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[Woman abducted by a god?]
[Woman abducted by a god?]
EC [ms below image]
[c.1680]
Fine mezzotint, scarce, platemark 240 x 190mm (9½ x 7½"). Glued to backing sheet.
[Ref: 46002]   £280.00  
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The Brazen Age.
The Brazen Age. Virtue languising [sic] ! is represented by Minerva leaning on the knees of Industry, & the Indolence of the Sciences shews the barreness of this Age. [...]
F. Verdier delin. J. Simon fecit.
[n.d., c.1720]
Mezzotint, platemark 250 x 355mm (9¾ x 14"). Thread margins; glued to backing sheet at top.
Fine mezzotint by the early mezzotinter John Simon (c.1675-1751) after his French contemporary François Verdier (1650-1730). One of a series of the ages.
Ex: Collection of the Hon Christopher Lennox-Boyd.
[Ref: 33177]   £480.00  
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The Golden Age.
The Golden Age. The reigning Vertues of this Age are represented by Faith, Hope and Charity. Obedience by a Woman bearing a Yoak & by her side one holding Turtle Doves, the Bee Hives on the other side shews Union & Concord [...]
F. Verdier delin. J. Simon fecit.
[n.d., c.1720]
Mezzotint, very scarce; platemark 250 x 355mm (9¾ x 14"). Thread margins; glued to backing sheet at top; small tear at top.
Fine mezzotint by the early mezzotinter John Simon (c.1675-1751) after his French contemporary François Verdier (1650-1730). One of a series of the ages.
Ex: Collection of the Hon Christopher Lennox-Boyd.
[Ref: 33176]   £480.00  
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The Iron Age.
The Iron Age. Every thing in this Picture shews the wicked & perversness of this Age. Rage is represented by a Man holding a Child by the heels animated by ye torch of Envy, Fury tramples upon Charity, Innocence, & Religion [...]
F. Verdier delin. J. Simon fecit.
[n.d., c.1720]
Mezzotint, very scarce; platemark 250 x 355mm (9¾ x 14"). Thread margins; glued to backing sheet at top.
Dramatic mezzotint by the early mezzotinter John Simon (c.1675-1751) after his French contemporary François Verdier (1650-1730). One of a series of the ages.
Ex: Collection of the Hon Christopher Lennox-Boyd.
[Ref: 33175]   £480.00  
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An Airing in Hyde Park.
An Airing in Hyde Park.
Design'd by Edw.d Dayes Draughtsman to his Royal Highness the Duke of York, 1793. Engraved by T..Gaugain.
London, Publish'd Jany. 1796, by T. Gaugain No.4 Little Compton Street Soho.,
Stipple engraving with etching. 460 x 686mm. Minor repairs to outer marginal tears, small faint stain in trees to left.
Very fine. Companion print to 'The Promenade in St. James's' engraved by F.D. Soiron.
[Ref: 1604]   £1,450.00  
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[Albert VII, archduke of Austria, and Isabella Clara Eugenia]
[Albert VII, archduke of Austria, and Isabella Clara Eugenia] Serenissimo et Potentissimo Alberto Austriae Archiduci, Burgundiae, Duci, Principi [...]
Joannes Muller Sculptor devotionis ergo. D.D. Ex Archetypo Petri Pauli Rubenii Serenitatis Suae Pictoris.
[1615]
Two engravings, each sheet approx. 410 x 285mm (16 x 11¼"). Trimmed; false lower margins. Fine.
Portraits of Albert VII (1559-1621), briefly archduke of Austria in 1619 before abdicating in favour of Ferdinand II, and his wife Isabella Clara Eugenia, sovereign of the Habsburg Netherlands from 1598-1621. Fine engravings after portraits by Rubens, who was appointed court painter to Albert and Isabella although he was permitted to remain in his hometown of Antwerp and accept commissions from whoever he chose.
[Ref: 43005]   £2,000.00  
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[Lawrence Alma-Tadema, R.A., in his studio]
[Lawrence Alma-Tadema, R.A., in his studio]
[T.L. Atkinson after John Collyer, pencil signatures]
[Published by T.H. Lefèvre, June 1 1885]
Mezzotint on india, very large margins; platemark 550 x 420mm (21½ x 16½"). Printsellers' Association blindstamp. Very scarce.
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.
[Ref: 36360]   £520.00  
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Tableau des Differentes Anemones de Mer, Formant la Classes La Plus Curieuse et La Plus Singliere du Regne Animal, et dont il est fait mention dans le Transactions Philosophiques, Volumes 63, 66 et 67, et dans le Journal de Physique depuis son origine
Tableau des Differentes Anemones de Mer, Formant la Classes La Plus Curieuse et La Plus Singliere du Regne Animal, et dont il est fait mention dans le Transactions Philosophiques, Volumes 63, 66 et 67, et dans le Journal de Physique depuis son origine jusqu'en 1783. Dedié a Monsieur l’Abbé Dicquemare, membre de plusieurs Academies, connû avantageusement dans le monde scavant par les recherches qu’il a faites dans le differentes productions animales, qui se trouvent dans les mers et par sa Menagerie marine. Pl.IV.
