A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
VAT included (see terms) | Exclude VAT
![[Lancelot Andrewes.]](jpegs/40479.jpg)
[Lancelot Andrewes.] Vera Effigies Reverendi in Christo Patris Dni: Lanceloti Andrewes Episcopi Wintoniensis.
W. Hollar fecit 1643.
Etching, platemark 125 x 70mm (5 x 2¾"). Unidentified collector's stamp verso.
Lancelot Andrewes (1555-1626), English bishop and scholar, who held high positions in the Church of England during the reigns of Queen Elizabeth I and King James I. Under King James I he served successively as Bishop of Chichester, Ely and Winchester and oversaw the translation of the Authorised Version of the Bible. This appears to be the 'very deceptive copy' mentioned by Pennington, which closely copies Wenceslaus Hollar's etching but with noticeable differences to the sitter's face and the writing of Hollar's name. Hollar's print was itself based on that by John Payne prefixed to Andrewes' 'XCVI Sermons' of 1632.
Pennington 1340 (copy); L.4329.
[Ref: 40479] £95.00 (£114.00 incl.VAT)
W. Hollar fecit 1643.
Etching, platemark 125 x 70mm (5 x 2¾"). Unidentified collector's stamp verso.
Lancelot Andrewes (1555-1626), English bishop and scholar, who held high positions in the Church of England during the reigns of Queen Elizabeth I and King James I. Under King James I he served successively as Bishop of Chichester, Ely and Winchester and oversaw the translation of the Authorised Version of the Bible. This appears to be the 'very deceptive copy' mentioned by Pennington, which closely copies Wenceslaus Hollar's etching but with noticeable differences to the sitter's face and the writing of Hollar's name. Hollar's print was itself based on that by John Payne prefixed to Andrewes' 'XCVI Sermons' of 1632.
Pennington 1340 (copy); L.4329.
[Ref: 40479] £95.00 (£114.00 incl.VAT)
Pierre Aretin. Ne a Arezzo en Toscane, mort environ l'an 1556. age de 65 ans.
Titianus pinxit.W Hollar fecit 1647.
Etching, 185 x 135mm (7¼ x 5¼"). Trimmed to image and laid on album paper. Toning
Pietro Aretino (1492-1556) was a well-regarded Italian author, poet and playwright as well as an influential satirist and notorious blackmailer. He was a close friend of Titian, who painted his portrait many times.
Pennington 1346 iii of iii.
[Ref: 53770] £75.00 (£90.00 incl.VAT)
Titianus pinxit.W Hollar fecit 1647.
Etching, 185 x 135mm (7¼ x 5¼"). Trimmed to image and laid on album paper. Toning
Pietro Aretino (1492-1556) was a well-regarded Italian author, poet and playwright as well as an influential satirist and notorious blackmailer. He was a close friend of Titian, who painted his portrait many times.
Pennington 1346 iii of iii.
[Ref: 53770] £75.00 (£90.00 incl.VAT)
The Combate in Paris betwixt John de Astley and Peter de Masse 29 Aug: Aº 1438. The Combate in Smithfeild betwixt the same John de Astley and Sr Philip Boyle, 30 Jan: An: 1441.
[Wenceslaus Hollar.]
[London, 1656.]
Rare etching, 17th century watermark. 290 x 370mm (11½ x 14½"). Small margins.
Two tournament scenes involving Sir John Astley of Patshull Hall, one of the most famous tournament knights of his time, flanked by eight panels with scenes before, during and after the action. The joust against Pierre de Massie in the upper scene was in the presence of Charles VII of France, ending; the lower scene is a duel, hand-to hand in armour with Philip de Boyle, before Henry VI of England. Astley was inducted into the Order of the Garter for his second victory. A plate from Dugdale's History of Warwickshire, 1656.
Pennington 530, i of ii.
[Ref: 62177] £480.00
[Wenceslaus Hollar.]
[London, 1656.]
Rare etching, 17th century watermark. 290 x 370mm (11½ x 14½"). Small margins.
Two tournament scenes involving Sir John Astley of Patshull Hall, one of the most famous tournament knights of his time, flanked by eight panels with scenes before, during and after the action. The joust against Pierre de Massie in the upper scene was in the presence of Charles VII of France, ending; the lower scene is a duel, hand-to hand in armour with Philip de Boyle, before Henry VI of England. Astley was inducted into the Order of the Garter for his second victory. A plate from Dugdale's History of Warwickshire, 1656.
Pennington 530, i of ii.
[Ref: 62177] £480.00
![[The Augsburg Confession] Ausborchsche Confessie.](jpegs/56680.jpg)
[The Augsburg Confession] Ausborchsche Confessie.
D.P. f. [after Wenceslaus Hollar].
Gedruckt tot Amsterdam bÿ Rombout van den Hoeye [n.d., c.1660].
Etching with engraving. 505 x 405mm (20 x 15¾"). Small margins. Repairs to top and bottom margin.
A Dutch copy of Hollar's German-text allegory of the Augsburg Confession of Faith, published to commemorate its 100th anniversary. A seven-armed candlestick is decorated with 22 medallions with Biblical scenes; above the Holy Spirit; to the left is Frederick III the Wise, Elector of Saxony, and right is Martin Luther. The artist, 'D.P.', has not been identified.
See Pennington 231 for Hollar's original.
[Ref: 56680] £360.00
D.P. f. [after Wenceslaus Hollar].
Gedruckt tot Amsterdam bÿ Rombout van den Hoeye [n.d., c.1660].
Etching with engraving. 505 x 405mm (20 x 15¾"). Small margins. Repairs to top and bottom margin.
A Dutch copy of Hollar's German-text allegory of the Augsburg Confession of Faith, published to commemorate its 100th anniversary. A seven-armed candlestick is decorated with 22 medallions with Biblical scenes; above the Holy Spirit; to the left is Frederick III the Wise, Elector of Saxony, and right is Martin Luther. The artist, 'D.P.', has not been identified.
See Pennington 231 for Hollar's original.
[Ref: 56680] £360.00
![[St. Barbara.]](jpegs/43708.jpg)
[St. Barbara.]
HHolbein inv. Whollar fecit, ex Collectione Arundeliana, 1647.
Etching. Scarce; Sheet: 190 x 120mm (7½ x 4¾"). Trimmed and laid on album sheet. Time stained.
A portrait of a woman, wearing long robes, holding a chalice and wafer and standing by a lake. Pennington identifies her as Saint Barbara on account of her resemblance to a portrait of the saint in the stained glass at Bale. The Strawberry Hill Catalogue 1842 lists this as Ann Boleyn.
Pennington 176.
[Ref: 43708] £380.00
HHolbein inv. Whollar fecit, ex Collectione Arundeliana, 1647.
Etching. Scarce; Sheet: 190 x 120mm (7½ x 4¾"). Trimmed and laid on album sheet. Time stained.
A portrait of a woman, wearing long robes, holding a chalice and wafer and standing by a lake. Pennington identifies her as Saint Barbara on account of her resemblance to a portrait of the saint in the stained glass at Bale. The Strawberry Hill Catalogue 1842 lists this as Ann Boleyn.
Pennington 176.
[Ref: 43708] £380.00
![[John Bastwick.]](jpegs/40480.jpg)
[John Bastwick.] Dr Bastwick for writing a Booke against Popish Bishops was first fined 1000 and Committed Closs-prisoner in the Gatehouse [...]
W. Hollar fecit [1640s].
Etching, laid on album sheet; sheet 130 x 75mm (5 x 3"). Loss top right.
John Bastwick (1595?-1654), Puritan religious controversialist and pamphleteer. One of five bust portraits etched by Wenceslaus Hollar of writers punished for their opinions on the High Church policy of Laud. As recounted in the text here, in 1637 they were fined impossibly large sums, lost their ears, and sentenced to life imprisonment (although Bastwick, after a spell in Star Castle in the Isles of Scilly, was released in 1644). It was etched on the same plate as two of the other portraits; the copperplate, now cut, is in the Bodleian Library in Oxford. Hollar (1607-77) was a Bohemian printmaker who spent most of his career working in England, from a Protestant background (although he later converted to Catholicism). Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are institutions in London, Berlin and Prague.
Pennington 1327; Wellcome: 195-3.
[Ref: 40480] £140.00 (£168.00 incl.VAT)
W. Hollar fecit [1640s].
Etching, laid on album sheet; sheet 130 x 75mm (5 x 3"). Loss top right.
