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Thisbe.
Thisbe. Ev'n in this narrow chinkthey quickly found [/] A friendly passage for a trackless sound, [/] Safely they told their sorrows, and their joys, [/] In whisper'd murmurs, and a dying noise.
J. Hoppner del. W. Nutter Sculp.
Publish'd Dec.r 5th, by Bull & Jeffryes. Ludgate Hill London.
Stipple engraving with large margins. Platemark: 395 x 290mm. (15½ x 11¼"). Slight stain inside platemark on right side.
Thisbe listening through a chink in a stone wall. Pyramus and Thisbe is the story of two lovers in the city of Babylon who occupy connected houses, forbidden by their parents to be wed. Through a crack in one of the walls, they whisper their love for each other. From Shakepeare's 'A Midsummer Night's Dream'.
From the Oettingen-Wallerstein Collection.
[Ref: 28402]   £280.00  
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Abdolominus
Abdolominus Wie spiehlt nicht offt das Gluck [...]
J.E. Nilson inv et del. / B.S. Setletsky sc. [lower right of image]
Joh. George Hertel, excud. A.V. 1
Etching, sheet 340 x 215mm (13½ x 8½"). Trimmed inside platemark.
This scene probably relates to the play 'Abdolominus' by French playwright Gabriel-Francois Le Jay (1657-1734). In this play, Alexander the Great appoints his distant relative Abdolomines king of Sidon. Abdolomines preferred to live a simple life, and here he is offered the crown while he dwells in a splendid natural setting. With rococo border and verses in German and Latin below. From a set of decorative prints etched from designs by Johann Esaias Nilson (1721-88), 'the German Watteau'. Nilson was part of a family of artists and established himself as the leading Augsburg artist of his day, whose influence extended across publishing, art academies, a role as court painter, and the decorative arts (especially ceramics).
[Ref: 33168]   £140.00   (£168.00 incl.VAT)
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After the Battle, /
After the Battle, / Night closed around the conqueror's way, / And lightnings show'd the distant hill...
Pocock Jn.r Del.t. J. Minasi Sculp.t.
Pub'd as the Act directs Jan.y 1810 by W. Power, Dublin & J. Power, London.
Stipple & engraving. 340 x 230mm (13¼ x 8¾"). Stained.
A scene from 'After The Battle', by the Irish poet Thomas Moore (1779-1852), with soldiers armed with shields, spear and mace standing before a ruined castle. Published as an illustration in 'A Selection of Irish Melodies with symphonies and accompaniments by Sir John Stevenson Mus. Doc and Characteristic words by Thomas Moore, Esq.'.
[Ref: 34205]   £140.00   (£168.00 incl.VAT)
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[Alchemist in his study- illustration to Erasmus, 'In Praise of Folly'?]
[Alchemist in his study- illustration to Erasmus, 'In Praise of Folly'?] Le docteur et ses attributs
C. Eisen inv.
a Paris chez Basan [c.1760]
Engraving, platemark 140 x 85mm (5¼ x 3¼"). 'Eloge de la Folie' in ms lower left.
Book illustration after Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, La Fontaine and Erasmus.
[Ref: 46499]   £180.00   (£216.00 incl.VAT)
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Bacchant.
Bacchant. Flush'd with a purple grace,/ He shews his honest face. Dryden's Alexander's Feast.
Rubens pinxt. Caroline Watson sculpt. Engraver to her Majesty
Publish'd according to Act of Parliament, Nov.r 30, 1786, by Caroline Watson, Fitzroy Street.
Stipple with very large margins, platemark 200 x 160mm (8 x 6¼"). Very fine.
A bacchante, a commonly-depicted subject of intoxication and revelry. Engraved and published by Caroline Watson (1760/61-1814), one of the most significant and prolific female printmakers of her day.
Ex collection of the Hon. Christopher Lennox-Boyd. Ex: Oettingen-Wallerstein collection
[Ref: 34542]   £180.00   (£216.00 incl.VAT)
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L'Allegro
L'Allegro To bed they creep [ms]
C.W.C. / 1848
[Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849]
Etching on india, sheet 130 x 160mm (5 x 6¼"). Trimmed
Scene illustrating John Milton's poem 'L'Allegro', by history painter Charles West Cope (1811-90). From an edition of the poem with twenty illustrations by members of the Etching Club, of which Cope was a founding member. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker.
