Royal Acad
demy, 1788.
239.
The Portraitss Design'd by P. Ramberg. P.A.
P Martini
Sculp.t. Pub.d March 6 1789 by A. Pogg
gi, St Georgess
Park.
Row, Hyde P
Etching and engraving witth thread marg
gins. 395 x
½ x 20¾"). Weear to edges. Crease just
525mm (15½
above publiccation.
£7550
The Great Rooom at Somerrset House durring the visit oof
George III annd his family, soon after thee King's
recovery from
m the porphyrria that had caaused the
Regency. Sir Joshua Reynnolds stands to
o the right,
B
West stands to thee
holding his eear-trumpet; Benjamin
left, instructiing three of thhe younger prin
nces. The Kinng
and the Princce of Wales haave a noticable gap betweenn
them; in fact the record off the King's vissit on the 25thh
April does noot mention thee Prince's pressence.
The composiition is the sam
me as the Ram
mberg's scene of
the 1787 exhhibition, with the
t detailed reealism,
including thee catalogue nuumbers of the painting.
p
However forr the King's visit the access doors are
pointedly cloosed, keeping out the crowd
ds of the earlieer
scene. BM: G
G,6.101, trimm
med.
ns. Ex
affter master paiintings in Brittish collection
Collection
C
of th
he Late Hon. C
C. Lennox-Boyyd.
Stock: 36530
[Three--masted shipp with brok
ken
fo
oremast on stormy
s
sea.]] E. Collectiione
Richardi
R
Loy
yd Generosi
24
42.
W.
W Vanderveld
d Pinx. / E. Kirrkall Fecit. [Printed & sold
by
y E. Kirkall in
n West Office Court, Fleet Street]
S
Mezzotint
M
printted in sea-greeen ink with veery large
margins,
m
platem
mark 335 x 4005mm (13¼ x 16"). £750
Pllate twelve fro
om Elisha Kirk
rkall's 'Set of Sixteen
S
Sea
Piieces' (c.1727)). Kirkall (16881/2-1742) alllegedly made
allmost £1000 from
fr this very successful series of large
prrints after masster paintings iin British colllections. Ex
Collection
C
of th
he Late Hon. C
C. Lennox-Boyyd.
Stock: 36529
Stock: 35919
240. [The Fishery]
Browne 17644 [after Richarrd Wright]
Etching withh very large daamaged margins, platemarkk
440 x 560mm
m (17¼ x 22")). Hole and daamage around
lower platem
mark. Unfinishhed proof befo
ore letters; very
ry
scarce.
£4880
Several shipss on a turbulennt sea; on the shore in the
foreground, m
men unload thheir fishing bo
oats, a
lighthouse annd building inn the distance on
o the left, a
horse-drawn cart approachhing the shore on the right.
he most famouus
Unfinished eengraving of 'tthe Fishery', th
work by marrine painter Riichard Wrightt (c.1720c.1775). Verssions of the paainting are in the Walker A
Art
Gallery, Liveerpool and Yaale Centre for British Art,
New Haven. The scene woon a premium of 50 guineass
for Wright inn 1764.
Etched by Joohn Browne (11741-1801), a pupil of the
celebrated enngraver Williaam Woollett. This
T seems to
be the first sttate of a print published in 1768
1
with
Woollett nam
med as sole enngraver. Browne probably ddid
the early worrk shown heree, with his masster completinng
the plate. Seee ref. 19177 foor Woollett's plate.
p
Fagan::
LXI I of VI.
Stock: 36623
[Busyy harbour scene.] E Co
ollectione
Pauli Meth
huin.
241.
W. Vanderveeld Pinx. E. Kirkall
K
Fecit. [P
Printed & soldd
by E. Kirkalll in West Office Court, Fleeet Street.]
Mezzotint prrinted in sea-ggreen ink with very large
margins, plattemark 400 x 575mm (15¾ x 22½").
Repaired tearr on left.
£7550
Plate from Ellisha Kirkall'ss 'Set of Sixteeen Sea Pieces''
(c.1727). Kirrkall (1681/2-1742) alleged
dly made almoost
£1000 from tthis very successful series of
o large prints
24
43. [Three--masted ship
p on heavy seas.]
s
E.
Collectione
C
Philippi
P
Holllingworth
W.
W Vanderveld
d Pinx. / E. Kirrkall Fecit. [Printed & sold
by
y E. Kirkall in
n West Office Court, Fleet Street]
S
Mezzotint
M
printted in sea-greeen ink with veery large
margins,
m
platem
mark 335 x 4005mm (13¼ x 16").
Repaired hole.
£550
Pllate fifteen fro
om Elisha Kirkkall's 'Set of Sixteen
S
Sea
Piieces' (c.1727)). Kirkall (16881/2-1742) alllegedly made
allmost £1000 from
fr this very successful series of large
prrints after masster paintings iin British colllections. Ex
Collection
C
of th
he Late Hon. C
C. Lennox-Boyyd.
Stock: 36528
24
44. A Sea Storm
S
on thhe Coast of Italy.
Vernet
V
Pinx.t. C.
C Corbutt feccit. London, Prrinted for &
So
old by Rob.t Sayer
S
Map & PPrintseller at the
t Golden
Buck near Serjeeants Inn, Fleeet Street.
Mezzotint
M
with narrow marggins; 255 x 355
5mm (10 x
14
4"). Creasing; some toning,, some repairs.
£240
A ship in trouble of a rocky sshore, men wo
orking to
saave sailors from the water, aafter Joseph Vernet
V
(171489
9, father of Caarle Vernet). T
The engraver''s name is
Charles Corbutt, of whom noothing can be traced other
han his prints. It is generallyy believed that the name is
th
a pseudonym used by Richarrd Houston an
nd probably
d Purcell. BM:: 2010,7081.3
3227 (from
allso by Richard
th
he Lennox-Boyyd collection)..
Stock: 35846
245.
[A liffeboat stugggling to reach a swampeed
ship.]
E.W. Cooke.. [n.d., c.1880.]
Woodblock, touched proof with artist's pencilled
i image. Laidd
comments inn margins and inked marks in
on board.
£1880
A working prroof, with littlle sketches in the margins
with instructiions to changee the image, for
f example 'T
The
Stays must be made strongger' & '2 or 3 more
m men in
boat.
Edward Willliam Cooke (11811-80), mariine painter,
R.A. Ex: Colllection of Thee Hon. C. Lennox-Boyd.
Stock: 36476
246. The D
Dangerous Rock
R
/ Ecueeil Dangereu
ux
J. Vernet pinnx.t / J. Dixon fecit Printed for
f John
Bowles, at N
No. 13 in Cornnhill
Mezzotint wiith very large margins, platemark 255 x
£3220
360mm (10 x 14"). Slight creasing.
Shipwreck w
with survivors clambering on
nto the rocks.
One of manyy British printss from the draamatic
landscapes of Joseph Vernnet (1714-89). Ex: collectionn
Hon. C. Lennoxx-Boyd.
of the Late H
Stock: 36203
247. ['Metteor' Racing
g on the Soleent?]
London, Julyy 31st 1894. Published
P
by Mess.rs
M
Borgenn
& Turner, Thhe Carlton Gaallery, 46, Pall Mall S.W.
Copyright registered. Printted in Vienna.
Photogravuree on chine colllé, signed by the artist in
pencil. 540 x 890mm (21¼
¼ x 35") Somee wear to
backing papeer.
£3660
Racing yachtts on the Solennt, a Martello tower to the
left.
49. [Scene from the Coolonial War
r: A Negro
24
on
n a Rearing Horse.]
Jaayler, d'après Géricault.
G
Lithh. de Villain.
Liithograph, printed area 215 x 260mm (8½
½ x 10¼").
Rare.
£380
Liithograph reprroducing in reeverse a drawiing (in a
prrivate collectio
on) by Theodoore Géricault,, showing an
African
A
on a magnificient staallion and otheer Africans
fig
ghting French
h soldiers. Thiis short-lived French
F
artist
was
w celebrated as one of the most important artists of
th
he early 19th century
c
with a reputation that chiefly
reests upon his vast
v 'Raft of thhe "Medusa"' (Louvre)
(
and
hiis portraits of sufferers from
m mental illnesses and
maladies.
m
Howeever much of his output con
nsisted of
eq
questrian subjects, whether sporting or in
n battle.
Stock: 36622
25
50. The Ba
attle of Wateerloo.
Paainted by J.A. Atkinson. Thhe Portraits by
y A.W.
Dervis.
D
Drawn & Engraved bby John Burneet. London, J.
Hagger,
H
67 Pateernoster Row.. [n.d., c.1850
0.]
Ettching and eng
graving. Sheeet 510 x 690m
mm (20 x
37
7¼"). Trimmeed to plate.
£360
Th
he Duke of Wellington,
W
moounted, hat in hand, the
baattle being fou
ught across thee fields behind
d. To the
rig
ght Highlandeer foot soldierrs fight French
h cavalry.
A re-engraved plate,
p
first pubblished 1819.
Stock: 36761
Stock: 36853
248. [The Drums of th
he Fore and
d Aft.]
EMH [Edwaard Matthew Hale]
H
95. [Etch
hed by Franz
5 by Arthur
Hanfstaengl.] London Pubblished in 1895
N Bond S.W
W.
Lucas the Prooprietor, 31 New
Photogravuree on chine colllé, signed in pencil
p
by the
artist. 470 x 6650mm (18½ x 26¼"). Prin
ntsellers'
Association bblindstamp. Slight creasing
g at top and
stains.
£5220
m Rudyard Kippling's poem 'The Drums off
A scene from
the Fore and Aft'. Jakin annd Lew, a pair of delinquentt
drummer boyys serving witth an inexperieenced regimennt
in Afghanistaan: during a battle
b
the regim
ment gets
overwhelmedd by Ghazis annd break. How
wever Jakin annd
Lew, not quite sober, remaain and attemp
pt to rally the
G
on
n drum and
troops by plaaying 'British Grenadiers'
flute; shamedd and encouraaged by their bravery,
b
the
regiment retuurns to win thee battle but no
ot before the
two boys aree slain. Part off Kipling's verse is inscribedd
bottom right..
The original oil, nearly tw
wo metres widee, is in the
Leeds Art Gaallery.
Stock: 36854
25
51. The Ba
attle of Wateerloo. To th
he Prince
Regent
R
this Plate
P
is with His Most Gracious
G
Permission Humbly
H
Deddicated by His
H Royal
Highnesses
H
Obliged
O
Devooted & Faith
hful
Seervants T. Clay
C and R.. Lambe. [&
&] To Field
Marshal
M
H.R
R.H. the Dukke of York th
his Plate is
with
w Permission most Huumbly Dediccated by
His Royal H
Highness's Obliged
O
Dev
voted &
Faithful Seervants R. Lambe
L
and T.
T Clay.
Alexander Saauerweid Pinxx.t. John W. Cook
C
[& H.R.
Cook], Sculppt. London: Puub.d Mar. 1. [&
& June 18th.]
1819, by R. L
Lambe, 96, Grracechurch Sttreet and T.
Clay, 18, Luddgate Hill.
Pair of mixedd method engrravings with small
s
marginss.
550 x 820mm
m (21½ x 32¼
¼"). Some weaar to edges.
Repairs & daamaged. Sky scuffed.
£9550
Pair of large rare scenes frrom the Battlee of Waterloo.
o the Duke of
o Wellington,,
The first scenne is focused on
shown on hoorseback with a telescope in
n his right handd,
o the British
having givenn the order for the advance of
troops. The ssecond shows the charge off the British
heavy cavalrry led by Geneeral Henry Pag
get (17681854), Earl oof Uxbridge, against
a
Comte d'Erlon's
column, whicch checked thhe French advaance. One of tthe
last cannonbaalls shot that day
d hit Paget'ss right leg
necessitatingg its amputatioon. He was creeated Marquesss
of Anglesey the followingg month.
Alexander Saauerweid (17882 - 1844) was a Baltic
German painnter who speciialised in battlle scenes and
horses. He sttudied in Dressden and received
commissionss of horse porttraits from Naapoleon beforee
moving to Stt Petersburg too paint official portraits of
Russian troopps and their unniforms for Alexander
A
I. H e
also instructeed the sons off Nocholas I in
n drawing. In
1831 he bcam
me a director of
o the St Peterrsburg
Academy.
An
A intense battle scene, withh British infantry closing in
on
n the French cavalry
c
from bboth sides. A mortar
m
ex
xplodes in the foreground an
and cannon balls streak
accross the sky.
Stock: 36817
25
54. Etch'd Thoughts.
Lo
ondon: Printed for the Etchhing Club. 184
44.
Laarge folio, greeen morocco bboards, 62 etch
hed plates.
Bottom right co
orner of front bboard damageed.
£1500
e
as issuued in 1844 in
n one of the
Frrom the only edition,
Ettching Club’s earliest publiications.
Stock: 37004
Stock: 36757
Bataiille in der geegendt Mon
ns, So
gesschefen A.o. 1709 den
d 33. 7briss.
252.
Paul: Deckerr Srchit. delineeav. Ioh Iac: Kleinschmid.
K
Sculpsit. Cum
m Grat: et Privvilegio Sac: Coes:
C
Mejest.
Ier: Wolff exxcud: Aug: Vinnd.
Engraving. S
Scarce. Plate: 400
4 x 500mm
m, (15¾ x 19¾
¾").
Trimmed witthin plate. Staaining. Damag
ge to corners.
Small tears inn edges.
£2660
A view of a bbattle in the Wars
W of the Spanish
Succession, eenclosed withhin an ornate ro
ococco
surround in w
which several figures are deepicted. The
Wars of the S
Spanish Succeession lasted from
f
1701 unttil
1714 followiing the decisioon of the dying
g, childless
Charles II, K
King of Spain to
t leave the en
ntirety of the
Spanish Hapsburg inheriteence to the Freench Duke of
Anjou, thus sseverly alterinng the balancee of power in
Europe.
Stock: 36972
The B
Battle of Waaterloo Junee 18th. 18155.
Dedicated w
with permisssion to Lieu
u.t General
the Most N
Noble Henry William Pa
aget, Marqu
uis
of Angleseyy & Earl of Uxbridge
U
G:C:B:
G
K.M.T. & K
K.S.G. [By Lieu.t
L
R.P. Read.]
R
253.
Drawn & Etcched by W. Heath. Aquatinted by R.
Reeve. [Londdon. Publish'dd, June 4th 1816. for the
Porprietor: by J. & M. Ripppin No.21 Th
heobald's Roadd.]
3 x 545mm (15½ x 21½" )
Coloured aquuatint. Sheet 395
Trimmed witthin image onn three sides, lo
osing end of th
the
dedication annd publicationn line at bottom
m; some surfaace
abrasion, collour faded.
£4550
25
55. [Scaffolding at Ken
nsington.]
Frrank Brangwy
yn. [Signed in pencil.] [n.d., c. 1924.]
Ettching. Platem
mark: 480 x 5330mm (18¾ x 20¾").
Ex
xtremely largee margins.
£850
A view in Kenssington showin
ing a building under
co
onstruction, with
w scaffoldinng in the centree and to the
rig
ght. Workers are seen in thee foreground, with a tree too
th
he left.
Frrank William Brangwyn (18867 - 1956) was
w one of the
most
m influentiall etchers of thhe early twentiieth century,
an
nd had already
y established hhis reputation as a major
paainter and wattercolourist beefore he attem
mpted his first
ettching in 1900
0. He was draw
wn to the man
ny
po
ossibilities of this medium aand by 1926 had
h
co
ompleted 331 original etchin
ings. Most of Brangwyn's
B
arrt concentrated
d upon figure studies, architectural and
marine
m
subjectss. Fine Art Socciety: 178 II of
o II.
Stock: 36492
25
56. Calend
darium Londdinense or th
he London
Almanack
A
for the Year 11919. The War
W Office.
Lo
ondon. Published by W. Moonk. Drawn Etched
E
and
Prrinted by W. Monk,
M
118, N
New Bond Streeet, W.
Ettched image, 180 x 250mm
m (7 x 9¾"), with
w calendar
un
nderneath, sheeet 400 x 290m
mm (15¾ x 12
2").
£180
View
V
of William
m Young's neeo-baroque War Office
bu
uilding at nigh
ht with a full m
moon and the anti-aircraft
seearchlights, a gun
g carriage in the foregrou
und.
After
A
the abolittion of the Waar Office, the building
b
co
ontinued to bee used by the M
Ministry of Deefence, but
was
w recently so
old and is beinng converted in
nto a luxury
ho
otel. Very atm
mospheric. Ann issue of 'Mo
onk's
Calendar', a publication for print collectors founded in
1902 by William Monk (1863-1937) and published
yearly until the year 2004.
Stock: 36790
257. Calendarium Londinense or the London
Almanack for the Year 1924. Piccadilly Circus
London. Published by W. Monk. Drawn Etched and
Printed by W. Monk, 118, New Bond Street, W.1.
Etched image, 175 x 255mm (7 x 9¾"), with calendar
underneath, sheet 400 x 290mm (15¾ x 12").
Horizontal fold through centre. Slight staining in
margins.
£130
View looking across Piccadilly Circus, with Regent
Street curving away to the right. In the centre is Alfred
Gilbert's statue 'Eros' (1893), designed and erected in
memory of the philanthropic 7th Earl of Shaftesbury.
Behind it is the department store Swan & Edgar.
An issue of 'Monk's Calendar', a publication for print
collectors founded in 1902 by William Monk (18631937) and published yearly until the year 2004.
Stock: 36789
258. Calendarium Londinense or the London
Almanack for the Year 1925. Trafalgar
Square.
London. Published by W. Monk. Drawn Etched and
Printed by W. Monk, 118, New Bond Street, W.1.
Etched image, 180 x 250mm (7 x 9¾"), with calendar
underneath, sheet 400 x 290mm (15¾ x 12").
Horizontal fold through centre of "Calendarium". Few
marks.
£95
View taking in Nelson's Column and the National
Gallery, St Martin's in the Fields on the right. In the
foreground on the right is the equestrian statue of
Charles I by Hubert le Sueur (c.1633).
An issue of 'Monk's Calendar', a publication for print
collectors founded in 1902 by William Monk (18631937) and published yearly until the year 2004.
Stock: 36788
Calendarium Londinense or the London
Almanack for the Year 1927. The Strand.
259.
London. Published by W. Monk. Drawn, & Etched, by
W. Monk, 118, New Bond Street, W.1.
Etched image, 180 x 250mm (7 x 9¾"), with calendar
underneath, sheet 400 x 290mm (15¾ x 12").
£130
View looking along the Strand from near the north side
of Waterloo Bridge. On the left is the New Gaiety
Theatre, advertising a Mozart production. Built in
1903, the theatre was demolished in 1957 and the site
was recently redeveloped to become a luxury hotel.
James Gibbs' baroque church of St Mary-Le-Strand
(1717) is in the centre, with the facade of Somerset
House on the right.
An issue of 'Monk's Calendar', a publication for print
collectors founded in 1902 by William Monk (18631937) and published yearly until the year 2004.
Stock: 36787
260. Calendarium Londinense or the London
Almanack for the Year 1928. London River.
W. Monk [pencil signature.] London. Published by W.
Monk at 118, New Bond Street, W.1. Drawn, &
Etched. by W. Monk.
Etched image with large margins, 180 x 250mm (7 x
9¾"), with calendar underneath, sheet 400 x 290mm
(15¾ x 12"). Slight staining in margins; cut to
platemark at bottom.
£160
View looking across the Thames towards Custom
House and the Tower of London, with the river full of
working barges.
An issue of 'Monk's Calendar', a publication for print
collectors founded in 1902 by William Monk (18631937) and published yearly until the year 2004.
Stock: 36786
261. Calendarium Londinense or the London
Almanack for the Year 1929. Old Watling
Way, Sunday in the City.
W. Monk [pencil signature.] London. Published by W.
Monk at 118 New Bond Street, W.1. Drawn, & Etched,
by W. Monk.
Etched image, 180 x 250mm (7 x 9¾"), with calendar
underneath, sheet 400 x 290mm (15¾ x 12").
Horizontal fold through centre of "Calendarium".
£140
View looking down Watling Street towards St Paul's
Cathedral. The street, considered the oldest in London,
was the principal street of Roman London, the 'Noble'
or 'High' street of the city. It subsequently became the
Saxon Athalingastrate (noble street) before becoming
Wathling Street.
An issue of 'Monk's Calendar', a publication for print
collectors founded in 1902 by William Monk (18631937) and published yearly until the year 2004.
Stock: 36785
262. Calendarium Londinense or the London
Almanack for the Year 1935. Doctor
Johnson's House / Gough Square, Fleet Street.
W. Monk [pencil signature.] London, Published by W.
Monk at 118, New Bond Street, W.1. Drawn & Etched,
by W. Monk.
Etched image, 175 x 250mm (7 x 9¾"), with calendar
underneath, sheet 400 x 290mm (15¾ x 12").
Horizontal fold through centre of "Calendarium";
pinhole lower left.
£120
Dr Johnson's House at 17 Gough Square in London.
Built at the end of the 17th century, the house was
home to Johnson in the 1750s (he moved there to work
on his Dictionary of the English Language). It is now
open to the public and has a collection and library
relating to Johnson.
An issue of 'Monk's Calendar', a publication for print
collectors founded in 1902 by William Monk (18631937) and published yearly until the year 2004.
Stock: 36783
263.
Calen
ndarium Loondinense orr the London
n
Almanack for the Yearr 1932. Num
mber 10
Downing Street Whitehall.
26
65. Calend
darium Londdinense or th
he London
Almanack
A
for the Year 11934. [Charlles Dickens
House.]
H
W. Monk [peencil signaturee.] London. Pu
ublished by W
W.
Monk & By Walker's Gallleries Ltd, 118
8, New Bond
Drawn, & Etcched. by W. Monk.
M
Street, W.1. D
Etched imagee, 180 x 250m
mm (7 x 9¾"), with calendarr
underneath, ssheet 400 x 2990mm (15¾ x 12").
Horizontal foold through ceentre of "Calen
ndarium". £1440
View of the P
Prime Ministeer's official ressidence from
under the arcches opposite.
An issue of 'M
Monk's Calenndar', a publicaation for printt
collectors fouunded in 19022 by William Monk
M
(18631937) and puublished yearlyy until the yeaar 2004.
Lo
ondon. Published by W. Moonk at 118, New
N Bond
Sttreet, W.1. Drawn & Etchedd, by W. Mon
nk
Ettched image, 185 x 255mm
m (7¼ x 10"), with
w calendar
un
nderneath, sheeet 395 x 290m
mm (15¾ x 12
2"). Slightly
tim
me stained at edges. Creasee through "Caalendarium"
£70
Charles Dicken
ns' house on D
Devonshire Terrrace, which
i 1839 after lleaving the Do
oughty Street
hee moved into in
reesidence which
h is now a muuseum.
An
A issue of 'Mo
onk's Calendaar', a publicatio
on for print
co
ollectors, that year illustrateed with an etch
hing of St
Jaames's Palace. Founded by W
William Monk (186319
937) it was pu
ublished yearlyy until the yeaar 2004.
Stock: 36791
Stock: 36781
26
66. Calend
darium Londdinense or th
he London
Almanack
A
for the Year 11935. The Brritish
Museum.
M
Thee Portico.
W.
W Monk [penccil signature.] London & Ch
hester.
Pu
ublished by W.
W Monk at Thhe Studio, Barrrel Well,
Chester. Drawn
n, & Etched. bby W. Monk.
m (7 x 9¾"), with
w calendar
Ettched image, 180 x 250mm
un
nderneath, sheeet 400 x 290m
mm (15¾ x 12
2").
Horizontal
H
fold
d through centr
tre. Very sligh
ht crease
th
hrough "Calendarium"
£140
Th
he portico of the
t British Muuseum, the larrgest and
beest-known buiilding by archhitect Robert Smirke.
S
An
A issue of 'Mo
onk's Calendaar', a publicatio
on for print
co
ollectors found
ded in 1902 by William Mo
onk (186319
937) and published yearly uuntil the year 2004.
2
Stock: 36782
Calend
darium Londdinense or th
he London
Almanack
A
for the Year 11936. Buckin
ngham
Palace From St James's P
Park (floodlit).
26
67.
Calen
ndarium Loondinense orr the London
n
Almanack for the Yearr 1933. Lond
don from th
he
wn from Tow
wer Bridge.
Pool, Draw
264.
W. Monk [peencil signaturee.] London. Pu
ublished by W
W.
Monk at 118, New Bond Street,
S
W.1. Drawn,
D
&
W. Monk.
Etched. by W
Etched imagee, 180 x 250m
mm (7 x 9¾"), with calendarr
underneath, ssheet 400 x 2990mm (15¾ x 12").
£1880
View from nnear Tower Bridge, looking upstream from
m
the Thames ttowards Londoon Bridge. Th
he dome of St
Paul's and the Monument can
c be seen am
mong the
industrial chiimneys on thee right. A finee view of
London.
Monk's Calenndar', a publicaation for printt
An issue of 'M
collectors fouunded in 19022 by William Monk
M
(18631937) and puublished yearlyy until the yeaar 2004.
Stock: 36794
W.
W Monk [penccil signature.] London & Ch
hester.
Pu
ublished by W.
W Monk at Thhe Studio, Barrrel Well,
Chester. Drawn
n, & Etched. bby W. Monk.
Aquatint
A
and ettching. Image 180 x 250mm
m (7 x 9¾"),
with
w calendar underneath,
u
shheet 400 x 290
0mm (15¾ x
12
2"). Horizontaal fold throughh middle.
£130
View
V
across St James' park to
towards Buckiingham
Paalace. Text beelow explaininng the history and various
allterations mad
de to the buildiing since John
n Nash's
orriginal design..
An
A issue of 'Mo
onk's Calendaar', a publicatio
on for print
co
ollectors found
ded in 1902 by William Mo
onk (186319
937) and published yearly uuntil the year 2004.
2
This
ed
dition was the first to use aqquatint for thee scene.
Stock: 36792
26
68. [Cheyn
ne Walk]
C.E. Holloway '81 [in imagee lower right].
nscription 'CE
Ettching with veery large marggins, Pencil in
Holloway
H
to Daavid Law' low
wer left; platem
mark 275 x
45
50mm (10¾ x 17¾"). Uncuut.
£320
Cheyne Walk in
n Chelsea, Loondon. This hiistoric street,
whose
w
19th cen
ntury residentss included Rossetti,
Sw
winburne, Wh
histler and Turrner, was a fav
voured
su
ubject for man
ny printmakerss of the Victorrian period.
By Charles E
Edward Hollow
way (1838-97
7), painter andd
printmaker sppecialising in marine and laandscape
subjects. Hiss work is held in several nattional
T
This imp
pression was a
collections, iincluding the Tate.
gift from Hollloway to his contemporary
y, painter and
printmaker D
David Law (18831-1901).
pllatform on thee right. By Hennry Macbeth Raeburn
R
(1
1860-1947), po
ortrait painterr and printmak
ker active in
Lo
ondon, who ex
xhibited at thee RA 1881-19
904. 'A good
ettcher' (Guichard). Ex: collecction of the La
ate Hon. C.
Leennox-Boyd.
Stock: 36797
Stock: 36778
269. [Facttories on thee Thames]
H. Macbeth-R
Raeburn Sct. [n.d., c.1910]
Signed etchinng with very large
l
margins,, platemark 2555
x 355mm (100 x 14").
£2220
View across the Thames toowards factories and
M
warhouses accross the riverr. By Henry Macbeth
Raeburn (18660-1947), porrtrait painter an
nd printmakerr
active in Lonndon, who exhhibited at the RA
R 1881-19044.
'A good etcher' (Guichard)). Ex: collectio
on of the Latee
Hon. C. Lennnox-Boyd.
27
72. [Steam
m cranes, Waaterloo Bridge]
H.
H Macbeth-Raaeburn Sct. [n..d., c.1910]
Siigned etching with very largge margins, pllatemark 200
x 300mm (8 x 11¾").
1
£260
ndustrial scenee on the southh bank of the river Thames,
In
with
w steam cran
nes on scaffoldding hoisting pails,
su
urrounded by boats
b
to let. B
By Henry Macbeth Raeburnn
(1
1860-1947), po
ortrait painterr and printmak
ker active in
Lo
ondon, who ex
xhibited at thee RA 1881-19
904. 'A good
ettcher' (Guichard). Ex: collecction of the La
ate Hon. C.
Leennox-Boyd.
Stock: 36798
Stock: 36796
270. [Facttories on thee Thames.]
H. Macbeth-R
Raeburn Sct. [n.d., c.1910]
Signed etchinng with very large
l
margins,, platemark 2555
x 355mm (100 x 14"). '1st state'
s
in pencill lower left.
£2220
View across the Thames toowards factories and
M
warhouses accross the riverr. By Henry Macbeth
Raeburn (18660-1947), porrtrait painter an
nd printmakerr
active in Lonndon, who exhhibited at the RA
R 1881-19044.
'A good etcher' (Guichard)). Ex: collectio
on of the Latee
Hon. C. Lennnox-Boyd.
27
73. [The Thames and C
City of London from
Westminster]
W
]
Stock: 36799
W.Walcot
W
[pen
ncil signature.]] [n.d., c.1910
0]
Ettching with veery large marggins, signed in
n pencil,
pllatemark 130 x 130mm (5 x 5"). Uncut.
£290
Bird's-eye view
w of London frrom near Whiitehall,
ooking towards the City of L
London, show
wing St Pauls
lo
Cathedral on th
he left and Tow
wer Bridge in the distance
n the right.
on
Ettching by William Walcott R.E (1874 - 1943),
1
who
was
w described by
b Furst as 'neext to Brangw
wyn the
grreatest decorattive etcher thiis country has produced'.
Walcot
W
was in fact
f born in R
Russia and stud
died in St
Peetersburg and Paris, subsequ
quently practiccing
arrchitecture in Moscow
M
befor
ore moving to London early
in
n the 20th centtury. Walcot'ss training is ev
vident in his
prrints, which arre concerned w
with architectu
ure and
deecoration rather than humann life.
Stock: 36780
27
74. [Brentfford Bridge]]
[b
by H. George Webb,
W
1906]
Ettching with veery large marggins, platemarrk 105 x
13
30mm (4 x 5").
£140
Fiigures on a co
overed barge ppassing beneatth Brentford
Bridge in west London. By H
Harry George Webb (1882914), landscap
pe and architec
ectural painter and etcher
19
who
w exhibited at
a the Royal A
Academy and the Royal
So
ociety of Etch
hers. He set upp the Caradoc Press in
Chiswick in 1899 with his w
wife Hesba. Imp
pression in
m, museum no.. 1949,0411.2
2261. Ex:
Brritish Museum
co
ollection of thee Late Hon. C
C. Lennox-Boyyd.
Stock: 36795
271. [Shott Tower, Th
hames]
H. Macbeth-R
Raeburn Sct. [n.d., c.1910]
Signed etchinng with very large
l
margins,, on Chine,
platemark 2555 x 150mm (10 x 6").
£1660
View along tthe south bankk of the river Thames
T
towarrds
St Pauls cathhedral and Souuthwark Bridg
ge. Warehousees
and shot tow
wer on the righht, a figure stoo
od on a woodeen
27
75. [The Valentré Brid
dge, Cahors.]
Frrank Brangwy
yn. [Signed in pencil.] [n.d., c.1911.]
Ettching with laarge margins, rrare. 1st state of 100
prroofs. This is the second sta
tate of 25 proo
ofs.
Pllatemark: 540 x 800mm (211¼ x 31½").
£850
Th
he Valentre Bridge,
B
locatedd in Cahors in the south of
Frrance, is someetimes consideered the finestt and most
well-preserved
w
bridge in Eurrope. In addition, it has
beecome perhaps the most hisstorically fableed of the
78. [The Royal
R
Exchannge, Manchester.]
27
Frred. W. Goold
den inv. et dell. [pencil signaature, lower
rig
ght.] Fred. W. Goolden/13 [etched in plaate lower
leeft.] [1913.]
Ettching with veery large marggins, very finee, platemark
40
05 x 290mm. 16 x 11½".
£160
Th
he Royal Exch
hange in Mannchester, located in the city
ceentre on the laand bounded bby St Ann’s Sq
quare, Markett
Sttreet and Crosss Street. The bbuilding now houses the
Royal Exchang
ge Theatre andd the Royal Ex
xchange
sh
hopping centree.
Remarque of a beehive lower
er left. Ex: Agn
news.
Stock: 36775
many famouss 'Devil's Briddges.' These brridges, most oof
them locatedd in France andd Switzerland
d, were built
under such chhallenging conditions that the
t builders'
efforts were llater hailed ass heroic. Legends and folk
tales describee pacts made by
b passing traavelers with thhe
Devil in ordeer to cross the precariously located bridgees.
Building of tthe Valentre Bridge
B
began in
i 1308 and
ended in 13778, with restorration by Paul Gout in 18799.
Upon finishinng the restoraation, Gout had
d a devil's heaad
carved into thhe top of the central
c
tower as
a a reminder of
the legend.
Frank Williaam Brangwyn (1867 - 1956)) was one of thhe
most influenttial etchers off the early tweentieth centuryy,
and had alreaady establisheed his reputatio
on as a major
painter and w
watercolourist before he atteempted his firrst
etching in 19900. He was drrawn to the many
m
possibilities oof this medium
m and by 1926
6 had
completed 3331 original etcchings. Most of
o Brangwyn'ss
art concentraated upon figuure studies, arcchitectural andd
marine subjeects. Fine Art Society:
S
178 II
I of II.
Stock: 36493
276. [The Gate of thee Farm.]
Frank Brangw
wyn. [signed in pencil.] [n.d., c.1907.]
Etching withh mezzotint. Pllate: 300 x 250mm, (11¾ x
9¾").
£4880
French farm in
i which figurres, some
A view of a F
carrying largge baskets on their
t
backs, walk
w through a
large, half-oppen gate. Frannk Brangwyn (1867-1956)
(
tthe
Anglo-Welshh artist, painteer and virtuoso
o engraver andd
illustrator. Fiine Art Society
ty: 90.
Stock: 36966
277. [Crosss Street Ch
hapel, Manchester]
Fred. W. Gooolden inv. et del.
d [pencil sig
gnature, lowerr
right.] Fred. W
W. Goolden/110 [etched in plate
p
lower
left.] [1910.]]
Etching withh very large margins, platem
mark 255 x
345mm (10 x 13½"). Uncuut.
£2220
Cross Street Chapel in Maanchester, the first Nonconformist place of worshhip in the city. Bombed duriing
World War III, in 1959 a new chapel waas constructed
t first placee
on the site. Inn 2012 this chhapel became the
of worship inn Britain to recceive a licence to conduct
civil partnersship ceremoniies. Ex: Agnew
ws.
Stock: 36776
[Silentlly Homewarrd. In the Shadows of
tw
wilight or su
unny mid-daay - Eliza Co
ook.]
27
79.
Charles O. Murrray [pencil siignature]. Cop
pyright.
November
N
1902
2 by C. Klackkner_ 7 West 28th
2
Street,
New
N York. Pub
blished 1902 bby C. Klackneer, 12
Haymarket,
H
London S.W. Coopyright registered_
Prrinted in Lond
don by Paul M
Moglia.
Mezzotint,
M
prin
nted in sepia, aartist's remarq
qued proof
lim
mited to 275, remarque of a crook with vine
v leaves.
40
05 x 695mm (19
( x 27½"), PPrintsellers' bllindstamp.
£230
A shepherd and
d flock in mistty winter land
dscape with
watery
w
sun.
Stock: 35922
28
80. [Tangie
ers Market]]
H Macbeth Raeeburn Sct [penncil signature lower right]
Ettching, platem
mark 260 x 1655mm (10¼ x 6½"). £160
Market
M
scene in
n Tangiers, M
Morocco, by Heenry Macbethh
Raeburn (1860--1947), portraait painter and printmaker
acctive in Londo
on, who exhibbited at the RA
A 1881-1904.
'A
A good etcher' (Guichard). LLimited to 50 impressions.
Exx: collection of
o the Late Hoon. C. Lennox--Boyd.
Stock: 36777
28
81. [The Sw
wingbridge..]
C.F.Tunnicliffee signed in penncil. Limited 1/75. [n.d.,
c.1928.]
P
2005 x 275mm (8¼ x 10¾").
Ettching. Rare. Platemark:
£620
A rural scene sh
howing a farm
mer with a horrse, driving
caattle across briidge to the rigght.
Wildlife
W
artist Charles
C
Frederrick Tunniclifffe, R.A. R.E.
(1
1901 - 1979) liived on Angleesey having sttudied at the
R.C.A. This wo
ork is characteeristic of his ro
obust deeply
biitten etchings steeped in rurral life. In all he
h produced
so
ome sixty etch
hings.
Stock: 36718
Colonn
ne Nationalee. Fastes militaires de
la
a France de 1792 à 18155.
28
82.
Houite
H
Sculp. Paris,
P
chez Binnet, Rue Aubrrey-leBoucher, 34.
ngraving. Sheeet 900 x 625m
mm (35½ x 24
4½"). A few
En
reepairs, laid on backing sheett.
£420
Napoleon's
N
triumphal columnn in the Place Vendôme,
orriginally erected in 1810 buut here showin
ng the statue
off Napoleon in military dresss replaced by LouisPh
hilippe I (reigned 1830-46),, because the first statue
had been mellted down at the
t Bourbon Restoration.
R
Thhe
Paris Commuune pulled dow
wn the whole column in
1871, but it w
was re-erectedd three years laater with a coppy
of the originaal statue.
The column w
was based on Trajan's Colu
umn in Rome,
with scenes ffrom Napoleon's career in a spiral up the
colymn. Heree the column is
i flanked tables of events
grouped by m
month rather than year
Stock: 36852
85. [The Crab Rider.]
28
[n
n.d., c.1812.]
Coloured etchin
ng with very llarge margins.. 120 x
00mm (4¾ x 8").
8
20
£220
A satire on Nap
poleon's retreaat from Mosco
ow in 1812,
with
w Bonapartee riding on a loobster, a laureel branch
beeing knocked from his handd by a cossack
k rider's lance..
Seee BM 1925,0615.167 for a German verssion titled
'D
Der Krebsreiteer'.
Stock: 36753
28
86. Napole
eon Musing.
on
n Stone by A. Picken. W. D
Day lith to the King. [n.d.,
c. 1840.]
mm (5½ x 7")).
£95
Liithograph. Sheeet 140 x 175m
An
A invented vieew of Napoleoon standing on
n a rock
lo
ooking down onto
o a harbourr of Elba.
Stock: 36752
283. Napo
oleone Buon
naparte.
Engraved byy Henry Richteer from the celebrated Bust
by Ceracchi llately broughtt from Paris, and
a now in hiss
Possession. P
Published June 1.st 1801, by
y H. Richter,
No. 26, New
wman Street, Oxford
O
Street Where
W
Casts
from the origginal Bust mayy be had.
Stipple with thread marginns. 525 x 420m
mm. 20½ x
16½". Repairred tear on rigght.
£4660
Bonaparte ass general of thhe Republican army, after thhe
bust by Ceracchi; on piedoouche, looking
g to the right,
sporting longg hair, wearingg a double-breeasted jacket
embroidered with bands of foliage.
Stock: 36760
284. Bona
aparte 1.er. Consul.
Appiani Pinxx.t. Moret Scuulpsit. A paris,, chez Drouhinn,
Editeur, Rue de Vaugirardd, N.o. 1348, enface
e
du Jarddin
des Carmes. [n.d., c.1800.]
Mezzotint prrinted in colouur. Sheet: 305 x 415mm, (122
x 16½"). Trim
mmed within plate.
£4220
A portrait sett within a ovaal of Napoleon
n Bonaparte.
Bonaparte w
was named the First Consul following
f
the
Brumaire, whicch took place on the 9th
coup of 18 B
November 17799, in which Bonaparte an
nd his follower
ers
overthrew Thhe Directory, who
w were in control
c
of
France at thee time, and creeated the Conssulate which
ruled until thhe formation of
o the Napoleo
onic Empire inn
1804.
