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.
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The Andalusian Annual, For MDCCCXXXVII.
Edited by Michael Burke Honan, Esq., Author of 'The Court and Camp of Don Carlos.'
London: John Macrone, St. James's Square. 1836.
Book, 4to (310 x 245mm. 12¼ x 9¾"), sheet music and lyrics to thirteen Spanish songs and dances with background text, illustrated by 12 fine hand coloured lithographic plates of principal characters by M. Gauci. 162 pp. In full contemporary embossed brown morocco with gilt spine and gilt stamped title with vignette to cover. Very scarce. Spine detached. Binding scuffed and rubbed. Interior good, occasional spotting, plates in vivd colour.
British Library: 004419129.
[Ref: 11947] £2,300.00 view all images for this item
Edited by Michael Burke Honan, Esq., Author of 'The Court and Camp of Don Carlos.'
London: John Macrone, St. James's Square. 1836.
Book, 4to (310 x 245mm. 12¼ x 9¾"), sheet music and lyrics to thirteen Spanish songs and dances with background text, illustrated by 12 fine hand coloured lithographic plates of principal characters by M. Gauci. 162 pp. In full contemporary embossed brown morocco with gilt spine and gilt stamped title with vignette to cover. Very scarce. Spine detached. Binding scuffed and rubbed. Interior good, occasional spotting, plates in vivd colour.
British Library: 004419129.
[Ref: 11947] £2,300.00 view all images for this item
![[Acrobats] Forioso, ou la Contredanse sur quatre Cordes.](jpegs/68126.jpg)
[Acrobats] Forioso, ou la Contredanse sur quatre Cordes. Le Bon Genre, N.º 25.
[Pierre La Mesangere] [n.d. c.1810]
Coloured etching, with fine colour. 205 x 265mm (8 x 10½"), large margins.
Four acrobats dance on four tightropes. Supposedly Pierre Forioso, and his troupe of rope dancers at the Theatre de la Nouveaute and the Tivoli 'Le Bon Genre', a series of semi-satirical costume plates) was published separately between plate 1 in 1800 & plate 104 in 1817, when Pierre La Mésangère republished the complete set with text. He issued eleven new plates (105-115), between 1818 and 1822, when another full set with text was issued. A final issue was published in 1827.
BM: 1866,0407.886; see BM 1868,0822.7243 for 'Le Bon Genre'.
[Ref: 68126] £360.00
[Pierre La Mesangere] [n.d. c.1810]
Coloured etching, with fine colour. 205 x 265mm (8 x 10½"), large margins.
Four acrobats dance on four tightropes. Supposedly Pierre Forioso, and his troupe of rope dancers at the Theatre de la Nouveaute and the Tivoli 'Le Bon Genre', a series of semi-satirical costume plates) was published separately between plate 1 in 1800 & plate 104 in 1817, when Pierre La Mésangère republished the complete set with text. He issued eleven new plates (105-115), between 1818 and 1822, when another full set with text was issued. A final issue was published in 1827.
BM: 1866,0407.886; see BM 1868,0822.7243 for 'Le Bon Genre'.
[Ref: 68126] £360.00
![[The Act of Union.] The Master Piece of her Majesty.](jpegs/45306.jpg)
[The Act of Union.] The Master Piece of her Majesty. The two Parliaments reunited in one and the Same Pallace; Which are conducted by the Concord and her Company, Present them to ye Queen: for to make ye happy Union; of which all the Elements do Solemnize their Joy.
Ingraved by S: Conniand at Mrs Hodge in Angel Court near the May pole in the Strand Just by Surrey Street near St Clement Church.
Sold by the Author at the Cock the 2d door ye upper end of West Street near Grafton Street, Soho. [n.d., c.1707.]
Engraving. Sheet 300 x 375mm (11¾ x 14¾"). Trimmed into image at top, some browning, laid on album paper. Slight central crease.
An allegorical scene: Queen Anne stands presiding over the union of female figures of England and Scotland, attended by the figures of Abundance, Fidelity, Concord, Prudence and Justice. To the right is the sea with tritons and a sea battle. Above two angelic figures have been partially excised.
Not in BM, with no entry for Conniand. The only other reference to him we could find is as engraver of 'The Brawl of Audenarde, Mr: Siris new dance for the year 1709'.
[Ref: 45306] £480.00
Ingraved by S: Conniand at Mrs Hodge in Angel Court near the May pole in the Strand Just by Surrey Street near St Clement Church.