John Bastwick (1595?-1654), Puritan religious controversialist and pamphleteer. One of five bust portraits etched by Wenceslaus Hollar of writers punished for their opinions on the High Church policy of Laud. As recounted in the text here, in 1637 they were fined impossibly large sums, lost their ears, and sentenced to life imprisonment (although Bastwick, after a spell in Star Castle in the Isles of Scilly, was released in 1644). It was etched on the same plate as two of the other portraits; the copperplate, now cut, is in the Bodleian Library in Oxford. Hollar (1607-77) was a Bohemian printmaker who spent most of his career working in England, from a Protestant background (although he later converted to Catholicism). Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are institutions in London, Berlin and Prague.
Pennington 1327; Wellcome: 195-3.
[Ref: 40480] £140.00 (£168.00 incl.VAT)
The Cathedral Church of Antwerp.
[by Wenceslaus Hollar.]
[London, c.1717.]
Etching. Sheet 465 x 330mm (18¼ x 13"). Trimmed to image, losing Hollar's signature, laid on old paper. Damaged. Staining on right.
Originally etched by Hollar in 1649 and published in Antwerp, when the unrest of the English Civil War caused him to stay in the city, this print had a Latin title under the view. Pennington states that this fifth state was first published by Henry Overton c.1717.
Pennington 824.
[Ref: 68305] £160.00 (£192.00 incl.VAT)
[by Wenceslaus Hollar.]
[London, c.1717.]
Etching. Sheet 465 x 330mm (18¼ x 13"). Trimmed to image, losing Hollar's signature, laid on old paper. Damaged. Staining on right.
Originally etched by Hollar in 1649 and published in Antwerp, when the unrest of the English Civil War caused him to stay in the city, this print had a Latin title under the view. Pennington states that this fifth state was first published by Henry Overton c.1717.
Pennington 824.
[Ref: 68305] £160.00 (£192.00 incl.VAT)
![[Richard Bernard.]](jpegs/64283.jpg)
[Richard Bernard.] Vera Effigies Rich.d. Bernard, vigilantif, simi Pastoris de Batcombe Somset: A: 1641.
W.Hollar: Bohem, as viuum del: Londini.
[n.d., c.1641.]
Etching. Sheet 160 x 110,mm (6¼ x 4¼"). Trimmed and backed onto album paper at corners.
Portrait of Richard Bernard (1568 - 1641), English Puritan clergyman and writer.
Pennington 1363 only state.
[Ref: 64283] £65.00 (£78.00 incl.VAT)
W.Hollar: Bohem, as viuum del: Londini.
[n.d., c.1641.]
Etching. Sheet 160 x 110,mm (6¼ x 4¼"). Trimmed and backed onto album paper at corners.
Portrait of Richard Bernard (1568 - 1641), English Puritan clergyman and writer.
Pennington 1363 only state.
[Ref: 64283] £65.00 (£78.00 incl.VAT)
![[Charles I.]](jpegs/68095.jpg)
[Charles I.] Charles par la grace de Dieu Roy de la grande Bretaigne, &c.
[after Wenceslaus Hollar] [attributed to Richard Gaywood]
P.Stent excudit. [n.d, c.1647.]
Engraving, sheet 150 x 95mm (6 x 3¾"). On 17th century watermarked paper. Trimmed and backed onto album paper.
Portrait of Charles I (1600 -1649), King of England, Scotland, and Ireland from 27 March 1625 until his execution in 1649. Frontispiece to Michael Hudson, 'The Divine Right of Government' (London, 1647).
Globe Stent 41 ii of iii. Pl57. Pennington 1433.
[Ref: 68095] £70.00 (£84.00 incl.VAT)
[after Wenceslaus Hollar] [attributed to Richard Gaywood]
P.Stent excudit. [n.d, c.1647.]
Engraving, sheet 150 x 95mm (6 x 3¾"). On 17th century watermarked paper. Trimmed and backed onto album paper.
Portrait of Charles I (1600 -1649), King of England, Scotland, and Ireland from 27 March 1625 until his execution in 1649. Frontispiece to Michael Hudson, 'The Divine Right of Government' (London, 1647).
Globe Stent 41 ii of iii. Pl57. Pennington 1433.
[Ref: 68095] £70.00 (£84.00 incl.VAT)
![[Charles I]](jpegs/42220.jpg)
[Charles I]
WH fec: 1644.
Etching, text verso; sheet 250 x 195mm (9¾ x 7¾"). Foxing,
Charles I (1600-49) in armour, on horseback, with an army behind him and a city (Berwick-on-Tweed?) in the distance. While this state is dated 1644, the print was first published on a broadside issued in 1639 when Charles advanced to Berwick with an army of which Thomas Howard, earl of Arundel, was Commander-in-chief. In this state, the print was the frontispiece to Sir Edward Walker's 'Historical Discourses' (1705), reissued as 'Historical collections' in 1707. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England after meeting Arundel in Cologne in 1636. Hollar commemorated his patrons role in the campaign against Scotland by etching his portrait on horseback.
Pennington 1686 iii/iii.
[Ref: 42220] £220.00 (£264.00 incl.VAT)
WH fec: 1644.
Etching, text verso; sheet 250 x 195mm (9¾ x 7¾"). Foxing,
Charles I (1600-49) in armour, on horseback, with an army behind him and a city (Berwick-on-Tweed?) in the distance. While this state is dated 1644, the print was first published on a broadside issued in 1639 when Charles advanced to Berwick with an army of which Thomas Howard, earl of Arundel, was Commander-in-chief. In this state, the print was the frontispiece to Sir Edward Walker's 'Historical Discourses' (1705), reissued as 'Historical collections' in 1707. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England after meeting Arundel in Cologne in 1636. Hollar commemorated his patrons role in the campaign against Scotland by etching his portrait on horseback.
Pennington 1686 iii/iii.
[Ref: 42220] £220.00 (£264.00 incl.VAT)
![[Charles I and Henrietta Maria offer symbols of their power to Marie de Medici]](jpegs/43311.jpg)
[Charles I and Henrietta Maria offer symbols of their power to Marie de Medici] Tes Enfans ravis de te voir / Toffrent leur sceptre et leur couronne / Ils te resignent leur pouvoir / Par cette Espece quon se Donne. La Serre
[Wenceslaus Hollar, 1639]
Etching, sheet 260 x 190mm (10¼ x 7½"). Trimmed.
Illustration to Puget de La Serre's 'Histoire de L'Entrée de la Reyne Mère dans la Grande Bretagne' (1639), which recounted Marie de Medici's visit to England. Her daughter Henrietta Maria was the wife of Charles I.
Pennington 461
[Ref: 43311] £260.00 (£312.00 incl.VAT)
[Wenceslaus Hollar, 1639]
Etching, sheet 260 x 190mm (10¼ x 7½"). Trimmed.
Illustration to Puget de La Serre's 'Histoire de L'Entrée de la Reyne Mère dans la Grande Bretagne' (1639), which recounted Marie de Medici's visit to England. Her daughter Henrietta Maria was the wife of Charles I.
Pennington 461
[Ref: 43311] £260.00 (£312.00 incl.VAT)
![[Great Seal of Charles II]](jpegs/43083.jpg)
[Great Seal of Charles II]
[Wenceslaus Hollar?, c.1670]
Etching, 17th century watermark; sheet 295 x 160mm (11¾ x 6½"). Trimmed and glued to backing sheet.
The great seal of King Charles II, dated 1653 (during the interregnum while he was in exile on the continent), published in volume of the history of Britain. From Ashmoles "Garter".
[Ref: 43083] £80.00 (£96.00 incl.VAT)
[Wenceslaus Hollar?, c.1670]
Etching, 17th century watermark; sheet 295 x 160mm (11¾ x 6½"). Trimmed and glued to backing sheet.
The great seal of King Charles II, dated 1653 (during the interregnum while he was in exile on the continent), published in volume of the history of Britain. From Ashmoles "Garter".
[Ref: 43083] £80.00 (£96.00 incl.VAT)
![[Coronation of Charles II, 1661.]](jpegs/68296.jpg)
[Coronation of Charles II, 1661.]
[Wenceslaus Hollar, 1662.]
[John Ogilby]
Etching. Sheet 360 x 465mm (14¼ x 18¼"). Trimmed to image, central fold as normal, repairs to damage in central fold.
The coronation of Charles II at Westminster Abbey on 23 April 1661. Published in 'The entertainment of His most excellent Majestie Charles II...' (1662) by John Ogilby. Ogilby had obtained exclusive publishing rights for the coronation procession days before it took place, rushing out a simple and unillustrated text in time for the event, and over the next year worked on this sumptuous account with engravings by leading engravers including (as here) Wenceslaus Hollar, (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague.