Stock: 36965
28
87. Spoone
er's Proteann Views, No. 10.
Napoleon
N
Pow
werful and N
Napoleon Powerless.
The
T print rep
presents the fallen Warrrior in exile
on
n the sea girrt isle alone & contempllating the
mighty
m
ocean
n which sepaarates him afar
a
from
th
he Continent which wass the theatree of his
trriumphs and
d his power.. The scene is
i changes
an
nd Napoleon
n is again poowerful surrrounded by
hiis Veterans and his Leggions in the Champ
C
de
Mars.
M
Lo
ondon, Williaam Spooner, N
No. 337 Strand
d. [n.d.,
c.1820's.]
graph, rare; 1550 x 170mm, trimmed
t
and
Coloured lithog
laaid on card witth title label, bbacked with tiissue, as
issued. Foxing.
£350
he scene chan
nges when heldd up to a lightt source.
Th
Stock: 36755
Beggarr's Opera, A
Act III. as Originally
O
peerform'd at Lincolns Innn Fields, 17
727.
28
88.
Pu
ublish'd July 1st.
1 1790 by J . & J. Boydelll, Cheapside,
& at the Shakesspeare Galleryy Pall Mall Lo
ondon.
En
ngraved keypllate. 145 x 2220mm (5¾ x 8¾").
Trrimmed just within
w
plate at bottom.
£260
Th
he keyplate to
o Hogarth's paainting of the Beggar's
B
Opera,
O
as engraaved by Williaam Blake for the
t Boydells.
Th
he Performerss: Macheath - Mr. Walker, Lockitt
L
- Mr.
Hall,
H Peachum - Mr. Hippisleey, Lucy - Mrrs. Egerton,
Polly - Miss Fenton, afterwards Dutchess of Bolton.
The Audience: Duke of Bolton, Major Paunceford, Sir
Robert Fagg, Mr. Rich, the Manager, Mr. Cock, the
Auctioneer, Mr. Gay, Lady Jane Cook. Anthony
Henley Esq.r, Lord. Gage, Sir Conyers D'Arcy, Sir
Tho.s Robinson.
A scene from John Gay's innovative and pioneering
ballard-opera 'The Beggar's Opera', first painted by
Hogarth in 1728. John Rich of the Lincoln's-Inn-Fields
was eventually persuaded to take on the piece, and the
first performance, on January 29, began, it is said, with
some concern on the part of the audience, for the
departure from the conventions of the day was
considerable. However, the sparkling dialogue, witty
satire, and ingenious ballads set to well-loved familiar
tunes carried their own weight, and we have a report
from Pope, as remembered by Joseph Spence: Ex:
collection of the Hon. Christopher Lennox-Boyd.
Rare etching with letterpress, printed in blue. Sheet 285
x 225mm 11¼ x 9"). Laid on canvas, paper age toned.
£350
The key and prospectus for an engraving of Francis
Danby's 'An Attempt to illustrate the Opening of the
Sixth Seal'. According to the text 'Each Subscriber of
One Guinea shall receive one Share, securing One of
the Splendid Mezzotinto Engravings of the Picture; and
the chance of obtaining either the Grand Original
Painting, valued at 1000 Guineas, or the Engraved
Steel Plate, which cost 650 Guineas; and shall also
receive a Free Admission Ticket admitting one person
during the Exhibition'.
Danby accused John Martin of stealing the idea of his
'The Deluge' from this painting, which Martin saw
during a visit to Danby's studio. Ex: collection of the
Hon. Christopher Lennox-Boyd.
Stock: 36968
Stock: 36973
Chelsea Pensioners reading the Gazette
of the Battle of Waterloo.
289.
J. Moyes, Castle Street, Leicester Square. [London,
Moon, Boys, & Graves, c.1831.]
Etching with letterpress. Sheet 850 x 570mm (33½
22½"). Folds with worn holes, foxed.
£280
Keyplate and list of subscribers for David Wilkie's
lively scene of Chelsea pensioners sitting round a
wooden table outside the Duke of York inn, listening to
one reading the news of the Battle of Waterloo. The
key lists the variant uniforms of the old soldiers. The
extensive list of subscribers include the Duke of
Wellington, the artist and Francis Moon, one of the
publishers.
Stock: 36975
Key of Reference to the print of The
Battle of Waterloo, June 18th, 1815. The
period of time is towards the Close of the Day
when the whole French Army were thrown into
Confusion. The Marquis of Anglesey having
broken the French Lines and pass'd the high
road, pursues the Enemy into a hollow, and the
Cavalry charge and capture their Artillery.
290.
London; Published June 18th, 1819, by R.Lambe, 96,
Gracechurch Street, and T.Clay, 18, Ludgate Hill.
Etched key plate. Sheet 390 x 530mm, 15¼ x 21",
watermarked 'J Whatman'. Folded at centre, bottom
corner torn
£360
Keyplate to a painting by Alexander Sauerweid, as
engraved by H.R.Cook, with a 19-point key of persons
and a 15-point key of the battle. BM: 1872-5-11-449.
Ex: collection of the Hon. Christopher Lennox-Boyd.
See item 36757 for the engraving.
Stock: 36970
291. Key to the Splendid Mezzotinto
Engraving, by G.H. Phillips, Esq from Danby's
Sublime Painting of the Opening of the Sixth
Seal.
[n.d., c.1830.]
292. Key to the plate of the Royal
Academicians.
Pub. by C. Bestland 1802. [but later.]
Stipple. 295 x 380mm (11½ x 15"). Tear in lower
margin.
£180
Keyplate to the stipple by C. Bestland after Henry
Singleton. The artists include Thomas Lawrence,
William Beechey, Angelica Kaufman, James
Northcote, Henry Fuseli, John Singleton Copley, the
Sandby brothers and, sitting in the President's chair,
Benjamin West. Ex: collection of the Hon. Christopher
Lennox-Boyd.
Stock: 36974
293.
Key to the Battle of Waterloo, by Lieut.
Read.
G.W. Ginger, College Street, Westminster. [n.d.,
watermarked 1836.]
Etching with letterpress. Sheet 450 x 560mm (17¾ x
22"). Watermarked 'Sweetapple 1836', Wear to edges.
£360
Keyplate to the aquatint drawn and etched by William
Heath after Lieut. R.P. Heath, first published by Reeve
in 1816. This keyplate is for a later issue as the
letterpress 'Summary Account of that Decisive Victory'
has been updated to include Napoleon's death on St
Helena in 1821. Ex: collection of the Hon. Christopher
Lennox-Boyd.
Stock: 36969
294. [Keyplate to the Battle of Waterloo, by
William Heath.]
[n.d., c.1880.]
Wood engraving. Printed area 120 x 360mm (4¾ x
14¼").
£85
Keyplate to the aquatint by Fry & Sutherland after
William Heath, first published by Reeve in 1817. It
names Wellington, Clinton, and Anglesea, with
Napoleon Bonaparte in the background. Ex: collection
of the Hon. Christopher Lennox-Boyd.
Stock: 36971
295. [Don
nkey Racing..]
E. Martin Invv.t. J. F. Martiin sculp.t. [n.d
d., c.1799.]
Stipple with hand colour, large
l
margins. Platemark:
m (7 x 9½"). Light
L
staining in margins.
180 x 240mm
Small repair in centre. Bitt dusty.
£2220
onkeys over a
A scene depiicting nine figgures racing do
small bridge,, to the right, past
p two specttators in the
centre, and ooff into the disstance to the leeft. To the righht,
a goat leaps iin front of a riider, throwing
g him from hiss
donkey, in frront, a small child rides with
h an adult, andd
further aheadd another riderr falls from hiis animal.
By Elias Marrtin, A.R.A. Swedish,
S
born Stockholm inn
1739, died Sttockholm 1818. He came to
o London in
1768, becom
ming a Royal Academy
A
studeent the next
year and wass elected A.R.A in 1770. Affter Elias
Martin, engraaved by his yoounger brotheer, Johann
Frederick (17745-1808).
E. Martin Inv.t & Sculp.t. Puublish'd as the Act Directs,
779.
17
Sttipple with hand colouring w
with very larg
ge margins;
Pllatemark: 190 x 150mm (7¾
¾ x 6").
£140
A child sits looking down tow
wards a smalll dog to the
leeft, with its paw
ws on the chillds lap.
By Elias Martin
n, A.R.A. Sweedish, born Sttockholm in
739, died Stocckholm 1818. He came to London
L
in
17
17
768, becoming
g a Royal Acaademy studentt the next
yeear and was ellected A.R.A iin 1770.
Stock: 36335
Stock: 36344
296. [The Fair.]
F. Wheatley inv. F. Bartollozzi Sculp.t. [n.d.,
[
c.1789.]]
Stipple, fine with very largge margins. Prroof impressioon
before letterss. Platemark: 200
2 x 230mm
m (8 x 9"). £2660
An exterior sscene at a counntry fair, with
h five childrenn
standing besiide a stall. The two boys in the centre plaay
a small drum
m, hanging from
m one of theirr necks, as a ggirl
sits on a baskket to the left, playing a smaall clarinet
shaped instruument. To the right, a girl holds
h
a rifle ovver
her shoulder,, most likely used
u
at the sho
ooting galleryy at
the fair to wiin prizes. De Vesme.
V
1274: I of III.
Stock: 36416
297. Huntt the Slipperr [&] Hot Co
ockles.
W. Hamiltonn inv.t. F. Barttolozzi Sculp.tt. Publish'd Juuly
2.d, 1787 by W. Palmer No.
N 163 Strand
d.
marks 195 x 225mm
2
(7¾ x
Pair of fine sstipples. Platem
8¾"). Threadd margins.
£4880
Two scenes oof children plaaying: in 'Hun
nt the Slipper' a
group of chilldren sit in a circle
c
playing, as one boy
searches for tthe hidden slippper; in 'Hot Cockles'
C
one
person placess their head inn anothers lap and guesses
who is hittingg them from behind,
b
a variaation of the
classic 'Blindd Man’s Buff'. De Vesme. 1263 & 1264,
both IV of IV
V.
Stock: 36413
298.
The m
mind uncum
mber'd playss.
29
99. Dame en
e habit de B
Ballet.
lee Pautre delin. et Sculp. cum
m privil Regis.. Ce vende
so
ous les charnieers Sts Inocenns. [n.d., c.167
75.]
Ettching, rare; 18th century w
watermark. Plaatemark: 295
x 195mm (11½
½ x 7¾"). Few very small pin holes to
urface.
su
£260
A woman, standing whole-leength, dressed
d in a richly
orrnate ballet co
ostume with a long striped stole,
s
holding
a mask in her leeft hand and ddancing. Two other figures
ng beside stepss to the left.
arre seen dancin
Prrint made by Jean
J
Lepautree (1618 - 1682
2), designer,
ettcher, publisheer and the firstt of the Lepau
utre dynasty,
brrother of Anto
oine the archite
tect, and father of Jacques
an
nd Pierre.
Stock: 36991
30
00. [Decorative music book cover?]
F.. Bartolozzi scculp. Gouldingg, D'Almaine,, Potter & Co..
Music
M
Publisheers [c.1809]
Ettching with veery small marggins, platemarrk 115 x
21
10mm (4½ x 8¼").
8
£190
Decorative
D
desiign in proof sttate before tex
xt, by
Frrancesco Bartolozzi (1725- 1815). Born in
n Florence,
Bartolozzi was elected a founnding member of the
Royal Academy
y in 1768 (thee RA did not admit
a
en
ngravers at thiis time but maade an exceptiion in his
case). He waas already hailed as the best engraver in
Italy when hee met George III's librarian Richard Daltton
in 1763. Daltton invited Baartolozzi to Lo
ondon with a
promise of ann appointmennt as engraver to the king. Inn
England he bbecame the moost celebrated
d exponent of
the 'stipple' teechnique wheereby he produ
uced prints
using dots raather than liness. In 1801 Barrtolozzi was
invited to Lissbon to reform
m the royal priinting press, aand
he spent his ffinal years in Portugal. Thiss portrait was
published aftter Bartolozzi had left England for the
continent.
Stock: 35839
301. [Viollinist Asleep
p Below a Trree.]
Vien fecit. Frranquinet del..t. Lith. de Chabert; r.
Cassette, N.220.
Lithograph w
with very largee margins. Plaate: 335 x
495mm, (13¼
¼ x 19½").
£1440
An old man, asleep holdinng a voilin in one
o hand and
the bow in annother. A skulll,
Stock: 36596
302. [The Gallery.] [&
&] The Pit [Tragedy].
Printed by G
Graf & Soret 144, Newm[an Street.]
S
[Published byy R. Ackermaann, 96, Strand
d.] [n.d.,
c.1830.]
ur, very scarcee.
Pair of lithoggraphs with finne hand colou
Each sheet c..155 x 175mm
m (6 x 7"). Trimmed within
images, losinng most of thee inscriptions, mounted on
album paper..
£2880
Two views oof an audiencee: a family in the
t gallery,
presumably w
watching a comedy; and a similar
s
familyy in
the pit, watchhing (accordinng to the full inscription
i
of an
example in thhe V&A) a traagedy. Ex: Co
ollection of Thhe
Hon. C. Lennnox-Boyd.
Exx Collection of the Hon. Chhristopher Len
nnox-Boyd &
Collection
C
of Siir Algernon Tu
Tudor Craig.
Stock: 36866
30
05. The Re
ev.d John W
Wooll D.D. Master
M
of
Rugby
R
Schoo
ol. Proof.
Paainted by Tho.s Lawrence E
Esq.r R.A. Paiinter in
Ordinary
O
to Hiss Majesty. Enggraved by C. Turner
T
Warren
W
Street Fitzroy
F
Squaree. London: Pu
ub.d Nov.r 24
18
813, by Mess.rs Colnaghi & Co, Cockspu
ur Str.t Hay
Market.
M
Prroof mezzotin
nt with very lar
arge margins. 400
4 x 300mm
m
(1
15¾ x 11¾"). Mounted on aalbum paper. Uncut.
£240
Jo
ohn Wooll (17
767-1833, head
admaster of Ru
ugby School
from 1806 to 18
827.
Ed
ducated at Wiinchester Colllege, Balliol College
C
Oxford
O
and New
w College, W
Wooll held a fellowship at
New
N College frrom 1788 untiil 1799, when he was
ap
ppointed headmaster of Middhurst Free Grrammar
Scchool. He bacame headmasster at Rugby School
S
in
18
807 and embaarked on a rebuuilding prograamme which
in
ncluded a chap
pel in 1820. Innitially the num
mbers of
pu
upils grew, ex
xceeding 380, making Rugb
by second
on
nly in size to Eton,
E
but afterr 1818, perhap
ps because of
hiis reputation for
f excessive fflogging, num
mbers fell,
drropping to 123
3 by the end oof 1827, promp
pting his
reesignation in 1828. Wooll seettled in Wortthing, Sussex,
where
w
he died in
i 1833. A moonument was erected
e
to his
memory
m
in the school chapell at Rugby. Whitman
W
625, i
off ii. Ex: collection of the Hoon. Christopheer LennoxBo
oyd.
Stock: 36587
Stock: 36469
Samu
uel Berdmorre S.T.P. Sccholae
Carthusiaee Magister, MDCCLXX
M
XXVIII.
303.
Painted in M
Miniature by S.. Shelley / Eng
graved by W.
Nutter Publissh'd Oct.r 28 1788
1
by R. Crribb N. 288
High Holborn
rn
Stipple with very large maargins, platemark 205 x
£1220
150mm (8 x 6").
Samuel Berddmore (1739-11802), headmaaster of
Charterhousee School from
m 1769 to 1791
1 where he
maintained thhe reputation and finances of
o the school.
Bredmore waas also a keenn literary schollar, publishingg
'Specimens oof Literary Resemblance in the Works off
Pope, Gray, aand other Celeebrated Writers' in 1801, annd
he was a mem
mber of the Unincreasable
U
Club,
C
meetingg
in Holborn thhat included thhe painter Geo
orge Romney
amongst its m
members.
Stock: 35836
304. Rich..d. Rawlinso
on L.L.D.
Vertue delin.. Smith Fecit. [n.d., c.1775.]
Mezzotint, raare. Sheet: 1800 x 250mm, (7
7 x 9¾").
Trimmed to pplate.
£2660
A half-lengthh portrait set inn an oval of Richard
R
Rawlinson (11690-1775), antiquarian,
a
co
ollector and
Jacobite. Hee bequeathed most
m of his collection to thee
Bodleian Libbrary, Oxford. CS: 3 II. Sha
arpe: 602 II.
[Lawreence Alma-T
Tadema, R.A
A., in his
sttudio]
30
06.
[T
T.L. Atkinson after John Coollyer, pencil signatures]
s
[P
Published by T.H.
T Lefèvre, June 1 1885]
Mezzotint on india, very large margins; platemark 550
x 420mm (21½ x 16½"). Printsellers' Association
blindstamp. Very scarce.
£520
Lawrence Alma-Tadema (1836-1912), London painter
of Greek and Roman settings, etcher, stage designer
and decorative artist. Shown in his studio holding
palette and brushes, an unfinished canvas behind him.
After training in Antwerp, Alma-Tadema moved to
London in 1870 and became a member of the Royal
Academy in 1879. He was knighted in 1899.
After the portrait by John Collier (1850-1934), portrait
painter who received guidance and encouragement
from Alma-Tadema as a young artist. The print was
originally sold as a companion to a portrait of another
19th century artist, Rosa Bonheur. PSA limited to 275
artist's proofs (plate destroyed); ex: collection of the
Late Hon C. Lennox-Boyd.
Stock: 36360
307. R. Crosse, Esq.r. Painter in Enamel to
His Majesty.
Painted by Himself / Engraved by R. Thew [published
1 September 1792].
Stipple, sheet 165 x 120mm (6½ x 4¾"). Trimmed
inside platemark.
£140
Richard Crosse (1742-1810), miniature painter who
while not now ranked among the pre-eminent
miniaturists of the 18th century, was probably
appointed painter in enamel to George III circa 1789.
Crosse's ledger in the National Art Library reveals that
during his most productive years he painted around 100
miniatures per year. He appears to have given up his
London practice in 1798 and to have retired to
Somerset. This engraving reproduces Crosse's selfportrait of circa 1780 (Victoria & Albert Museum). In
BM 1852.0214.316.
Stock: 35829
308. W. Dobson.
Ipse pinx. Geo: White Fecit. Sold by Sam.l Sympson in
ye Strand.
Mezzotint with small margins, platemark 350 x 245mm
(13¾ x 9¾"). Damaged.
£160
William Dobson (bap.1611-d.1646), portrait painter,
after a self-portrait. Often regarded as the first major
British painter, he was (with the exception of the
miniaturists Hilliard and Oliver) the first home-bred
painter at the English court. Following the death of
Van Dyck in 1641, Dobson was called upon to paint
Charles I and his royalist supporters, who had fled to
Oxford after Civil war broke out. CS 16.i; Ex:
collection of the Hon. C. Lennox-Boyd
Stock: 36366
309. [Portrait of François du Quesnoy] Hic
ille est quondam Fratri vix dispar in arle, felix!
[...]
Tabulae per A: Van Dyck ad vivum depictae R.
Brookshaw fc.t Bruxellis Annon Salutis 1779
Mezzotint, sheet 205 x 160mm (8 x 6¼"). Trimmed
inside platemark; false margins added. Rare.
£140
François du Quesnoy (1597-1643), sculptor and
draughtsman, gesturing towards a small bust. Du
Quesnoy moved to Rome in 1618 (he was a friend and
housemate of Nicholas Poussin) and spent the rest of
his life in Italy (earning the sobriquet 'il Fiammingo''the Flemish'). Apparently after a portrait by Van Dyck,
and published by the British engraver Richard
Brookshaw when he was briefly resident in du
Quesnoy's hometown of Brussels. CS p.99; Ex:
collection of the Hon. C. Lennox-Boyd.
Stock: 36373
310. Thomas Hayley the Disciple of John
Flaxman / from a Medallion.
Blake sc. [n.d., c.1800
Stipple, platemark 165 x 110mm (6½ x 4¼"). Late.
£40
Thomas Alphonso Hayley (1780-1800), sculptor who
was taught by Joseph Wright of Derby and admired by
George Romney before dying aged just nineteen.
Engraved by William Blake.
Stock: 35833
311. Jean Baptiste Monoyer Peintre des
Fleurs. Illustrissimo Principi Joanni Duci de
Montagu &c [...]
G. Kneller Baronettus pinx Printed for & Sold by
Henry Overton at the White Horse without Newgate
London.
Mezzotint with very large margins, platemark 340 x
240mm (13¼ x 9½")
£260
Jean Baptiste Monoyer (1635-99), painter of flower
still lives. He was employed at Versailles before being
brought to England by the Duke of Montagu (to whom
this print is dedicated). He then worked at Montagu
House, painting over fifty panels of fruit and flowers
for overmantels and overdoors, some of which were
later transferred to Boughton House,
Northamptonshire.
Stock: 36634
312. Jean Baptiste Monoyer Peintre des
Fleurs.
G. Kneller S.R.J. Equ: Aur; et Mag: Brit: Equ: Aur: et
Baronettus Pinx. E. Fisher fecit. [n.d., c.1715.]
Mezzotint. 345 x 245mm (13½ x 9½").
£230
Jean Baptiste Monoyer (1635-99), painter of flower
still lives. He was employed at Versailles before being
brought to England by the Duke of Montagu. He then
worked at Montagu House, painting over fifty panels
of fruit and flowers for overmantels and overdoors,
some of which were later transferred to Boughton
House, Northamptonshire. Ex: Collection of the Hon.
Christopher Lennox-Boyd. CS: 42.
Stock: 36311
313. Nicholas Pocock.
Painted by J. Pocock. Engraved by Edw.d. Scriven.
Historical Engraver to His Majesty.
Engraving with very large margins. Proof. On India,
laid. Plate: 190 x 250mm, (7½ x 9¾"). Some surface
dirt. Hole in lower margin.
£95
Half portrait of British artist Nicholas Pocock (17401821) famed for his battle scenes.
Stock: 36418
ollection of thee late Hon C. Lennox-Boyd
d; CS 226
co
(o
only state)
Stock: 36632
31
17. Charles Smith, Paiinter to the Great
Mogul.
M
Ip
pse pinx.t. S.W
W. Reynolds scculp.t. [n.d., c.
c 1795.]
Sttipple. Sheet size:
s
175 x 95m
mm (7 x 3¾")). Fine
im
mpression, cutt nearly to imaage.
£75
A portrait of Ch
harles Smith ((1749 - 1824) half-length,
diirected to the left,
l
facing tow
wards the fron
nt. He is
wearing
w
a turbaan and a dark ccloak with a light frill,
ho
olding rolled up
u papers in hhis right hand.
Sm
mith was a Sccottish artist w
who worked in
nitially as a
paainter of portraits but later aalso painted mythological
m
an
nd whimsical subjects. Smitth left Englan
nd for India in
17
783 and travellled widely, sppending time in Calcutta,
Madras,
M
Lucknow and probaably Delhi, wh
here he may
haave painted th
he Mughal empperor. Whitma
an: 267A.
Stock: 36888
[Rem
mbrandt as a Standard Bearer.]
B
Dee
Origineele Schildery iss in de Colleectie van den
n
Heer J.M Q
Quinkhard.
314.
Rembrand piinxt. P. Lauw fec. te Amsterdam by P.
Fouquet Juniior [n.d., c.17550.]
Mezzotint wiith very large margins; plattemark 400 x
295mm (15¾
¾ x 11½"). Sliight cockling. Very slight
crease in cenntre.
£4550
Engraving off Rembrandt'ss 1636 painting
g (collection oof
Elle de Rothsschild, Paris). Charington 103
1 ii/ii
Stock: 36523
315. [Self--portrait by
y Rembrandt] 23
[Andrew Gedddes after Rem
mbrandt]
Etching withh very large margins, platem
mark 70 x 65m
mm
(2¾ x 2½").
£1220
Copy in reveerse of Rembraandt's 1634 ettched selfportrait, by thhe Scottish paainter and etch
her Andrew
Geddes (1783-1844). The Oxford DNB states that 'ass
an etcher Gedddes ranks higgher than as a painter; his
plates may be regarded as among the veery earliest
modern Britissh art of the brrilliancy,
examples in m
concentrationn, and spiritedd selection of line
l proper to a
‘painter's-etcching’'. CD 388.ii; Hollstein 133 copy i;
Hind 57 (coppy)
Stock: 36805
Godffridus Schallcken Hanc suam
Effigiem piinxit Londin
ni 1694
316.
J. Smith fec. &. exc.
3½ x 9¾)
Mezzotint, pllatemark 340 x 250mm (13
Thread marggin; crease throough centre.
£1220
Mezzotint affter a self-porttrait by the Du
utch artist
Godfried Schhalcken (16433-1706) who worked
w
for
many years iin London andd noted for hiss mastery of
candlelit scennes such as thhis. Fluted pillar on left and
two fragments of ancient statuary
s
lowerr right. Ex:
31
18. J. W. M.
M Turner E
Esq.r. R.A.P.P
Geo.
G Dance.dell.t. March 18000. Published. by W.m.
Sm
mith N.o.24 Lisle
L
Street, Leeicester Squarre, London.
May
M 10. 1827.
Ettching with laarge margins. PPlate: 200 x 280mm,
2
(8 x
11
1").
£220
A half-length portrait in proffile of artist Jo
oseph Mallordd
William
W
Turnerr (1775-1851)) aged 25.
Stock: 36860
H.L. Wellington
W
R
Royal Colleg
ge of Art /
19
923 - 19
31
19.
D.
D Smith 1929 [pencil signatture lower righ
ht]
Aquatint
A
with very
v large marrgins, very scaarce,
pllatemark 200 x 230mm (8 x 9").
£240
Probably a portrait of Hubbert L. Welling
gton (1879n arrived at thee
1967), artist and art teacheer. Wellington
dham Lewis,
Slade to studdy at the same time as Wynd
and was closse friends withh Camden Tow
wn Group
man.
members Speencer Gore annd Harold Gilm
Wellington's work is in thee Tate collectiion, but it wass
h most impo
ortant
as a teacher tthat he made his
contribution,, working as leecturer and registrar from
1923-32 (durring which tim
me this print was
w made), andd
later becominng principal at
a Edinburgh College
C
of Artt
and the Sladee. Wellington''s DNB entry was written bby
Sir William C
Coldstream, whose
w
time at the Slade
overlapped w
with Wellingtoon's.
La
ate Hon. C. Leennox-Boyd; C
CS 58 i/ii [witth 1729 date
seeemingly scrattched out]
Stock: 36507
Stock: 36385
Benjaamin West, Esq.r President of the
Royal Acad
demy in Lon
ndon: Dediccated to the
Directors oof the British
h Institution
n by their ob
b.
Serv.t William Johnstoone White
320.
W.J. Newtonn Pinx.t / C. Heath
H
Sc.t Publlished Jan.y 1 st
1818 by W.JJ. White 14 Brrownlow Streeet, Holborn,
London
Engraving onn india with laarge margins, platemark 3800
x 290mm (155 x 11½").
£1440
Benjamin West (1738-18220) American painter of
historical sceenes, with Winndsor Castle in the distancee.
In 1760 he beecame the firsst American painter to traveel
to Italy, spennding three yeaars there. Wesst met Georgee
III's librariann Joseph Daltoon in 1762, wh
ho gave him a
royal commission to paint the lovers Cy
ymon and
Iphigenia. It was partly duue to Dalton's encouragemennt
w to spend
that West arrrived in Londoon, where he was
the rest of hiss career. In 17768 West play
yed an
instrumental role with the king in obtain
ning patronagee
Academy of Arts,
A joining otther charter
for a Royal A
members in hhelping to elecct Reynolds as its first
president. Evventually, desppite his Ameriican origins,
West becamee historical paainter to the kiing in 1772,
surveyor of tthe king's pictuures in 1791, and second
president of tthe Royal Acaademy in 1792
2, after
Reynolds's ddeath.
Stock: 36519
321. Harrry Carey.
J. Worsdale ppinx / J Faber Fecit [1729]
Mezzotint, pllatemark 190 x 150mm (7½
½ x 6"). Smalll
margins. Rarre.
£1660
Henry Careyy (1687-1743),, poet and son
ngwriter.
Allegedly thee illegitimate son of the George Savile,
marquess of Halifax, Careey is best know
wn for his
satires and coomedies for thhe theatre todaay. He also
taught musicc and published poetry. The great music
historian Chaarles Burney wrote
w
of him: 'Honest Harryy
Carey … invvented many very
v
pleasing and
a natural
melodies, whhich neither obbscured the seense of the
words, nor reequired much science to heaar'. A defendeer
of indigenouus musical tradditions, Carey attacked Italiaan
ntal performerrs,
opera, and soometimes paticular continen
in satires likee 'Faustina, orr, The Roman Songstress'.
Despite the ggreat success of
o works such
h as 'the Dragoon
of Wantley' ((1737), whosee popularity ecclipsed even
'The Beggar's Opera', Careey committed suicide soon
ollection of thee
after the deatth of his son inn 1743. Ex Co
32
22. [Geoffr
rey Chaucerr.]
[F
From an Original Painting inn the Picture Gallery
G
at
Oxford.
O
Engrav
ved by P. Cond
nde] [Published
d Feb.y 14
18
804 by Richarrd Philips. No .71 St. Paul's Church Yard,,
Lo
ondon.]
Very
V
rare stipplle with etching
ng. Proof beforre letters.
Sh
heet size: 255 x 180mm (100 x 7"). Trimm
med inside
pllate.
£320
Geoffrey
G
Chauccer (c.1343 - 11400) was an English
au
uthor, poet, ph
hilosopher, buureaucrat, courrtier and
diiplomat. Altho
ough he wrotee many works,, he is best
reemembered for his unfinisheed frame narrative 'The
Canterbury Tales'. Sometimees called the father
fa
of
nglish literatu
ure, Chaucer iss credited by some
s
scholarss
En
ass the first auth
hor to demonsttrate the artisttic legitimacy
off the vernaculaar English lannguage, rather than French
orr Latin.
Stock: 36894
[Portra
ait of Vincennzo Martineelli with
co
ornucopia below]
32
23.
G.B.
G Cipriani Fiorentino
F
diseegno / F. Bartolozzi scalpi
[1
1766]
En
ngraving with
h very large m
margins, fine, platemark
p
205
x 140mm (8 x 5½").
5
£160
ortrait of the Italian
I
author V
Vincenzo Maartinelli, from
Po
hiis edition of Boccaccio's
B
'Deecameron' pub
blished in
Lo
ondon in 1766
6.
En
ngraved by Frrancesco Bartoolozzi (1725-1815),
Fllorentine engrraver and founnding memberr of the Royal
Academy
A
in 1768. After meeeting George III's
I librarian
Richard Dalton
n in Italy in 17763, Dalton invited
Bartolozzi to London with a promise of an
n appointmentt
t king. In Enngland he beccame the mostt
ass engraver to the
ceelebrated expo
onent of the 'sttipple' techniq
que whereby
hee produced priints using dotss rather than lines.
l
This
was the mediium employedd for many of his prints
although thiss print uses thee more establiished techniquue
of etching. D
De Vesme 872 (only state).
Stock: 36621
324. Mr. P
Pope.
G. Kneller Piinx. Sold by S.
S Sympson in
n Maiden Lanee
Cov.t Gardenn. [n.d., c.17322.]
Mezzotint wiith thread marrgins. Very fin
ne & rare.
Platemark: 200 x 150mm (8
( x 5¾").
£2440
A portrait off author and pooet Alexanderr Pope (1688 s
to thee left, resting oon
1744), seatedd half length, slightly
his left arm, w
which is on a book on the table
t
in front oof
him. Alexandder Pope, the 18th century English
E
poet,
was best knoown for his sattirical verse an
nd for his
translation off Homer. Ex collection
c
of Christopher
C
Lennox-Boydd. Chaloner Sm
mith: 84. II off II.
Stock: 36887
The R
Reverend Doctor
D
Jonatthan Swift
Dean of St:: Patrick's, Dublin.
D
acrri quondam
cui captus aamore/ Ipsee suas artes sua
s muneraa
laetus Apolllo/ Auguriu
um citharam
mque dabat.
[Quotation
n from Virgil's Aeneid.]
325.
Charles I (1600
0-1649) wearinng hat and Geeorge, leaning
ov
ver a globe wiith the Britishh Isles filling th
he visible
arrea, writing the word . The ffrontispiece to
o 'The Papers
which
w
Passed at
a Newcastle bbetwixt His Saacred
Majestie
M
and Mr
M Al: Hendersson'.
Stock: 36540
32
28. Carolus ii D.G. An
nglia Scotia Francia
F
et
Hibernia
H
Rex
x.
[A
Anon.] [n.d., c.
c 1690.]
Mezzotint.
M
Raree. Sheet size: 240 x 160mm
m (9½ x 6¼").
Trrimmed to image. Laid on ssheet. Light ho
orizntal
crreases.
£260
A portrait of Kiing Charles III (1630-1685) as King.
Bust length, tow
wards the left,, facing forwaards, wearing
wig,
w lace cravatt and brocade coat. Within an oval
bo
order. Title inscribed in Lattin below. Chaarles was
King
K
of Englan
nd, Scotland, aand Ireland fro
om 1660 untill
hiis death. Ex co
ollection of Chhristopher Len
nnox-Boyd.
Stock: 36562
Markham add vivum delin. Burford fecit 1744. Londonn
Printed for Joohn Bowles & Son, at ye Black Horse inn
Cornhil. Acccording to Act of Parliamen
nt.
Mezzotint wiith small marggins, fine, plattemark 350 x
250mm (13¾
¾ x 9¾"). Trim
mmed to plate lower edge;
reworked staate after publissher name and
d date altered.
£3220
wift (1667 - 17445), writer, seeated in an
Jonathan Sw
glo-Irish satiriist,
armchair in hhis study. Swiift was an Ang
essayist, poliitical pamphleeteer (first for Whigs then fo
for
the Tories), ppoet and clericc who becamee Dean of St.
Patrick's, Duublin, best knoown for his sattire 'Gulliver'ss
Travels'.
1701 - 1754/577),
Engraved byy Alexander vaan Haecken (1
with quotatioon from Virgill's 'Aeneid' beelow image. Ex
Collection off the Late Honn. C. Lennox-B
Boyd; CS
(under van H
Haecken) 16 iiii/iii
Stock: 36508
Caroolus Primus D.G. Anglia
ae Scotiae
Franciae ett Hiberniae Rex &c.
326.
[after William
m Faithorne.] [n.d. c.1648.]]
Engraving. S
Sheet 250 x 1665mm (9¾ x 6½").
6
Trimmeed
just within pllate. Ink markk in title.
£1220
Oval portraitt of Charles I (1600-1649)
(
in
i armour, thee
Order of the Garter aroundd his neck, cop
pied from
frontispiece for William San
nderson's
Faithorne's fr
'Compleat Hiistory of the Life
L and Raign
ne of King
Charles'. Thee lettering arouund the oval has
h been adde d
for this version. Fagan: Pgg 4 Robert Wh
hite copied.
Stock: 36539
327. [Cha
arles I] Fideii Defensor.
[Engraved byy William Maarshall.] [Lond
don: R.
Royston, c.16649.]
Engraving, raare. Sheet 1355 x 90mm (5¼
¼ x 3½").
Trimmed witthin image, loosing engraverrs signature,
'Hall' writtenn in old ink msss on the globe. Repairs
.
£995
32
29. The Victorious Du
uke of Cumb
berland.
Prrinted for John
n Bowles at thhe Black Horsse in Cornhill
En
ngraving, sheeet 255 x 195m
mm (10 x 7¾"). Trimmed
in
nside platemarrk. Very rare & fine.
£260
Prrince William Augustus, Duuke of Cumbeerland (1721 17
765), in militaary uniform, pprobably cropp
ped from a
fu
ull-length portrait. The thirdd son of Georg
ge II and a
liffe-long soldier, the Duke w
was described by
b Horace
Walpole
W
as 'pro
oud and unforggiving, fond of
o war for its
ow
wn sake'. His victory at Cullloden in 1746
6 ended the
Jaacobite threat, but his severee treatment off the rebels
eaarned him the nickname 'Buutcher Cumberland'. Ex
Collection
C
of th
he Late Hon. C
C. Lennox-Boyyd
Stock: 36516
330. George III. King of Great Britain. &c.
&c. [&] Charlotte. Queen of Great Britain. &c.
&c.
B. West pinx.t. C. Ruotte Sculp.t. [n.d., c.1780.]
A Pair of Stipples. Sheet size: 250 x 160mm (9¾ x
6¼") each. Cut to platemark at sides.
£120
A pair of stipple portraits after Benjamin West. King
George III, bust, directed to right, within an oval.
Queen Charlotte, bust, directed to front, looking left,
hair dressed up, wearing a pearl necklace and a dress
decorated in bows. George III (1738 - 1820) was King
of Great Britain and Ireland from 25 October 1760
until the union of the two countries on 1 January 1801,
after which he was King of the United Kingdom of
Great Britain and Ireland until his death. On 8
September 1761 in the Chapel Royal, St James's
Palace, the King married Princess Charlotte of
Mecklenburg-Strelitz, whom he met on their wedding
day. A fortnight later, both were crowned at
Westminster Abbey.
Stock: 36317
331. The Introduction of the Princess of
Brunswick to the Prince of Wales. The Royal
Stranger now mid hopes & fears, / Before he
Prince & destind Lord appears;...
Publish'd June 1st 1795, by J. Coard, No 11 Lisson
Street, Edgware Road.
Mezzotint, printed in colours and hand-finished, rare.
350 x 250mm (13¾ x 9¾") Thread margins.
£260
An idealised scene of the first meeting of George and
Caroline of Brunswick, shortly before their marriage
on 8th April 1795. The text refers to Caroline 'In
beauty perfect' and George as a 'Godlike Youth': in
reality George called for a glass of brandy, obviously
disappointed, and Caroline said to her escort Lord
Malmesbury '[the Prince is] very fat and he's nothing
like as handsome as his portrait'. The pair separated the
following year. Ex Collection of the Hon. Christopher
Lennox-Boyd.
Stock: 36305
332. [Their Royal Highnesses /The Prince &
Princess of Wales.]
H. de Janvry pinx. / F. Bartolozzi sculp. London,
Published as the Act directs April 15 1797, by the
Author
Etching and stipple, sheet 240 x 155mm (9½ x 6").
Trimmed inside platemark. Rare proof before title.
£160
Double portrait of the future George IV and Queen
Caroline when prince and princess of Wales, by
Francesco Bartlozzi (1725-1815), Florentine engraver
elected a founding member of the Royal Academy in
1768 (the RA did not admit engravers at this time but
made an exception in his case). He was already hailed
as the best engraver in Italy when he met George III's
librarian Richard Dalton in 1763. Dalton invited
Bartolozzi to London with a promise of an appointment
as engraver to the king. In England he became the most
celebrated exponent of the 'stipple' technique whereby
he produced prints using dots rather than lines. In 1801
Bartolozzi was invited to Lisbon to reform the royal
printing press, and he spent his final years in Portugal.
De Vesme 1209 ii/iii; Collector's Mark: Z
Stock: 35840
333. Mary Queen of Scots. To the Master
Wardens & Court of Assistants of the
Worshipful Company of Drapers [...]
Federico Zuccheri Pinx.t / S. Roma Del.t / F.
Bartolozzi Sculp.t Published as the Act directs Jan. 26
1779, by John Boydell Engraver in Cheapside London.
Etching, sheet 480 x 330mm (19 x 13"). Trimmed to
platemark; creasing top left. Rare.
£240
Full-length portrait of Mary, Queen of Scots (1542-87,
reigned 1542-67), after Federico Zuccaro (1539/401609). De V: 1208 v of v.
Stock: 36392
334. [Charles Edward Stuart.]
[after William Mosman, c.1840.]
Rare proof engraving on india. Platemark 290 x
230mm (11½ x 9"). Very large margins.
