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
The Alchymist. He's in Belief of Chymistry, so bold,/ if his Dream last, he'll turn the Age to Gold.
Teniers pinx.t. W. Baillie sculp.t.
Early impression
Etching. 220 x 190mm (8¾ x 7½"). Thread margins.
An alchemist in his workshop, using bellows to make his fire burn hotter, etched by Captain William Baillie (1723-1810) after David Teniers the younger (1610-90). Baillie retired from the army in 1761 with the rank of Captain and thereafter devoted himself to printmaking and dealing. He specialised in imitating old-master drawings and prints, using a variety of printmaking techniques.
[Ref: 55334] £260.00 (£312.00 incl.VAT)
Teniers pinx.t. W. Baillie sculp.t.
Early impression
Etching. 220 x 190mm (8¾ x 7½"). Thread margins.
An alchemist in his workshop, using bellows to make his fire burn hotter, etched by Captain William Baillie (1723-1810) after David Teniers the younger (1610-90). Baillie retired from the army in 1761 with the rank of Captain and thereafter devoted himself to printmaking and dealing. He specialised in imitating old-master drawings and prints, using a variety of printmaking techniques.
[Ref: 55334] £260.00 (£312.00 incl.VAT)
![A la Beaute. [&] A la Volupte. ['To Beauty' and 'To Pleasure'.]](jpegs/25588.jpg)
A la Beaute. [&] A la Volupte. ['To Beauty' and 'To Pleasure'.]
Peint par J.A. Laurent. Grave par Roger. [&] Peint par J.A. Laurent. Grave pa Mecou.
Depose a la Bibliotheque N.le le 13 Pluvoise An XIIe. [&] Depose a la Bibliotheque N.le en Fructidor An XIIe. [French, 1803.]
Pair of colour-printed stipples. Sheets c.220 x 240mm (8¾ x 9½"). Trimmed to or close to plates. Second plate chipped at lower left. Some staining and light soiling to both, mostly marginal.
Two charming images of winged putti; one emerging from inside a fallen rose in a woodland, the other peacefully asleep (inebriated?) in an empty wine glass, a background of vine leaves and grapes.
[Ref: 25588] £290.00 (£348.00 incl.VAT) view all images for this item
Peint par J.A. Laurent. Grave par Roger. [&] Peint par J.A. Laurent. Grave pa Mecou.
Depose a la Bibliotheque N.le le 13 Pluvoise An XIIe. [&] Depose a la Bibliotheque N.le en Fructidor An XIIe. [French, 1803.]
Pair of colour-printed stipples. Sheets c.220 x 240mm (8¾ x 9½"). Trimmed to or close to plates. Second plate chipped at lower left. Some staining and light soiling to both, mostly marginal.
Two charming images of winged putti; one emerging from inside a fallen rose in a woodland, the other peacefully asleep (inebriated?) in an empty wine glass, a background of vine leaves and grapes.
[Ref: 25588] £290.00 (£348.00 incl.VAT) view all images for this item
Marks's New Botanical Fortune Telling Twelfth Night Characters.
[London: J. Lewis Marks, n.d., c.1840.]
Fine coloured aquatint. Sheet 165 x 220mm (5½ x 8¾"). Trimmed within plate, worming in image.
A central scene of a gypsy fortune teller reading the palm of a young girl. The cover to a set game in which players drew cards with flower or plant associations to reveal humorous or romantic fortunes during Twelfth Night celebrations.
[Ref: 70158] £160.00 (£192.00 incl.VAT)
[London: J. Lewis Marks, n.d., c.1840.]
Fine coloured aquatint. Sheet 165 x 220mm (5½ x 8¾"). Trimmed within plate, worming in image.
A central scene of a gypsy fortune teller reading the palm of a young girl. The cover to a set game in which players drew cards with flower or plant associations to reveal humorous or romantic fortunes during Twelfth Night celebrations.
[Ref: 70158] £160.00 (£192.00 incl.VAT)
Burns's Address to the Deil. illustrated by Landseer. (Sheet 1.) [&] (Sheet 2.)
