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
Tableau de Paris. Galerie des Negociauts. No. 10. Apparition nocturne.
Hautecoeur Martinet. Lith de Feillet.
[n.d. c.1830.]
Hand-coloured lithograph. 272 x 280mm. 10¾ x 11".
A man sat up in bed startled by his apparition of bleeding dogs at the end of the bed.
[Ref: 21571] £130.00 (£156.00 incl.VAT)
Hautecoeur Martinet. Lith de Feillet.
[n.d. c.1830.]
Hand-coloured lithograph. 272 x 280mm. 10¾ x 11".
A man sat up in bed startled by his apparition of bleeding dogs at the end of the bed.
[Ref: 21571] £130.00 (£156.00 incl.VAT)
Leonhart Artbaur war geboren zu Dalmesing Anno 1650. Alles mit Gott, und nichts ohn Ihn.
[n.d. c.1780.]
Very fine engraving. Plate 255 x 180mm. 10 x 7".
An oval portrait within an eleborate border containing an owl, four monkeys with human-like bodies blowing bubbles and a view of a small village.
[Ref: 15550] £95.00 (£114.00 incl.VAT)
[n.d. c.1780.]
Very fine engraving. Plate 255 x 180mm. 10 x 7".
An oval portrait within an eleborate border containing an owl, four monkeys with human-like bodies blowing bubbles and a view of a small village.
[Ref: 15550] £95.00 (£114.00 incl.VAT)
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)
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)
Alfred Crowquill's Sketches From Jullien's Bal Masque. I've Hardly The Face To Ask You: But Are You Angel Enough. To Smile When Nobody Asks You To Dance.
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7816] £230.00 (£276.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7816] £230.00 (£276.00 incl.VAT)
Alfred Crowquill's Sketches From Jullien's Bal Masque. You Shall Dance One More __ Pon My Word You Must Excuse Me Ive. No Key And Promised To Be Home Early.
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 378 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7815] £260.00 (£312.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 378 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7815] £260.00 (£312.00 incl.VAT)
Alfred Crowquill's Sketches From Jullien's Bal Masque. The Early Bird. What Tired Already? Shut Its Dear Little Mouth, For I Am Engaged By Twenty More Partners!
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 381 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7814] £260.00 (£312.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 381 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7814] £260.00 (£312.00 incl.VAT)
Alfred Crowquill's Sketches From Jullien's Bal Masque. That's About The Step I Think Maria? Yes Love, Now Isn't He A Duck!
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7813] £230.00 (£276.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7813] £230.00 (£276.00 incl.VAT)
Alfred Crowquill's Sketches From Jullien's Bal Masque. What Not One Kiss. Why We Both Belong To The Sea.
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 384 x 281mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7812] £230.00 (£276.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 384 x 281mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7812] £230.00 (£276.00 incl.VAT)
![[The Battle of Bears and Frogs]. Turmæ ranarum periunt non vulnere multo Artus si vivet, quæque salire solet.](jpegs/54044.jpg)
[The Battle of Bears and Frogs]. Turmæ ranarum periunt non vulnere multo Artus si vivet, quæque salire solet.
Eckstiene pinx [John Eckstein]. Reynolds sculp.
London Pub.d April 1.st 1801.
Rare mezzotint. 430 x 550mm (17 x 21¾"), large margins. Collector's blind stamp of a bee, in lower margin. Repaired tears, central fold, month engraved in a ferrent style to the rest of the inscription.
An army of bears storm a hill defended by frogs with cannon, bayoneting and shooting some as others hop into a pond to escape. A rough translation of the Latin title is 'The host of frogs perish and their limbs, used to jumping, twitch on'. The BM has two examples, one matching this state, and another with a different title ('Im Belles Ferro Ceciderunt Igne Robusti') and joke signatures, from the Lennox-Boyd collection, as this example. The collector's stamp, a blind-stamped Napoleonic Bee, is that of William J. Latta of Philadelphia, a collector of Napolionic prints, who began his collection c.1880, sold it Anderson Galleries, New York, in four sales 1913-4. Lugt (L.2825) says of the collection that it ''was reputed to be the most beautiful of its kind in the world. The portraits were remarkable for the beauty of the prints and the rarity of the states; the series of caricatures was particularly comprehensive''.
BM 1872,0511.896 & 2010,7081.5049. Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 54044] £320.00
Eckstiene pinx [John Eckstein]. Reynolds sculp.
London Pub.d April 1.st 1801.
Rare mezzotint. 430 x 550mm (17 x 21¾"), large margins. Collector's blind stamp of a bee, in lower margin. Repaired tears, central fold, month engraved in a ferrent style to the rest of the inscription.
An army of bears storm a hill defended by frogs with cannon, bayoneting and shooting some as others hop into a pond to escape. A rough translation of the Latin title is 'The host of frogs perish and their limbs, used to jumping, twitch on'. The BM has two examples, one matching this state, and another with a different title ('Im Belles Ferro Ceciderunt Igne Robusti') and joke signatures, from the Lennox-Boyd collection, as this example. The collector's stamp, a blind-stamped Napoleonic Bee, is that of William J. Latta of Philadelphia, a collector of Napolionic prints, who began his collection c.1880, sold it Anderson Galleries, New York, in four sales 1913-4. Lugt (L.2825) says of the collection that it ''was reputed to be the most beautiful of its kind in the world. The portraits were remarkable for the beauty of the prints and the rarity of the states; the series of caricatures was particularly comprehensive''.
BM 1872,0511.896 & 2010,7081.5049. Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 54044] £320.00
Bellerophon. I am Bellerophon the bold / Who slew Chimæra in her lair; [...]
John Masefield. Judith Masefield.
[n.d., c.1950.]
Broadside, linocut roundel with letterpress verse. Sheet 450 x 215mm (17¾ x 8½"). Crease through image, surface soiling.
A stark black and white image of the Greek hero Bellerophon riding the winged horse Pegasus, illustrating a poem by John Masefield (1878-1967), Poet Laureate 1930-67. The illustration was drawn (and probably cut) by his daughter Judith (1904-88).
[Ref: 52837] £180.00 (£216.00 incl.VAT)
John Masefield. Judith Masefield.
[n.d., c.1950.]
Broadside, linocut roundel with letterpress verse. Sheet 450 x 215mm (17¾ x 8½"). Crease through image, surface soiling.
A stark black and white image of the Greek hero Bellerophon riding the winged horse Pegasus, illustrating a poem by John Masefield (1878-1967), Poet Laureate 1930-67. The illustration was drawn (and probably cut) by his daughter Judith (1904-88).
[Ref: 52837] £180.00 (£216.00 incl.VAT)
Bunbury's Whims. Round. Triangle. Square.
Engraved from an original Drawing by the late Henry Bunbury, in the possession of the Publisher.
[London, n.d., c.1820s.]
Hand-coloured etching. Sheet: 260 x 190mm (10¼ x 7½"). Trimmed.
Satire showing three highly stylised geometric figures composed of circles, triangles and squares/rectangles respectively. From an early edition of 'Whims and oddities: in prose and verse' by humourist and poet Thomas Hood (1799-1845). Lettered with a couplet by Hood beneath each caption.
[Ref: 41589] £140.00 (£168.00 incl.VAT)
Engraved from an original Drawing by the late Henry Bunbury, in the possession of the Publisher.
[London, n.d., c.1820s.]
Hand-coloured etching. Sheet: 260 x 190mm (10¼ x 7½"). Trimmed.
Satire showing three highly stylised geometric figures composed of circles, triangles and squares/rectangles respectively. From an early edition of 'Whims and oddities: in prose and verse' by humourist and poet Thomas Hood (1799-1845). Lettered with a couplet by Hood beneath each caption.