£130
Half portrait in a roundel of Prince Charles Edward
Stuart (1720-1788) the grandson of James II. Known as
'Bonnie Prince Charlie' or the 'Young Pretender', he led
the failed Jacobite uprising of 1745 which sought to
restore the Stuart family to the British throne.
Following the Jacobite's defeat at Culloden he escaped
to the continent where he remained until his death in
1788. Not in Sharpe.
Stock: 36630
His Royal Highness James Prince of
Wales &c. Born at the Palace of St James's
The 10 Day of June 1688.
335.
De Largilliere Pinxit. Edelinck Sculpsit Cum Pr. Regis
1692. [c.1692.]
Engraving. Sheet 435 x 310mm (17¼ x 12¾").
Trimmed within plate, laid on album paper. Slight
crease.
£390
Oval portrait of four-year-old James Francis Edward
Stuart, the 'Old Pretender' (1688-1766), in the feminine
dress style of the period, wearing a feathered hat and
Garter.
As the son of James II, his birth raised the prospect of a
catholic succession and so sparked the 'Glorious
Revolution' that forced his father into exile. When his
father died in 1701 the Jacobite faction proclaimed him
James III, although he would never take his throne.
Sharpe 89.
Stock: 36859
336. [His Royal Highness Prince William
Henry. Serving as Midshipman on board His
Majesty's Ship Prince George.]
B. West Pinxt. F. Bartolozzi Sculp.t. P Sandby Aquat.t.
Publish'd as the Act Directs Jan.y 15 1782 by A. Poggi
No.4 Orchard Street, Portman Square.
Etching and aquatint in sepia, rare; sheet 565 x 445mm
(22¼ x 18¼"). Trimmed inside platemark; creases and
tears, some professionally repaired.
£420
King William IV (1765-1837) when a prince. Prince
William was sent into the Royal Navy at the age of
thirteen, 'chiefly to prevent him from falling under the
influence of hhis eldest brotther, George' (Oxford DNB
B).
He joined thee (ironically named)
n
98-gun
n ship 'Prince
George' in 17779 as a midshhipman, an ev
vent
commemoratted here. After a portrait (c..1781) by
Benjamin West, the American artist lateer to become
President of tthe Royal Acaademy. The prrint was madee
by Francescoo Bartolozzi annd Paul Sandb
by, both
printmakers w
with strong coonnections to the Hanoveriaan
monarchy. D
De Vesme 926 ii/iii.
Stock: 36361
33
38. Carlo Ferrara.
F
Thee Poor Italia
an Boy.
Drawn
D
from Naature and on SStone by the Rev.d
R
T.
Kilby.
K
Printed by
b T. Skelton.. [n.d., c.1850
0.]
Tiinted lithograp
ph with very llarge margins. Printed area
27
70 x 205mm (10½
(
x 8"). Fooxing in bordeers.
£260
A boy with a bo
ox and puppetts, with a torto
oise sitting onn
th
he box. A streeet urchin, he w
was murdered in 1831 by
Bishop and Willliams, who trried to sell his body to the
Medical
M
Schooll at King's Coollege, London
n. Caught, the
paair became kn
nown as the 'Loondon Burkerrs' (after the
more
m
notorious Burke and H
Hare of Edinbu
urgh) and
co
onfessed to six
xty murders pr
prior to their ex
xecution.
Bishop's corpsee was put on ddisplay at King
g's College
natomy theatree. It is believeed that the case was a
an
prrime inspiratio
on for Charless Dickens's 'Oliver Twist',
which
w
he began
n five years lat
ater.
Stock: 35809
337. Josep
ph Beeton.
Design'd from
m the Life, & publish'd by R:
R Williams
Black goose Street Lynn. Jan.y
J
10 1783
3
¾ x 7"). Very
Mezzotint, pllatemark 250 x 175mm (9¾
scarce.
£3550
h
He
H was tried,
Joseph Beetoon (d.1783), highwayman.
imprisoned aand executed in
i King's Lynn
n in 1783 for
robbing the nnorth mail coaach. Afer the robbery,
r
a
lucrative awaard was offereed and Beeton
n was given upp.
Like an earlier celebrity crriminal, Jack Sheppard,
S
ndlord at the innn
Beeton escapped from prisoon, but the lan
he fled to infformed the autthorities and Beeton
B
was
recaptured.
d
pose
Beeton's youuth, good lookks (hence the dandyish
he maintains even in ironss here) and sup
pposed
benevolent reeasons for com
mmitting the crime
c
arousedd
the sympathyy of many locaals, who donaated money to
employ counnsel to plea forr him. Even so
o, he was founnd
guilty and exxecuted at the gallows near Southgates.
This portrait,, published loccally a week before
b
Beetonn's
execution, deemonstrates thhe market for images of thee
local celebritty. Ex Collectiion of the Latee Hon. C.
Lennox-Boydd; see Neil Stoorey, 'Norfolk villains'
Stock: 36514
33
39. James Ings. Thomaas Brunt.
Wivell
W
Delin.t. Cooper Sculpp.t. London, Published
P
by
Th
ho.s Kelly, 17
7, Paternoster Row, May 2 1820.
Sttipple. Sheet size:
s
220 x 1300mm (8¾ x 5¼").
£70
A double portraait of James Inngs (above) an
nd Thomas
Brunt (below). Both head and
nd shoulders, directed
d
to
nd facing the left.
l
The Catoo Street Conspiracy was an
an
atttempt to murd
der all of the B
British cabinet ministers
an
nd Prime Miniister Lord Livverpool in 182
20. The police
haad an informer and the plottters fell into a police trap
an
nd 13 were arrrested, while oone policeman
n was killed.
Fiive conspirato
ors were execuuted, and five others were
traansported to Australia.
A
Jam
mes Ings, a cofffee shop
keeeper and form
mer butcher, laater announceed that he
would
w
have deccapitated all thhe cabinet mem
mbers and
taaken two heads to exhibit onn Westminsterr Bridge.
Jo
ohn Brunt escaaped the policce but was cau
ught and
arrrested a few days
d
later. Thee execution off Ings and
Brunt, as well as
a Thistlewoodd, Davidson and Tidd
ook place on May
M 1st at New
wgate, the day
y before this
to
prrint was publisshed.
Stock: 36329
34
40. George
e Earl of Croomartie.
[n
n.d., c.1730.]
Mezzotint.
M
Very rare. Platem
mark: 194 x 14
45mm (7¾ x
5¾
¾"). Thread margins.
m
£260
A portrait of Geeorge Mackennzie, 3rd Earl of Cromartie
(1
1703 - 1766), half-length
h
inn an oval, direccted towards
th
he left, looking
g towards the viewer. Wearring a short
wig,
w tied at the nape, a plain coat over a daark waistcoat
which
w
is button
ned at the waisst and below a white
crravat. Cromarttie was one off the leaders of
o the
Rebellion in 17
745, and was ta
taken prisonerr after the
baattle of Littlefferry. He was ttried and sentenced to
deeath, but he ob
btained a condditional pardon although
hiis peerage wass forfeited, alllegedly because his wife
was
w heavily preegnant. Ex collection of Chrristopher
Leennox-Boyd. Chaloner
C
Smitth: 23. Sharp
pe: 381
Stock: 36554
(1
1751-1814), drraughtsman annd singer. Aftter the death
off John Collett in 1780, Dighhton became the
t foremost
deesigner of droll mezzotints such as this. As
A business
in
n the art world
d declined duriing the Napoleonic Wars,
Dighton
D
began stealing prints
ts from the Briitish
Museum,
M
only getting caught
ht after severall years of
th
heft. Ex: Oettin
ngen-Wallensstein collection
n and
co
ollection of thee late Hon. C.. Lennox-Boyd
d; not in CS.
Stock: 36691
341. [Misss Cabben.]
G. Willison ppinxit. Val. Grreen fecit. Pub
blish'd Sept.r
24. 1770. [Prrinted for Robb.t Sayer No. 53
5 Fleet Streett.]
Mezzotint, sccratched letterr proof. 355 x 275mm. 14 x
10¾". Trimm
med into plate at bottom, lossing publisherr's
line.
£1880
n oval border
A provocativve portrait of a woman in an
engraved by Valentine Greeen (1739-181
13) after the
797). CS 18. W
W:
Scottish artisst George Willlison (1741-17
17: i of iii. Ex
Ex: the Collecttion of the Hon
n. C. LennoxBoyd
Stock: 35855
342. [La C
Compassion
n.]
[J.B.Greuze ppinxit. J.Masssard fecit.] [n.d., 1777.]
Mezzotint wiith very large margins, proo
of before letteers,
rare. 255 x 195mm (10 x 7¾").
7
SIGNED
D BY THE
R ON REVER
RSE.
ENGRAVER
£2550
Head and shooulders of a yooung girl thro
owing up her
hands in pityy, set in an ovaal against a blaank frame.
The artist Jeaan Baptiste Grreuze (1725-1805), who
specialised inn domestic genre scenes, sig
gned prints
after his desiigns to prevennt undeclared impressions
i
being run offf without his knowledge;
k
heere, however,
only the signnature of the enngraver, Jean Massard
(1740-1822) is visible, albbeit faintly. See BM
2004,0430.9 ffor publishedd state, 'the only example
known of a m
mezzotint afterr Greuze madee in France'.
Ex: Collectioon of the Hon. Christopher Lennox-Boyd.
L
d.
Stock: 36312
343. [Wom
man in enorrmous hat.]
Rob. Dightonn pinxit / R. Laurie
L
Fecit. London:
L
Printeed
for R. Sayer & J. Bennett No
N 53 Fleet Street,
S
26 Feb.yy
Act directs.
1778, as the A
Mezzotint wiith very large margins, extrremely rare &
decorative, pplatemark 115 x 90mm (4½ x 3½"). Uncuut;
glued to backking sheet alonng left side.
£2880
Decorative m
mezzotint by engraver
e
and printseller
p
Robert Lauriie (1755?-1836), after Robeert Dighton
34
44. [Woma
an holding qquill and lettter.]
Rob. Dighton pinxit
p
/ R. Lauurie Fecit. Lon
ndon: Printed
fo
or R. Sayer & J. Bennett Noo 53 Fleet Streeet, and J.
Sm
mith No 35 Ch
heapside, as thhe Act directss, 1st January
17
778
Mezzotint
M
with very large maargins; extrem
mely rare &
deecorative; plattemark 115 x 95mm (4¼ x 3½"). Uncut;
go
ood impressio
on; glued to baacking sheet at
a lower left
co
orner.
£280
Decorative
D
mezzzotint by enggraver and prin
ntseller
Robert Laurie (1755?-1836),
(
, after Robert Dighton
(1
1751-1814), drraughtsman annd singer. Sho
ows a woman
ho
olding a letter inscribed 'Myy Lord Duke' and
seeemingly contemplating whhat to write next.
After
A
the death of John Colleett in 1780, Diighton
beecame the foreemost designeer of droll mezzzotints such
ass this. As business in the artt world declin
ned during the
Napoleonic
N
Waars, Dighton bbegan stealing prints from
th
he British Musseum, only gettting caught after
a
several
yeears of theft. Ex:
E Oettingen--Wallenstein collection
c
an
nd collection of
o the late Honn. C. Lennox--Boyd; not in
CS.
C
Stock: 36690
34
45. [Child with Apple]]
A Geddes ft [lo
ower left]
Ettching with veery large marggins, platemarrk 160 x
14
40mm (6¼ x 5½").
5
£140
Po
ortrait of the artist's
a
niece, A
Agnes Paul. Etched
E
by the
Sccottish painterr and etcher A
Andrew Geddees (1783-
1844). The Oxford DNB states that 'as an etcher
Geddes ranks higher than as a painter; his plates may
be regarded as among the very earliest examples in
modern British art of the brilliancy, concentration, and
spirited selection of line proper to a ‘painter's-etching’'.
CD 18.v; Ex: collection of the Late Hon. C. LennoxBoyd.
Stock: 36803
346. [Portrait of an old woman]
[Andrew Geddes after Jacques Jordaens]
Etching with very large margins, platemark 145 x
125mm (5¾ x 5").
£95
Portrait of an old woman inspecting a ring, after the
Flemish painter and contemporary of Rembrandt
Jacques Jordaens (1593-1678).
Etched by the Scottish painter and etcher Andrew
Geddes (1783-1844). The Oxford DNB states that 'as
an etcher Geddes ranks higher than as a painter; his
plates may be regarded as among the very earliest
examples in modern British art of the brilliancy,
concentration, and spirited selection of line proper to a
‘painter's-etching’'. This plate was one of ten published
by Geddes in 1826. CD 37.iii; Ex: collection of the
Late Hon. C. Lennox-Boyd.
Stock: 36804
347. [Old woman asleep] 24
[Andrew Geddes after Rembrandt]
Etching with very large margins, platemark 80 x 60mm
(2¾ x 2½").
£120
Copy in reverse of a Rembrandt etching, by the
Scottish painter and etcher Andrew Geddes (17831844). The Oxford DNB states that 'as an etcher
Geddes ranks higher than as a painter; his plates may
be regarded as among the very earliest examples in
modern British art of the brilliancy, concentration, and
spirited selection of line proper to a ‘painter's-etching’'.
CD 39.ii
Stock: 36806
348. Du Cabinet de la Maj. Imp. de toutes les
Russies Catherine, II. d'aprés l'original de
Greuze gravé par J: Walker Graveur de la
Maj: Imp.
S.t. Petersbourg Nov: 20 1785.
Mezzotint with very large margins, rare. Plate: 185 x
250mm, (7¼ x 9¾"). Some marking outside plate on
left.
£360
A quarter-length portrait of a young, smiling girl in a
bonnet. Ex: Oettingen-Wallenstein collection,
Sothebys' Lot 736, 13/11/97.
Stock: 36844
349. [Girl in Greek dress with peacock]
Painted by J. Northcote R.A. / Engraved by H. Dawe
[n.d., c.1810]
Mezzotint with very large margins, rare; platemark 505
x 315mm (19¾ x 12½").
£460
Girl in Greek dress, with a peacock to her right and a
plant to her left. After James Northcote (1746-1831),
painter and author.
The engraver Henry Dawe (1790-1848) was part of a
family of engravers, who like his brother George spent
many years working in St Petersburg. Unfortunately
during his career the technique of mezzotint,
demonstrated so well here, went into decline as it was
supplanted by lithography and engraving onto steel
plates, both of which enabled publishers to make many
good impressions whereas mezzotints yielded very
few. Ex: collection of the late Hon C. Lennox-Boyd;
Stock: 36610
350. [Woman in profile.]
H.D. Hamilton pinx.t / R. Laurie fecit. [London,
Printed for Robt Sayer No 53 Fleet Street, as the Act
directs 20 Octr 1771.]
Mezzotint with thread margins, very rare, sheet 150 x
115mm (6 x 4½"). Trimmed inside plate at bottom,
losing text.
£120
Decorative mezzotint by engraver and printseller
Robert Laurie (1755?-1836), after an early work by the
Irish portrait and subject painter Hugh Douglas
Hamilton (1740-1808). After building up a reputation
in Ireland, Hamilton moved to Italy for thirteen years
in 1779, where his work was popular among Irish
Grand Tourists, before reluctantly returning to Ireland
due to political events on the continent.
One of few engravings made from Hamilton's work.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 41.
Stock: 36688
351. [Man from Cartagena.] Omen Iberiacis,
victa Carthagine, terris. Sil. Ital.
Joanes Kupezky pinx. / Bernardy Vogel juxta Originale
sculps. et excudit Noribergae 1737 Pars 5 * * * N. 55 /
Cum Privilegio Ac. Caes. Majest.
Mezzotint with large margins, platemark 350 x 260mm
(13¾ x 10¼"). Rare.
£280
Unidentified man with hands on a plumed helmet, after
Jan Kupecký (1667-1740), Bohemia-born painter. As a
young man Kupecký moved to Italy, working
successfully in Rome before moving to Vienna
(c.1709) at the invitation of Prince Adam von
Liechtenstein. In 1723 he moved to Nuremberg (where
this print was published), remaining there until his
death. From 'Ioannis Kupezky, incomparabilis artificis,
Imagines et picturae...', a collection of engravings of
the artist's work. Ex Collection of the Late Hon. C.
Lennox-Boyd; for another print from the same series
see ref. 13421.
Stock: 36512
352. No. IX.
E. Martin inv.t. Publish'd as the Act directs. 1.st April,
1778, by E. Martin, No.1. Leicester Street.
Stipple printed in sanguine with large margins.
Platemark: 225 x 165mm (8¾ x 6½"). Light creasing.
£120
A half portrait of a young woman, seated, directed to
the left, reading from a book. Below the image, within
an oval, is a classroom scene in which a childs stands
before his classmates, reading to the teacher.
By Elias Martin, A.R.A. Swedish, born Stockholm in
1739, died Stockholm 1818. He came to London in
1768, becom
ming a Royal Academy
A
studeent the next
year and wass elected A.R.A in 1770.
Stock: 36349
55. Out of Work.
35
Drawn
D
from Naature and on SStone by the Rev.d
R
T.
Kilby.
K
Printed by
b T.H. Skeltoon, Southamp
pton. [n.d.,
c.1850.]
ph on india wi
with very large margins.
Tiinted lithograp
Prrinted area 255 x 205mm (110 x 8"). Foxin
ng in borders..
£130
A man in a smo
ock, arms foldded. The Reveerend Thomas
Kilby
K
(1794-18
868) is best knnown for his 'S
Scenery in thee
Vicinity
V
of Wak
kefield', 1843 .
Stock: 35811
[Portra
ait of a man in military costume.]
From the Oriiginal Picturre Painted by
b
Rembrandt,
R
In
I the Colleection of the Right
Hon.ble
H
the Earl
E of Bessbborough. To
o whom thiss
Plate is most Humbly Deedicated, by His
Lordship's
L
most
m Obligedd and most Obedient
O
Hum.ble
H
Serv
vant, J. Boyydell.
35
56.
353.
[Motther and chiild eating fru
uit from a
tree.]
E. M. fecit. P
Publish.d 17799.
Stipple with hand colour, large
l
margins, very fine. Onn
mark: 240 x 16
60mm (9½ x
watermarkedd paper. Platem
6¼"). Small ttear in lower right
r
corner of sheet. Two
small spots inn the left marggin. Light rub
bbing to right
margin.
£2440
h right handd,
A well dresseed woman piccks fruit with her
most likely ccherries, from the branch off small tree to
the left, whilst a child eatss from her left hand.
S
born Stockholm inn
By Elias Marrtin, A.R.A. Swedish,
1739, died Sttockholm 1818. He came to
o London in
1768, becom
ming a Royal Academy
A
studeent the next
year and wass elected A.R.A in 1770.
Stock: 36347
354. Consstantia Charrming.
Elias Martin inv.t. & Sculpp.t. Published December
Leicester Streeet, No. 8.
18.th 1778, L
Stipple printeed in sanguinee with large margins.
m
Platemark: 220 x 165mm (8¾
( x 6½"). Lower
L
left
£1330
corner creaseed. Small markk in title area..
A half portraait of a womann wearing a veeil, with
covered shouulders, directed to the left, reading
r
from a
book.
S
born Stockholm inn
By Elias Marrtin, A.R.A. Swedish,
1739, died Sttockholm 1818. He came to
o London in
1768, becom
ming a Royal Academy
A
studeent the next
year and wass elected A.R.A in 1770.
Stock: 36350
Rembrandt Pinx
x.t / W. Petheer fecit Publish
hed accordingg
to
o Act of Parliaament, by J. B oydell Engrav
ver, in
Cheapside, Nov
v. 1.st 1764.
Mezzotint,
M
platemark 510 x 3360mm (20 x 14½").
£380
Su
uperb engraving after a 16550 painting by
y Rembrandt
no
ow in the Fitzw
william Museeum, Cambrid
dge. Once
co
onsidered to sh
how Rembranndt himself, th
his is no
lo
onger thought to be the casee.
Th
he mezzotint engraver
e
Willliam Pether (cc.1738-1821)
reeproduced several paintingss by Rembrand
dt and
an
nother master of chiaroscuro
ro, Joseph Wriight, both of
whose
w
works were
w eminentlyy suited to his dramatic
haandling of ligh
ht. Charringtoon 125 iii/iii
Stock: 36525
35
57. [Old man
m holding a sword.]
Paainted by Sal. Rosa. engravved by C.W. Baillie
B
1763.
Ettching with laarge margins, pplatemark 215
5 x 160mm
(8
8½ x 6¼").
£160
Ettching suppossedly after Sallvator Rosa, th
he Italian
arrtist whose wo
ork, including vertiginous laandscapes
an
nd genre painttings of bandittti, was immensely popularr
in
n England in th
he 18th centurry. This is an unusual
u
im
mage which may
m be taken fr
from a painting
g no longer
atttributed to Ro
osa.
En
ngraved by Caaptain William
m Baillie (172
23-1810).
Baillie retired from
f
the armyy in 1761 with the rank of
Captain and theereafter devoteed himself to printmaking
nd dealing. Hee specialised in imitating olld-master
an
drrawings and prints, using a variety of prin
ntmaking
teechniques. Ex: collection off the Hon. C. Lennox-Boyd.
L
Stock: 36370
35
58. A Frya
ars Head. Inn the Gallery
y at
Houghton
H
Rubens pinx.t / V. Green scuulp Pubd Oct. 1 1774 by
Jo
ohn Boydell, Engraver,
E
Cheeapside
Mezzotint
M
with large margins
ns; platemark 155
1 x 105mm
(6
6 x 4¼"). Fine.
£95
Head
H
of a friar, after Rubenss. The painting
g was part of
th
he celebrated collection
c
asseembled at Hou
ughton in
Norfolk
N
by Rob
bert Walpole, the finest picttures of
which
w
were eng
graved in an am
ambitious project published
by John Boydell. The colleection was solld to Catherinne
the Great in tthe 1770s, andd many of the pictures can bbe
seen in the H
Hermitage in St
S Petersburg. In 2013
Rubens' 'friarrs head' was one
o of a number which
temporarily rreturned to Hooughton for th
he exhibition
'Houghton R
Revisited'. Whiitman 174 (only state)
Stock: 36520
61. [Woma
an in silk dre
ress.]
36
W.
W Vaillant fecc. et excudit [nn.d., c.1660-75
5]
Mezzotint,
M
330 x 270mm (133 x 10½"). Triimmed to
pllate; creasing on left. Rare.
£280
Eaarly mezzotint by Wallerannt Vaillant (16
623-77). Born
in
n Lille, Vaillan
nt worked in A
Antwerp, Paris and
(p
primarily) Am
msterdam. On a visit to Frankfurt in 1658
hee met Prince Rupert
R
of the R
Rhine, who was
w
ex
xperimenting with
w mezzotinnt. Adopting the
t technique,
Vaillant
V
became the first pro fessional mezzzotint
en
ngraver, using
g it to reproducce his own deesigns and
th
hose of other artists.
a
Vaillannt also painted
d, specialising
in
n portraits. Ex Collection off the Late Hon. C. LennoxBo
oyd; Hollstein
n 213
Stock: 36511
359. [A Scchool Boy.]
Sr Joshua Reeynolds Pinxitt / John Dean Fecit Publisheed
Oct. 31st 17777 by Jn Deann Church Streeet Soho
Mezzotint wiith very large margins, finee, platemark 3995
x 280mm (155½ x 11"). Firrst state beforee plate cleanedd.
£3880
ds' popular
Engraving off one of Sir Jooshua Reynold
'fancy picturees' of the 17700s, a schoolbo
oy holding a
portfolio. Thhe first owner of
o the painting
g (which was
recently soldd by Sotheby's) was the greaat collector
George Grevville, 2nd Earl of Warwick Hamilton
H
p.1556
i/iii; for the ppainting, see Sotheby's
S
Old Master &
British Painttings evening sale,
s
9 July 20
014.
Stock: 36505
360. [Shep
pherdess.]
Hen.y Pickerring pinx.t. John Faber fecitt. London
Printed for R
R. Sayer, I. Ryyal & R. Withy
y in Fleet Streeet.
[n.d., c.1730.]
Platemark: 3555 x 255mm (14
4 x 9¾").
Mezzotint. P
s
in
Trimmed to pplate at lower edge. Light staining
corners wherre previously mounted.
m
£2330
A portrait off a young wom
man, seated, th
hree-quarter
length, lookinng away to left. She is wearring loops of
pearls with a cloak drapedd over her left arm which liees
on her lap. Shhe holds a sheepherd's crook
k in her right
hand. A dog sits at her feet looking up at
a her. Livestoock
ght. Ex
can be seen iin the backgroound to the rig
collection off Christopher Lennox-Boyd.
L
Chaloner
Smith: 417. III of II.
Stock: 36823
36
62. A Vene
etian Lady.
G.
G Scorodoomo
ow inv. & scul
ulp. London. Pub:
P July 20.
17
776 by V.M.P
Picot N16. Straand.
Sttipple printed in sanguine w
with small marrgins. Fine.
Pllate: 190 x 250mm, (7½ x 99¾"). Some veery faint
staining in corn
ners.
£240
A half-portrait in an oval of a Venetian wo
oman with
heer head and faace covered byy a veil.
Stock: 36846
36
63. Madam
m Wright
Jo
ohn Vanderban
nk pinx.t 17299 / J. Faber Feec.t
Mezzotint,
M
sheeet 350 x 250m
mm (13¾ x 9¾
¾"). Trimmed
in
nside platemarrk; glued to baacking sheet; repair
r
top
leeft.
£130
Po
ortrait of an un
nidentified sittter, after John
n Vanderbankk
(1
1694-1739), paainter and draaughtsman wh
hose sitters
in
ncluded Sir Isaaac Newton, thhe sculptor Jo
ohn Michael
Rysbrac, and th
he poet James Thomson. Exx: collection
off the late Hon.. C. Lennox-B
Boyd; O'D 1 (o
only
likkeness); CS 39
96. For Vandeerbank's portrraits of
Newton
N
and Ryysbrac see refs
fs. 33218 and 27207.
2
Stock: 36692
364. Alberto Duro. Durero. Pittore,
Intagliatore ecc. nacque in Norimberga l'anno
1471, mori l'anno 1528.
Gio. Dom. Ferretti del. G.M. Preissler [n.d., c.1740.]
Engraving with large margins. Plate: 170 x 270mm,
(6¾ x 10½").
£190
A portrait of Albrecht Durer, with a view of the
landscape seen through a window.
Stock: 36845
365. [Paulus Pontius.]
Ant van Dyck pinx.t. Ja.s Watson fecit. [Publish'd by
Ja.s Watson, N. 16, Craven Buildings, Drury Lane; &
Hen.y Parker opposite Birchin Lane, Cornhill.] [n.d.,
c.1770.]
Mezzotint, scratch letter proof before publisher's line.
Sheet 355 x 250mm (14 x 9¾"). Crease across image.
£160
Paulus Pontius (1603-58), Flemish engraver who
worked with Rubens and van Dyck in Antwerp. Ex:
The collection of the Hon. C. Lennox-Boyd. CS 119,
state i of iii. Goodwin: 47 i of iii.
Stock: 36397
366. Johann George Wille.
Halm delin. J.F. Bause sculps.
Stipple with large margins. 180 x 125mm (8 x 5").
Unidentified collector's blind-stamp in inscription area.
£140
Johann Georg Wille (1715-1808), a German engraver
who worked in Germany and France, where he was
Engraver to the King. Ex: Collection of The Hon. C.
Lennox-Boyd. Collector's stamp not in Lugt.
Stock: 36475
367. Barney Bryan on a Tour.
On Stone by R. R. S. Hacket, Imprim, Exeter. [n.d.,
c.1835.]
Lithograph, rare. Sheet size: 185 x 130mm (7¼ x 5").
Trimmed.
£120
A figure with bare feet stands, smoking a pipe, directed
to the left, holding his shoes, a small bag and a stick in
his left hand, with a book under his arm titled
'S[ketch]book'. From a series of twenty-five humorous
lithographs by Robert Richard Scanlan (1801 – 1876),'
Barney Bryan's Sketch Book', printed in Exeter by J.
Hackett.
Stock: 36328
368. Eudocia. O, Phocyas, for thy sake, no
rival else [...] And we shall meet again, to part
no more. Siege of Damascus Act. V
[Anon.] London Pub.d Sep.t 7th 1801 by M. Bovi
No.12 Piccadilly.
Stipple with very large margins. Platemark: 320 x
250mm (12½ x 9¾"). Creases.
£120
A portrait of a young woman in oriental dress shown
almost half-length leaning inward from the left and
looking back up to left, with her hair loose under a
plumed turban. Lettered below the image with the title,
and two verses of six lines each from poet John
Hughes' (1677-1720) successful tragedy 'Siege of
Damascus'. For trimmed impression see item ref:
36819.
Stock: 36318
369. Eudocia.
[Anon.] [London Pub.d Sep.t 7th 1801 by M. Bovi
No.12 Piccadilly.]
Stipple. Sheet size: 275 x 230mm (10¾ x 9"). Trimmed
inside platemark.
£120
A portrait of a young woman in oriental dress shown
almost half-length leaning inward from the left and
looking back up to left, with her hair loose under a
plumed turban.
For an un-cut impression see item ref: 36818.
Stock: 36319
[Sweet folk, give ground!] Platz da,
süsser Pöbel.
370.
[signature in image, c.1840.] L. Sachse & C.
Kunstverlaghandlung in Berlin [blindstamp in margin]
Lithograph on india, india dimensions 290 x 240mm
(11½ x 9½"). Creasing to large margins.
£160
German lithograph seeming to show Mephistopheles
from Goethe's 'Faust', speaking a line from scene XXI
of the first part of the famous play.
Stock: 36619
371. [Belgium: Nicolas Rockox]
[Andrew Geddes after Rubens]
Etching, platemark 230 x 170mm (9 x 6¾").
£95
Nicolas Rockox (1560-1640), Burgomaster of Antwerp
and patron of Rubens. He is remembered by the
Museum Rockoxhuis in his former residence in the
city.
Copy after Rubens by the Scottish painter and etcher
Andrew Geddes (1783-1844). The Oxford DNB states
that 'as an etcher Geddes ranks higher than as a painter;
his plates may be regarded as among the very earliest
examples in modern British art of the brilliancy,
concentration, and spirited selection of line proper to a
‘painter's-etching’'. This plate is one of ten he
published in 1826. CD 45.vii
Stock: 36807
372. Christian VII. King Of Denmark, &c.
Done from the Original Picture painted by
Mr.Dance, for the King of Great Britain, to
whom this plate (with permission) is most
humbly Inscribed By His Majesty's most
dutifull Subject, and most faithfull Servant,
Edward Fisher.
Publish'd according to Act of Parliament 1st: April
1769, & Sold at the Golden Head South side of
Leicester Square. Price 5s.
Mezzotint with small margins, rare. 415 x 315mm
(16½ x 12¼")
£240
Christian VII (1749-1808) King of Denmark and
Norway from 1766 until his death but, because of
severe mental problems, was monarch in name only
from 1772. In 1766 he married Princess Caroline
Mathilda, a sister of King George III of Great Britain,
but publicly declared it was not fashionable to love
one's wife. Both he and his wife became besotted with
Johann Frieddrich Struensee, the royal ph
hysician, so
much so thatt Struensee became de-facto
o regent.
However whhen the queen'ss adultery with
h the doctor
became know
wn Struensee was
w arrested and
a executed.
From 1784 C
Christian's sonn ruled perman
nently as a
prince regentt. CS: 13. II. Ex:
E Collection
n of the Hon.
Christopher L
Lennox-Boydd.
Stock: 36310
37
75. [France.] Madelein
ne de France.
[A
Adr.n vander Werff
W
pinx. P..a Gunst Sculp
ps.] [n.d.
c.1700.]
ngraving. Proof before letteers. Sheet sizee: 310 x
En
18
80mm (12¼ x 7¼"). Trimm
med inside platte.
£160
A bust of Madeeleine of Valoois (1520 - 153
37), a French
prrincess who beecame Queenn of Scots as th
he first
sp
pouse of King James V. Sligghtly turned to
o the left,
drressed in a gow
wn with decorrative ropes of pearls and a
ru
uffed collar, on
n a plinth decoorated with th
histle leaves,
an
nd a landscapee beyond.
Fo
or a lettered im
mpression, seee item ref: 346
619.
O'Donoghue
O
36
6.
Stock: 36420
[France.] Madeleinne de France. Pour me
lee maigner so
on amour Unn Roi passa la mer, et
m'obtint
m
sa feemme: Ma vvertu comm
mencoit a
reeformer la cour.
c
Mais laa mort de mes
m jours
co
oupu trap tô
ôt la trame.
37
76.
Adr.n
A
vander Werff
W
pinx. P.aa Gunst Sculp
ps. [n.d.
c.1700.]
ngraving with
h very large m
margins. Platem
mark: 315 x
En
18
80mm (12¼ x 7¼").
£60
A bust of Madeeleine of Valoois (1520 - 153
37), a French
prrincess who beecame Queenn of Scots as th
he first
sp
pouse of King James V. Sligghtly turned to
o the left,
drressed in a gow
wn with decorrative ropes of pearls and a
ru
uffed collar, on
n a plinth decoorated with th
histle leaves,
an
nd a landscapee beyond.
Fo
or a proof beffore letters imppression, see item
i
ref:
36
6420. O'Dono
oghue 36.
Stock: 36419
[Denmark] Chriistopher de Dreyer,
D
Envoy Extrraordinary from
f
the Kiing of
Denmark, aat the Courtt of Great Britain,
B
F.R. S.
373.
F.L. Abbott ppinx. John Jonnes fecit. [n.d.., c.1785.]
Mezzotint wiith very large margins, raree, platemark 4990
x 350mm (199¼ x 13¾").
£3660
Christopher dde Dreyer, Daanish envoy to
o Great Britainn
from 1777-855. Ex: collectiion of the late Hon C.
Lennox-Boydd; CS 19 ii
Stock: 36618
374. [Denmark] Est Virtus
V
Maxima Nosse
Suos Georggius Serenissimus princceps Danciaee
&c. De den
nemarker prins [...].
P: Schenck ffecit et Exc, Amstelo
A
damo cum Privilegiio.
[n.d., c.1680.]
mm (7¼ x 5¼" ).
Mezzotint, raare. Sheet sizee: 185 x 135m
Trimmed insside plate.
£1660
A portrait off George, Princce of Denmark
k (1653 1708). Head and shoulderss, wearing an embroidered
val.
scarf and a loong curly wig; within an ov
Second son oof Frederick IIII of Denmark
k Prince Georgg
married the ffuture Queen Anne
A
in 1683. When Anne
became Queeen (1702) he was
w appointed
d Lord High
Admiral and General of alll English forcces. Six lines oof
text inscribedd in Dutch bellow by I. Noreel. Hollstein:
626.
Stock: 36995
37
77. [France] [Mar.ie T
Therese Cha
arlotte.
Madame
M
Fille du Roy neeè a Versailles le 19
Dec.
D 1778.]
Paainted by J. Miery.
M
Engraveed by A. Gabrrielli.
[L
London Publisshed June 12 11793 by Colnaaghi & Co,
No
N 132 Pall Maall.]
Colour-printed stipple. Sheett 125 x 120mm
m (5 x 4¾").
n plate, losingg title, the arm
ms of France
Trrimmed within
an
nd Navarre, an
nd publicationn line.
£140
Marie
M
Thérèse Charlotte of FFrance, daughter of Louis
XVI,
X
later Duch
hess of Angouulême and Dauphine of
Frrance upon thee accession off her father-in
n-law to the
th
hrone of Francce in 1824 as C
Charles X. Technically she
was
w Queen of France
F
for tweenty minutes in 1830, the
tim
me between when
w
Charles ssigned the instrument of
ab
bdication and her husband, reluctantly, siigned the
saame documentt. BM: 1865,00708.668, unco
oloured
exxample.
Stock: 35848
37
78. Frederic Auguste R
Roi de Saxe Duc de
Varsovie
V
&c. &c. &c. Déédié avec peermission à
sa
a Majesté pa
ar spm très humble et très
ob
beissant Serrviteur W. D
Dickinson
F.. Gérard Pinxiit / W. Dickins
nson fecit 1811
1 Paris, Gravéé
d'après l'Origin
nal qui se trouvve dans le Cab
binet de Son
Altesse
A
la Princce de Benevennt.
Mezzotint,
M
sheeet 725 x 475m
mm (28½ x 18¾
¾) Trimmed
in
nside platemarrk lower edge.. Very rare.
£460
brreast of his coat with the Bllack eagle of Prussia.
P
Charles II, Duk
ke of Brunswicck was the nep
phew of
P
(Fredeerick the Greaat) and led the
Frriedrich II of Prussia
Austro-Prussian
A
n army againsst the French
reevolutionaries. Philip Corbuutt was a pseu
udonym of
Richard Purcelll. CS: 10.
Stock: 36858
Handsome fuull length porttrait of Frederick Augustus I
of Saxony (1750-1827). Suucceeding his father as the
ugustus
Elector of Saaxony in 1763, Frederick Au
declined the Polish crown in 1791. He joined the
i 1796 and
coalition agaainst Revolutioonary France in
1806, involvements whichh both saw deffeats for his
forces. After making peacee with Napoleeon in 1806, thhe
F
title of king oof Saxony was created for Frederick
Augustus, wiith the Grand Duchy of Waarsaw secured
for him the fo
following yearr (both titles arre named in thhe
legend to thiss print). Thereeafter he remaained loyal to
France, but loost much of his
h territory to Prussia after
the Congresss of Vienna at the end of thee Napoleonic
Wars in 18155.
Engraved aftter a portrait by
b Baron François Gérard
(1770 - 18377), who by 18000 was the mo
ost fashionablee
portrait paintter of his day, and thrived under
u
Napoleon's ruule in France. The British engraver
e
William Dickkinson (1746//7?-1823) emigrated to
France after bbecoming bannkrupt in Lond
don. As well aas
this print, he also engravedd a portrait off Napoleon in
1815. CS 73aa
Stock: 36615
[Germ
many] His most
m Serene Highness
Charles, Hereditary Prrince of Bru
unswick &
Lunenburgg.
379.
F.G. Zieseniss pinx.t. Philipp Corbutt fecit. London,
Printed for R
Rob.t Sayer, Map
M & Printselller near
Serjeants Innn, Fleet Street.. [n.d., c.1760.]
Mezzotint wiith very large margins. Plattemark: 355 x
250mm (14 x 9¾"). Slightt crease.
£2990
A half-lengthh portrait of Charles
C
William
m Ferdinand,
Duke of Brunnswick (1735 - 1806), turneed to the left,
looking to thhe front, weariing a large starr on the left
38
80. [Germa
any] Son Alt
ltesse Royal
Monseigneur
M
r le Prince F
Ferdiand Grand Prieur
dee l'ordre de St. Jean de Jerusalem
Respectueuse
R
ement Dediéé à Son Altesse Royale
Madame
M
la Princesse
P
Sonn Epouse [....]
Peeint par Cunin
ngham / Charlles Townley Graveur
G
du
Roi Publiée a Berlin
B
1786. A
Avec Privilegee
Mezzotint
M
with very large maargins, rare; platemark
p
645
x 395mm (25¼
¼ x 15½"). Unccut. Creasing
g. Top right
margin
m
replaced
d (off platemaark).
£560
Feerdinand von Hompesch zuu Bolheim (1744-1805),
Grand
G
Master of
o the Knightss Hospitaller (the Knights
off Malta), and the
t first Germ
man to be electted to the
offfice. He held the office from
om 1797-99. During
D
this
peeriod, the Fren
nch navy invaaded Malta en route to
Eg
gypt in respon
nse to what Naapoleon perceeived as a
prrovocation by Hompesch, aas a result of which
w
Malta's
so
overeignty was surrenderedd to the French
h. In return
th
he French gavee Hompesch a pension and helped him
to
o establish a neew headquarteers for the ord
der in Trieste,
Itaaly. He resign
ned shortly aftter, subsequen
ntly living in
Ljjubljana and Montpellier,
M
w
where he died in penury.
Pu
ublished in Beerlin after a poortrait by Edw
ward Francis
Cunningham (cc.1741-1793?)), Scottish pain
nter the last
part of whosee peripatetic career
c
was speent in that cityy.