[Engraved by Samuel Machin Slater, Charles Milton Gorway, Ebenezer Landells et al after Thomas Landseer] G.H. Davidson, Printer and Stereotyper, Tudor Street, Blackfriars.
London: - Published by G. Berger, Holywell Street, Strand; O. Hodgson, 10, Cloth Fair, West Smithfield; sold also at the Office of the Ladies' Penny Gazette, King Edward Street, New Bridge Street; and to be had, on order, of all Dealers of Periodicals.
Two sheets, with wood-engravings and letterpress. Sheets 275 x 380mm (10¾ x 15"). Both sheets with stains, '2' laid on album paper.
Two sheets with all 21 verses of Robert Burns' 'Addess to the Deil', illustrated with 10 fantastical wood engravings after Thomas Landseer, including a title and the Devil on horseback. The blocks were also used in book format.
See BM 1867,1214.448 for sheet 1, with references for book issues.
[Ref: 61155] £190.00 (£228.00 incl.VAT) view all images for this item
[Engraved by Samuel Machin Slater, Charles Milton Gorway, Ebenezer Landells et al after Thomas Landseer] G.H. Davidson, Printer and Stereotyper, Tudor Street, Blackfriars.
London: - Published by G. Berger, Holywell Street, Strand; O. Hodgson, 10, Cloth Fair, West Smithfield; sold also at the Office of the Ladies' Penny Gazette, King Edward Street, New Bridge Street; and to be had, on order, of all Dealers of Periodicals.
Two sheets, with wood-engravings and letterpress. Sheets 275 x 380mm (10¾ x 15"). Both sheets with stains, '2' laid on album paper.
Two sheets with all 21 verses of Robert Burns' 'Addess to the Deil', illustrated with 10 fantastical wood engravings after Thomas Landseer, including a title and the Devil on horseback. The blocks were also used in book format.
See BM 1867,1214.448 for sheet 1, with references for book issues.
[Ref: 61155] £190.00 (£228.00 incl.VAT) view all images for this item
As he passed through Cold Bath Fields, he saw / A solitary cell; / And the Devil he paused - for it have him a hint / For impoving his prisons in hell.
Design'd & Etched by Tho.s Landseer.
London, Geo. Newbold, 303 & 304, Strand. [n.d., c.1831.]
Etching. Sheet 250 x 190mm (9¾ x 7½"). Small tear, old ink mss. Hughes ? in top border, pencil frame.
The Devil peers into a dirty cell, in which an emaciated man is chained to a wall. An illustration to 'The Devil's Walk', a satirical poem by Samuel Taylor Coleridge and Robert Southey, 1799. Coldbath Fields Prison, the 'Middlesex House of Correction' and debtor's prison in Clerkenwell, famed for housing Radicals and other political prisoners. It was notorious for a strict regime of silence and its use of the treadmill.
[Ref: 70177] £60.00 (£72.00 incl.VAT)
Design'd & Etched by Tho.s Landseer.
London, Geo. Newbold, 303 & 304, Strand. [n.d., c.1831.]
Etching. Sheet 250 x 190mm (9¾ x 7½"). Small tear, old ink mss. Hughes ? in top border, pencil frame.
The Devil peers into a dirty cell, in which an emaciated man is chained to a wall. An illustration to 'The Devil's Walk', a satirical poem by Samuel Taylor Coleridge and Robert Southey, 1799. Coldbath Fields Prison, the 'Middlesex House of Correction' and debtor's prison in Clerkenwell, famed for housing Radicals and other political prisoners. It was notorious for a strict regime of silence and its use of the treadmill.
[Ref: 70177] £60.00 (£72.00 incl.VAT)
The Beach King discovering himself to Matilda. vide. Edwin and Matilda Canto 3.d. [Plate 7, Vo,l. 2.]
[after Thomas Rowlandson.]
[Nº 9. of the Poetical Magazine. Pub. Jan. 1. 1810, at R. Ackermann's Repository of Arts, 101, Strand.]
Coloured aquatint. Sheet 130 x 210mm (5¼ x 8¼"). Trimmed within plate and laid on album paper.
