A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
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![[Albert VII, archduke of Austria, and Isabella Clara Eugenia]](jpegs/43005.jpg)
[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 fine engravings, each sheet approx. 410 x 285mm (16 x 11¼"). Trimmed; false lower margins.
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
Joannes Muller Sculptor devotionis ergo. D.D. Ex Archetypo Petri Pauli Rubenii Serenitatis Suae Pictoris.
[1615]
Two fine engravings, each sheet approx. 410 x 285mm (16 x 11¼"). Trimmed; false lower margins.
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
![[Lawrence Alma-Tadema, R.A., in his studio]](jpegs/36360.jpg)
[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 was born in January 1836. 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
[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 was born in January 1836. 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
Signora Baccelli.
Painted by T. Gainsborough R.A. Engraved by John Jones.
London Pub.d Feb.y 5th 1784 by J. Jones No. 63 Great Portland Street Marylebone.
Rare mezzotint. 535 x 350mm (21 x 13¾"), with widemargins on three sides. Slight mark centre top. Top area slightly rubbed.
Giovanna Baccelli (1774, fl.- d.1801), dancer. Baccelli, first appeared at the King's Theatre, Haymarket in 1774. She reached the peak of her career during the 1780-1 season when she appeared with Gaetan Vestris and his son Auguste in several important ballets devised by Noverre. She also danced in Venice in 1783-4, and at the Paris Opéra as late as 1788. Baccelli was equally known as a mistress of John Frederick Sackville, 3rd Duke of Dorset (1745-99), who had set up Baccelli in a suite of rooms at Knole by October 1779. Baccelli accompanied him to Paris in 1783 when he was appointed Ambassador to France. They entertained lavishly, patronising the Paris Opéra, and were admitted to the friendship of Queen Marie-Antoinette. Horace Walpole records that when the Duke was awarded the Order of the Garter in 1788, Baccelli danced at the Opéra wearing the blue 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.
Horne: 7 II of III; CS 3 II of III.
[Ref: 47602] £1,500.00
Painted by T. Gainsborough R.A. Engraved by John Jones.
London Pub.d Feb.y 5th 1784 by J. Jones No. 63 Great Portland Street Marylebone.
Rare mezzotint. 535 x 350mm (21 x 13¾"), with widemargins on three sides. Slight mark centre top. Top area slightly rubbed.
Giovanna Baccelli (1774, fl.- d.1801), dancer. Baccelli, first appeared at the King's Theatre, Haymarket in 1774. She reached the peak of her career during the 1780-1 season when she appeared with Gaetan Vestris and his son Auguste in several important ballets devised by Noverre. She also danced in Venice in 1783-4, and at the Paris Opéra as late as 1788. Baccelli was equally known as a mistress of John Frederick Sackville, 3rd Duke of Dorset (1745-99), who had set up Baccelli in a suite of rooms at Knole by October 1779. Baccelli accompanied him to Paris in 1783 when he was appointed Ambassador to France. They entertained lavishly, patronising the Paris Opéra, and were admitted to the friendship of Queen Marie-Antoinette. Horace Walpole records that when the Duke was awarded the Order of the Garter in 1788, Baccelli danced at the Opéra wearing the blue 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.
Horne: 7 II of III; CS 3 II of III.
[Ref: 47602] £1,500.00
Eight Curious prints of Fowl and Fish.
P. And. Rÿsbrack Pinx. G: Vander Gucht Sculpt.
Published by John Boydell Engraver in Cheapside London. [n.d., c.1765.]
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
P. And. Rÿsbrack Pinx. G: Vander Gucht Sculpt.
Published by John Boydell Engraver in Cheapside London. [n.d., c.1765.]
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
![[Victoria & Albert at a Military Review at Blackheath.] Die Königl. Grossbrittanische Armée Revûe. I.te Abth.](jpegs/30068.jpg)
[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
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
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
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
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
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
[The Gardens of Carleton-House with Neapolitan Ballad Singers Design'd 18th May 1784. To His Royal Highness George Prince of Wales this Print from the Original Drawing by H. Bunbury Esq,,r in the Possession of His Highness, is by Permission Dedicated by His Royal Highness's most faithfull Servant, W. Dickinson.]
[Engraved by Francesco Bartolozzi.]
London, Publish'd May 10th; 1785 by W. Dickinson, No. 158 Bond Street, & W. Austin, Drawing Master St. James Street.
Stipple, proof before title, printed in sepia, touches of hand colour. 510 x 660mm (20 x 26"), with large margins.
A proof state of one of the finest 18th century images: a scene of fashionably-dressed people promenading and listening to musicians in Carlton House gardens, under tall leafy trees with no sign of the house. At the centre is George, Prince of Wales, in a tricorn hat and with a lady on each arm. A group of musicians are on the far left, one playing a small trumpet. The Prince of Wales gave the ballad singers breakfast in his garden, where they were all drawn from life on the spot by Bunbury. According to De Vesme and Calabi, Bartolozzi only engraved the faces of the figures.
De Vesme 2549
[Ref: 49835] £1,650.00
[Engraved by Francesco Bartolozzi.]
London, Publish'd May 10th; 1785 by W. Dickinson, No. 158 Bond Street, & W. Austin, Drawing Master St. James Street.
Stipple, proof before title, printed in sepia, touches of hand colour. 510 x 660mm (20 x 26"), with large margins.
A proof state of one of the finest 18th century images: a scene of fashionably-dressed people promenading and listening to musicians in Carlton House gardens, under tall leafy trees with no sign of the house. At the centre is George, Prince of Wales, in a tricorn hat and with a lady on each arm. A group of musicians are on the far left, one playing a small trumpet. The Prince of Wales gave the ballad singers breakfast in his garden, where they were all drawn from life on the spot by Bunbury. According to De Vesme and Calabi, Bartolozzi only engraved the faces of the figures.
De Vesme 2549
[Ref: 49835] £1,650.00
Death of the Doe.
[George Stubbs.]
London Republished June 4, 1817 by Edw.d Orme, New Bond Street, corner of Brook Street.
Mezzotint, printed in colours and hand-finished. 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. In 'The Complete Engraved Works of George Stubbs' the authors write that as the mezzotint was first published in 1804 it is likely to have been a collaboration between George Stubbs (who was 80 years old at the time) and his son George Townley Stubbs: the 1804 impression have the inscription 'G. Stubbs, No. 24 Somerset Str. Portman Square’, thus listing George Stubbs only as publisher. The painting is now in the Paul Mellon Collection, Yale Center for British Art.
Lennox-Boyd 145.ii. See Mellon Collection: B1985.19.5 for the painting.
[Ref: 20937] £7,500.00
[George Stubbs.]
London Republished June 4, 1817 by Edw.d Orme, New Bond Street, corner of Brook Street.
Mezzotint, printed in colours and hand-finished. 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. In 'The Complete Engraved Works of George Stubbs' the authors write that as the mezzotint was first published in 1804 it is likely to have been a collaboration between George Stubbs (who was 80 years old at the time) and his son George Townley Stubbs: the 1804 impression have the inscription 'G. Stubbs, No. 24 Somerset Str. Portman Square’, thus listing George Stubbs only as publisher. The painting is now in the Paul Mellon Collection, Yale Center for British Art.
Lennox-Boyd 145.ii. See Mellon Collection: B1985.19.5 for the painting.
[Ref: 20937] £7,500.00
![Delia in the Country. [&] Delia in Town.](jpegs/20551.jpg)
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
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
Eagle beating Eleanor. A Match for 200 Gs. run accross the Flat Newmarket - Oct.r Meeting 1804.
I. Whessell pinxt.
Published March 1, 1809 by Edward Orme, Printseller to the King Engraver & Publisher Bond St.r, corner of Brook St. London.
Mezzotint with very fine colour. 387mm x 293mm (15¼ x 11½"). Trimmed to plate mark and mounted with false margins in keeping with contemporary practise
Eagle, sired by Volunteer, was described by the Sporting Magazine of 1806 as 'the finest Horse ever seen, and was superior in speed to Any horse in England of his time'. He was the first major stud export to America. This print was stored in a contemporary album, maintaining the quality of the colour.
Not found in Siltzer.
[Ref: 45847] £1,950.00
I. Whessell pinxt.
Published March 1, 1809 by Edward Orme, Printseller to the King Engraver & Publisher Bond St.r, corner of Brook St. London.
Mezzotint with very fine colour. 387mm x 293mm (15¼ x 11½"). Trimmed to plate mark and mounted with false margins in keeping with contemporary practise
Eagle, sired by Volunteer, was described by the Sporting Magazine of 1806 as 'the finest Horse ever seen, and was superior in speed to Any horse in England of his time'. He was the first major stud export to America. This print was stored in a contemporary album, maintaining the quality of the colour.
Not found in Siltzer.
