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[The Triumph of Acis and Galatea]
[The Triumph of Acis and Galatea]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pub'd. as the Act directs Mar.h 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 225 x 320mm (9 x 12½") very large margins.
Acis and Galatea, lovers whose story is recounted in Ovid's 'Metamorphoses', and went on to inspire numerous works of art, literature and music from the Renaissance onwards. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy 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. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 350.iii
[Ref: 43425]   £240.00  
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Adveniat Regnum Tuum.
Adveniat Regnum Tuum. Matt. 6. 10.
M. Heemskerck inventor
[Johannes Wierix? n.d., c.1600.]

'Thy Kingdom Come'. A fierce winged devil straddles the globe of the world, holding a large sceptre and chains shackling people. They entreat God who appears through the clouds top right. After Maarten van Heemskerck (1498-1574).
This state with '2' bottom right. Not in BM.
[Ref: 21342]   £220.00  
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Tableau de Paris. Galerie des Negociauts. No. 10.
Tableau de Paris. Galerie des Negociauts. No. 10. Apparition nocturne.
Hautecoeur Martinet. Lith de Feillet.
[n.d. c.1830.]
Hand-coloured lithograph. 272 x 280mm. 10¾ x 11".
A man sat up in bed startled by his apparition of bleeding dogs at the end of the bed.
[Ref: 21571]   £130.00   (£156.00 incl.VAT)
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[Arabesque Ornament.]
[Arabesque Ornament.]
[Barthel Beham. Allaert Claesz.]
[n.d., c.1530.]
Engraving. Sheet: 25 x 75mm (1 x 3"). Framed. Trimmed. Unexamined out of frame.
Decorative item depicting sea monsters and a horned, winged creature.
Hollstein 214. From Collection of Christopher Mendez.
[Ref: 35189]   £240.00  
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[Germany] Leonhart Artbaur war geboren zu Dalmesing Anno 1650.
[Germany] Leonhart Artbaur war geboren zu Dalmesing Anno 1650. Alles mit Gott, und nichts ohn Ihn.
[n.d. c.1780.]
Very fine engraving. Plate 255 x 180mm. 10 x 7".
An oval portrait within an eleborate border containing an owl, four monkeys with human-like bodies blowing bubbles and a view of a small village.
[Ref: 15550]   £95.00   (£114.00 incl.VAT)
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La Fontaine Enchantée de la Verité d'Amour.
La Fontaine Enchantée de la Verité d'Amour. Dédiée à Monsieur Alexandre Roslin, Chevalier de l'Ordre Royal [...]
Dessiné par C.N. Cochin, Chevalier de l'Ordre de St. Michel / Gravé a l'Eau forte par Aug. de St Aubin, et terminé au Burin par C.F. Macret
a Paris chez Demonchy Graveur Cloitre St. Benoit la 1.re porte cochere à gauche par la rue des Mathurins A.P.D.R.
Engraving, sheet 315 x 380mm (12½ x 15"). Trimmed inside platemark; glued to backing sheet.
Illustration to Honoré d'Urfé's prose romance 'Astrée': Celadon, Silvandre, Astrée and Diane, followed by two unicorns, approach the enchanted fountain of the truth of love, which is protected by two lions.
[Ref: 38615]   £180.00   (£216.00 incl.VAT)
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[St Beatus praying before a cave]
[St Beatus praying before a cave] Hic vera Helvetris ostendit numina Petri Unctus erat dextra, Barnabae alumnus erat [...]
Jan Sadeler sculp Marti de Vos figur [c.1600]
Engraving, sheet 165 x 210mm (6½ x 8¼"). Trimmed to image on 3 sides.
St Beatus praying before a cave, with a dragon nearby. After Marten de Vos (1532-1603), Flemish artist who was one of the most important painters of altarpieces in Antwerp during the 1590s.
[Ref: 43119]   £65.00   (£78.00 incl.VAT)
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[Hieronymus Bosch]
[Hieronymus Bosch] Hieronymo Boschio, Pictori. Quid sibi vust Hieronyme Boschi, / Ille oculus tuus attonitus? qui / Pallor in ore? velut lemures si, [...] 3.
Th. Galle exc [c.1600]
Engraving, platemark 210 x 120mm (8¼ x 4¾") very large margins.