[Ref: 35888]   £75.00   (£90.00 incl.VAT)
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[L'Allegro]
[L'Allegro]
Tho.s Creswick
[Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849]
Etching on india, letterpress printed in red, sheet 150 x 165mm (6 x 6½"). Trimmed.
Scene illustrating John Milton's poem 'L'Allegro' by landscape painter Thomas Creswick (1811-69). From an edition of the poem (which had long been a popular subject for visual artists) with twenty illustrations by members of the Etching Club, published in 1849. Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB).
Ray 217
[Ref: 35900]   £75.00   (£90.00 incl.VAT)
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[L'Allegro]
[L'Allegro] Tower'd cities please us then [ms]
[by Thomas Creswick]
[Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849]
Etching on india, letterpress printed in red, sheet 110 x 165mm (4¼ x 6¼"). Trimmed; slightly dusty.
Scene illustrating John Milton's poem 'L'Allegro' by landscape painter Thomas Creswick (1811-69). From an edition of the poem (which had long been a popular subject for visual artists) with twenty illustrations by members of the Etching Club, published in 1849. Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB).
Ray 217
[Ref: 35898]   £75.00   (£90.00 incl.VAT)
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L'Allegro
L'Allegro
T. Creswick
[Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849]
Etching on india, letterpress printed in red, sheet 135 x 165mm (6½ x 6¼"). Trimmed.
Scene illustrating John Milton's poem 'L'Allegro' by landscape painter Thomas Creswick (1811-69). From an edition of the poem (which had long been a popular subject for visual artists) with twenty illustrations by members of the Etching Club, published in 1849. Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB).
Ray 217
[Ref: 35899]   £75.00   (£90.00 incl.VAT)
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L'Allegro
L'Allegro Towers + Battlements it sees [ms]
[by Thomas Creswick]
[Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849]
Etching on india, letterpress printed in red, sheet 110 x 165mm (4¼ x 6¼"). Trimmed; very slight foxing.
Scene illustrating John Milton's poem 'L'Allegro', by landscape painter Thomas Creswick (1811-69). From an edition of the poem with twenty illustrations by members of the Etching Club published in 1849. Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB).
Ray 217
[Ref: 35897]   £75.00   (£90.00 incl.VAT)
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L'Allegro
L'Allegro Hence loathed Melancholy / Of Cerberus, and blackest midnight born,/ In Stygian Cave forlorn/ 'Mongst horrid shapes, and shreiks, and fights unholy,
C.W.C. [Charles West Cope]
[Published for the Etching Club by Joseph Cundall, 12, Old Bond Street, 1849]
Etching on india, sheet 250 x 165mm (9¾ x 6¼"). Trimmed; slight foxing.
Scene illustrating John Milton's poem 'L'Allegro', by history painter Charles West Cope (1811-90). From an edition of the poem with twenty illustrations by members of the Etching Club, of which Cope was a founding member. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker.
[Ref: 35889]   £95.00   (£114.00 incl.VAT)
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John Anderson My Jo.
John Anderson My Jo. John Anderson my Jo...
Designed by D. Allan. Engraved by Paton Thomson.
Published as the Act directs, March 1799, by T. Preston, Strand, London, & by the Proprietor G. Thomson, Edinburgh.
Engraving. Plate: 200 x 220mm (8 x 8¾"), with large margins.
An illustration to 'John Anderson My Jo' a poem by Robert Burns, based on Burns' friend of the same name.
[Ref: 45977]   £75.00   (£90.00 incl.VAT)
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Annette & Lubin, Lubin, Loves me; My Lord, an't please your Lordship. Monseigneur Lubin m'aiene Sauf votre bon plaisir. From the Play of Lubin & Annette.