[Ref: 45847] £1,950.00
Eagle & Fox.
J. Northcote R.A pinx.t. J. Murphy sculp.t.
London Published Dec.r 9 1799 by James Daniell & Co, Great Charlotte Street, Blackfriars Road.
Mezzotint, printed in colours and hand-finished. 490 x 610mm (19¼ x 24"). Cracks to platemark, mounted on card at edges, some staining and scratching. Small margins. Slight crease.
An eagle perched on a rock ledge, a dead pheasant under its talon, in a showdown with a crouching fox.
[Ref: 51162] £1,500.00
J. Northcote R.A pinx.t. J. Murphy sculp.t.
London Published Dec.r 9 1799 by James Daniell & Co, Great Charlotte Street, Blackfriars Road.
Mezzotint, printed in colours and hand-finished. 490 x 610mm (19¼ x 24"). Cracks to platemark, mounted on card at edges, some staining and scratching. Small margins. Slight crease.
An eagle perched on a rock ledge, a dead pheasant under its talon, in a showdown with a crouching fox.
[Ref: 51162] £1,500.00
![[Set of Twelve Months. Flowers.]](jpegs/37477.jpg)
[Set of Twelve Months. Flowers.]
[n.d., c.1770.]
Twelve mezzotints. Sheets c.120 x 165mm (4¾ x 6½").Mezzotint. Sheet: 120 x 165mm (4¾ x 6½"). Trimmed within plates, some small pin holes.
Extremely rare & fine set of 18th century flower prints, depicting a vase of flowers for each month set in an oval, accompanied by names of flowers depicted. In a similar fashion to Robert Furber's famous set of twelve months, these plates might be providing information as to what seeds or flowers are available in the various months.A set of twelve months depicting a vase of flowers for each month set in an oval, accompanied by names of flowers depicted. In a similar fashion to Robert Furber's famous set of twelve months, these plates might be providing information as to what seeds or flowers are available in the various months.
[Ref: 37477] £2,500.00 view all images for this item
[n.d., c.1770.]
Twelve mezzotints. Sheets c.120 x 165mm (4¾ x 6½").Mezzotint. Sheet: 120 x 165mm (4¾ x 6½"). Trimmed within plates, some small pin holes.
Extremely rare & fine set of 18th century flower prints, depicting a vase of flowers for each month set in an oval, accompanied by names of flowers depicted. In a similar fashion to Robert Furber's famous set of twelve months, these plates might be providing information as to what seeds or flowers are available in the various months.A set of twelve months depicting a vase of flowers for each month set in an oval, accompanied by names of flowers depicted. In a similar fashion to Robert Furber's famous set of twelve months, these plates might be providing information as to what seeds or flowers are available in the various months.
[Ref: 37477] £2,500.00 view all images for this item
Mr John Dryden Sr Samuel Garth Sr John Vanbrugh Sr Richard Steele.
I.Simon fec et Ex. [n.d., c.1740.]
Mezzotint, four oval portraits to one plate. 350 x 250mm (13¾ x 9¾"). A fine and rich impression with full margins.
One of the great mezzotints. Poet John Dryden (1631 - 1700), physician and poet Sir Samuel Garth (1661 - 1719), architect Sir John Vanbrugh (1664 - 1726), and essayist, dramatist and politician Sir Richard Steele (1672 - 1729); their names on scrolls under the upper pair and on inscription space under the lower pair. From a set of six plates, 'Poets and Philosophers of England', each having four oval portraits; by mezzotinter and publisher John Simon (c.1675 - 1751).
Chaloner Smith: 55, I, first state before division into separate portraits and letters erased.
[Ref: 18321] £490.00
I.Simon fec et Ex. [n.d., c.1740.]
Mezzotint, four oval portraits to one plate. 350 x 250mm (13¾ x 9¾"). A fine and rich impression with full margins.
One of the great mezzotints. Poet John Dryden (1631 - 1700), physician and poet Sir Samuel Garth (1661 - 1719), architect Sir John Vanbrugh (1664 - 1726), and essayist, dramatist and politician Sir Richard Steele (1672 - 1729); their names on scrolls under the upper pair and on inscription space under the lower pair. From a set of six plates, 'Poets and Philosophers of England', each having four oval portraits; by mezzotinter and publisher John Simon (c.1675 - 1751).
Chaloner Smith: 55, I, first state before division into separate portraits and letters erased.
[Ref: 18321] £490.00
Free as their thoughts and Wanton as the Air, Thro Life's bright Morning Sports this Infant Pair. Smiles in their Looks and Whinsys in Their Hearts Fir'd of their own They'd act each others part. Miss proves the Joys which Tommy's Cloaths afford,. Struts in his Hat and Hectors with his Sword. Whilt Tommy Drest with Miss's Capa nd Coat on Courtseys and Prins as if he'd Learnt with Haughton Th' observing Eye your Little Pastime teach. what grave Fools Dictate and what pedants preach. The Lust of Change [Disguise it as we can] Dawns as the Child and Rages in the Man.
P. Mercier Pinx. I. Faber fecit 1744.
Publish'd according to Act of Parliamt. March 25th. 1744
Mezzotint, small margins. 350 x 250mm (14 x 9¾"). Fine impression; collector's stamp of Christopher Lennox-Boyd verso.
A young boy and girl standing in a landscape in front of a classical urn on a pedestal, the boy wearing the girl's collar and cap and holding her fan, hands folded in front of her, the girl in the boy's jacket, right hand on hip with a cane hanging from a ribbon on her wrist, a sword slung over right shoulder, placing a tricorn on her head with left hand. There is no clue to the identity of the children other than 'Tommy' in the verse; however the companion print depicts the three children of Frederick Prince of Wales.
CS: 416 (only state listed); Ex Oettingen-Wallenstein collection and collection of the Late Hon. Christopher Lennox-Boyd. For the pendant see ref 34425.
[Ref: 38881] £360.00
P. Mercier Pinx. I. Faber fecit 1744.
Publish'd according to Act of Parliamt. March 25th. 1744
Mezzotint, small margins. 350 x 250mm (14 x 9¾"). Fine impression; collector's stamp of Christopher Lennox-Boyd verso.
A young boy and girl standing in a landscape in front of a classical urn on a pedestal, the boy wearing the girl's collar and cap and holding her fan, hands folded in front of her, the girl in the boy's jacket, right hand on hip with a cane hanging from a ribbon on her wrist, a sword slung over right shoulder, placing a tricorn on her head with left hand. There is no clue to the identity of the children other than 'Tommy' in the verse; however the companion print depicts the three children of Frederick Prince of Wales.
CS: 416 (only state listed); Ex Oettingen-Wallenstein collection and collection of the Late Hon. Christopher Lennox-Boyd. For the pendant see ref 34425.
[Ref: 38881] £360.00
Mr Garrick in Hamlet. Act 1 Scene 4
B. Wilson Pinx.t J. McArdell Fecit
Publish'd by B. Wilson according to Act of Parliament Novem.r 1754.
Mezzotint, platemark 455 x 330mm (18 x 13"). Creases at top, small margins.
David Garrick (1717-1779), English actor and theatrical manage, in the role of Hamlet. 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 in the following century, and in the names of pubs and streets, and the famous Garrick Club, Covent Garden is filled with echoes of one of the greatest men to have occupied the area. This print illustrates the moment when Hamlet is confronted by the ghost of his dead father, the king of Denmark, who was murdered by his brother Claudius. Engraved after a portrait by Benjamin Wilson (1721 - 1788), portrait painter and scientist, etcher, occasional mezzotinter and collector of Rembrandt who was appointed Hogarth's successor as Serjeant-Painter to the King.
Lennox-Boyd. 'Theatre: The Age of Garrick' 22 iii/iv.
[Ref: 43747] £450.00
B. Wilson Pinx.t J. McArdell Fecit
Publish'd by B. Wilson according to Act of Parliament Novem.r 1754.
Mezzotint, platemark 455 x 330mm (18 x 13"). Creases at top, small margins.
David Garrick (1717-1779), English actor and theatrical manage, in the role of Hamlet. 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 in the following century, and in the names of pubs and streets, and the famous Garrick Club, Covent Garden is filled with echoes of one of the greatest men to have occupied the area. This print illustrates the moment when Hamlet is confronted by the ghost of his dead father, the king of Denmark, who was murdered by his brother Claudius. Engraved after a portrait by Benjamin Wilson (1721 - 1788), portrait painter and scientist, etcher, occasional mezzotinter and collector of Rembrandt who was appointed Hogarth's successor as Serjeant-Painter to the King.
Lennox-Boyd. 'Theatre: The Age of Garrick' 22 iii/iv.