Hieronymus Bosch (1450-1516), Dutch painter and draughtsman whose remarkable work, characterized by fantastic and grotesque creatures, was unprecedented in European art. Later state of a plate first published in 1572 by the widow of Hieronymus Cock. In this state it was published after 1600 in the Antwerp publisher Theodor Galle's 'Illustrium Quos Belgium Habuit Pictorum Effigies. Antwerpiae'.
[Ref: 43316]   £190.00   (£228.00 incl.VAT)
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Bunbury's Whims.  Round.  Triangle.  Square.
Bunbury's Whims. Round. Triangle. Square.
Engraved from an original Drawing by the late Henry Bunbury, in the possession of the Publisher.
[London, n.d., c.1820s.]
Hand-coloured etching. Sheet: 260 x 190mm (10¼ x 7½"). Trimmed.
Satire showing three highly stylised geometric figures composed of circles, triangles and squares/rectangles respectively. From an early edition of 'Whims and oddities: in prose and verse' by humourist and poet Thomas Hood (1799-1845). Lettered with a couplet by Hood beneath each caption.
[Ref: 41589]   £140.00   (£168.00 incl.VAT)
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[Child Christ defeating the demon.]
[Child Christ defeating the demon.] Per mortem destrucit eum qui babebat mortis imperium, id est, diabolum. Hebr. 2.
D. Hallé pinxit. G.E. delinck Sculp.
a Paris chez P. Drevet rue St jâque à l'Annonciation.
Engraving. Sheet 435 x 530mm (17¼ x 20¾"). Trimmed within platemark, horizontal centre fold. Occasional foxing.
Christ stabbing the dragon-devil with the heel of his crozier, his right hand raised in the sign of the benediction. Around them are the heads and wings of the cherubim. The print was engraved by Gérard Edelinck after Daniel Hallé and published by Pierre Drevet. Pencil mss. on the reverse notes this as a frontispiece to the Bible's Epistles to the Hebrews: the quote comes from Hebrews 2 and means 'through death he might destroy him that had the power of death, that is, the devil'.
BM: X,6.4. Robert Dumesnil VII 186-16 Undescribed State.
[Ref: 33781]   £240.00  
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A Peep at the Corsican Fairy.
A Peep at the Corsican Fairy.
Pub.d Jan.y 1 1807 by T. Tegg 111 Cheapside.
Etching with hand-colouring, sheet 245 x 345mm (9¾ x 13½"), fleur-de-lys watermark. Trimmed inside platemark; tear top right.
John Bull, as a showman on the left, displays Napoleon, 'the Corsican Fairy' to interested spectators representing various European countries. Napoleon is prevented from moving by a large padlock inscribed 'the British Navy'. John Bull holds in his hand a disk labelled 'Malta' and warns his audience that Napoleon 'put himself into a great passion with me about the sugar plumb I hold in my hand'. One of many prints made in response to the feared invasion of Britain by Napoleon c.1803. The French occupied Malta between 1798 and 1800. This plate was first published by Piercy Roberts in 1803, but after Roberts sold his stock of plates to Thomas Tegg in 1806 Tegg reissued the plate. This impression bears Tegg's 1807 publication line.
BM Satires 10032.
[Ref: 47129]   £280.00  

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[The death of the beautiful Gabrielle d'Estrées]
[The death of the beautiful Gabrielle d'Estrées] Mort de la belle Gabrielle destrés [in ms lower margin]
Ch. Eisen inv. et fec. 1765 J.F. Rousseau Sculp.
a Paris chez Basan [c.1760]
Engraving, platemark 230 x 150mm (9 x 6").
Engraving after Charles Eisen (1720-78), painter, draughtsman and illustrator, believed to be an allegorical representation of the death of Gabrielle d'Estrées (1573-99), mistress of Henry IV of France. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, La Fontaine and Erasmus.
[Ref: 46500]   £190.00   (£228.00 incl.VAT)
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The Good Man at the Hour of Death [&] The Bad Man at the Hour of Death.
The Good Man at the Hour of Death [&] The Bad Man at the Hour of Death.
F. Hayman Pinxit. T. Chambars Sculp.t.
[Good Man] Published by W. Marshall, 1 Holborn Bars, London, Nov.r 1 1830.]
Pair of engravings. Sheets 410 x 330mm (16 x 13"). Both trimmed to plate, publisher's insciption lacking from 'Bad Man' but not excised.