[Ref: 41589] £140.00 (£168.00 incl.VAT)
![[Bunbury's Whims.] Round. Triangle. Square.](jpegs/63736.jpg)
[Bunbury's Whims.] Round. Triangle. Square.
Engraved from an original Drawing by the late Henry Bunbury, in the possession of the Publisher.
[London, n.d., c.1820.]
Hand-coloured etching. Sheet 170 x 260mm (6¾ x 7½"). Trimmed, losing sub-title.
Caricature showing three highly stylised geometric figures composed of circles, triangles and squares/rectangles respectively. From an early edition of 'Whims and oddities: in prose and verse' by humourist and poet Thomas Hood (1799-1845). Each figure has a couplet by Hood beneath a caption.
[Ref: 63736] £120.00 (£144.00 incl.VAT)
Engraved from an original Drawing by the late Henry Bunbury, in the possession of the Publisher.
[London, n.d., c.1820.]
Hand-coloured etching. Sheet 170 x 260mm (6¾ x 7½"). Trimmed, losing sub-title.
Caricature showing three highly stylised geometric figures composed of circles, triangles and squares/rectangles respectively. From an early edition of 'Whims and oddities: in prose and verse' by humourist and poet Thomas Hood (1799-1845). Each figure has a couplet by Hood beneath a caption.
[Ref: 63736] £120.00 (£144.00 incl.VAT)
![[Child Christ defeating the demon.]](jpegs/33781.jpg)
[Child Christ defeating the demon.] Per mortem destrucit eum qui babebat mortis imperium, id est, diabolum. Hebr. 2.
D. Hallé pinxit. G.E. delinck Sculp.
a Paris chez P. Drevet rue St jâque à l'Annonciation.
Engraving. Sheet 435 x 530mm (17¼ x 20¾"). Trimmed within platemark, horizontal centre fold. Occasional foxing.
Christ stabbing the dragon-devil with the heel of his crozier, his right hand raised in the sign of the benediction. Around them are the heads and wings of the cherubim. The print was engraved by Gérard Edelinck after Daniel Hallé and published by Pierre Drevet. Pencil mss. on the reverse notes this as a frontispiece to the Bible's Epistles to the Hebrews: the quote comes from Hebrews 2 and means 'through death he might destroy him that had the power of death, that is, the devil'.
BM: X,6.4. Robert Dumesnil VII 186-16 Undescribed State.
[Ref: 33781] £240.00 (£288.00 incl.VAT)
D. Hallé pinxit. G.E. delinck Sculp.
a Paris chez P. Drevet rue St jâque à l'Annonciation.
Engraving. Sheet 435 x 530mm (17¼ x 20¾"). Trimmed within platemark, horizontal centre fold. Occasional foxing.
Christ stabbing the dragon-devil with the heel of his crozier, his right hand raised in the sign of the benediction. Around them are the heads and wings of the cherubim. The print was engraved by Gérard Edelinck after Daniel Hallé and published by Pierre Drevet. Pencil mss. on the reverse notes this as a frontispiece to the Bible's Epistles to the Hebrews: the quote comes from Hebrews 2 and means 'through death he might destroy him that had the power of death, that is, the devil'.
BM: X,6.4. Robert Dumesnil VII 186-16 Undescribed State.
[Ref: 33781] £240.00 (£288.00 incl.VAT)
![[Cinderella]. Cinderilla, or The Little Glass Slipper. When she had done her work [...]](jpegs/62364.jpg)
[Cinderella]. Cinderilla, or The Little Glass Slipper. When she had done her work [...] [&] Cinderilla, or The Little Glass Slipper. Cinderilla laughted to herself whn she saw her Slipper [...]
Drawn & Engraved by Henry Richter.
[Published Feb.y 1799 by J & H Richter 26 Newman Street Oxford Street.]
Pair of coloured stipples, fine colour. Sheets 260 x 275mm (10¼ x 10¾"). Trimmed to images on three sides, into plate at bottom, losing publications lines; slight scuffing of print area on second plate.
Two scenes of the fairytale 'Cinderella', as told by Charles Perrault in his 'Cendrillon ou la petite pantoufle de verre' (the version used by Disney): in the first she kneels at a fireplace, her sisters looking down on her with contempt; in the second the prince's herald fits the slipper on her foot as the sisters glower.
[Ref: 62364] £250.00 (£300.00 incl.VAT) view all images for this item
Drawn & Engraved by Henry Richter.
[Published Feb.y 1799 by J & H Richter 26 Newman Street Oxford Street.]
Pair of coloured stipples, fine colour. Sheets 260 x 275mm (10¼ x 10¾"). Trimmed to images on three sides, into plate at bottom, losing publications lines; slight scuffing of print area on second plate.
Two scenes of the fairytale 'Cinderella', as told by Charles Perrault in his 'Cendrillon ou la petite pantoufle de verre' (the version used by Disney): in the first she kneels at a fireplace, her sisters looking down on her with contempt; in the second the prince's herald fits the slipper on her foot as the sisters glower.
[Ref: 62364] £250.00 (£300.00 incl.VAT) view all images for this item
![[The death of the beautiful Gabrielle d'Estrées]](jpegs/46500.jpg)
[The death of the beautiful Gabrielle d'Estrées] Mort de la belle Gabrielle destrés [in ms lower margin]
Ch. Eisen inv. et fec. 1765 J.F. Rousseau Sculp.
a Paris chez Basan [c.1760]
Engraving, platemark 230 x 150mm (9 x 6").
Engraving after Charles Eisen (1720-78), painter, draughtsman and illustrator, believed to be an allegorical representation of the death of Gabrielle d'Estrées (1573-99), mistress of Henry IV of France. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, La Fontaine and Erasmus.
[Ref: 46500] £190.00 (£228.00 incl.VAT)
Ch. Eisen inv. et fec. 1765 J.F. Rousseau Sculp.
a Paris chez Basan [c.1760]
Engraving, platemark 230 x 150mm (9 x 6").
Engraving after Charles Eisen (1720-78), painter, draughtsman and illustrator, believed to be an allegorical representation of the death of Gabrielle d'Estrées (1573-99), mistress of Henry IV of France. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, La Fontaine and Erasmus.
[Ref: 46500] £190.00 (£228.00 incl.VAT)
The Good Man at the Hour of Death. Let me die the death of the Righteous and let my last end be like his. Numb. Ch. XXIII. ver. 10.
[after Francis Hayman.]
Printed for & Sold by Bowles & Carver, at their Map & Print Warehouse, N.º 69 in S.t Pauls Church Yard, London. [n.d. c.1730]
Mezzotint with superb hand colour, watermark 1811. 350 x 250mm (13¾ x 9¾"). Tear entering plate on right and others in margin taped.
The 'Good Man' lies in bed surrounded by books. He is approached by Old Father Time, who holds out an hourglass that has nearly finished its cycle. After a lost painting entitled 'The Death of a Christian', made in the mid-1740s for Jonathan Tyers (1702-67, proprietor of Vauxhall Gardens), at Denbies, near Dorking, Surrey. In contrast to the frivolity of Vauxhall, the Gothic garden at Denbies was named 'The Valley of the Shadow of Death'.
[Ref: 65254] £590.00
[after Francis Hayman.]
Printed for & Sold by Bowles & Carver, at their Map & Print Warehouse, N.º 69 in S.t Pauls Church Yard, London. [n.d. c.1730]
Mezzotint with superb hand colour, watermark 1811. 350 x 250mm (13¾ x 9¾"). Tear entering plate on right and others in margin taped.
The 'Good Man' lies in bed surrounded by books. He is approached by Old Father Time, who holds out an hourglass that has nearly finished its cycle. After a lost painting entitled 'The Death of a Christian', made in the mid-1740s for Jonathan Tyers (1702-67, proprietor of Vauxhall Gardens), at Denbies, near Dorking, Surrey. In contrast to the frivolity of Vauxhall, the Gothic garden at Denbies was named 'The Valley of the Shadow of Death'.