Sold by the Author at the Cock the 2d door ye upper end of West Street near Grafton Street, Soho. [n.d., c.1707.]
Engraving. Sheet 300 x 375mm (11¾ x 14¾"). Trimmed into image at top, some browning, laid on album paper. Slight central crease.
An allegorical scene: Queen Anne stands presiding over the union of female figures of England and Scotland, attended by the figures of Abundance, Fidelity, Concord, Prudence and Justice. To the right is the sea with tritons and a sea battle. Above two angelic figures have been partially excised.
Not in BM, with no entry for Conniand. The only other reference to him we could find is as engraver of 'The Brawl of Audenarde, Mr: Siris new dance for the year 1709'.
[Ref: 45306] £480.00
A View of the Thames East-Indiaman. As she lay stranded near East Bourne in Feb. 1822.
Chas. Ade delint. 11th Feb, 1822 Engraved by Robt. Havell & Son.
Published by Charles Ade, Wilmington, Sussesx, March 1822.
Aquatint. 365 x 275mm. Trimmed to plate mark on three sides.
Contemporary broadside accompanying image as follows: William Haviside, Esq. Commander.- This fine ship was out-ward bound from London for China, and was driven on shore by a heavy gale, near Eastbourne, Sussex on Sunday morning, the 3rd February, 1822. Her Extensive Cargo was taken out without loss [excepting damage by water] under the direction and management of Mr. J. B.Stone, of New Haven, Agent to Lloyd's. She lay in this situation from the 3d of February to the 22d, when she was got off, to the great gratification of many thousands of Spectators, she was then conducted away for Deptford, by two Steam Vessels, which were in attendance for that purpose. She arrived safe at Deptford, on the 24th of February, with a prospect of being speedily repaired to proceed onto her original destination.
[Ref: 33] £300.00
Chas. Ade delint. 11th Feb, 1822 Engraved by Robt. Havell & Son.
Published by Charles Ade, Wilmington, Sussesx, March 1822.
Aquatint. 365 x 275mm. Trimmed to plate mark on three sides.
Contemporary broadside accompanying image as follows: William Haviside, Esq. Commander.- This fine ship was out-ward bound from London for China, and was driven on shore by a heavy gale, near Eastbourne, Sussex on Sunday morning, the 3rd February, 1822. Her Extensive Cargo was taken out without loss [excepting damage by water] under the direction and management of Mr. J. B.Stone, of New Haven, Agent to Lloyd's. She lay in this situation from the 3d of February to the 22d, when she was got off, to the great gratification of many thousands of Spectators, she was then conducted away for Deptford, by two Steam Vessels, which were in attendance for that purpose. She arrived safe at Deptford, on the 24th of February, with a prospect of being speedily repaired to proceed onto her original destination.
[Ref: 33] £300.00
Alexandri Magni praecipuæ res geste ab Antonio Tempesta Florentino primum delineatæ, nuc a Michaele van Lochom Sculptore. Regio Ienioris typi tabulis expressæ.
Parisus Apud Petrum Mariette via Jacobæa. sub signio Spei. [n.d., c.1670.]
Engraving. 120 x 155mm (4¾ x 6¼").
The title-page to a series of 12 prints depicting the life of Alexander the Great. The design features military trophies, a lion, two winged putti and figures of Bellona and Abundance. After Antonio Tempesta (1555-1630).
[Ref: 26550] £70.00 (£84.00 incl.VAT)
Parisus Apud Petrum Mariette via Jacobæa. sub signio Spei. [n.d., c.1670.]
Engraving. 120 x 155mm (4¾ x 6¼").
The title-page to a series of 12 prints depicting the life of Alexander the Great. The design features military trophies, a lion, two winged putti and figures of Bellona and Abundance. After Antonio Tempesta (1555-1630).
[Ref: 26550] £70.00 (£84.00 incl.VAT)
China Under the Guidance & Protection of France and England. The Allies in Pekin. An English and a French Officer try which shall appear To a Chinese Lady least a Barbarian.
London, W.H.J. Carter, Bookseller, Printseller, &c 12, Regent Street, Pall Mall [c.1850]
Rare lithograph with hand-colouring, sheet 345 x 240mm (13 x 9½"). Damaged, foxing. List of W.H.J. Carter's stock of caricatures printed verso.
Satire on relations between the European powers and France: British and French soldiers compete to win the favour of a Chinese woman by displaying their good manners.