The giant Beach King, a sea monster type creature, leaning on a club of coral, grabs Matilda's wrist to stop her fleeing.
[Ref: 70085] £60.00 (£72.00 incl.VAT)
[after Thomas Rowlandson.]
[Nº 9. of the Poetical Magazine. Pub. Jan. 1. 1810, at R. Ackermann's Repository of Arts, 101, Strand.]
Coloured aquatint. Sheet 130 x 210mm (5¼ x 8¼"). Trimmed within plate and laid on album paper.
The giant Beach King, a sea monster type creature, leaning on a club of coral, grabs Matilda's wrist to stop her fleeing.
[Ref: 70085] £60.00 (£72.00 incl.VAT)
''Flora''.
Painted by V.W. Bromley. Engraved by T.L. Atkinson.
London. Published Jan.y 1st 1877 by Thomas M.cLean, 7, Haymarket, Copyright Registered. Entered according to Act of Congress in the year 1877, by Mess.rs Knoedler & Co in the Office of the Librarian of Congress at Washington.
Mixed method engraving on chine collé. 885 x 520mm (34¾ x 20½"), with large margins.
A young woman in a loose gown fastened with a jewelled clasp, her breasts bare and long hair tied back with a wreath of flowers, looking to left with arms outstretched, in a field full of flowers.
[Ref: 51401] £450.00
Painted by V.W. Bromley. Engraved by T.L. Atkinson.
London. Published Jan.y 1st 1877 by Thomas M.cLean, 7, Haymarket, Copyright Registered. Entered according to Act of Congress in the year 1877, by Mess.rs Knoedler & Co in the Office of the Librarian of Congress at Washington.
Mixed method engraving on chine collé. 885 x 520mm (34¾ x 20½"), with large margins.
A young woman in a loose gown fastened with a jewelled clasp, her breasts bare and long hair tied back with a wreath of flowers, looking to left with arms outstretched, in a field full of flowers.
[Ref: 51401] £450.00
![[Flora in her Chariot.]](jpegs/20247.jpg)
[Flora in her Chariot.]
[Engraved c.1730s, but later.]
Mezzotint. Proof before all letters. Plate 165 x 209mm. 6½ x 8¼".
Flora, in Roman mythology, the goddess of flowers and the season of spring. Seen here relining naked in her chariot, which is supported by a cloud; three small winged cherubs fly around, two holding a garland of roses and flowers, the third with a basket of flowers, fruit and greenery. Attributed to John Smith.
Ex Collection: Hon. Christopher Lennox-Boyd.
[Ref: 20247] £160.00 (£192.00 incl.VAT)
[Engraved c.1730s, but later.]
Mezzotint. Proof before all letters. Plate 165 x 209mm. 6½ x 8¼".
Flora, in Roman mythology, the goddess of flowers and the season of spring. Seen here relining naked in her chariot, which is supported by a cloud; three small winged cherubs fly around, two holding a garland of roses and flowers, the third with a basket of flowers, fruit and greenery. Attributed to John Smith.
Ex Collection: Hon. Christopher Lennox-Boyd.
[Ref: 20247] £160.00 (£192.00 incl.VAT)
![[Hades.] Quid non mortalia pectora cogis, Auri sacra sames. Virg. Æn III, v.56.](jpegs/8211.jpg)
[Hades.] Quid non mortalia pectora cogis, Auri sacra sames. Virg. Æn III, v.56. From the Original Picture of the same size, in the Collection of Sir Joshua Reynolds.
Teniers pinxit. Ric.d Earlom Sculpsit. John & Josiah Boydell Excudit 1786.
Published Jany. 2d 1786 by John & Josiah Boydell, Cheapside, London.
Mezzotint. 495 x 680mm. A few small tears to edges, some surface marks.
A woman passing Cerberus on the way to Hades, with malformed demons, in the tradition of Hieronymus Bosch, shying away from her sword. Painted by David Teniers the younger.
[Ref: 8211] £550.00
Teniers pinxit. Ric.d Earlom Sculpsit. John & Josiah Boydell Excudit 1786.
Published Jany. 2d 1786 by John & Josiah Boydell, Cheapside, London.