[Ref: 43747] £450.00
![[The Grand Jubilee Celebrations in London's Parks.]](jpegs/49810.jpg)
[The Grand Jubilee Celebrations in London's Parks.] View of the Bridge and Pagoda, from the Canal, St James's Park.[&] The Chinese Pagoda and Bridge in St James's Park (previous to the Fire.) [&] The Fortress (which inclosed the Grand Pavillion.) in the Green Park; with the ascent of the Balloon. [&] The Grand Pavillion in Green Park. [&] The View in Hyde Park, with the Fleet at Anchor, on the Serpentine River. [&] The Jubilee Naval Action on the Serpentine in Commemoration of the Battle of the Nile. [&] The Action between the British & American Frigates on the Serpentine, Hyde Park, 1st August, 1814. [&] Scene on the Serpentine, Hyde Park, on the Night of the Grand Jubilee, Aug.t 1. 1814.
Published Aug.t 12 [& 24th], 1814, by Tho. Palser, Surry Side, West.r Bridge.
Eight etchings with hand colour. Each c. 245 x 345mm (9¾ x 13½"). Each plate trimmed to plate top and bottom.
On 1st August 1814 a series of events celebrating both the end of the Napoleonic Wars and the centenary of Hanoverian rule in England. In St James's Park a Chinese bridge with a pagoda was built over the lake; in Green Park a revolving Temple of Concord was constructed by Sir William Congreve (of rocket fame); and in Hyde Park naval battles with miniature frigates were fought (the 'Nile' and 'Trafalgar' against the French and a third against the Americans, a reminder that Britain was still fighting the War of 1812). The battles were successful events: however the pagoda in St James's Park was set alight by fireworks, killing one and injuring another; and the balloon ascent, by James Sadler (1753-1828, the first English balloonist) did not go as planned and he had to make an emergency landing.
[Ref: 49810] £2,500.00 view all images for this item
Published Aug.t 12 [& 24th], 1814, by Tho. Palser, Surry Side, West.r Bridge.
Eight etchings with hand colour. Each c. 245 x 345mm (9¾ x 13½"). Each plate trimmed to plate top and bottom.
On 1st August 1814 a series of events celebrating both the end of the Napoleonic Wars and the centenary of Hanoverian rule in England. In St James's Park a Chinese bridge with a pagoda was built over the lake; in Green Park a revolving Temple of Concord was constructed by Sir William Congreve (of rocket fame); and in Hyde Park naval battles with miniature frigates were fought (the 'Nile' and 'Trafalgar' against the French and a third against the Americans, a reminder that Britain was still fighting the War of 1812). The battles were successful events: however the pagoda in St James's Park was set alight by fireworks, killing one and injuring another; and the balloon ascent, by James Sadler (1753-1828, the first English balloonist) did not go as planned and he had to make an emergency landing.
[Ref: 49810] £2,500.00 view all images for this item
This North View of Highbury & Cannonbury Places Is most respectfully Inscribed to the Ladies & Gentlemen Inhabitants by their most obedient Servant R. Dodd. [&] A West View of Highbury Place Most respectfully Inscribed to the Ladies & Gentlemen Subscribers, to this Plate & Its Companion, by their obed.t. Servt.
R. Dodd pinxt. Engrav'd by R. Pollard & F.Jukes. [&] Painted by R. Dodd.
London Pub.d Jan.y 31 1787 by R. Pollard, Spa Fields & F. Jukes, Howland Street.
Pair of aquatints. 430 x 550mm (17 x 21½"). Some restoration.
The new terrace of townhouses built around Highbury Fields. John Dawes had bought the land and he began the residential development of Highbury by leasing out the land for 39 houses on Highbury Place between 1774-9. Designed and built by John Spiller, a speculative builder of Southwark, Highbury Place was completed in 1777. The North View of Highbury has a row of town houses centre right and distant left is a panoramic view of Islington, St. Pauls and the City of London although it is enlivened by a group of haymakers. The foreground of the West View includes a small herd of cattle with Highbury Fields and the terrace of houses making up Highbury Place.
Guildhall: p5378602 [&] p5378619.
[Ref: 20044] £1,400.00 view all images for this item
R. Dodd pinxt. Engrav'd by R. Pollard & F.Jukes. [&] Painted by R. Dodd.
London Pub.d Jan.y 31 1787 by R. Pollard, Spa Fields & F. Jukes, Howland Street.
Pair of aquatints. 430 x 550mm (17 x 21½"). Some restoration.
The new terrace of townhouses built around Highbury Fields. John Dawes had bought the land and he began the residential development of Highbury by leasing out the land for 39 houses on Highbury Place between 1774-9. Designed and built by John Spiller, a speculative builder of Southwark, Highbury Place was completed in 1777. The North View of Highbury has a row of town houses centre right and distant left is a panoramic view of Islington, St. Pauls and the City of London although it is enlivened by a group of haymakers. The foreground of the West View includes a small herd of cattle with Highbury Fields and the terrace of houses making up Highbury Place.
Guildhall: p5378602 [&] p5378619.
[Ref: 20044] £1,400.00 view all images for this item
![[Horse Guards] To the Rt. Hon'ble Viscount Combermere G.C.B. & G.C.H. and the Officers of the 1st Regiment of Life Guards. this Print is most respectfully dedicated by Their Obedient Servants. W. Robert and Lowes Dickinson. &](jpegs/6933.jpg)
[Horse Guards] To the Rt. Hon'ble Viscount Combermere G.C.B. & G.C.H. and the Officers of the 1st Regiment of Life Guards. this Print is most respectfully dedicated by Their Obedient Servants. W. Robert and Lowes Dickinson. & [Hyde Park Corner] To the most noble the Marquis of Londonderry, G.C.B. & G.C.H. and the Officers of the 2nd Regiment of Life Guards, this Print is most respectfully dedicated by their obedient Servants, W. Robert and Lowes Dickinson.
[Dated in image 1851 with monogram]
Pair of tinted lithographs with added hand colour, image size 620 x 760mm. Framed. Unexamined out of frames.
Life Guards passing the Wellington Arch at Hyde Park Corner when it still had the Statue of Wellington on the top, and the Entrance to Horse Guards from Whitehall. An extremely scarce pair, in original frames.
[Ref: 6933] £2,600.00 view all images for this item
[Dated in image 1851 with monogram]
Pair of tinted lithographs with added hand colour, image size 620 x 760mm. Framed. Unexamined out of frames.
Life Guards passing the Wellington Arch at Hyde Park Corner when it still had the Statue of Wellington on the top, and the Entrance to Horse Guards from Whitehall. An extremely scarce pair, in original frames.
[Ref: 6933] £2,600.00 view all images for this item
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.,
Very fine stipple engraving with etching. 460 x 686mm. Minor repairs to outer marginal tears, small faint stain in trees to left.
Companion print to 'The Promenade in St. James's' engraved by F.D. Soiron.
[Ref: 1604] £1,450.00
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.,
Very fine stipple engraving with etching. 460 x 686mm. Minor repairs to outer marginal tears, small faint stain in trees to left.
Companion print to 'The Promenade in St. James's' engraved by F.D. Soiron.
[Ref: 1604] £1,450.00
An Elevated View of the New Docks & Warehouses now constructing on the Isle of Dogs near Limehouse for the Reception of Shipping in the West India Trade.
Drawn and Engraved by W.m Daniell, & Published by him, at No. 9 Cleveland Street, Fitzroy Square, London, Oct.r 15, 1802.
Aquatint, printed in colours and hand-finished. 480 x 800mm (19 x 31½"). Trimmed to plate, some restoration in sky, toning in edges.
A wonderful bird's-eye view, looking across West India Docks towards London. William Daniell RA (1769-1837) was one of the few artists of the period who was as skilled as an aquatinter as he was a painter.
[Ref: 57967] £1,250.00
Drawn and Engraved by W.m Daniell, & Published by him, at No. 9 Cleveland Street, Fitzroy Square, London, Oct.r 15, 1802.
Aquatint, printed in colours and hand-finished. 480 x 800mm (19 x 31½"). Trimmed to plate, some restoration in sky, toning in edges.
A wonderful bird's-eye view, looking across West India Docks towards London. William Daniell RA (1769-1837) was one of the few artists of the period who was as skilled as an aquatinter as he was a painter.
[Ref: 57967] £1,250.00
Henricus Liberti. Groeningensis Cathed Ecclesiae Antverp Organista.
Anton. van Dyck pinxit Petrus de Jode Sculpsit [c.1650]
Engraving, 17th century watermark; platemark 270 x 200mm (10½ x 8"). Trimmed to plate. Small damage to upper left corner,
Henricus Liberti (c.1610-69), Dutch composer and organist at Antwerp Cathedral, holding sheet music. Engraving after a portrait by Anthony van Dyck, c.1630, which exists in at least eight copies.