Ex: collection of the late Hon
H C. Lennoxx-Boyd
Stock: 36627
[Germ
many] Caroolus D:G: Co
omes
Palatinat. aad Rhenum:: Dux Bavarriæ:
Electoratuss Hares &c.
381.
J. van Somerr ad vivum facciebat 1670 et exc. 1670.
Mezzotint, very fine & rarre. Sheet size: 325 x 220mm
m
£1660
(12¾ x 8¾"). Trimmed to platemark.
A portrait off Charles, Couunt Palatine (1651 -1685), inn
n an oval.
armour with a sash, bust too right, within
0 to 1685. He
Charles was Elector Palatiine from 1680
L
Elector Palatine
P
and
was the son oof Charles I Louis,
Charlotte of H
Hesse-Kassel. Ex collection
n of
Christopher L
Lennox-Boydd.
Paalatine and Elizabeth of Boh
ohemia. In 164
42, already an
ex
xperienced solldier, he was ggiven comman
nd of the
caavalry of his uncle,
u
Charles I of England,, becoming
caaptain-generall of all Royalisst forces in 16
644. Prince
Rupert had artisstic and scienttific interests and played
an
n important ro
ole in the deveelopment of mezzotint
m
as
well
w as experim
menting with ggunpowder, metallurgy,
m
gu
unnery, and gllass manufactu
ture. Chalonerr Smith 42.II.
Stock: 36989
Stock: 36561
[Germ
many] Docttor Martin Luther,
L
was
born at Isleeben in the County
C
of Manffield
M
in
saxony, Noovr. 10th. 1483, & died there
t
Feby.
18th. 1546, Aged 63. Rome
R
tam'd the World,
but Rome tthe Pope o'eer aw'd: Thee one by
force, the oother wrought by Fraud
d. Greater
than both w
was learned Luther, wh
hen Both thiss
and that hee conquer'd with his Pen
n. The
Emblem off the Swan refers
r
to a Prredictioin off
John Huss.. See Clerk'ss Lives, Vol.. I. page 7 in
n
Burnham'ss Pious Mem
morials.
382.
Printed for C
Carington Bow
wles, Map & Printseller,
P
No.69 in St. Pauls Church Yard, London
n. Published aas
the Act direccts, 2d Jan. 17773.
Mezzotint wiith large marggins. Platemarrk: 355 x
250mm (14 x 9¾"). Printeers crease. Pinholes in upperr
margin.
£3220
A portrait off German theologian and leaader of the
46), wholeReformation, Martin Luther (1483 - 154
king ahead of
length standiing directed too the left, look
him, holdingg a small volum
me in both han
nds, wearing
dark robes. H
He is seen in a study with bo
ooks on the
table and winndow-sill to thhe left, a swan
n standing
behind him aand a large Bibble propped vertically on thhe
floor to the riight.
Luther expreessed his contrroversial opiniions in the
publication, ''Disputation on
o the Power and
a Efficacy oof
Indulgences',, commonly known
k
as 'The 95 Theses'
(1517), whicch sebsequentlly led to his
Ex
urch in 1521. E
excommuniccation from thee catholic Chu
Collection off Christopher Lennox-Boyd
d. CS: Not in.
Stock: 36472
383. [Germ
many] His Highness
H
Prrince Rupertt.
P. Lelij pinxiit. R. Tompson excudit. [n.d
d., c.1670.]
Mezzotint, very rare. Plateemark: 335 x 255mm
2
(13¼ x
m centre. Sligh
ht damage topp
10"). Repaireed tear bottom
right.
£1440
A portrait off Prince Ruperrt of the Rhinee (1619 - 16822),
ht, wearing a
three-quarterr length, standding to the righ
wig, lace craavat, and robess of the Garterr. A pillar is
seen in the baackground and a landscape with hills, a
river and treees are in the distance to the right. Prince
Rupert of thee Rhine was thhe son of Fred
derick, Electorr
38
84. [Nether
rlands] [Aecchje Claesdrr.] Het
Orgineele
O
Sch
hildery is beerustende in
n de
Versumeling
V
van de Heeer C.S. Roos te
Amsterdam.
A
Rembrand, pinx
x.t / C.H. Hoddges fecit Uitg
gegeven door
C.H. Hodges, Amsterdam,
A
18814.
Mezzotint,
M
fine with very larrge margins; platemark
p
405
x 290mm (16 x 11½"). Fine; collector's staamp of
Bernard Houthaakker verso.
£360
Mezzotint
M
of Rembrandt's poortrait of Aech
hje Claesdr
(L
London, Natio
onal Gallery), the widow off Rotterdam
brrewer Jan Dam
mmasz. Pesserr. In 1634 Rem
mbrandt
viisited Rotterdaam to paint Aeechje and also
o her son and
hiis wife.
En
ngraved by Ch
harles Howardd Hodges (1764-1837),
Lo
ondon-born arrtist who in 17792 moved to the
Netherlands,
N
where he spent the rest of hiss life and
beecame a sough
ht-after portraait painter as well
w as
mezzotint
m
engraaver.
Th
his impression
n was once in the collection
n of Bernard
Houthakker
H
(18
884-1963), ann important Du
utch dealer
an
nd publisher. His
H collectionn of prints by Hodges
H
was
so
old by Sotheby
y-Mak van W
Waay B.V. in Amsterdam
A
onn
15
5 June 1982, at
a which time they were stamped in
brrown (as here)). Many of thee the prints fro
om that sale
were acquired by Christopher Lennox-Boyd, some of
which have since entered the British Museum. Ex:
collection of the Hon. C. Lennox-Boyd; Charrington
77.ii (as 'an old woman'); CS not described; L.1272
Stock: 36368
385. General Count Suchtelen.
Painted by order of H.I.M. Alexander 1.st by G. Dawe
Esq.re Member of the Royal Academy of Arts London
that of St. Petersburg &c. &c. Engraved by T. Wright.
London Published May 1st 1823 for the Proprietor by
Mess.rs Colnaghi.
Stipple. Proof [lower right in open letters]. Collector's
ink stamp on reverse, 'AS'. Sheet size: 330 x 230mm
(13 x 9¼"). Trimmed inside plate. Small tears repaired
to lower edge.
£130
A portrait of Jan Pieter van Suchtelen, Count of
Liikkala, (1751 - 1836) directed to and facing the left,
in military attire with numerous medals attached to his
coat. Suchtelen was a general in the Russian army
during the Russo-Swedish War (1808–1809). He
negotiated and signed the Treaty of Orebro on behalf
of Emperor Alexander 1st, which brought to an end the
Anglo-Russian War (1807–1812). Ex collection of
Christpher Lennox-Boyd.
Stock: 36654
386. [Prussia] Jvan Philippo Charioteer to the
King of Prussia (during the Peninsular War).
Sketched from Life at the Pfauen-Insel, near
Berlin.
Rev.d T. Kilby, del.t. Printed by T. Skelton. [n.d.,
c.1850.]
Tinted lithograph with very large margins. Printed area
255 x 205mm (10 x 8").
£160
The Reverend Thomas Kilby (1794-1868) is best
known for his 'Scenery in the Vicinity of Wakefield',
1843.
Stock: 35810
387. [Spain: Isabella Clara Eugenia in the
habit of the Order of St Clare]
[Etched by Andrew Geddes after Anthony van Dyck]
Etching with very large margins, platemark 225 x
150mm (8¾ x 6"). 'Printed by E Lumsden' in pencil
lower right.
£95
Isabella, daughter of Philip II and ruler of the Spanish
Netherlands (1566-1633) with her husband Albert.
After Albert's death she became a nun, in which habit
she is shown here. Etched by the Scottish painter and
etcher Andrew Geddes (1783-1844) after a portrait by
van Dyck (Turin, Galleria Sabauda). The Oxford DNB
states that 'as an etcher Geddes ranks higher than as a
painter; his plates may be regarded as among the very
earliest examples in modern British art of the
brilliancy, concentration, and spirited selection of line
proper to a ‘painter's-etching’'. This impression was
printed by the printmaker and author Ernest Lumsden,
who must have acquired the plate. CD 46; Ex:
collection of the Late Hon. C. Lennox-Boyd.
Stock: 36801
388. [Philip IV of Spain]
Vandyke / Geddes fc.
Etching with very large margins, platemark 230 x
155mm (8¾ x 6"). 'Printed by E Lumsden' in pencil
lower right.
£120
Portrait of Philip IV (1605-1665), king of Spain and
Portgual. He is remembered for his patronage of the
arts, including such artists as Diego Velazquez, and his
rule over Spain during the challenging period of the
Thirty Years War (1618-48).
Etched after a portrait by van Dyck, by the Scottish
painter and etcher Andrew Geddes (1783-1844). The
Oxford DNB states that 'as an etcher Geddes ranks
higher than as a painter; his plates may be regarded as
among the very earliest examples in modern British art
of the brilliancy, concentration, and spirited selection
of line proper to a ‘painter's-etching’'. This plate was
one of ten published by Geddes in 1826. CD 47.vii; Ex:
collection of the Late Hon. C. Lennox-Boyd.
Stock: 36802
389. [Switzerland] Pestalozzi.
Demarchi dis. T.T. inc. [n.d., c.1800.]
Stipple with large margins. Platemark: 230 x 155mm
(9 x 6¼").
£140
A rare portrait of Johann Heinrich Pestalozzi (1746 1827), a Swiss pedagogue and educational reformer.
He founded several educational institutions both in
German and French speaking regions of Switzerland
and wrote many works explaining his revolutionary
modern principles of education.
Stock: 36992
390. Peter, the Wild Boy [parallel text in
French] In the Year 1725, King George the I.s
Hunting in the Herenhausen / This Boy was
discover'd in a Hollow Tree [...]
P. Falconet pinx.t / Val. Green sculp.t Sold by Ryland,
Bryer; & Co. at the Kings Arms, Cornhill.
Mezzotint, platemark 510 x 360mm (20 x 14").
Creased and damaged (some repairs); artist and
engraver names faded. Trimmed.
£160
Peter 'the Wild Boy' (c.1712-85), a curiosity of the 18th
century. Found in the woods near Hamelin (around 25
miles from Hanover in Germany) in 1725,
contemporary pamphleteers claim he was walking on
all fours, climbing trees like a squirrel, and living off
grass and moss. Peter was taken to see George I who
was visiting Hanover, he was brought to England in
1726, where unsuccessful attempts were made to teach
him to speak. He was briefly a celebrity: Queen
Caroline took an interest in Peter's education, he was
painted by William Kent, was cared for by the
prominent physicist John Arbuthnot, and was the
subject of works by Defoe and Swift. After Queen
Caroline's death. In 1728 he was given a pension to
live in Hertfordshire, where he performed manual work
under supervision. However, after repeatedly
wandering away from the farm where he boarded,
Peter was apprehended and fitted with a brass collar
(shown in the lower right of this print). Peter died in
1785 and was buried at St Mary's, Northchurch,
Hertfordshire, where his gravestone is now Grade II
listed. Ex: coollection of thee Hon. C. Lennox-Boyd; CSS
102.ii; Whitm
man: 2 II of III.
Stock: 36363
391. [Peteer, the Wild Boy.]
[Valentine G
Green after Fallconet, sold by
y Ryland, Byrrer
& Co, 1767]
0 x 14"). Prooff
Mezzotint, pllatemark 510 x 360mm (20
impression bbefore lengthy text added in
n English and
French. Veryy fine.
£4880
Peter 'the Wiild Boy' (c.17112-85), a curio
osity of the 188th
century. Founnd in the wooods near Hameelin (around 2 5
miles from H
Hanover in Geermany) in 172
25,
contemporaryy pamphleteerrs claim he waas walking onn
all fours, clim
mbing trees likke a squirrel, and
a living offf
grass and mooss. Peter was taken to see George
G
I who
was visiting H
Hanover, he was
w brought to
o England in
1726, where unsuccessful attempts weree made to teacch
y: Queen
him to speakk. He was brieffly a celebrity
Caroline tookk an interest inn Peter's educcation, he was
painted by W
William Kent, was
w cared for by the
prominent phhysicist John Arbuthnot,
A
an
nd was the
subject of woorks by Defoee and Swift. After
A
Queen
Caroline's deeath. In 1728 he
h was given a pension to
live in Hertfoordshire, wherre he performeed manual woork
under supervvision. Howevver, after repeaatedly
wandering aw
way from the farm where he boarded,
Peter was appprehended andd fitted with a brass collar
(shown in thee lower right of
o this print). Peter died in
1785 and waas buried at St Mary's, North
hchurch,
Hertfordshiree, where his gravestone
g
is now
n Grade II
listed. Ex: coollection of thee Hon. C. Lennox-Boyd; CSS
102.i of ii. W
Whitman: 2 i of ii.
Stock: 36362
92. This Po
ortrait of thee R.t Honou
urable
39
Charles
C
Kend
dal Bushe, L
Lord Chief Justice
J
of
th
he Court of Queen's Bennch, Ireland
d, &c. &c
&c.,
& Is most respectfully
r
inscribed to
o the Irish
Bar,
B by the Publisher,
P
Anndrew Milliiken.
Paainted by W. Stephenson.
S
E
Engraved by D.Lucas.
D
Dublin,
D
Dec.r 30,
3 1841; Anddrew Milliken,, Bookseller
to
o the Lord Lieu
utenant _ Thee Kings Inn Liibrary, &c
&c.
& London, F.G.Moon Pubblisher in Ordiinary to Her
Majesty,
M
Threadneedle Streeet.
Mezzotint,
M
rare. 520 x 380mm
m (20½ x 15""). Narrow
margins.
m
£260
Charles Kendall Bushe (17677-1843), Irish lawyer and
udge, known as
a 'silver-tonguued Bushe'. Despite
D
his
ju
op
pposition to th
he Act of Unioon in 1800 he was not
av
verse to accepting high officce from the British Crown:
hee was appointeed Solicitor-G
General for Ireeland five
yeears later, hold
ding the officee until 1822 when
w
he
beecame Lord Chief
C
Justice oof the King's Bench
B
for
Ireland. He retired in 1841, w
when this porttrait was
pu
ublished. He also
a supportedd Catholic Em
mancipation
yeet prosecuted members of thhe Catholic Association
A
fo
or sedition.
Stock: 36309
39
93. [Franciis Jeffrey.]
[aafter Andrew Geddes.]
G
[n.d.., c.1880.]
Drypoint
D
etchin
ng. Image 1700 x 135mm (6¾
¾ x 5¼").
Sm
mall tear just entering imagge on right.
£120
Frrancis Jeffrey,, Lord Jeffreyy [1773 - 1850
0], Judge and
crritic for the Ed
dinburgh Reviiew. A reverseed version of
th
he oil by Andrew Geddes, nnow in the Nattional Portrait
Gallery.
G
See NP
PG 1628 for thhe painting.
Stock: 36538
394. The Right Honourable Thomas Lefroy.
Lord Chief Justice of Ireland.
Painted by Catterson Smith, Engraved by George
Zobel. London: Published July 30th 1855 by Paul &
Dominic Colnaghi & Co. 13 & 14. Pall Mall East.
Publishers to Her Majesty.
Mezzotint, rare. Sheet 555 x 430mm (21¾ x 17").
Trimmed just within plate.
£260
Thomas Langlois Lefroy (1776-1869), Irish-Huguenot
politician and judge. He served as an MP for the
constituency of Dublin University in 1830-41, Privy
Councillor of Ireland 1835–69 and Lord Chief Justice
of Ireland 1852-66.
In 1796 Lefroy had a very brief flirtation with Jane
Austen, ending when he had to return to Ireland.
Austen wrote to her sister Cassandra 'At length the day
is come on which I am to flirt my last with Tom
Lefroy, and when you receive this it will be over. My
tears flow as I write at the melancholy idea'. At the
time she was writing 'First Impressions', the story that
eventually became 'Pride and Prejudice', and it has
been suggested that Lefroy was the basis for Mr.
Darcy. In 1840, after the death of the publisher
Thomas Cadell, a 'Tom Lefroy' bought Cadell's
rejection letter for 'First Impressions'. Hake 262/2. Ex:
collection of the Hon. Christopher Lennox-Boyd.
Stock: 36590
Members of the Scottish Bench & Bar.
[&] Key to the Portraits of the Members of the
Scottish Banch & Bar.
395.
[Thomas Gaugain after Benjamin William Crombie.]
[&] Etched by Benj.n M. Crombie. [1825.]
Stipple portrait plate, sheet 195 x 150mm (7¾ x 6")
with etched key plate, sheet 160 x 120mm (6¼ x 7¾").
Stipple trimmed to image, both laid on album paper.
£240
Portraits of twenty lawyers, all in left profile, named on
the key plate, including John Hope (the Solicitor
General), Lord Eldin & Sir Walter Scott. It is rare to
find the two together. Ex: collection of the Hon.
Christopher Lennox-Boyd.
Stock: 36967
396. Lord Loughborough. Lord High
Chancellor of Great Britain.
Dighton del. London: Printed for Bowles & Carver /
No. 69 St Paul's Church Yard [n.d., c.1780]
Mezzotint with small margins, rare, platemark 155 x
115mm (6 x 4½"). Glued to backing sheet at corners.
£180
Alexander Wedderburn, first earl of Rosslyn (17331805), lord chancellor. Born in Scotland, Wedderburn
struggled to establish himself in the 1750s (a time of
English mistrust of ambitious Scots), but by 1764 he
was made king's counsel. In 1780, around the time this
print was made, he became chief justice of the court of
common pleas and a peer as Baron Loughborough,
going on to become lord chancellor in 1793 where he
opposed catholic emancipation. While Wedderburn has
not been viewed kindly by many historians, he was a
valued public speaker and competent judge. Ex
Collection of the Late Hon. C. Lennox-Boyd; CS:
Page 1763.
Stock: 36513
397. Iohannes Hubnerus olim Gymnasii
Martisburgensis nunc Collegii Iohannei
Hamburgensis Rector. Hubneri faciem bene
sculptum plaudite Musae! Vester in hac multis
dignus Apollo placet: Miratur tantum felix
Hamburga Magistrum, Deqs Scholis meritum
Teutona terra Virum.
haec pauca subjunxit Hubneriani Nomini additissiums.
Io. Bapt. Homann S.C.M. Geogr Nor. Effigiem hanc a
fe pictam et sculptam. Excellentissimi Viri Honoribus
dicare voluit devinctissimus Johannes Kenckel Civis
Noribergensis. [n.d. c.1710.]
Mezzotint with very large margins. Rare. Platemark:
324 x 215mm (12¾ x 8½").
£280
Johann Hubner (1668-1731), the German geographer
and scholar. He studied theology, poetry, rhetoric,
geography and history at the University of Leipzig. His
children's bible 'Biblische Historien' (1714) was
designed for use in schools, and went through 270
editions and was translated into 15 European
languages.
Stock: 36342
398. [Sir John Fleming Leicester.]
[after Joshua Reynolds and James Northcote.] [n.d.,
c.1800.
Mezzotint. Proof before all letters, very rare; 135 x
110mm (5¼ x 4¼").
£95
Half-length portrait of John Fleming Leicester (17621827), 1st Baron De Tabley, shown as colonel of the
Cheshire Yeomanry c.1800. He raised the regiment in
1797 in response to the threat from Revolutionary
France; in 1803 George Prince of Wales, a personal
friend of Leicester, gave permission for the regiment to
wear his triple feather crest, a badge that Cheshire
Yeoman still wear today. 400 men of the Cheshire
Yeomanry participated in the Peterloo Massacre of
1819. Leicester was an art collector and amateur artist
taught by Robert Marris, Thomas Vivares, and Paul
Sandby. He is known to have produced a series of
lithographs.
This is a detail of a painting by Sir Joshua Reynolds
and his assistant James Northcote, still in the family
home at Tabley House, Cheshire, which was engraved
in mezzotint by Samuel William Reynolds in 1800.
Henry Meyer engraved a stipple of the same detail.
Hamilton: Not in.
Stock: 36543
399. Gid. Ern. Loudon. Tiro. ad.
Borysthenem [...]
In memoriam pinx. Henr. Fuger. 1789. J. Pichler inc.
Vindobonae. 1790. a Vienne chez Artaria Comp.
Mezzotint, very rare; sheet 740 x 515mm (29 x 20¼").
Trimmed to platemark lower edge; damaged.
£200
Field-marshal Ernst Gideon von Loudon (1717-90),
generalissimo of the Imperial Army. Briefly in the
Russian army as a young man, he resigned due to lack
of prospects and joined the Austrian army. He fought
in the War off the Austriann Succession and
a Seven
Years' War, aafter which hee spent severaal years in
retirement puunctuated by recalls
r
to service. He was
also a commaander in Boheemia and Moravia, served inn
the War of thhe Bavarian Suuccession, and
d the AustroTurkish Warr.
Engraved froom a portrait by
b Heinrich Frriedrich Fügerr
(1751-1818),, German painnter who was vice-director
v
oof
the Akademiie der Bildenstten Künste in Vienna at thee
time this porttrait was painted in 1789. Loudon
L
died oon
duty in Moraavia the follow
wing year, with
h this print
published in his memory.
40
01. The Sta
andard Bearrer.
[A
Anon.] [Londo
on, Publish'd M
May 1st 1778 by J. Harris,
Sw
weetings Aleeey, & No. 8 Brroad Street.]
Mezzotint,
M
rare. Open letter iimpression. Sh
heet size: 3855
x 300mm (15¼
¼ x 11¾"). Creease to left edg
ge. Trimmed
nside lower plaate.
in
£320
A portrait of a standard
s
beareer, facing the front,
lo
ooking to the right,
r
wearing a plate of arm
mour and
ho
olding a banneer with his rigght hand. A drraped curtain
is behind. Ex Oettinger-Wall
O
lenstein collecction. Ex
ollection of Th
he Hon. Christtopher Lennoxx-Boyd.
co
Stock: 36647
Stock: 36625
40
02. Field Marshal
M
the Duke of Weellington.
K.G.,
K
&c. &cc. &c. TO thhe Right Ho
onourable
Siir Robert Peeel, Bar.t M
M.P. This Pla
ate
Engraved
E
fro
om the Origiinal Picturee in his
Collection
C
Is respectfullyy dedicated by
b his
Obliged
O
hum
mble Servantts Paul & Do
ominic
Colnaghi
C
& Co.
C
Siir Thomas Law
wrence, P.R.A
A. Pinx.t. Sam
muel Cousins,
A.R.A.
A
Sculp.t. London, Pubblished June 15th 1848, by
Paaul & Dominic & Co. 13 & 14 Pall Mall East,
Pu
ublishers to Her
H Majesty.
Mezzotint
M
with large margins
ns, fine. 790 x 490mm (13 x
19
9¼").
£320
Po
ortrait of the Duke
D
of Welliington on the field of
Waterloo,
W
full length
l
in plainn uniform and riding cloak,
arrms crossed an
nd telescope inn right hand. After Sir
Th
homas Lawren
nce (1769-18330). Whitman: 172
Stock: 36851
To the Members off the Juniorr United
Seervice Club,, This Portrrait of Field Marshal
His
H Grace thee Duke of W
Wellington. K.G.,
K
&c.
&c.
& &c. Is with permissiion most resspectfully
deedicated by their Obligeed humble Servants
S
Hodgson
H
& Graves.
G
40
03.
Gid. Ern. Loudoon. Tiro. ad.
Borystheneem [...]
400.
In memoriam
m pinx. Henr. Fuger. 1789 / J. Pichler incc.
Vindobonae. 1790. a Viennne chez Artarria Comp.
0"). Trimmed
Mezzotint, shheet 740 x 5055mm (29 x 20
inside platem
mark; tears; moount burn. Veery rare. £4880
Field-marshaal Ernst Gideoon von Loudon
n (1717-90),
generalissimoo of the Imperrial Army. Briefly in the
Russian armyy as a young man,
m he resign
ned due to lackk
of prospects and joined thee Austrian arm
my. He foughtt
a Seven
in the War off the Austriann Succession and
Years' War, aafter which hee spent severaal years in
retirement puunctuated by recalls
r
to service. He was
also a commaander in Boheemia and Moravia, served inn
the War of thhe Bavarian Suuccession, and
d the AustroTurkish Warr.
Engraved froom a portrait by
b Heinrich Frriedrich Fügerr
(1751-1818),, German painnter who was vice-director
v
oof
the Akademiie der Bildenstten Künste in Vienna at thee
time this porttrait was painted in 1789. Loudon
L
died oon
duty in Moraavia the follow
wing year, with
h this print
published in his memory.
Stock: 36626
Paainted by John
n Simpson. Enngraved by Geeorge H.
Ph
hillips. Londo
on, Published A
Aug.t 13, 1837 by
Hodgson
H
& Graaves, Printselllers to Her Maajesty, 6 Pall
Mall.
M
Coloured mezzotint with largge margins 75
50 x 480mm
29½ x 19"). So
ome surface sccuffing and sp
potting.
(2
£240
Po
ortrait of the Duke
D
of Welliington, full len
ngth in plain
un
niform, left haand resting onn his sheathed sword, right
haand holding hiis profusely-fe
feathered hat. To
T the right
is a cannon, beh
hind the smokke of a battlefiield. After
ohn Simpson (1782-1847).
(
Jo
Stock: 36850
40
04. [To the
e British Nattion This Plate of The
Waterloo
W
Heroes Assembbled at Apslley House,
On
O the Memo
orable 18th of June, Is respectfully
r
deedicated by the Publishhers.]
Paainted by J.P. Kennedy R.A
A. Engraved by Charles G.
Leewis. London, Published O
October 1st 184
45, By Henry
Graves
G
& Comp
p.y Printsellerrs to the Queeen, 6 Pall
Mall.
M
homaskirche. Also shown aare the city's observatory
o
Th
an
nd a monumen
nt erected in hhonour of the composer.
c
Stock: 36386
Mrs. Dorus-Gras. Galerie de la Presse,
dee la littératu
ure & des Beeaux-Arts.
40
07.
Mezzotint wiith stipple, prooof before title. 645 x
970mm. Laidd on backing paper,
p
spotting
g in the top
margin centrre.
£4990
A group porttrait of thirty of
o the British officers
o
who
served at Waaterloo, gatherred in Apsley House, Hyde
Park Corner, London residdence of the Duke
D
of
Among the sittters with the Duke are the
Wellington. A
Earl of Straffford, Sir John Waters, Sir Robert
R
Gardineer,
Lord Fitzroyy Somerset (latter Lord Raglaan), Sir Henryy
nd the Duke off
Herdinge, thee Marquess off Anglesey an
Richmond. O
On the walls arre portraits off Napoleon andd
George IV inn highland dreess.
A companionn piece to the 'Peninsula Heeroes'.
Stock: 36759
To th
he British Nation This Plate
P
of The
Waterloo H
Heroes Assem
mbled at Ap
psley House,,
On the Mem
morable 18tth of June, Is
I respectfullly
dedicated b
by the Publiishers.
405.
Painted by J.P. Kennedy R.A.
R Engraved
d by Charles G
G.
Lewis. London: Publishedd by James Sheeldon, 31, Elyy
Place. [n.d., cc.1845.]
Mezzotint wiith stipple. 6445 x 970mm. Repaired
R
tear
top left, left bbottom cornerr damaged, trimmed just intto
plate at bottoom.
£4220
A group porttrait of thirty of
o the British officers
o
who
served at Waaterloo, gatherred in Apsley House, Hyde
Park Corner, London residdence of the Duke
D
of
Among the sittters with the Duke are the
Wellington. A
Earl of Straffford, Sir John Waters, Sir Robert
R
Gardineer,
Lord Fitzroyy Somerset (latter Lord Raglaan), Sir Henryy
nd the Duke off
Herdinge, thee Marquess off Anglesey an
Richmond. O
On the walls arre portraits off Napoleon andd
George IV inn highland dreess.
A companionn piece to the 'Peninsula Heeroes'.
Stock: 36758
John
n Sebastian Bach.
B
with Views
V
of Th
he
St. Thomass's School, Bach's
B
Monu
ument, St.
Thomas's C
Church, & Observatory
O
y at Leipzig..
406.
H. Bibby pinnx. / A.H. Paynne, sc. John Tallis
T
&
Company, Loondon & New
w York [n.d., c.1850]
c
Engraving, shheet 270 x 180mm (10½ x 8"). Trimmedd,
as published..
£445
Johann Sebasstian Bach (16685-1750), ren
nowned
German com
mposer, inset with
w views of significant
s
places in his life. In 1723 he
h was appoin
nted Kantor off
n held conjoinntly
the Thomasschule in Leipzzig, a position
with that as ccivic director. Bach was alsso responsible
for the musicc of four churcches in the city, including thhe
Ch. Fogt. Imp d'Aubert
d
& Coo. Chez Auberrt gal VéroDodat.
D
[n.d., c.1840.]
Liithograph. Sheeet size: 270 x 205mm (10½
½ x 8¼").
£90
Ju
ulie Dorus-Graas (1805 - 18996) was a Belg
gian operatic
so
oprano. To beg
gin her careerr she made a concert
c
tour
which
w
took her to Brussels. H
Her concert was
w so
su
uccessful, thatt Count de Lieederkerke offeered her a
co
ontract to sing
g operatic rolees. Dorus acqu
uired the
naame Gras on 19th
1 April 18333, when she married
m
one
off the leading violinists
v
in thhe orchestra off the Paris
Opera.
O
Frrom a series of
o portraits pubblished in 183
38-43 by
Aubert
A
& co.
Stock: 36997
M.elle. Falcon. Gaalerie de la Presse,
P
de
la
a littérature & des Beauux-Arts.
40
08.
Im
mp d'Aubert & Co. Chez Auubert gal Véro
o-Dodat.
[n
n.d., c.1840.]
Liithograph. Sheeet size: 270 x 205mm (10½
½ x 8¼").
£80
Cornélie Falcon
n (1814 - 18977) was a French soprano
who
w sang at thee Opéra in Parris. Her greateest success
was
w creating the role of Valeentine in Meyeerbeer's Les
Huguenots.
H
Shee and the tenoor Adolphe No
ourrit are
crredited with beeing primarilyy responsible for raising
arrtistic standard
ds at the Opéra
ra, and the rolees in which
sh
he excelled came to be know
wn as 'falcon soprano'
paarts.
Frrom a series of
o portraits pubblished in 183
38-43 by
Aubert
A
& co.
Stock: 37000
Lablache. Galeriee de la Presse, de la
litttérature & des Beaux-A
Arts.
40
09.
Im
mp d'Aubert & Co. Chez Auubert gal Véro
o-Dodat.
[n
n.d., c.1840.]
Liithograph. Sheeet size: 270 x 205mm (10½
½ x 8¼").
£90
Lu
uigi Lablache (1794 - 18588) was an Italiaan opera
singer of French and Irish heeritage. He waas most noted
or his comic performances, ppossessing a powerful
p
and
fo
ag
gile bass voicee, a wide rangge, and adroit acting
a
skills.
Leeporello in Do
on Giovanni w
was one of hiss signature
ro
oles. In 1836/3
37 he taught siinging to Prin
ncess Victoria
off the United Kingdom,
K
the llater Queen Victoria.
V
Frrom a series of
o portraits pubblished in 183
38-43 by
Aubert
A
& co.
Stock: 36998
Rubini. Galerie dee la Presse, de
d la
litttérature & des Beaux-A
Arts.
41
10.
Im
mp d'Aubert & Co. Chez Auubert gal Véro
o-Dodat.
[n
n.d., c.1840.]
Liithograph. Sheeet size: 270 x 205mm (10½
½ x 8¼").
£90
Giovanni Baattista Rubini (179
(
- 1854) was
w an Italian
mbered as an extraordinary
e
bel
b canto
tenor, remem
singer, one oof the most fam
mous in Europ
pe in the 18200s
to 1840s.
p
in 1838-43
1
by
From a seriess of portraits published
Aubert & co..
Stock: 36996
Tamb
burini. Gallerie de la Prresse, de la
littérature & des Beaux-Arts.
411.
Imp d'Aubertt & Co. Chez Aubert gal Véro-Dodat.
[n.d., c.1840.]
Sheet size: 2770 x 205mm (1
10½ x 8¼").
Lithograph. S
£990
mburini (1800 - 1876) was an
a Italian
Antonio Tam
operatic barittone. Tamburiini is famous for his
association w
with the operas of Bellini su
uch as 'I
Puritani', andd was one of thhe so called 'P
Puritani Quarttet'
of leading intternational sinngers, along with
w Grisi,
Rubini [ref: 336996] and thhe bass Luigi Lablache
L
[ref:
36998].
p
in 1838-43
1
by
From a seriess of portraits published
Aubert & co..
13. Marié. Galerie de la Presse, de
d la
41
litttérature & des Beaux-A
Arts.
Im
mp d'Aubert & Co. Chez Auubert gal Véro
o-Dodat.
[n
n.d., c.1840.]
Liithograph. Sheeet size: 270 x 205mm (10½
½ x 8¼").
£60
A portrait of Itaalian tenor Méécène Marié de
d l'Isle
(1
1811-79). His career began in the chorus of the OpéraComique in Parris, and in 18440 he played Tonio
T
in the
world
w
premieree of Donizetti’’s 'La fille du régiment'.
r
His
H daughter Célestine Galli--Marié played
d Carmen at
th
he premiere off Bizet's operaa.
Frrom a series of
o portraits pubblished in 183
38-43 by
Aubert
A
& co.
Stock: 37001
Stock: 36999
41
14. Thoma
as Norris Baac: Mus:
Jo
ohn Taylor pin
nx.t et fecit. Puublish'd Marcch 25th 1777.
A scarce mezzo
otint with smaall margins; Sh
heet 355 x
25
50mm (14 x 9¾"). Slight crreasing.
£260
Th
homas Norris (1741-1790),, musician and
d singer,
orrganist at Chriist Church andd St John's Co
ollege,
Oxford.
O
CS 1: ii
i of iii.
Stock: 36396
412. The H
Humorous Fiddler
F
London Printted for Spilsbuury Engraver Map & Print
Seller in Russsell Court Coovent Garden July
J 25 1767
Mezzotint, pllatemark 330 x 230mm (13
3 x 9"). Small
margins. 'CL
L-B' collector'ss stamp verso..
£3440
Portrait reminniscent of Fraans Hals, with a young mann
looking overr his shoulder while
w
playing
g the violin.
Published byy John Spilsbuury (1739-69) . Ex: collectioon
of the Late H
Hon. C. Lennoxx-Boyd
Stock: 36218
41
15. Miss Martha
M
Ray, who was murdered
m
April
A
7.th. 17
779.
Paainted by N: Dance
D
R.A. 17777. Engrav'd V:Green
Mezzotinto
M
Eng
graver to his M
Majesty, & to the Elector
Paalatine. Publissh'd May 25.thh. by V.Green
n N.o.29,
Newman
N
street, Oxford Streeet, & at N.o.52
2, Strand. Se
veend à Londress, chez les Frer
eres Forre, Maarchands
d'Estampes.
Mezzotint
M
with small marginns. Plate: 185 x 250mm,
(7
7¼ x 9¾").
£190
A half portrait in
i an oval of M
Martha Ray (1
1742-1779), a
British singer who
w was the m
mistress of Joh
hn Montagu,
Earl of Sandwich. On 7th April, a jealous admirer,
James Hackman, murdered her at the Royal Opera
House, Covent Garden for which he was executed at
Tyburn. Whitman: 74 IV of IV; CS: 106 II of II.
Stock: 36842
416. Diomiro Tramezzane.
G. Bartolozzi Fecit. G. Landi Pub. as the Act directs
April 1st 1810 Sabloniere Hotel Leicester Sq.
Stipple, sheet 225 x 180mm (8¾ x 7"). Trimmed inside
platemark. Very scarce.
£140
Diomiro Tramezzane, Italian tenor active in London
and Italy in the 18th and 19th centuries. Engraved by
Gaetano Bartolozzi, son and pupil of the preeminent
stipple engraver Francesco Bartolozzi. De Vesme: Not
in.
Stock: 36522
417. Herr Joachim.
Maclure, Macdonald & Co. Engravers, Glasgow. [n.d.,
c.1870.]
Photogravure. Platemark: 280 x 210mm (11 x 8¼").
£110
A portrait of Joseph Joachim (1831 - 1907), a
Hungarian violinist, conductor, composer and teacher.
A close collaborator of Johannes Brahms, he is widely
regarded as one of the most significant violinists of the
19th century.
Maclure, Macdonald & Co. were, in Victorian times,
'Ornamental Printers to the Queen'. They invented a
power-driven lithographic printing press in 1853.
Stock: 37003
418. Giuseppe Verdi.
[Ferdinand Mulnier.] Maclure, Macdonald & Co.
Engravers, Glasgow. [n.d., c.1870.]
Photogravure. Platemark: 280 x 210mm (11 x 8¼").
£140
A portrait of Italian Romantic composer Giuseppe
Fortunino Francesco Verdi (1813 - 1901). Verdi is
considered, with Richard Wagner, the leading opera
composer of the 19th century.Verdi dominated the
Italian opera scene after the eras of Bellini, Donizetti
and Rossini. After an image by French photographer
Ferdinand Mulnier (1817-91). Maclure, Macdonald &
Co. were, in Victorian times, 'Ornamental Printers to
the Queen'. They invented a power-driven lithographic
printing press in 1853.
Stock: 37002
419. The Emperor Napoleon I
Inventor and Patentee G. Baxter, 11 & 12 Northampton
Square [embossed stamp below image]
Baxter print with large margins; very fine, image 110 x
80mm (4¼ x 3¼"), sheet 205 x 165mm (8 x 6½").
Uncut.
£160
Colour print of Napoleon when Emperor (1804-14),
taken from a miniature and printed by George Baxter
(1804 - 1867), wood-engraver, colour printer and
lithographer; patentee of a method of colour printing
for which he sold licences. C.L. 224; Ball and Martin
p.156
Stock: 36762
420. Lord Nelson
Inventor and Patentee G. Baxter, 11 & 12 Northampton
Square [embossed stamp below image]
Baxter print with large margins, fine, image 110 x
80mm (4¼ x 3¼"), sheet 205 x 165mm (8 x 6½").
Uncut.
£160
Vice Admiral Horatio Nelson, 1st Viscount Nelson, 1st
Duke of Bronté, KB (1758-1805), the British flag
officer famous for his service in the Royal Navy,
particularly during the Napoleonic Wars. He won
several victories, including the Battle of Trafalgar in
1805, during which he was killed. Engraved after the
famous portrait of Nelson by Lemuel Abbott, which
shows Nelson's ship the Victory on the left.
By George Baxter (1804 - 1867), wood-engraver,
colour printer and lithographer; patentee of a method of
colour printing for which he sold licences. C.L. 222;
Ball and Martin p.133; for the print paired with
Baxter's portrait of Robert Peel see ref. 17487
Stock: 36763
421. Baron Nelson, of the Nile.
Publish'd Nov.r 6th 1798, by John Fairburn, 146
Minories, London.
Hand coloured mezzotint, very scarce. Framed.
Platemark: 180 x 125mm (7 x 5"). Unexamined out of
frame.
£360
A head and shoulders portrait of Admiral Lord Nelson,
with his empty sleeve tucked into his coat. Nelson
(1758 - 1805) was a British flag officer famous for his
service in the Royal Navy, particularly during the
Napoleonic Wars. He was involved in several
important victories, including the Battle of Trafalgar,
and the Battle of the Nile (1798). Nelson was gazetted
Baron of the Nile a few moths after the battle. Up to
this date he had spent little time in England and in
consequence, very few portraits were known of him.
Stock: 36977
422. Baron Nelson, of the Nile, and of
Burnham Thorpe in the County of Norfolk.
Publish'd by John Fairburn. No. 146, Minories,
London. [n.d., 1798.]
Hand coloured mezzotint, very scarce. Framed.
Platemark: 170 x 125mm (8 x 5"). Unexamined out of
frame.