[Ref: 47086] £260.00 (£312.00 incl.VAT)
London, W.H.J. Carter, Bookseller, Printseller, &c 12, Regent Street, Pall Mall [c.1850]
Rare lithograph with hand-colouring, sheet 345 x 240mm (13 x 9½"). Damaged, foxing. List of W.H.J. Carter's stock of caricatures printed verso.
Satire on relations between the European powers and France: British and French soldiers compete to win the favour of a Chinese woman by displaying their good manners.
[Ref: 47086] £260.00 (£312.00 incl.VAT)
![[Lawrence Alma-Tadema, R.A., in his studio]](jpegs/36360.jpg)
[Lawrence Alma-Tadema, R.A., in his studio]
[T.L. Atkinson after John Collyer, pencil signatures]
[Published by T.H. Lefèvre, June 1 1885]
Mezzotint on india, very large margins; platemark 550 x 420mm (21½ x 16½"). Printsellers' Association blindstamp. Very scarce.
Lawrence Alma-Tadema (1836-1912), London painter of Greek and Roman settings, etcher, stage designer and decorative artist was born in January 1836. Shown in his studio holding palette and brushes, an unfinished canvas behind him. After training in Antwerp, Alma-Tadema moved to London in 1870 and became a member of the Royal Academy in 1879. He was knighted in 1899. After the portrait by John Collier (1850-1934), portrait painter who received guidance and encouragement from Alma-Tadema as a young artist. The print was originally sold as a companion to a portrait of another 19th century artist, Rosa Bonheur.
PSA limited to 275 artist's proofs (plate destroyed); ex: collection of the Late Hon C. Lennox-Boyd.
[Ref: 36360] £520.00
[T.L. Atkinson after John Collyer, pencil signatures]
[Published by T.H. Lefèvre, June 1 1885]
Mezzotint on india, very large margins; platemark 550 x 420mm (21½ x 16½"). Printsellers' Association blindstamp. Very scarce.
Lawrence Alma-Tadema (1836-1912), London painter of Greek and Roman settings, etcher, stage designer and decorative artist was born in January 1836. Shown in his studio holding palette and brushes, an unfinished canvas behind him. After training in Antwerp, Alma-Tadema moved to London in 1870 and became a member of the Royal Academy in 1879. He was knighted in 1899. After the portrait by John Collier (1850-1934), portrait painter who received guidance and encouragement from Alma-Tadema as a young artist. The print was originally sold as a companion to a portrait of another 19th century artist, Rosa Bonheur.
PSA limited to 275 artist's proofs (plate destroyed); ex: collection of the Late Hon C. Lennox-Boyd.
[Ref: 36360] £520.00
The War Dance, by the Ojibbeway Indians.
J.Harris scul[p]. [after George Catlin.]
[London, Published by H.Bailliere, 1842.]
Coloured aquatint. Sheet 230 x 140mm (9 x 5½"). Trimmed. Slightly time stained.
A reduced version of the scene by George Catlin, published in 'Dr.Prichard's Natural History of Man'. The dancers are named as Flying Cloud, Tobacco, Moonlight Night, and Flying Gull. Members of the tribe performed their war dance for Queen Victoria at Windsor Castle in 1844.
[Ref: 31519] £120.00 (£144.00 incl.VAT)
J.Harris scul[p]. [after George Catlin.]
[London, Published by H.Bailliere, 1842.]
Coloured aquatint. Sheet 230 x 140mm (9 x 5½"). Trimmed. Slightly time stained.
A reduced version of the scene by George Catlin, published in 'Dr.Prichard's Natural History of Man'. The dancers are named as Flying Cloud, Tobacco, Moonlight Night, and Flying Gull. Members of the tribe performed their war dance for Queen Victoria at Windsor Castle in 1844.
[Ref: 31519] £120.00 (£144.00 incl.VAT)
War Dance of the Sauks and Foxes.
Printed, Drawn & Coloured at J. T. Bowen, Lithographic Establishment No. 94 Walnut Street [after Peter Rindisbacher].
Published by F.W. Greenough, Philada. Entered according to act of Congress in the year 1838 by E.C. Greenough, in the Clerks Office of the Districk Court of the Eastern District of Pennsylvania
Lithograph. Printed area 235 x 350mm (9¼ x 13¾"), with large margins.
Warriors of the Sauk and Meskwaki (Fox) tribes dancing, sketched by Peter Rindisbacher (1806-34) and published in Thomas McKenney and James Hall's 'History of the Indian Tribes of North America'.