P 575
[Ref: 68296] £450.00
[Wenceslaus Hollar, 1662.]
[John Ogilby]
Etching. Sheet 360 x 465mm (14¼ x 18¼"). Trimmed to image, central fold as normal, repairs to damage in central fold.
The coronation of Charles II at Westminster Abbey on 23 April 1661. Published in 'The entertainment of His most excellent Majestie Charles II...' (1662) by John Ogilby. Ogilby had obtained exclusive publishing rights for the coronation procession days before it took place, rushing out a simple and unillustrated text in time for the event, and over the next year worked on this sumptuous account with engravings by leading engravers including (as here) Wenceslaus Hollar, (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague.
P 575
[Ref: 68296] £450.00
Robert Devereux, Earle of Essex, His Excellency, etc. Generall of ye. Army, [in plate] W. Hollar fecit.
Etching. Sheet 165 x 115mm (6½ x 4½"). Trimmed to plate and laid on album paper. Large margins with minor toning around edges.
Robert Devereux (1591-1646) third Earl of Essex. He served as a Parliamentarian soldier during the Civil War, but resigned in 1646 having been overshadowed by Cromwell and Fairfax. He died from a stroke later that year.
P 1401 ii P. Stent excudit variant state
[Ref: 53730] £50.00 (£60.00 incl.VAT)
Etching. Sheet 165 x 115mm (6½ x 4½"). Trimmed to plate and laid on album paper. Large margins with minor toning around edges.
Robert Devereux (1591-1646) third Earl of Essex. He served as a Parliamentarian soldier during the Civil War, but resigned in 1646 having been overshadowed by Cromwell and Fairfax. He died from a stroke later that year.
P 1401 ii P. Stent excudit variant state
[Ref: 53730] £50.00 (£60.00 incl.VAT)
The Portraicture of the Reverend Mr. John Diodati. Minister of God's Word. Aetatis 70. Anno 1647. 'Reader looke well on Diodati, more/ Uppon the Golden worke he stands before./ Lest in the Scripture's Labyrinth the minde/ Should snare and lose it selfe, heer thou mayst finde/ A Clue that through each mysterious storie/ Lead thee from earth up the throne of Glorie. Wher thy well-guided soule shall once meet his/ Whoe heer directs thee to eternall bliss.'
[on left in plate] W. Hollar fecit 1643.
Etching. Sheet 195 x 110mm (7¾ x 4"). Trimmed to plate and laid on album paper. Minor toning
Giovanni Diodati (1576 - 1649) was an Italian theologian and translator. He translated the first version of the Italian Bible from Hebrew and Greek sources.
[Ref: 53726] £130.00 (£156.00 incl.VAT)
[on left in plate] W. Hollar fecit 1643.
Etching. Sheet 195 x 110mm (7¾ x 4"). Trimmed to plate and laid on album paper. Minor toning
Giovanni Diodati (1576 - 1649) was an Italian theologian and translator. He translated the first version of the Italian Bible from Hebrew and Greek sources.
[Ref: 53726] £130.00 (£156.00 incl.VAT)
Gulielmus Dugdale. Aetatis 50. A. MDCLVI. Ovid: Nescio qua natale solum dulcedine cunctas Ducit et immemores non finit esse sui.
Wenceslaus Hollar delin: et sculpsit:
[n.d. c.1658.]
Etching, 170 x 265mm (6¾ x 10¼"). Trimmed within plate slightly on all sides/thread margins. Laid on album paper.
Sir William Dugdale (1605-1686) was an English antiquary. His early life was spent collecting materials for a history of Warwickshire with Sir Symon Archer, and in 1638 he was created a pursuivant of arms extraordinary and a year later he was promoted to the office of Rouge Croix Pursuivant of Arms in Ordinary. He then stayed in London to do some research on the records in the Tower. In 1642 he was summoned to attend the King at York, and when the Civil War broke out he requested to open the castles of Banbury and Warwick as strongholds to keep them out of reach of the rebel forces. In 1644 the King created him Chester Herald of Arms in Ordinary. At the Restoration he obtained the office of Norroy King of Arms, and in 1677 he was knighted and promoted to the officer of Garter Principal King of Arms, which he held until his death.
NPG: D4395. Pennington: 1392 iii of iv, from 'The History of St Paul's', 1658.
[Ref: 68387] £230.00 (£276.00 incl.VAT)
Wenceslaus Hollar delin: et sculpsit:
[n.d. c.1658.]
Etching, 170 x 265mm (6¾ x 10¼"). Trimmed within plate slightly on all sides/thread margins. Laid on album paper.
Sir William Dugdale (1605-1686) was an English antiquary. His early life was spent collecting materials for a history of Warwickshire with Sir Symon Archer, and in 1638 he was created a pursuivant of arms extraordinary and a year later he was promoted to the office of Rouge Croix Pursuivant of Arms in Ordinary. He then stayed in London to do some research on the records in the Tower. In 1642 he was summoned to attend the King at York, and when the Civil War broke out he requested to open the castles of Banbury and Warwick as strongholds to keep them out of reach of the rebel forces. In 1644 the King created him Chester Herald of Arms in Ordinary. At the Restoration he obtained the office of Norroy King of Arms, and in 1677 he was knighted and promoted to the officer of Garter Principal King of Arms, which he held until his death.
NPG: D4395. Pennington: 1392 iii of iv, from 'The History of St Paul's', 1658.
[Ref: 68387] £230.00 (£276.00 incl.VAT)
Gulielmus Dugdale. Aetatis 50. A. MDCLVI. Ovid: Nescio qua natale solum dulcedine cunctas Ducit et immemores non finit esse sui.
Wenceslaus Hollar delin: et Scul.
Printed for Jonah Bowyer at ye Rose in Ludgate Street 1714.
Etching. Plate: 260 x 170mm (10¼ x 6¾"). Repaired wormhole in plate.
Sir William Dugdale (1605-1686) was an English antiquary. His early life was spent collecting materials for a history of Warwickshire with Sir Symon Archer, and in 1638 he was created a pursuivant of arms extraordinary and a year later he was promoted to the office of Rouge Croix Pursuivant of Arms in Ordinary. He then stayed in London to do some research on the records in the Tower. In 1642 he was summoned to attend the King at York, and when the Civil War broke out he requested to open the castles of Banbury and Warwick as strongholds to keep them out of reach of the rebel forces. In 1644 the King created him Chester Herald of Arms in Ordinary. At the Restoration he obtained the office of Norroy King of Arms, and in 1677 he was knighted and promoted to the officer of Garter Principal King of Arms, which he held until his death.
Pennington: 1392, state iv of v, from 'The History of St Paul's', 1716.
[Ref: 45938] £240.00 (£288.00 incl.VAT)
Wenceslaus Hollar delin: et Scul.
Printed for Jonah Bowyer at ye Rose in Ludgate Street 1714.
Etching. Plate: 260 x 170mm (10¼ x 6¾"). Repaired wormhole in plate.
Sir William Dugdale (1605-1686) was an English antiquary. His early life was spent collecting materials for a history of Warwickshire with Sir Symon Archer, and in 1638 he was created a pursuivant of arms extraordinary and a year later he was promoted to the office of Rouge Croix Pursuivant of Arms in Ordinary. He then stayed in London to do some research on the records in the Tower. In 1642 he was summoned to attend the King at York, and when the Civil War broke out he requested to open the castles of Banbury and Warwick as strongholds to keep them out of reach of the rebel forces. In 1644 the King created him Chester Herald of Arms in Ordinary. At the Restoration he obtained the office of Norroy King of Arms, and in 1677 he was knighted and promoted to the officer of Garter Principal King of Arms, which he held until his death.
Pennington: 1392, state iv of v, from 'The History of St Paul's', 1716.
[Ref: 45938] £240.00 (£288.00 incl.VAT)
The Globe Theatre. From an enlarged Drawing of an extensive View of London, in 1647. - 7 Feet 9 Inches, by 18 Inches, engraved by Hollar; very scarce, and now in the possession of Thomas Lloyd Esq.r.
[after Wenceslaus Hollar.]
London, Published Oct.r 11th 1810, By Rob.t Wilkinson, No 58, Cornhill, 170.
Coloured etching. Sheet 305 x 240mm (12 x 9½"). Slight surface soiling.