[Ref: 65254] £590.00
St. Dunstan and the Devil. St Dunstan (as the Story goes) / Once pull'd the Devil by the Nose. / With red hot Tongs which made him roar, / That he was heard three Miles and more.
[Anon., c1740]
Engraving, sheet 165 x 120mm (6½ x 4¾"). Trimmed and glued to album sheet; small view of St Dunstans after Paul Sandby verso.
St Dunstan (d.988), archbishop of Canterbury, holding the devil with his tongs, as claimed by an 11th century legend.
[Ref: 37645] £130.00 (£156.00 incl.VAT)
[Anon., c1740]
Engraving, sheet 165 x 120mm (6½ x 4¾"). Trimmed and glued to album sheet; small view of St Dunstans after Paul Sandby verso.
St Dunstan (d.988), archbishop of Canterbury, holding the devil with his tongs, as claimed by an 11th century legend.
[Ref: 37645] £130.00 (£156.00 incl.VAT)
![[The Harrowing of Hell.]](jpegs/41706.jpg)
[The Harrowing of Hell.]
[Anon. after Albrecht Dürer, c.1650.]
Etching, platemark 125 x 100mm (5 x 4"). Top right corner missing, damaged. Thread margins.
Copy of Albrecht Dürer's (1471-1528) woodcut 'The Harrowing of Hell' from his small woodcut passion series of 1510-11. Dürer's series told the story of Man's Salvation from the Fall to the Last Judgement, in 37 images. It was published in a book with a text by a Nuremberg Benedictine monk, evolving a new kind of book in which the pictures were the main element.
[Ref: 41706] £320.00
[Anon. after Albrecht Dürer, c.1650.]
Etching, platemark 125 x 100mm (5 x 4"). Top right corner missing, damaged. Thread margins.
Copy of Albrecht Dürer's (1471-1528) woodcut 'The Harrowing of Hell' from his small woodcut passion series of 1510-11. Dürer's series told the story of Man's Salvation from the Fall to the Last Judgement, in 37 images. It was published in a book with a text by a Nuremberg Benedictine monk, evolving a new kind of book in which the pictures were the main element.
[Ref: 41706] £320.00
The Extinguisher.
Geo. Dance Esq.r R.A., del.t. W. Daniell sculp.t. 1806.
London, Published by W. Daniell R.A. 14 Russell Place, Fitzroy Square, May 1, 1826.
Aquatint. Plate: 330 x 240mm (9 x 9½"). Trimmed within plate on left and right margins.
A scene showing an old miser sitting at a desk while a demonic figure lowers a candle snuffer over him.
[Ref: 47619] £230.00 (£276.00 incl.VAT)
Geo. Dance Esq.r R.A., del.t. W. Daniell sculp.t. 1806.
London, Published by W. Daniell R.A. 14 Russell Place, Fitzroy Square, May 1, 1826.
Aquatint. Plate: 330 x 240mm (9 x 9½"). Trimmed within plate on left and right margins.
A scene showing an old miser sitting at a desk while a demonic figure lowers a candle snuffer over him.
[Ref: 47619] £230.00 (£276.00 incl.VAT)
A Save All and Extinguisher.
Geo. Dance Esq.r R.A., del.t. W. Daniell sculp.t. 1806.
London, Published as the Act directs, Aug.t 1st. 1831, by S. Knights, Sweetings Alley Cornhill & King Str.t Holborn.
Aquatint with hand-colour. Plate: 320 x 260mm (12½ x 10¼''), Trimmed within plate.
A scene showing an old miser sitting at a desk while a demonic figure lowers a candle snuffer over him.
A later edition of ref: 47619.
[Ref: 50093] £230.00 (£276.00 incl.VAT)
Geo. Dance Esq.r R.A., del.t. W. Daniell sculp.t. 1806.
London, Published as the Act directs, Aug.t 1st. 1831, by S. Knights, Sweetings Alley Cornhill & King Str.t Holborn.
Aquatint with hand-colour. Plate: 320 x 260mm (12½ x 10¼''), Trimmed within plate.
A scene showing an old miser sitting at a desk while a demonic figure lowers a candle snuffer over him.
A later edition of ref: 47619.
[Ref: 50093] £230.00 (£276.00 incl.VAT)
![[Illustration to L'Anneao d'hans Carvel by La Fontaine]](jpegs/46488.jpg)
[Illustration to L'Anneao d'hans Carvel by La Fontaine]
[After Charles Eisen, c.1761]
Engraving, sheet 200 x 130mm (8 x 5"). Trimmed to platemark.
Illustration to the 'Fermiers généraux' edition of the 'Contes' (tales) of Jean de la Fontaine, after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus.
[Ref: 46488] £70.00 (£84.00 incl.VAT)
[After Charles Eisen, c.1761]
Engraving, sheet 200 x 130mm (8 x 5"). Trimmed to platemark.
Illustration to the 'Fermiers généraux' edition of the 'Contes' (tales) of Jean de la Fontaine, after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus.
[Ref: 46488] £70.00 (£84.00 incl.VAT)
![[Henry Fox, Lord Holland] The ever-memorable Peace-Makers settling their Accounts.](jpegs/43858.jpg)
[Henry Fox, Lord Holland] The ever-memorable Peace-Makers settling their Accounts. N.º XXXVI.
[n.d., but 1769.]
Engraving. 115 x 175mm (4½ x 7"), with large margins.
The Duke of Bedford, Earl of Bute and Lord Holland (Henry Fox) sitting around a table, with the devil behind Holland, holding an axe. Holland writes in a book inscribed 'unac.d Millions'. A satire on Holland's alleged diversion of public money to private purposes: shortly before this print was published a petition submitted to the king by the Freeholders of Middlesex described him as 'a notorious defaulter of unaccounted millions', Published in 'The Town and Country Magazine', 5 July 1769.
BM Satires 4300.
[Ref: 43858] £95.00 (£114.00 incl.VAT)
[n.d., but 1769.]
Engraving. 115 x 175mm (4½ x 7"), with large margins.
The Duke of Bedford, Earl of Bute and Lord Holland (Henry Fox) sitting around a table, with the devil behind Holland, holding an axe. Holland writes in a book inscribed 'unac.d Millions'. A satire on Holland's alleged diversion of public money to private purposes: shortly before this print was published a petition submitted to the king by the Freeholders of Middlesex described him as 'a notorious defaulter of unaccounted millions', Published in 'The Town and Country Magazine', 5 July 1769.
BM Satires 4300.
[Ref: 43858] £95.00 (£114.00 incl.VAT)
![[Stephen Fox] Robb'd between Sun and Sun. Old Law](jpegs/45462.jpg)
[Stephen Fox] Robb'd between Sun and Sun. Old Law Tria Juncta in Uno
Publish'd according to Act of Parliament January 18 1773 by J. Almon in Piccadilly. Price one Shilling.
Engraving, sheet 265 x 370mm (10½ x 14½"). Nicks to edges; creasing. Trimmed.
Lord Holland seated between his sons Stephen and Charles. He focuses his attention on the sleeping Stephen (elsewhere caricatured as the 'Sleepy Macaroni' [see refs. 41513 and 14220]), not noticing Charles picking his pocket. Beside Charles are emblems of gambling (a dice box and dice) while a devil, chained to his ankle, crouches under a table: Lord Holland paid Charles' extensive gambling debts at this time.
Cp. BM Satires 5223 [smaller version of same image, published 1774]
[Ref: 45462] £220.00 (£264.00 incl.VAT)
Publish'd according to Act of Parliament January 18 1773 by J. Almon in Piccadilly. Price one Shilling.
Engraving, sheet 265 x 370mm (10½ x 14½"). Nicks to edges; creasing. Trimmed.