Par M.e Pierre Joseph Buc'hoz membre de plusieurs Academies tant Etranderes que Nationales, Auteur et Directeur de differentes collec.ons tant Gravées que colorieés concernant l’Histoire naturelle. [n.d. c.1790.]
Hand-coloured engraving, with very large margins, paper watermarked, extremely scarce. Plate 411 x 590mm (16¼ x 23¼"). Centre fold as normal, otherwise mint.
A wonderful image of sea anemones, a very unusual subject for prints of this period. Pierre-Joseph Buc'hoz (1731-1807) was a French physician, lawyer and naturalist based in Paris.
[Ref: 29479]   £1,250.00  
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[Angelina]
[Angelina] [The wondering fair one turn'd to chide. / 'Twas Edwins self that prest. Vicar of Wakefield pa.77]
Engraved from an Original Drawing by Edw.d Fisher.
London, Printed for R. Sayer & J. Bennett, No 53 Fleet Street, as the Act directs 20 Dec.r 1776
Mezzotint, platemark 250 x 190mm (9¾ x 7½") very large margins. Proof before title
One of a set of ten plates illustrating characters from Oliver Goldsmith's 'The Vicar of Wakefield'. Published in 1766, the book inspired many works of art, while Goethe testified that encountering the work at the age of twenty inspired him to create a new field of letters. A lettered impression of the print can be viewed on the website of the Yale Center for British Art (Accession Number B1970.3.914).
CS 64 (one of ten); for another print in the set see ref. 43749.
[Ref: 46738]   £280.00  
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[Anna, Princess Royal and Princess of Orange.]
[Anna, Princess Royal and Princess of Orange.] Anna, Kroonprincesse van Grootbrittanje, Gemalinne van Willem de IV Prins van Oranje enz enz enz.
H. Pothoven delin J. Houbraken sculps 1750.
J.bs Haffman en P. Meyer Excud.
Very fine engraving, platemark 370 x 235mm (14½ x 9¼"). Small margins.
Anne, Princess Royal and Princess of Hanover (1709-1759), was the second child and eldest daughter of George II and his consort, Queen Caroline. She was the wife of William IV of Orange, the first hereditary stadtholder of the Netherlands. Princess Anne was the second daughter of a British sovereign to hold the title Princess Royal. From a series of twenty-one engravings by Jacob Houbraken and Pieter Tanjé of Dutch stadholders and their families, each in a decorative oval placed on a pedestal, designed by Hendrik van Pothoven.
[Ref: 40862]   £240.00  
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[The Battle of Arbella]
[The Battle of Arbella] La vertu est digne de l'empire du monde / Alexandre apres plusieurs victoires, deffit Darius dans la bataille qu'il donna prés d'Arbelle [...]
Car. le Brun pinxit J. Audran Excudit [in image]
Engraving, platemark 295 x 605mm (11½ x 23¾") large margins. Fold through centre as issued; fine impression.
Engraving after one of the famous series of 'The Battle of Alexander' by Charles Le Brun (1619-90), which invited comparison between the ancient ruler and the French monarch Louis XIV. When the engraver Girard Audran (1640-1703) returned to Paris after a period of study in Rome at the studio of Carlo Maratti, he was engaged to engrave these four enormous pictures, which took him six years and for which he was paid over 10,000 francs. The series is the masterpiece of an important engraver, and earned him admission to the Académie Royale.
IFF 66
[Ref: 45437]   £360.00  
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[America] [Don Bernardino Rivadavia, President of the Republic of the United Provinces.]
[America] [Don Bernardino Rivadavia, President of the Republic of the United Provinces.]
Painted by T. Phillips Esq.r. R.A. Engraved by C.Turner, Mezzotinto Engraver in Ordinary to His Majesty.
London Published Oct.r 24 1825, by Mr Turner, 50, Warren Street, Fitzroy Square.
Mezzotint with very large margins, platemark 510 x 370mm (20 x 14½"). Slight foxing to margins; very scarce.
Bernardino de la Trinidad Gónzalez Rivadavia y Rivadavia (1780-1845), first president of Argentina (then known as the Republic of the United Provinces), 1826-7. He sits at a desk holding a document headed 'Reforma [E]celesiastica Buenos Ayres 1822' (Rivadavia's religious reforms transferred many of the Catholic church's assets to the Republic). Another document, headed 'Systema Representative' also on the table. In 1824 Rivadavia visited London where, in association with the Hullet Brothers bank he founded the Rio de la Plata Mining Association. Rivadavia was also a correspondent and admirer of Jeremy Bentham, who he first met in London in 1820. Engraved after the portrait by Thomas Phillips (1770-1845), whose over 700 portraits record the leading personalities of his time.
Ex: Collection of the Late Hon. C. Lennox-Boyd; Whitman 497 i/ii.
[Ref: 34927]   £620.00  
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[Man carrying a chicken on his back]
[Man carrying a chicken on his back]
Th. Barker Bath del. 1802 [signed in reverse on stone lower left]
Very scarce pen lithograph, sheet 330 x 240mm (13 x 9½). Glued to backing sheet at corners; good impression.