[Ref: 56058] £420.00
Printed, Drawn & Coloured at J. T. Bowen, Lithographic Establishment No. 94 Walnut Street [after Peter Rindisbacher].
Published by F.W. Greenough, Philada. Entered according to act of Congress in the year 1838 by E.C. Greenough, in the Clerks Office of the Districk Court of the Eastern District of Pennsylvania
Lithograph. Printed area 235 x 350mm (9¼ x 13¾"), with large margins.
Warriors of the Sauk and Meskwaki (Fox) tribes dancing, sketched by Peter Rindisbacher (1806-34) and published in Thomas McKenney and James Hall's 'History of the Indian Tribes of North America'.
[Ref: 56058] £420.00
De Vrede, als uit den hemel nederdalende, vertoond, by hat weder openen van den Amsteld. Schouwburg Ao.1749..In het Zinnespel Leeuwendaal herstadt door de Vrede.
[Amsterdam, c.1749.]
Engraving, image 190 x 285mm. 7½ x 11¼". Trimmed to image and glued to backing sheet.
Interior of an Amsterdam theatre, a performance on stage. By Simon Fokke (printmaker; Dutch; Male; 1712 - 1784), engraver and etcher working for the Amsterdam book trade; also a collector.
For another ballet print of the Schouwbourg Theatre, see ref. 13317
[Ref: 26968] £160.00 (£192.00 incl.VAT)
[Amsterdam, c.1749.]
Engraving, image 190 x 285mm. 7½ x 11¼". Trimmed to image and glued to backing sheet.
Interior of an Amsterdam theatre, a performance on stage. By Simon Fokke (printmaker; Dutch; Male; 1712 - 1784), engraver and etcher working for the Amsterdam book trade; also a collector.
For another ballet print of the Schouwbourg Theatre, see ref. 13317
[Ref: 26968] £160.00 (£192.00 incl.VAT)
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The Ancient English Wake. Still dost thou ask what charm, what sacred pow'r, Upheld my frame in dangers' rudest hour?...Stiil, as the tenor of my way I kept, O'er thee, O Father, fond remembrance wept: Vide Jerninghams' Ancient English Wake.
W.Hamilton Esq.r R.A. Pinx.t J.Chapman Sculp.t
Publish'd May 10th.1794, by Tho.s Mackling, Poets Gallety, Fleet Street, London.
Stipple. Plate 432 x 503mm. 17 x 19¾". Some creasing.
A woman standing holding up a reliquary in her left hand. A man seated in a princely tent leans forward. She uses both hands to gesture towards men and women who dance and feast at a wake. A bard plays a harp in the left foreground.
See BM: 1871,0812.2816.
[Ref: 17340] £230.00 (£276.00 incl.VAT)
W.Hamilton Esq.r R.A. Pinx.t J.Chapman Sculp.t
Publish'd May 10th.1794, by Tho.s Mackling, Poets Gallety, Fleet Street, London.
Stipple. Plate 432 x 503mm. 17 x 19¾". Some creasing.
A woman standing holding up a reliquary in her left hand. A man seated in a princely tent leans forward. She uses both hands to gesture towards men and women who dance and feast at a wake. A bard plays a harp in the left foreground.
See BM: 1871,0812.2816.
[Ref: 17340] £230.00 (£276.00 incl.VAT)
Album de Mitjana. Ida a los Toros. Bolero en el Jaleo de Jerez. Bolera en el Jaleo de Jerez.
[Anon.]
Fab. de Fo. Mitjana Malaga [Spanish, n.d., c.1840].
Three lithographs on one leaf in single-line frame, very scarce. Sheet 350 x 535mm, 13¾ x 21”.
Three vignettes of a man and woman in traditional costume in Andalusia, southwestern Spain. The bolero is a moderately slow tempo dance that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana. Dancer Sebastiano Carezo is credited with inventing the dance in 1780. It is danced by either a soloist or a couple. The dance is performed to music which is sung and accompanied by castanets and guitars. Numbered ‘No.2’ upper left; from a scarce folio of Spanish genre sketches published in Malaga.
[Ref: 22501] £220.00 (£264.00 incl.VAT)
[Anon.]
Fab. de Fo. Mitjana Malaga [Spanish, n.d., c.1840].
Three lithographs on one leaf in single-line frame, very scarce. Sheet 350 x 535mm, 13¾ x 21”.