The 'Good Man' is approached by Old Father Time, who holds out an hourglass; the 'Bad Man' recoils from a skeletal Grim Reaper waving a spear. 1830 restrikes of prints first published by Boydell in 1783. 'These two large engravings, published by Boydell in 1783, are the only surviving record of a fascinating decorative scheme commissioned by Jonathan Tyers [proprietor of Vauxhall Gardens], probably in the late 1740s, for the garden of his weekend retreat, Denbies, near Dorking in Surrey. If Vauxhall Gardens was designed primarily for public enjoyment, then, by contrast, Denbies was created for Jonathan Tyers' personal delectation and reflects his apparent preoccupation with the theme of death and "momento mori"' (Allen). Hayman, who also produced large decorative paintings for Tyers at Vauxhall, for this commission made two life-size pictures (to which these engravings are related) which were installed inside an amphitheatre in Tyers' garden at Denbies. The paintings, were, 'along with all traces of this macabre garden, destroyed soon after Tyers' death in 1767'.
Ex Collection of the Hon Christopher Lennox-Boyd; see Brian Allen, 'Francis Hayman' 72A+B.
[Ref: 31733]   £490.00   view all images for this item
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Death in a Frolic or the Misers exit.
Death in a Frolic or the Misers exit.
London, Printed for R. Sayer & J. Bennett No.53 Fleet Street, as the Act directs 21 Aug.t 1778.
Mezzotint with large margins, very scarce. Plate 355 x 254mm (14 x 10"). Crinkling and creasing. Tatty.
Death, as a skeleton with a violin, fiddling before a bearded old man seated at a desk covered with coins and documents, spectacles in one hand and one gouty foot on a stool in front of him; in the background, to right, seen through a door, Death visiting a younger gentleman wearing a plumed hat. A mezzotint by Bernard Lens II, in reverse direction, may have been the source for this. First state [recorded in the Lennox-Boyd database].
BM: 2010.7081.942
[Ref: 30668]   £280.00  
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[The Rape of Dejanira]
[The Rape of Dejanira]
G.B. Cipriani invt. F. Bartolozzi sculpt.
Publish'd. as the Act directs by F. Bartolozzi, 1787.
Etching printed in sepia, platemark 255 x 310mm (10 x 12¼") very large margins.
Very dramatic image showing Dejanira abducted by the centaur Nessus. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy 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. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 455.iii
[Ref: 43419]   £220.00  
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[15 Plates from 'Disillusion of Sinners'.] Desenganno dos Peccadores.
[15 Plates from 'Disillusion of Sinners'.] Desenganno dos Peccadores. Descendant in infernum uiuentes Ne descendant morientes.
[Alexandre Perier.]
[Lisbon: Antonio Pedrozo Galram, 1735.]
Engraved title and 14 plates (all issued). Sheet: 135 x 200mm, (5¼ x 8"), including large margins. Paper tone, damage and surface dirt, lacking all text.
A very scarce set of fifteen plates from 'Desenganno dos Peccadores' (Disillusion of Sinners) by Jesuit priest Alexandre Perier and first published in Rome in 1724. The various plates each illustrate with graphic imagery, discussions on different forms of torture sinners would face in Hell as well as advice on how to avoid such a fate. During the start of the 18th century there was a trend in Portugal for literature which focused on themes of guilt and sin, of which this is an excellent example. The punishements portrayed include one figure being impaled through the eye by a large bolt hammered by a manic demon. Another shows a man being force-fed a mixture of scorpions, lizards and snakes.
We have traced a free downloadable PDF of the full text and illustrations.
[Ref: 41508]   £3,500.00   view all images for this item
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St. Dunstan and the Devil.
St. Dunstan and the Devil. St Dunstan (as the Story goes) / Once pull'd the Devil by the Nose. / With red hot Tongs which made him roar, / That he was heard three Miles and more.
[Anon., c1740]
Engraving, sheet 165 x 120mm (6½ x 4¾"). Trimmed and glued to album sheet; small view of St Dunstans after Paul Sandby verso.
St Dunstan (d.988), archbishop of Canterbury, holding the devil with his tongs, as claimed by an 11th century legend.
[Ref: 37645]   £130.00   (£156.00 incl.VAT)
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[The Harrowing of Hell.]
[The Harrowing of Hell.]
[Anon. after Albrecht Dürer, c.1650.]
Etching, platemark 125 x 100mm (5 x 4"). Top right corner missing, damaged. Thread margins.