One of the first lithographs made in England, by Thomas Barker (1767-1847), painter and lithographer born in Bath. Barker contributed to the first collection of lithographs ever printed in England in 1803, publishing his own series of over forty 'Rustic Figures' in 183 for which many of the stones, still bearing Barker's original drawings, are in the Victoria Art Gallery, Bath.
For the complete set of 'Rustic Figures', 1813, see ref. 13436
[Ref: 41720]   £480.00  
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[Shepherdess sat with sheep outside a cottage, spinning wool]
[Shepherdess sat with sheep outside a cottage, spinning wool] Guidata ch'a la Greggia Irminda poi / S'asside e sta filando i Lini suio
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who in 1768 was elected as a founding member of the Royal Academy in London (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. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1342
[Ref: 43124]   £220.00  
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[Young man fishing, with a woman and small boy nearby]
[Young man fishing, with a woman and small boy nearby] Osservato da Fille il Pesce piglia / Per sostentar la debil sua Famiglia
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who in 1768 was elected as a founding member of the Royal Academy in London (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. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1343
[Ref: 43125]   £220.00  
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[Young couple embracing; young woman and sheep on right]
[Young couple embracing; young woman and sheep on right] Soglion gli Amanti coltivar non poco / Le lusinghe, gli scherzi il riso, e il gioco
Francesco Bartolozzi scolp. Appo Teodoro Viero Ven.d 1774
Etching, fine impression; scarce; platemark 235 x 175mm (9¼ x 7"). Thread margins.
One a series of six pastoral subjects etched after designs by the Venice-based publisher and artist Teodoro Viero (1740-95) by Francesco Bartolozzi (1725-1815). Bartlozzi was a Florentine engraver who in 1768 was elected as a founding member of the Royal Academy in London (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. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription 'Solo all'Albertine' verso suggests the only other impression known to Calabi was in the Albertine Museum, Vienna.
Calabi & de Vesme 1345
[Ref: 43126]   £220.00  
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Jacob Bates. The Famous English Horse Rider.
Jacob Bates. The Famous English Horse Rider. Der berhumte Englishe Berieter Jacob Bates.
G. P. Nusbeigel, ad viv. del et sculpsit.
Norib 1766.
Engraving, extremely scarce. Platemark: 375 x 480mm (14¾ x 19"). Unexamined out of frame.
Jacob Bates was an eighteenth century English equestrian performer based in the German States, who performed as far away as Russia (1764-65) and America (1772-73), and was the first of the first showmen to make a mark as an entertainer. Bates's emulators, Price, Johnson, Balp, Coningham, Faulkes, and "Old" Sampson, had become fixtures of London's pleasure gardens, yet it does not appear that he himself ever publically exhibited in England. Bates was met with such admniration on the continent, that he chose to live in Germany, and in Nuremberg in 1766, his portrait was engraved by G.P. Nusbeigel. He is shown proudly standing by his horse in the right foreground, with a background of many other performers on one, two and three horses, watched by a large crowd of spectators in the distance.
[Ref: 33615]   £1,950.00  
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Beauty.
Beauty.
G.B. Cipriani del.t F. Bartolozzi Sculp.t
Published according to Act, Nov.r 6th 1782, by the Proprietor, No 5, Poland Street, Soho
Stipple printed in sepia, platemark 250 x 190mm (9¾ x 7½"). Thread margins.
Woman sat on clouds with peacock. Stipple engraving by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (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. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 576 iii/iii
[Ref: 43144]   £240.00  
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William Henry Cavendish Bentinck, Marquis of Titchfield,
William Henry Cavendish Bentinck, Marquis of Titchfield, Son of his Grace the Duke of Portland
S.r Joshua Reynolds Pinxit I. Jehner Fecit.
Pub.d 1st May 1777, by I. Jehner, Bear Street, Leicester Fields, & J. Lockington, Shug Lane, Piccadilly, London.
Mezzotint, platemark 505 x 350mm (19¾ x 13¾"). Small margins.
Full-length portrait of William Henry Bentinck, fourth duke of Portland (1768-1854), politician, as a child.
Hamilton p.68 iii/iii; CS 13 ii/ii.
[Ref: 46863]   £380.00  
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[Eighteen views of Berlin]
[Eighteen views of Berlin]
[P. Haas after L. Serrurier and Friedrich Calau, 1800]
Eighteen engravings, numbered successively 1-18, each platemark approx. 145 x 205mm (5¾ x 8") very large margins.
[Ref: 43442]   £600.00   view all images for this item
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Eight Curious prints of Fowl and Fish.
Eight Curious prints of Fowl and Fish.
P. And. Rÿsbrack Pinx. G: Vander Gucht Sculpt.
Published by John Boydell Engraver in Cheapside London.
Extremely scarce complete set of eight engravings, including one proof impression. Plates: 570 x 420mm (22½ x 16½").
Eight plates after Pieter Andreas Rysbrack's (1685-1748) series of four paintings showing fish and four paintings showing fowl. The fish are depicted lying haphazardly on tables next to baskets as if ready for preparation or on the market stall while the birds are all shown in landscape settings as if freshly shot, ready to be collected. Each bird is numbered and named in a key below the image. John Boydell reissued the plates in 1760s which had previously been published in 1735 by Richard Hylton.