£360
A full-length portrait of Admiral Lord Nelson (1758 1805), standing on the deck of a ship, directed to the
right, his right sleeve pinned to his breast, and his left
resting on his sword-hilt. He is seen wearing a naval
uniform and a cocked hat. To the right is a gun, a flag
to the left and the ship 'L'Orient' exploding in the
background to right. Nelson was gazetted Baron of the
Nile a few moths after the battle (1798). Up to this date
he had spent little time in England and in consequence,
very few portraits were known of him.
Stock: 36978
423. Sir Charles Morice Pole, Bar.t K.G.C.B.
Admiral of the Red.
Painted by Sir. Will.m Beechey R.A. Portrait Painter to
Her late Majesty and their Royal Highnesses the Duke
andDuchess of Gloucester. Engraved by Will.m Say.
Engraver to ttheir Royal Hiighness the Duke & Duchesss
of Gloucester. 92 Norton Street,
S
Fitzroy
y Square, 18200.
Mezzotint wiith very large margins. Plattemark: 395 x
285mm (15½
½ x 11¼"). Finne impression. Very light
spotting in m
margins.
£2880
A portrait off Admiral of thhe Fleet Sir Ch
harles Moricee
1
half-len
ngth, standingg,
Pole, 1st Barronet (1757 - 1830),
in naval unifform, directed to the left, faccing and
looking to thhe left. Pole enntered the Roy
yal Academy iin
1770 and serrved in the Easst Indies. He had
h also
participated iin the siege off Pondicherry and at the
occupation oof Toulon in 17793. Pole wass promoted reaaradmiral in 17795 and servedd in the West Indies. He waas
promoted Addmiral of the Fleet
F
in 1830. Pole was
appointed goovernor of New
wfoundland on 3 June 18000.
His term endded in 1801. Ex
E collection off Christopherr
Lennox-Boydd.
Stock: 36552
saail of the line he
h defeated thhe Comte de Grasse,
G
who
haad thirty-threee sail. The Fren
ench inferiority
y in numbers
was
w more than counterbalancced by the greeater size and
su
uperior sailing
g qualities of th
their ships, yett five were
taaken and one sunk,
s
after elev
even hours' fig
ghting. This
im
mportant battlee saved Jamaiica and other British
B
po
ossessions in the
t region, resstoring British
h prestige
affter recent deffeats in the Am
merican War of
o
In
ndependence. Shortly beforee news of the victory
beecame known, Rodney wass replaced as commanderc
in
n-chief in the Leeward
L
Islannds. In part am
mends,
Rodney was giv
ven an Englishh barony and a pension.
Th
he Gainsborou
ugh portrait reeproduced herre (now Earl
off Rosebery collection, Dalm
meny) was com
mmissioned
by
y the Hon. Thomas Harley tto commemm
morate the
Battle of the Saaintes. It was eengraved by th
he artist's
borough Dupoont. Horne 57 ii; CS 9
neephew Gainsb
(u
undescribed sttate); Russell 9 i
Stock: 36624
424. [The Right Hon..ble Lord Ro
odney K.B.
Vice Adm.ll of Great Britain & Ad
dm.l of the
White &c &
&c &c]
[Painted by T
Thomas Gainssborough R.A. / Engraved bby
G. Dupon] [P
Published 12thh. April, 1788
8. by B. Beale
Evans in the Poultry, Londdon.]
k 610 x 390m
mm
Mezzotint wiith large marggins, platemark
(24 x 15¼"). Slight paper tone;
t
very fine proof beforee
£9550
letters.
f
Baron Rodney (1719 George Bridgges Rodney, first
1792), naval officer and poolitician. Rodn
ney became a
national heroo when in 1780 he defeated a Spanish fleeet
off Cape St. V
Vincent, thus relieving Gib
braltar. His
crowning vicctory was at thhe Battle of th
he Saintes, in tthe
Caribbean (1782) off Dom
minica, when with
w thirty-fiv e
42
25. The Ho
onble: Williaam Rowley Esqr: Vice
Admiral
A
of th
he White annd Command
der in
Chief
C
of his Majesty's
M
Fle
leet in the
Mediterranea
M
an 1745.
J. Brooks Fecit Sod by T. Jeffferys at the Corner
C
of St.
Martins
M
Lane Charing
C
Cross and W. Herbert at the
Golden
G
Globe on
o London Brridge.
Mezzotint
M
with small marginns, fine; platem
mark 355 x
25
55mm (14¼ x 10¼"). Slighht foxing; ms lower right
'C
Capt. 26 June 1716'
1
£260
William
W
Rowleey (c.1690-17668), K.B., nav
val officer,
beeside a cannon
n. He greatly ddistinguished himself in
th
he lost Battle of
o Toulon (17444) on HMS Stirling
S
Castle. He becaame Commandder in Chief of
o his
Majesty's
M
Fleet in the Mediteerranean in 17
745 for the
reest of the War of Austrian SSuccession. Hee successfullyy
keept the Spanish and French fleets in theirr harbours. Hee
became Rear-Admiral in 1749, Lord Commissioner of
the Admiralty in 1751 and Admiral of the Fleet on
December 17, 1762. He was also a Knight in the Order
of the Bath. He entered Parliament in 1750 as member
for Taunton, and represented that town until 1754. in
that year he was chosen to represent Portsmouth until
1761. Ex Collection of the Late Hon. C. Lennox-Boyd;
CS 29 ii/ii
Stock: 36510
426. Charles Watson Esq.r Vice Admiral of
the White.
T. Hudson pinx.t. E. Fisher sculp.t. [n.d., c.1770.]
Mezzotint with large margins. Platemark: 380 x
280mm (15 x 11"). Very fine impression. Small stain
in left margin.
£330
A portrait of Vice Admiral Charles Watson (1714 1757), an officer of the Royal Navy, who served
briefly as colonial governor of Newfoundland.
Watson's quick rise through the ranks is thought to be
attributed from his uncle, Sir Charles Wager, who was
first lord of the admiralty.
Three-quarter length standing to the left, Watson is
wearing naval uniform with large, decorated cuffs and
a wig tied at the nape. He is seen holding a telescope
diagonally before him with his right hand, with his left
on his sword-hilt. The sea and a battery are in the
background. Ex collection of Christopher LennoxBoyd. Chaloner Smith: 59.
Stock: 36553
Sir Francis Burdett, Bar.t M.P. From an
original Drawing in the Possession of Walter
Fawkes Esq.r of Franley Hall, Yorkshire.
427.
Drawn by T. Wageman. Engraved by R. Cooper.
London, Published Sep.r 1st 1821 by W. Cribb, 34,
King Street, Covent Garden.
Stipple on chine collé, very fine India proof with large
margins. 430 x 300mm (17 x 11¾"). Uncut.
£220
Three-quarter portrait of Sir Francis Burdett (17701844), a reformist politician and baronet who
denounced the war with France and the suspension of
the Habeas Corpus Act. NPG D32401. Ex: Collection
of the Hon. Christopher Lennox-Boyd.
Stock: 36542
428. [Oliver Cromwell.] Persidia. Tyrannus.
Crudelitas. Page. 1.
[Richard Royston. n.d., c. 1661.]
Engraving. Rare. Platemark: 135 x 160mm (5¼ x 6¼").
Thread margins. Light vertical crease in centre. £130
A frontispiece to Richard Perrinchief's, 'The Syracusan
Tyrant, or the Life of Agathocles, With some
Reflexions on the practice of our Modern Usurpers',
published in 1661. Oliver Cromwell wearing armour,
stands between Perfidy who holds a dagger concealed
beneath his robe and Cruelty, who holds a burning
brand. These two hold a wreath of twined serpents
above Cromwell's head. In the background, a ruined
landscape with buildings in flames can be seen.
Stock: 36452
429. Oliver Lord Protector of the
Commonwealth of England, Scotland and
Ireland &c.
Sould by P. Stent.
Engraving with very large margins, fine. Plate: 110 x
160mm, (4¼ x 6¼").
£190
A portrait of the puritan politician and military leader
Oliver Cromwell (1599-1658) who ruled Great Britain
during the Commonwealth or Interegnum between
1653-1659.
Stock: 36857
The Right Hon.ble S.r Robert Ladbrooke
Lord Mayor of the City of London 1748.
430.
Tho. Hudson pinx. / J. Faber fecit London Printed for J.
Ryall at Hogarth's Head Fleet Street / Price 2s.
Mezzotint with very large margins, platemark 355 x
255mm (14¼ x 10¼"). Rare.
£240
Sir Robert Ladbrooke (1713-73), mayor of London in
1747 and a London MP from 1754 to 1770. His
monument, by John Flaxman, is in Christ Church
Spitalfields. After Thomas Hudson, a leading portrait
painter to whom the young Joshua Reynolds was
apprenticed. Ex Collection of the Late Hon. C. LennoxBoyd; CS iii/iii. Ex Oettinger-Wallenstein Collection
Sotheby's Lot 736, 18/11/97.
Stock: 36518
431. [John Moyser. He was Member for
Beverley 1708]
[Engraved by F. Place. n.d., c.1670.]
Mezzotint. Very rare. On watermarked paper. Proof
before all letters, title etc filled in with contemporary
ink; Sheet size: 310 x 220mm (12¼ x 8½"). Trimmed
to platemark. Some light spotting.
£220
A portrait of John Moyser (c.1659-1739), half-length
in an oval, wearing a wig, lace cravat, and robe. In
December 1699 Moyser was appointed a deputylieutenant for East Riding, and in April 1705 he was
made a freeman of Beverley, Yorkshire. He was
considered suitable by Lord Keeper William Cowper
for inclusion on the East Riding commission of the
peace in 1707, but was not actually appointed. In an
analysis of Parliament in early 1708 he was listed as a
Tory. After the dissolution of Parliament later that
year, he did not stand for re-election. Ex: Collection of
Christopher Lennox-Boyd. Chaloner Smith: 9, I of II.
C.E. Russell Sale Sotheby's 8/5/1947.
Stock: 36560
432. [Lionel Cranfield Sackville Duke of
Dorset.]
[Engraved by George Vertue after Sir Godfrey
Kneller.] [London: Vertue, c.1740.]
Etching and engraving, unfinished proof before letters
with large margins. 430 x 295mm (17 x 11½").
Printseller's ink stamp on reverse.
£280
Lionel Cranfield Sackville (1688-1765), 1st Duke of
Dorset, Lord Lieutenant of Ireland 1731-7 and 1751-5.
He informed George I of his accession to the throne
and carried the sceptre at his coronation; at the
coronation of George II he was Lord High Steward and
carried St Edward's Crown.
The finished plate has an extra
e
border arround the
i the centre oof
image, also ffilling the insccription area, in
which is a cooat-of-arms. See
Se BM: 1849,1031.19 for
proof before letters but with engraved borders.
b
Alexander 8225. Ex: Collecction of The Hon.
H C. LennoxxBoyd.
Stock: 36465
43
34. [The Right
R
Hon.ble
le Charles Townsend
T
Esq.r
E
late Ch
hancellor of the Exchequ
uer, and
One
O of His Majesty's
M
Moost Privy Co
ouncil &c.]
J Reynolds
R
pinx
x.t. J. Dixon FFecit. [Publish
h'd as the Act
diirects Dec the 21 1770 by thhe Proprietor W.m Wynn
Ryland Engraver to His Majeesty in Cornhiill.]
Mezzotint,
M
scraatch letter prooof before publlisher's
in
ncription. Sheeet 390 x 270m
mm (15½ x 10½). Trimmed
ju
ust within platee. Ink stamp oof the Collectiion of Queen
Victoria
V
at Win
ndsor and old iink signature in title area.
£190
Charles Townsh
hend (1725-677), Chancellor of the
xchequer at th
he time of his death. Burkee called him
Ex
'th
he delight and
d ornament of the House, an
nd the charm
off every privatee society'. CS 34, state ii off iii.
Hamilton:
H
P69 I of II; Ex Coollection of thee Hon.
Christopher
C
Lennox-Boyd.
Stock: 36398
43
35. The La
ast Return frrom Duty. Field
F
Marshal
M
The Duke of We
Wellington, K.G.
K
leaving
th
he Horse Gu
uards Aug.t 20th 1852.
The H
High and Mighty
M
Prince Lodwick
Duke of Richmond and
d Lenox...
433.
P. v. S. pinxiit. Joannes Baarra delingneav
vit sculpsit et
excudit. 16244.
Engraving. S
Sheet 345 x 2000mm (13½ x 8"). Trimmedd
just within pllate.
£3220
Ludovic Stew
wart (1574-16624), 2nd Duk
ke of Lennox in
robes. A mem
mber of the coourt of James VI
V of Scotland
nd,
he was createed Lord High Admiral of Scotland in 15991.
James (by then James I off England) mad
de him the 1stt
Duke of Richhmond in 1623, the year before Ludovic
died. He wass instrumental in the Plantattion of Ulster
and the colonnization of Maaine, where th
he town of
Richmond, R
Richmond's Islland and Capee Richmond ar
are
named for hiim Ex Collectiion of Christop
pher Lennox-Boyd.
Stock: 36491
Paainted by Jam
mes W. Glass. E
Engraved by James
J
Faed.
Lo
ondon Publish
hed Sept.r 3rdd 1855 by Paull & Dominic
Colnaghi & Co. 13 & 14 Palll Mall East, Publishers
P
to
Her
H Majesty.
Coloured mezzotint. Image 5580 x 865mm (22¾ x 34"),
g sheet with prrinted title. Cu
ut to image
laaid on backing
with
w title in scriipt.
£420
A large image of
o the first Duuke of Welling
gton on
ho
orseback, retu
urning the saluute of a pair off Chelsea
peensioners. Weellington had rretired from political life in
18
846 although he
h kept his seaat in the Lord
ds, as well as
th
he role of Chieef Ranger andd Keeper of Hy
yde Park and
Stt. James's Park
k. He died les s than a month after this
ev
vent.
Stock: 36818
43
36. [Christtoph Friedriich von Amm
mon]
F.. Bartolozzi R.A.
R fecit Londdon Published
d as the Act
diirects Nov.12 1791
Sttipple printed in brown, sheeet 180 x 130m
mm (5 x 7").
Trrimmed to plaatemark. Rare..
£160
Christoph Fried
drich von Amm
mon (1877-18
850), German
heological writter and preachher.
th
En
ngraved by Frrancesco Bartllozzi (1725-18
815),
Fllorentine engrraver elected a founding meember of the
Royal Academy
y in 1768 (thee RA did not admit
a
en
ngravers at thiis time but maade an exceptiion in his
case). He was already hailed as the best engraver in
Italy when he met George III's librarian Richard Dalton
in 1763. Dalton invited Bartolozzi to London with a
promise of an appointment as engraver to the king. In
England he became the most celebrated exponent of
the 'stipple' technique whereby he produced prints
using dots rather than lines. In 1801 Bartolozzi was
invited to Lisbon to reform the royal printing press, and
he spent his final years in Portugal. This portrait was
published after Bartolozzi had left England for the
continent. Not in De Vesme.
Stock: 35844
437. Archibald Bower Esq.r
George Knapton pinx.t / J.s Mc.Ardell fecit [n.d.,
c.1760]
Mezzotint, platemark 350 x 250 (14 x 10"). Thread
margins; slight crease through centre not showing on
front; collector's stamp of Alfred Morrison verso.
£260
Archibald Bower (1686x8-1766), religious
controversialist and historical writer, born near
Dundee. As a young man Bower entered the Society of
Jesus in Rome and lectured at Jesuit colleges in Italy
before suddently leaving Perugia to return to England,
allegedly having been discovered in a love affair with a
nun. In England Bower converted to the Church of
England and wrote about bibliographic history and
ancient Rome.
His 'History of the Popes', a violent attack on papal
supremacy, was published between 1748 and the
1760s. During the publication of the work letters
emerged purporting to show that despite his protestant
zeal Bower was flirting with Catholicism, shattering
his reputation.
This impression from the collection of Alfred Morrison
(1821-97), one of the major collectors of his day. CS
27 (only state); Whiteman 174 ii/ii; L.151.
Stock: 36509
Richard Brothers, Prince of the
Hebrews.
438.
Fully believing this to be the Man Whom God has
appointed; _ I engrave his likeness. William Sharp.
Published at No.8 Charles Street, Midd.x Hospital,
London, April 16, 1795, by W. Sharp.
Engraving. 210 x 180mm (8¼ x 7").
£95
Richard Brothers (1757-1824), religious eccentric and
proponant of 'British Israelism', the belief that the
British are descended from the Lost Tribes of Israel.
After a brief career in the navy, he claimed to have
been given a mission to save London from divine
retribution and declared himself a 'Prince of the
Hebrews', preparing 'the Restoration of the Hebrews to
Jerusalem by the year of 1798 under their revealed
Prince and Prophet' ('A Revealed Knowledge of the
Prophecies and Times', 1794). In 1795, having
prophesied the death of the King and the end of the
monarchy, he was imprisoned as criminally insane, but
continued to issue pamphlets. His many admirers
included an M.P. and the engraver William Sharp who
published in portrait in preparation for Brothers' Day of
Revelation on November 19th, 1795, but after this day
came and went without incident, Sharp became an
adherent of Joanna Southcott instead. Brothers spent
the rest of his life preparing for the advent of New
Jerusalem.
Stock: 35789
439. [Jesus Christ] This Present Figure Is The
Similitude of Our Lord IHV Oure Savior
Imprinted In Amirauld By The Predesessors
Of The Greate Turke And Sent To The Pope
Innosent The VIII At The Cost Of The Grete
Turke For AS Token For This Cawse To
Dedeme His Brother That Was Takyn
Preso/nor.
Pub.d August 1780 by Richard Godfrey N. 120 Long
Acre.
Stipple and etching with large margins. 240 x 200mm
(9½ x 8").
£75
A rendering of an ‘Emerald Icon’, with the portrait
painted on a gold-leaf background. These were copied
from a gift sent to Pope Innocent VIII in the 1490s by
the ‘Great Turk’, Bajazet, Sultan of the Ottoman
Empire. Although the describes it as part of a ransom,
Innocent was holding Bajazet’s brother and rival
Prince Dschem captive in Rome at the request of the
Sultan. Six English Emerald Icons are known to exist,
including one dating c.1500 in the National Portrait
Gallery. The others are later, made for secret Catholic
masses after relic worship was banned after Henry
VIII's break from Rome.
Stock: 36591
440. The Fair Quaker. Nor Gold, nor Gems
are wanting to the Maid, [/] In neat simplicity,
like this, Array'd; [/] Plain native Beauty ,ore
delights the hearts, [/] Than all the Glittering
Ornaments of Art.
R. Houton delin & fecit. Printed for John Bowles &
Son at the Black Horse in Cornhill.
Mezzotint with large margins top & bottom. Plate: 250
x 350mm, (9¾ x 13¾"). Trimmed to platemark left &
right. Repaired tears in edges. Bit messy.
£280
A three-quarter length portrait of Hannah Gurney (neé
Middleton)(1742-1779) wife of the quaker Joseph
Gurney. She is depicted in simple quaker dress and
bonnet. CS: 132.II, Russell 132.
Stock: 36843
441. The Lady Abbess of the English Nuns at
Antwerp.
Gab. Mathyas pinxt. Faber fect. Printed for John
Bowles at the Black Horse in Cornhil, & Carington
Bowles in St. Pauls Church Yard. [n.d., c.1750.]
Mezzotint. Framed. Sheet size: 365 x 255mm (14¼ x
10"). Trimmed to image. Unexamined out of frame.
£260
A three-quarter length portrait of a nun, seated to the
right, wearing the habit. Her right hand lifted to the
edge of her veil, and her left hand is resting on an open
book on a table beside her, below a crucifix and skull.
The sitter is indentified as English nun Mary Howard,
of the Holy Cross (1653 - 1735), daughter of English
43. The Re
ev.d Tho.s P
Pyle A.M.
44
[n
n.d., c.1750.]
Ettching with sm
mall margins. 125 x 85mm (5 x 3½").
£95
Th
he Reverend Thomas
T
Pyle ((1674-1756), Whig
cllergyman. Ex Collection off Christopher Lennox-Boyd.
L
Stock: 36490
44
44. Richd Rawlinson
R
L
L.L.D.
Vertue
V
delin. Sm
mith Fecit. [nn.d., c. 1774.]
Mezzotint
M
with very large maargins. Platem
mark: 255 x
17
75mm (10 x 7").
£220
En
nglish clergym
man and antiqu
quarian collecttor of books
an
nd manuscriptts Richard Raw
wlinson (1690
0 - 1755). He
beequeathed his collection to tthe Bodleian Library,
Oxford.
O
Bust po
ortrait in an ovval frame direected slightly
to
o the left, head
d turned towarrds left should
der, glancing
to
owards the viewer. He is weearing a scholaar's gown,
baands and a chiin-length wig with tight currls. Ex
co
ollection of Ch
hristopher Lennnox Boyd. Ch
haloner
Sm
mith: 3, state II
I of II.
Stock: 36551
playwright annd politician Sir
S Robert Ho
oward (1626 1698).
oice Engravinggs
Sold as part oof a sale; 'Cataalogue of Cho
in Mezzotintt anf Line, connsisting of the first portion oof
the magnificeent collection of Archibald Cameron
Norman Esq. of Bromley Common',
C
at 'Sotheby,
'
Wilkinson & Hodge, Welllington Street,, Strand,
London. 1914'. The originnal cover from
m the sale
f
Chalonner
catalogue is gglued to the reeverse of the frame.
Smith: 195. SState II of II.
Stock: 36895
442. The R
Reverend Mr.
M Madan.
R. Manwarinng fecit Printed for S. Hoop
per at the East
Corner of thee New Churchh in the Strand
d As the Act
Directs [n.d.,, c.1750]
Mezzotint, shheet 355 x 2555mm (14¼ x 10¼").
Trimmed to pplatemark; slight crease top
p left.
£1880
Martin Madaan (1725-90), Church of En
ngland
clergyman annd advocate of polygamy. A Londoner,
Madan was ttrained as a law
wyer, but soug
ght holy orderrs
after hearing John Wesleyy speak. He waas appointed to
hen chaplain oof
All Hallows, Lombard Street in 1750, th
the Lock Hosspital at Hydee Park Corner,, an institutionn
for penitent pprostitutes. Thhere his preach
hing (which
members of tthe public werre free to atten
nd) was so
successful thhat a new chappel was built in
n 1762. Madaan
was also highhly musical, and
a the annuall oratorio at thhe
Lock chapel was a major event
e
(Wesley
y attended in
1764 and 17665).
In 1780 Maddan published his 'Thelyphth
hora' in whichh,
drawing uponn his experiennces with the inmates
i
at thee
Lock Hospitaal, he argued at
a length for th
he social
benefits of poolygamy. Maddan disclaimed any advocaccy
of polygamy for fulfilling sexual appetitte, but the
n to resign hiss
outcry the boook produced caused Madan
chaplaincy annd retire to Eppsom. Ex Colllection of the
Late Hon. C. Lennox-Boydd; CS 2 (only state)
s
Stock: 36517
M. Baillly élu Mairre de la Villee de Paris
dee 15 Juillet 1789
1
[...] Déédié et Preseenté à
Messeigneurs
M
s de l'assembblée Nationale, Par
leeur très hum
mble et très R
Respectueux
x Serviteur
Miger.
M
44
45.
Dessiné
D
par Boizot S.D.R. / G
Gravé par Mig
ger A Paris
ch
hez Miger graveur du Roi, R
Rue de 4 Ventts, No. 5 en
faace de la rue de
d Tournon.
Ettching, sheet 295
2 x 180mm
m (11½ x 7"). Trimmed
T
in
nside platemarrk.
£130
Jeean-Sylvain Bailly (1736 – 1793), French
h astronomer
an
nd politician, and
a one of thee leaders of th
he early part
off the French Revolution.
R
Hee served as thee mayor of
Paaris from 1789
9 to 1791 andd was ultimatelly guillotined
du
uring the Reig
gn of Terror.
As
A an astronom
mer, Bailly buiilt an observattory in the
Lo
ouvre and wass noted for hiss computation
n of an orbit
fo
or Halley's Comet in 1759 aand his study of
o Jupiter's
moons
m
He was elected to thee Academy des Sciences in
17
763 and befrieended Franklinn in Paris. Meeanwhile, his
an
ntiquarian inteerests led to w
works on the hiistory of
asstronomy and the origins off science (writtten in
reesponse to Volltaire's ideas oon the subject)), which gain
hiim membershiip in the Frencch Academy.
Bailly's high pu
ublic standingg saw him mad
de first
Prresident of thee National Asssembly- he staands above
th
he crowd of deeputies in Davvid's famous painting
p
'the
Teennis Court Oath'.
O
However
er, his politicall authority
haad disappeared
d by the time hhe and Lafayeette imposed
martial
m
law and
d had the natioonal guard opeen fire on
deemonstrators on
o July 17 17991. Bailly resiigned as
mayor
m
soon afteer but was lateer arrested and
d executed.
His
H subsequent influence hass been felt thro
ough his
th
hesis about a Hyperborean
H
A
Atlantis dating
g to before
reecorded history
y, which whille mocked by Jules Verne
in
n '20,000 Leag
gues Under thee Sea', was inccorporated byy
Madame
M
Blavatsky into the m
mythos of Theeosophy. For
'T
The Tennis Court Oath' see ref. 6998
Stock: 36923
44
48. J. Lock
ke Célèbre P
Philosophe Anglais.
A
Im
mp. litho. de M.lle
M Fomentinn, rue St Andrré des Arcs,
No
N 59 [c.1840[
Liithograph with
h large marginns, printed areea 210 x
17
75mm (8¼ x 7").
7 Slight creeasing; rare.
£95
Bust portrait off John Locke FF.R.S. (1632-1704), after
he portrait by Geoffrey
G
Knel
eller. Locke, th
he 'Father of
th
Liiberalism' and
d the English pphilosopher an
nd physician,
was
w regarded ass one of the m
most influentiaal of the
En
nlightenment thinkers. His contributions to classical
reepublicanism and
a liberal theeory are refleccted in the
American
A
Declaration of Inddependence. For
F an earlier
veersion of the same image seee ref. 23383.
Stock: 36394
Al. Monro Sen.r. M
M. D. and F..R.S.
Fellow of the R. College oof Physician
ns and P of
Physic and Anatomy
A
in tthe Universiity of
Edinburgh
E
A.D.
A 1749 Aeetat 52.
44
49.
A.
A Ramsay pinx
xit. Tho.s. Doonaldson delin
n & sculp.t.
[n
n.d., c.1749.]
Ettching. Sheet: 185 x 225mm
m, (7¼ x 8¾")). Trimmed
within
w
plate. Laaid on album ssheet.
£140
A Half-length portrait
p
of Aleexander Monro
o (169717
767) a physiciian and professsor of anatom
my at the
University
U
of Edinburgh,
E
he was also a fou
unding
member
m
of the Edinburgh meedical school. Not in
Wellcome:
W
2039
9.
Stock: 36451
446. [Joseeph Banks.]
H. Gievedonn. 1826. Lith de
d C. Motte. [S
Stampted:]
Contemporaiins Estrangerss. [n.d. c.1830.]
Lithograph. S
Sheet size: 5000 x 325mm (1
19¾ x 12¾").
Crease to uppper right corner. Small stain
n in lower leftt.
£3000
Sir Joseph Banks (1743-18820), the Engllish botanist,
nces. Banks
naturalist andd patron of thee natural scien
took part in C
Captain Jamess Cook's first great
g
voyage
(1768-1771).. He was the leading foundeer of the
African Assoociation, the British
B
organizzation dedicateed
to the exploration of Africca, a member of
o the Societyy
t Royal
of Dilettanti, which helpedd to establish the
Academy.
Stock: 36826
Williiam Curtis Author of th
he Flora
Londinensiis / Botanicaal Magazine &c.
447.
[Anon]
mm (6 x 4½")).
Stipple printeed in blue, sheeet 150 x 110m
Trimmed to iimage; false margins
m
added
d.
£995
Sir William C
Curtis (1746-999), botanist and
a
entomologistt. Curtis established a botan
nical garden inn
Bermondsey in 1773, thenn the more exp
pansive Londoon
o escape smokke
Botanic Gardden at Lambetth in 1779. To
pollution, in 1789 he moveed to a still larrger garden inn
P
South
Brompton (nnow occupied by Cadogan Place
Garden on Slloane Street). He also publiished numerouus
works on bottany and entom
mology includ
ding the Floraa
Londinensis (begun in 17775) which estaablished his
For Curtis' Broompton garden see ref.
reputation. F
18206; for hiis Lambeth gaarden see ref. 15502.
Stock: 35842
45
50. Dr. Jac
cob de Castrro Sarmento
o do Real
Collegio
C
des Medicos
M
de Londres, e Socio
S
da R.
S.. Aetat suae, 45. 1737.
H.
H Stevens Pinx
x.t 1729 / Andd.w Muller feccit 1737.
Mezzotint,
M
platemark 200 x 1140mm (8 x 5½").
5
Thread
margins;
m
tipped
d into album sh
sheet. Very rarre.
£350
Jaacob de Castro
o Sarmento [fo
formerly Henriique de
Castro] (1692?--1762), physiccian and scien
ntific writer.
Sarmento greew up in Portuugal, where hiis parents werre
arrested by thhe Evora Inquuisition and im
mprisoned,
accused of Juudaizing. Following his stud
dies, Sarmentto
moved to Loondon and connverted to open
n Judaism,
Bevis Marks Synagogue
S
in the City, wheere
marrying at B
he was brieflly physician too the synagogue's poor.
Sarmento overcame obstaccles in London
n, surviving aan
investigationn following alllegations that he betrayed
Jews to the Innquisition, annd becoming a fellow of thee
Royal Societty despite a caampaign again
nst his
candidacy byy Meyer Schom
mberg. Sarmeento's works
treated subjects such as sm
mallpox, surgeery, and minerral
D in 1739, fou
unded a small
waters. He reeceived an MD
infirmary forr London's Porrtuguese Jewiish communityy
in 1747, and renounced Juudaism late in life.
w a scholar oof
Edgar Samueel (DNB) notees 'Sarmento was
distinction. A
As a refugee he
h was unusuaal in maintaininng
friendly conttacts with Porttuguese scholaars and
statesmen. It is possible thhat he influencced Pombal's
p
of the New
determinationn to end the persecution
Christians inn Portugal.' Sarrmento wrote books in
Portuguese, ttranslated otheer works into his native
language, and endeavouredd to improve the
t state of
H also
scientific knoowledge in hiss homeland. He
produced a qquinine water, 'agoa de Inglaaterra', made tto
a secret recippe and exporteed to Portugal as a cure for all
fevers. Ex: coollection of thhe Late Hon. C.
C Lennox-Boyyd.
C.S.: 108; W
Wellcome: 557..
Wearing
W
a loose dress and errmine robe, sh
he holds her
rig
ght hand to heer breast. Onee of the series 'Beauties of
Hampton
H
Courtt'.
On
O this state the publication line has been moved from
un
nder the title to bottom righht of the portraait, replacing
th
he engraver's name:
n
it seemss the plate waas broken,
neecessitating th
he change. Thee same portraiit is the
so
ource of a head-and-shouldeers oval mezzotint.
Chaloner
C
Smith
h 28.
Stock: 35856
Stock: 36200
451. M.rs. Callander of Craigfor
rth.
[After Joshuaa Reynolds.] [n.d.,
[
c.1772.]
Mezzotint. Sheet: 250 x 3550mm, (9¾ x 13¾").
Trimmed witthin plate.
£1660
A half-lengthh portrait of Harriet
H
Calland
der (née
Dutens)(17500-1773) the seecond of threee wives of Sir
James Callannder of Craigfforth and Arkinglass. CS 388;
Hamilton: Pgg 88.
Stock: 36455
Charrlotte Counttess Cholmo
ondeley and
the Hon.blee Henry Choolmondeley..
452.
Painted by J. Hoppner, Esqq.r R.A. / Eng
graved by C.
Turner. [Lonndon: Publisheed by C. Turneer, No 50
Warren Streeet, Fitzroy Squuare, July 15, 1805.]
Mezzotint wiith small marggins, platemarrk 620 x 380m
mm
(24½ x 15"). Publication liine faintly printed.
ox-Boyd and
Collectors' sttamps of Christopher Lenno
Mrs. E.M. Hamilton versoo. Crease on left bottom
corner.
£2330
mondeley, néee Georgiana
Charlotte, Coountess Cholm
Charlotte Bertie (1764-18338), with her son
s Henry. Shhe
o
married Georrge, Earl (lateer Marquess) of
Cholmondeleey in 1791. W 110 (only sta
ate).
Stock: 35018
453. Her G
Grace the Dutchess
D
of Marlboroug
M
gh.
G. Kneller Piinx. J. Faber fecit.
f
Sold by Rob.t Sayer
near St Dunsstans Church in
i Fleet-Streett, & John Kingg
at the Globe in the Poultryy. [n.d., c.1760
0.
2¼"). Trimmeed
Mezzotint. Sheet 460 x 310mm (18 x 12
m sheet. £2330
into image onn three sides, laid on album
A full-lengthh portrait of Saarah Churchilll, Duchess of
Marlboroughh (1660 - 17444), politician and
a courtier.
45
54. Mrs. Crew.
Paainted by Sir Joshua
J
Reynoolds. Engrav'd by Thomas
Watson.
W
Publish'd Octr. 25thh. 1773 for S. Hooper
H
Lu
udgate Hill, W.
W Shropshire No. 158 & T. Watson No.
14
42 New Bond Street.
Mezzotint
M
with thread marginns. Framed. Platemark:
P
48
80 x 520mm (19
( x 20½"). FFrame size: 65
50 x 710mm
(2
25 x 28"). Uneexamined out of frame. Verry fine.
£1250
A portrait of Mrs.
M Frances An
Anne Crewe (1744 - 1818)
ass St Genevievee. A leader off fashion and whig
w hostess,
sh
he married Joh
hn Crewe, 1st Baron Crewee of Crewe in
17
766. Whole-leength, sitting rreading in fron
nt of a rocky
mound,
m
with heer chin restingg on her right hand,
h
and her
haair dressed with a veil. She has a dog at her
h feet,
with
w five lambss lying to the lleft, and one nibbling
n
at a
pllant to right. A landscape w
with a river can
n be seen in
th
he distance to the
t left. Hamiilton: Pg 93 III of II; CS: 100
III
II of III; Good
dwin: 15 IV off IV.
Stock: 36448
45
55. [The R.t
R Hon.ble L
Lady Elizabeeth
Cromwell.]
C
G.
G Kneller pinx
x: Sold by J. SSmith at ye Ly
yon & Crown
in
n Russell Streeet.
Mezzotint
M
with small marginns; 240 x 190m
mm (9½ x
7½
½"). Foxing.
£180
Laady Elizabeth Cromwell (16674-1709), on
nly child of
th
he 7th Baron Cromwell,
C
diedd in childbirth
h. CS 68. Ex
Collection
C
of th
he Hon. Christtopher Lennoxx-Boyd.
Stock: 35857
The R.tt Hon.ble Ellizabeth Dow
wager
Lady
L
Syttelto
on. Ob.t Auugust 27th 17
795.
45
56.
R. Cosway R
RA. delin.t. Chha.s Townley Sculp.t.
Publsihed byy C. Townley 1;st Jan.y 179
96, No.19
Panton Squarre, Haymarket.
Stipple, veryy rare. Platemaark: 205 x 145
5mm (8¼ x
5¾"). Threadd margins.
£1440
A portrait off Lady Elizabeeth Dowager Lyttleton
L
(17449
- 1795), seateed half lengthh to the left. Heer hands are
folded in herr lap. She is wearing
w
a frilled cap and
matching gow
wn, with strapps around both
h wrists.
Lyttleton waas the daughterr of British caavalry officer S
Sir
Robert Rich, and the seconnd wife of George Lyttletonn,
1st Baron Lyyttleton. Danieell: 97
Stock: 36563
457. Lady
y Erskine.
A. Ramsay ppinx.t. Londonn, printed for Carrington
C
Bowles, at N
No. 69 in St. Paaul's Church Yard,
Y
& Robeert
Sayer, a No. 53 in Fleet Sttreet. [n.d., c.1
1770.]
Platemark: 3555 x 250mm (14
4 x 9¾"). £2990
Mezzotint. P
E
wife of
o Sir Henry
A portrait off Janet, Lady Erskine,
t the left, herr
Erskine, stannding half-lenggth in profile to
head turned tto face front, wearing
w
a gow
wn with ruffleed
sleeves, lace cape and smaall lace ruff. She has flowerrs
in her simplyy dressed hair and at her breeast. Ex
collection off Christopher Lennox-Boyd.
L
Chaloner
win: 143.
Smith: 52 varriant. Goodw
Sttipple with etcching. Platemaark: 265 x 180
0mm (10¼ x
7""). Crease on left.
l
£75
A head and sho
oulders portraiit of British peeer and
po
olitician Georg
ge Townshendd, 2nd Marquess
To
ownshend (17
753 - 1811), kn
known as The Lord Ferrers
off Chartley from
m 1770 to 17884 and as Thee Earl of
Leeicester from 1784 to 1807.. Facing right, within a
deecorative trom
mpe l'oeil ovall on a plinth.
Stock: 36325
46
61. The Co
ountess of Liitchfield.
G.
G Kneller pinx
x. I. Beckett fee: et ex. [n.d., c.1685.]
Mezzotint,
M
rare. Collector's in
ink stamp on reverse,
r
'E
E.M.H.' Mrs. E.
E M. Hamilton
on. Sheet size: 425 x
24
45mm (16¾ x 9¾"). Trimm
med to plate. Creases.
C
£260
A full-length po
ortrait of Charrlotte Fitzroy (1664-1718),
daaughter of Chaarles II by hiss most famouss mistress,
Barbara Villiers, and said to be his favouriite child. She
was
w married to Sir Edward L
Lee, Earl of Liichfield, at
tw
welve years off age, having hher first child (of 18) at
th
hirteen. Ex colllection Christtopher Lennoxx-Boyd. CS:
66
6.
Stock: 36650
Stock: 36982
458. Lady
y Erskine.
A. Ramsay ppinx.t. J. W. Watson
W
fecit. London:
L
Printeed
for Rob.t Sayyer, Map and Printseller,
P
at the Golden
Buck near Seerjeants Inn, inn Fleet Street.. [n.d., c.1770 .]
Mezzotint. C
Collector's stam
mp on verso, 'E.M.H.' Mrs. E.
M. Hamiltonn; Sheet size: 390
3 x 285mm (15¼ x 11¼"").
Trimmed to pplate. Slight creasing
c
top riight.
£2220
A portrait off Janet, Lady Erskine,
E
wife of
o Sir Henry
t the left, herr
Erskine, stannding half-lenggth in profile to
head turned tto face front, wearing
w
a gow
wn with ruffleed
sleeves, lace cape and smaall lace ruff. She has flowerrs
in her simplyy dressed hair and at her breeast. Ex
collection off Christopher Lennox-Boyd.
L
Chaloner
Goodwin: 143..
Smith: 52. G
Stock: 36979
The R
R.t. Honourrable Lady Sophia
S
Fermor, M
Married the 14.th.
1
of Aprril. 1744 to
John Lord Carteret Prrincipal Secrretary of
State, sincee Earl of Granville.
459.
Lady Anne W
Wentworth, sinnce Countess Fitzwilliam
Pinx.t. John F
Faber fec.t. 17747.
Mezzotint, raare. Plate: 2255 x 325mm, (9
9 x 12¾"). £3330
A half-portraait of Sophia Fermor,
F
Counttess Granvillee
(1721-1745) who married John Carterett, Earl of
Granville (16690-1763). CSS 168
Stock: 36454
Georrge Ferrars Townshend
T
. Earl of
Leicester. President off the Society
y of
Antiquariees, Trustee of
o the British
h Museum,
F.R.S. and Joint Postm
master General.
460.
R. Cosway R
R.A. Pictor Priincipus Pinx.t. P. Condé
Sculp.t. [n.d., c.1790.]
46
62.
Daughtters of Sir T
Thomas Fran
nkland
Bar.t
B
Paainted by J. Hoppner R.A. PPortrait Painteer to His
Royal Higness the Prince of Wales / Engraaved by W.
Ward
W
Publish'd
d March 1. 17997 by W. Warrd, Delancy
Pllace, Hampsteead Road.