Lord Holland seated between his sons Stephen and Charles. He focuses his attention on the sleeping Stephen (elsewhere caricatured as the 'Sleepy Macaroni' [see refs. 41513 and 14220]), not noticing Charles picking his pocket. Beside Charles are emblems of gambling (a dice box and dice) while a devil, chained to his ankle, crouches under a table: Lord Holland paid Charles' extensive gambling debts at this time.
Cp. BM Satires 5223 [smaller version of same image, published 1774]
[Ref: 45462] £220.00 (£264.00 incl.VAT)
![[France finds consolation in the arms of peace]](jpegs/45433.jpg)
[France finds consolation in the arms of peace] La France consolee entre les bras de la paix. Dedié au Roi.
F. Chauveau in. J. Boulanger fecit.
P. Bertrand ex. cum privil. Regis [c.1651]
Engraving, platemark 415 x 545mm (16¼ x 21½") large margins. Fold through centre as issued. Slight foxing.
Allegorical scene predicting that Louis XIV will end divisions in France. France (represented by Louis) embraces peace; a winged warrior above whom is inscribed 'souhait des bons francois' ('wishes of good frenchmen') pursues the cowering figures of Fury, Envy and Discord. Engraved by Jean Boulanger (1608-c.1680) after François Chauveau (1613-76).
IFF 111
[Ref: 45433] £320.00
F. Chauveau in. J. Boulanger fecit.
P. Bertrand ex. cum privil. Regis [c.1651]
Engraving, platemark 415 x 545mm (16¼ x 21½") large margins. Fold through centre as issued. Slight foxing.
Allegorical scene predicting that Louis XIV will end divisions in France. France (represented by Louis) embraces peace; a winged warrior above whom is inscribed 'souhait des bons francois' ('wishes of good frenchmen') pursues the cowering figures of Fury, Envy and Discord. Engraved by Jean Boulanger (1608-c.1680) after François Chauveau (1613-76).
IFF 111
[Ref: 45433] £320.00
![[Watercolour of a little person.]](jpegs/43109.jpg)
[Watercolour of a little person.]
[Anon., c.1820]
Watercolour, sheet 195 x 130mm (7¾ x 5").
[Ref: 43109] £140.00 (£168.00 incl.VAT)
[Anon., c.1820]
Watercolour, sheet 195 x 130mm (7¾ x 5").
[Ref: 43109] £140.00 (£168.00 incl.VAT)
Saint Georges.
D'apres le Tableau de Raphaël qui est dans le Cabinet de M.r Crozai peint sur bois, de la grandeur de l'Estampe gravée par Nicolas de Larmessin.
[n.d., c.1740.]
Engraving. Plate: 310 x 220mm (12 x 8¾'') very large margins. Paper tone.
St. George defeating a dragon, after Raphael's painting.
[Ref: 48788] £140.00 (£168.00 incl.VAT)
D'apres le Tableau de Raphaël qui est dans le Cabinet de M.r Crozai peint sur bois, de la grandeur de l'Estampe gravée par Nicolas de Larmessin.
[n.d., c.1740.]
Engraving. Plate: 310 x 220mm (12 x 8¾'') very large margins. Paper tone.
St. George defeating a dragon, after Raphael's painting.
[Ref: 48788] £140.00 (£168.00 incl.VAT)
The Ghost.
Designed & Published by G. Rowe [n.d., c.1839]
Rare lithograph, printed area250 x 295mm (9¾ x 11½"). Repaired tear to margins.
Four bankers sit at a table making an inventory of the complex assets of the 'ghost' of the title, who, to make things more complicated, hovers above the company, gleefully distributing codicils. One of these is in the includes the text 'Corporation of Gloucester' and 'Jam. Wood'. The artist and lithograph George Rowe (1796-1864) lived in Cheltenham and depicted sights and people of local interest. The 'ghost' in question here is probably James Wood (1756-1836), who ran Gloucester Old Bank, one of the earliest private banks in England. After Wood's death it was absorbed by the County of Gloucestershire Banking Company. Rowe also made a print of Gloucester Old Bank.
For Rowe's print of Gloucester Old Bank see ref. 17546.
[Ref: 42003] £140.00 (£168.00 incl.VAT)
Designed & Published by G. Rowe [n.d., c.1839]
Rare lithograph, printed area250 x 295mm (9¾ x 11½"). Repaired tear to margins.
Four bankers sit at a table making an inventory of the complex assets of the 'ghost' of the title, who, to make things more complicated, hovers above the company, gleefully distributing codicils. One of these is in the includes the text 'Corporation of Gloucester' and 'Jam. Wood'. The artist and lithograph George Rowe (1796-1864) lived in Cheltenham and depicted sights and people of local interest. The 'ghost' in question here is probably James Wood (1756-1836), who ran Gloucester Old Bank, one of the earliest private banks in England. After Wood's death it was absorbed by the County of Gloucestershire Banking Company. Rowe also made a print of Gloucester Old Bank.
For Rowe's print of Gloucester Old Bank see ref. 17546.
[Ref: 42003] £140.00 (£168.00 incl.VAT)
Gullivers Travels in Lilliput in Brobdingnag.
[Anon, c.1830]
Fine hand coloured wood engraving, scarce, sheet 205 x 255mm (8 x 10"). Trimmed around image and title; laid on album sheet.
Popular print with fourteen vignettes of scenes from the first two books of Swift's novel 'Gulliver's Travels'. An interesting record of how the novel was represented visually in the 19th century.
[Ref: 32279] £220.00 (£264.00 incl.VAT)
[Anon, c.1830]
Fine hand coloured wood engraving, scarce, sheet 205 x 255mm (8 x 10"). Trimmed around image and title; laid on album sheet.
Popular print with fourteen vignettes of scenes from the first two books of Swift's novel 'Gulliver's Travels'. An interesting record of how the novel was represented visually in the 19th century.
[Ref: 32279] £220.00 (£264.00 incl.VAT)
The Hammersmith Ghost. 4
Pub.d by R.S. Kirby, London Houe Yard & I. Scott, 447 Strand, Feb. 1 1804.
Engraving, sheet 220 x 140mm (8½ x 5½"). Trimmed to plate at bottom.
In 1803 the 'Hammersmith Ghost', apparently the spirit of a man who had committed suicide by cutting his own throat, was terrorising the area and one of his victims, a woman taking a shortcut through a graveyard, died of shock. In the ensuing furore a dust-covered bricklayer was shot dead by a customs officer (who was sentenced to death but was reprieved), before the real 'ghost' was captured. It was a man trying to frighten people in retaliation for someone having scared his children by telling them ghost stories.
[Ref: 67925] £140.00 (£168.00 incl.VAT)
Pub.d by R.S. Kirby, London Houe Yard & I. Scott, 447 Strand, Feb. 1 1804.
Engraving, sheet 220 x 140mm (8½ x 5½"). Trimmed to plate at bottom.
In 1803 the 'Hammersmith Ghost', apparently the spirit of a man who had committed suicide by cutting his own throat, was terrorising the area and one of his victims, a woman taking a shortcut through a graveyard, died of shock. In the ensuing furore a dust-covered bricklayer was shot dead by a customs officer (who was sentenced to death but was reprieved), before the real 'ghost' was captured. It was a man trying to frighten people in retaliation for someone having scared his children by telling them ghost stories.
[Ref: 67925] £140.00 (£168.00 incl.VAT)
The Hammersmith Ghost.
[Henry Heath?]
Published Jan.y 8. 1825. by S.W. Fores. Piccadily.
Fine hand-coloured etching, sheet 230 x 345mm mm (9 x 13½"). Trimmed within plate.