[Ref: 41786]   £6,500.00   view all images for this item
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[Victoria & Albert at a Military Review at Blackheath.] Die Königl. Grossbrittanische Armée Revûe. I.te Abth.
[Victoria & Albert at a Military Review at Blackheath.] Die Königl. Grossbrittanische Armée Revûe. I.te Abth. Dedié à Son Altesse Royal Mos. Albrecht Duc de Saxe Cobourg Gotha etc. etc. par son trés humble serviteur Louis de Kliest à Dresde 1841.
Opitz del. Hilscher Sc.
[Dresden, 1841.]
Extremely fine & rare aquatint, printed in colours and hand finished. 570 x 720mm (22½ x 28½"). Superb condition.
A large and colourful scene of a young Queen Victoria and Prince Albert riding through a military review held at Blackheath, with Greenwich Hospital at the bottom of the hill and London on the horizon. The uniforms of the soldiers are recorded carefully. The print is dedicated to Prince Albert, the year after his marriage to Victoria. The painter, Georg Emmanuel Opiz (1775-1841), was born in Prague but moved around the cities of Europe, including Dresden, Vienna, Paris & Liepzig. In 1840 Opiz, Hilscher & Kliest published a similar view of the Hessian army in revue above Maintz.
[Ref: 30068]   £2,500.00  
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Brunswick Dock on the Thames at Blackwall.
Brunswick Dock on the Thames at Blackwall. This noble bason was excuted from the design & at the individual expence of John Perry Esq.r [...] & the Dock was opened for the reception of Shipping on the 20th of Nov.r 1790. To John Perry Esq.r this Print is with his permission inscribed by his obedient Servant William Daniell.
Drawn & Engraved by W.m Daniell, & Published by him at No.9 Cleveland Street, Fitzroy Square, London, Oct.r 20. 1803
Coloured aquatint, sheet 505 x 870mm (19½ x 34¼"). Surface loss in places, general paper tone, scratch centre right.
Brunswick Dock, Blackwall, named after the ducal house in honour of George III, with text describing its history. The dock was the first wet dock with gates on to the Thames, and its main feature was a large tower containing a crane for raising or fitting masts to tall ships, visible here. One of six large aquatints by William Daniell of the new docks then being excavated to reduce congestion in the Pool of London. Daniell (1769-1837) was one of the few artists of the period who was as skilled as an aquatinter as he was a painter. It was common practice to add engraved or etched lines to give shape to the tonal effect of the aquatint; this plate is pure aquatint, with no added lines, not even on the rigging of the boats. The margins have been given a grey wash in imitation of watercolour presentation of the period. A painting of the same scene by Daniell, which may have been executed in preparation for this engraving, is in the National Maritime Museum, Greenwich (BHC1867).
Adams: 92.D
[Ref: 23321]   £1,950.00  
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Le Bouquet
Le Bouquet Pénétrez de respect et de reconnoissance, / Allez, Enfants chéris, recevoir des jou-joux [...]
C. Eisen Pinx. R. Gaillard sculp.
A Paris chés l'Auteur Rue S. Jacques au dessus des Jacobins entre un Peruquier et une Lingere [c.1770]
Fine engraving, sheet 390 x x 275mm (15 x 10½"). Trimmed to platemark; glued to album sheet at corners.
Children give a bouquet of flowers to their mother and receive toys in return. Engraving after a painting 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 included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, Erasmus and La Fontaine.
[Ref: 45110]   £480.00  
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Mr Bowden in the Character of Robin Hood.
Mr Bowden in the Character of Robin Hood. You know the wrongs I have suffer'd &c. &c. Act 2nd.
Painted & Engraved by J R Smith Mezzotinto Engraver to His Royal Highness the Prince of Wales & His Serene Highness the Duke of Orleans
London Published Dec.r 15 1787 by J.R. Smith No. 31 King Street Covent Garden.
Mezzotint, platemark 395 x 275mm (15½ x 10¾"). Trimmed to platemark lower edge; otherwies large margins.
Wright Bowden (1752-1823), actor and later stockbroker, in the role of Robin Hood. By John Raphael Smith (1752-1812) perhaps the finest of English mezzotint engravers. Smith was also a leading publisher and exhibited oil paintings at the Royal Academy of Arts between 1779 and 1805, and this print, engraved and published by Smith from his own painting, combines these three aspects of his work.
D'Oench 290; CS 20; Frankau:41
[Ref: 46745]   £260.00  
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[Peace conference at Breda, 1667, depicted in nine scenes]
[Peace conference at Breda, 1667, depicted in nine scenes] Vreede-Handelingh tot Breda, Gesloten op den XXXI July, Ende Geratificeert [...]
R. de Hooghe f. et inv. [1667]
Etching, sheet 420 x 540mm (16 x 21¼"). Trimmed, crease.