Annette & Lubin, Lubin, Loves me; My Lord, an't please your Lordship. Monseigneur Lubin m'aiene Sauf votre bon plaisir. From the Play of Lubin & Annette. [&] Julia. Take heed Lovely Julia, Oh be timely wise, Wispers the Sorceress)& no more, false Lindor prize. La Sorciere lui dit a l'Oreille, Belle julie soyez sage
Emma Crewe, del.t C. White, Sculp.t
London Pub.d Nov.r 15.1785, by Jane White, No: 19 Greek Street, Soho.
A pair of fine stipples. Plate 235 x 177mm (9¼ x 7") good margins.
Oettingen-Wallerstein Collection.
[Ref: 17024]   £350.00   view all images for this item
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Shakspeare.  As You Like It   Act II, Scene VII,  The Seven Ages.  Seventh Age.
Shakspeare. As You Like It Act II, Scene VII, The Seven Ages. Seventh Age.
Painted by R. Smirke R.A. Engraved by I.P. Simon.
Pub. June 4. 1801, by J. & J. Boydell, at the Shakspeare Gallery Pall Mall; & at No. 90, Cheapside, London.
Stipple, final state, 455 x 545mm. 18 x 21½". Trace of crease through image.
An old man dozes in a chair by the hearth on the right, a woman sitting on the left, resting her head against the back of her chair and watching a little boy, who sits on the floor in front of her, dismayed as his house of cards collapses. Paintings on the walls behind: a view of ruins, the Last Day, a jester enthroned and blowing bubbles, sages either side and cherubs playing with the bubbles. Two lines of quotations either side of title. After Robert Smirke (1752 - 1845) for a series of scenes from Shakespeare plays after paintings in Boydell's 'Shakespeare Gallery', which opened in 1789 in Pall Mall.
[Ref: 12358]   £110.00   (£132.00 incl.VAT)
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Shakespear's Seven Ages of Man.
Shakespear's Seven Ages of Man.
Published by J.T.Wood, 9 Curriers Hall Court. London Wall. Entd. Stationers Hall. [n.d., c.1850.]
Wood engraving on card. Sheet 150 x 115mm, 6 x 4½".
Scenes illustratrating Shakespeare's famous monologue from 'As You Like It', starting "All the world's a stage, And all the men and women merely players". It also contains the word "Shakespeare" made up of a list of his plays and poems. It is interesting that the publisher managed to spell Shakespeare's name two different ways.
[Ref: 15210]   £110.00   (£132.00 incl.VAT)
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Second Childishness.
Second Childishness. and meer oblivion, sans teeth, sans eyes, sans taste, sans everything.
Drawn by Tho.s. Stothard Esq.r. R.A. Engraved by W.m. Bromley. Printed by Collins Shoe Lane.
Publish'd Jan.y. 24. 1799, by W. Bromley, Jessamine House, Hammersmith.
Stipple, rare. Sheet: 215 x 300mm, (8½ x 12"). Trimmed to plate.
Depiction of the seventh and final stage of Shakespeare's 'Seven Ages of Man' from 'As You Like It'. An old man sits in an armchair while a young woman offers him a bowl.
[Ref: 35562]   £95.00   (£114.00 incl.VAT)
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Pantaloon.
Pantaloon. The sixth stage shifts Into the lean and slippered pantaloon.
Drawn by Tho.s. Stothard Esq.r. R.A. Engraved by W.m. Bromley.
Published Jan.y. 24. 1799 by W. Bromley Jessamine House Hammersmith.
Stipple with very small margins, rare; Plate: 215 x 300mm, (8½ x 12"). Creasing in top edge.
Illustration of the sixth stage from Shakespeare's 'Seven Ages of Man' from 'As You Like It'. An old man sits crouched over his book, his spectacles on his nose.
[Ref: 35566]   £120.00   (£144.00 incl.VAT)
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The Justice.
The Justice. In fair round belly, with good capon lin'd, With eyes severe and beard of formal cut.
Drawn by Tho.s. Stothard Esq.r. R.A. Engraved by W.m. Bromley.
Publish'd Jan.y. 24. 1799 by W. Bromley, Jessamine House Hammersmith.
Stipple, rare. Plate: 215 x 300mm, (8½ x 12"). Trimmed to plate on lower edge. Some staining. Creasing in top edge.