Copy of Albrecht Dürer's (1471-1528) woodcut 'The Harrowing of Hell' from his small woodcut passion series of 1510-11. Dürer's series told the story of Man's Salvation from the Fall to the Last Judgement, in 37 images. It was published in a book with a text by a Nuremberg Benedictine monk, evolving a new kind of book in which the pictures were the main element.
[Ref: 41706]   £320.00  
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Alfred Crowquill's Sketches From Jullien's Bal Masque.
Alfred Crowquill's Sketches From Jullien's Bal Masque. The Early Bird. What Tired Already? Shut Its Dear Little Mouth, For I Am Engaged By Twenty More Partners!
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 381 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7814]   £260.00  
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[Illustration to L'Anneao d'hans Carvel by La Fontaine]
[Illustration to L'Anneao d'hans Carvel by La Fontaine]
[After Charles Eisen, c.1761]
Engraving, sheet 200 x 130mm (8 x 5"). Trimmed to platemark.
Illustration to the 'Fermiers généraux' edition of the 'Contes' (tales) of Jean de la Fontaine, after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus.
[Ref: 46488]   £70.00   (£84.00 incl.VAT)
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[Illustration to
[Illustration to "Les Lunettes" by La Fontaine]
[After Charles Eisen, c.1761]
Engraving, sheet 200 x 130mm (8 x 5"). Trimmed to platemark.
Illustration shows a nun fainting on seeing a naked man, from the 'Fermiers généraux' edition of the 'Contes' (tales) of Jean de la Fontaine, after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus.
[Ref: 46489]   £120.00   (£144.00 incl.VAT)
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[Illustration to a fable by La Fontaine?]
[Illustration to a fable by La Fontaine?]
C. Eisen inv. E. De Ghendt Sculp.
Engraving, sheet 200 x 130mm (8 x 5"). Trimmed to platemark.
Probably an illustration to the 'Fermiers généraux' edition of the 'Contes' (tales) of Jean de la Fontaine, after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus.
[Ref: 46493]   £60.00   (£72.00 incl.VAT)
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[France finds consolation in the arms of peace]
[France finds consolation in the arms of peace] La France consolee entre les bras de la paix. Dedié au Roi.
F. Chauveau in. J. Boulanger fecit.
P. Bertrand ex. cum privil. Regis [c.1651]
Engraving, platemark 415 x 545mm (16¼ x 21½") large margins. Fold through centre as issued. Slight foxing.
Allegorical scene predicting that Louis XIV will end divisions in France. France (represented by Louis) embraces peace; a winged warrior above whom is inscribed 'souhait des bons francois' ('wishes of good frenchmen') pursues the cowering figures of Fury, Envy and Discord. Engraved by Jean Boulanger (1608-c.1680) after François Chauveau (1613-76).
IFF 111
[Ref: 45433]   £320.00  
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[Watercolour of a little person.]
[Watercolour of a little person.]
[Anon., c.1820]
Watercolour, sheet 195 x 130mm (7¾ x 5").
[Ref: 43109]   £140.00   (£168.00 incl.VAT)
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Incantation Scene. Der Freischütz.
Incantation Scene. Der Freischütz.
[n.d., c.1840.]
Lithograph. Sheet 385 x 200mm (15¼ x 7¾").
'Der Freischütz' ('The Marksman') a German opera by Carl Maria von Weber. Caspar calls upon Samiel, the Black Huntsman, for assistance in casting magic bullets to win a shooting competition.
[Ref: 38847]   £160.00   (£192.00 incl.VAT)
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Der Freischütz.
Der Freischütz. Zamiel appearing to the Summons of Caspar in the Wolf's Glen.
[n.d., c.1840.]
Lithograph. Sheet 300 x 205mm (12 x 8").
'Der Freischütz' ('The Marksman') a German opera by Carl Maria von Weber. Caspar calls upon Samiel, the Black Huntsman, for assistance in casting magic bullets to win a shooting competition. Skulls in foreground.
[Ref: 38846]   £160.00   (£192.00 incl.VAT)
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The French Lady in London
The French Lady in London William, toutou, Perroqué et Romina-gros-bis, d'epouvante se fourreroient dans un trou de souris
[After S.H. Grimm, c.1771]
Engraving, sheet 355 x 260mm (14 x 10¼"). Trimmed to platemark; nick on left; creasing. Time staining.
Satire on continental fashions, with a lady besporting an absurd coiffure interrupting a man reading a 'lecture on heads', causing him to dive out of the way. The various animals in the room are equally perturbed. On the wall is a picture of the peak of Tenerife, drawing a comparison between the mountainous island and the height of the coiffure. Copy in reverse of a print of the same title published by Sarah Sledge in 1771.