The signing of the Treaty of Breda, with the delegates in the conference chamber (centre), arrival and departure of the English delegation (top and bottom), and topographical scenes of Breda (left and right). The treaty, signed in the Dutch city of Breda, brought to an end the Second Anglo-Dutch War (1665-7) in favour of the Dutch. With the seas around the south coast of England essentially controlled by the Dutch admiral de Ruyter following the raid on the Medway in 1667, the English were eager to reach a swift agreement. By this treaty the lands of New Netherlands were ceded to the English producing the states of New York, New Jersey, Pennsylvania & Delaware. Etched by Romeyn de Hooghe (1645-1708), exponent of the late Dutch Baroque best known for his political caricatures of Louis XIV and his prints glorifying William III and the Glorious Revolution. De Hooghe's output as an artist was broad, however, and he had other talents and responsibilities: in 1689 he was placed in charge of obtaining building materials for the royal hunting lodge of Het Loo; the same year he became a Doctor of Law at Harderwijk University; he designed ceiling paintings for municipal buildings and church windows; and he wrote several political and historical treatises.
Landwehr p.56
[Ref: 42839]   £1,280.00  
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The Broken Pitcher
The Broken Pitcher
Design'd & Etch'd by J. Hoppner Aquatinto by F. Jukes
London Publish'd August 21st 1786 by J.R. Smith N83 Oxford Street
Aquatint and etching, a very fine impression. 405 x 380mm (16 x 15"). Glued to backing sheet at top corners. Small margins.
Young woman in rural landscape holding a broken jug. One of few prints made by the painter John Hoppner (1758-1810), in this case in collaboration with the printmaker Francis Jukes. Hoppner's talent was noticed and encouraged early on by George III, and Hoppner's early work included many 'fancy pictures' such as the one reproduced here. In the 1780s he began to paint distinguished sitters such as the daughters of George III and following Reynolds' retirement in 1789, Hoppner became the most important portraitist in Britain.
[Ref: 40278]   £290.00  
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Maria Lady Broughton.
Maria Lady Broughton.
F. Cotes pinx.t. J. Finlayson sculpt.
Published May 29th 1772 & Sold by J. Finlayson Orange Street Leicester Fields.
Mezzotint. 500 x 355mm (19¾ x 14") large margins. Fine impression.
Lady Maria Broughton, wife of Rev Sir Thomas Broughton, baronet. Fine large mezzotint after a portrait by Francis Cotes (1726-70). An important figure in the London art world, Cotes was instrumental in setting up the Royal Academy of Arts in 1768 (presenting the case for an academy to George III). By this time Cotes had begun to attract royal patronage, including portraits of Princess Caroline Matilda, Princess Louisa, and Queen Charlotte.
[Ref: 43755]   £280.00  
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Bujuckdere.
Bujuckdere. Sommeraufenthalt der Franken aus Constantinopel [parallel text in Russian]
P. par Sergeeff Gravé par Koschkin Gravé par Kasatschinsky
[pub. by Schnoor, 1803]
Engraving, platemark 360 x 560 (14 x 22"). Vertical fold through centre, further creases, staining and nicks to margins. Very rare.
Büyükdere, Istanbul, where several embassies were established in the later 18th century. Plate from H.C. von Reimer's 'Reise der russisch-kaiserlichen ausserordentichen Gesandtschaft an die othomanische Pforte im Jahr 1793'.
[Ref: 30057]   £550.00  
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Grand Cairo; - the Metropolis of Africa.
Grand Cairo; - the Metropolis of Africa.
Published 12 Nov.r 1810 by Rob.t Laurie and Ja.s Whittle, 53, Fleet Street, London.
Coloured engraving, rare. 295 x 440mm, 11½ x 17¼". Trimmed to plate on right, very minor soiling in sky.
A view looking across Cairo to the Nile and the Pyramids of Giza. The original hand colour is particularly fine.
[Ref: 20703]   £490.00  

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[Calcutta]
[Calcutta] A View of Esplanade Row, from the Chouringhee Road.
Drawn by James B. Fraser. Engraved by Rob.t Havell Jun.r 79 Newman Str. Oxford Str.
Published by Smith, Elder & Co. 65 Cornhill London
Aquatint with hand-colouring, fine, sheet 380 x 525mm (15 x 20½"). Small margins.
Esplanade Row in Calcutta (Kolkata), India, which marked the southernmost part of the city. It was home to many impressive public building including the Town Hall and Government House. Aquatint from 'Views of Calcutta and its Environs' (1824-6) by James Baillie Fraser. Fraser (1783-1856), a traveller and artist, journeyed widely and published several illustrated books of his travels in Asia. Fraser made the drawings for 'Views of Calcutta' between 1816 and 1820 while living there in the shipping business.
Abbey 494.2
[Ref: 43174]   £420.00  
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[Calcutta]
[Calcutta] A View of Government House, from the Eastward.
Drawn by James B. Fraser. Engraved by Rob.t Havell Jun.r 79 Newman Str. Oxford Str.
Published by Smith, Elder & Co. 65 Cornhill London
Aquatint with hand-colouring, fine; sheet 380 x 525mm (15 x 20½"). Small margins.
The Government House in Calcutta (Kolkata), India, built in 1803 for the Governor of India (under the East India Company). After 1858 it became official residence of the Viceroy of India and is now, as the Raj Bhavan, official residence of the Governor of West Bengal. Aquatint from 'Views of Calcutta and its Environs' (1824-6) by James Baillie Fraser. Fraser (1783-1856), a traveller and artist, journeyed widely and published several illustrated books of his travels in Asia. Fraser made the drawings for 'Views of Calcutta' between 1816 and 1820 while living there in the shipping business.