A moonlit night scene shows men and women fleeing in terror from a ghostly figure on stilts, draped in a sheet with glaring eyes, a long beard, and clawed hands. Among the terrified crowd are a horseman and a watchman carrying a lantern and rattle. In 1803 the 'Hammersmith Ghost', apparently the spirit of a man who had committed suicide by cutting his own throat, was terrorising the area and one of his victims, a woman taking a shortcut through a graveyard, died of shock. In the ensuing furore a dust-covered bricklayer was shot dead by a customs officer (who was sentenced to death but was reprieved), before the real 'ghost' was captured. It was a man trying to frighten people in retaliation for someone having scared his children by telling them ghost stories.
BM Satires 14889.
[Ref: 67307] £260.00 (£312.00 incl.VAT)
[Henry Heath?]
Published Jan.y 8. 1825. by S.W. Fores. Piccadily.
Fine hand-coloured etching, sheet 230 x 345mm mm (9 x 13½"). Trimmed within plate.
A moonlit night scene shows men and women fleeing in terror from a ghostly figure on stilts, draped in a sheet with glaring eyes, a long beard, and clawed hands. Among the terrified crowd are a horseman and a watchman carrying a lantern and rattle. In 1803 the 'Hammersmith Ghost', apparently the spirit of a man who had committed suicide by cutting his own throat, was terrorising the area and one of his victims, a woman taking a shortcut through a graveyard, died of shock. In the ensuing furore a dust-covered bricklayer was shot dead by a customs officer (who was sentenced to death but was reprieved), before the real 'ghost' was captured. It was a man trying to frighten people in retaliation for someone having scared his children by telling them ghost stories.
BM Satires 14889.
[Ref: 67307] £260.00 (£312.00 incl.VAT)
![[Hannibal] Vision misteriosa di Annibale, avanti il suo famoso passagio sull Apli. per scenndere nell'Italia.](jpegs/60241.jpg)
[Hannibal] Vision misteriosa di Annibale, avanti il suo famoso passagio sull Apli. per scenndere nell'Italia. Rollin 1st. Rom. T.V.
Pinelli inve inc. in Roma 1818.
Etching. 320 x 430mm (12½ x 17"). Tear in top margin.
In Hannibal's vision he sees a giant serpent as a winged Mercury leading him to Italy. Mercury tells Hannibal that in the same way the serpent lays waste to mountians, Hannibal will lay waste to Italy. Bartolomeo Pinelli (1781-1835) is best known for his images of contemporary Romans, many of which were incorporated into Luigi Rossini's Views of Rome. He has taken inspiration from 'Storia Antica E Romana Di Carlo Rollin'.
[Ref: 60241] £180.00 (£216.00 incl.VAT)
Pinelli inve inc. in Roma 1818.
Etching. 320 x 430mm (12½ x 17"). Tear in top margin.
In Hannibal's vision he sees a giant serpent as a winged Mercury leading him to Italy. Mercury tells Hannibal that in the same way the serpent lays waste to mountians, Hannibal will lay waste to Italy. Bartolomeo Pinelli (1781-1835) is best known for his images of contemporary Romans, many of which were incorporated into Luigi Rossini's Views of Rome. He has taken inspiration from 'Storia Antica E Romana Di Carlo Rollin'.
[Ref: 60241] £180.00 (£216.00 incl.VAT)
See valiant Captain Snout appears, the drum beats up for volunteers, you that are weary of your wives, and willing to live merry lives, who from the Tally man woud run, and clutches of the bailiff shun, lift under him without delay, and enter into present pay.
[Drawn by Egbert van Heemskerck.]
[n.d,. engraved c.1730, but printed c.1800.]
Engraving. 290 x 250mm, 11½ x 9¾". Paper brittle, some chipping, creased.
A satire about army recuiters, with the characters with animal heads, with Captain Snout an elephant and his troop cats. Painted by Egbert van Heemskerck II (c.1674 - 1744.)
[Ref: 19728] £180.00 (£216.00 incl.VAT)
[Drawn by Egbert van Heemskerck.]
[n.d,. engraved c.1730, but printed c.1800.]
Engraving. 290 x 250mm, 11½ x 9¾". Paper brittle, some chipping, creased.
A satire about army recuiters, with the characters with animal heads, with Captain Snout an elephant and his troop cats. Painted by Egbert van Heemskerck II (c.1674 - 1744.)
[Ref: 19728] £180.00 (£216.00 incl.VAT)
Hercules So bald der Hercules [...]
J.E. Nilson inv et del. / B.S. Setletsky sc. [lower right of image]
Joh. George Hertel, excud. A.V. 1
Etching, sheet 340 x 215mm (13½ x 8½"). Trimmed inside platemark.
The twelfth and most difficult of Hercules' Labours: he was instructed by Eurystheus to go to the Underworld and kidnap Cerberus, the beast guarding the entrance to Hades. With rococo border and verses in German and Latin below. From a set of decorative prints etched from designs by Johann Esaias Nilson (1721-88), 'the German Watteau'. Nilson was part of a family of artists and established himself as the leading Augsburg artist of his day, whose influence extended across publishing, art academies, a role as court painter, and the decorative arts (especially ceramics).
[Ref: 33163] £160.00 (£192.00 incl.VAT)
J.E. Nilson inv et del. / B.S. Setletsky sc. [lower right of image]
Joh. George Hertel, excud. A.V. 1
Etching, sheet 340 x 215mm (13½ x 8½"). Trimmed inside platemark.
The twelfth and most difficult of Hercules' Labours: he was instructed by Eurystheus to go to the Underworld and kidnap Cerberus, the beast guarding the entrance to Hades. With rococo border and verses in German and Latin below. From a set of decorative prints etched from designs by Johann Esaias Nilson (1721-88), 'the German Watteau'. Nilson was part of a family of artists and established himself as the leading Augsburg artist of his day, whose influence extended across publishing, art academies, a role as court painter, and the decorative arts (especially ceramics).
[Ref: 33163] £160.00 (£192.00 incl.VAT)
![[Plate from Romeyn de Hooghe, 'Hieroglyphica']](jpegs/40858.jpg)
[Plate from Romeyn de Hooghe, 'Hieroglyphica']
[first edition 1735]
Etching, sheet 175 x 135mm (7 x 5¼"). Trimmed; glued to backing sheet with slight stains.
Etching by Romeyn de Hooghe (1645-1708), Dutch artist working in various media, best known for his political caricatures of Louis XIV and his prints glorifying William III. Taken from de Hooghe's 'Hieroglyphica', first published posthumously in Amsterdam in 1735. De Hooghe both etched the plates and wrote the text of this iconographical treatise incorporating the iconography of various myths, cultures and religions from around the world. In the book, de Hooghe gives detailed accounts of the various elements in the image identified by letters.
[Ref: 40858] £230.00 (£276.00 incl.VAT)
[first edition 1735]
Etching, sheet 175 x 135mm (7 x 5¼"). Trimmed; glued to backing sheet with slight stains.
Etching by Romeyn de Hooghe (1645-1708), Dutch artist working in various media, best known for his political caricatures of Louis XIV and his prints glorifying William III. Taken from de Hooghe's 'Hieroglyphica', first published posthumously in Amsterdam in 1735. De Hooghe both etched the plates and wrote the text of this iconographical treatise incorporating the iconography of various myths, cultures and religions from around the world. In the book, de Hooghe gives detailed accounts of the various elements in the image identified by letters.
[Ref: 40858] £230.00 (£276.00 incl.VAT)
![[The Death of Hippolytus.]](jpegs/49982.jpg)
[The Death of Hippolytus.] [To His Grace the Duke of Bedford, this print of Hippolitus, Engraved from a capital cabinet picture, by / P. P. Rubens now in his Graces collection (late in the possession of Mr. Bryan.) is with permission dedicated by his Graces much obliged & most obedient servant. B. B. Evans.]
P.P. Rubens pinx. R. Earlom Aqua.t.
Publish'd March 10th 1796 by B.B. Evans.