Mezzotint. 495 x 680mm. A few small tears to edges, some surface marks.
A woman passing Cerberus on the way to Hades, with malformed demons, in the tradition of Hieronymus Bosch, shying away from her sword. Painted by David Teniers the younger.
[Ref: 8211] £550.00
![[Emma Hamilton] Titania, Puck, the Changeling, &c. (From Shakespear's Play of "Midsummer Night's Dream").](jpegs/50251.jpg)
[Emma Hamilton] Titania, Puck, the Changeling, &c. (From Shakespear's Play of "Midsummer Night's Dream"). Engraved by Edward Scriven, Historical Engraver to the Prince of Wales from an unfinished Picture by George Romney, Esq. in the Posession of Sir John Fleming Leicesyer, Bar.t. Who by appropriating a Gallery exclusively to English Pictures has evinced a patriotic love for the Fine Arts of his Country, & to whom this plate is most respectfully inscribed.
Class 1. Painting for ''the Fine Arts of the English School''.
London: Published December 1, 1810 by Longman & Co. Paternoster Row: J Taylor, High Holborn & W. Bond 87 Newman St.
Stipple. Sheet: 270 x 320mm (10¾ x 12½''). Crease in top left corner. Trimmed to platemark.
Portrait of Emma Hamilton as Titania after Romney, lying at right, leaning on her elbows and resting her hands on her chin, looking to front with a smile, Puck tying a ribbon around the ankle of baby lying at left, fairies in the sky behind. Lady Emma Hamilton (c.1765-1815), was the famous wife of Sir William Hamilton, and mistress of Nelson. A changeling, also historically referred to as an auf or oaf, is a mythical substitute left in a human infant's cradle after a supernatural creature, such as a fairy, elf, or troll, abducted the real child. The left-behind creature often looked like a sickly baby or sometimes an old, dying fairy wanting a comfortable retirement. A major source of tension between the fairy king Oberon and queen Titania is a silent, unnamed human child known as the "changeling boy". Oberon claims the boy was stolen from an Indian king. Titania claims she is raising him out of love because his mortal mother (her votaress) died during childbirth. Oberon wants the boy to be his knight or attendant, driven largely by jealousy over the time and affection Titania lavishes on the child. This conflict leads Oberon to cast a love-in-idleness spell on Titania, setting off the play's central magical chaos.
Horne: 56. II. Ex Collection: Earl of Bute.
[Ref: 50251] £130.00 (£156.00 incl.VAT)
Class 1. Painting for ''the Fine Arts of the English School''.
London: Published December 1, 1810 by Longman & Co. Paternoster Row: J Taylor, High Holborn & W. Bond 87 Newman St.
Stipple. Sheet: 270 x 320mm (10¾ x 12½''). Crease in top left corner. Trimmed to platemark.
Portrait of Emma Hamilton as Titania after Romney, lying at right, leaning on her elbows and resting her hands on her chin, looking to front with a smile, Puck tying a ribbon around the ankle of baby lying at left, fairies in the sky behind. Lady Emma Hamilton (c.1765-1815), was the famous wife of Sir William Hamilton, and mistress of Nelson. A changeling, also historically referred to as an auf or oaf, is a mythical substitute left in a human infant's cradle after a supernatural creature, such as a fairy, elf, or troll, abducted the real child. The left-behind creature often looked like a sickly baby or sometimes an old, dying fairy wanting a comfortable retirement. A major source of tension between the fairy king Oberon and queen Titania is a silent, unnamed human child known as the "changeling boy". Oberon claims the boy was stolen from an Indian king. Titania claims she is raising him out of love because his mortal mother (her votaress) died during childbirth. Oberon wants the boy to be his knight or attendant, driven largely by jealousy over the time and affection Titania lavishes on the child. This conflict leads Oberon to cast a love-in-idleness spell on Titania, setting off the play's central magical chaos.
Horne: 56. II. Ex Collection: Earl of Bute.
[Ref: 50251] £130.00 (£156.00 incl.VAT)
The Infant Hercules.
Painted by Sir Joshua Reynolds K.t. Engraved by William Ward Jnr.