Three vignettes of a man and woman in traditional costume in Andalusia, southwestern Spain. The bolero is a moderately slow tempo dance that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana. Dancer Sebastiano Carezo is credited with inventing the dance in 1780. It is danced by either a soloist or a couple. The dance is performed to music which is sung and accompanied by castanets and guitars. Numbered ‘No.2’ upper left; from a scarce folio of Spanish genre sketches published in Malaga.
[Ref: 22501] £220.00 (£264.00 incl.VAT)
Album de Mitjana. A los Toros. En los Toros. Despues de los Toros.
[Unidentified artist’s signature in image.]
Fab. de Fo. Mitjana Malaga [Spanish, n.d., c.1840].
Three lithographs on one leaf in single-line frame, very scarce. Sheet 345 x 535mm, 13½ x 21".
Three vignettes of a Spanish matador and his lady companion in traditional costume; going to a bullfight, watching a bullfight, and enjoying a drink upon their return. Numbered ‘No.4’ upper left; from a scarce folio of Spanish genre sketches published in Malaga.
[Ref: 22500] £220.00 (£264.00 incl.VAT)
[Unidentified artist’s signature in image.]
Fab. de Fo. Mitjana Malaga [Spanish, n.d., c.1840].
Three lithographs on one leaf in single-line frame, very scarce. Sheet 345 x 535mm, 13½ x 21".
Three vignettes of a Spanish matador and his lady companion in traditional costume; going to a bullfight, watching a bullfight, and enjoying a drink upon their return. Numbered ‘No.4’ upper left; from a scarce folio of Spanish genre sketches published in Malaga.
[Ref: 22500] £220.00 (£264.00 incl.VAT)
![[The Dance of Apollo with the Muses.]](jpegs/38473.jpg)
[The Dance of Apollo with the Muses.] Serenissimo et Potentissimo Principi ac Domino Domino Carolo Theodoro [...]
Julius Romanus inv et Pinxit ejusdem magnitudinis. Ferdinandus Gregorj Floren delin et Sculpxit 1770
Engraving on two plates, 18th century watermarked paper, combined platemark dimensions 370 x 765mm (14½ x 30"). Very large margins, uncut. Crease through centre as normal; slight tear to left plate. Crease to left sheet in margin.
Engraving by Florentine printmaker Ferdinando Gregori (1743?-1804), after a painting of c.1540 (Florence, Palazzo Pitti) by Giulio Romano (?1499-1546), painter and architect trained by Raphael.
[Ref: 38473] £450.00 view all images for this item
Julius Romanus inv et Pinxit ejusdem magnitudinis. Ferdinandus Gregorj Floren delin et Sculpxit 1770
Engraving on two plates, 18th century watermarked paper, combined platemark dimensions 370 x 765mm (14½ x 30"). Very large margins, uncut. Crease through centre as normal; slight tear to left plate. Crease to left sheet in margin.
Engraving by Florentine printmaker Ferdinando Gregori (1743?-1804), after a painting of c.1540 (Florence, Palazzo Pitti) by Giulio Romano (?1499-1546), painter and architect trained by Raphael.
[Ref: 38473] £450.00 view all images for this item
Lord Apsley and his Brother.
Painted by N. Dance R.A. 1775. Engraved by Tho.s Watson.
London, publish'd June 28th 1776, by Tho.s Watson, No 142, New Bond Street, & W.Dickinson, Henrietta Street, Covent Garden.
Mezzotint. 510 x 360mm (20 x 14¼") very large margins. Repairs to plate mark and margins.
The two sons of Henry, 2nd Earl Bathurst (who had Robert Adam build Apsley House in London for him). The elder is Henry (1762-1834), lord of the admiralty from 1783 to 1789; 3rd Earl Bathurst from 1794; Foreign Secretary for two months in 1809; Secretary of State for War and the Colonies from 1812-27. Bathurst in New South Wales, Australia, is named after him.
CS: 1. Goodwin: 28, iii of iii.
[Ref: 56669] £420.00
Painted by N. Dance R.A. 1775. Engraved by Tho.s Watson.
London, publish'd June 28th 1776, by Tho.s Watson, No 142, New Bond Street, & W.Dickinson, Henrietta Street, Covent Garden.
Mezzotint. 510 x 360mm (20 x 14¼") very large margins. Repairs to plate mark and margins.
The two sons of Henry, 2nd Earl Bathurst (who had Robert Adam build Apsley House in London for him). The elder is Henry (1762-1834), lord of the admiralty from 1783 to 1789; 3rd Earl Bathurst from 1794; Foreign Secretary for two months in 1809; Secretary of State for War and the Colonies from 1812-27. Bathurst in New South Wales, Australia, is named after him.