Stipple, scarce unfinished proof before mezzotint. Sheet 460 x 620mm )18 x 24½"). Edges worn, tear in sky taped.
A sea monster, a bull with fins and a fish tail, causes Hippolytus to be thrown from his chariot and be dragged to his death. A scene from Ovid's retelling of the Greek myth, eventually published May 7th. 1797.
Ex collection of the Hon Christopher Lennox Boyd.
[Ref: 49982] £260.00 (£312.00 incl.VAT)
P.P. Rubens pinx. R. Earlom Aqua.t.
Publish'd March 10th 1796 by B.B. Evans.
Stipple, scarce unfinished proof before mezzotint. Sheet 460 x 620mm )18 x 24½"). Edges worn, tear in sky taped.
A sea monster, a bull with fins and a fish tail, causes Hippolytus to be thrown from his chariot and be dragged to his death. A scene from Ovid's retelling of the Greek myth, eventually published May 7th. 1797.
Ex collection of the Hon Christopher Lennox Boyd.
[Ref: 49982] £260.00 (£312.00 incl.VAT)
Admiral Hosier's Ghost. To the Tune of Come and listen to my Ditty. As, near Potro Bello lying / On the gently swelling Flood,/ At Midnight with Streamers flying/ Our triumphant Navy rode [...]
C. Mosley sculp [1740]
Scarce etching and engraving, sheet 395 x 270mm (15½ x 10½"). Trimmed around image and text; repaired tears and creases. Laid on album sheet.
The ghosts of Francis Hosier (1673-1727) and his crew appear to a ship carrying Edward Vernon (1684-1757) and his men, at Portobelo in Panama. Hosier led an unsuccessful unsuccessful expedition to the Spanish Caribbean (1723-27) and was in the course of a blockade of Portobelo when a virulent fever broke out and killed Hosier and 4000 men. Vernon succeeded where Hosier had failed, taking Portobelo in 1739, but, in line with the omens of this print, Vernon's initial success turned into eventual failure by the time of his return to England in 1742. This print was occasioned by the poem printed below, by Richard Glover, 'a blatantly political piece which sought to misrepresent Hosier's fate to support then current attacks on the Walpole government, ascribing his death to his resentment at the inactivity forced on him by government orders and his inability to prevent the devastation of his fleet by disease' (DNB).
BM Satires 2422
[Ref: 39672] £420.00
C. Mosley sculp [1740]
Scarce etching and engraving, sheet 395 x 270mm (15½ x 10½"). Trimmed around image and text; repaired tears and creases. Laid on album sheet.
The ghosts of Francis Hosier (1673-1727) and his crew appear to a ship carrying Edward Vernon (1684-1757) and his men, at Portobelo in Panama. Hosier led an unsuccessful unsuccessful expedition to the Spanish Caribbean (1723-27) and was in the course of a blockade of Portobelo when a virulent fever broke out and killed Hosier and 4000 men. Vernon succeeded where Hosier had failed, taking Portobelo in 1739, but, in line with the omens of this print, Vernon's initial success turned into eventual failure by the time of his return to England in 1742. This print was occasioned by the poem printed below, by Richard Glover, 'a blatantly political piece which sought to misrepresent Hosier's fate to support then current attacks on the Walpole government, ascribing his death to his resentment at the inactivity forced on him by government orders and his inability to prevent the devastation of his fleet by disease' (DNB).
BM Satires 2422
[Ref: 39672] £420.00
![[Jerusalem Delivered] A Moon Light Scene of a Forest where Ismen the Magician is sacrificing to Demons and invoking them to rise.](jpegs/9494.jpg)
[Jerusalem Delivered] A Moon Light Scene of a Forest where Ismen the Magician is sacrificing to Demons and invoking them to rise. [&] The Magicians marching off after the success of their Incantations. [&] A Turkish Mosque lighted after the Mahometan Manner where Aladine the Emperor is seated on a Throne Surrounded by his Divan. [&] The Forest as Enchanted, where Alcast General of Swiss is stopp'd by a firy Castle, defended by Daemons. [&] The Christian Army under the Command of Godfrey of Bulloigne encamped before the Walls of Jerusalem. [&] A Morning Scene of the Forest with Rinaldo, on the Bank of the Enchanted River.
[Various engravers, including Edward Rooker and Paul Sandby after John Collins.]
[Published by Elizabeth Jane Collins, n.d., c.1763.]
Complete set of six etchings, each c.460 x 540mm (18 x 21¼"), stitched. With two end papers in disbound contemporary marbled boards, large folio, 575 x 480mm. (22½ x 19"). Boards scuffed and rubbed, with chips and tears to extremities. Some spotting to plates, some cut very close to or along lower platemark.
A fine set of prints based on John Collins' stage sets for a performance of Torquato Tasso's 'Jerusalem Delivered' at the Royal Theatre in the Tuileries in Paris in 1754. Tasso's epic poem, first published 1581, tells the story of the First Crusade mixed with heroic myth featuring magic and monsters, based on the styles of Homer and Virgil. John Collins (c.1725-58/9) was a London-born set designer who had studied in Italy. This series was published by his widow.
[Ref: 9494] £1,800.00 view all images for this item
[Various engravers, including Edward Rooker and Paul Sandby after John Collins.]
[Published by Elizabeth Jane Collins, n.d., c.1763.]
Complete set of six etchings, each c.460 x 540mm (18 x 21¼"), stitched. With two end papers in disbound contemporary marbled boards, large folio, 575 x 480mm. (22½ x 19"). Boards scuffed and rubbed, with chips and tears to extremities. Some spotting to plates, some cut very close to or along lower platemark.
A fine set of prints based on John Collins' stage sets for a performance of Torquato Tasso's 'Jerusalem Delivered' at the Royal Theatre in the Tuileries in Paris in 1754. Tasso's epic poem, first published 1581, tells the story of the First Crusade mixed with heroic myth featuring magic and monsters, based on the styles of Homer and Virgil. John Collins (c.1725-58/9) was a London-born set designer who had studied in Italy. This series was published by his widow.
[Ref: 9494] £1,800.00 view all images for this item
![[Jerusalem Delivered] A Moon Light Scene of a Forest where Ismen the Magician is sacrificing to Demons and invoking them to rise.](jpegs/53228.jpg)
[Jerusalem Delivered] A Moon Light Scene of a Forest where Ismen the Magician is sacrificing to Demons and invoking them to rise. Plate 1st. Page 393. To the right honourable Lord Visc.t Charlemont this plate is inscribed by his Lordship's most obliged humble Servant. Eliz.th Jane Collins.
J. Collins Pinx.t from Tasso's Jerusalem deliver'd. J. Wood Sculp.t.
[Published by Elizabeth Jane Collins, first published c.1763 but later.]
Etching. Sheet 460 x 540mm (18 x 21¼"). Trimmed to plate, a few nicks, small stains, dedication weakly inked on left. Slight staining.
The Muslim sorcerer Ismen casts a spell to protect the forest with enchantments to stop the Crusaders cutting wood for engines for the siege of Jerusalem. It is the first of a set of six prints based on John Collins' stage sets for a performance of Torquato Tasso's 'Jerusalem Delivered' at the Royal Theatre in the Tuileries in Paris in 1754. Tasso's epic poem, first published 1581, tells the story of the First Crusade mixed with heroic myth featuring magic and monsters, based on the styles of Homer and Virgil. John Collins (c.1725-58/9) was a London-born set designer who had studied in Italy. This series was published by his widow.
See Ref: 9494 for complete set.
[Ref: 53228] £280.00
J. Collins Pinx.t from Tasso's Jerusalem deliver'd. J. Wood Sculp.t.
[Published by Elizabeth Jane Collins, first published c.1763 but later.]
Etching. Sheet 460 x 540mm (18 x 21¼"). Trimmed to plate, a few nicks, small stains, dedication weakly inked on left. Slight staining.