London, Published March 1st 1819 by W.Cribb, 13 Tavistock Street, Covent Garden.
Mezzotint. 480 x 380mm. Slight surface soiling.
After Reynolds' painting 'The Infant Hercules Strangling the Serpents', 1786, now in the Hermitage Museum, St Petersburg. The engraver is William James Ward (1800-40), son of William Ward, nephew of James Ward and nephew by marriage of George Morland.
[Ref: 4857] £650.00
Painted by Sir Joshua Reynolds K.t. Engraved by William Ward Jnr.
London, Published March 1st 1819 by W.Cribb, 13 Tavistock Street, Covent Garden.
Mezzotint. 480 x 380mm. Slight surface soiling.
After Reynolds' painting 'The Infant Hercules Strangling the Serpents', 1786, now in the Hermitage Museum, St Petersburg. The engraver is William James Ward (1800-40), son of William Ward, nephew of James Ward and nephew by marriage of George Morland.
[Ref: 4857] £650.00
Love Masked
Published as the Act directs Oct 10 1799 by P.W.Tomkins, No.49 New Bond Street London.
Fine stipple, printed in colours. 180 x 165mm (7 x 6½"), with large margins. Tears in margins, some soiling of edges. Uncut. Publishing line slightly faded.
An infant Cupid hides behind a huge Tragic mask. A pair to 'Cupid Unmasked'.
[Ref: 54209] £260.00 (£312.00 incl.VAT)
Published as the Act directs Oct 10 1799 by P.W.Tomkins, No.49 New Bond Street London.
Fine stipple, printed in colours. 180 x 165mm (7 x 6½"), with large margins. Tears in margins, some soiling of edges. Uncut. Publishing line slightly faded.
An infant Cupid hides behind a huge Tragic mask. A pair to 'Cupid Unmasked'.
[Ref: 54209] £260.00 (£312.00 incl.VAT)
![The Mask. [&] The Ghost.](jpegs/54223.jpg)
The Mask. [&] The Ghost.
[Mask after Joshua Reynolds, Ghost after Richard Westall.]
Dublin Publish'd by W. Allen, 32 Dame Street.
Pair of stipples. Each c. 210 x 265mm (8¼ x 10½") large margins A few repairs.
A pair of scenes of children playing games, close copies of stipples by Luigi and Niccolo Schiavonetti. 'Mask' depicts two of the daughters of George Spencer, 4th Duke of Marlborough, who owned the painting: Charlotte (1769-1802), holding a Graecian theatrical mask, and Anne (1773-1865).
See also [Ref: 17023] & [Ref: 60369] for one with colour.
[Ref: 54223] £480.00 view all images for this item
[Mask after Joshua Reynolds, Ghost after Richard Westall.]
Dublin Publish'd by W. Allen, 32 Dame Street.
Pair of stipples. Each c. 210 x 265mm (8¼ x 10½") large margins A few repairs.
A pair of scenes of children playing games, close copies of stipples by Luigi and Niccolo Schiavonetti. 'Mask' depicts two of the daughters of George Spencer, 4th Duke of Marlborough, who owned the painting: Charlotte (1769-1802), holding a Graecian theatrical mask, and Anne (1773-1865).
See also [Ref: 17023] & [Ref: 60369] for one with colour.
[Ref: 54223] £480.00 view all images for this item
A Ghost. L'Apparition.
Painted by R. Westall. Engrav'd by Schiavonetti.
London, Pub.d March 1. 1791, by T Simpson St. Paul's Church Yard.
Stipple, printed in colours. Framed, sight size 230 x 255mm (9 x 10". Unexamined out of frame.
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. As the pair, 'The Mask' after Joshua Reynolds, depicted two of the daughters of George Spencer, 4th Duke of Marlborough (who owned the painting), it is likely these are also his children.
See also [Ref: 60316], [Ref: 17023] & [Ref: 54223].
[Ref: 60369] £280.00 (£336.00 incl.VAT)
Painted by R. Westall. Engrav'd by Schiavonetti.
London, Pub.d March 1. 1791, by T Simpson St. Paul's Church Yard.