Illustration of the fifth stage of Shakespeare's 'Seven Stages of Man' from 'As You Like It.' A man with a rounded belly sits on a chair smoking a long pipe while a man at a desk takes notes.
[Ref: 35569]   £160.00   (£192.00 incl.VAT)
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La Fontaine Enchantée de la Verité d'Amour.
La Fontaine Enchantée de la Verité d'Amour. Dédiée à Monsieur Alexandre Roslin, Chevalier de l'Ordre Royal [...]
Dessiné par C.N. Cochin, Chevalier de l'Ordre de St. Michel / Gravé a l'Eau forte par Aug. de St Aubin, et terminé au Burin par C.F. Macret
a Paris chez Demonchy Graveur Cloitre St. Benoit la 1.re porte cochere à gauche par la rue des Mathurins A.P.D.R.
Engraving, sheet 315 x 380mm (12½ x 15"). Trimmed inside platemark; glued to backing sheet.
Illustration to Honoré d'Urfé's prose romance 'Astrée': Celadon, Silvandre, Astrée and Diane, followed by two unicorns, approach the enchanted fountain of the truth of love, which is protected by two lions.
[Ref: 38615]   £180.00   (£216.00 incl.VAT)
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Scene from Racine's Tragedy of Athalie.
Scene from Racine's Tragedy of Athalie.
Victoria R. delt. Edmond Morin, lith.
Day & Son, Lithrs. to The Queen. January, 1853.
Lithograph, sheet 285 x 384mm. Foxing, largely to margins.
Scene from Racine's 'Athalie'; interior with the young Joas, King of Judah, seated on a throne in the centre. In the foreground stands Joad, the high priest, and Athalie, with Abner, the captain of the Guard, in armour. These and the other characters are captioned below the image. A rare lithograph, from a sketch by Queen Victoria.
Ex: Collection of Alec Clunes.
[Ref: 7878]   £180.00   (£216.00 incl.VAT)
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My Father urg'd me sair, my Mother did nae speak, / But she look'd in my Face till my heart was like to break. / Auld Robin Grey
My Father urg'd me sair, my Mother did nae speak, / But she look'd in my Face till my heart was like to break. / Auld Robin Grey To Her Grace the Dutchess of Hamilton and Brandon, This Print after an Original Drawing by H. Bunbury Esq.r is with the greatest respect Dedicated, by Her Graces most obedient humble servant, W. Dickinson
H. Bunbury Esq.r Delin.t Engraved by F. Bartolozzi
London, Publish'd Feb.y 10th 1783 by W. Dickinson Engraver & Printseller No 158 New Bond Street
Stipple, sheet 410 x 365mm (16 x 14¼"). Trimmed inside platemark; small stain on right.
Illustration to 'Aud Robin Grey', a Scots ballad in which a young woman is compelled by her parents to marry an old man, Robin Grey, who promises to support her and her parents, even though she is in love with another man. Stipple engraving after Henry Bunbury, an amateur printmaker who subsequently enjoyed a successful career as a designer for printsellers. 'Prints by Bunbury an his imitators were conspicuously 'polite' and appealed, like novels, 'To the Fashionable World and Polite circles'. Of good family, amply endowed with social skills, a beautiful wife and connections in high society, Bunbury's appeal was not solely aesthetic' and his admirers 'recognized his comic talent, his informed enthusiasm for literature, and his ability to draw a momentary pang with something of the sensitivity with which Sterne could write it' (Tim Clayton).
Calabi & De Vesme 1404 iii/iii
[Ref: 45439]   £180.00   (£216.00 incl.VAT)
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[The Introduction of Auld Robin Grey to Jenny].
[The Introduction of Auld Robin Grey to Jenny].
[Published by R. Sayer] [n.d., c.1780].
Woodblock engraving. Sheet: 245 x 320mm (9½ x 12½"). Trimmed to image.
A man wearing a tartan cloak greets a young woman sitting on a bench spinning. An old woman stands beside her. An illustration of a Scottish ballad called 'Auld Robin Grey' written by Lady Anne Lindsay in 1772. The ballad tells the story of Robin Gray who marries a young woman already in love with a sailor called Jamie (or Jemmy) who returns from sea shortly after the marriage.