The Muslim sorcerer Ismen casts a spell to protect the forest with enchantments to stop the Crusaders cutting wood for engines for the siege of Jerusalem. It is the first of a set of six prints based on John Collins' stage sets for a performance of Torquato Tasso's 'Jerusalem Delivered' at the Royal Theatre in the Tuileries in Paris in 1754. Tasso's epic poem, first published 1581, tells the story of the First Crusade mixed with heroic myth featuring magic and monsters, based on the styles of Homer and Virgil. John Collins (c.1725-58/9) was a London-born set designer who had studied in Italy. This series was published by his widow.
See Ref: 9494 for complete set.
[Ref: 53228] £280.00
![[Jerusalem Delivered] The Forest as Enchanted, where Alcast General of Swiss is stopp'd by a firy Castle, defended by Daemons.](jpegs/53229.jpg)
[Jerusalem Delivered] The Forest as Enchanted, where Alcast General of Swiss is stopp'd by a firy Castle, defended by Daemons. Plate 4. Page 400. To the most Noble Peregrine Bertie, Duke of Ancaster & Kesteven, Lord Lord great Chamberlain of England &c, &c., This Plate is most humbly Inscrib'd by his Grace's most Devoted and Obedient Serv.t Eliz.th Jane Collins.
J. Collins Pinx.t from Tasso's Jerusalem deliver'd. P. Sandby & E. Rooker sculp.
[Published by Elizabeth Jane Collins, c.1763.]
Etching. Sheet 460 x 545mm (18 x 21¾"). Trimmed to plate, a few nicks, small stains, dedication weakly inked on left.
A knight walks through a forest during the siege of Jerusalem and is confronted by a castle surrounded by fire-breathing demons and dragons. From a set of six prints based on John Collins' stage sets for a performance of Torquato Tasso's 'Jerusalem Delivered' at the Royal Theatre in the Tuileries in Paris in 1754. Tasso's epic poem, first published 1581, tells the story of the First Crusade mixed with heroic myth featuring magic and monsters, based on the styles of Homer and Virgil. John Collins (c.1725-58/9) was a London-born set designer who had studied in Italy. This series was published by his widow.
See Ref: 9494 for complete set.
[Ref: 53229] £380.00
J. Collins Pinx.t from Tasso's Jerusalem deliver'd. P. Sandby & E. Rooker sculp.
[Published by Elizabeth Jane Collins, c.1763.]
Etching. Sheet 460 x 545mm (18 x 21¾"). Trimmed to plate, a few nicks, small stains, dedication weakly inked on left.
A knight walks through a forest during the siege of Jerusalem and is confronted by a castle surrounded by fire-breathing demons and dragons. From a set of six prints based on John Collins' stage sets for a performance of Torquato Tasso's 'Jerusalem Delivered' at the Royal Theatre in the Tuileries in Paris in 1754. Tasso's epic poem, first published 1581, tells the story of the First Crusade mixed with heroic myth featuring magic and monsters, based on the styles of Homer and Virgil. John Collins (c.1725-58/9) was a London-born set designer who had studied in Italy. This series was published by his widow.
See Ref: 9494 for complete set.
[Ref: 53229] £380.00
What a Bore!!
E. Hull del.t. Printed by C. Hullmandel.
London Pub.d by Rowe & Waller 49 Fleet Street. _ 1826.
Very scarce coloured lithograph. Printed area 175 x 230mm (7 x 9"), 1826 Edmonds watermarked, with wide margins. A few marks, old ink mss. in margin "W Thomas 1826".
A bizarre jousting scene: a contest between an armoured knight mounted on a bear with fangs and an unarmoured rider on an elephant-headed horse! The armoured knight uses a spike on his helmet to pierce his opponent through his horse's chest.
[Ref: 33096] £180.00 (£216.00 incl.VAT)
E. Hull del.t. Printed by C. Hullmandel.
London Pub.d by Rowe & Waller 49 Fleet Street. _ 1826.
Very scarce coloured lithograph. Printed area 175 x 230mm (7 x 9"), 1826 Edmonds watermarked, with wide margins. A few marks, old ink mss. in margin "W Thomas 1826".
A bizarre jousting scene: a contest between an armoured knight mounted on a bear with fangs and an unarmoured rider on an elephant-headed horse! The armoured knight uses a spike on his helmet to pierce his opponent through his horse's chest.
[Ref: 33096] £180.00 (£216.00 incl.VAT)
![[Legends of Lough Ouel by the Late John L'Estrange] Geoffry the Diver.](jpegs/33981.jpg)
[Legends of Lough Ouel by the Late John L'Estrange] Geoffry the Diver.
J. Leech.
[London: Douglas Jerrold, 1845.]
Etching with hand-colouring, sheet 285 x 195mm (11¼ x 7¾"). Slight paper tone and offsetting.
A naked man retrieves a brass cup from a castle submerged in a lake, narrowly avoiding a water monster. A bizarre illustration which accompanied one of the 'Legends of Lough Ouel by the Late John L'Estrange' in Vol II of 'The Illuminated Magazine'. The artist, prolific Victorian book-illustrator John Leech (1817-64)m is best-known for his work with Dickens.
The full story is available on Google Books.
[Ref: 33981] £90.00 (£108.00 incl.VAT)
J. Leech.
[London: Douglas Jerrold, 1845.]
Etching with hand-colouring, sheet 285 x 195mm (11¼ x 7¾"). Slight paper tone and offsetting.
A naked man retrieves a brass cup from a castle submerged in a lake, narrowly avoiding a water monster. A bizarre illustration which accompanied one of the 'Legends of Lough Ouel by the Late John L'Estrange' in Vol II of 'The Illuminated Magazine'. The artist, prolific Victorian book-illustrator John Leech (1817-64)m is best-known for his work with Dickens.
The full story is available on Google Books.
[Ref: 33981] £90.00 (£108.00 incl.VAT)
![[Legends of Lough Ouel by the Late John L'Estrange] Tom Houlaghan's Guardian Sprite.](jpegs/62676.jpg)
[Legends of Lough Ouel by the Late John L'Estrange] Tom Houlaghan's Guardian Sprite.
[Monogram of John Leech.]
[London: Douglas Jerrold, 1845.]
Etching with hand-colouring. Sheet 270 x 185mm (10½ x 7¼"). Mounted in original album paper.
A old, blind Irishman sits under a tree, peacock feather in his hand, surrounded by green sprites with wings and antennae.A bizarre illustration which accompanied one of the 'Legends of Lough Ouel by the Late John L'Estrange' in Vol II of 'The Illuminated Magazine'. The artist, prolific Victorian book-illustrator John Leech (1817-64)m is best-known for his work with Dickens.
The full story is available on Google Books.
[Ref: 62676] £130.00 (£156.00 incl.VAT)
[Monogram of John Leech.]
[London: Douglas Jerrold, 1845.]
Etching with hand-colouring. Sheet 270 x 185mm (10½ x 7¼"). Mounted in original album paper.
A old, blind Irishman sits under a tree, peacock feather in his hand, surrounded by green sprites with wings and antennae.A bizarre illustration which accompanied one of the 'Legends of Lough Ouel by the Late John L'Estrange' in Vol II of 'The Illuminated Magazine'. The artist, prolific Victorian book-illustrator John Leech (1817-64)m is best-known for his work with Dickens.
The full story is available on Google Books.
[Ref: 62676] £130.00 (£156.00 incl.VAT)
![[Legends of Lough Ouel by the Late John L'Estrange] Geoffry the Diver.](jpegs/62675.jpg)
[Legends of Lough Ouel by the Late John L'Estrange] Geoffry the Diver.
J. Leech.
[London: Douglas Jerrold, 1845.]
Etching with hand-colouring. Sheet 270 x 180mm (10½ x 7"). Mounted in original album paper.