BM Satires 4784 (copy)
[Ref: 38891]   £260.00  
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Geoffry the Diver
Geoffry the Diver
J. Leech [c.1850]
Etching with hand-colouring, sheet 285 x 195mm (11¼ x 7¾"). Slight paper tone and offsetting.
Bizarre book illustration by prolific Victorian book-illustrator John Leech (1817-64) best-known for his work with Dickens.
[Ref: 33981]   £90.00   (£108.00 incl.VAT)
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The Ghost.
The Ghost.
Designed & Published by G. Rowe [n.d., c.1839]
Rare lithograph, printed area250 x 295mm (9¾ x 11½"). Repaired tear to margins.
Four bankers sit at a table making an inventory of the complex assets of the 'ghost' of the title, who, to make things more complicated, hovers above the company, gleefully distributing codicils. One of these is in the includes the text 'Corporation of Gloucester' and 'Jam. Wood'. The artist and lithograph George Rowe (1796-1864) lived in Cheltenham and depicted sights and people of local interest. The 'ghost' in question here is probably James Wood (1756-1836), who ran Gloucester Old Bank, one of the earliest private banks in England. After Wood's death it was absorbed by the County of Gloucestershire Banking Company. Rowe also made a print of Gloucester Old Bank.
For Rowe's print of Gloucester Old Bank see ref. 17546.
[Ref: 42003]   £140.00   (£168.00 incl.VAT)
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[Grotesque Figure.]
[Grotesque Figure.]
[H.B. Ker after Callot.]
[n.d. c.1812.]
Etching. 140 x 190mm (5½ x 7½"). Cut.
A grotesque figure with human body and bird-skull head, holding a trumpet; image printed from the left side of the plate. (Charles) Henry Bellenden Ker (1780-1871), a lawyer active in the Boundary Commission just before the Reform Act of 1852 and amateur artist. As a young man he was patron to William Blake but Blake had to take legal steps to get paid.
Ex. Collection of the Hon.Christopher Lennox-Boyd.
[Ref: 34803]   £140.00   (£168.00 incl.VAT)
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Gullivers Travels in Lilliput in Brobdingnag.
Gullivers Travels in Lilliput in Brobdingnag.
[Anon, c.1830]
Fine hand coloured wood engraving, scarce, sheet 205 x 255mm (8 x 10"). Trimmed around image and title; laid on album sheet.
Popular print with fourteen vignettes of scenes from the first two books of Swift's novel 'Gulliver's Travels'. An interesting record of how the novel was represented visually in the 19th century.
[Ref: 32279]   £220.00  
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The Hammersmith Ghost.
The Hammersmith Ghost.
Pub.d by R.S. Kirby, London Houe Yard & I. Scott, 447 Strand, Feb. 1 1804.
Engraving. 200 x 110mm, 8 x 4½".
In 1803 the 'Hammersmith Ghost', apparently the spirit of a man who had committed suicide by cutting his own throat, was terrorising the area and one of his victims, a woman taking a shortcut through a graveyard, died of shock. In the ensuing furore a dust-covered bricklayer was shot dead by a customs officer (who was sentenced to death but was reprieved), before the real 'ghost' was captured. It was a man trying to frighten people in retaliation for someone having scared his children by telling them ghost stories.
[Ref: 26319]   £130.00   (£156.00 incl.VAT)
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Behold how in the colledge hall, the surgeons and the doctors all, Are met in consultation wise, a carcase to anatomize:
Behold how in the colledge hall, the surgeons and the doctors all, Are met in consultation wise, a carcase to anatomize: the master there displays his art, sagely discants on every part, and that with ears & eyes and nose, we hear, and see, and smell, he shows.
[Drawn by Egbert van Heemskerck.]
[n.d,. engraved c.1730, but printed c.1800.)
Copper engraving. 290 x 250mm, 11½ x 9¾". Large margins. Paper brittle, backed on thin tissue.
A satire about a dissection, with the characters with animal heads. Painted by Egbert van Heemskerck II (c.1674 - 1744.)
[Ref: 19723]   £280.00  
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See valiant Captain Snout appears, the drum beats up for volunteers, you that are weary of your wives, and willing to live merry lives,
See valiant Captain Snout appears, the drum beats up for volunteers, you that are weary of your wives, and willing to live merry lives, who from the Tally man woud run, and clutches of the bailiff shun, lift under him without delay, and enter into present pay.