[Ref: 33136]   £95.00   (£114.00 incl.VAT)
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Fainasollis Borbar & Fingal...
Fainasollis Borbar & Fingal... Vide Macpherson's Ossian Poem of Fingal, book 3.d.
Barralet delin. T.Parker sculp.t.
London: Published by J.Deeley, March 1, 1809, 95 Berwick St, Soho.
Engraving. 440 x 500mm. On Whatman paper watermarked 1808.
According to the Scottish poet James Macpherson's interpretation of Celtic mythology, Fainasollis, the daughter of the king of Craca, was slain by Solis and avenged by Fingal.
[Ref: 7332]   £180.00   (£216.00 incl.VAT)
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[Rose et Colas(?)]
[Rose et Colas(?)]
[From the painting by P. Baudouin. Engraved by J-B Simonet.]
[n.d., c. 1775.]
Engraving, proof before letters, 375 x 280mm.
A servant brings roses to a maid in a cellar while a cat looks on. Engraved by Jean Baptiste Simonet (1742 - 1810) after a gouache painting by Pierre Antoine Baudouin (1723 - 1769) who worked in Boucher's studio and married his daughter. State II of III before title and armorial engraved in empty cartouche below image.
[Ref: 7364]   £420.00  
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Belinda at her Toilet.
Belinda at her Toilet. "A heavenly image in the glass appears, "To that she bends to that her eyes she rears." Pope. The Rape of the Lock. Canto I. To John Fitz-Gerald Esqr. Of Naseby in the County of Northampton &c.&c.&c. This plate from a picture in his collection is with his permission respectfully dedicated by his most obliged and devoted Servant. H. Fradelle.
Painted by Henry Fradelle. Engraved by W. Say, Engraver to H.R.H. the Duke of Gloucester. No.9. Mortimer Street, Cavendish Square.
London, Published June 24. 1824 by Messrs Colnaghi & Co. 23. Cockspur Street.
Mezzotint, very fine, plate 858 x 681mm. 33¾ x 26¾". Trimmed to plate. Tear in title area.
A young woman gazing into the mirror on her vanity table, with a letter in her left had. A young lady attends to her hair and a servant enters through the doorway. A dog stands bottom right. After a painting by Henri Jean-Baptiste Victoire Fradelle (1778-1865).
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 14767]   £260.00  
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[The Belly and the Members.]
[The Belly and the Members.]
WHollar fec. [after Francis Clein.]
[London: John Ogilby, 1668.]
Etching, very fine & unique image. 17th century watermark; 255 x 175mm (10 x 7").
A naked figure with no head and a face on its torso, sword in right hand, a head on the floor, apparently just decapitated. An illustration from the second edition of John Ogilby's 'Fables of Æsop Paraphras'd in Verse: Adorned with Sculpture and Illustrated with Annotations', with titlepage and 81 plates, of which 56 were etched by Wenceslaus Hollar. 'One fine day it occurred to the Members of the Body that they were doing all the work and the Belly was having all the food. So they held a meeting, and after a long discussion, decided to strike work till the Belly consented to take its proper share of the work. So for a day or two, the Hands refused to take the food, the Mouth refused to receive it, and the Teeth had no work to do. But after a day or two the Members began to find that they themselves were not in a very active condition: the Hands could hardly move, and the Mouth was all parched and dry, while the Legs were unable to support the rest. So thus they found that even the Belly in its dull quiet way was doing necessary work for the Body, and that all must work together or the Body will go to pieces.'
Pennington 368, state ii of ii.
[Ref: 39308]   £320.00  
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Beppo.
Beppo. More than the rest one person seemed to stare. / With pertinacity that's rather rare. / It was a Turk the color of Mahogany.
William Locke Jun.r del. Lith. de Villain. V. de Villeneuve lith.
[n.d., c.1830.]
Lithograph. Printed area 205 x 140mm (8 x 9½"). Crease.