Stipple, printed in colours. Framed, sight size 230 x 255mm (9 x 10". Unexamined out of frame.
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. As the pair, 'The Mask' after Joshua Reynolds, depicted two of the daughters of George Spencer, 4th Duke of Marlborough (who owned the painting), it is likely these are also his children.
See also [Ref: 60316], [Ref: 17023] & [Ref: 54223].
[Ref: 60369] £280.00 (£336.00 incl.VAT)
A Ghost. L'Apparition. From the Original Picture in the possession of his Grace the Duke of Marlborough.
Sir Joshua Reynolds pinxit. A. Zaffonato sculp.t.
Publish'd November 30th.1792 by A. Suntach.
Rare stipple. 228 x 254mm (9 x 10").
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. This is a close copy in reverse of a plate engraved by Niccolo Schiavonetti after Richard Westall, showing the children of the Duke of Marlborough. The pair, 'The Mask', was by Reynolds.
See also [Ref: 54233] for the pair and [Ref: 60369] for one with colour.
[Ref: 17023] £320.00
Sir Joshua Reynolds pinxit. A. Zaffonato sculp.t.
Publish'd November 30th.1792 by A. Suntach.
Rare stipple. 228 x 254mm (9 x 10").
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. This is a close copy in reverse of a plate engraved by Niccolo Schiavonetti after Richard Westall, showing the children of the Duke of Marlborough. The pair, 'The Mask', was by Reynolds.
See also [Ref: 54233] for the pair and [Ref: 60369] for one with colour.
[Ref: 17023] £320.00
![[Grotesque Masks] Serie di Mascheroni Cavati dall'antico che per la prima volta escono in luce intagliati in rame opera utile a professori ed amatori delle belle arti.](jpegs/59203.jpg)
[Grotesque Masks] Serie di Mascheroni Cavati dall'antico che per la prima volta escono in luce intagliati in rame opera utile a professori ed amatori delle belle arti.
[by Aloisio Giovannoli.]
In Roma MDCCLXXXI [1781] Presso Venanzio Monaldini al Corso.
Folio, rebound in half treed calf with marbled boards, morocco title label, marbled endpapers; 33 of 38 etched plates. Scarce, but incomplete.
A fine collection of etchings of classical Roman theatrical masks etched by Aloisio Giovannoli (ca.1550-1618), and originally published c.1600 with book and plate numbers under the image, here cut from the plate. Giovannoli has copied prints designed by Cornelis Floris, engraved by Frans Huys and published by Hans Liefrinck I between 1539-1560.
See BM 1932,0217.37 for the original issue and description.
[Ref: 59203] £4,000.00 view all images for this item
[by Aloisio Giovannoli.]
In Roma MDCCLXXXI [1781] Presso Venanzio Monaldini al Corso.
Folio, rebound in half treed calf with marbled boards, morocco title label, marbled endpapers; 33 of 38 etched plates. Scarce, but incomplete.
A fine collection of etchings of classical Roman theatrical masks etched by Aloisio Giovannoli (ca.1550-1618), and originally published c.1600 with book and plate numbers under the image, here cut from the plate. Giovannoli has copied prints designed by Cornelis Floris, engraved by Frans Huys and published by Hans Liefrinck I between 1539-1560.
See BM 1932,0217.37 for the original issue and description.
[Ref: 59203] £4,000.00 view all images for this item
A Masquerade.
[n.d., c.1840.]
Coloured wood engraving. 185 x 310mm (7¼ x 12¼"). Trimmed to printed border and around title, bottom left corner chipped, hole in image above title, laid on album paper. Damaged.
A chaotic scene of clowns and acrobats, including one dressed as the Devil. To the left is the character of Paul Pry.
[Ref: 70171] £90.00 (£108.00 incl.VAT)
[n.d., c.1840.]
Coloured wood engraving. 185 x 310mm (7¼ x 12¼"). Trimmed to printed border and around title, bottom left corner chipped, hole in image above title, laid on album paper. Damaged.
A chaotic scene of clowns and acrobats, including one dressed as the Devil. To the left is the character of Paul Pry.