[Ref: 53822] £95.00 (£114.00 incl.VAT)
Anton. van Dyck pinxit Petrus de Jode Sculpsit [c.1650]
Engraving, 17th century watermark; platemark 270 x 200mm (10½ x 8"). Trimmed to plate. Small damage to upper left corner,
Henricus Liberti (c.1610-69), Dutch composer and organist at Antwerp Cathedral, holding sheet music. Engraving after a portrait by Anthony van Dyck, c.1630, which exists in at least eight copies.
[Ref: 53822] £95.00 (£114.00 incl.VAT)
View of London Bridge, including St Magnus the Martyr and the Monument.
Jos.h Farington R.A. Delint. J.C.Stadler fecit.
London Pub.d as the Act Directs May 15, 1790. by W. Byrne, No. 76 Titchfield Street.
Etching and aquatint, printed in colour. 405 x 610mm (16 x 24"),
Joseph Farington [1747 - 1821] was a professional topographical artist and lived most of his life in London. He made a reputation for compositions translated into coloured aquatint plates through his association with professional printmakers like Joseph Stadler.
farrlond
[Ref: 2475] £1,450.00
Jos.h Farington R.A. Delint. J.C.Stadler fecit.
London Pub.d as the Act Directs May 15, 1790. by W. Byrne, No. 76 Titchfield Street.
Etching and aquatint, printed in colour. 405 x 610mm (16 x 24"),
Joseph Farington [1747 - 1821] was a professional topographical artist and lived most of his life in London. He made a reputation for compositions translated into coloured aquatint plates through his association with professional printmakers like Joseph Stadler.
farrlond
[Ref: 2475] £1,450.00
A View of London from Blackfriars Bridge.
Drawn & Engraved by J. W. Edye.
Published by John Harris, April 20. 1795. No. 3 Sweetings Alley, & No. 8 Old Broad Street, London.
Large and very scarce etching and aquatint. Sheet 550 x 800mm (21¾ x 30½"). Trimmed to plate, two vertical creases unseen from front; a few small repaired tears.
Striking and impressive view of the Thames from beneath the arch nearest the south bank of Blackfriars Bridge, looking towards London Bridge. Albion Mills is to the right, with St Paul's on the opposite bank at far left; prospect includes several spires of City of London churches, the Monument, and various rowing and sailing boats on the river, with a group of adults and children in the foreground around a fire. By John William Edy (1760 - 1820).
Guildhall: p7494465.
[Ref: 17584] £1,650.00
Drawn & Engraved by J. W. Edye.
Published by John Harris, April 20. 1795. No. 3 Sweetings Alley, & No. 8 Old Broad Street, London.
Large and very scarce etching and aquatint. Sheet 550 x 800mm (21¾ x 30½"). Trimmed to plate, two vertical creases unseen from front; a few small repaired tears.
Striking and impressive view of the Thames from beneath the arch nearest the south bank of Blackfriars Bridge, looking towards London Bridge. Albion Mills is to the right, with St Paul's on the opposite bank at far left; prospect includes several spires of City of London churches, the Monument, and various rowing and sailing boats on the river, with a group of adults and children in the foreground around a fire. By John William Edy (1760 - 1820).
Guildhall: p7494465.
[Ref: 17584] £1,650.00
London Plate V.
Drawn, Engraved & Published by William Daniell,
N.o 9 Cleveland Street, Fitzroy Square, London, Jan.y 1, 1805.
Coloured aquatint. Sheet 505 x 870mm (19½ x 34¼"). Repaired tear in lower margin.
The unembanked Somerset House viewed from the opposite shore; Drury Lane on the skyline. From William Daniell's 'Six Views of the Metropolis of the British Empire'. William Daniell RA (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.
See ref. 11769 for Plate VI from the series.
[Ref: 11770] £1,950.00
Drawn, Engraved & Published by William Daniell,
N.o 9 Cleveland Street, Fitzroy Square, London, Jan.y 1, 1805.
Coloured aquatint. Sheet 505 x 870mm (19½ x 34¼"). Repaired tear in lower margin.
The unembanked Somerset House viewed from the opposite shore; Drury Lane on the skyline. From William Daniell's 'Six Views of the Metropolis of the British Empire'. William Daniell RA (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.
See ref. 11769 for Plate VI from the series.
[Ref: 11770] £1,950.00
London Plate VI.
Drawn, Engraved & Published by William Daniell,
N.o 9 Cleveland Street, Fitzroy Square, London, Jan.y 1, 1805.
Coloured aquatint. 450 x 790mm (17¾ x 31"). Minor stain along left margin.
Westminster Bridge and Abbey from Somerset House Terrace, one of William Daniell's 'Six Views of the Metropolis of the British Empire'. William Daniell RA (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.
See Ref: 25918
[Ref: 11769] £1,950.00
Drawn, Engraved & Published by William Daniell,
N.o 9 Cleveland Street, Fitzroy Square, London, Jan.y 1, 1805.
Coloured aquatint. 450 x 790mm (17¾ x 31"). Minor stain along left margin.
Westminster Bridge and Abbey from Somerset House Terrace, one of William Daniell's 'Six Views of the Metropolis of the British Empire'. William Daniell RA (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.
See Ref: 25918
[Ref: 11769] £1,950.00
The Art of Dressing Fish, Most humbly dedicated to the Hon.ble Society of Arts Manufacturers and Commerce, by his most obedient humble Servant Joh. Elias Haid. [&] The Cook Maid, Most humbly dedicated to Samuel More Esq.r, Secretary to the Hon.ble Society of Arts Manufacturers and Commerce, by his most obedient humble Servant Joh. Elias Haid.
Johann Caspar Heilmann pinxit. Johann Elias Haid sculpsit. Aug Vind:1773. [Cook Maid - '1774'].
Pair of fine mezzotints. Each 485 x 360mm (19 x 14¼"). Slight damp staining.
Johann Casper Heilmann [1718 - 1760], a Swiss painter and draughtsman working in Rome and Paris. Johann Elias Haid [1736 - 1809] was a German engraver and publisher. Son and pupil of Johann Jakob, he published his own prints in Augsburg. These pictures were produced in the same year the Society moved into a purpose built home, designed by John Adam. The Honourable Society of Arts Manufacturers and Commerce, was founded by William Shipley as a fund to support improvements in the liberal arts, sciences, and manufactures. In 1758, the Society awarded medals divided into catagories: Agriculture, Chemistry, Colonies & Trade, Manufactures, Mechanics, and Polite Arts (painting and the plastic arts). Samuel More was secretary to the society between 1770 and 1773, and was one of the most important supporters of the society's awards.
[Ref: 3161] £1,200.00 view all images for this item
Johann Caspar Heilmann pinxit. Johann Elias Haid sculpsit. Aug Vind:1773. [Cook Maid - '1774'].
Pair of fine mezzotints. Each 485 x 360mm (19 x 14¼"). Slight damp staining.
Johann Casper Heilmann [1718 - 1760], a Swiss painter and draughtsman working in Rome and Paris. Johann Elias Haid [1736 - 1809] was a German engraver and publisher. Son and pupil of Johann Jakob, he published his own prints in Augsburg. These pictures were produced in the same year the Society moved into a purpose built home, designed by John Adam. The Honourable Society of Arts Manufacturers and Commerce, was founded by William Shipley as a fund to support improvements in the liberal arts, sciences, and manufactures. In 1758, the Society awarded medals divided into catagories: Agriculture, Chemistry, Colonies & Trade, Manufactures, Mechanics, and Polite Arts (painting and the plastic arts). Samuel More was secretary to the society between 1770 and 1773, and was one of the most important supporters of the society's awards.
[Ref: 3161] £1,200.00 view all images for this item
![[Pair.] A Vegetable Market. [&] A Poultry Market.](jpegs/16984.jpg)
[Pair.] A Vegetable Market. [&] A Poultry Market.
Painted by Ja.s Ward, Painter and Engraver to H.R.H. the Prince of Wales. Engraved by W.m Ward. [&] Painted & Engraved by Ja.s Ward, Painter and Engraver to H.R.H. the Prince of Wales.
London: Pub. May 1. 1803, ny Mess.rs Wards & Co, No 6, Newman Street.
Pair of fine mezzotints, printed in colours and hand finished. Each 490 x 610mm, 19 x 24". Both trimmed close to plate at bottom. 'Vegetable' with small scratch; 'Poultry' witth a tiny hole in platemark.
A pair of fine mezzotints of markets, very rare as matching pair, both painted by James Ward (1769-1859), one engraved by him and one by his older brother, William (1762 - 1826).
Ex Collection of the Hon. Christopher Lennox-Boyd. See Frankau 303.
[Ref: 16984] £1,450.00 view all images for this item
Painted by Ja.s Ward, Painter and Engraver to H.R.H. the Prince of Wales. Engraved by W.m Ward. [&] Painted & Engraved by Ja.s Ward, Painter and Engraver to H.R.H. the Prince of Wales.