A scene from Lord Byron's 'Beppo: A Venetian Story'. A Venetian lady, Laura, off to attend the Venetian Carnival with her lover, is stalked by her long-lost husband, who had been captured by Barbary pirates. Revealing himself, Beppo accepts his wife's actions and befriends the lover. Byron's poem argues that the English attitude to adultery is hypocritical compared to the custom of the 'Cavalier Servente; in Italy.
[Ref: 41745]   £70.00   (£84.00 incl.VAT)
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Bessy Bell and Mary Gray.
Bessy Bell and Mary Gray.
S. Harding delin. Delatre sculp.t.
London, Publish'd Aug.t 1. 1787 by T. Macklin N.39 Fleet Street.
Stipple printed in sepia. Sheet 250 x 270mm (9¾ x 10½"). Trimmed within plate,
A scene from Allan Ramsay's poem: a tartan-clad boy draws straws to choose between two beautiful shepherdesses.
[Ref: 44107]   £140.00   (£168.00 incl.VAT)
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[10 illustrations from Dickens's Bleak House.]
[10 illustrations from Dickens's Bleak House.] Frontispiece. [&] The Ghost's Walk. [&] Sunset in The long drawing-room at Chesney Wold. [&] Tom All Alone's. [&] A new meaning in The Roman. [&] Shadow. [&] The Lonely Figure. [&] The Night. [&] The Morning. [&] The Mausoleum at Chesney Wold.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Ten steel etchings. Ech c. 230 x 140mm, 9 x 5½".
Ten illustrations by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'.
[Ref: 27536]   £250.00   view all images for this item
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[Bleak House.] Frontispiece.
[Bleak House.] Frontispiece.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling, spotting.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. The exterior of the house.
[Ref: 27532]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] The Ghost's Walk.
[Bleak House.] The Ghost's Walk.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. The 'Ghost's Walk' was a terrace of the house.
[Ref: 27528]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] The lonely figure.
[Bleak House.] The lonely figure.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 155 x 220mm, 6 x 8¾".
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. Lady Dedlock flees her home, battling through a snow storm near brick kilns, having fled her home.
[Ref: 27531]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] The Mausoleum at Chesney Wold.
[Bleak House.] The Mausoleum at Chesney Wold.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. The Dedlock mausoleum.
[Ref: 27535]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] Morning
[Bleak House.] Morning
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling, spotting.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. Lady Dedlock lying dead at the gate of a cemetery.
[Ref: 27534]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] A new meaning in the Roman.
[Bleak House.] A new meaning in the Roman.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. 'The Roman' is a figure on a pained ceiling, apparently pointing down at a bottle on a sidetable.
[Ref: 27527]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] Night.
[Bleak House.] Night.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 155 x 220mm, 6 x 8¾".
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. A gas-lit scene during the search for Lady Dedlock.
[Ref: 27533]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] Shadow.
[Bleak House.] Shadow.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling, spotting.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. A woman on a shadowy staircase, looking at a poster reading 'Murder! £100 Reward'.
[Ref: 27530]   £40.00   (£48.00 incl.VAT)
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[Bleak House.] Tom all alone's.
[Bleak House.] Tom all alone's.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. Tom all alone's' is a slum, the home of Little Jo the crossing sweeper, who makes a miserable living by clearing a path across the filthy streets of London. Dickens writes as if the slum is a person, giving 'Tom' the same moral failings as the residents who live under his leaking roof.
[Ref: 27529]   £40.00   (£48.00 incl.VAT)
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[Blouzelind.]
[Blouzelind.]
Mr. Bunbury del. Js. Bretherton f. [ink mss.]
[London: J. Bretherton, 1781.]
Hand coloured etching, proof before letters on 18th century watermarked laid paper, sheet 380 x 340mm. 15 x 13". Trimmed to plate.
A woman sitting beside a spinning wheel in a landscape, pinning a corsage of flowers at her breast, a dog curled up asleep at her feet; behind at right two figures, one on horseback, travel along a path towards a tower in the distance. After Henry William Bunbury (1750 - 1811), illustrating ‘Sweet William's Farewell To Black-Ey'd Susan: A Ballad’ by John Gay (1685 - 1732). The lettered state of the print in inscribed with a line from Gay: 'The peerless maid that did all maids excel'. The print is a pair with 'Susan'.