A naked man retrieves a brass cup from a castle submerged in a lake, narrowly avoiding a water monster. A bizarre illustration which accompanied one of the 'Legends of Lough Ouel by the Late John L'Estrange' in Vol II of 'The Illuminated Magazine'. The artist, prolific Victorian book-illustrator John Leech (1817-64), is best-known for his work with Dickens.
The full story is available on Google Books.
[Ref: 62675] £130.00 (£156.00 incl.VAT)
J. Leech.
[London: Douglas Jerrold, 1845.]
Etching with hand-colouring. Sheet 270 x 180mm (10½ x 7"). Mounted in original album paper.
A naked man retrieves a brass cup from a castle submerged in a lake, narrowly avoiding a water monster. A bizarre illustration which accompanied one of the 'Legends of Lough Ouel by the Late John L'Estrange' in Vol II of 'The Illuminated Magazine'. The artist, prolific Victorian book-illustrator John Leech (1817-64), is best-known for his work with Dickens.
The full story is available on Google Books.
[Ref: 62675] £130.00 (£156.00 incl.VAT)
Latone. Le Ciel pour punir ces Brutaux / Par qui Latone est outragée / Vut que leur forme soit changée / En celle de vils animaux [...]
Jouvenet pinx Du Bosq sculp 1714.
A Pais chez Duchange Graveur du Roy rue St Jacques
Engraving, platemark 330 x 245mm (13 x 9½"). Trimmed to platemark; rust spot near centre; good impression.
Latona, daughter of the Titans Coeus and Phoebe, gave birth to Artemis and Apollo, children of Zeus, on Delos. Fleeing the wrath of Hera, Latona passed through Lycia. When she tried to drink from a well the local peasants stirred up mud to make the water undrinkable, so Latona turned them all into frogs, as shown here. Engraving after 'Latona and the Peasants of Lycia' by Jean Jouvenet (1649-1717), one of the most important painters of religious works in France in the late 17th and early 18th century. The painting was a royal commission for the château of Fontainebleau, executed c.1700-1.
For another engraving from the same painting see ref. 38113.
[Ref: 42000] £140.00 (£168.00 incl.VAT)
Jouvenet pinx Du Bosq sculp 1714.
A Pais chez Duchange Graveur du Roy rue St Jacques
Engraving, platemark 330 x 245mm (13 x 9½"). Trimmed to platemark; rust spot near centre; good impression.
Latona, daughter of the Titans Coeus and Phoebe, gave birth to Artemis and Apollo, children of Zeus, on Delos. Fleeing the wrath of Hera, Latona passed through Lycia. When she tried to drink from a well the local peasants stirred up mud to make the water undrinkable, so Latona turned them all into frogs, as shown here. Engraving after 'Latona and the Peasants of Lycia' by Jean Jouvenet (1649-1717), one of the most important painters of religious works in France in the late 17th and early 18th century. The painting was a royal commission for the château of Fontainebleau, executed c.1700-1.
For another engraving from the same painting see ref. 38113.
[Ref: 42000] £140.00 (£168.00 incl.VAT)
Diableries. No. 4.
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 335 x 500mm (13¼ x 19¾") very large margins.
A medley of humorous scenes featuring demons. The main scene shows a rag-tag troop of cavalry riding horses cattle and a defecating donkey, a winged skull flying above. Bottom right a demon playing its horn-shaped nose is inflated by a bellows inserted into its rectum. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59431] £260.00 (£312.00 incl.VAT)
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 335 x 500mm (13¼ x 19¾") very large margins.
A medley of humorous scenes featuring demons. The main scene shows a rag-tag troop of cavalry riding horses cattle and a defecating donkey, a winged skull flying above. Bottom right a demon playing its horn-shaped nose is inflated by a bellows inserted into its rectum. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59431] £260.00 (£312.00 incl.VAT)
Diableries. No. 5.
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 305 x 395mm (12 x 15½"). Nearly cut to image, crease in right.
A medley of humorous scenes featuring demons. Top right a man with a tail distracts a woman at a fountain as a demon defecates in her water pot. Bottom left anthropomorphic frogs play cards and dance. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59435] £240.00 (£288.00 incl.VAT)
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 305 x 395mm (12 x 15½"). Nearly cut to image, crease in right.
A medley of humorous scenes featuring demons. Top right a man with a tail distracts a woman at a fountain as a demon defecates in her water pot. Bottom left anthropomorphic frogs play cards and dance. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59435] £240.00 (£288.00 incl.VAT)
Diableries. No. 7.
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 350 x 480mm (13¾ x 19"), very large margins.
A medley of five humorous scenes featuring demons. Top right a woman uses the tails of two demons clutching trees as a swing. Top right a magician uses a lathe to reduce a woman's waist. Bottom right is a boat rowed by demons, in which a woman beseeches a horned man.A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59432] £260.00 (£312.00 incl.VAT)
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 350 x 480mm (13¾ x 19"), very large margins.
A medley of five humorous scenes featuring demons. Top right a woman uses the tails of two demons clutching trees as a swing. Top right a magician uses a lathe to reduce a woman's waist. Bottom right is a boat rowed by demons, in which a woman beseeches a horned man.A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59432] £260.00 (£312.00 incl.VAT)
Diableries. No. 8.
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 305 x 395mm (12 x 15½"). Narrow margins
A medley of humorous scenes featuring demons. The central figure is Satan as a peasant, gathering women in his basket, pockets and boots. Top right a woman fishing using a small demon as bait is about to be kicked into the water by a larger demon. On the left a dandy introduces himself to a woman in the street, not noticing the tail poking out from under her skirts. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59434] £220.00 (£264.00 incl.VAT)
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 305 x 395mm (12 x 15½"). Narrow margins
A medley of humorous scenes featuring demons. The central figure is Satan as a peasant, gathering women in his basket, pockets and boots. Top right a woman fishing using a small demon as bait is about to be kicked into the water by a larger demon. On the left a dandy introduces himself to a woman in the street, not noticing the tail poking out from under her skirts. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59434] £220.00 (£264.00 incl.VAT)
Diableries. No. 11.
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 335 x 500mm (13¼ x 19¾") very large margins.
A medley of humorous scenes featuring demons. In the top corners are two demonic figures playing catch with women and cups. In the centre is a bed in which a demon hides his face from a woman. Bottom right a demon uses his enormous belly as a drum, inflated by a bellows inserted into its rectum. Four hunchbacked dwarfs are attributed to Callot. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59433] £260.00 (£312.00 incl.VAT)
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 335 x 500mm (13¼ x 19¾") very large margins.
A medley of humorous scenes featuring demons. In the top corners are two demonic figures playing catch with women and cups. In the centre is a bed in which a demon hides his face from a woman. Bottom right a demon uses his enormous belly as a drum, inflated by a bellows inserted into its rectum. Four hunchbacked dwarfs are attributed to Callot. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59433] £260.00 (£312.00 incl.VAT)
Diableries. No. 12.
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, No 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 325 x 455mm (12¾ x 18") very large margins. Repaired tear.
A debauched feast with human diners but demon chef, waiters and orchestra. Above a couple fly on a broomstick. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59430] £380.00 (£456.00 incl.VAT)
LP [monogram of Eugene Lepoittevin]. Lith: de Frey, rue de Croissant, 20.
à Paris chez Aumont rue J.J. Rousseau, No 10. London, Cha.s Tilt, 86, Fleet Street [n.d., 1832].
Scarce lithograph. Sheet 325 x 455mm (12¾ x 18") very large margins. Repaired tear.
A debauched feast with human diners but demon chef, waiters and orchestra. Above a couple fly on a broomstick. A satire from the rare 'Les Diables de Lithographies' by Eugène Lepoittevin (1806-70).
[Ref: 59430] £380.00 (£456.00 incl.VAT)
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