London: Pub. May 1. 1803, ny Mess.rs Wards & Co, No 6, Newman Street.
Pair of fine mezzotints, printed in colours and hand finished. Each 490 x 610mm, 19 x 24". Both trimmed close to plate at bottom. 'Vegetable' with small scratch; 'Poultry' witth a tiny hole in platemark.
A pair of fine mezzotints of markets, very rare as matching pair, both painted by James Ward (1769-1859), one engraved by him and one by his older brother, William (1762 - 1826).
Ex Collection of the Hon. Christopher Lennox-Boyd. See Frankau 303.
[Ref: 16984] £1,450.00 view all images for this item
Mask aged 20.
G. Stubbs pinx.t. G.T. Stubbs sculp.t
Publish'd Jan. 1.st. 1789 by J. Harris, Sweet Alley & No. 8 Broad Street.
Mezzotint, printed in colours and hand finished. Plate: 350 x 255mm, (13¾ x 10"). Frame: 415 x 315mm, (16¼ x 12¼"). Small margins, slight time staining on bottom left and right. Laid on eighteenth century blue card, unexamined out of frame.
A portrait of the racehorse Marske by George Stubbs. Marske was sire of the hugely successful horse Eclipse, and was given to the Duke of Cumberland in exchange for a chestnut Arabian. Following the Duke's death he was bought by William Wildman and put to stud. With Eclipse's unbeatable Marske's stud fee doubled and some doubt was cast as to whether Marske had actually been the sire, Wildman sought to remedy this and commissioned Stubbs to paint him and he became the most successful stud in England. Mask is shown standing in a countryside scene by lake.
Lennox-Boyd: 49; stated he had only seen 3 impressions.
[Ref: 41678] £1,200.00
G. Stubbs pinx.t. G.T. Stubbs sculp.t
Publish'd Jan. 1.st. 1789 by J. Harris, Sweet Alley & No. 8 Broad Street.
Mezzotint, printed in colours and hand finished. Plate: 350 x 255mm, (13¾ x 10"). Frame: 415 x 315mm, (16¼ x 12¼"). Small margins, slight time staining on bottom left and right. Laid on eighteenth century blue card, unexamined out of frame.
A portrait of the racehorse Marske by George Stubbs. Marske was sire of the hugely successful horse Eclipse, and was given to the Duke of Cumberland in exchange for a chestnut Arabian. Following the Duke's death he was bought by William Wildman and put to stud. With Eclipse's unbeatable Marske's stud fee doubled and some doubt was cast as to whether Marske had actually been the sire, Wildman sought to remedy this and commissioned Stubbs to paint him and he became the most successful stud in England. Mask is shown standing in a countryside scene by lake.
Lennox-Boyd: 49; stated he had only seen 3 impressions.
[Ref: 41678] £1,200.00
Thoughts on Matrimony. Take this much of my counsel, marry not in haste; for she that takes the best of Husbands puts put on a golden fetter. Cupid's whirligig.
Design'd by J.R. Smith. Engraved by W. Ward.
London Publish'd May 25 1786 by J.R. Smith, No 83 Oxford Street.
Very fine stipple, printed in sepia, in fine exhibition frame, c. 1900. 255 x 200mm, 10 x 8". Slight toning. Unexamined out of frame.
A seated woman, reading a letter. 'Cupid's Whirligig' was written by Edward Sharpham (1576-1608), published 1607.
Frankau: 294 iii of iii
[Ref: 20552] £520.00
Design'd by J.R. Smith. Engraved by W. Ward.
London Publish'd May 25 1786 by J.R. Smith, No 83 Oxford Street.
Very fine stipple, printed in sepia, in fine exhibition frame, c. 1900. 255 x 200mm, 10 x 8". Slight toning. Unexamined out of frame.
A seated woman, reading a letter. 'Cupid's Whirligig' was written by Edward Sharpham (1576-1608), published 1607.
Frankau: 294 iii of iii
[Ref: 20552] £520.00
![[Twelve Months.]](jpegs/42822.jpg)
[Twelve Months.] Januarius. [&] Febuarius. [&] Martius. [&] Aprilis. [&] Maius. [&] Junius. [&] Julius. [&] Augustus. [&] September. [&] October. [&] November. [&] December.
Joachimius Sandrart Pinxit, et excudit Amstel. Jer=Falck [et al] Sculpsit.
[n.d., 1645 in January & December plates.]
Folio, old vellum; 12 engravings, each c. 355 x 255mm (14 x 10"), mounted on guards.for binding in plano. Signs of old horizontal centre folds on all plates.
Set of the Twelve Months after the paintings by Joachim von Sandrart for the Old Palace Schleissheim, Munich, 1642-3). Each has a person engaged in a seasonal activity and a zodiac sign somewhere in the composition. Underneath each is a Latin verse by C. Barlaeus. The engravers were: Jeremias Falck, Jonas Suyderhoef, Reinier van Persijn, Cornelius van Delan II, Albert Haelwegh and Theodor Matham. Two extra plates of this series relating to Time, Night & Day, are not present.
[Ref: 42822] £6,500.00 view all images for this item
Joachimius Sandrart Pinxit, et excudit Amstel. Jer=Falck [et al] Sculpsit.
[n.d., 1645 in January & December plates.]
Folio, old vellum; 12 engravings, each c. 355 x 255mm (14 x 10"), mounted on guards.for binding in plano. Signs of old horizontal centre folds on all plates.
Set of the Twelve Months after the paintings by Joachim von Sandrart for the Old Palace Schleissheim, Munich, 1642-3). Each has a person engaged in a seasonal activity and a zodiac sign somewhere in the composition. Underneath each is a Latin verse by C. Barlaeus. The engravers were: Jeremias Falck, Jonas Suyderhoef, Reinier van Persijn, Cornelius van Delan II, Albert Haelwegh and Theodor Matham. Two extra plates of this series relating to Time, Night & Day, are not present.
[Ref: 42822] £6,500.00 view all images for this item
View of the Port and Town of Newcastle upon Tyne, from the Rope Walk Gateshead. Dedicated with Permission to the Right Worshipful the Mayor & Corporation of that Ancient Town by Their obliged and Obedient Servant. T.M. Richardson.
T.M.Richardson pinxit. Engraved by Rob.t Havell & Son. 3 Chapel Str. Tottenham Court Road.
Published Feb.y 1819 by T. M. Richardson, Newcastle.
Coloured aquatint with washed borders. 670 x 470mm. Two tears effecting the washed margins. Reverse has worn areas from an old card backing.
Thomas Miles Richardson, (1784-1848) Having revealed a deep love of drawing he didn't follow this passion until after his fathers death when he accepted a position as Drawing Master at a Newcastle school. In 1813, after six years as both master of St Andrew's and a private drawing master, he resigned his school position to devote his life to painting. Initially his work attracted little local interest, and he found it difficult to make a living as an artist. However, from 1814, he began to gain a wide reputation as a result of his exhibiting works in London, at the Royal Academy and the British Institution. In 1813, after six years as both master of St Andrew's and a private drawing master, he resigned his school position to devote his life to painting. Initially his work attracted little local interest, and he found it difficult to make a living as an artist. However, from 1814, he began to gain a wide reputation as a result of his exhibiting works in London, at the Royal Academy and the British Institution. Richardson continued to live in Newcastle, and so dominate the local art scene. In 1822, his own house in Brunswick Place was used as the venue for the first fine art exhibition to be staged in the North of England. The success of the exhibition led to the foundation of first the Northumberland Institution for the Promotion of Fine Arts, and later the Northern Academy of Arts. In 1831, he also helped to launch the Northern Society of Painters in Water-Colours. A leading exhibiting member of these organisations, he made a particularly notable contribution to the Northern Academy in 1830 with four large paintings. Moot Hall, the Castle Keep, the neo-Gothic spire of St. Nicholas' church ar all visible in this view. Gateshead was a prosperous settlement in the Roman Times, and during the Industrial Revolution and Victorian Era it became one of the focal points for industries in the North East due to its easily accessible port.
[Ref: 4886] £800.00
T.M.Richardson pinxit. Engraved by Rob.t Havell & Son. 3 Chapel Str. Tottenham Court Road.
Published Feb.y 1819 by T. M. Richardson, Newcastle.
Coloured aquatint with washed borders. 670 x 470mm. Two tears effecting the washed margins. Reverse has worn areas from an old card backing.