Abbey 494.9
[Ref: 43172]   £450.00  
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[The Card-Players.]
[The Card-Players.]
D.T.P. / J.V.B.F. [ie. David Teniers pinxit / Jan van der Bruggen fecit]
Mezzotint, platemark 425 x 340mm (16¾ x 13¼). Thread margins; good impression.
Men playing cards and smoking in a tavern, after Dutch painter of genre scenes David Teniers (1610-90), and engraved during the artists' lifetime by his contemporary Jan van der Bruggen (1648/9-1690). Van der Bruggen was example of an early mezzotinter working in France, particularly on this large scale. This same scene was later engraved by the British collector and printmaker Captain William Baillie.
For Baillie's version of the scene, see ref. 12253. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 34835]   £360.00  
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[John Carr]
[John Carr]
Painted by W.m Beechey Engraved by C.H. Hodges [c.1810]
Mezzotint, platemark 505 x 355mm (19¾ x 14"), with large margins. Left title area creased.
John Carr (1723-1807), one of the most prolific of eighteenth-century English architects. In this mezzotint after a portrait by William Beechey (c.1786, private collection), Carr rests his hands on plans for the monumental convex rear elevation of The Cresent, Buxton, built for the fifth duke of Devonshire between 1779 and 1789.
CS 7
[Ref: 46781]   £380.00  
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S.te Catherine de Sienne. D'Après le bas-relief de Melchior Caffa qui est dans le Cabinet de Mr. Crozat.
S.te Catherine de Sienne. D'Après le bas-relief de Melchior Caffa qui est dans le Cabinet de Mr. Crozat. De la meme grandeur de l'Estampe gravée par Simon François Ravenet.
[n.d., c.1735]
Engraving, platemark 470 x 290mm (18½ x 11½") very large margins. Letterpress attached: 'From the Collection of the Late Sir Thomas Lawrence'.
The Ecstasy of St Catherine of Siena, engraved after a bas-relief by the Maltese sculptor Melchiore Caffa (1638-67). Despite his short life Caffa was the most significant figure in Italian Baroque architecture in the generation following Bernini. This print, which supposedly belonged to the great portraitist Sir Thomas Lawrence, was issued as part of the 'Recueil Crozat' a large series commissioned by the collector Pierre Crozat and reproducing famous works of the era.
[Ref: 42006]   £260.00  
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L'ecole de l'amour
L'ecole de l'amour
Clermont pinx: F. Pedro sculp. ap N. Cavalli Venetys [c.1770]
Fine engraving, platemark 285 x 220mm (11¼ x 8¾"). Very large margins.
Decorative scene after Jean François Clermont (1717-1817), French artist who also spent time in England working for Horace Walpole, Lord Stafford and the Prince of Wales.
[Ref: 38323]   £240.00  
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Anthony Chamier Esq.e M.P. F.R.S. Under Secretary of State
Anthony Chamier Esq.e M.P. F.R.S. Under Secretary of State from an Original Picture painted by Sir Joshua Reynolds in the possession of John Chamier Esq.e.
Painted by Sir Joshua Reynolds P.R.A. Engraved by W.m Ward A.R.A. Engraver to their R.H. the Prince Regent & the Duke of York [c.1800]
Mezzotint, platemark 505 x 355mm (19¾ x 14"). Collector's stamp of Mrs E.M. Hamilton and Martin Erdmann (d. circa 1937) verso.
Anthony Chamier (1725-80), financier and government official. Chamier had no political ambitions, however, and preferred London's literary society: Samuel Johnson and Sir Joshua Reynolds were frequent visitors to his house in Epsom. This mezzotint is taken from one of the three portraits which Reynolds painted of him (painted 1767, now in the Museum of Fine Arts, Houston). This impression formerly in the collection of Martin Erdmann, New York-based banker and collector, particularly of British eighteenth century mezzotints, in which area he acquired 'one of the most remarkable collections known, both for quantity and quality of impressions' (Lugt).
L.885b (Erdmann) and undescribed (Hamilton). Frankau: 54.
[Ref: 46861]   £280.00  
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Carolus II. Dei Gratia Angliae Scotias Francias et Hibernae Rex
Carolus II. Dei Gratia Angliae Scotias Francias et Hibernae Rex
P.Lely pinxit. A.Blooteling fecit et ex 1680.
Mezzotint, 17th century watermark; sheet 335 x 255mm (13¼ x 10"). Laid at edges to album sheet.
Very impressive portrait of Charles II (1630-1685), king of England, Scotland, and Ireland. Fine mezzotint after a portrait by Peter Lely (1618-80), Dutch painter whose portraits evoke the court of Charles II as potently as van Dyck did for that of Charles I. In 1661 Charles II granted Lely an annual pension of £200 as Principal Painter.
O'D 78; for earlier state see ref. 8431.
[Ref: 42787]   £350.00  
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The Cherry Girl. 362.
The Cherry Girl. 362.
[n.d. c.1790.]
Coloured mezzotint. Fantastically bright 18th century colour. 293 x 247mm. 11½ x 9¾". Trimmed to the image top and sides, and to just below the title at bottom, some text missing. Creasing.