Despite being named on Hollar's famous 'Long View' as 'The Globe', this is in fact the Hope Theatre (built where the Bear Baiting ring had been). The real Globe was named 'Beere bayting' and is not shown here. Hollar's mistake can be accounted for by the fact that both had been shut down by the Puritans in 1642, and the Globe had been demolished the year before his view was published.
[Ref: 41447] £95.00 (£114.00 incl.VAT)
[after Wenceslaus Hollar.]
London, Published Oct.r 11th 1810, By Rob.t Wilkinson, No 58, Cornhill, 170.
Coloured etching. Sheet 305 x 240mm (12 x 9½"). Slight surface soiling.
Despite being named on Hollar's famous 'Long View' as 'The Globe', this is in fact the Hope Theatre (built where the Bear Baiting ring had been). The real Globe was named 'Beere bayting' and is not shown here. Hollar's mistake can be accounted for by the fact that both had been shut down by the Puritans in 1642, and the Globe had been demolished the year before his view was published.
[Ref: 41447] £95.00 (£114.00 incl.VAT)
A View of Hampton Court as finished by K. Henry VIII. Hampton Court, a Royal Palace built by Cardinal Thomas Wolsey, enlarged, finished, and erected into an Honor by King Henry VIII.th Alluit Hamptoniam celebrem quae laxior urbis Montitur formam spatus; hanc condidit aulam. *Tamesis scilicet. Purpureus pater ille gravis, gravis ille sacerdos Wolsaeus, fortuna favos cui felle repletos. Sumptibus Societatus Antiquar Londin. Obtulit, heu tandem fortunae dona dolores. Tamae et Isis Connubium. Vol. II. Plate XXVII.
Wenceslaus Hollar delin.t J. Pye Sculpsit.
[n.d. c.1780.]
Etching and engraving. On watermarked papaer. Platemark: 375 x 660mm (14¾ x 26"). Very large margins. Creases. Repaired tears in margins.
A panoramic view depicting the reconstruction of the facade of the palace at Hampton Court in the 1540s, under the instruction of King Henry VIII.
[Ref: 38792] £280.00 (£336.00 incl.VAT)
Wenceslaus Hollar delin.t J. Pye Sculpsit.
[n.d. c.1780.]
Etching and engraving. On watermarked papaer. Platemark: 375 x 660mm (14¾ x 26"). Very large margins. Creases. Repaired tears in margins.
A panoramic view depicting the reconstruction of the facade of the palace at Hampton Court in the 1540s, under the instruction of King Henry VIII.
[Ref: 38792] £280.00 (£336.00 incl.VAT)
Hans Holbein.
[After Hollar.] R.Gaywood fecit.
[n.d., c.1650.] Sould by P.Stent.
Engraving Sheet 160 x 115mm (6¼ x 4½"). Trimmed and backed onto album paper.
Portrait of Hans Holbein (c.1497 - 1543), German-Swiss painter and printmaker.
Globe 1985, 177 ii of ii.
[Ref: 67645] £70.00 (£84.00 incl.VAT)
[After Hollar.] R.Gaywood fecit.
[n.d., c.1650.] Sould by P.Stent.
Engraving Sheet 160 x 115mm (6¼ x 4½"). Trimmed and backed onto album paper.
Portrait of Hans Holbein (c.1497 - 1543), German-Swiss painter and printmaker.
Globe 1985, 177 ii of ii.
[Ref: 67645] £70.00 (£84.00 incl.VAT)
![[Wenceslaus Hollar.]](jpegs/66943.jpg)
[Wenceslaus Hollar.] Venceslas Hollar.
Seipsum Sculp.
[n.d., c.1630.]
Engraving, 140 x 100mm (5½ x 4"), with large margins
A self portrait of Wenceslaus Hollar (1607–77) was a prolific and accomplished Bohemian graphic artist of the 17th century, who spent much of his life in England. He is particularly noted for his engravings and etchings. He was born in Prague, died in London, and was buried at St Margaret's Church, Westminster.
VI of VIII. P.1420
[Ref: 66943] £260.00 (£312.00 incl.VAT)
Seipsum Sculp.
[n.d., c.1630.]
Engraving, 140 x 100mm (5½ x 4"), with large margins
A self portrait of Wenceslaus Hollar (1607–77) was a prolific and accomplished Bohemian graphic artist of the 17th century, who spent much of his life in England. He is particularly noted for his engravings and etchings. He was born in Prague, died in London, and was buried at St Margaret's Church, Westminster.
VI of VIII. P.1420
[Ref: 66943] £260.00 (£312.00 incl.VAT)
![[Views Near London.]](jpegs/51449.jpg)
[Views Near London.] by the Waterhouse. [&] By Islington. [&] On the North Side of London. [&] Waterhouse by Islington. [&] The Waterhouse.
W.Hollar delin: et sculp: 1665. [The Waterhouse] W.Hollar fecit 1665.
[The Waterhouse] Sold by John Overton.
Complete set of six etchings. Each c. 90 x 125mm (3½ x 5"). Three trimmed to the plate, 'Waterhouse by Islington with staining. Few small nicks. Old remains of album sheet verso; old ink stock numbers verso.
An early made up set.
Hind 915-20.
[Ref: 51449] £1,250.00 view all images for this item
W.Hollar delin: et sculp: 1665. [The Waterhouse] W.Hollar fecit 1665.
[The Waterhouse] Sold by John Overton.
Complete set of six etchings. Each c. 90 x 125mm (3½ x 5"). Three trimmed to the plate, 'Waterhouse by Islington with staining. Few small nicks. Old remains of album sheet verso; old ink stock numbers verso.
An early made up set.
Hind 915-20.
[Ref: 51449] £1,250.00 view all images for this item
![[Woman's head framed in roundel]](jpegs/42235.jpg)
[Woman's head framed in roundel]
W Hollar fec. 1646
Etching, sheet 100 x 90mm (4 x 3½"). Tipped into album sheet.
One of a set of thirty-seven portrait busts of women etched by Wenceslaus Hollar (1607-77), prolific and highly-regarded printmaker born in Bohemia but working mostly in England. Richard Pennington, author of the standard work on Hollar, describes the series as 'rather fashion plates than portraits', while noting similarities with living persons in some cases. This print has been identified elsewhere as Mary, princess royal (1631-60), princess of Orange and daughter of Charles I.
Pennington 1912.i; for another impression identifying sitter as princess Mary see ref. 42234
[Ref: 42235] £220.00 (£264.00 incl.VAT)
W Hollar fec. 1646
Etching, sheet 100 x 90mm (4 x 3½"). Tipped into album sheet.
One of a set of thirty-seven portrait busts of women etched by Wenceslaus Hollar (1607-77), prolific and highly-regarded printmaker born in Bohemia but working mostly in England. Richard Pennington, author of the standard work on Hollar, describes the series as 'rather fashion plates than portraits', while noting similarities with living persons in some cases. This print has been identified elsewhere as Mary, princess royal (1631-60), princess of Orange and daughter of Charles I.
Pennington 1912.i; for another impression identifying sitter as princess Mary see ref. 42234
[Ref: 42235] £220.00 (£264.00 incl.VAT)
![[Woman's head framed in roundel]](jpegs/42234.jpg)
[Woman's head framed in roundel]
W Hollar fec. 1646
Etching, sheet 100 x 90mm (4 x 3½"). Tipped into album sheet; 'Princess Mary wife of P. of Orange' in old ms.
One of a set of thirty-seven portrait busts of women etched by Wenceslaus Hollar (1607-77), prolific and highly-regarded printmaker born in Bohemia but working mostly in England. Richard Pennington, author of the standard work on Hollar, describes the series as 'rather fashion plates than portraits', while noting similarities with living persons in some cases. This print has been identified as Mary, princess royal (1631-60), princess of Orange and daughter of Charles I.
Pennington 1912.ii
[Ref: 42234] £130.00 (£156.00 incl.VAT)
W Hollar fec. 1646
Etching, sheet 100 x 90mm (4 x 3½"). Tipped into album sheet; 'Princess Mary wife of P. of Orange' in old ms.
One of a set of thirty-seven portrait busts of women etched by Wenceslaus Hollar (1607-77), prolific and highly-regarded printmaker born in Bohemia but working mostly in England. Richard Pennington, author of the standard work on Hollar, describes the series as 'rather fashion plates than portraits', while noting similarities with living persons in some cases. This print has been identified as Mary, princess royal (1631-60), princess of Orange and daughter of Charles I.
Pennington 1912.ii
[Ref: 42234] £130.00 (£156.00 incl.VAT)
Hugh Lupus Earle of Chester sitting in his Parliament with the Barons and Abbots of that Countie Palatine. P.M. Praenobilis Richarda Grosvenour de Eaton in Comit Cestr: Eq/ aur et Baronetti [...]