Mezzotint,
M
platemark 580 x 4455mm (22¾ x 18").
£950
Th
hread marginss; rare. Good iimpression.
Marianne
M
and Emilia
E
Franklaand, two of th
he many
daaughters of thee naval officer
er and politiciaan Sir
Th
homas Frankland, fifth baroonet, with a sp
paniel asleep
att their feet. Am
melia holds a ccrayon and a portfolio
p
of
sk
ketches.
En
ngraved by William
W
Ward ffrom the 1795
5 portrait by
Jo
ohn Hoppner. The painting hangs in the National
N
Gallery of Art, Washington, D.C., having previously
been in the collection of Andrew Mellon. CS 38 iii/iv;
Frankau 125 iii/iv
Stock: 36614
463. Miss Horneck.
Painted by Sir Joshua Reynolds. Engrav'd by R.
Dunkarton. Publish'd July 20.th 1778, by Wr.
Shropshire, No.158, New Bond Street.
Mezzotint, rare with very large margins; plate 508 x
356mm (20 x 14").
£580
Mary Horneck, later Mrs Francis Edward Gwyn
(1752?-1840), bedchamber-woman to Queen Charlotte,
in Persian dress. It was through Sir Joshua Reynolds
that the writer Oliver Goldsmith met Horneck, who
became close to her and her family, nicknaming Mary
'The Jessamy Bride'. She later married General Gwyn,
equerry to George III.
Engraved after the portrait (c.1775) by Reynolds, at the
mansion of Cliveden in Buckinghamshire. Reynolds is
believed to have considered the portrait one of his
finest, and to have kept it in his studio right up to his
death, leaving it to the sitter in his will. CS: 25 ii/ii;
Hamilton: p.109 ii/ii
Stock: 36609
464. Hannibal.
Painted by Sir Joshua Reynolds. Engraved by C.
Townley. Engraver to his Majesty the King of Prussia
& Member of the Academies of Berlin & Florence.
Published as the Act directs, April 20th, 1792, by
Charles Townley, Greek Street, Soho.
Mezzotint with small margins. Rare. Platemark: 330 x
230 (13 x 9").
£240
A half-length portrait of a young child in Roman
costume, Master Coke of Holkham, with his right hand
upon a sword and his left on his hip. Ex Collection of
Christopher Lennox-Boyd. Hamilton: Pg 18; CS: Not
in.
Stock: 36473
465. Mary Isabella. Dutchess of Rutland.
Painted by Mrs. Mee. Engraved in Mezzotinto by C.
Turner. Published by Reeve & Jones, No.7 Vere Street,
Bond Street, Nov.r 1. 1808.
Mezzotint printed in colour. On watermarked paper, 'J.
Whatman. 1805'. Platemark: 245 x 185mm (9¾ x 7¼").
Large margins.
£120
Mary Isabella Manners, Duchess of Rutland (1756 1831), seated half-length against plain background.
Within a rectangular border. Manners was the first wife
of Charles Manners, 4th Duke of Rutland and daughter
of Charles Somerset, 4th Duke of Beaufort. She was a
politician, as well as a society hostess.
For an earlier impression printed in colour, see item
ref: 36556. For an uncoloured impression, see item ref:
36557. Ex collction of Christopher Lennox-Boyd.
Whitman: 506.
Stock: 36558
466. Mary Isabella. Dutchess of Rutland.
Painted by Mrs. Mee. Engraved in Mezzotinto by C.
Turner. London Published July 10, 1804, by C. Turner,
No. 50, Warren Street, Fitzroy Square.
Mezzotint. Platemark: 245 x 185mm (9¾ x 7¼").
Trimmed to plate. Crease lower right.
£120
Mary Isabella Manners, Duchess of Rutland (1756 1831), seated half-length against plain background.
Within a rectangular border, above which is a crown.
Manners was the first wife of Charles Manners, 4th
Duke of Rutland and daughter of Charles Somerset, 4th
Duke of Beaufort. She was a politician, as well as a
society hostess.
For an impression printed in colour, see item ref:
36556. For an alternative, slightly later impression, see
item ref: 36558. Ex collection of Christopher LennoxBoyd. Whitman: 506.
Stock: 36557
467. Mary Isabella. Dutchess of Rutland.
Painted by Mrs. Mee. Engraved in Mezzotinto by C.
Turner. London Published July 10, 1804, by C. Turner,
No. 50, Warren Street, Fitzroy Square.
Mezzotint printed in colour with very large margins.
Platemark: 245 x 185mm (9¾ x 7¼"). Uncut. Light
creasing in lower half of sheet.
£180
Mary Isabella Manners, Duchess of Rutland (1756 1831), seated half-length against plain background.
Within a rectangular border, above which is a crown.
Manners was the first wife of Charles Manners, 4th
Duke of Rutland and daughter of Charles Somerset, 4th
Duke of Beaufort. She was a politician, as well as a
society hostess.
For an uncoloured impression see item ref: 36557. For
an alternative, slightly later impression, see item ref:
36558. Ex collection of Christopher Lennox-Boyd.
Whitman: 506.
Stock: 36556
468. The Right Hon.ble S.r Robert Ladbrooke
Lord Mayor of the City of London 1748.
Tho.s Hudson pinx.t. I. Faber fecit. London Printed for
J. Ryall at Hogarths Head Fleet Street. [1748.]
Mezzotint, rare. 355 x 250mm (14 x 9¾"). Thread
margins, mounted on album paper.
£260
Sir Robert Ladbroke (1713-73), Alderman of London
in 1741, Sheriff in 1743 and Lord Mayor of London in
1747, M.P. for London from 1754-70. From the Belton
Album. Ex Collection of the Hon. Christopher LennoxBoyd.
Stock: 36359
469. [Lady Lucy Percy] [From the fine
miniature by Isaac Oliver at Strawberry Hill]
[S Harding del / A Birrell sculp] [Pub by S Harding
127 Pall Mall Jan 1 1802]
Stipple, sheet 130 x 110mm (5 x 4¼"). Trimmed to
plate. Proof before letters.
£120
Lucy, countess of Carlisle (1599-1660), an English
courtier known for her beauty and wit. She was
involved in many political intrigues during the English
Civil War, and became second wife to James Hay, 1st
Earl of Carlisle. She is known for disclosing to her
cousin Robert Devereux, Earl of Essex of the King's
intended arrest of the five members of Long
Parliament, which enabled Essex and the others to
escape. She w
was a politicall friend of Strafford and
Pym.
Stock: 35843
bllind stamp in lower
l
left cornner. Platemark
k: 440 x
32
20mm (17¼ x 12½"). Uncuut.
£160
A portrait of Ch
harlotte Anne,, Duchess of Buccleuch
B
an
nd Queensberrry, with her chhildren, Williaam Henry
Montagu
M
Douglas Scott, 6th Duke of Bucccleuch and
8tth Duke of Qu
ueensberry (18831 - 1914), and
a Lord
Henry
H
Scott (18
832 - 1905), inn a landscape setting. PSA:
Arrtist's Proof: 100;
1
L.P. 1000
Stock: 36652
47
72. The Right Hon.blee. James Ear
rl of Derby.
[H
Hamlet Winstaanley. Gerard Vandergucht.] [n.d.,
c.1734.]
Ettching, very raare. Sheet: 2660 x 350mm, (10¼ x
13
3¾"). Trimmeed within platee. Small pin hole
h by pillar.
Repaired damag
ge by face. A few fox mark
ks.
£260
Th
hree-quarter length portraitt of James Stan
nley, 10th
Duke
D
of Derby (1664-1736),, who stands holding
h
a
crrown in one haand while the other rests on
n his side.
Sttanley served in Parliamentt for Preston and
a
Laancashire befo
ore becoming a peer.
Stock: 36417
470. [The Standard-B
Bearer.] Done from a
Picture in tthe Collectioon of S.r Josshua
Reynolds, P
President off the Royal Academy.
A
Rembrandt P
Pinx.t / W. Petther delin. & fecit
f
Rob.t
Sayer Excuddit / London, Printed
P
for Rob
b.t Sayer Mapp
& Printsellerr No. 53 Fleet Street.
Mezzotint, pllatemark 510 x 360mm (20
0 x 14½"). Sm
mall
margins.
£4880
ng by
Superb engraaving after thee 1654 paintin
Rembrandt, nnow in the Meetropolitan Mu
useum of Art,,
New York. A
As indicated, it
i was owned by
b the portraitt
painter Sir Jooshua Reynoldds in the 18th century. The
sitter has recently been ideentified as Flo
oris Scoop
(1604-57), a wealthy batchhelor and colleector.
W
Pether (c.1738-18211)
The mezzotinnt engraver William
reproduced sseveral paintinngs by Rembraandt and
another mastter of chiarosccuro, Joseph Wright,
W
both oof
whose workss were eminenntly suited to his
h dramatic
handling of llight. Charringgton 127 iii/iii.
Stock: 36524
471. [Her Grace the Duchess
D
of Buccleuch
B
&
Queensberry, the Righ
ht Honb.le th
he Earl of
Dalkeith, aand the Righ
ht Honb.le Lord
L
Henry
Scott.]
[Painted by F
F. Grant Esqree. A.R.A. / En
ngraved by S.W
W.
Reynolds.] [L
London: Publiished Octr. 24
4th. 1850, by
Paul & Domiinic Colnaghii & Co. 13 & 14,
1 Pall Mall
East _ Publisshers to her Majesty.]
M
Mezzotint wiith very large margins. Proo
of before
letters, rare. O
On India papeer. 'Printsellers Association''
47
73. The La
ady William
ms.
W.
W Wissing pin
nx. I Beckett ffe: E. Cooper Ex.
E [n.d.
c.1688.]
Mezzotint.
M
Scarrce. Collectorr's ink stamp on
o verso,
'E
E.M.H.' Platem
mark: 420 x 2555mm (16½ x 10").
Trrimmed to thee plate. Very ssmall tear at bottom
b
ceentre.
£360
A portrait of Laady Williams,, mistress of Jaames, Duke
off York. Here she
s stands in ffront of a colu
umn and
veelvet curtain with
w one breasst bared.
Fo
or an earlier sttate see item rref: 17351. Exx collection off
Christopher
C
Lennox-Boyd. C
CS 97: III of IV
V.
Stock: 36597
47
74. [Cather
rine Winstaanley.]
Hamlet
H
Winstan
nley Pinxit. I. Faber fecit. Sold
S by
Faaber, at ye Go
olden Head in Bloomsbury Square. [n.d.,
c.1740.]
Mezzotint,
M
fine & rare. Platem
emark: 375 x 255mm
2
(14¾
x 10").
£280
A portrait of Mrs.
M Catherine Winstanley, wife
w of the
paainter Hamlet Winstanley, sseated slightly
y to the right
beeside tree and small fountaiin, her head tu
urned to face
th
he front and reesting on her hhand. She is ho
olding open a
sk
ketchbook on her lap. A lanndscape can bee seen
beehind.
Decorative
D
artisst's monogram
m 'CW' is inscribed in the
margin
m
below the image. Ex collection of Christopher
Leennox-Boyd. Chaloner
C
Smitth: 389.I.
Stock: 36822
47
75. Tho.s Cribb.
C
En
ng.d by Percy
y Roberts from
m a painting by
y Sharples.
Pu
ublished by Sh
herwood, Jonees & co, May 1. 1824.
Sttipple. Sheet size:
s
215 x 1355mm (8½ x 5¼").
Trrimmed insidee platemark.
£65
A bust portrait of English bar
are-knuckle bo
oxer of the
19
9th century To
om Cribb (17881 - 1848), dirrected to the
leeft, facing the front, with hiss left fist raiseed in front of
hiim. On 10th December
D
18100, Cribb fought an
American,
A
form
mer slave Tom
m Molineaux, at
a Sheningtonn
Hollow in Oxxfordshire. Crribb beat Moliineaux in 35
rounds and bbecame Worldd champion.
Marguerite
M
Geo
orges (1787-1 867, said to have
h
had
afffairs with botth Napoleon an
and Wellington
n).
Stock: 36323
Stock: 36488
47
78. Celebrated French
h Actresses. 1. M.elle
Taglioni.
T
2. M.elle
M
Nobleet. 3. M.elle Julia.
J
4.
M.elle
M
Monteessu. 5. M.elllle Lagallois. 6. M.elle
Alexis.
A
[aafter Jacques Francois
F
Gaudderique Llantaa?] [n.d.,
c.1830.]
Aquatint
A
with very
v large marrgins. 245 x 160mm (9¾ x
£130
6¼
¼").
Half-length
H
porrtrait of six fam
mous actressees and
daancers, including Marie Tagglioni (1804-8
84) and
Marie-Élisabeth
M
h (Lise) Nobleet (1801-52).
Stock: 36487
476. Tregonwell Fram
mpton Esq.rr. Keeper off
ye Runningg Horses at Newmarket
N
t to King
William ye 3d, Queen Ann,
A
King George
G
ye 1sst.
and King G
George ye 2d
d. Ao. AEtatt 87.
[After John W
Wootton.] [Johhn Faber the Younger.
Y
n.d.,,
c.1728.]
l
marginss. Platemark:
Mezzotint, very rare with large
m (14 x 9¾").
£3220
355 x 250mm
A three-quarrter length porrtrait of Englissh racehorse
trainer, Tregoonwell Framppton (1641–17
727) known a s
‘the father off the turf'. He is seated, lean
ning forward iin
an armchair, holding a hanndkerchief witth his bandageed
w
A dog
left hand, witth his right haand holding a whip.
looks up at hhim from the right, with a gaame cock on tthe
wall behind hhim. At Newm
market, Framp
pton was 'keepper
of the runninng horses' to William
W
III, Qu
ueen Anne,
George I andd George II.
Stock: 36327
Les A
Artistes Con
ntemporainees. 1. M.ellee
Mars. 2. M
M.elle Sontagg. 3. M.elle Malibran
M
Garcia. 4. M
M.elle Damooreau Cinti.. 5. M.elle
Pasta. 6. M
M.elle Georgees.
477.
[after Jacquees Francois Gaauderique Llan
nta.] [n.d.,
c.1832.]
m
245 x 160mm (9¾ x
Aquatint withh very large margins.
6¼"). Some llight staining.
£1330
Half-length pportrait of six actresses and singers:
Mademoisellle Mars (Annee Françoise Hyppolyte Bouutet
Salvetat, 17779-1847); Hennriette Sontag (1806-1854);
Maria Malibrran Garcia (18808-1836); Laaure CintiDamoreau (11801-1863); Giuditta
G
Pasta (1797-1865);
47
79. Signora
a Baccelli [inn image low
wer left]
Paainted by T. Gainsborough
G
R.A. / Engrav
ved by John
Jo
ones London Pub.d
P
Feb.y 5tth 1784 by J. Jones No. 63
Great
G
Portland Street Maryleebone
Mezzotint
M
with large margins
ns, platemark 535
5 x 350mm
(2
21 x 13¾"). Very fine.
£1250
Giovanna
G
Bacccelli (1774, fl.-- d.1801), dan
ncer. Baccelli,
firrst appeared at
a the King's T
Theatre, Haym
market in
17
774. She reach
hed the peak oof her career during
d
the
17
780-1 season when
w
she apppeared with Gaaetan Vestris
an
nd his son Aug
guste in severral important ballets
b
deevised by Nov
verre. She alsoo danced in Venice in
17
783-4, and at the
t Paris Opérra as late as 1788.
Baccelli was eq
qually known as a mistress of John
ville, 3rd Dukke of Dorset (1
1745-99),
Frrederick Sackv
who
w had set up Baccelli in a suite of room
ms at Knole by
October
O
1779. Baccelli
B
accom
mpanied him to Paris in
17
783 when he was
w appointedd Ambassadorr to France.
Th
hey entertaineed lavishly, paatronising the Paris Opéra,
an
nd were admittted to the frieendship of Queen MarieAntoinette.
A
Horrace Walpole records that when
w
the
Duke
D
was awarrded the Orderr of the Garterr in 1788,
Baccelli danced
d at the Opéraa wearing the blue
b Garter
ribbon around her head. As the events of the French
Revolution unfolded, the pair returned to Knole, where
Baccelli remained until their amicable parting in 1789.
Engraved by John Jones after the portrait by Thomas
Gainsborough (exhibited 1782) which hangs in Tate
Britain. Gainsborough was well-acquainted with many
theatre people, including Richard Brinsley Sheridan,
the famous dramatist and part-owner of the King's
Theatre. When this portrait was exhibited at the Royal
Academy in 1782, Gainsborough's portrait of the Duke
of Dorset was withdrawn, presumably for reasons of
decorum. As well as commissioning this portrait, the
Duke also patronised Gainsborough's great rival Joshua
Reynolds, who painted Baccelli in 1783. Ex: collection
of the late Hon C. Lennox-Boyd; CS 3 ii/iii; Horne 7
ii/iii; CS 131 ii
Stock: 36611
480. Miss Harper
R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act
Directs March 1st 1780 by W. Richardson No. 68 High
Holborn
Mezzotint, rare, with very large margins; platemark
155 x 115mm (6 x 4½"). Good impression; glued to
backing sheet along left edge at corners; uncut. £240
Elizabeth Bannister (née Harper) (1757-1849), actress
and singer. She also accompanied herself on the guitar,
as shown in John Russell's 1799 portrait. At the time
this print was made Harper was only three years into
her career but was already earning high salaries. In
1778 she was contracted to perform at the Pantheon
(on London's Oxford Street) for two years, earning one
thousand pounds in the process. In 1783 she married
the actor and comedian John Bannister, and she retired
in 1792.
From a set of small mezzotint portraits of actresses and
singers, published by the printseller William
Richardson in 1780, apparently to follow up a similar
set of actor portraits published the previous year.
Engraved after a painting by draughtsman and singer
Robert Dighton (1751-1814) by the mezzotint engraver
and printseller Robert Laurie (1755?-1836). Music,
instruments and mask (representing theatre) in title
area. Ex: Oettingen-Wallenstein collection, and
collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
Stock: 36669
481. Miss Harper [in pencil]
R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act
Directs March 1st 1780 by W. Richardson No. 68 High
Holborn
Mezzotint, rare with very large margins; platemark 155
x 115mm (6 x 4½"). Good impression; glued to
backing sheet along left edge. Uncut.
£240
Elizabeth Bannister (née Harper) (1757-1849), actress
and singer. She also accompanied herself on the guitar,
as shown in John Russell's 1799 portrait. At the time
this print was made Harper was only three years into
her career but was already earning high salaries. In
1778 she was contracted to perform at the Pantheon
(on London's Oxford Street) for two years, earning one
thousand pounds in the process. In 1783 she married
the actor and comedian John Bannister, and she retired
in 1792.
From a set of small mezzotint portraits of actresses and
singers, published by the printseller William
Richardson in 1780, apparently to follow up a similar
set of actor portraits published the previous year.
Engraved after a painting by draughtsman and singer
Robert Dighton (1751-1814) by the mezzotint engraver
and printseller Robert Laurie (1755?-1836). Music,
instruments and mask (representing theatre) in title
area. Ex: collection of the late Hon. C. Lennox-Boyd;
CS 1 ii/iii. Ex: Oettingen-Wallerstein Collection.
Stock: 36671
482. Mr. Dodd.
R. Dighton Pinx.t. R. Laurie Sculp. Published as the act
Directs July 10th 1779 by W.m Richardson No.68
High Holborn
Mezzotint. 155 x 115mm (6 x 4½"). Good impression
with very large margins, uncut.
£240
The prominent Georgian actor, James William Dodd
(1740?–1796), engraved Robert Laurie (1755?-1836)
after Robert Dighton (1751-1814), as part of a series of
small portraits of actors. Ex: Oettingen-Wallenstein
collection; CS 1 iii/iii. For individual portraits see refs.
36694-5.
Stock: 36816
483. Mr. Dodd.
R. Dighton Pinx.t. R. Laurie Sculp Published as the act
Directs July 10th 1779 by W.m Richardson No.68
High Holborn
Mezzotint with thread margins, platemark 155 x
115mm (6 x 4½").
£160
James William Dodd (c.1740-1796), actor. Dodd
became a strolling player aged sixteen, and acted in
Sheffield, Norfolk and Bath before Garrick recruited
him for his Drury Lane company in 1765. Dodd was to
remain at Drury Lane for the next thirty years, and
while he never challenged Tom King as the principal
comedian of the company,
Engraved after a painting by draughtsman and singer
Robert Dighton (1751-1814) by the mezzotint engraver
and printseller Robert Laurie (1755?-1836). Music,
instruments and mask (representing theatre) in title
area. Ex: collection of the late Hon. C. Lennox-Boyd;
CS 1 iii/iii.
Stock: 36694
484. Mr. Garrick.
R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act
Directs July 10. 1779 by W. Richardson No. 68 High
Holborn.
Mezzotint, platemark 155 x 115mm (6 x 4½"). Thread
(partly damaged) margins; water staining not showing
on front.
£220
David Garrick (1717-1779), English actor and
theatrical manager. The most celebrated actor of his
day, he did more than anyone else to change the British
acting style, which prioritised energy and engagement
above accuracy and control. As a manager (primarily
of the Drury Lane Theatre, Covent Garden) he presided
over the creation of Shakespeare as national poet and
icon, while shaping the texts to suit the demands of his
patrons. The supremacy of Drury Lane during Garrick's
management was not to be matched until Irving's reign
at the Lyceum
m in the follow
wing century, and in the
names of pubbs and streets,, and the famo
ous Garrick
Club, Coventt Garden is fillled with echo
oes of one of th
the
greatest men to have occuppied the area.
o actors
From a set off small mezzootint portraits of
published byy the printselleer William Ricchardson in
1779. Garrickk had died a few
f months beefore the printt
was publisheed.
Engraved aftter a painting by
b draughtsm
man and singerr
Robert Dightton (1751-18114) by the mezzzotint engravver
and printselleer Robert Lauurie (1755?-18
836). Music,
instruments aand mask (reppresenting theaatre) in title
area. Ex: colllection of the late Hon. C. Lennox-Boyd;
L
;
CS 1 iii/iii.
Stock: 36674
f other prinnts of Garrick as Richard
i/iii; CS 15 i/ii; for
III
II see refs. 129
907 and 205622.
Stock: 36616
48
86. Mr. Ga
arrick.
R. Dighton Pinx
x.t / R. Lauriee Sculp. Pub.d
d as the Act
Directs
D
July 10. 1779 by W. Richardson No.
N 68 High
Holborn
H
Mezzotint,
M
good impression w
with very larg
ge margins;
pllatemark 155 x 115mm (6 x 4½"). Uncutt.
£330
David
D
Garrick (1717-1779),
(
English actorr and
th
heatrical manaager. The mostt celebrated acctor of his
daay, he did morre than anyonee else to change the Britishh
accting style, wh
hich prioritisedd energy and engagement
ab
bove accuracy
y and control. A
As a managerr (primarily
off the Drury Laane Theatre, C
Covent Garden
n) he presidedd
ov
ver the creatio
on of Shakespeeare as nation
nal poet and
iccon, while shap
ping the texts to suit the demands of his
paatrons. The su
upremacy of D
Drury Lane during Garrick'ss
management
m
was not to be m
matched until Irving's
I
reign
att the Lyceum in
i the followinng century, an
nd in the
naames of pubs and streets, annd the famouss Garrick
Club, Covent Garden
G
is filledd with echoes of one of the
grreatest men to have occupieed the area.
Frrom a set of sm
mall mezzotinnt portraits of actors
pu
ublished by th
he printseller W
William Richaardson in
17
779. Garrick had
h died a few
w months befo
ore the print
was
w published.
En
ngraved after a painting by draughtsman and singer
Robert Dighton
n (1751-1814)) by the mezzo
otint engraver
an
nd printseller Robert
R
Lauriee (1755?-1836
6). Music,
in
nstruments and
d mask (repressenting theatre) in title
arrea. Ex: Oettin
ngen-Wallensttein collection
n and
co
ollection of thee late Hon. C.. Lennox-Boyd
d; CS 1 iii/iii.
Stock: 36675
485. [Mr G
Garrick in Richard
R
the Third.]
N. Dance pinnx.t. J. Dixon Fecit Publisheed according tto
Act of Parliaament April 288 1772 by Joh
hn Boydell
Engraver, Chheapside, London
Mezzotint, pllatemark 635 x 395mm (25
5 x 15½").
Finished prooof with scratched inscriptio
on; small
margins; sligght foxing.
£6220
David Garricck (1717-17799), English acttor and
theatrical maanager, in the role
r of Richarrd III. By the
time this prinnt was publishhed Garrick was particularlyy
associated w
with this role. Hogarth
H
also painted
p
Garricck
in the same rrole.
Engraved froom the paintinng by Nathanieel Dance short
rtly
after it was eexhibited at the Royal Acad
demy in 1771.
The painting is owned by Stratford-upon
n-Avon Townn
was acquired by
b Sir Watkin Williams
Council. It w
Wynne, whoo reputedly outtbidded Garricck himself (w
who
had promisedd to buy the painting for hiss wife!) Garricck
is known to hhave admired this print and
d sent
impressions tto his friends with complim
mentary lines
printed and ppasted on the back.
b
It was also used as thee
model for Deerby porcelainn statuettes. Leennox-Boyd 288
48
87. [Garric
ck leaning oon bust of Sh
hakespeare]
T. Gainsboroug
gh pinxit / Vall. Green fecit Published
April
A
2nd 1769 By J. Boydelll Cheapside No.
N 90
Mezzotint,
M
platemark 625 x 3385mm (24½ x 15¼"). On
wove
w
paper; rep
pairs.
£390
David Garricck (1717-17799), actor, playw
wright, theatree
manager andd producer whoo was the mosst important
theatrical figuure of his agee. Garrick was a friend and
one-time puppil of Dr Samuuel Johnson, who
w he follow
wed
to London too make his nam
me.
Engraved byy Valentine Grreen (one of hiis earliest
prints) from tthe portrait which Garrick commissioned
c
d
from his friennd Thomas Gainsborough (c.1766-9,
(
formerly in thhe Stratford-uupon-Avon mu
useum but sinnce
destroyed byy fire). Garrickk's pose, which
h shows the
actor in the ggrounds of his Hampton-on--Thames
residence, deeliberately echhoes Schneem
makers' memorrial
to Shakespeaare in Westminnster Abbey. Ex:
E collectionn
of the late Hoon C. Lennox--Boyd; Whitm
man 7 i/ii; Horrne
7 i; CS 46 i; ffor Schneemaakers' Shakesp
peare memoriaal
see ref. 346223.
Stock: 36617
[Dulll Reading: with
w portraitts of Daniel
and Elizabeeth Terry]
488.
A Geddes ft [upper centre of image]
mark 140 x
Etching withh very large margins, platem
175mm (5½ x 7").
£1220
h artist wife
Portraits of thhe actor Danieel Terry and his
Elizabeth, seeated in a darkk room. Etched
d by the
ddes (1783Scottish painnter and etcherr Andrew Ged
1844). The O
Oxford DNB states
s
that 'as an
a etcher
Geddes rankss higher than as a painter; his
h plates mayy
be regarded aas among the very earliest examples
e
in
modern Britiish art of the brilliancy,
b
con
ncentration, annd
spirited selecction of line prroper to a ‘paiinter's-etchingg’'.
This plate waas one of ten he
h published himself
h
in 18226.
CD 16.iii; Exx: collection of
o the Late Ho
on. C. Lennox-Boyd.
Sttipple printed in sepia, sheeet 190 x 120m
mm (7½ x
4½
½"). Trimmed
d inside platem
mark
£160
Lu
uigi Marchesii (1754-1829) was an Italian
n castrato
singer. He was considered thhe greatest sing
ger of his
me and was allso a composeer. In London he published
tim
hiis own volumee set of 'Ariettte Italiane'.
Stock: 35831
49
91. Mrs. Martyr
M
as Doolly Fairlop in the
Woodman.
W
Sp
pringsguth scu
ulp. [n.d, c.17790.]
En
ngraving, with
h small margin
ins, rare. Plateemark: 155 x
10
00mm (6 x 4").
£80
Th
he actress Maargaret Martyrr (or Thornton
n, d.1807) as
Dolly
D
Fairlop in
n 'The Woodm
man' written by
b Bate
Dudley,
D
1791, standing
s
in a w
woodland scene, holding a
laarge bow with her left hand,, with her righ
ht arm
ou
utstretched. An archery targget can be seen
n in the
baackground. Th
he Reverend SSir Henry Batee Dudley
(1
1745-1824) waas a British m
minister, magisstrate and
pllaywright.
Stock: 36330
Stock: 36800
489. Mrs. Hartley. Distressed
D
Mother
M
/ Act
4th last Sceene / In the Character
C
of
o
Andromach
he [...]
Painted & Enngraved by J.K
K. Sherwin. Pub.d by J.K.
Sherwin No. 28, St. Jamess's Street, & W.
W Hainton,
Sweetings Alley Royal Exxchange Dec.rr the 15 1782.
Etching and stipple printedd in sepia, plaatemark 280 x
m
repairred tear on
230mm (11 x 9"). Small margins;
right; slight ccreasing. Nicee impression.
£2440
Portrait of thhe actress Elizaabeth Hartley (née White)
(1750/1-18244) in the role of
o 'The Disstresst Mother' inn
Philips' transslation of Raciine's 'Androm
mache'.
Hartley was a popular actrress throughou
ut her career,
and the subjeect of a numbeer of paintingss by Sir Joshuua
Reynolds. Ann obituary afteer her death in
n 1824
acclaimed heer as the greateest female acttress before
Mrs. [Sarah] Siddons.
K. Sherwin, pu
ublished in
Mixed-methood print by J.K
1782 by whicch time Hartleey had been reetired for two
years. O'D 222
Stock: 36629
490. Luigii Marchesi The Celebrated Singer .
R. Cosway R
R.A. delt. / L. Schiavonetti inct.
i
London
Pub: accordinng to Act. Junne 1. 1790. at No
N 127 Sloanne
Street. and byy Colnaghi annd Co. No. 132
2 Pall Mall.
49
92. [Mr. Mattocks.]
M
R. Dighton Pinx
x.t / R. Lauriee Sculp [m.s.] Published as
th
he act Directs July
J 1st 1779
Mezzotint,
M
good first state im
mpression with
h very large
margins;
m
platem
mark 155 x 11 5mm (6 x 4½
½"). Slight
paaper tone.
£240
George
G
Mattock
ks (1734/5-18804), singer an
nd theatre
manager.
m
Initially a singer inn Covent Gard
den and the
prrovinces, Matttocks leased thhe Portsmouth
h theatre in
17
771 and the fo
ollowing year leased the new
wly built
Th
heatre Royal in
i Liverpool aalongside the Covent
C
Garden
G
prompter Joseph Youunger. They also
a took a
tw
wenty-one-yeaar lease on thee Manchester theatre
t
in
17
775 and Matto
ocks became iinvolved with a
Birmingham theatre in 1779.. Mattocks con
ncentrated on
management but began to lose singing roles in London
to younger performers, and in 1784 moved with his
wife, singer and actress Isabella Mattocks, to the north
of England. Younger died that year, leaving Mattocks
in sole charge of the Liverpool and Manchester
theatres, sustaining heavy losses. Isabella returned to
performing in London and George was declared
bankrupt in 1788 after which he worked in
administrative positions at other theatres.
Engraved after a painting by draughtsman and singer
Robert Dighton (1751-1814) by the mezzotint engraver
and printseller Robert Laurie (1755?-1836). Music,
instruments and mask (representing theatre) in title
area. Ex: collection of the late Hon. C. Lennox-Boyd;
CS ii/iii. For Isabella Mattocks see refs 36671-2
Stock: 36676
493. Mr. Mattocks.
R. Dighton Pinx.t / R. Laurie Sculp. Published as the
act Directs July 10th 1779 by W.m Richardson No.68
High Holborn
Mezzotint, platemark 155 x 115mm (6 x 4½"). Good
impression with very large margins; glued to backing
sheet along left edge.
£260
George Mattocks (1734/5-1804), singer and theatre
manager. Initially a singer in Covent Garden and the
provinces, Mattocks leased the Portsmouth theatre in
1771 and the following year leased the newly built
Theatre Royal in Liverpool alongside the Covent
Garden prompter Joseph Younger. They also took a
twenty-one-year lease on the Manchester theatre in
1775 and Mattocks became involved with a
Birmingham theatre in 1779. Mattocks concentrated on
management but began to lose singing roles in London
to younger performers, and in 1784 moved with his
wife, singer and actress Isabella Mattocks, to the north
of England. Younger died that year, leaving Mattocks
in sole charge of the Liverpool and Manchester
theatres, sustaining heavy losses. Isabella returned to
performing in London and George was declared
bankrupt in 1788 after which he worked in
administrative positions at other theatres.
Engraved after a painting by draughtsman and singer
Robert Dighton (1751-1814) by the mezzotint engraver
and printseller Robert Laurie (1755?-1836). Music,
instruments and mask (representing theatre) in title
area. Ex: Oettingen-Wallestein collection and
collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
For Isabella Mattocks see refs 36671-2
Stock: 36677
494. Mrs. Mattocks.
R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act
Directs March 1st 1780 by W. Richardson No. 68 High
Holborn
Mezzotint, rare with very large margins; platemark 155
x 115mm (6 x 4½"). Good impression; glued to
backing sheet along left edge at corners. Uncut. £240
Isabella Mattocks (née Hallam) (1746-1826), actress
and singer. Born into a theatrical family, her father
Lewis moved to America in 1752, having run into
financial difficulties. He took his wife and other
children but left Isabella in the care of his sister and her
second husband, actor John Barrington. Isabella
probably made her stage debut that year, aged five,
appearing intermittently on stage until she joined the
Covent Garden company aged sixteen, where she spent
most of her career. She married the young tenor
George Mattocks, who performed alongside her, in
1765.
In 1784-6 Mattocks left Covent Garden to work in
Liverpool and Manchester where her husband managed
theatres, but the enterprises ruined him financially and
she subsequently returned to Covent Garden, although
she generally returned to Liverpool in the summers.
Mattocks retired in 1808.
Engraved after a painting by draughtsman and singer
Robert Dighton (1751-1814) by the mezzotint engraver
and printseller Robert Laurie (1755?-1836). Music,
instruments and mask (representing theatre) in title
area. Ex: Oettingen-Wallenstein collection, and
collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii;
for George Mattocks see refs. 36676-7
Stock: 36670
495. [Mrs. Mattocks.]
R. Dighton Pinx.t / R. Laurie Sculp. Pub.d as the Act
Directs March 1st 1780 by W. Richardson No. 68 High
Holborn
Mezzotint, good impression with large margins, rare;
platemark 155 x 115mm (6 x 4½"). Uncut.
Annotations in ink verso (ex Suckling).
£240
Isabella Mattocks (née Hallam) (1746-1826), actress
and singer. Born into a theatrical family, her father
Lewis moved to America in 1752, having run into
financial difficulties. He took his wife and other
children but left Isabella in the care of his sister and her
second husband, actor John Barrington. Isabella
probably made her stage debut that year, aged five,
appearing intermittently on stage until she joined the
Covent Garden company aged sixteen, where she spent
most of her career. She married the young tenor
George Mattocks, who performed alongside her, in
1765.
In 1784-6 Mattocks left Covent Garden to work in
Liverpool and Manchester where her husband managed
theatres, but the enterprises ruined him financially and
she subsequently returned to Covent Garden, although
she generally returned to Liverpool in the summers.
Mattocks retired in 1808.
Engraved after a painting by draughtsman and singer
Robert Dighton (1751-1814) by the mezzotint engraver
and printseller Robert Laurie (1755?-1836). Music,
instruments and mask (representing theatre) in title
area. Ex: collection of the late Hon. C. Lennox-Boyd;
CS 1 ii/iii; for George Mattocks see refs. 36676-7
Stock: 36672
496. [Rudolf Nureyev and Ballerina.]
[Ilse Voigt.] [signed in pencil.] [n.d., c.1970.]
Etching with very large margins. Manche XVII 8/100.
Plate: 300 x 390mm, (12 x 15¼").
£140
Portrait of Rudolf Nureyev (1938-1993) and a ballerina
by Dutch artist Ilse Voigt (1905-1997). Nureyev, one
of the most celebrated dancers of the Twentieth
century, through his artistic skill and expressive style
gave new importance to male roles. A sensation in
Soviet Russia, Nureyev travelled to Europe with the
Kirov Ballet in 1961. How
wever due to his
h mixing withh
Europeans duuring his stay he was persuaaded to returnn
to Russia whhile the rest off the dancers went
w on to
London, how
wever sensing a trap, Nureyev defected too
the West afteer approachingg French policce at Le Bourgget
Airport.
singer Robert Dighton
D
(17511-1814) by thee mezzotint
en
ngraver and prrintseller Robeert Laurie (17
755?-1836).
Music,
M
instruments and maskk (representing
g theatre) in
tittle area. Ex: collection of thhe late Hon. C.
C LennoxBo
oyd; CS 1 iii/iiii; O'D 7; forr the Royal Cirrcus see ref.
81
120. Ex: Oetttingen-Wallersstein Collectio
on.
Stock: 36415
Stock: 36673
497. Mr. P
Palmer
R. Dighton P
Pinx.t / R. Lauurie Sculp. Pub
b.d as the Actt
Directs July 10. 1779 by W.
W Richardson
n No. 68 Highh
Holborn
Mezzotint, good impressioon with very laarge margins;
platemark 1555 x 115mm (66 x 4½"). Unccut. Glued to
backing sheeet top left cornner.
£2220
John Palmer (1744-98), acctor, also know
wn as 'Plausibble
Jack'. A popuular and versaatile actor, Palmer was
believed to hhave performed over 375 diffferent parts inn
his career.
markable careeer took him to many parts off
Palmer's rem
the British Issles, includingg spells in Scotland and
Ireland. Afteer establishingg himself as an
n actor, Palmeer
w theatre, the Royalty, on Wellclose
W
opened a new
Square in Eaast London. Thhe theatre wass open for lesss
than two yeaars however, and
a failed to offfer the
alternative too the West Endd which Palm
mer hoped to
provide. His later career innvolved produ
ucing spectacl es
at the Royal Circus, but hee was an actorr to the last.
oughout his
Palmer had bbeen beset by accidents thro
career, includding a near-faatal accident when
w
a stage trrap
was releasedd too quickly, and
a a stabbing
g when a sprinng
failed to work.. He continued
d to work
in a dagger fa
strenuously rright up to his death, when taking
t
on a leaad
role in Benjaamin Thompsoon's 'The Stran
nger' at short
notice. Clearrly struggling, Palmer collap
psed on stage
and died duriing the fourth act.
From a set off small mezzootint portraits of
o actors
published byy the printselleer William Ricchardson in
1779. Engravved after a paiinting by drau
ughtsman and
49
98. Madem
moiselle Pariisot.
Paainted by A.W
W.Devis. Engra
raved by I.R.S
Smith
Mezzotinto
M
Eng
graver to his R
Royal Highness the Prince
off Wales. Lond
don Published as the Act dirrects March
11
1 1797 by A.W
W.Devis.
Mezzotint,
M
open
n letters; plateemark 610 x 380mm.
3
Trrimmed to plaatemark at botttom.
£1250
Rose Parisot (c.1775-1837), French opera singer and
baallerina, 'celeb
brated for the scantiness of her draperies'
(F
Frankau). Parisot made her ddebut in Pariss in 1789, and
moved
m
to Lond
don in 1796 (thhis print was published
p
the
fo
ollowing year)). Her sheer coostumes, whicch often
ex
xposed one breast, caused sscandal, as reccorded in
many
m
satirical prints
p
of the 1 790s. The Bisshop of
Durham
D
denoun
nced Parisot'ss costumes as 'indecent',
an
nd after an add
dress to the Ho
House of Lordss in 1798
ceertain adjustm
ments were mad
ade. Her celebrrated career
en
nded in 1807, after which shhe married a Soho
S
florist.