A women holding a pair of balancing scales in her hand, one side full of cherries. Attached to her waist is the rope tied round her donkey. Another woman passes by with her small daughter, and all three are greeted by a beggar boy pointing into his empty hat.
[Ref: 16342]   £250.00  
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[The Honourable Miss Cholmondeley.]
[The Honourable Miss Cholmondeley.]
J. Reynolds pin.t. Gio. Marchi Sc.t
[Sold by Ryland, Bryer & Co. in Cornhill, c.1780]
Mezzotint, platemark 505 x 360mm (19¾ x 14"), with large margins. Some repairs on left, but a very fine early impression.
Lady Hester Frances Bellingham (1763 - 1844), daughter of Robert Cholmondeley, carrying a shagggy toy terrier across a stream. She married Sir William Bellingham, baronet, in 1783. The plate has been re-worked.
CS 3 (undescribed state); Hamilton: p.90 ii/iii; for later states see refs. 4838 and 9619.
[Ref: 46864]   £580.00  
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Twelve Stories of the Life of Christ.
Twelve Stories of the Life of Christ.
Engraved by Thomas Piroli from the Designs of William Young Ottley Rome Febr. 1796
Published as the Act directs Feb. 1st 1796.
Twelve aquatints with etched titlesheet, each sheet approx 185 x 265mm (7¼ x 10½"). Original stitching and dustsheets; foxing to titlesheet. Fine.
Twelve scenes from the life of Christ, beginning with the Annunciation and concluding with the Resurrection, etched in Rome by the Italian engraver Tommaso Piroli (1752-1824) after designs by William Young Ottley (1771-1836), writer on art and collector. The set was published during Ottley's period of study and travel in Italy (1791-99). Having began collecting as a teenager, Ottley took advantage of the French invasion of Italy in 1796 to acquire works from many prominent collectors wishing to sell their treasures before they were looted. These included paintings by Botticelli and Raphael now in the National Gallery, and old master drawings later sold to Sir Thomas Lawrence and now in the Ashmolean Museum. Returning to London in 1799, Ottley set himself up as a writer, connoisseur, and 'marchand-amateur'. In later life he also became keeper of prints and drawings at the British Museum.
[Ref: 43668]   £850.00   view all images for this item
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[Landscape with a Herd of Goats]
[Landscape with a Herd of Goats] Engraved by W.m Wilson from an Excellent Picture of Claud Lorrain painted in 1641 in the Collection of the Rt. Hon.ble L.d James Cavendish. 6
[c.1750]
Engraving, in ink top right 1406; platemark 315 x 410mm (12½ x 16"). Small margins. Very fine; pinhole upper centre.
Landscape after Claude Lorrain (1604/5-82), French painter often regarded as the greatest of all ideal landscape artists, whose depictions of idealised pastoral scenes were immensely popular amongst the European nobility and clergy. Subsequent British landscape painters such as Richard Wilson and JMW Turner were strongly influenced by his work.
Private Collection.
[Ref: 38517]   £240.00  
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The Rt Honble Lady Elizabeth Compton.
The Rt Honble Lady Elizabeth Compton.
Painted by Wm. Peters R.A. Engraved by J.R. Smith.
London, Publish'd by J.R. Smith No 10 Batemans Buildings Soho Square, feb.y 24th 1780 & at No 171 Strand.
Mezzotint, platemark 385 x 285mm (15¼ x 11¼"), with large margins. Glued to backing sheet at edges.
A fine & attractive portrait of Lady Elizabeth Compton (1760-1835), daughter of Charles, 7th earl of Northampton and his wife Lady Anne Somerset. Mezzotint by John Raphael Smith (1752-1812), one of the finest English mezzotint engravers. In addition to reproductive engravings, Smith also designed many prints himself, including a number of stipples. He became a successful publisher, notably of the rustic genre pictures painted by George Morland, but in his final years, his business heavily affected by the Napoleonic Wars, Smith worked primarily as a painter of pastel pictures in the north of England.' Fine impression with inscription in scratched letters.
D'Oench 146; CS 45 i/iv.
[Ref: 46772]   £520.00  

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A General View of the City of Constantinople.
A General View of the City of Constantinople. Vue Generale de la Ville de Constantinople.
Printed for Bowles & Carver, Map & Printsellers, No.69 in St. Pauls Church Yard, London [n.d. c.1800].
Coloured engraving. 430 x 275mm (16¾ x 10¾").
Prospect of Istanbul from the south, with British warships in the Sea of Marmara. The contemporary hand colour is particularly fine.
[Ref: 20717]   £520.00  
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The Durham White Ox.  Of the improved Tees Water Breed, Bred and fed by John Nesham Esqr. of Houghton le Spring, Durham. [Weight and multiple measurements of the animal in smaller italicised script lower left and right].
The Durham White Ox. Of the improved Tees Water Breed, Bred and fed by John Nesham Esqr. of Houghton le Spring, Durham. [Weight and multiple measurements of the animal in smaller italicised script lower left and right].
Painted by G. Garrard A.R.A. Engraved by Wm. Ward, Engraver to their R.H. the Prince Regent & the Duke of York.