Thomas Miles Richardson, (1784-1848) Having revealed a deep love of drawing he didn't follow this passion until after his fathers death when he accepted a position as Drawing Master at a Newcastle school. In 1813, after six years as both master of St Andrew's and a private drawing master, he resigned his school position to devote his life to painting. Initially his work attracted little local interest, and he found it difficult to make a living as an artist. However, from 1814, he began to gain a wide reputation as a result of his exhibiting works in London, at the Royal Academy and the British Institution. In 1813, after six years as both master of St Andrew's and a private drawing master, he resigned his school position to devote his life to painting. Initially his work attracted little local interest, and he found it difficult to make a living as an artist. However, from 1814, he began to gain a wide reputation as a result of his exhibiting works in London, at the Royal Academy and the British Institution. Richardson continued to live in Newcastle, and so dominate the local art scene. In 1822, his own house in Brunswick Place was used as the venue for the first fine art exhibition to be staged in the North of England. The success of the exhibition led to the foundation of first the Northumberland Institution for the Promotion of Fine Arts, and later the Northern Academy of Arts. In 1831, he also helped to launch the Northern Society of Painters in Water-Colours. A leading exhibiting member of these organisations, he made a particularly notable contribution to the Northern Academy in 1830 with four large paintings. Moot Hall, the Castle Keep, the neo-Gothic spire of St. Nicholas' church ar all visible in this view. Gateshead was a prosperous settlement in the Roman Times, and during the Industrial Revolution and Victorian Era it became one of the focal points for industries in the North East due to its easily accessible port.
[Ref: 4886] £800.00
![[The inside of the Pantheon in Oxford Road.]](jpegs/12142.jpg)
[The inside of the Pantheon in Oxford Road.]
Brandoin Invnt. R. Earlom sculpst.
R Sayer, Excd., Publish'd Augst, 15, 1772.
Mezzotint, scratched letter proof before title. 470 x 560mm. (18½ x 22"). Trimmed to plate. Diagonal crease through centre of image. Some scuffs and scrapes to the mezzotint surface.
A group of men and women stand conversing amongst tall marble pillars, inside a richly decorated hall. In the background are more open rooms and several figures, with statues set within niches along the walls. A slightly satirical take on fashionable 18th century London society. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Originally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. After Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, a Swiss painter, watercolourist, draughtsman, and caricaturist working in London.
Wessely: 100, I. Chaloner Smith: 45. BM Satires: 5091.
[Ref: 12142] £750.00
Brandoin Invnt. R. Earlom sculpst.
R Sayer, Excd., Publish'd Augst, 15, 1772.
Mezzotint, scratched letter proof before title. 470 x 560mm. (18½ x 22"). Trimmed to plate. Diagonal crease through centre of image. Some scuffs and scrapes to the mezzotint surface.
A group of men and women stand conversing amongst tall marble pillars, inside a richly decorated hall. In the background are more open rooms and several figures, with statues set within niches along the walls. A slightly satirical take on fashionable 18th century London society. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Originally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. After Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, a Swiss painter, watercolourist, draughtsman, and caricaturist working in London.
Wessely: 100, I. Chaloner Smith: 45. BM Satires: 5091.
[Ref: 12142] £750.00
![[The Inside of the Pantheon in Oxford Road.] L'Intérior du Panthéon de Londres.](jpegs/7221.jpg)
[The Inside of the Pantheon in Oxford Road.] L'Intérior du Panthéon de Londres. From an Original Drawing in the Possession of Robt. Sayer.
Cha.s Brandoin inv. et delin. Richd. Earlom fecit. R. Sayer Execud.t.
London, printed for Robt. Sayer No. 53 in Fleet Street. As the Act directs 30 August 1772.
Mezzotint. 475 x 560mm (18¾ x 22". Slightly rubbed.
A group of men and women stand conversing amongst tall marble pillars, inside a richly decorated hall. In the background are more open rooms, with statues set within niches along the wall. Further figures congregrate throughout. The Pantheon, was a place of public entertainment on the south side of Oxford Street. It was designed by James Wyatt and opened in 1772. One of the largest rooms in England, the main rotunda, with its central dome, was somewhat reminiscent of the celebrated Pantheon in Rome. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733-90, known as Charles) was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
Wessely 100.II. CS:45. BM:5091.
[Ref: 7221] £2,200.00
Cha.s Brandoin inv. et delin. Richd. Earlom fecit. R. Sayer Execud.t.
London, printed for Robt. Sayer No. 53 in Fleet Street. As the Act directs 30 August 1772.
Mezzotint. 475 x 560mm (18¾ x 22". Slightly rubbed.
A group of men and women stand conversing amongst tall marble pillars, inside a richly decorated hall. In the background are more open rooms, with statues set within niches along the wall. Further figures congregrate throughout. The Pantheon, was a place of public entertainment on the south side of Oxford Street. It was designed by James Wyatt and opened in 1772. One of the largest rooms in England, the main rotunda, with its central dome, was somewhat reminiscent of the celebrated Pantheon in Rome. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733-90, known as Charles) was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
Wessely 100.II. CS:45. BM:5091.
[Ref: 7221] £2,200.00
![Pointer Bitch, & Puppies. [&] Setters.](jpegs/8367.jpg)
Pointer Bitch, & Puppies. [&] Setters.
Painted by J.Ward. Engraved by S. Reynolds. [&] Painted by G. Morland. Engraved by S. Reynolds.
London Published March 1. 1799 by S. Morgan No. 22 Margaret Street Cavendish Square.
Pair of mezzotints, printed in colours. Each 330 x 380mm (13 x 15"). Framed. Unexamined out of frame.
Very fine matching pair of colour prints.
[Ref: 8367] £1,250.00 view all images for this item
Painted by J.Ward. Engraved by S. Reynolds. [&] Painted by G. Morland. Engraved by S. Reynolds.
London Published March 1. 1799 by S. Morgan No. 22 Margaret Street Cavendish Square.
Pair of mezzotints, printed in colours. Each 330 x 380mm (13 x 15"). Framed. Unexamined out of frame.
Very fine matching pair of colour prints.
[Ref: 8367] £1,250.00 view all images for this item
![[The Angel]](jpegs/36698.jpg)
[The Angel] [He is not here: for he is risen. &c.]
B. West 1801
[first published 1803]
Pen lithograph, sheet 315 x 225mm (12½ x 9"). Glued to backing sheet; trimmed, losing text below image. Unidentified collector's stamp verso.
Text from Matthew 28:6, in which the angel of the resurrection directs women looking for the crucified Jesus to 'see the place where He was lying'. A landmark in the history of lithograph, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was published as 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. West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Ex: collection of the late Hon. C. Lennox-Boyd; Man, '150 Years of Artists' Lithographs', cat. 1.
[Ref: 36698] £2,200.00 view all images for this item
B. West 1801
[first published 1803]
Pen lithograph, sheet 315 x 225mm (12½ x 9"). Glued to backing sheet; trimmed, losing text below image. Unidentified collector's stamp verso.
Text from Matthew 28:6, in which the angel of the resurrection directs women looking for the crucified Jesus to 'see the place where He was lying'. A landmark in the history of lithograph, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was published as 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. West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Ex: collection of the late Hon. C. Lennox-Boyd; Man, '150 Years of Artists' Lithographs', cat. 1.
[Ref: 36698] £2,200.00 view all images for this item
View of Reading School & Playground. Dedicated by Permission To the Rev.d R. Valpy, D.D. F.A.S. and the Gentlemen of Reading School, by their very humble and respectful Servant Edmund Havell. Virginibus Sedes Fuit Haec Monialibus Aedes Hospitium Henricus Musis Donavit Amicus.
Drawn by E. Havell. Engraved by R. Havell & Son. 3, Chapel Street, Tottenham Court Road.
Published Oct.r 1816, by E. Havell, Frier Street, Reading.
Very scarce aquatint, printed in colours and hand finished. 443 x 604mm (17½ x 25¼"). A few repairs at top. Slightly time stained.
A view of Reading Grammar School, in what had been Reading Abbey’s guest house or Hospitium, with the scholars at play ouside. The pastimes include cricket, rounders, hoops, reading and driving other boys like horses, with whips. Bottom right an old woman sells pastries. Edmund Havell (1785-1864) succeeded has father Luke (b.1752) as drawing-master at the school and as owner of the family print shop in Reading. His older brother was the landscape artist William (1782-1857); the engravers of this plate were his uncle Robert (1769-1832) and his son, also Robert (1793-1878), engraver of most of the Audubon bird plates.
[Ref: 54916] £950.00
Drawn by E. Havell. Engraved by R. Havell & Son. 3, Chapel Street, Tottenham Court Road.
Published Oct.r 1816, by E. Havell, Frier Street, Reading.
Very scarce aquatint, printed in colours and hand finished. 443 x 604mm (17½ x 25¼"). A few repairs at top. Slightly time stained.
A view of Reading Grammar School, in what had been Reading Abbey’s guest house or Hospitium, with the scholars at play ouside. The pastimes include cricket, rounders, hoops, reading and driving other boys like horses, with whips. Bottom right an old woman sells pastries. Edmund Havell (1785-1864) succeeded has father Luke (b.1752) as drawing-master at the school and as owner of the family print shop in Reading. His older brother was the landscape artist William (1782-1857); the engravers of this plate were his uncle Robert (1769-1832) and his son, also Robert (1793-1878), engraver of most of the Audubon bird plates.