[Drawn by Egbert van Heemskerck.]
[n.d,. engraved c.1730, but printed c.1800.]
Engraving. 290 x 250mm, 11½ x 9¾". Paper brittle, some chipping, creased.
A satire about army recuiters, with the characters with animal heads, with Captain Snout an elephant and his troop cats. Painted by Egbert van Heemskerck II (c.1674 - 1744.)
[Ref: 19728]   £180.00   (£216.00 incl.VAT)
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[Hell, with devilish creatures fighting a dragon]
[Hell, with devilish creatures fighting a dragon]
P.P. Rubens pinx [c.1642]
Engraving, sheet 135 x 185mm (5¼ x 7¼"). Damage to lower left and loss top right; glued to backing sheet.
Engraving reproducing, in reverse, the central lower section of Rubens' 'Fall of the Damned' (c.1618-21) now in the Alte Pinakothek, Munich. Engraved by Jonas Suyderhoef (c.1613-86), Dutch printmaker known for his prints after Frans Hals.
[Ref: 46000]   £130.00   (£156.00 incl.VAT)
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Hercules
Hercules So bald der Hercules [...]
J.E. Nilson inv et del. / B.S. Setletsky sc. [lower right of image]
Joh. George Hertel, excud. A.V. 1
Etching, sheet 340 x 215mm (13½ x 8½"). Trimmed inside platemark.
The twelfth and most difficult of Hercules' Labours: he was instructed by Eurystheus to go to the Underworld and kidnap Cerberus, the beast guarding the entrance to Hades. With rococo border and verses in German and Latin below. From a set of decorative prints etched from designs by Johann Esaias Nilson (1721-88), 'the German Watteau'. Nilson was part of a family of artists and established himself as the leading Augsburg artist of his day, whose influence extended across publishing, art academies, a role as court painter, and the decorative arts (especially ceramics).
[Ref: 33163]   £160.00   (£192.00 incl.VAT)
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[Plate from Romeyn de Hooghe, 'Hieroglyphica']
[Plate from Romeyn de Hooghe, 'Hieroglyphica']
[first edition 1735]
Etching, sheet 175 x 135mm (7 x 5¼"). Trimmed; glued to backing sheet with slight stains.
Etching by Romeyn de Hooghe (1645-1708), Dutch artist working in various media, best known for his political caricatures of Louis XIV and his prints glorifying William III. Taken from de Hooghe's 'Hieroglyphica', first published posthumously in Amsterdam in 1735. De Hooghe both etched the plates and wrote the text of this iconographical treatise incorporating the iconography of various myths, cultures and religions from around the world. In the book, de Hooghe gives detailed accounts of the various elements in the image identified by letters.
[Ref: 40858]   £230.00  
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Cut it down why Cumbreth it the Ground. Luke 13. Ver. 7. Hieroglyphicks of the Natural Man.
Cut it down why Cumbreth it the Ground. Luke 13. Ver. 7. Hieroglyphicks of the Natural Man.
[n.d. c.1780.]
Engraving with very large margins. Plate 375 x 260mm (14¾ x 10¼"). Some creasing and chips to extremeties of paper.
Allegory from Luke 13 v.7 of the Tree of Knowledge of Good and Evil, flanked by death and watered by the Devil.
Provenance: Hermitage Hexham.
[Ref: 30104]   £230.00  
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Liber de ratione victus
Liber de ratione victus in singulis febribus secundum Hippot. Brudo Lusitano autore ad Anglos.
Venetiis, M.D.XLIIII [1544].
Letterpress title page with woodcut vignette. Sheet 125 x 75mm (5 x 3"). Trimmed and mounted on album paper.
The title page of Manuel Brudo's study of Hippocrates, illustrated with a siren (a twin-tailed mermaid wearing a crown, most famously used as the Starbucks logo).
[Ref: 45339]   £220.00  
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The ever-memorable Peace-Makers settling their Accounts.
The ever-memorable Peace-Makers settling their Accounts.
[Anon., c.1769]
Engraving, platemark 115 x 175mm (4½ x 7") large margins.
The duke of Bedford, earl of Bute and Henry Fox, lord Holland sat around a table, the devil stood behind Holland, holding an axe. The general theme of the satire is Holland's alleged diversion of public money to private purposes- shortly before this print was published a petition submitted to the king by the Freeholders of Middlesex described him as 'a notorious defaulter of unaccounted millions', and here he writes in a book inscribed 'unac.d Millions'. Published in 'The Town and Country Magazine', 5 July 1769.