[By Wenceslaus Hollar, 1656]
Etching, sheet 290 x 180mm (11½ x 7"). Trimmed and glued to backing sheet.
Hugh of Avranches sits on a throne, flanked by abbots and barons. This plate was first published in Daniel King's 'The Vale-Royall of England, or, The County Palatine of Chester Illustrated' (1656), which included several etchings by Hollar. This later state (identified by the number '48' in the lower left corner) was published in the 'Monasticon' (1718). Etched by Wenceslaus Hollar (1607-77), Bohemian printmaker from a Protestant background (although he later converted to Catholicism) who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are institutions in London, Berlin and Prague.
Pennington 529 iv/iv
[Ref: 45260] £180.00 (£216.00 incl.VAT)
[By Wenceslaus Hollar, 1656]
Etching, sheet 290 x 180mm (11½ x 7"). Trimmed and glued to backing sheet.
Hugh of Avranches sits on a throne, flanked by abbots and barons. This plate was first published in Daniel King's 'The Vale-Royall of England, or, The County Palatine of Chester Illustrated' (1656), which included several etchings by Hollar. This later state (identified by the number '48' in the lower left corner) was published in the 'Monasticon' (1718). Etched by Wenceslaus Hollar (1607-77), Bohemian printmaker from a Protestant background (although he later converted to Catholicism) who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are institutions in London, Berlin and Prague.
Pennington 529 iv/iv
[Ref: 45260] £180.00 (£216.00 incl.VAT)
![[By Islington.]](jpegs/62712.jpg)
[By Islington.]
WHollar delin et sculp 1665. [But later]
Etching, sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' View of London from dried water-course in Islington; Waterhouse surrounded by moat and wall at right; people in the fields under heavy clouds in sky. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 917 ii of ii.
[Ref: 62712] £140.00 (£168.00 incl.VAT)
WHollar delin et sculp 1665. [But later]
Etching, sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' View of London from dried water-course in Islington; Waterhouse surrounded by moat and wall at right; people in the fields under heavy clouds in sky. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 917 ii of ii.
[Ref: 62712] £140.00 (£168.00 incl.VAT)
![[By Islington.]](jpegs/62711.jpg)
[By Islington.]
WHollar delin et sculp 1665. [But later]
Etching, sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' View of London from the North; dried-up bed of stream in bare fields in the foreground; St Paul's seen in distance with tower of St Sepulchre's and pinnacles at right; two towers over roof of large barn at left; people walking in pairs and cattle in front of isolated house at right. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 916 ii of ii.
[Ref: 62711] £140.00 (£168.00 incl.VAT)
WHollar delin et sculp 1665. [But later]
Etching, sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' View of London from the North; dried-up bed of stream in bare fields in the foreground; St Paul's seen in distance with tower of St Sepulchre's and pinnacles at right; two towers over roof of large barn at left; people walking in pairs and cattle in front of isolated house at right. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 916 ii of ii.
[Ref: 62711] £140.00 (£168.00 incl.VAT)
![[Waterhouse by Islington.]](jpegs/62708.jpg)
[Waterhouse by Islington.]
WHollar delin et sculp 1665. [but later]
Etching, sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' Near view of Waterhouse in Islington behind its moat, with two men standing at right seen from behind and water escaping from outflow into ditch in the foreground at left; St Paul's in the background. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 919 ii of ii
[Ref: 62708] £140.00 (£168.00 incl.VAT)
WHollar delin et sculp 1665. [but later]
Etching, sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' Near view of Waterhouse in Islington behind its moat, with two men standing at right seen from behind and water escaping from outflow into ditch in the foreground at left; St Paul's in the background. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 919 ii of ii
[Ref: 62708] £140.00 (£168.00 incl.VAT)
![[By the Waterhouse.]](jpegs/62710.jpg)
[By the Waterhouse.]
WHollar delin et sculp 1665. [But later]
Etching, 17th century watermark; sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' View of the Waterhouse, on the right, surrounded by a circular wall and moat; a wooden fence on the left descends to the moat; three houses in middle distance. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 915 ii of ii.
[Ref: 62710] £140.00 (£168.00 incl.VAT)
WHollar delin et sculp 1665. [But later]
Etching, 17th century watermark; sheet 85 x 120mm (3½ x 4¾"). Trimmed within plate losing title. Taped to backing sheet.
From the series 'Views Near London.' View of the Waterhouse, on the right, surrounded by a circular wall and moat; a wooden fence on the left descends to the moat; three houses in middle distance. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 915 ii of ii.
[Ref: 62710] £140.00 (£168.00 incl.VAT)
D. Franciscus Iunius. D. Fransiscus Iunius. SS. Theol. Doctor et Professor primarius in acade: Lugdun: apud Batavos. Aetat. 53: 1598. 'Regia maiestas quam quondam vidimus oris, Talis erat: Iuru, sic rediuiuus eris. Sin furor est, tentare hominem calestia, quenquam; Et furor est, dotes pingere velle tuas.' DH.
W. Hollar fecit Londinia 1639.
Etching. Sheet 185 x 125mm (7¼ x 4¾"). Trimmed to plate and laid on album paper. Minor toning
Franciscus Junius the Elder (1545-1602) was a Protestant reformer, scholar and theologian. His Treatise on True Theology was a popular text in Reformed scholasticism.
P 1429 ii of ii
[Ref: 53681] £120.00 (£144.00 incl.VAT)
W. Hollar fecit Londinia 1639.
Etching. Sheet 185 x 125mm (7¼ x 4¾"). Trimmed to plate and laid on album paper. Minor toning
Franciscus Junius the Elder (1545-1602) was a Protestant reformer, scholar and theologian. His Treatise on True Theology was a popular text in Reformed scholasticism.
P 1429 ii of ii
[Ref: 53681] £120.00 (£144.00 incl.VAT)
![[View of Lambeth from Whitehall Stairs]](jpegs/41632.jpg)
[View of Lambeth from Whitehall Stairs]
[Abraham Aubry after Wenceslaus Hollar, c.1644]
Etching, platemark 115 x 175mm (4½ x 7").
View from Whitehall Stairs, a public landing place (as opposed to the nearby Privy Stairs) near the Banqueting House in Westminster. Whitehall Court now stands on the site. Numerous empty ferry boats by the landing, with many more being rowed along the river Thames. Lambeth Palace across the river in the distance. Copy by Abraham Aubry of an etching by Wenceslaus Hollar (1607-77), whose etching was originally issued as part of a set of four English views (the other three were of central London and Windsor). Born in Bohemia, Hollar spent around 32 of his 52 years as a professional artist working in England. An outstanding draughtsman and topographical etcher, Hollar's work was enormously varied and has done much to inform the way that 17th century London is visualised.
Pennington 912 (copy)
[Ref: 41632] £85.00 (£102.00 incl.VAT)
[Abraham Aubry after Wenceslaus Hollar, c.1644]
Etching, platemark 115 x 175mm (4½ x 7").
View from Whitehall Stairs, a public landing place (as opposed to the nearby Privy Stairs) near the Banqueting House in Westminster. Whitehall Court now stands on the site. Numerous empty ferry boats by the landing, with many more being rowed along the river Thames. Lambeth Palace across the river in the distance. Copy by Abraham Aubry of an etching by Wenceslaus Hollar (1607-77), whose etching was originally issued as part of a set of four English views (the other three were of central London and Windsor). Born in Bohemia, Hollar spent around 32 of his 52 years as a professional artist working in England. An outstanding draughtsman and topographical etcher, Hollar's work was enormously varied and has done much to inform the way that 17th century London is visualised.
Pennington 912 (copy)
[Ref: 41632] £85.00 (£102.00 incl.VAT)
Palatium Archiepiscopi Cantuariensis propæ Londinium, vulgo Lambeth House.
W. Hollar fecit 1647.
Etching. Sheet 145 x 320mm (5¾ x 12½"). Trimmed to printed border, losing numeral lower right, worm holes filled. Slight creasing.
A view of Lambeth Palace from the Thames, with Archibishop Laud and his retinue about to board his barge.
Pennington 1039, state ii of iii.
[Ref: 68286] £280.00 (£336.00 incl.VAT)
W. Hollar fecit 1647.
Etching. Sheet 145 x 320mm (5¾ x 12½"). Trimmed to printed border, losing numeral lower right, worm holes filled. Slight creasing.