[Ref: 70171] £90.00 (£108.00 incl.VAT)
![Good Luck To [___].](jpegs/35552.jpg)
Good Luck To [___]. 1908.
[Robert Walker Macbeth.]
1908.
Etching printed in brown ink. Signed in pencil 'Mr. Schoder from Mr. Mrs. R.W. Macbeth', in lower right corner. Platemark: 160 x 225mm (6¼ x 8¾").
A decorative New Years greeting card from 1908 by Scottish painter, etcher and watercolourist, Robert Walker Macbeth RA (1848 - 1910).
[Ref: 35552] £130.00 (£156.00 incl.VAT)
[Robert Walker Macbeth.]
1908.
Etching printed in brown ink. Signed in pencil 'Mr. Schoder from Mr. Mrs. R.W. Macbeth', in lower right corner. Platemark: 160 x 225mm (6¼ x 8¾").
A decorative New Years greeting card from 1908 by Scottish painter, etcher and watercolourist, Robert Walker Macbeth RA (1848 - 1910).
[Ref: 35552] £130.00 (£156.00 incl.VAT)
Eurydice Hurried Back to the Infernal Regions.
Painted by H Thomson Esq.r R.A. Engraved by W. Ward A.R.A. Engraver to their R.H. the Prince Regent & the Duke of York
[Published June 16, 1815, by the Engraver, 24 Buckingham Place Fitzroy Square.]
Mezzotint. Sheet 555 x 620mm (21¾ x 24½"). Trimmed within plate, laid on card, mark top right. Repaired tear top centre.
Three spirits of the Underworld carry Eurydice away from Orpheus, who watches in horror, hands clasped, his lyre by his side. Below left is Virgil's verse; on the right is Dryden's translation.
Frankau 108. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 67817] £850.00
Painted by H Thomson Esq.r R.A. Engraved by W. Ward A.R.A. Engraver to their R.H. the Prince Regent & the Duke of York
[Published June 16, 1815, by the Engraver, 24 Buckingham Place Fitzroy Square.]
Mezzotint. Sheet 555 x 620mm (21¾ x 24½"). Trimmed within plate, laid on card, mark top right. Repaired tear top centre.
Three spirits of the Underworld carry Eurydice away from Orpheus, who watches in horror, hands clasped, his lyre by his side. Below left is Virgil's verse; on the right is Dryden's translation.
Frankau 108. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 67817] £850.00
Silenus.
Rubens pinxit. C.H. Hodges Sculpsit.
Publish'd Aug.st 1.st 1789, by John & Josiah Boydell, Cheapside, & at the Shakespeare Gallery, Pall Mall London.
Mezzotint. 485 x 610mm (19 x 24"). Trimmed to plate on right, narrow margins elsewhere, spotting and creasing.
The drunken Silenus, supported by satyrs, picks at a bunch of grapes which a tiger is also leaping towards. Bacchants surround him, making music, eating, drinking and (in one case) urinating. Rubens' painting is in the Alte Pinakothek, Munich, although the composition of the painting has been altered considerably in this print.
[Ref: 70161] £480.00
Rubens pinxit. C.H. Hodges Sculpsit.
Publish'd Aug.st 1.st 1789, by John & Josiah Boydell, Cheapside, & at the Shakespeare Gallery, Pall Mall London.
Mezzotint. 485 x 610mm (19 x 24"). Trimmed to plate on right, narrow margins elsewhere, spotting and creasing.
The drunken Silenus, supported by satyrs, picks at a bunch of grapes which a tiger is also leaping towards. Bacchants surround him, making music, eating, drinking and (in one case) urinating. Rubens' painting is in the Alte Pinakothek, Munich, although the composition of the painting has been altered considerably in this print.
[Ref: 70161] £480.00
To Sir John Fleming Leicester Bar.t This Plate of the Sleeping Nymph From the original Picture in his possession is by permission respectfully dedicated by his very obliged & obedient Serv.t W.m Ward.
Painted by John Hoppner Esq.r R.A. Engraved by Will.m Ward Engraver to H.R.H. the Duke of York.
Published Jan.y 20, 1808 by the Engraver. No 24 Buckingham Place, Fitzroy Square.