BM Satires 4300.
[Ref: 43858]   £95.00   (£114.00 incl.VAT)
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Matthew Hopkins the famous Witch-Finder of Maningtree in Essex, who in only one year, during the reign of James I, hanged 60 reputed Witches & was himself at last executed for a Wizard.
Matthew Hopkins the famous Witch-Finder of Maningtree in Essex, who in only one year, during the reign of James I, hanged 60 reputed Witches & was himself at last executed for a Wizard.
Published by Alex.r Hogg [c.1793]
Engraving with letterpress sheet, each 210 x 130mm (8¼ x 5"). Cut to platemark
Matthew Hopkins (d.1647), witch-finder and the most notorious individual in English witchcraft history. Resident in Manningtree by the winter of 1644-5, Hopkins was troubled, by his own account, by the activities of supposed witches in the town. From the handful of initial arrests (with Hopkins giving evidence against several), the witchcraft allegations spread to neighbouring towns and counties, with at least a hundred executed during the 'Hopkins witch panic' of 1645-7. The pleasing claim on the print that Hopkins was himself 'executed for a Wizard' is incorrect- he died of tuberculosis. From the 'Wonderful Magazine', an entertaining but short-lived periodical founded in 1793 by the hack writer and bookseller Henry Lemoine (1756-1812).
[Ref: 39632]   £85.00   (£102.00 incl.VAT)
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Admiral Hosier's Ghost.
Admiral Hosier's Ghost. To the Tune of Come and listen to my Ditty. As, near Potro Bello lying / On the gently swelling Flood,/ At Midnight with Streamers flying/ Our triumphant Navy rode [...]
C. Mosley sculp [1740]
Scarce etching and engraving, sheet 395 x 270mm (15½ x 10½"). Trimmed around image and text; repaired tears and creases. Laid on album sheet.
The ghosts of Francis Hosier (1673-1727) and his crew appear to a ship carrying Edward Vernon (1684-1757) and his men, at Portobelo in Panama. Hosier led an unsuccessful unsuccessful expedition to the Spanish Caribbean (1723-27) and was in the course of a blockade of Portobelo when a virulent fever broke out and killed Hosier and 4000 men. Vernon succeeded where Hosier had failed, taking Portobelo in 1739, but, in line with the omens of this print, Vernon's initial success turned into eventual failure by the time of his return to England in 1742. This print was occasioned by the poem printed below, by Richard Glover, 'a blatantly political piece which sought to misrepresent Hosier's fate to support then current attacks on the Walpole government, ascribing his death to his resentment at the inactivity forced on him by government orders and his inability to prevent the devastation of his fleet by disease' (DNB).
BM Satires 2422
[Ref: 39672]   £420.00  
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Margaret Sykes, George Hotel, Excise Office Wakefield.
Margaret Sykes, George Hotel, Excise Office Wakefield. Neat Wines and Spirits.
[c.1830]
Engraving, sheet 75 x 85mm (3 x 3¼").
Billhead for a hotel in Wakefield, Yorkshire, with George and the Dragon vignette.
[Ref: 43234]   £50.00   (£60.00 incl.VAT)
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Alfred Crowquill's Sketches From Jullien's Bal Masque.
Alfred Crowquill's Sketches From Jullien's Bal Masque. I've Hardly The Face To Ask You: But Are You Angel Enough. To Smile When Nobody Asks You To Dance.
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7816]   £230.00  
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Jason.
Jason.
Drawn & Etched by J.M.W. Turner Esq. R.A. Engraved by C. Turner.
Published as the Act directs by J.M.W. Turner Harley Street [1807]
Etching and mezzotint with very large margins, platemark 210 x 290mm (8¼ x 11½").
The Greek hero Jason stealing up on a dragon (largely concealed by folliage), who he must outwit to gain the golden fleece. One of the first plates in Turner's 'Liber Studiorum', based on a 1802 painting (Tate Britain, N00471). The Liber Studiorum was published in several parts between 1807 and 1819, by which time Turner's position as the pre-eminent British landscape painter of his day was assured. In this series, exceptional amongst Turner prints for the extent of the artist's involvement (he both etched and published this plate, leaving only the mezzotinting to his namesake Charles Turner), he sought to emulate the 17th century French artist Claude Lorraine. Claude's 'Libro di Verita', a book of drawings sold to the Duke of Devonshire, had been engraved by Richard Earlom to much acclaim some thirty years earlier. In many ways Turner's project invited comparisons with that of his great precursor.