A view of Lambeth Palace from the Thames, with Archibishop Laud and his retinue about to board his barge.
Pennington 1039, state ii of iii.
[Ref: 68286] £280.00 (£336.00 incl.VAT)
![[Lambeth Palace from Whitehall Stairs.]](jpegs/50291.jpg)
[Lambeth Palace from Whitehall Stairs.]
[Engraved by Abraham Aubry after Wenceslaus Hollar.]
[n.d., c.1655.]
Etching. Plate: 110 x 175mm (4¼ x 7''). Creases, laid in album sheet.
A view looking west along the Thames to Lambeth Palace from Whitehall Palace on the north side of the Thames.
[Ref: 50291] £180.00 (£216.00 incl.VAT)
[Engraved by Abraham Aubry after Wenceslaus Hollar.]
[n.d., c.1655.]
Etching. Plate: 110 x 175mm (4¼ x 7''). Creases, laid in album sheet.
A view looking west along the Thames to Lambeth Palace from Whitehall Palace on the north side of the Thames.
[Ref: 50291] £180.00 (£216.00 incl.VAT)
London.
[after Wenceslaus Hollar] Hamel & Ferguson, Litho. 85 Queen S.t. Melbourne.
G.J. Browne in fac-smile ab Picto originale refecit, Melbournense, Australia, A.D. 1879.
Scarce lithograph on five sheets conjoined, total 485 x 2250mm, laid on linen. With two sheets of introductory text. Paper toned, paper cracks, womholes. Text sheets ragged.
An unusual Australian edition of Hollar's famous pre-Fire prospect of London, originally published by Danckerts in Amsterdam in 1647. It shows the City from the tower of St. Mary Overy in Southwark, with the Norman St. Paul's in the centre, London Bridge with buildings across it, and the Globe and Bear Garden in Southwark. The two theatres have had their names transposed, the mistake made probably because both had been closed by the Puritan Parliament of 1642. The title is above the panorama in a decorative cartouche, with Mercury and cherubs representing the continents, a nod to London's commercial interests abroad. Hollar started work on the original in London, but completed it in Antwerp: he had to flee England because his Royalist sympathies put him at risk during the Civil War, although he was able to return in 1652. This edition has the original dedication to Henrietta Maria, queen of Charles I, within a cartouche depicting Britannia, which was omitted from printings after the Civil War. Hamel & Ferguson were in business between 1864-89. Other than their imprint, the only detail they have added is the geometric border around the view.
See Howgego p.8 for the original, 'the most accurate of the pre-Fire panoramas of London'.
[Ref: 69771] £2,500.00 view all images for this item
[after Wenceslaus Hollar] Hamel & Ferguson, Litho. 85 Queen S.t. Melbourne.
G.J. Browne in fac-smile ab Picto originale refecit, Melbournense, Australia, A.D. 1879.
Scarce lithograph on five sheets conjoined, total 485 x 2250mm, laid on linen. With two sheets of introductory text. Paper toned, paper cracks, womholes. Text sheets ragged.
An unusual Australian edition of Hollar's famous pre-Fire prospect of London, originally published by Danckerts in Amsterdam in 1647. It shows the City from the tower of St. Mary Overy in Southwark, with the Norman St. Paul's in the centre, London Bridge with buildings across it, and the Globe and Bear Garden in Southwark. The two theatres have had their names transposed, the mistake made probably because both had been closed by the Puritan Parliament of 1642. The title is above the panorama in a decorative cartouche, with Mercury and cherubs representing the continents, a nod to London's commercial interests abroad. Hollar started work on the original in London, but completed it in Antwerp: he had to flee England because his Royalist sympathies put him at risk during the Civil War, although he was able to return in 1652. This edition has the original dedication to Henrietta Maria, queen of Charles I, within a cartouche depicting Britannia, which was omitted from printings after the Civil War. Hamel & Ferguson were in business between 1864-89. Other than their imprint, the only detail they have added is the geometric border around the view.
See Howgego p.8 for the original, 'the most accurate of the pre-Fire panoramas of London'.
[Ref: 69771] £2,500.00 view all images for this item
On the North side of London.
WHollar delin et sculp 1665 [but later]
Etching, sheet 95 x 130mm (3¾ x 5"). Trimmed.
View of London from Islington made shortly before the Great Fire of London, with the old St Paul's cathedral in the distance and three men practicing archery in the foreground. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 918 ii/ii.
[Ref: 68301] £260.00 (£312.00 incl.VAT)
WHollar delin et sculp 1665 [but later]
Etching, sheet 95 x 130mm (3¾ x 5"). Trimmed.
View of London from Islington made shortly before the Great Fire of London, with the old St Paul's cathedral in the distance and three men practicing archery in the foreground. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague. Hollar's life was changed when he met Thomas Howard, second earl of Arundel, at Cologne in 1636: for eight months he travelled in Arundel's retinue at travelled with him to London, taking lodgings at Arundel House and marrying a servant of the countess of Arundel. This is one of a group of small views from north London sometimes thought to have been issued as a set.
Pennington 918 ii/ii.
[Ref: 68301] £260.00 (£312.00 incl.VAT)
A Prospect of the City of London from S.t Marie Overs Steeple In Southwark in its flourishing Condition before The Fire. Another Prospect of the above City taken from the Same Place as it Appeared after that Dreadfull Fire in 1666. A Plan for Rebuilding the City after the Fire, Design’d by that Great Architect S.r Christoph.r Wren and approv’d of by King and Parliament but unhappily Defeated by Faction.Vues de la Ville de Londres Comme il doit devant & apres l’incendie de 1666. Avec le plan pour la rebâtir. Projetté par ce grand architecte le chevalier Chrsitopher Wren, & aprouvé par le roi & parliament; mais malheureusement rejetté par faction.
[Prospects after Wenceslaus Hollar.]
Publiè par Jean Rocque, Chorographe de Son Altesse Royalle le Prince de Galles.
Engraved map. Sheet 360 x 315mm (14½ x 12½"). Dissected and laid on linen, trimmed close to printed border, some surface loss top centre & top left, stains and creases, mounted on card.
Sir Christopher Wren's plan for rebuilding London after the Great Fire of 1666, with copies of Wenceslaus Hollar's prospects of the city before and after the fire.
Rare: OCLC records only two institutional examples, in the British Library and the Yale Centre for British Art
[Ref: 61745] £1,650.00
[Prospects after Wenceslaus Hollar.]
Publiè par Jean Rocque, Chorographe de Son Altesse Royalle le Prince de Galles.
Engraved map. Sheet 360 x 315mm (14½ x 12½"). Dissected and laid on linen, trimmed close to printed border, some surface loss top centre & top left, stains and creases, mounted on card.
Sir Christopher Wren's plan for rebuilding London after the Great Fire of 1666, with copies of Wenceslaus Hollar's prospects of the city before and after the fire.
Rare: OCLC records only two institutional examples, in the British Library and the Yale Centre for British Art
[Ref: 61745] £1,650.00
Carolus Ludovicus D.G: Come Palatinus ad Rhenum, Sri: Rni, Imru Princeps, Archidapifer & Elector, Dux Bavaria, Nobilissimi Ordinis Garterij Eques etc.
Ante van Dyck pinxit. W. Hollar fecit 1646.
Etching. Sheet 280 x 200mm (11 x 8"). Trimmed to plate and laid on album paper. Toning & foxing.
Karl Ludwig (1617-1680) became Charles Louis in 1649 reclaiming his father's title of Elector Palatine after living half his life in exile during the German Thirty Years War. He ruled the Electorate of the Palatinate, badly affected by the war, with moderate success for more than thirty years.
P1447 iii of iii.
[Ref: 53728] £140.00 (£168.00 incl.VAT)
Ante van Dyck pinxit. W. Hollar fecit 1646.
Etching. Sheet 280 x 200mm (11 x 8"). Trimmed to plate and laid on album paper. Toning & foxing.
Karl Ludwig (1617-1680) became Charles Louis in 1649 reclaiming his father's title of Elector Palatine after living half his life in exile during the German Thirty Years War. He ruled the Electorate of the Palatinate, badly affected by the war, with moderate success for more than thirty years.
P1447 iii of iii.
[Ref: 53728] £140.00 (£168.00 incl.VAT)
Gulielmus Oughtred Anglus ex Academia Cantabrigienfi An.o Aetat. 73. 1646.
[After Wenceslaus Hollar] [F. S. sculp]
[n.d., c.1657]
Engraving, image 155 x 95mm (6 x 3¾"). Trimmed losing printmakers' inscription. Glued to backing sheet.