[Ref: 16083]   £160.00   (£192.00 incl.VAT)
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Blouzelind.
Blouzelind. The peerless maid that did all maids excel. -Gay
Mr. Bunbury del. Js. Bretherton Fecit
[London: J. Bretherton, 1781.]
Hand coloured etching on 18th century laid paper, sheet 435 x 345mm (17 x 13½"). Trimmed to plate.
A woman sitting beside a spinning wheel in a landscape, pinning a corsage of flowers at her breast, a dog curled up asleep at her feet; behind at right two figures, one on horseback, travel along a path towards a tower in the distance. After Henry William Bunbury (1750 - 1811) with line from 'The Shepherd's Week’ (1714) by John Gay (1685 - 1732). The line is from the beginning of 'Friday; or, the Dirge', in which Bumkinet mourns the death of Blouzelind: 'As the wood pigeon cooes without his mate, / So shall my doleful Dirge bewail her fate. / Of Blouzelinda fair I mean to tell, / The peerless maid that did all maids excel.'
For proof before letters see ref. 16983.
[Ref: 37965]   £230.00  
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The Booroom Slave.
The Booroom Slave.
H. Thomson, R.A., del / E. Finden sc.
[Pub. by R. Ackermann, 1828.]
Steel engraving on india, sheet 115 x 75mm (4½ x 3"). Trimmed inside platemark, losing publication line; creasing on top left.
Young slave kneeling in prayer, from an 1827 painting by Henry Thomson. This print was published in the 'Forget Me Not' of 1828, where it was accompanied by a short story, 'The Booroom Slave', by the Sarah Bowditch, wife of African traveler Thomas Edward Bowditch. Bowditch's story described the plight of Inna, an African chief's daughter abducted by slave traders of Bowditch's story. The same image was subsequently used as the frontispiece for the first antislavery book published in the United States, Lydia Maria Child's 'An Appeal in Favour of That Class of Americans Called Africans'. The popularity of the image can be seen from its later use in banners in other abolitionist materials in the US. Early state before text altered.
For more information, see: Jo-Ann Morgan, 'Uncle Tom's Cabin as Visual Culture'; William Dillon Pierson, 'Black Legacy: America's Hidden Heritage'; and particularly Jill Rappoport, 'Giving Women: Alli
[Ref: 34507]   £85.00   (£102.00 incl.VAT)
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The Wife of Hassan Alhabbal, in cutting open the Fish she finds a large Diamond. Arab.n Nights Ent.s [&] he First Interview of the Prince of Persia and Schemselnihar, at the House of Ehn Thair. Arab.n Nights Ent.s
The Wife of Hassan Alhabbal, in cutting open the Fish she finds a large Diamond. Arab.n Nights Ent.s [&] he First Interview of the Prince of Persia and Schemselnihar, at the House of Ehn Thair. Arab.n Nights Ent.s
H. Bunbury Esqr. delt.
London, Pubd. April 10th. 1795, by W. Dickinson, No. 53, next York House, Piccadilly.
Pair of stipples with etching, printed in brown ink. 285 x 335mm. 11¼ x 13¼". Trimmed.
Kitchen scene with a woman standing over a table at left with knife in hand, displaying a diamond in her palm to a man and young boy, a figure at right seen from behind leaving the room, above a bird-cage hangs; [&] A man leaning on a table at left at which a lady is seated, turning to look at the prince at right, his sword hanging on a chain around his waist, three girls watch the meeting through an arch behind. Related to 'One Thousand and One Nights', known in English as the 'Arabian Nights', from the first English language edition (1706), which rendered the title as 'The Arabian Nights' Entertainments'.
[Ref: 27254]   £280.00   view all images for this item
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[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory]
[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.45 No.1
D. Chodowiecki inv & sc.
[1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed.
Etching by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46370]   £35.00   (£42.00 incl.VAT)
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[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory]
[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.119 No.4
D. Chodowiecki inv & sc.
[published by Friedrich Nicolai, 1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed. Slight foxing.