[Ref: 54916] £950.00
![[Two sheets showing dressage.]](jpegs/29425.jpg)
[Two sheets showing dressage.]
Joh. El. Ridinger inv. delineavit exc. Aug. Vind.
Martin Elias Ridiger filius aeri incidit [n.d., c.1760.]
Scarce pair of engravings, each c. 360 x 560mm (14 x 22"), with large margins. Faint centre creases; good margins.
Two large sheets showing a total of twenty-one dressage movements, with key in French and German below. One sheet has a hunting context (with hounds), the other is military (with standard, weapons and drum). Engraved and published by the Ridinger family of printmakers.
[Ref: 29425] £1,500.00 view all images for this item
Joh. El. Ridinger inv. delineavit exc. Aug. Vind.
Martin Elias Ridiger filius aeri incidit [n.d., c.1760.]
Scarce pair of engravings, each c. 360 x 560mm (14 x 22"), with large margins. Faint centre creases; good margins.
Two large sheets showing a total of twenty-one dressage movements, with key in French and German below. One sheet has a hunting context (with hounds), the other is military (with standard, weapons and drum). Engraved and published by the Ridinger family of printmakers.
[Ref: 29425] £1,500.00 view all images for this item
The Right Hon.ble Lord Rodney &c &c &c.
Painted by Tho.s Gainsborough. Engraved by G. Dupont.
Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.
Fine mezzotint, scratched letter proof. 610 x 390mm (24 x 15¼"). Some spotting.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
CS 9; Russell 9. Horne 57 II of IV. Ex: collection of Minto Wilson.
[Ref: 57390] £750.00
Painted by Tho.s Gainsborough. Engraved by G. Dupont.
Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.
Fine mezzotint, scratched letter proof. 610 x 390mm (24 x 15¼"). Some spotting.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
CS 9; Russell 9. Horne 57 II of IV. Ex: collection of Minto Wilson.
[Ref: 57390] £750.00
![[The Right Hon.ble Lord Rodney K.B. Vice Adm.l of Great Britain & Adm.l of the White &c &c &c]](jpegs/36624.jpg)
[The Right Hon.ble Lord Rodney K.B. Vice Adm.l of Great Britain & Adm.l of the White &c &c &c]
[Painted by Thomas Gainsborough R.A. Engraved by G. Dupont]
[Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.]
Mezzotint, a very fine proof before letters. 610 x 390mm (24 x 15¼"), with large margins. Slight paper tone.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
Horne 57 ii; CS 9 (undescribed state); Russell 9 i.
[Ref: 36624] £950.00
[Painted by Thomas Gainsborough R.A. Engraved by G. Dupont]
[Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.]
Mezzotint, a very fine proof before letters. 610 x 390mm (24 x 15¼"), with large margins. Slight paper tone.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
Horne 57 ii; CS 9 (undescribed state); Russell 9 i.
[Ref: 36624] £950.00
The Right Hon.ble Lord Rodney K.B. Vice Adm.l of Great Britain & Adm.l of the White &c &c &c.
Painted by Thomas Gainsborough R.A. Engraved by G. Dupont.
Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.
Mezzotint. 610 x 390mm (24 x 15¼"). Trimmed close to plate at bottom, stitch holes through inscription area. Small margins.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
CS 9; Russell 9 ii
[Ref: 48868] £450.00
Painted by Thomas Gainsborough R.A. Engraved by G. Dupont.
Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.
Mezzotint. 610 x 390mm (24 x 15¼"). Trimmed close to plate at bottom, stitch holes through inscription area. Small margins.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
CS 9; Russell 9 ii
[Ref: 48868] £450.00
![The Exhibition of the Royal Academy of Painting, in the Year 1771. From an Original Drawing in the Possession of Rob.t Sayer. [&] The Inside of the Pantheon in Oxford Road. L'Intérior du Panthéon de Londres.](jpegs/7473.jpg)
The Exhibition of the Royal Academy of Painting, in the Year 1771. From an Original Drawing in the Possession of Rob.t Sayer. [&] The Inside of the Pantheon in Oxford Road. L'Intérior du Panthéon de Londres. From an Original Drawing in the Possession of Rob.t Sayer.
Chas. Brandoin inv.t. et delin. Rich.d Earlom fecit. R. Sayer Excudit.
London, Printed for Robt. Sayer No. 53 in Fleet Street. Published as the Act directs 20 May 1772 [& 30 August 1772].
Pair of mezzotints, image 470 x 555mm. Trimmed just within plate, false margins added.
A fine pair of satires on the contemporary social scene, showing the well-do-do at the Royal Academy and Pantheon. In the Royal Academy view James Barry's 'Temptation of Adam' takes pride of place on the walls. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
Wessely 100.II. Royal Academy CS:44, state ii of iii; Pantheon CS: 45, only state.
[Ref: 7473] £1,650.00 view all images for this item
Chas. Brandoin inv.t. et delin. Rich.d Earlom fecit. R. Sayer Excudit.
London, Printed for Robt. Sayer No. 53 in Fleet Street. Published as the Act directs 20 May 1772 [& 30 August 1772].
Pair of mezzotints, image 470 x 555mm. Trimmed just within plate, false margins added.
A fine pair of satires on the contemporary social scene, showing the well-do-do at the Royal Academy and Pantheon. In the Royal Academy view James Barry's 'Temptation of Adam' takes pride of place on the walls. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
Wessely 100.II. Royal Academy CS:44, state ii of iii; Pantheon CS: 45, only state.
[Ref: 7473] £1,650.00 view all images for this item
![The Exhibition of the Royal Academy of Painting, in the Year 1771. From an Original Drawing in the Possession of Rob.t Sayer. [&] The Inside of the Pantheon in Oxford Road. L'Intérior du Panthéon de Londres.](jpegs/40707.jpg)
The Exhibition of the Royal Academy of Painting, in the Year 1771. From an Original Drawing in the Possession of Rob.t Sayer. [&] The Inside of the Pantheon in Oxford Road. L'Intérior du Panthéon de Londres. From an Original Drawing in the Possession of Rob.t Sayer.
Chas. Brandoin inv.t. et delin. Rich.d Earlom fecit. R. Sayer Excudit.
London, Printed for Robt. Sayer No. 53 in Fleet Street. Published as the Act directs 20 May 1772 [& 30 August 1772].
Pair of mezzotints, fine impression. Each sheet: 470 x 555mm (18½ x 22"). Cut to image. Overall paper tone and pin holes. Crease on Pantheon.
A fine pair of satires on the contemporary social scene, showing the well-do-do at the Royal Academy and Pantheon. In the Royal Academy view James Barry's 'Temptation of Adam' takes pride of place on the walls. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
[Ref: 40707] £1,750.00 view all images for this item
Chas. Brandoin inv.t. et delin. Rich.d Earlom fecit. R. Sayer Excudit.
London, Printed for Robt. Sayer No. 53 in Fleet Street. Published as the Act directs 20 May 1772 [& 30 August 1772].
Pair of mezzotints, fine impression. Each sheet: 470 x 555mm (18½ x 22"). Cut to image. Overall paper tone and pin holes. Crease on Pantheon.
A fine pair of satires on the contemporary social scene, showing the well-do-do at the Royal Academy and Pantheon. In the Royal Academy view James Barry's 'Temptation of Adam' takes pride of place on the walls. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London.
[Ref: 40707] £1,750.00 view all images for this item
![[The Four Seasons with verse by Cornelia van der Veer.]](jpegs/51813.jpg)
[The Four Seasons with verse by Cornelia van der Veer.] Sun in Gemini; bright Mistress of the Year / May; the Spring-Tide of Blessings that Appear... [&] In July the Sun postin in his trac' / Up to the top of rageing Leos Back; Tis parching Summer... [&] Ripe Autumn in October... [&] Aquarius; when the Cold age of Time / In January hath Seiz'd our North Clime...
't Amsterdam by Carel Allardt op den Dam inde Caardt-winkel. [n.d., c.1690.]
Set of four engravings, rare as a set, good impressions. Ea. c.530 x 425mm (21 x 16¾") very large margins. A few small repairs.
A fine set of allegorical portraits of the Seasons, each with a verse by Cornelia van der Veer (1639-1704), in Dutch, English & French. She is one of three most successful female Dutch poets of the second half of the 17th century.
[Ref: 51813] £2,800.00 view all images for this item
't Amsterdam by Carel Allardt op den Dam inde Caardt-winkel. [n.d., c.1690.]
Set of four engravings, rare as a set, good impressions. Ea. c.530 x 425mm (21 x 16¾") very large margins. A few small repairs.