Pub.d. Dec.r. 1, 1813, for the Proprietor of the Ox by Geo.e Garrard, 23 Old Bond Street, London.
Coloured mezzotint engraving. 605 x 507mm. Evidence of paper discolouration, largely in title area and margins.
Boalch: 30. F 100.
[Ref: 2638]   £2,200.00  
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Cupid Making his Bow.
Cupid Making his Bow. Josepho II. Romanorum Imperatori &c. &c. &c. Francesco Bartolozzi D.D.D.
A. Allegri da Correggio Pinx.t M. Benedetti del. F. Bartolozzi Sculp.t
Publish'd March 1.st 1785 by Torre & Co. No. 28 Hay Market et a Vienne chez Artaria Co.o
Stipple printed in sanguine, fine impression; platemark 380 x 270mm (15 x 10½"). Slight creasing lower right; small margins.
Cupid making his bow, after the painting by Parmigianino now in the Kunsthistorisches Museum, Vienna. At the time this print was made, the painting was believed to be by Correggio. Stipple engraving by Francesco Bartolozzi (1725-1815), Florentine engraver who in 1768 was elected as a founding member of the Royal Academy in London (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. Fine impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 393 v/v.
[Ref: 43129]   £320.00  
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Death of the Doe.
Death of the Doe.
[George Stubbs.]
London Republished June 4, 1817 by Edwd. Orme, New Bond Street, corner of Brook Street.
Colour-printed mezzotint, finished by hand. 400 x 505mm (15¾ x 20").
A rare mezzotint of the painting exhibited at the Royal Academy in 1801 with the title "A park scene at the Grove, near Watford Herts, the seat of the Earl of Clarenden" (which includes a portrait of the Earl's gamekeeper Thomas Freeman), originally published in 1804. In ‘The Complete Engraved Works of George Stubbs’ the authors write that the mezzotint is likely to have been a collaboration between George Stubbs (who in 1804 was 80 years old) and his son George Townley Stubbs, as the 1804 impression have the inscription 'G. Stubbs, No. 24 Somerset Str. Portman Square’, thus listing George Stubbs only as publisher.
Lennox-Boyd 145.ii.
[Ref: 20937]   £7,500.00  
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Delia in the Country.  [&]  Delia in Town.
Delia in the Country. [&] Delia in Town. At length from Town the peerless Maid ... A Blessing Cities cannot give. [&] With beauteous Form and sparkling Eyes ... The Seat of Innocence and Love.
Painted by G. Morland. Engraved by J.R. Smith.
London publish'd February 12th. 1788, by J.R. Smith No 31, King Street Covent Garden..
Pair of stipples printed in brown ink, ovals, 300 x 260mm. 11¾ x 10¼". Presented in attractive gilt frames, F.B. Daniell labels to versos. Slight toning to 'Delia in Town'; overall fine impressions, platemarks visible.
A rural and urban young lady, the first seated under a tree, in a wide-brimmed hat and lace shawl, reading a book held up in her left hand; the second seated, to left, smiling towards the viewer from beneath a large-brimmed hat with tall plumes, her hands joined and resting on the round table in front of her. Eight lines of verse below titles. After George Morland (1762/3 - 1804).
Frankau 109, II & 110, II. D'Oench 294 & 295.
[Ref: 20551]   £950.00   view all images for this item
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[The delights of country life]
[The delights of country life] Les délices de la vie champetres
Eisen Del. de G.t Sculp. [c.1770]
Fine engraving before margins cleaned, sheet 295 x 205mm (11½ x 8"). Trimmed to platemark; glued to album sheet at corners.
Two naked women frolic in a river. Engraving 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 included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, Erasmus and La Fontaine.
[Ref: 45077]   £320.00  
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[Caroline Matilda, Queen of Denmark.]
[Caroline Matilda, Queen of Denmark.]
F. Cotes P. Watson Sc: [ms]
[n.d., c.1770.]
Mezzotint with small margins, platemark 355 x 255mm (14 x 10"). Very fine proof before letters; slight creasing.
Caroline Matilda, Queen of Denmark (1751-1775). The youngest child of Frederick, Prince of Wales, she married her cousin, Christian VII of Denmark, at the age of fifteen. After the birth of their first child, produced for the sake of the succession, Christian turned his attentions to a young courtesan, leaving Caroline unhappy and lonely. By 1770 she had taken Johann Friedrich Struensee, the new royal physician, as a lover, and as the king's health declined, their influence increased. However, in 1772, both were arrested, Struensee was executed soon after, and the marriage of Caroline and Christian was dissolved by divorce. She was deported on board a British Frigate and resided in Celle Castle (in Hanover, the territory of her brother, George III). her brother's territory of Hanover. She hoped to return to Denmark, but died suddenly of scarlet fever in 1775 at the age of 23. After the 1766 pastel by Francis Cotes (versions in Schloßmuseum Marienburg bei Nordstemmen and Nationalhistoriske Museum, Frederiksborg), probably executed shortly before Caroline Matilda's marriage to Christian VII.
Goodwin 107.i; CS 24.i; Neil Jeffares, Dictionary of pastellists before 1800.
[Ref: 34660]   £390.00  
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