John Buncle looking at the skeleton of John Orton. One of a set of illustrations to John Amory's 'The Life of John Buncle, Esq.' by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46371]   £50.00   (£60.00 incl.VAT)
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[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory]
[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.93 No.2
D. Chodowiecki inv & sc.
[published by Friedrich Nicolai, 1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed.
John Buncle saving the unconscious Miss Melmoth from her flooded cabin. One of a set of illustrations to John Amory's 'The Life of John Buncle, Esq.' by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46372]   £40.00   (£48.00 incl.VAT)
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[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory]
[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.93 No.2
D. Chodowiecki inv & sc.
[published by Friedrich Nicolai, 1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed.
John Buncle in a chapel for morning prayers. One of a set of illustrations to John Amory's 'The Life of John Buncle, Esq.' by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46373]   £40.00   (£48.00 incl.VAT)
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Bunyan's Pilgrim's Progress, with Mason's Notes. Plate X.
Bunyan's Pilgrim's Progress, with Mason's Notes. Plate X. Vanity Fair.
G. Burder inv.t & sculp.t
[n.d. c.1790.]
Rare engraving. Plate 171 x 114mm (6¾ x 4½"). Paper chip to lower right.
A plate from an edition of John Bunyan's "The Pilgrim's Progress".
[Ref: 30024]   £50.00   (£60.00 incl.VAT)
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Callirhoe.
Callirhoe.
J. B. Cipriani inv.t. et del. F. Bartolozzi sculp.
Stipple. Sheet: 130 x 155mm, (5 x 6"). Trimmed within plate and publication line.
A half-length portrait of Callirhoe, a protagonist from Chariton's novel of the same name, set in 400 BC Syracuse, in which the supernaturally beautiful Callirhoe marries Chaereas. However, Chaereas' jealousy causes a chain of unfortunate events leading to years of separation. Evidence of Chariton's novel only appears in a 13th Century manuscript and the story was not published until the 18th Century.
de V: 376 II of II.
[Ref: 36856]   £140.00   (£168.00 incl.VAT)
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The Captive.
The Captive. He was sitting upon the Ground upon a little straw, in the farthest corner of his Dungeion, which was alternately his chair and bed a little calendar of small sticks were laid at the head notched all over whith the dismal days and nights he had passed there. Vide Sternes Sentimental Journey, Vol,II.
Joseph Wright Pinxit. Ryder sculpt.
Published Oct 1, 1786, by John & Josiah Boydell Engraver No. 90 Cheapside London.
Stipple. 375 x 475mm. Trimmed to plate, laid on board.
This print is an episode in Laurence Sterne’s A Sentimental Journey (1768). The novel comprises the reflections of the sensitive traveller, Yorick. In Paris, threatened with arrest, he reflects upon the terrors of the Bastille, in a section titled ‘The Captive’. By focussing imaginatively on a single, suffering prisoner, Yorick is able to conjure the deepest emotions, which the reader is invited to share. ('Gothic Nightmares', Tate Britain). Third state, before the Sterne quotation below the image was changed for the final state.
Egerton P28 iii/iv
[Ref: 6731]   £690.00  
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A Scene in the Careless Husband.
A Scene in the Careless Husband.
P. Mercier Pinx.t. J. Faber fecit 1739.
Publish'd according to Act of Parliament 1739.
Mezzotint, platemark 275 x 325mm (10¾ x 12¾"), large margins. Slight printer's crease bottom left.
Scene from the play 'The Careless Husband' by Colley Cibber, engraved from a painting by Philip Mercier, showing a moment in Act V, Scene IV of the play with the characters Mrs Edging, Sir Charles Easy and Lady Easy; the last is supposed by some to be a portrait of Kitty Clive (1711-85). Originally a pendant to another theatrical scene after Mercier, 'A Scene from the Recruiting Officer'.
Lennox-Boyd 1994 cat 2 (only state); CS 414; for the pendant see ref 7855. Ex: The Hon. Christopher Lennox-Boyd Collection.
[Ref: 38880]   £380.00  
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