En
ngraved by th
he celebrated m
mezzotint engraver John
Raphael Smith and publishedd by the portraait painter
Arthur
A
William
m Devis (1762--1822), from whose
w
po
ortrait the engraving is madde. After a deccade working
in
n India, Devis struggled to eestablish himsself in
Lo
ondon in the late
l 1790s, but
ut by 1800 he was
w in dire
fin
nancial straitss, and was finaally imprisoneed in 1804.
Exx: collection of
o the late Honn C. Lennox-B
Boyd;
D'Oench
D
335 (o
only state); Frrankau ii/iii; CS
C 131 ii
Stock: 36612
50
01. Mr. Pa
arsons.
R. Dighton Pinx
x.t / R. Lauriee Sculp. Published as the
acct Directs July
y 10th 1779 byy W.m Richarrdson No.68
High
H
Holborn
Mezzotint,
M
good impression w
with very larg
ge margins;
sh
heet 155 x 115
5mm (6 x 4½""). Uncut; glueed to backing
sh
heet along leftt edge.
£230
William
W
Parson
ns (1736-95), aactor. Beginning his career
in
n York and Ed
dinburgh, he w
was brought to
o London by
th
he great David
d Garrick and eeventually joiined the
co
ompany at the Haymarket T
Theatre. A pop
pular and
veersatile actor, Parsons was aalso a keen paainter of
laandscapes influ
uenced by thoose of Richard
d Wilson.
En
ngraved after a painting by draughtsman and singer
Robert Dighton
n (1751-1814)) by the mezzo
otint engraver
an
nd printseller Robert
R
Lauriee (1755?-1836
6). Music,
in
nstruments and
d mask (repressenting theatre) in title
arrea. Ex: Oettin
ngen-Wallensttein collection
n and
co
ollection of thee late Hon. C.. Lennox-Boyd
d; CS 1 iii/iii.
O'D
O 8
Stock: 36679
499. Madeemoiselle Pa
arisot.
Painted by A
A.W.Devis. Enngraved by I.R
R.Smith
Mezzotinto E
Engraver to hiis Royal Highn
ness the Princce
of Wales. Loondon Published as the Act directs Marchh
11 1797 by A
A.W.Devis.
Ex: collection of the late Hon
H C. Lennoxx-Boyd;
D'Oench 3355 (only state); Frankau ii/iiii; for
uncoloured iimpressions seee refs 5612 and 36612.
Stock: 36613
500. Mr. P
Parsons.
R. Dighton P
Pinx.t / R. Lauurie Sculp. Pub
blished as the
act Directs Juuly 10th 17799 by W.m Rich
hardson No.688
High Holborn
rn
Mezzotint, shheet 155 x 1155mm (6 x 4½""). Trimmed tto
margins.
£1440
nning his careeer
William Parssons (1736-955), actor. Begin
in York and E
Edinburgh, hee was broughtt to London byy
the great Davvid Garrick annd eventually joined
j
the
company at tthe Haymarkeet Theatre. A popular
p
and
versatile actoor, Parsons waas also a keen painter of
landscapes innfluenced by those
t
of Richaard Wilson.
Engraved aftter a painting by
b draughtsm
man and singerr
Robert Dightton (1751-18114) by the mezzzotint engravver
and printselleer Robert Lauurie (1755?-18
836). Music,
instruments aand mask (reppresenting theaatre) in title
area. Ex: colllection of the late Hon. C. Lennox-Boyd;
L
;
CS 1 iii/iii. O
O'D 8
Stock: 36678
50
02. [Miss Young]
Y
W.
W Dighton Pin
nx.t / R. Lauriie Sculp. Pub.d
d as the Act
Directs
D
March 1st 1780 by W
W. Richardson
n No. 68 High
Holborn
H
Mezzotint,
M
good impression w
with very larg
ge margins;
pllatemark 155 x 115mm (6 x 4½"). Slight mount paper
to
one.
£260
Ellizabeth Pope (née Younge)) (1739x45-19
979), actress.
Sh
he joined Dav
vid Garrick's ccompany at Drrury Lane,
where
w
she madee her debut inn 1768 and speent most of
heer career (exceept for brief sppells in Dublin, Bristol andd
th
he rival Coven
nt Garden theaatre as the resu
ult of pay
diisputes). She continued
c
to aact in provinciial cities
du
uring the summ
mers, howeveer, and met her husband,
th
he Irish artist and
a actor Alexxander Pope (1763-1835)
while
w
acting in Ireland. Whille not among the
t greats of
eiither tragedy or
o comedy, Poope was a verssatile
peerformer and Garrick
G
seemeed to have mu
uch affection
fo
or her. She dieed in 1797 shoortly after with
hdrawing
from a new theatrical role duue to illness.
Frrom a set of sm
mall mezzotinnt portraits of actresses and
singers, publish
hed by the prinntseller Williaam
Richardson in 1780,
1
apparenntly to follow up
u a similar
seet of actor porttraits publisheed the previou
us year.
En
ngraved by th
he mezzotint en
engraver and printseller
p
Robert Laurie (1755?-1836).
(
. Music, instru
uments and
mask
m
(representing theatre) in title area. Ex:
Ex collection
off the late Hon.. C. Lennox-B
Boyd; CS 1 ii/iiii.
Stock: 36682
50
03. Miss Young
W.
W Dighton Pin
nx.t / R. Lauriie Sculp. Pub.d
d as the Act
Directs
D
March 1st 1780 by W
W. Richardson
n No. 68 High
Holborn
H
Mezzotint,
M
good impression w
with very larg
ge margins;
pllatemark 155 x 115mm (6 x 4½"). Uncutt; glued to
baacking sheet along
a
left cornners.
£260
Ellizabeth Pope (née Younge)) (1739x45-19
979), actress.
Sh
he joined Dav
vid Garrick's ccompany at Drrury Lane,
where
w
she madee her debut inn 1768 and speent most of
heer career (exceept for brief sppells in Dublin, Bristol andd
th
he rival Coven
nt Garden theaatre as the resu
ult of pay
disputes). Shhe continued too act in provin
ncial cities
during the suummers, howeever, and met her husband,
the Irish artisst and actor Alexander
A
Popee (1763-1835))
while acting in Ireland. While
W
not amon
ng the greats oof
either tragedyy or comedy, Pope was a veersatile
performer annd Garrick seeemed to have much
m
affectionn
for her. She ddied in 1797 shortly
s
after withdrawing
w
from a new ttheatrical role due to illness.
From a set off small mezzootint portraits of
o actresses annd
singers, publlished by the printseller
p
Willliam
Richardson inn 1780, apparrently to follow
w up a similarr
set of actor pportraits publisshed the previious year.
Engraved byy the mezzotinnt engraver and
d printseller
Robert Lauriie (1755?-1836). Music, insstruments and
mask (repressenting theatree) in title area.. Ex: OettingeenWallenstein ccollection andd collection off the late Hon..
C. Lennox-Booyd; CS 1 iii/i
/iii.
Stock: 36683
En
ngraved after a painting by draughtsman and singer
Robert Dighton
n (1751-1814)) by the mezzo
otint engraver
an
nd printseller Robert
R
Lauriee (1755?-1836
6) as part of a
seeries of mezzo
otints of actressses and singeers. Music,
in
nstruments and
d mask (repressenting theatre) in title
arrea. Ex: collecction of the latte Hon. C. Len
nnox-Boyd;
CS
C 1 iii/iii. Forr Kitty Clive seee ref. 23120
Stock: 36680
50
05. Miss Po
ope
W.
W Dighton Pin
nx.t / R. Lauriie Sculp. Pub.d
d as the Act
Directs
D
March 1st 1780 by W
W. Richardson
n No. 68 High
Holborn
H
Mezzotint,
M
good impression w
with very larg
ge margins;
pllatemark 155 x 115mm (6 x 4½"). Uncutt.
£260
Jaane Pope (1744-1818), actreess. Pope's fatther William
was
w barber and wigmaker forr the Theatre Royal,
R
Drury
Laane in Coventt Garden, nearr to which his shop was
lo
ocated. Pope made
m
her adultt debut alongsside Kitty
Clive as part off Garrick's com
mpany at Drurry Lane, and
nherited many of Clive's rolles after the elder actress
in
reetired.
Po
ope was a reliable comic acctress, a talentted dancer
(u
until a rapid weight
w
gain ledd her to abandon dancing)
ceelebrated for the clarity of hher speaking voice.
v
Pope
reetired in 1808, and had amaassed sufficien
nt wealth to
beequeath signifficant money aand property to
t her sister
Su
usanna at her death.
En
ngraved after a painting by draughtsman and singer
Robert Dighton
n (1751-1814)) by the mezzo
otint engraver
an
nd printseller Robert
R
Lauriee (1755?-1836
6) as part of a
seeries of mezzo
otints of actressses and singeers. Music,
in
nstruments and
d mask (repressenting theatre) in title
arrea. Ex: Oettin
ngen-Wallensttein collection
n and
co
ollection of thee late Hon. C.. Lennox-Boyd
d; CS 1 iii/iii.
Fo
or Kitty Clive see ref. 231220
Stock: 36681
Ignaz Schuster
S
als falsche Prim
ma Donna
in
n Krähwinkll.
50
06.
504. Miss Pope.
W. Dighton P
Pinx.t / R. Lauurie Sculp. Pu
ub.d as the Actt
Directs Marcch 1st 1780 byy W. Richardsson No. 68 Higgh
Holborn
Mezzotint wiith very large margins, platemark 155 x
115mm (6 x 4½").
£2660
m
Jane Pope (1744-1818), acctress. Pope's father William
ury
was barber annd wigmaker for the Theatrre Royal, Drur
Lane in Coveent Garden, neear to which his
h shop was
located. Popee made her addult debut alon
ngside Kitty
Clive as part of Garrick's company
c
at Drury Lane, annd
r
after the elder actress
inherited manny of Clive's roles
retired.
Pope was a rreliable comic actress, a taleented dancer
(until a rapidd weight gain led
l her to aban
ndon dancing))
celebrated foor the clarity of
o her speaking
g voice. Pope
retired in 18008, and had am
massed sufficiient wealth to
bequeath signnificant moneey and propertty to her sisterr
Susanna at her death.
Gemahlt
G
von B. von Schrötteer. Gestochen von C.
Pffeifferm Mitgu
ued d. k.k. Accademie d. billdenden
Künste.
K
[n.d., c.1820.]
Sttipple with hand colour, rarre with large margins.
m
300
x 210mm (11¾
¾ x 8¼"), on W
Whatman papeer. Paper
ghtly toned.
lig
£160
Ig
gnaz Schuster (1779-1835 ),, Austrian actor and
co
omposer in Viiennese populaar theatre. Here he is
sh
hown in drag acting
a
the partt of Catalina in
i his own
work
w
'Die falsche Primadonnna in Krähwin
nkel',
prremiered 1818
8.
Krähwinkel
K
is a fictitious sm
mall town, asso
ociated with
naarrow-minded
d and self-impoortant provinccial manners.
Stock: 36594
50
07. Tragic Muse.
G.B.
G Cipriani del.t.
d
F. Bartollozzi Sculp.t. [London
[
Pu
ublish'd Feb.y
y 1.at 1784 by J. Matthews N.o
N 438
Sttrand.]
Sttipple with sm
mall margins, pprinted in sepiia, very fine.
Pu
ublication linee removed froom plate. Plateemark: 190 x
14
45mm (7½ x 5¾").
5
£260
A portrait of the actress Sarah
ah Siddons in the
t character
off the Tragic Muse.
M
Half-lenngth with her head
h
in
profile to thee left, holding a dagger in heer right hand.
She is wearinng a cameo inn the shape of a mask of a
bearded mann. Within a verrtical oval. Dee Vesme 450. IIV
of IV.
Stock: 36320
770. She was a leading singger at the theattre for the
17
neext sixteen yeaars, and was aalso a favouritte performer
att Vauxhall Gardens.
Wrighten
W
had six children wiith only brief respites from
th
he stage in betw
ween, and waas seriously ill in both 1784
an
nd 1786. In Deecember 17866 her marriagee broke down
an
nd she left herr husband andd children and abandoned
th
he theatre, and
d went to live iin Southwark with Hugh
Po
ownall, a man
nufacturer of ssulphuric acid. As a result
heer father cut her out of his w
will. The coup
ple moved to
America
A
wheree they marriedd, and the now
w Mrs Pownalll
saang to much acclaim in Philladelphia, New
w York,
Boston and Chaarleston (somee considered her
h the best
ocalist heard in America upp to that point)). James
vo
Wrighten
W
havin
ng died in the m
meantime, heer daughters
jo
oined her in Am
merica wheree they perform
med alongisde
heer. Mary Ann died in Charleeston.
Frrom a set of sm
mall mezzotinnt portraits of actresses and
singers, publish
hed by the prinntseller Williaam
Richardson in 1780,
1
apparenntly to follow up
u a similar
seet of actor porttraits publisheed the previou
us year.
En
ngraved after a painting by draughtsman and singer
Robert Dighton
n (1751-1814)) by the mezzo
otint engraver
an
nd printseller Robert
R
Lauriee (1755?-1836
6). Music,
in
nstruments and
d mask (repressenting theatre) in title
arrea; sitter hold
ding manuscrippt. Ex: collecttion of the
la
ate Hon. C. Leennox-Boyd; C
CS 1 ii/iii.
Stock: 36685
Skegggs, In the Character of Seignor
Bumbasto.
508.
Tho.s King ppinx.t. Rich.d Houston fecitt. Sold by the
proprietors M
M. Jackson thee corner of Bride Court, in
fleetstreet, & M. Skeggs at
a the Hoop an
nd bunch of
Grapes in St Albans Streett. [London, c.1752.]
4¼ x 9¾").
Mezzotint, raare. Sheet 3600 x 250mm (14
Trimmed to pplate.
£2880
Portrait of M
Matthew Skegggs (d.1773), prroprietor of thhe
Hoop and Buunch of Grapees (a public ho
ouse in St
Albans Streeet). He also performed in a burlesque
b
callled
'Mother Midnnight's Oratorrio' at the Haymarket, in
which he 'plaayed' a concerrto on a broom
mstick, makingg
the sound of the instrumennt with his mo
outh. Horace
w the 'Oratorio' in 1752, callling it the
Walpole saw
'lowest buffooonery in the world'.
w
Chalon
ner Smith: 1111,
iii of iii. For a proof impreession see ref. 7806. Ex
nox-Boyd.
Collection off the Hon. Chrristopher Lenn
Stock: 36408
509. [Mrss. Wrighten]]
R. Dighton P
Pinx.t / R. Lauurie Sculp. Pub
b.d as the Actt
Directs Marcch 1st 1780 byy W. Richardsson No. 68 Higgh
Holborn
Mezzotint, good impressioon with very laarge margins;
platemark 1555 x 115mm (66 x 4½"). Slig
ght mount papper
tone.
£2660
Wrighten (laterr Pownall) (17
751-96), singeer
Mary Ann W
and actress. B
Born in Hoxtoon, London in 1751, she
married the aactor James Wrighten
W
in 1769 and was
enaged by David Garrick for
f his Drury Lane Theatre in
51
10. Mrs. Wrighten
W
R. Dighton Pinx
x.t / R. Lauriee Sculp. Pub.d
d as the Act
Directs
D
March 1st 1780 by W
W. Richardson
n No. 68 High
Holborn
H
Mezzotint,
M
good impression w
with very larg
ge margins;
pllatemark 155 x 115mm (6 x 4½"). Uncutt.
£260
Mary
M
Ann Wrig
ghten (later Poownall) (1751
1-96), singer
an
nd actress. Born in Hoxton, London in 17
751, she
married
m
the acto
or James Wrigghten in 1769 and was
en
naged by Daviid Garrick forr his Drury Laane Theatre in
17
770. She was a leading singger at the theattre for the
neext sixteen yeaars, and was aalso a favouritte performer
att Vauxhall Gardens.
Wrighten
W
had six children wiith only brief respites from
th
he stage in betw
ween, and waas seriously ill in both 1784
an
nd 1786. In Deecember 17866 her marriagee broke down
an
nd she left herr husband andd children and abandoned
th
he theatre, and
d went to live iin Southwark with Hugh
Po
ownall, a man
nufacturer of ssulphuric acid. As a result
heer father cut her out of his w
will. The coup
ple moved to
America
A
wheree they marriedd, and the now
w Mrs Pownalll
saang to much acclaim in Philladelphia, New
w York,
Boston and Chaarleston (somee considered her
h the best
ocalist heard in America upp to that point)). James
vo
Wrighten
W
havin
ng died in the m
meantime, heer daughters
jo
oined her in Am
merica wheree they perform
med alongisde
heer. Mary Ann died in Charleeston.
Frrom a set of sm
mall mezzotinnt portraits of actresses and
singers, publish
hed by the prinntseller Williaam
Richardson in 1780,
1
apparenntly to follow up
u a similar
seet of actor porttraits publisheed the previou
us year.
En
ngraved after a painting by draughtsman and singer
Robert Dighton
n (1751-1814)) by the mezzo
otint engraver
an
nd printseller Robert
R
Lauriee (1755?-1836
6). Music,
in
nstruments and
d mask (repressenting theatre) in title
area; sitter hoolding manusccript. Ex: OetttingenWallenstein ccollection, andd collection off the late Honn.
C. Lennox-Booyd; CS 1 iii/i
/iii.
Stock: 36684
an
nd printseller Robert
R
Lauriee (1755?-1836
6), as part of a
seeries of small portraits
p
of acctors published
d by
Richardson in 1779.
1
Music, iinstruments an
nd mask
(representing th
heatre) in title area. Ex: colllection of the
la
ate Hon. C. Leennox-Boyd; C
CS 1 iii/iii; O'D
D 3.
Stock: 36695
511. Mr. W
Wroughton..
R. Dighton P
Pinx.t. R. Laurrie Sculp. Pub
blished as the aact
Directs July 10th 1779 by W.m Richard
dson No.68
rn
High Holborn
Mezzotint. 155 x 115mm (6
( x 4½"). Go
ood impressionn
u
£2440
with very larrge margins, uncut.
The promineent Georgian actor,
a
Richard Wroughton
(1748–1822)), engraved Roobert Laurie (1755?-1836)
after Robert D
Dighton (1751-1814), as paart of a series of
small portraits of actors. Ex:
E Oettingen--Wallenstein
CS 1 iii/iii.
collection; C
51
13. Mr. Wiicherley.
[JJohn Simon affter Sir Peter L
Lely] London Printed for
Jo
ohn Bowles
Mezzotint,
M
very
y scarce, sheett 200 x 150mm
m (8 x 6").
Trrimmed to plaatemark and gl
glued to album
m sheet with
leetterpress clipp
pings pasted bbelow and ano
other print
veerso.
£260
William
W
Wycheerley (1640-17716), playwrig
ght. Like his
co
ontemporary the earl of Rocchester, posterrity saw
Wycherley
W
as th
he epitome off the attractivee, wicked,
brrillant Restoraation wit and rrake (Charles II's notorious
an
nd beautiful fo
ormer mistresss Barbara Villliers was his
lo
over for a timee). His greatesst plays 'The Plain-Dealer'
P
an
nd 'The Counttry-Wife'. Thee young Alexaander Pope
was
w a friend tow
wards the endd of Wycherley
y's life, and
heelped to edit and
a publish hiss works after his death.
According
A
to th
he British Musseum catalogu
uing,
en
ngraved by John Simon, andd probably co
opied from thee
similar John Sm
mith engravingg. The youthfu
ful appearancee
when Wycherrley
reeproduced here was ironic: w
co
ommissioned John
J
Smith too engrave Peteer Lely's
haandsome portrrait of him in 1703 he accom
mpanied it
with
w the Virgiliian motto 'Quaantum mutatiss ab illo'
('h
how changed from that'). Fo
For Smith's eng
graving of
Wycherley
W
see ref.
r 24460. C
CS: Not in.
Stock: 36521
Stock: 36696
512. Mr. W
Wroughton..
R. Dighton P
Pinx.t. R. Laurrie Sculp Publlished as the aact
Directs July 10th 1779 by W.m Richard
dson No.68
rn
High Holborn
Mezzotint, pllatemark 155 x 115mm (6 x 4½"). Smalll
margins; glueed to backing sheet; m.s. in
n ink verso.
£1990
n
Richard
d Rotten) (17448Richard Wrooughton (real name
1822), actor and theatre manager.
m
Wrou
ughton made hhis
g there until an
debut at Covvent Garden inn 1768, staying
argument witth managemennt led to the faamiliar
defection to D
Drury Lane. Wroughton
W
briiefly retired
between 1798 and 1800 beefore returning
g to Drury Lan
ane
manager (he haad previously managed
as an actor-m
Sadlers Wellls so had manaagement experience),
remaining inn the position until
u
the end of
o the 1814-5
w critics, Wroughton
W
wass a
season. Whille unpopular with
competent acctor liked by audiences.
a
Engraved aftter a painting by
b draughtsm
man and singerr
Robert Dightton (1751-18114) by the mezzzotint engravver
51
14. [Mrs. Yates]
Y
R. Dighton Pinx
x.t / R. Lauriee Sculp. Pub.d
d as the Act
Directs
D
March 1st 1780 by W
W. Richardson
n No. 68 High
Holborn
H
Mezzotint
M
with very large maargins, platem
mark 155 x
11
15mm (6 x 4½
½"). Good imppression; sligh
ht foxing.
£260
Mary
M
Ann Yatees (née Graham
m) (1728-1787), actress
an
nd theatre man
nager. She maade her debut with
Garrick's Druury Lane com
mpany in 1754 and in 1756
married anotther member of
o the company, the recentlyywidowed com
median Richarrd Yates (1706?-1796). Shee
remained a reegular membeer of Garrick'ss company unttil
1767, when sshe switched her
h allegiancees to the rival
Covent Gardden Theatre, alllegedly for financial reasonns
(although Yaates denied thiis).
She then brokke with Covennt Garden, lesss for financiaal
reasons than the company''s reluctance to retain Richaard
gement, with
Yates, and inn 1773 she toook over manag
novelist and playwright Frrances Brookee, of the King''s
A
this
Theatre, thenn London's home of opera. Around
time Richardd Yates took over
o
a playhou
use in
Birmingham, where Mary Ann sometim
mes performedd.
Having imprroved the fortuunes of the King's Theatre,
h share in thhe
Yates returneed to Drury Laane and sold her
King's Theattre.
London's leaading tragediennne of the perriod, Yates waas
admired by thhe public, witth notable adm
mirers includinng
Horace Walppole and Williiam Godwin.
From a set off small mezzootint portraits of
o actresses annd
singers, publlished by the printseller
p
Willliam
Richardson inn 1780, apparrently to follow
w up a similarr
set of actor pportraits publisshed the previious year.
Engraved aftter a painting by
b draughtsm
man and singerr
Robert Dightton (1751-18114) by the mezzzotint engravver
and printselleer Robert Lauurie (1755?-18
836). Music,
instruments aand mask (reppresenting theaatre) in title
area. Ex: Oetttingen-Wallennstein collectiion and
collection off the late Hon. C. Lennox-Bo
oyd; CS 1 ii/iiii;
for Yates andd Garrick, seee ref. 20918.
co
ollection of thee late Hon. C.. Lennox-Boyd
d; CS 20
(b
before first listted state)
Stock: 36379
[La Sig
gnora Zampperini in the Character
off Cecchina. La Buona F
Figliuola, Acct 2d Scene
3d
d.]
51
17.
N.
N Hone pinx.t / J. Finlaysonn fec.t / Publish'd Feb.y 1st
17
769. [Sold by Mr Parker Noo 82 Cornhill, & Mr
Fiinlayson in Beerwick Street Soho.]
Mezzotint,
M
sheeet 380 x 280m
mm (15 x 11"). Trimmed
in
nside platemarrk; name of sittter in pencil
£240
Anna
A
Zamperin
ni, singer belieeved to be thee mistress of
George
G
Hobart,, third earl of B
Buckinghamsshire. Here
po
ortrayed in thee lead role in N
Niccolò Piccin
nni's 'La
bu
uona figliuola' ('the good-naatured maid'), adapted
from Samuel Richardson's
R
noovel 'Pamela'. Zamperini
was
w portrayed in
i the same roole by Scottish
h painter John
Paaxton.
After
A
a portrait by Nathaniel Hone (1718-8
84), one of
tw
wo Irish found
der members oof the Royal Academy.
A
Ex:
co
ollection of thee late Hon. C.. Lennox-Boyd
d; CS 20.i
Stock: 36380
Stock: 36687
515. Mrs. Yates
R. Dighton P
Pinx.t / R. Lauurie Sculp. Pub
b.d as the Actt
Directs Marcch 1st 1780 byy W. Richardsson No. 68 Higgh
Holborn
Mezzotint wiith very large margins; plattemark 155 x
115mm (6 x 4½"). Uncut; glued to back
king sheet on
left corner.
£2660
nd collection oof
Ex: Oettingen-Wallensteinn collection an
Boyd; CS 1 iii//iii; for Yates
the late Hon.. C. Lennox-B
and Garrick, see ref. 209118.
Stock: 36686
[La S
Signora Zam
mperini in th
he Characteer
of Cecchinaa. La Buonaa Figliuola, Act
A 2d Scen
ne
3d.]
516.
[N. Hone pinnx.t / J. Finlayyson fec.t / Pub
blish'd Feb.y 11st
1769.] [Sold by Mr Parkerr No 82 Cornh
hill, & Mr
Finlayson in Berwick Streeet Soho.]
Mezzotint, very scarce; plaatemark 380 x 280mm (15 x
ore any text;
11"). Trimmeed to plate; eaarly proof befo
small tear low
wer right.
£2880
Anna Zampeerini, singer beelieved to be the
t mistress off
George Hobaart, third earl of
o Buckingham
mshire. Here
portrayed in the lead role in
i Niccolò Picccinni's 'La
buona figliuoola' ('the goodd-natured maid
d'), adapted
from Samuell Richardson'ss novel 'Pamella'. Zamperinii
was portrayeed in the same role by Scottish painter Johhn
Paxton.
After a portraait by Nathaniiel Hone (1718-84), one of
two Irish fouunder memberrs of the Royall Academy Exx:
[La Sig
gnora Zampperini in the Character
off Cecchina. La Buona F
Figliuola, Acct 2d Scene
3d
d.]
51
18.
N.
N Hone pinx.t / J. Finlaysonn fec.t / Publish'd Feb.y 1st
17
769. [Sold by Mr Parker Noo 82 Cornhill, & Mr
Fiinlayson in Beerwick Street Soho.]
Mezzotint,
M
platemark 380 x 2280mm (15 x 11"). Small
margins;
m
rubbed; slight creassing
£320
Anna
A
Zamperin
ni, singer belieeved to be thee mistress of
George
G
Hobart,, third earl of B
Buckinghamsshire. Here
po
ortrayed in thee lead role in N
Niccolò Piccin
nni's 'La
bu
uona figliuola' ('the good-naatured maid'), adapted
from Samuel Richardson's
R
noovel 'Pamela'. Zamperini
was portrayed in the same role by Scottish painter John
Paxton.
After a portrait by Nathaniel Hone (1718-84), one of
two Irish founder members of the Royal Academy. CS
20.i
Stock: 36381
519. Benevolus His is the thought continual
how to ease / The wayward fortunes of this
fickle World / And in the wounds of suffering
Innocence / The Balm of mental Comfort to
instill
P. Jean pinx.t / P.W. Tomkins sculpt. [1793]
Stipple printed in brown, with small margins; sheet 115
x 70mm (4½ x 2¾"). Trimmed inside platemark. £90
Portrait, listed by O'Donoghue as 'Birch; banker, of
Bond Street'. After Jersey-born miniaturist Philip Jean
(1755-1802). O'D 1 (only likeness)
Stock: 35835
520. [Sir William Chambers Engraved from
the Original Picture in the Council Chamber of
the Royal Academy]
[Sir Joshua Reynolds pinx] [published c.1796-1810]
Stipple, platemark 175 x 115mm (7 x 4½"). Thread
margins; unfinished proof. Touched proof with pencil
marks to upper part of image.
£160
Sir William Chambers (1722 - 1796), architect. Born in
Gothenburg, Sweden, Chambers worked initially for
the Swedish East India Company, travelling to China
where he studied Chinese architecture and decoration.
Returning to Europe, he studied architecture in Paris
and Italy before moving to London in 1755. Chambers
is best remembered for designing and building
Somerset House, a project he worked on from 1775 to
1795. He was a founder member of the Royal
Academy and was its first Professor of Architecture.
Engraved after the portrait c.1780 by Sir Joshua
Reynolds (London, Royal Academy of Arts), and
cropping the composition so that the Strand facade of
Somerset House, clearly visible in the painting, is
unidentifiable here.
Stock: 36924
521. Sir William Chambers. Engraved from
the Original Picture in the Council Chamber of
the Royal Academy.
Sir Joshua Reynolds pinxt. Josh. Collyer Sculpt.
Published as the Act directs, by J. Collyer 1st. March
1785. Sold by J. Cary, Strand, W. Darling Newport
Street, E. Scott, Hyde Street Bloomsbury, and J.
Collyer, White Lion Row, Islington.
Stipple with large margins. Platemark: 180 x 115mm
(7 x 4¼"). Light foxing in margins. Small rust spot on
reverse.
£140
A portrait of Sir William Chambers (1722-1796),
Architect. Born in Gothenburg, Sweden, Chambers
worked initially for the Swedish East India Company,
travelling to China where he studied Chinese
architecture and decoration. Returning to Europe, he
studied architecture in Paris and Italy before moving to
London in 1755. Chambers is best remembered for
designing and building Somerset House, a project he
worked on from 1775 to 1795. This Neoclassical
development housed many government offices and
provided accommodation for various learned societies,
including the Royal Academy, the Royal Society, and
the Society of Antiquaries. He was a founder member
of the Royal Academy and was its first Professor of
Architecture. Hamilton: Not in.
Stock: 36564
522. Robert Forfeit, Huntsman to John
Warde Esq.r.
Biederman Pinx.t. E. Harding Exc. Pub.d. Jan.y, 1803
by E. Harding Pall Mall.
Stipple, very scarce with large margins. Platemark: 505
x 400mm (20 x 15¾"). Creases, very tatty.
£360
A three quarter length portrait of Robert Forfeit,
inclined to the left. He wears a plain coat with a belt,
and holds a horn in his right hand A woodland with
foliage can be seen in the background.
Stock: 35250
523. L'Abbé Gaultier. I always thought that
learning might be [/] made a play and
recreation to Children. [/] Lock on Education.
Painted by H. Johns. Engraved by Anth.y. Cardon.
London, Published Jan.y.2.1797 by. A.C. de Poggi, 91
Bond Street.
Stipple. Sheet: 210 x 150mm, (8¼ x 6"). Trimmed
within plate. Slight stain around title.
£65
Portrait of Abbé Aloisius Gaultier (1745-1818) a
French priest who, after escaping the French
Revolution, set up a school in London for the children
of refugees which focussed on learning through play,
and which was commended by the universities of
Oxford and Cambridge. For example printed in sepia
see ref: 35717.
Stock: 36925
524. This Portrait of Nathaniel Kent Esq.r is
most respectfully Dedicated to the Friends of
Agriculture by their most obedient H.ble Serv.t
John Rising.
Painted by Jn.o Rising. Engraved by Jn.o Young
Engraver to H.R.H. the Prince of Wales. [c.1800.]
Mezzotint with large margins, very scarce; 505 x
355mm (20 x 14"). Some creasing and wear to edges,
short tear entering inscription area at bottom. Bit
messy.
£320
Nathaniel Kent (1737-1810), seated with books and
map of Norfolk Farm by his elbow, a landscape
through a window behind.
Kent, was a land valuer, agriculturist, author, and
manager of George III's estates at Windsor and
Richmond. He wrote 'Hints to Gentlemen of Landed
Property' in 1775; his 'General View of the Agriculture
of the County of Norfolk' was included in the Survey
of Norfolk issued by the Board of Agriculture in 1794.
Kent assisted in the creation of Norfolk Farm in
Windsor Great Park, introducing the Nofolk system of
crop rotation. CS: 44; Ex: collection of the Late Hon.
C. Lennox-Boyd.
Stock: 36545
Sir H
Hugh Myddeelton Knightt & Baronett.
The famous Aqueduct call'd the New
N River w
was
performed at his Charrge...
525.
C.J. fe. 1632. Ad Tabula, Cornelii
C
Jansssonii, jam pennes
gius Vertue
Illustriss. Coomitem Oxoniensem, Georg
D. 1722. [Londdon, c.1722, laater.]
sculpsit, A.D
Engraving. 3375 x 280mm (14¾ x 11").
£1660
Sir Hugh Myyddelton (15600-1631), goldsmith and
entrepreneur. Early in the seventeenth century
Myddelton bbecame involvved in the succcessful projectt
to bring a suppply of water to London, which
w
was still
the most impportant source of piped wateer into the
metropolis tw
wo hundred yeears later.
In 1605 an acct of parliameent was obtained to bring
water from spprings near Hertford
H
to north London (a
distance of nnearly forty miiles), as survey
yed by the
mathmaticiann Edward Wriight (1561-1615, famed forr
his correctionn of Mercatorr's Projection).. Myddelton's
involvement is not recordeed until 1609, when he tookk
the lead in thhe project whicch was complleted in 1613.
The establishhment of the New
N River waas Myddelton'ss
main claim too fame, and he was involveed with the
running of thhe company foor the rest of his
h life, althouugh
he was also iinvolved in miining and land
d draining
projects. Ex: Collection off The Hon. C. Lennox-Boydd.
Alexander: 9962.
Stock: 36467
n a low landscape dotted witth trees, lookiing towards
in
th
he viewer. Witth both hands in front of him
m he holds a
sn
nake. He is weearing a plain coat buttoned
d at the waist,
with
w a broad beelt, spotted necckerchief and widebrrimmed round
d hat.
Continuation off title below reeads, 'of Hunttington near
York
Y
Aged 94 Years,
Y
Very reemarkable forr his abilities
in
n catching Vip
pers, Snakes, A
Addres, &c, which
w
he used
frequently to caarry about with
th him in his Bosom
B
- and
hee is not less ceelebrated for ddestroying of Rats,
R
Moles
an
nd every otherr Species of V
Vermin of the Quadrupede
Q
ass well as of thee Reptile Racee.' Ex collectio
on of
Christopher
C
Lennox-Boyd. C
Chaloner Smith
h: 61.
Stock: 36601
52
27. Richard Reynolds..
En
ngraved by H.Meyer, from the Original Picture
P
by
N.Branwhite,
N
in
n the Possesioon of the Famiily. Published
ass the Act direccts, March 1stt. 1817, by N. Branwhite,
Queen
Q
Square, Bristol.
Sttipple. Platem
mark: 300 x 2500mm (11¾ x 9¾").
Fo
oxing.
£120
A portrait of Brristolian Quakker, Philanthro
opist and
'Irronmaster', Riichard Reynollds (1735 - 1816). Halfleength, seated to the right, fac
acing forwardss.
A manuscript dedication
d
is cu
cut and pasted below the
im
mage. It reads,, 'The Gift of R
Rich.d Reyno
olds. St.
Jaames' Square. To Will.m W
Wilson. 23rd May
M 1808.
Bristol.'
Stock: 36559
52
28. A Colle
ection of Enngraved Porttraits
Exhibited
E
by the late Jam
mes Anderso
on Rose at
th
he Opening of the new L
Library and
d Museum
off the Corperration of Loondon, November 1872.
Vols
V 1. [&] Vol
V 2.
526. Richa
ard Penrosee.
Painted by S. Hewson. Engraved by I. Jones
J
Engraveer
Extraordinaryy to His R.H. the Prince of Wales and
Principal Enggraver ro His R.H. the Duke of York.
London. Pubb.d as the Act directs.
d
Aug.t 10th 1792 byy
S. Hewson. N
No. 48 Frith Street,
S
Soho.
Mezzotint, very scarce. Shheet size: 515 x 360mm (200¼
x 14¼"). Ligght creases. Trrimmed insidee plate. Top lefft
corner repairred.
£3880
A portrait off famed verminn catcher Rich
hard Penrose,
three-quarterr length standiing three-quarrter to the left,,
Marcus
M
Ward & Co. Limitedd. 1894.
Book. 4to. Halff velum. Half tone illustrations. Uncut.
nt and back booards stained.
Complete. Fron
£130
wo volumes of
o the illustrateed catalogue of
o engraved
Tw
po
ortraits lent by
y businessmann James Anderson Rose
(1
1819-1890) to the Corporatiion of London
n for an
ex
xhition in 1872 marking thee opening of th
heir new
Liibrary and mu
useum. Ex: Coollection the Hon.
H
Christopher
C
Lennox-Boyd.
Stock: 36443
52
29. Benjam
min West.
Graham
G
Gallery
y. New York. 1014 Madiso
on Avenue.
May
M 22-June 30
0, 1962.
£20
Paamphlet. 8to (200
(
x 230mm
m).
A brief guide to
o an exhibitionn of paintingss and
drrawings by Beenjamin West,, held in the Graham
G
Gallery, New York in 1962. Ex Collection of the Hon.
Christopher Lennox-Boyd.
Stock: 36434
A catalogue of works by English engraver William
Faithorne (1616-1691). Ex: Collection the Hon.
Christopher Lennox-Boyd.
Stock: 36439
530. A Catalogue Raisonné of The Engraved
Works of Richard Cosway, R.A.
by Fredk. B. Daniell. Published Dryden Press: J. Davy
and Sons, 137, Long Acre, London. 1890.
Book. 4to (200 x 300mm). Inscribed by the author. Gilt
title stamped on spine and front. Complete. Rare. £140
A catalogue of the engraved works of british artist
Richard Cosway (1742-1821). Ex: Collection the Hon.
Christopher Lennox-Boyd.
535. The Graphic Art of Winslow Homer.
By Lloyd Goodrich. Published for The Museum of
Graphic Art by the Smithsonian Institution Press. 1968.
Book. 4to (220 x 255mm). Cloth binding, gilt title
stamped on spine. In original dust cover.
£50
An illustrated narrative of the printed work of
American artist Winslow Homer (1836-1910). Ex
Collection of the Hon. Christopher Lennox-Boyd.
Stock: 36440
Stock: 36436
531. Currier & Ives. Printmakers to the
American People.
536. Nineteenth Century Mezzotinters.
Samuel William Reynolds.
Harry T. Peters. Published by Doubleday, Doran & Co.
Inc. garden City, New York. MCMXLII.
Book 4to (230 x 310mm). Cloth binding. Gilt title
stamped on spine. Printed title glued to front, stamped
decoration.
£45
Illustrated narrative describing the lithographic works
of Nathaniel Currier (1813-1888) and James Merrit
Ives (1824-1895) American "Publishers of Cheap and
Popular Prints". Ex Collection of the Hon. Christopher
Lennox-Boyd.
Stock: 36424
by Alfred Whitman of the Department of Prints and
Drawings, British Museum. London. George Bell &
Son. 1903.
Book: 4to (290 x 211). Cloth binding with title
stamped in gilt on spine and front cover. Complete.
Binding worn and scuffed.
£65
This catalogue does not claim to be a catalogue
raisonné, but has aimed to compile the majority of the
portrait work engraved both by Samuel Reynolds Jr
and Senior. Ex: Collection the Hon. Christopher
Lennox-Boyd.
Stock: 36441
532. Currier & Ives: A Manuel for Collectors.
By Jane Cooper Bland. Publsihed by Double Day,
Doran and Company, Inc. Garden City, New York.
1931.
Book. 4to (230 x 300mm). Cloth binding. Title
stamped on binding.
£65
An alphabetical catalogue of the prints (including
auction prices) published by American publishers and
lithographers Nathaniel Currier (1813-1888), Charles
Currier (1818-1887) and James Merrit Ives (18241895). Ex Collection of the Hon. Christopher LennoxBoyd.
Stock: 36437
537. An Eighteenth Century Artist &
Engraver. John Raphael Smith His Life and
Works.
by Julia Frankau. Published by Macmillan and Co.,
Limited. London. 1902.
Book. 4to (180 x 260mm). Cloth binding with gilt title
stamped on spine and front. Binding worn, some
staining. Foxing on pages.