A fine set of allegorical portraits of the Seasons, each with a verse by Cornelia van der Veer (1639-1704), in Dutch, English & French. She is one of three most successful female Dutch poets of the second half of the 17th century.
[Ref: 51813] £2,800.00 view all images for this item
Les Simples Souvenirs Ou L'Echange Modeste, Le Docteur dit au paria….et le fourneau de terre cuite.
Challiou del. Mariage sculp.
a Paris chez Bance... [illegible] Md. D'Estampes, rue St. Denis, No.214.
Fine stipple engraving, printed in colours. 570 x 412mm (22¾ x 16¼") Repaired tears and occasional restored holes in paper, largely in margins with one patch repair lower right of title area.
The French inscription tells of the European Doctors attempt to give a gift to the poor native who refuses as he explains to the foreigner a belief that poverty protects the poor from envy. If the individual has no valuables then there is nothing for any criminal to steal. They exchange pipes as an alternative.
[Ref: 1193] £650.00
Challiou del. Mariage sculp.
a Paris chez Bance... [illegible] Md. D'Estampes, rue St. Denis, No.214.
Fine stipple engraving, printed in colours. 570 x 412mm (22¾ x 16¼") Repaired tears and occasional restored holes in paper, largely in margins with one patch repair lower right of title area.
The French inscription tells of the European Doctors attempt to give a gift to the poor native who refuses as he explains to the foreigner a belief that poverty protects the poor from envy. If the individual has no valuables then there is nothing for any criminal to steal. They exchange pipes as an alternative.
[Ref: 1193] £650.00
![[The Standard Bearer (Floris Soop)]](jpegs/46868.jpg)
[The Standard Bearer (Floris Soop)]
Rembrandt Pinx.t W.m Pether fecit
R. Sayer Exc.t [c.1770]
Mezzotint. 505 x 355mm (19¾ x 14"). Trimmed to platemark; fine impression.
Engraving after Rembrandt's 1654 painting 'The Standard Bearer', believed to be a portrait of the collector Floris Soop (1604-1657). The painting is in the Metropolitan Museum of Art, New York. It is one of numerous engravings made after Rembrandt by William Pether (c.1738-1821), mezzotint engraver and painter, best remembered as the engraver of prints after Rembrandt and Joseph Wright of Derby. These prints stand amongst the finest mezzotints ever produced in Britain, demonstrating how mezzotint was the printed medium which most effectively reproduced the chiaroscuro effects of these painters.
CS 42 i/ii; Charrington 127 ii/ii.
[Ref: 46868] £450.00
Rembrandt Pinx.t W.m Pether fecit
R. Sayer Exc.t [c.1770]
Mezzotint. 505 x 355mm (19¾ x 14"). Trimmed to platemark; fine impression.
Engraving after Rembrandt's 1654 painting 'The Standard Bearer', believed to be a portrait of the collector Floris Soop (1604-1657). The painting is in the Metropolitan Museum of Art, New York. It is one of numerous engravings made after Rembrandt by William Pether (c.1738-1821), mezzotint engraver and painter, best remembered as the engraver of prints after Rembrandt and Joseph Wright of Derby. These prints stand amongst the finest mezzotints ever produced in Britain, demonstrating how mezzotint was the printed medium which most effectively reproduced the chiaroscuro effects of these painters.
CS 42 i/ii; Charrington 127 ii/ii.
[Ref: 46868] £450.00
Stirling Castle, Scotland.
Walmsley pinxt. Cartwright sculpt.
London Published March 25th 1800 by James Daniell & Co. No. 6 Great Charlotte Street, Blackfriars Road.
Aquatint, printed in colours and hand-finished. 480 x 600mm. Small repaired tear touching publication line.
A large, separately-issued print.
[Ref: 1557] £460.00
Walmsley pinxt. Cartwright sculpt.
London Published March 25th 1800 by James Daniell & Co. No. 6 Great Charlotte Street, Blackfriars Road.
Aquatint, printed in colours and hand-finished. 480 x 600mm. Small repaired tear touching publication line.
A large, separately-issued print.
[Ref: 1557] £460.00
![[Unrecorded plate of Stubbs' Sweetbrier] Sweetbryer.](jpegs/54815.jpg)
[Unrecorded plate of Stubbs' Sweetbrier] Sweetbryer.
G.Stubbs pinx.t. Geo.e Townley Stubbs sculp. Engraver to H.R.H. the Prince of Wales.
London publish'd [***] by Mess.rs Stubbs, Turf Gallery Conduit Street.
Stipple and etching, printed in colours and hand finished, title in open letters. Publication line excludes date. 400 x 500mm (15¾ x 19¾"), with large margins. Framed. Repairs in sky, publication date unprinted. Unexamined out of frame.
Sweetbriar, a black colt foaled in 1769, raced for Lord Grosvenor 1773-5, retiring to stud unbeaten. In the background is Grosvenor's stud farm at Oxcroft, Cambridgeshire. This image of this plate is identical to 'Sweetbrier' (Lennox-Boyd 112), other than detail in the clouds; however the plate is 1cm smaller, height and width, with an alternative spelling of the horse's name, as used in the smaller-format version.
[Ref: 54815] £2,000.00
G.Stubbs pinx.t. Geo.e Townley Stubbs sculp. Engraver to H.R.H. the Prince of Wales.
London publish'd [***] by Mess.rs Stubbs, Turf Gallery Conduit Street.
Stipple and etching, printed in colours and hand finished, title in open letters. Publication line excludes date. 400 x 500mm (15¾ x 19¾"), with large margins. Framed. Repairs in sky, publication date unprinted. Unexamined out of frame.
Sweetbriar, a black colt foaled in 1769, raced for Lord Grosvenor 1773-5, retiring to stud unbeaten. In the background is Grosvenor's stud farm at Oxcroft, Cambridgeshire. This image of this plate is identical to 'Sweetbrier' (Lennox-Boyd 112), other than detail in the clouds; however the plate is 1cm smaller, height and width, with an alternative spelling of the horse's name, as used in the smaller-format version.
[Ref: 54815] £2,000.00
Sweetwilliam.
G. Stubbs pinx.t. Geo. Townley Stubbs Sculp. Engraver to his Royal Highness the Prince of Wales.
London, Republished June 4., 1817, by Edw.d Orme, New Bond Street, Corner of Brook Street.
Stipple with etching. 410 x 505mm (16¼ x 19¾"), with wide margins. Framed. Unexamined out of frame.
A portrait of the racer Sweetwilliam, standing in a paddock facing left, with Sweet William flowering at his feet. Foaled about 1770, Sweetwilliam raced for Lord Bolingbroke until 1778, when he went to stud at Lord Grosvenor's Oxcroft estate.
Lennox-Boyd: 118, state III of III.
[Ref: 41670] £2,400.00
G. Stubbs pinx.t. Geo. Townley Stubbs Sculp. Engraver to his Royal Highness the Prince of Wales.
London, Republished June 4., 1817, by Edw.d Orme, New Bond Street, Corner of Brook Street.
Stipple with etching. 410 x 505mm (16¼ x 19¾"), with wide margins. Framed. Unexamined out of frame.
A portrait of the racer Sweetwilliam, standing in a paddock facing left, with Sweet William flowering at his feet. Foaled about 1770, Sweetwilliam raced for Lord Bolingbroke until 1778, when he went to stud at Lord Grosvenor's Oxcroft estate.
Lennox-Boyd: 118, state III of III.
[Ref: 41670] £2,400.00
Sweetwilliam.
G. Stubbs pinx.t. Geo. Townley Stubbs Sculp. Engraver to his Royal Highness the Prince of Wales.
London, Republished June 4., 1817, by Edw.d Orme, New Bond Street, Corner of Brook Street.
Stipple, printed in colour and hand finished. 405 x 505mm (16 x 20"). Small area of damage under horse's body. Unexamined out of frame.
A portrait of the racer Sweetwilliam, standing in a paddock facing left, with Sweet William flowering at his feet. Foaled about 1770, Sweetwilliam raced for Lord Bolingbroke until 1778, when he went to stud at Lord Grosvenor's Oxcroft estate.
Lennox-Boyd: 118, state III of III.
[Ref: 54814] £1,850.00
G. Stubbs pinx.t. Geo. Townley Stubbs Sculp. Engraver to his Royal Highness the Prince of Wales.
London, Republished June 4., 1817, by Edw.d Orme, New Bond Street, Corner of Brook Street.
Stipple, printed in colour and hand finished. 405 x 505mm (16 x 20"). Small area of damage under horse's body. Unexamined out of frame.
A portrait of the racer Sweetwilliam, standing in a paddock facing left, with Sweet William flowering at his feet. Foaled about 1770, Sweetwilliam raced for Lord Bolingbroke until 1778, when he went to stud at Lord Grosvenor's Oxcroft estate.
Lennox-Boyd: 118, state III of III.
[Ref: 54814] £1,850.00