Rawlinson 6 (state 2 of 5); Finberg 6 (second state)
[Ref: 34828]   £390.00  
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What a Bore!!
What a Bore!!
E. Hull del.t. Printed by C. Hullmandel.
London Pub.d by Rowe & Waller 49 Fleet Street. _ 1826.
Coloured lithograph, 1826 Edmonds watermarked paper; Old ink mss. in margin "W Thomas 1826". Printed area 175 x 230mm (7 x 9"). Very scarce, large margins. Few marks.
A bizarre jousting scene: a contest between an armoured knight mounted on a bear with fangs and an unarmoured rider on an elephant-headed horse! The armoured knight uses a spike on his helmet to pierce his opponent through his horse's chest.
[Ref: 33096]   £180.00   (£216.00 incl.VAT)
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['The Bark of Charon' (detail from 'The Last Judgement')]
['The Bark of Charon' (detail from 'The Last Judgement')]
[C.M. Metz Del.t & Sculp.t; after Michelangelo]
[1803]
Stipple, sheet 475 x 830mm (18½ x 32½"). Trimmed inside platemark; glued to album sheet in corners.
The dead being pulled into Hell, with Charon's boat, at the right of the bottom register. The figures of Charon (striking those in his boat) and Minos (the judge of souls, with a serpent wrapped around him) were staples of classical descriptions of the underworld and introduced to Christian hell by Dante, whose descriptions probably inspired Michelangelos's representations in the Sistine Chapel fresco. The heads of the Demons show the influence of Leonardo's grotesque 'caricatures', whilst Minos is traditionally acknowledged to carry the characteristics of Biagio da Cesena, who criticised the work in progress. Plate from Conrad Martin Metz's series of fifteen engravings reproducing Michelangelo's fresco 'The Last Judgement' in the Sistine Chapel (completed 1541).After moving to London by 1781, the German-born Metz (1749-1827) studied under Francesco Bartolozzi and exhibited at the Royal Academy before moving to Rome in 1801. A spectacular image.
P. De Vecchi, 'Michelangelo's Last Judgement' in 'The Sistine Chapel: Michelangelo Rediscovered' (1980).
[Ref: 22943]   £580.00  
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Latone.
Latone. Le Ciel pour punir ces Brutaux / Par qui Latone est outragée / Vut que leur forme soit changée / En celle de vils animaux [...]
Jouvenet pinx Du Bosq sculp 1714.
A Pais chez Duchange Graveur du Roy rue St Jacques
Engraving, platemark 330 x 245mm (13 x 9½"). Trimmed to platemark; rust spot near centre; good impression.
Latona, daughter of the Titans Coeus and Phoebe, gave birth to Artemis and Apollo, children of Zeus, on Delos. Fleeing the wrath of Hera, Latona passed through Lycia. When she tried to drink from a well the local peasants stirred up mud to make the water undrinkable, so Latona turned them all into frogs, as shown here. Engraving after 'Latona and the Peasants of Lycia' by Jean Jouvenet (1649-1717), one of the most important painters of religious works in France in the late 17th and early 18th century. The painting was a royal commission for the château of Fontainebleau, executed c.1700-1.
For another engraving from the same painting see ref. 38113.
[Ref: 42000]   £140.00   (£168.00 incl.VAT)
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to Night and Death
to Night and Death / Made he flaming with rage, folling his eyes / So fast that whirlwinds rose about him.
J. Martin K.I. A. Martin.
[London: Francis Baisler, 1844.]
Mezzotint, fine image. Sheet 150 x 205mm (6 x 8"). Trimmed inside plate.
Two angelic figures by an underground sea representing Hell. Engraved by Alfred Martin (1841-1872) after John Martin (1789-1854) as the frontispiece to 'The Wars of Jehovah, in Heaven, Earth and Hell: in nine Books' by Thomas Harkins.
[Ref: 40347]   £230.00  
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Meths Drinkers /66
Meths Drinkers /66
P. John Burden
Line engraving, platemark 180 x 205mm (7 x 8") large margins. Signed in pencil by artist;
Macabre scene of homeless drinkers by contemporary artist P. John Burden.
[Ref: 41663]   £160.00   (£192.00 incl.VAT)
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