£65
The definitive work on the paintings and mezzotints of
British artist and engraver John Raphael Smith (17521812). Since updated by D' Oench. Ex: Collection the
Hon. Christopher Lennox-Boyd.
Stock: 36438
Mr. Currier and Mr. Ives: A Note on
Their Lives and Times.
533.
Russel Crouse. Published by Garden City Publishing
Company, Inc. Garden City MCMXXXVI New York.
Book: 4to (230 x 300mm). Cloth binding with title
stamped on spine and front cover.
£45
An illustrated narrative dicsussing the lithographic
works of American printers Nathaniel Currier (18131888) and James Merrit Ives (1824-1895). Ex
Collection of the Hon. Christopher Lennox-Boyd.
Stock: 36423
534. A Descriptive Catalogue of the Engraved
Works of William Faithorne.
by Louis Fagan. Bernard Quaritch. 15, Picadilly, W.
London. 1888.
Book. 4to (200 x 290mm). Very scarce, only 46
Subscribers. Cloth binding, gilt title stamped on spine.
Broken back inside.
£350
American Naval Broadsides. A
Collection of Early Naval Prints (1745-1815).
538.
by Edgar Newbold Smith. Philadelphia Maritime
Museum and Clarkson N. Potter, Inc./Publisher, New
York.
Book. 4to (220 x 285mm). Cloth bindings, gilt title
stamped on spine and front. Original dust cover. Dust
cover, damaged with some tears.
£160
An illustrated catalogue of prints depicting American
naval battles between 1745 and 1815 in the collection
of Edgar Newbold Smith. The catalogue of 117 prints
is accompanied by a chronological narrative with
special attention paid to French and Indian War, The
American Revolution, the Federal Period and the War
of 1812. Ex Collection of the Hon. Christopher
Lennox-Boyd.
Stock: 36435
539. Mezzzotints.
by Cyril Davvenport, F.S.A
A. Methuen an
nd Co. 36 Esseex
Street. Londoon. 1904,
Book. 4to (1990 x 260mm). Cloth bindin
ng, title stampeed
in gilt on spinne and front. Complete.
C
Bin
nding worn.
£445
A detailed exxamination off the methods, examples,
history and aartists of mezootints from thee mid seventeeeth
century to the late nineteennth century. Ex:
E Collection of
the Hon Chriistopher Lennnox-Boyd.
Stock: 36442
540. [Wom
man in enorrmous hat.]
Rob. Dightonn pinxit / R. Laurie
L
Fecit. London:
L
Printeed
for R. Sayer & J. Bennett No
N 53 Fleet Street,
S
26 Feb.yy
Act directs.
1778, as the A
Rare mezzotiint. Platemarkk 110 x 90mm
m (4¼ x 3½").
Uncut; good impression with
w very largee margins. £2880
Extremely deecorative mezzzotint by engrraver and
printseller Roobert Laurie (1755?-1836), after Robert
Dighton (17551-1814), drauughtsman and
d singer. Afterr
the death of JJohn Collett inn 1780, Dightton became thhe
foremost dessigner of droll mezzotints su
uch as this.
Chaloner Sm
mith suggests it may be a portrait of the
actress and fa
favourite subjeect of Joshua Reynolds,
R
Elizabeth Haartley.
As business iin the art worlld declined du
uring the
Napoleonic W
Wars, Dightonn began stealin
ng prints from
m
the British M
Museum, only getting caugh
ht after severall
years of theft
ft. Ex: collectioon of the late Hon. C.
Lennox-Boydd; CS 40
A risque image showing six FFrench émigrés grouped at
th
he roadside beside a signposst pointing to 'London' in
on
ne direction, and
a to 'Dover' in the other. A lean and
ellderly woman holding a pooodle stands wiith her left
haand in the arm
m of a man weaaring a cocked
d hat with.
On
O the right aree two women holding large muffs. A
seecond clipped poodle runs bbeside them. In the
baackground is a coach inscribbed 'London Dover
D
Canterbury' is driving
d
towardds London witth outside
paassengers; onee, a sailor, wavves his hat. Th
he gable end
off a cottage and
d trees compleete the backgrround. BM
Sa
atires ref: 822
26.
Stock: 36988
Stock: 36689
French Privateerrs, Cruising
g in the
English Ch
hannel.
541.
[After Roberrt Dighton.] Prrinted for Carrrington Bowlees.
No.69 St. Pauul's Church Yard,
Y
London. Published as
the Act direccts, 4 June 17992.
Hand coloureed mezzotint, very fine. Plaatemark: 355 x
255mm (14 x 10"). Very slight
s
damage in title area.
£4990
54
42. The He
eir Disinheriited. Drawn by
b Collings.
En
ng. by F. Jukees. Pub.d by R
R. Pollard, Prin
ntseller
Sp
pafields London.
A pair of hand coloured aquaatints with etcching, very
raare. Printed areea: 310 x 365m
mm (12¼ x 14¼") each.
Frrame size: 410
0 x 460m (16 x 18") each. Light
L
creases.
£520
A pair of frameed aquatints affter amateur draughtsman,
d
caaricaturist and
d genre painterr Samuel Colllings, each
leettered with eig
ght lines of veerse below im
mage.
Th
he Heir Disinh
herited; A fam
mily group listtens to the
reeading of a willl by an elderlly lawyer seatted on the
rig
ght, a deed-bo
ox on the grouund beside him
m. The will
which
w
he holds is inscribed 'IIn the Name of
o Amen I
pu
ublish and Pro
otest... To my Eldest Son in
n consequencee
I bequeath
b
One Shilling'. Thee heir, a young man sitting
to
o the left, look
ks towards him
m with an exprression of
rage, spilling a glass of wine into his lap. A folding
screen behind is covered with a map on which 'Africa',
'Cape of Good Hope', 'Egypt', and 'Indostan' are
indicated. The Disinherited Heir; An interior scene
with a family. The mother, seated in the centre, is
flirting coyly with a man who stands beside her. Seated
next to her is the younger brother, slightly older, with
outstretched arms directing a servant in to push his
plainly dressed brother through the door. An old
lawyer and young woman sit side by side on the left,
not distressed at the ejection. Pictures on the wall
behind are, 'Prodigal Returned', 'Ephesian Matron'
(above the widow), and 'Shylock and Antonio'.
Stock: 36815
543. The Refusal. From an Original Picture
of Mr. John Collett in the Possesion of Mr.
Sayer. 402
J. Collett Pinx.t. Phi. Daw Fecit. London, Printed for
Rob.t Sayer No.53 in Fleet Street, as the Act directs 25
Feb.y. 1774.
Mezzotint with large margins, very fine impression.
'CLB' collector's stamp on verso. Platemark: 250 x
350mm (9¾ x 13¾").
£370
An interior scene with a young man sitting with his
arms folded, looking at a woman who leans across the
round table in front of him, on which are empty glasses
and a bottle of wine, putting one arm on his shoulder
persuasively. An elderly woman can be seen standing
behind her on the left, drinking from a punch bowl.
There is an open door behind her. Ex collection of
Christopher Lennox-Boyd.
Stock: 36884
544. [The Mineral Water lunch of Count
Cagliostro] Le Dejeune avec les Eau Minerale
du Comte Cagliastro
[anon., c.1790]
Etching with large margins, platemark 140 x 180mm
(5½ x 7"). Folds, rust spot lower right.
£120
Satire on the infamous Count Alessandro di Cagliostro
(1743-95), adventurer, freemason, charlatan, radical
politician and occultist. Cagliostro sits at ease while
numerous figures around him sleep or vomit.
Cagliostro's life is shrouded in mystery but involved
forging and swindling of various kinds (and alleged
involvement in the 'Affair of the Diamond Necklace' in
which Marie Antoinette was thought to have defrauded
the crown jewellers of the cost of an expensive
necklace). He travelled around Europe, including time
spent in London, and died in prison in Rome after he
had been sentenced to life for being a Freemason. The
error-strewn French and style of this print suggests it
may have been made in Italy.
Since his death, Cagliostro has been of tremendous
cultural interest. He has been the subject of literary
works by Goethe and Tolstoy amongst others.
Stock: 36927
545. [Theriac vendor] Au grand Magazin de
Tériaque / Les voilà donc surpris mais cet air
patelin / Trouvera des nigauds qui si laisseront
prendre [...]
[Anon., published 8 March 1761? (date on poster in
image)]
Etching with small margins, rare, platemark 125 x
160mm (5 x 6¼").
£140
Anti-jesuit satire, whose subject is made explicit by a
notice on the wall which forbids jesuits from any
commercial activities. Theriac was a medical
concoction formulated by the Greeks in the first
century AD and sold up until the 19th century. Here
the medicine, sometimes sold by jesuit traders, is seen
as a quack treatment, as the text below explains, saying
that if France welcomes the jesuits, they will deceive
those who trusted in them.
This print is probably a copy of a more skilfully-etched
version, copies of which are in the BNF and
Waddesdon.
Stock: 36926
546. Paris & Helen, directing Cupid to
Inflame each others Heart w.th Love
[after Angelica Kauffman] Published 12th May 1794
by Laurie & Whittle, No 53 Fleet Street, London
Mezzotint with small margins, platemark 350 x 250mm
(13¾ x 9¾"). 'CL-B' collector's stamp verso.
£280
Interesting example of fine art repurposed as a popular
humorous print. Valentine Green's mezzotint of
Angelica Kauffman's painting of Paris and Helen was
an example of one of the finest printmakers in the
country treating reproducing mythological subject
matter by one of the most esteemed painters in the
country. Here the composition becomes light-hearted
and domestic.
Originally a pair with 'Renaldo arresting the Arm of
Armida', apparently also after Kauffman. Ex: collection
of the Late Hon. C. Lennox-Boyd; for Green's
mezzotint from which this derives, see ref. 14873.
Stock: 36228
547. [The Vile Ephesian.] The Vile Ephesian
to obtain / A Name- A Temple fires, / Observe
friend H-g-th 'twas in Vain He had not his
desires [...]
[by Paul Sandby, 1753.]
Etching, sheet 225 x 185mm (8¾ x 7¼"). Trimmed
inside platemark.
£160
Satire against Hogarth by Paul Sandby, who produced
the most potent work in this vein in response to
Hogarth's theoretical treatise 'The Analysis of Beauty'
in 1753 (this impressive scene also demonstrates his
skill in architectural draughtsmanship) Here Hogarth is
shown as Herostratus, the 'vile Ephesian' who to gain
fame set fire to the Temple of Diana on the same night
Alexander the Great was born. His collaborator on the
'Analysis', Benjamin Hoadly, is also represented.
Hogarth was opposed to the Palladian classicism of
Burlington and his acolytes (alluded to here by the
Palladian style of the temple), and having set fire to the
temple he now attempts to light a fire under a column
commemorating great artists of the past. Paulson,
'Hogarth, Arrt and Politics,, 1750-1764' p.137;
p
Bindman, 'Ho
Hogarth and hiis Times: Serio
ous Comedy',
cat. 108.
bo
ottom, ten num
mbered panelss depicting sceenes from the
co
oronation cereemony and feaasting and revelry after it.
Stock: 36976
Stock: 36922
[Louis XIV receiviing James III and Mary
off Modena] De
D Koning vvan Vranck
kryck,
on
ntfangt den gevlugte Kooning en Ko
oninginne
va
an Engelantt. fig 10.
55
50.
[A
Anon, c.1689]
En
ngraving with
h very large m
margins, platem
mark 185 x
14
40mm (7¼ x 5½").
5
£130
Fo
ollowing the Glorious
G
Revoolution of 1688 (as a result
off which Williaam of Orange would replace James II as
King
K
of Englan
nd, Scotland annd Ireland), William
W
alllowed James to escape to FFrance, where Louis XIV
offfered him a palace and pennsion.
Stock: 36932
The T
Taking of th
he Bastille on the 14th oof
July 1789. Prise de la Bastile, le 14 Juillet
1789.
548.
Drawn on thee Spot by an eminent
e
Artistt [Charles
Benazech]. D
Designé sur le Lieu par an Amateur
A
distingué. J. W
Wells Aqua Tinta.
T
London Publish'd Novv.
20. 1789, by B. Vander Guucht, Lower Brook
B
Street &
hez B. Vanderr
J. White Tavvistock Street. A Londres ch
Gucht & J. W
White.
Coloured aquuatint with etcching, very scaarce, 18th
century wateermarked papeer GR & Crestt. Sheet 350 x
505mm (13¾
¾ x 20"). Trim
mmed to plate, small tear in
upper edge. Crease.
£5550
A near conteemporary record, published only four
months after the event. In the centre Governor
Delauney is sseized by a sooldier and civilian. Charles
Benazech (17767-94) was in
i Paris at the outbreak of
revolution. H
His suite of fouur paintings of the last dayss
of Louis XVII, engraved byy Luigi Schiav
vonetti, are hiis
best known w
works.
Stock: 36749
549. Fredericus II Reex Bohemiae
e. Fredericu
us
Rex Bohem
miæ, Comes Palatinus ad
d Rhenum, et
Sacri Impeerij Elector, Dux utriusq
que Bavariæ
æ,
Marchio M
Moraviæ, Du
ux Silesiæ et Lutsenburggi,
Marchio Lu
usatiæ, etc. [&] Elizabeetha Regina
Bohemiæ, F
Frederici coonjux, Magn
næ Britanniæ
æ
Regis Filia unica.
[Anon.] [n.d.., c.1619.]
Etching withh engraving. Very
V
scarce. Sh
heet size: 402 x
460mm (16 x 18"). Cut to image. Light creasing in
places. Dam
maged.
£3330
A print comm
memorating thhe coronation of Frederick V
V,
Elector Palattine, and Elizaabeth, daughteer of James I, aas
King and Quueen of Bohem
mia. On the lefft, Frederick,
standing withhin an arched niche beneath
h a coat of arm
ms,
wearing a croown, ruff, andd ermine robe,, and holding a
sceptre. On tthe right, also in an arched niche
n
beneath a
coat of arms,, Elizabeth, thhe Winter Queeen, wearing a
crown, high ccollar, jewels,, wide dress, ermine
e
robe,
and holding a sceptre. Betw
ween them, an
nd at the
55
51. Destruc
ction of the Armoury &c.
& in the
Tower
T
of Lon
ndon. By Fiire as it appeared on
Sa
aturday night, the 30th Pctober 184
41.
Frrom a sketch taken
t
on the sp
spot. J. R. Jobb
bins del. &
litth. [n.d., c.184
41.]
Liithograph, rare. Sheet size: 215 x 270mm
m (8½ x
10
0½"). Cut to im
mage.
£130
A dramatic view
w of the destru
ruction of the Armoury
A
in
th
he Tower of London, based on a sketch drawn by the
arrtist taken on the
t spot. Late on Saturday, 30 October
18
841, a spectaccular fire broke
ke out at the To
ower of
Lo
ondon, the ancient fortress guarding the city
c by the
River Thames.
Stock: 36316
Edward and Eleannora. Dedicated by
Permission to
o the Queenn by Her Ma
ajesty's
most
m Dutiful and Devoteed Servant, W:Martin.
W
From the Oriiginal Picturre in the Town Hall,
Norwich.
N
55
52.
W.m.
W
Martin piinxit. Francis Bartolozzi R.A. Historical
En
ngraver to Hiss Majesty, scuulp. London, Publish'd
P
Seep.r. 1:1790, by
b W.m. Marttin, Leicester Square, &
W.m.
W
Dickinson Engraver N
N.o.158 New Bond
B
Street.
Sttipple printed in sepia. Platee: 430 x 360m
mm, (17 x
14
4"). Trimmed to platemark..
£260
A scene in whicch a dying Eleeanor of Castiille is
su
urrounded by her
h family andd courtiers. On the left her
hu
usband King Edward
E
I lookks lovingly intto her eyes.
Elleanor died on
n the 28th Novvember 1290 in Harby,
Nottinghamshir
N
re while on a tour of the North.
Stock: 36870
Eleanora sucking tthe Venom cut
c out of
th
he wound wh
hich Edwarrd I, her royal Consort,
reeceived from
m a poisonedd dagger by an assassin
in
n Palestine. Rapin's
R
Histt. Vol. III Page 179.
Dedicated
D
to the Queen bby her Majeesty'd
du
utiful and most
m obediennt humble seervant W.
Wynne
W
Rylan
nd.
55
53.
Angelica
A
Kaufffman ex acadeemia Regali Artium
A
Lo
ondini Pinx.t. Guliemus Wyynne Ryland
Chalcographus Regis Brittannnia sculp.t. Pu
ublish'd as
the Act direccts March 1, 1780 for the Prroprietor
W.W.Rylandd N.o.159 Straand, London.
Stipple with large marginss left & right, small marginss
m. Plate: 390 x 330mm, (15¼ x 13"). £2330
top & bottom
A scene set inn the back droop of the crusaades, Edward I
injured, sits iin his tent whiile his wife Elleanor of
Castille suckks the poison from
f
an injury
y in his arm.
Two ladies inn waiting watcch on concern
ned, while
several soldieers hold up ann injured comrrade.
Stock: 36869
Chaloner
C
Smith
h: 11. Ex colllection of Chriistopher
Leennox-Boyd. Ex
E Oettingen- Wallerstein Collection,
C
So
otheby's 13/11
1/97.
Stock: 36980
55
55. Boadicea.
Craig del. Radd
don sc. Publishhed by Nuttalll, Fisher &
C.o. Liverpool, Jan.y.1.18144.
ngraving with
h etching. Sheeet: 130 x 210m
mm, (5 x
En
8¼
¼"). Trimmed
d within plate. Some pin holes on left
ed
dge. Some creeasing.
£60
Depiction
D
of Bo
oadicea, queenn of the Iceni tribe,
prraying, alongsside a druid too her Celtic go
od before
baattle with the Romans.
R
Stock: 36041
Cornelia Mother oof the Gracchi.
Cornelia
C
Dau
ughter of Sciipio African
nus and
Mother
M
of thee racchi, beiing desired by a lady
who
w had been
n shewing heer fine jeweels &
trrinkets indulge her withh a sight of hers;
h
Cornelia
C
pressented Childdren to her, saying she
lo
oked on them
m as her priincipal treassure having
ed
ducated them
m with caree for the serv
vice of their
co
ountry.
55
56.
Ang.
A Kauffman
nn pinx. F. Baartolozzi sculp
p. Publish'd
Nov.r.
N
1788, by
y M.Ryland N
N.o.102, New Bond
B
Street.
Sttipple. Sheet: 400 x 345mm
m, (15¾ x 13½
½"). Trimmed.
Repaired tears in
i edges. Bit messy.
£160
A scene in whicch Cornelia A
Africana presen
nts her
ch
hildren to a wo
oman sitting bbeside her. Co
ornelia was
seeen as the prottotypical exam
mple of a virtu
uous Roman
woman.
w
Stock: 36868
The M
Miseries of Idleness.
I
[&
&] The
Comforts oof Industry.
554.
Painted by G
G. Morland. Enngrav'd by H. Hudson.
London Publlish'd Jany 20,, 1790 by J.R.. Smith No. 311
King Street C
Covent Gardenn.
Pair of very rrare & fine meezzotints, with
h large marginns.
Platemark: 335 x 375mm (13¼
(
x 14¾")) each.
£6220
A bare interior with a mann sitting smokiing at a table
w, his wife sittting with her
with a tankarrd at his elbow
head bowed bbeside him, a little girl paw
wing at her
skirts, a babyy turning on a straw bed, itss clothes in
disarray, andd a little boy gnnawing on a bone
b
in front oof
the table, nexxt to a barrel, with
w a dog jum
mping up at
him. Tatteredd clothes form
m curtains arou
und a bed
behind them.. [&] A cottagge interior with
h a man
wearing a rouund-brimmed hat decorated
d with straw,
returning hom
me, holding his son's hand, and droppingg
some coins innto his wife's apron, as she sits to right
holding a sleeeping baby, while
w
a little giirl sits on the
floor with a ddoll, raising her arms to greeet her brotherr.
Isaac th
he Tyrant bbrought befo
ore Richard
th
he 1st. Afterr a great slaaughter of th
he Cyprian
Troops
T
Isaac was obligedd to abandon the
Coast.
C
The English imprroving this advantage
a
marched
m
forw
ward attackked the Town
n of Limosoo
ca
arried it at the
t first assaault and took Isaac
with
w his only Daughter pprisoners; Feew days
affter this pretended Empperor found
d means to
esscape, but none wou'd rreceive him, he
reesolved upon
n a voluntarry surrender to the
King
K
of Engla
and whom hhe asked as the [only
55
57.
favour not to be put in Irons, Richard insulting
over his misfortunes literally granted his
request, ordered him to be bound in chains of
Silver.]
[Sayer & Bennett. n.d., c.1777.]
Mezzotint. Rare & very scarce. Central vertical crease.
Cut inside image. Light creasing to sheet.
£220
Isaac Komnenos (c.1155 – c1195), ruler of Cyprus.
bowing before King Richard I of England, who sits on
a terrace in armour. He is seen gesturing towards silver
shackles which are held by a soldier in the foreground,
while Komnenos' daughter stands weeping beside him.
Three soldiers wait behind them. Richard the
Lionheart conquered the island in 1191 during the
Third Crusade, in revenge for Isaac keeping Berengaria
of Navarre and Joan of England (Richard's fiancée and
sister) captive. Richard promised Isaac not to put him
into irons and so kept him prisoner in chains of silver.
Cyprus interest.
Stock: 36642
Lady Elizabeth Grey imploring of
Edward IV the restitution of her deceased
Husbands Lands, forfeited in the dispute
between the houses of York and Lancaster.
Rapin's Hist, Vol V, Page 26. Dedicated to the
Queen by her Majesty's dutiful and most
obedient humble Servant W.W.Ryland.
558.
Angelica Kauffman ex academia Regali Londini pinx.t.
Guliemus Wynne Ryland Chalcographus Regis
Britannia sculp.t. Publish'd as the Act directs March 1,
1780 for the Proprietor W.W.Ryland N.o.159 Strand
London.
Stipple with large margins left & right. Plate: 390 x
330mm, (15½ x 13"). Trimmed to plate on upper and
lower margins.
£260
A scene in which Lady Elizabeth Grey, requests the
lands of her late husband Sir John Grey of Groby who
died fighting for the Lancastrians in the Second Battle
of St Albans in 1641, from Yorkist king Edward IV.
Elizabeth Grey would go on to marry Edward IV in
1464. Elizabeth kneels down before the king who takes
her hand, several courtiers stand around and Elizabeth's
two sons Richard and Thomas stand by her.
Stock: 36867
559. The Bard, from Mr. Gray's Ode.
Founded on a Tradition current in Wales, that
Edward the 1st, when he compleated the
Conquest of that Country, order'd all the
Bards, that fell into his Hands to be put to
Death.
Painted by Tho.s Jones, F.S.A.G.B. Engraved by J.R.
Smith. Engraved from an Original Painting, in the
possesion of Oldfield Bowles Esq.r. to whom this plate
is inscribed by his particularly obliged, and very
obedient humble servant, J.R. Smith. Publish'd 30th
March 1775 by J. Dodsley, Bookseller, Pall Mall. T.
Bradshaw, James Street Covent Garden, and J.R.Smith,
No. 10 Bateman's Buildings Soho Square.
Mezzotint with small margins, very scarce. Platemark:
460 x 580mm (18 x 22¾"). Trimmed to plate at lower
edge. Light rubbing and creases in places. Few repairs.
A wild mountain top scene where an old bard, holding
a harp, stands at the edge of a cliff, looking towards the
sunrise and a deserted standing stone on the left. He is
about to throw himself over the edge as Edward I's
army approaches from behind the mountain in the
distance on the right.
An illustration to Thomas Gray's poem, 'The Bard. A
Pindaric Ode', 1757. Set at the time of Edward I's
conquest of Wales, the poem was inspired partly by his
researches into medieval history and literature, and
partly by his discovery of Welsh harp music. It was
itself a potent influence on future generations of poets
and painters, seen by many as the first creative work of
the Celtic Revival and as lying at the root of the
Romantic movement in Britain. Frankau: 27 II of II;
D' Oench: 55
Stock: 36896
560. Cupidon Achette Trop Cher. Engraved
from a fine high finished Painting in Water
Colours after the Antique by F. Bartolozzi.
Jos. Tturts pinx. F. Bartolozzi Sculps. London, Pub.
Dec.r 1. 1786 by J. Thane. Rupert Street, Hay Market.
Stipple printed in colour with large margins.
Platemark: 200 x 225mm (8 x 8¾"). Slight staining.
£240
Mercury and Venus leading a young girl towards
Jupiter and Juno, seated on a throne on the left. On the
far right, Cupid is seen crying. Within an oval.
After British printmaker, author and poet, Joseph Strutt
(1749 - 1802). Engraved by one of the founding
members of the RA, and the founding President of the
short-lived Society of Engravers, Francesco Bartolozzi
(1727 - 1815). De Vesme 389. V of V.
Stock: 36457
561. Antiope, Sleeping, Suprized by Jupiter in
the Form of a Satyr. Jupiter sous la Forme
d'un Satyre, Suprenant Antiope Endormie. To
The Most Serene Highness Charles Theodore,
Elector Palatine Reigning Duke of Bavaria, &c.
&c. &c. This Plate Engraved by His Gracious
Permission from the Original Picture in the
Electoral Gallery in Dusseldorf, is dedicated by
His Most Devoted and Obedient Humble
Servants. Valentine Gree. Rupert Green.
Painted by Anthony Vandyke. Engraved by V. Green
Mezzotinto Engraver to his Majesty, & to the Elector
General. In Mons.r. Pigage's Catalogue of the
Dusseldorf Gallery this Subject is N.o.22. Published
Jan.y. 2.d.1792, by V. & R. Green Newman Street,
London.
Mezzotint with very large margins, rare; Plate: 510 x
610mm, (20 x 24"). Some light foxing. Repaired
damage in margins. Stain on right.
£520
64. Cupid and Psicah.
56
[A
Attributed to Isaac Beckett.]] Sold by J. Sm
mith at ye
Ly
yon & Crown
n in Russell Str
treet. [n.d., c. 1680.]
Mezzotint.
M
Colllector's stampp on reverse, 'B
B.K.'. Very
raare. Sheet size: 300 x 215mm
m (11¾ x 8½"). Trimmed
in
nside plate.
£260
Pssyche, nude an
nd asleep on a rock, with an
n opened
caasket beside her; behind herr, Cupid, wing
ged and nude,
gaazes down at her;
h bottom rigght, thistles; in
i the
baackground, treees. Ex collecttion of Christo
opher
Leennox-Boyd
Stock: 36889
A sleeping A
Antiope, daughhter of the riveer god Asopuss,
is approachedd by the god Zeus
Z
in the forrm of a satyr.
Several cheruubs play amonngst the tree to
ops while an
eagle, the sym
mbol of Zeus,, holds thundeerbolts in its
mouth behindd the couple. No. 113 in Green's
G
Catalogue off his Dusseldoorf Gallery Exh
hibition.
Goodwin: 2778
Stock: 36537
Les E
Enfants de Bacchus
B
[parallel text in
n
Italian] Grravés d'aprèès le Tableau
u original d e
Watteau haaut d'un pieed 10 poucess sur 2 piedss 3
pouces de llarge. / Ce Tableau
T
aparrtient a Mr..
Morel Banq
quier à Pariis.
562.
Watteau pinxx. / Fessard scculp. a Paris ch
hez la Veuve dde
F. Chereau, ggraveur du Rooy rue St. Jacq
ques aux deuxx
pilliers d'Or A
Avec privilegge du Roy.
Etching, raree; platemark 350 x 415mm (13¾
(
x 16¼")).
Trimmed insside platemarkk; tears; good impression.
£2660
he edge of a
'The Childrenn of Bacchus' playing on th
wood, decoraating and playying with a goat with pan's
pipes.
f
the
After Antoinne Watteau ( 1684 - 1721), from
'Recueil Julliienne' series, Plate
P
228 to 'L
L'Oeuvre
d'Antoine W
Watteau Peintree du Roy'. Jean
n de Julliennee
(1686 - 17666) was a Parisiian collector and
a patron of tthe
arts who ownned some 450 drawings by Watteau, and
had them enggraved.
Stock: 36383
563.
Clytiie. In the coollection of John
J
Strangge
Esq.r.
Annibal Caraacci Pinxit. Joohn Boydell ex
xcudit 1778. JJ.
B. Michel Scculpsit. Published May 1st, 1778, by Johnn
Boydell, Enggraver, in Cheapside London.
Stipple. Sheeet size: 305 x 240mm
2
(12¼ x 9½").
Trimmed insside plate at toop and side edges.
£1660
Clytie, sittingg on a rock to the right, holding a
sunflower, puushing away Cupid
C
with a thorny
t
branchh,
while he takees her hand, holding a blaziing torch.
Within a rounndel. after Caarracci; state with
w number
added and tittle. Clytie wass a character in
n Greek
mythology w
who became jeealous of her lover, the sun
god Apollo. T
To punish herr, he transform
med her into a
sunflower soo that she would always facee towards him
m
in his daily joourney acrosss the skies.
Stock: 36890
56
65. Diana The bright Diana and her
h Nymph
were
w
found, / Laid Side bby side, & both a
slleeping soun
nd [...]
A.
A Watteau pinx. / T. Ryley ffecit. Printed for John
Bowles at the Black
B
Horse inn Cornhill Lon
ndon [c.1750]
Mezzotint,
M
rare; platemark 3550 x 250mm (13¾
(
x 9¾").
Th
hread marginss; 'CL-B' colleector's stamp verso.
v
£350
Diana
D
and a nym
mph sleep, wiith a satyr looming over
th
hem. Mezzotin
nt in reverse oof an etching published
p
in
Jeean de Jullienn
ne's posthumoous edition of prints after
Watteau's
W
draw
wings, traditionnally known as
a the 'Recueill
Ju
ullienne'. Jullieenne was one of the leading
g French
am
mateurs and co
ollectors of thhe eighteenth century
c
and
in
n assembling prints
p
reproduc
ucing Watteau''s drawings
hee did much to spread the arttist's reputatio
on outside
Frrance. Ex: colllection of the Late Hon. C. LennoxBo
oyd.
Stock: 36208
56
66. [The Ju
udgement off Paris. In th
he Drawing
Room
R
at Hou
ughton.]
Lu
uca Giordano. [in printed ar
area.] R Earlom
m Sculp.st.
17
778. [John Bo
oydell.]
Mezzotint
M
with very large maargins, proof before
b
title.
Pllate: 460 x 390mm, (18 x 155¼").
£360
A scene upon Mount
M
Ida illuustrating Paris'' judgement
off the three god
ddesses Hera, Aphrodite and Athena.
Th
he shepherd Paris,
P
holding the golden ap
pple in his
haand, looks upo
on the three gooddesses, Ath
hena in the
middle
m
sat alon
ngside her helm
met and armou
ur, Aphrodite
on
n the right surounded by puutti and doves,, and Hera on
th
he left. Hermes, who led thee three to Pariss lurks
beehind a tree.
Stock: 36838
56
67. Apollo & Daphne.
Ex
x Tabula Titiaani. J. Smith fe
fecit Londini. 1709.
Mezzotint
M
with very large maargins; platem
mark 415 x
28
80mm. 16¼ x 11".
£350
Daphne,
D
her hands beginningg to sprout leaaves and
brranches, pursu
ued by Apolloo. In the foregrround,
Daphne's
D
fatherr, the river-good Peneus.
Frrom the seriess 'Tabulæ noveem coelo elab
boratæ ad
to
otidem Titiani archetypos / Nine Prints frrom the
Celebrated Pain
ntings of Titiaan, in the Duke of
Marlboroughs
M
Gallery,
G
at Bleenheim' by thee famous
eaarly mezzotintter John Smithh (1652 - 1743
3). The
seeries, common
nly known as ''The Loves off the Gods',
deerives from a series of leathher wall-hangiings formerly
in
n the Titian Ro
oom at Blenheeim destroyed
d by fire in
1861. The atttribution to Tiitian is uncertain, however,
and was doubbted as early as
a 1766 (see G.
G Scharf,
Catalogue Raaisonné, Blenhheim Palace, London,
L
18622,
pp. 83-92). T
The designs reelate to prints by
b Caraglio
after Perino ddel Vaga and Rosso Fiorenttino. Ex:
collection off the Late Hon. C. Lennox-B
Boyd.; for
impression pprinted in sepiaa see ref. 10496; Wessely:
340
Stock: 36201
An
A illustration of Ovid's tale of Minerva and
a Arachne,
in
n which the go
oddess of wisddom and war shows
s
great
an
nger when a mortal,
m
Arachnne, boasts thatt her skill of
sp
pinning and weaving
w
is greaater than that of
o Minerva.
Minerva,
M
seen on
o the right, aassumes the ch
haracter of an
olld woman, and
d in a friendlyy tone, warns the
t 'foolish
giirl' against succh a display off 'false pride'. A loom and
laarge tapestry are
a seen on thee left.
By Elias Martin
n, A.R.A. Sweedish, born Sttockholm in
739, died Stocckholm 1818. He came to London
L
in
17
17
768, becoming
g a Royal Acaademy studentt the next
yeear and was ellected A.R.A iin 1770.
Stock: 36346
57
70. [Nymph Carrying Cupid.]
R.d. C. del. Maaria Cosway sccul. [n.d., c.17
790.]
Aquatint
A
with some
s
etching, very large maargins. Plate:
22
20 x 280mm, (8¾ x 11").
£75
A nymph-like figure
f
runs thrrough the clou
uds carrying
Cupid on her sh
houlders.
Stock: 36331
[Set of three printss in various states.]
Penelope takiing down thhe Bow of Ullysses.
From the orig
ginal Picturre in the Colllection of
Lord
L
Boringd
don.
57
71.
568. Bacchus & Ariad
dne
Ex Tabula Tiitiani. J. Smithh fecit Londin
ni. 1709.
Mezzotint wiith very large margins, platemark 415 x
280mm. 16¼
¼ x 11".
£5000
Ariadne, disccovered on thee island of Naaxos by the good
Bacchus, havving been left there by her lover
l
Theseus
(whose ship sails away in the distance). A putto bringgs
grapes to echho those worn by Bacchus, the god of
wine. The chheetah is one of
o two which drew
d
Bacchuss'
chariot.
From the seriies 'Tabulæ noovem coelo ellaboratæ ad
totidem Titiaani archetyposs / Nine Printss from the
Celebrated P
Paintings of Tiitian, in the Du
uke of
Marlboroughhs Gallery, at Blenheim'
B
by the famous
early mezzottinter John Sm
mith (1652 - 17
743). The
series, comm
monly known as
a 'The Loves of the Gods',
derives from
m a series of leaather wall-han
ngings formerrly
yed by fire in
in the Titian Room at Blennheim destroy
1861. The atttribution to Tiitian is uncertain, however,
and was doubbted as early as
a 1766 (see G.
G Scharf,
Catalogue Raaisonné, Blenhheim Palace, London,
L
18622,
pp. 83-92). T
The designs reelate to prints by
b Caraglio
after Perino ddel Vaga and Rosso Fiorenttino. Ex:
collection off the Late Hon. C. Lennox-B
Boyd. Ref:
Wessely: 3411.
Stock: 36202
Mineerva and Arrachne. See Ovid.
Metamor.s.
569.
E. Martin Invv.t & Sculp.t. Published as the
t Act directts,
1799.
Stipple with hand colour laarge margins, very fine.
( x 6¼").
£2660
Platemark: 210 x 160mm (8¼
A.
A Kauffman, R.
R A. pin.t. T. Ryder Sculp.t. Publish'd
Ju
uly 1st. 1791,b
by B. B. Evanns, Poultry Lon
ndon.
Seet of three stip
pple engravinggs. Platemark: 390 x
28
80mm (15¼ x 11") each. Ha
Hand lettered proof
p
im
mpression trim
mmed inside pllate. Untitled proof
im
mpression has light surface m
marks and chips to right
an
nd top edges, cut
c to platemaark. Titled imp
pression has
lig
ght spotting in
n very large m
margins. Foxin
ng.
£520
A set of three prints
p
in variouus states; two proof
im
mpressions priinted in brownn ink. Lettered
d impression
with
w full titles and
a publicatioon lines.
Peenelope, stand
ding in profilee to left, reaches up to free
th
he bow from th
he sash tying iit to a column
n, while
an
nother woman
n crouches in tthe foreground
d, preparing a
qu
uiver.
Pu
ublished as a pair
p to item reef: 36444, 'Venus shewing
Aeneas
A
the Roaad to Carthagee', by Benjamiin Beale
Ev
vans, 1791. After
A
Angelicaa Kauffman, RA
R (1741 18
807), a Swiss--born Austriann Neoclassicall painter who
haad a successfu
ul career in Loondon and Rom
me.
Stock: 36450
57
72. [Set of three printss in various states.]
Venus
V
shewin
ng Aeneas thhe Road to Carthage.
C
From the orig
ginal Picturre in the Colllection of
Lord
L
Boringd
don.
A.
A Kauffman R.A.
R pin.t. T. R
Ryder Sculp.t. Publish'd
Ju
uly 1.st 1791, by B. B. Evanns, Poultry Lo
ondon.
Seet of three stip
pple engravinggs. Platemark: 390 x
29
90mm (15¼ x 11¼") each. Two proof im
mpressions aree
triimmed close to
t platemarks;; Impression printed
p
in
brrown ink has light
l
spotting,, impression printed
p
in
bllack has a few
w light surface marks with th
he top left
co
orner missing. Lettered imppression has fu
ull margins.
Fo
oxing.
£590
A set of three prints
p
in variouus states; two proof before
leetter impressio
ons, one of whhich is printed in brown
ink. Lettered impression with full titles and publication
line.
A scene depicting Venus, disguised as a Carthaginian
huntress, standing in the centre with a bow on her back,
showing two soldiers at left (Aeneas and Achatës) in
the direction of a fortress in the city of Carthage, to the
right. In the middle ground is da river with swans and a
woodland to the left.
Published as a pair to item ref: 36450, by Benjamin
Beale Evans, 1791. After Angelica Kauffman, RA
(1741 - 1807), a Swiss-born Austrian Neoclassical
painter who had a successful career in London and
Rome. States; IV, V and VI.
Stock: 36444
573. Venus applying to Jupiter for the
destruction of Telemachus. While Mentor
guards the youth from Beauty's snares, [/]
Th'affronted Goddess for revenges prepares.
[/] When Venus pleased, ev'n Jove can ill
refuse, [/] And yields reluctant to Minerva's
views.
[Published by John Hinton 1779.]
Engraving. Sheet: 120 x 205mm (4¾ x 8"). Trimmed
in lower edge. Some damage to upper margin.
£60
Frontispiece to 'The Universal Magazine of of
Knowledge and Pleasure...' Vol LXIV January 1779.
Illustrating a excerpt from the Odyssey in which
Venus, angered at Telemachus' search for his father
Odysseus asks Jupiter for permission to kill him.
Venus surrounded by putti stands before Jupiter, who
is sat upon a throne of clouds, while other gods look
on.
Stock: 36037
574. [Two scenes with dwarfs.]
[Anon, c.1680.]
Two etchings, each approx. 115 x 100mm (4½ x 4").
Both trimmed around image and laid on backing card.
£160
Two scenes of dwarfs, one as a ratcatcher and another
drinking. There was a popular interest across the
continent for scenes of what were sometimes described
as 'Lilliputian characters' in the late 17th-early 18th
century.
Stock: 36628
575. The Chavolant; or Kite Carriage.
Engraved by Percy Roberts. London. Published by
Sherwood & Co. 1827.
Aquatint. Platemark: 215 x 135mm (8½ x 5¼"). Thread
margins.
£120
George Pocock (1774–1843) was an English
schoolteacher and inventor of the 'Charvolant', a kitedrawn carriage. In 1826, he patented the design of his
'Charvolant' buggy, which used two kites on a single
line to provide enough power to draw along a buggy
carrying several passengers at considerable speed. This
scene depicts five figures in the buggy, travelling along
a road in the centre. The two well dressed figures at the
back wave to onlookers on both sides.
Stock: 36322