Half length portrait of William Oughtred wearing a skull-cap, collar and gown, and holding book. Crudely made after an etching by Hollar. Frontis to: "Clavis Mathematicae" 1667. William Oughtred (also Owtred, Uhtred, etc 1574 - 1660) was an English mathematician and Anglican clergyman. He is credited with creating the slide rule in 1622, which allowed for direct multiplication and division, with introducing "x" to signify mulplification, and the abbreviations "sin" and "cos" for sine and cosine.
[Ref: 57147] £160.00 (£192.00 incl.VAT)
[After Wenceslaus Hollar] [F. S. sculp]
[n.d., c.1657]
Engraving, image 155 x 95mm (6 x 3¾"). Trimmed losing printmakers' inscription. Glued to backing sheet.
Half length portrait of William Oughtred wearing a skull-cap, collar and gown, and holding book. Crudely made after an etching by Hollar. Frontis to: "Clavis Mathematicae" 1667. William Oughtred (also Owtred, Uhtred, etc 1574 - 1660) was an English mathematician and Anglican clergyman. He is credited with creating the slide rule in 1622, which allowed for direct multiplication and division, with introducing "x" to signify mulplification, and the abbreviations "sin" and "cos" for sine and cosine.
[Ref: 57147] £160.00 (£192.00 incl.VAT)
Philippus IV. Hispaniarum et Indiarum Rex Catholicus.
Wenceslaus Hollar fecit 1652.
Corn. Galle excudit.
Etching, laid on Album sheet; sheet 225 x 160mm (9 x 6¼"). Trimmed inside platemark;
Philip IV (1605-1665), King of Spain and Portugal, wearing embroidered jacket on which hangs the Order of the Golden Fleece. He is remembered for his patronage of artists such as Velazquez, and for ruling Spain during the challenging period of the Thirty Years War (1618-48). Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague.
Pennington 1482.
[Ref: 40478] £190.00 (£228.00 incl.VAT)
Wenceslaus Hollar fecit 1652.
Corn. Galle excudit.
Etching, laid on Album sheet; sheet 225 x 160mm (9 x 6¼"). Trimmed inside platemark;
Philip IV (1605-1665), King of Spain and Portugal, wearing embroidered jacket on which hangs the Order of the Golden Fleece. He is remembered for his patronage of artists such as Velazquez, and for ruling Spain during the challenging period of the Thirty Years War (1618-48). Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England. Hollar's technical skill has ensured that his prints have always been keenly collected, and comprehensive collections of his work are at institutions in London, Berlin and Prague.
Pennington 1482.
[Ref: 40478] £190.00 (£228.00 incl.VAT)
Iohanna Seymour Regina Henri ci VIII Regis Angliae Uxor 3rd
Hholbein pinxit. W. Hollar fecit aqua forti, ex Collectione Arundeliana 1648, but later.
Etching. Sheet: 130 x 110mm (5 x 4¼"). Trimmed and laid on album sheet.
A half length portrait of Jane Seymour, third wife of Henry VIII after a portrait by Hans Holbein.
Pennington 1427.
[Ref: 43709] £160.00 (£192.00 incl.VAT)
Hholbein pinxit. W. Hollar fecit aqua forti, ex Collectione Arundeliana 1648, but later.
Etching. Sheet: 130 x 110mm (5 x 4¼"). Trimmed and laid on album sheet.
A half length portrait of Jane Seymour, third wife of Henry VIII after a portrait by Hans Holbein.
Pennington 1427.
[Ref: 43709] £160.00 (£192.00 incl.VAT)
![[John Spottiswoode]](jpegs/42228.jpg)
[John Spottiswoode] Joannes Spotiswoode Archiepiscopus St Andreanus, Totius Scotiae Primas et Metropolitanus [...]
W: Hollar fecit.
Etching, sheet 280 x 180mm (11 x 7"). Tipped into album sheet.
John Spottiswoode (1565-1639), archbishop of St Andrews and historian. Made Lord Chancellor of Scotland by Charles I in 1634, Spottiswoode was subsequently forced to seek exile in England after attempting to implement controversial liturgical alterations in Scotland (these led to the Bishops' Wars of 1639-45). Frontispiece to the 1668 edition of Spottiswoode's 'The History of the Church of Scotland', completed shortly before his death but not published until 1655, during the Cromwellian interregnum. Largely focused on the reign of James I, who commissioned the work, the 'History' was unquestionably an apologia for the royalist and episcopal cause in Scotland. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England, and whose patron was Thomas Howard, earl of Arundel, who as one of Charles I's most trusted advisors led the king's forces against Scotland in 1639.
Pennington 1505 ii/iii;
[Ref: 42228] £230.00 (£276.00 incl.VAT)
W: Hollar fecit.
Etching, sheet 280 x 180mm (11 x 7"). Tipped into album sheet.
John Spottiswoode (1565-1639), archbishop of St Andrews and historian. Made Lord Chancellor of Scotland by Charles I in 1634, Spottiswoode was subsequently forced to seek exile in England after attempting to implement controversial liturgical alterations in Scotland (these led to the Bishops' Wars of 1639-45). Frontispiece to the 1668 edition of Spottiswoode's 'The History of the Church of Scotland', completed shortly before his death but not published until 1655, during the Cromwellian interregnum. Largely focused on the reign of James I, who commissioned the work, the 'History' was unquestionably an apologia for the royalist and episcopal cause in Scotland. Etching by Wenceslaus Hollar (1607-77), Bohemian printmaker who spent most of his career working in England, and whose patron was Thomas Howard, earl of Arundel, who as one of Charles I's most trusted advisors led the king's forces against Scotland in 1639.
Pennington 1505 ii/iii;
[Ref: 42228] £230.00 (£276.00 incl.VAT)
![[St Paul's Cathedral] Navis Ecclesiæ Cathedralis S. Pauli London: Prospectus interior.](jpegs/66794.jpg)
[St Paul's Cathedral] Navis Ecclesiæ Cathedralis S. Pauli London: Prospectus interior.
[etched by Wenceslaus Hollar.]
[n.d., c.1656.]
Etching, 17th century watermark. 305 x 220mm (12 x 8¾"). Trimmed into plate at bottom, creased
The nave of the Norman St Paul's Cathedral.
Pennington: 1024a, state ii of iv.
[Ref: 66794] £140.00 (£168.00 incl.VAT)
[etched by Wenceslaus Hollar.]
[n.d., c.1656.]
Etching, 17th century watermark. 305 x 220mm (12 x 8¾"). Trimmed into plate at bottom, creased
The nave of the Norman St Paul's Cathedral.
Pennington: 1024a, state ii of iv.
[Ref: 66794] £140.00 (£168.00 incl.VAT)
![[Trial of Thomas Wentworth, Earl of Strafford]](jpegs/42703.jpg)
[Trial of Thomas Wentworth, Earl of Strafford] Abbildung der Session des Parlaments zu Londen uber den Sentenz des Grafen von Stafford.
W Hollar fecit [c.1641].
Etching. 260 x 280mm (6¼ x 11"). Slight creasing.
The trial of Thomas Wentworth, Earl of Strafford (1593-1641), lord lieutenant of Ireland. In the deteriorating political climate leading up to the English Civil War, Strafford was recalled to London by Charles I (whose great supporter he was) in 1640, but was accused of high treason and imprisoned in the Tower of London shortly after. Strafford was tried in March 1641 (the detailed trial scene here labels the prominent figures present) and demonstrated his great skill as an orator by refuting most of the charges against him (mostly relating to his conduct in Ireland). When these failed, the Commons passed a bill of attainder (an act of legislation declaring Strafford guilty and punishable by death). Charles I, who had previously sworn to protect Strafford, both appeared in person to ask for him not to be condemned to death, and sent soldiers to the Tower in an unsuccessful attempt to free him. Eventually Charles assented to the bill of attainder and Strafford was beheaded at Tower Hill (he was spared the traditional punishment for treason, of being hung, drawn and quartered). The death of Strafford, rather than resolving the tension between parliament and the monarchy, merely aggravated it, as the king could not forgive those who had forced him to abandon one of his most trusted aides. Etching by Wenceslaus Hollar (1607-77). Born in Bohemia, Hollar spent around 32 of his 52 years as a professional artist working in England. An outstanding draughtsman and topographical etcher, Hollar's enormously varied work has done much to inform the way that seventeenth century London is visualised.
Pennington 551; state iii of iii.
[Ref: 42703] £240.00 (£288.00 incl.VAT)
W Hollar fecit [c.1641].