Mezzotint. 530 x 630mm.
Said to be Georgina Maria Cottin (1794-1859), who married the painting's owner in 1810.
Frankau: 264. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 3292] £960.00
Painted by John Hoppner Esq.r R.A. Engraved by Will.m Ward Engraver to H.R.H. the Duke of York.
Published Jan.y 20, 1808 by the Engraver. No 24 Buckingham Place, Fitzroy Square.
Mezzotint. 530 x 630mm.
Said to be Georgina Maria Cottin (1794-1859), who married the painting's owner in 1810.
Frankau: 264. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 3292] £960.00
Tam O' Shanter.
Painted by Abraham Cooper. Engraved by Henry Meyer.
[London: S. Knight, 1814.]
A rare mezzotint. Sheet 515 x 585mm (20½ x 23"). Trimmed within plate on three sides, into title at bottom, losing publication line and half of crest.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 47702] £360.00
Painted by Abraham Cooper. Engraved by Henry Meyer.
[London: S. Knight, 1814.]
A rare mezzotint. Sheet 515 x 585mm (20½ x 23"). Trimmed within plate on three sides, into title at bottom, losing publication line and half of crest.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 47702] £360.00
[Venus and Cupids. From the original drawing in the possession of John Julius Angerstein Esq.r.]
[Drawn by R. Westall, R.A. Engraved by R. M. Meadows.]
[n.d., c.1800.]
Fine stipple engraving, printed in colours, in decorative gilt frame, sight size 300 x 385mm (11¾ x 15¼"). Mounted over image on left, bottom and lower right, possibly trimmed. Unexamined out of frame.
Venus, half-naked, reclining in a bower with two butterfly-winged cherubs, one of whom draws a bow.
[Ref: 70241] £450.00
[Drawn by R. Westall, R.A. Engraved by R. M. Meadows.]
[n.d., c.1800.]
Fine stipple engraving, printed in colours, in decorative gilt frame, sight size 300 x 385mm (11¾ x 15¼"). Mounted over image on left, bottom and lower right, possibly trimmed. Unexamined out of frame.
Venus, half-naked, reclining in a bower with two butterfly-winged cherubs, one of whom draws a bow.
[Ref: 70241] £450.00
![[The Wheel of Fortune.]](jpegs/40328.jpg)
[The Wheel of Fortune.]
Sold by T. Bakewell in Cornhill. [n.d., c.1745.]
Engraving Sheet: 185 x 255mm (7¼ x 10"). Trimmed within plate. Laid on album sheet.
A mythological scene in which a withered, snake-haired woman spins a figure wretched figure around a large wheel while a fire blazes near them and two further crones look on. The three old women are reminiscent of the Fates from ancient mythology, though with their snakes for hair they also resemble the hideous gorgons. The Wheel of Fortune was a medieval and ancient concept demonstrating the capricious nature of Fate, the wheel being spun at random by the goddess Fortuna affecting the lives of those attached. The Wheel of Fortune was also a medieval form of torture, the victim would be tied to a large wheel while a large fire would be set close enough to burn anyone tied to the wheel. The wheel would then be turned like a spit slowly cooking the captive.
[Ref: 40328] £130.00 (£156.00 incl.VAT)
Sold by T. Bakewell in Cornhill. [n.d., c.1745.]
Engraving Sheet: 185 x 255mm (7¼ x 10"). Trimmed within plate. Laid on album sheet.
A mythological scene in which a withered, snake-haired woman spins a figure wretched figure around a large wheel while a fire blazes near them and two further crones look on. The three old women are reminiscent of the Fates from ancient mythology, though with their snakes for hair they also resemble the hideous gorgons. The Wheel of Fortune was a medieval and ancient concept demonstrating the capricious nature of Fate, the wheel being spun at random by the goddess Fortuna affecting the lives of those attached. The Wheel of Fortune was also a medieval form of torture, the victim would be tied to a large wheel while a large fire would be set close enough to burn anyone tied to the wheel. The wheel would then be turned like a spit slowly cooking the captive.
[Ref: 40328] £130.00 (£156.00 incl.VAT)