Etching. 260 x 280mm (6¼ x 11"). Slight creasing.
The trial of Thomas Wentworth, Earl of Strafford (1593-1641), lord lieutenant of Ireland. In the deteriorating political climate leading up to the English Civil War, Strafford was recalled to London by Charles I (whose great supporter he was) in 1640, but was accused of high treason and imprisoned in the Tower of London shortly after. Strafford was tried in March 1641 (the detailed trial scene here labels the prominent figures present) and demonstrated his great skill as an orator by refuting most of the charges against him (mostly relating to his conduct in Ireland). When these failed, the Commons passed a bill of attainder (an act of legislation declaring Strafford guilty and punishable by death). Charles I, who had previously sworn to protect Strafford, both appeared in person to ask for him not to be condemned to death, and sent soldiers to the Tower in an unsuccessful attempt to free him. Eventually Charles assented to the bill of attainder and Strafford was beheaded at Tower Hill (he was spared the traditional punishment for treason, of being hung, drawn and quartered). The death of Strafford, rather than resolving the tension between parliament and the monarchy, merely aggravated it, as the king could not forgive those who had forced him to abandon one of his most trusted aides. Etching by Wenceslaus Hollar (1607-77). Born in Bohemia, Hollar spent around 32 of his 52 years as a professional artist working in England. An outstanding draughtsman and topographical etcher, Hollar's enormously varied work has done much to inform the way that seventeenth century London is visualised.
Pennington 551; state iii of iii.
[Ref: 42703] £240.00 (£288.00 incl.VAT)
![[Trial of Thomas Wentworth, Earl of Strafford]](jpegs/42237.jpg)
[Trial of Thomas Wentworth, Earl of Strafford] [Abbildung der Session des Parlaments zu Londen uber den Sentenz des Grafen von Stafford.]
W Hollar fecit [c.1641]
Etching, sheet 240 x 270mm (9½ x 10½"). Trimmed, losing title above image; tipped into album sheet.
The trial of Thomas Wentworth, Earl of Strafford (1593-1641), lord lieutenant of Ireland. In the deteriorating political climate leading up to the English Civil War, Strafford was recalled to London by Charles I (whose great supporter he was) in 1640, but was accused of high treason and imprisoned in the Tower of London shortly after. Strafford was tried in March 1641 (the detailed trial scene here labels the prominent figures present) and demonstrated his great skill as an orator by refuting most of the charges against him (mostly relating to his conduct in Ireland). When these failed, the Commons passed a bill of attainder (an act of legislation declaring Strafford guilty and punishable by death). Charles I, who had previously sworn to protect Strafford, both appeared in person to ask for him not to be condemned to death, and sent soldiers to the Tower in an unsuccessful attempt to free him. Eventually Charles assented to the bill of attainder and Strafford was beheaded at Tower Hill (he was spared the traditional punishment for treason, of being hung, drawn and quartered). The death of Strafford, rather than resolving the tension between parliament and the monarchy, merely aggravated it, as the king could not forgive those who had forced him to abandon one of his most trusted aides. Etching by Wenceslaus Hollar (1607-77). Born in Bohemia, Hollar spent around 32 of his 52 years as a professional artist working in England. An outstanding draughtsman and topographical etcher, Hollar's enormously varied work has done much to inform the way that seventeenth century London is visualised.
Pennington 551; for uncut impression offered with the Execution of Strafford see ref. 41634.
[Ref: 42237] £220.00 (£264.00 incl.VAT)
W Hollar fecit [c.1641]
Etching, sheet 240 x 270mm (9½ x 10½"). Trimmed, losing title above image; tipped into album sheet.
The trial of Thomas Wentworth, Earl of Strafford (1593-1641), lord lieutenant of Ireland. In the deteriorating political climate leading up to the English Civil War, Strafford was recalled to London by Charles I (whose great supporter he was) in 1640, but was accused of high treason and imprisoned in the Tower of London shortly after. Strafford was tried in March 1641 (the detailed trial scene here labels the prominent figures present) and demonstrated his great skill as an orator by refuting most of the charges against him (mostly relating to his conduct in Ireland). When these failed, the Commons passed a bill of attainder (an act of legislation declaring Strafford guilty and punishable by death). Charles I, who had previously sworn to protect Strafford, both appeared in person to ask for him not to be condemned to death, and sent soldiers to the Tower in an unsuccessful attempt to free him. Eventually Charles assented to the bill of attainder and Strafford was beheaded at Tower Hill (he was spared the traditional punishment for treason, of being hung, drawn and quartered). The death of Strafford, rather than resolving the tension between parliament and the monarchy, merely aggravated it, as the king could not forgive those who had forced him to abandon one of his most trusted aides. Etching by Wenceslaus Hollar (1607-77). Born in Bohemia, Hollar spent around 32 of his 52 years as a professional artist working in England. An outstanding draughtsman and topographical etcher, Hollar's enormously varied work has done much to inform the way that seventeenth century London is visualised.
Pennington 551; for uncut impression offered with the Execution of Strafford see ref. 41634.
[Ref: 42237] £220.00 (£264.00 incl.VAT)
The Prospect of Tamworth from Colshill Roade on the North thereof.
[Wenceslaus Hollar.]
[n.d., c.1730.]
Etching. Sheet 65 x 185mm (2½ x 7¼"), with letterpress on reverse. Trimmed to image, laid on album paper.
A view of the town behind trees, with the church and castle. From Dugdale's 'Antiquities of Warwickshire', first published 1656. Pennington lists two editions with letterpress on verso, 1730 & 1765.
Pennington 1065.
[Ref: 60813] £160.00 (£192.00 incl.VAT)
[Wenceslaus Hollar.]
[n.d., c.1730.]
Etching. Sheet 65 x 185mm (2½ x 7¼"), with letterpress on reverse. Trimmed to image, laid on album paper.
A view of the town behind trees, with the church and castle. From Dugdale's 'Antiquities of Warwickshire', first published 1656. Pennington lists two editions with letterpress on verso, 1730 & 1765.
Pennington 1065.
[Ref: 60813] £160.00 (£192.00 incl.VAT)
Divers Prospects in and about Tangier. Prospect of y.e North side of Tangier regarding the mayne Sea from the hill as you come from Whitby or the West, toward the Towne.
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, mounted in album paper.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42281] £260.00 (£312.00 incl.VAT)
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, mounted in album paper.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42281] £260.00 (£312.00 incl.VAT)
Divers Prospects in and about Tangier. Prospect of y.e North side of Tangier regarding the mayne Sea from the hill as you come from Whitby or the West, toward the Towne.
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, corners damaged, laid on album sheet.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42672] £120.00 (£144.00 incl.VAT)
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, corners damaged, laid on album sheet.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42672] £120.00 (£144.00 incl.VAT)
Divers Prospects in and about Tangier Exactly delineated by W: Hollar his May.ties designer, A.o 1669, and by him afterwards to satisfie the curious, etchd in Copper. Prospect of ye North side of Tangier regarding the mayne Sea from the hill as you come from Whitby or the West, toward the Towne.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, 17th century watermark, sheet 130 x 215mm (5 x 8½"). Trimmed to image on three sides, small hole in text at bottom.
The title plate to a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1187, state i of ii
[Ref: 55520] £380.00
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, 17th century watermark, sheet 130 x 215mm (5 x 8½"). Trimmed to image on three sides, small hole in text at bottom.
The title plate to a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1187, state i of ii
[Ref: 55520] £380.00
Divers Prospects in and about Tangier Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 135 x 220mm (5¼ x 8½"). Very slight repaired damage on left. Trimmed.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii
[Ref: 68290] £260.00 (£312.00 incl.VAT)
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 135 x 220mm (5¼ x 8½"). Very slight repaired damage on left. Trimmed.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii
[Ref: 68290] £260.00 (£312.00 incl.VAT)
Prospect of ye Bowling green at Whitehall, by Tangier.
W Hollar delin 1669.
[Published by John Overton, 1673]
Etching, sheet 125 x 215mm (5 x 8½"). Glued to backing sheet.
Bowls being played on a bowling green in British-administered Tangier. One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1198 ii/ii
[Ref: 42209] £190.00 (£228.00 incl.VAT)
W Hollar delin 1669.
[Published by John Overton, 1673]
Etching, sheet 125 x 215mm (5 x 8½"). Glued to backing sheet.
Bowls being played on a bowling green in British-administered Tangier. One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1198 ii/ii
[Ref: 42209] £190.00 (£228.00 incl.VAT)