CS: 1. Goodwin: 28, iii of iii.
[Ref: 56669] £420.00
![[American Arctic] Carte Particuliere de L'Amerique Septentrionale, ou sont compris le Destroit de Davids, le Destroit de Hudson &c.](jpegs/4325.jpg)
[American Arctic] Carte Particuliere de L'Amerique Septentrionale, ou sont compris le Destroit de Davids, le Destroit de Hudson &c.
A Amsterdam Chez Pierre Mortier. [n.d., 1705.]
Engraving on two sheets conjoined, total 90 x 830mm, with strong original hand colour. A few repairs to verdigris cracking.
A large and decorative chart showing from the west coast of Ireland, Iceland, Greenland and the bays of Arctic America. The abundance of English placenames is a testiment to their efforts to find the North West Passage, thus reaching the east without having to pass the French and Spaniards. Published in Mortier's issue of the'Neptune Francois'.
[Ref: 4325] £500.00
A Amsterdam Chez Pierre Mortier. [n.d., 1705.]
Engraving on two sheets conjoined, total 90 x 830mm, with strong original hand colour. A few repairs to verdigris cracking.
A large and decorative chart showing from the west coast of Ireland, Iceland, Greenland and the bays of Arctic America. The abundance of English placenames is a testiment to their efforts to find the North West Passage, thus reaching the east without having to pass the French and Spaniards. Published in Mortier's issue of the'Neptune Francois'.
[Ref: 4325] £500.00
Opening of the Henley Water Works, by the Right Hon. W.H. Smith, M.P., June 17th, 1882. A large and influential party...assembled at Henley-on-Thames...on the occasion of the Public Opening of the Water Works, to inspect the working of the 'Atkins' Patent System of Softening and Purifying Water... [List of dignitaries in attendance, report of the proceedings and some speeches follows.]
The Atkins Water Softening and Purifying Company (Limited), 62, Fleet Street, London, E.C.
[London, 1882.]
Promotional ephemera relating to the Atkins Water Softening and Purifying Co: letterpress leaflet report, small 4to (page 260 x 190mm, 10¼ x 7½"); letterpress testimonial 'Certificate' from the London, Brighton, & South Coast Railway Company, sheet similar size; and ink ALS on company headed paper to George Bowen of St. Neots from W. A[tkins?] (sheet 205 x 130mm, 8 x 5"); altogether 3 items. Folds; certificate with tatty and chipped extremities.
The letter from scarce collection, details the estimated charges applied by the company to install their apparatus in the home of Geo. Bowers Esqr, St. Noets.
Provenance: from a scrap album compiled c.1840 - 1880 by Alfred Towgood of Riverside, a paper mill owner at St. Neots, Huntingdon. He was also a Lieutenant in the Duke of Manchester's Light Horse.
[Ref: 16546] £240.00 view all images for this item
The Atkins Water Softening and Purifying Company (Limited), 62, Fleet Street, London, E.C.
[London, 1882.]
Promotional ephemera relating to the Atkins Water Softening and Purifying Co: letterpress leaflet report, small 4to (page 260 x 190mm, 10¼ x 7½"); letterpress testimonial 'Certificate' from the London, Brighton, & South Coast Railway Company, sheet similar size; and ink ALS on company headed paper to George Bowen of St. Neots from W. A[tkins?] (sheet 205 x 130mm, 8 x 5"); altogether 3 items. Folds; certificate with tatty and chipped extremities.
The letter from scarce collection, details the estimated charges applied by the company to install their apparatus in the home of Geo. Bowers Esqr, St. Noets.
Provenance: from a scrap album compiled c.1840 - 1880 by Alfred Towgood of Riverside, a paper mill owner at St. Neots, Huntingdon. He was also a Lieutenant in the Duke of Manchester's Light Horse.
[Ref: 16546] £240.00 view all images for this item
![La liste de presence [in pencil.]](jpegs/34643.jpg)
La liste de presence [in pencil.]
P. Renouard [pencil signature.]
[n.d. c.1892.]
Etching, very large margins, signed in pencil. Plate 291 x 221
A young girl in ballet dress leans over a table to read her instructions for her class. No. 1. from a series published as 'A l'Opera 30 Eaux-Fortes par P. Renouard preface de Ludovic Halivy'.
[Ref: 34643] £220.00 (£264.00 incl.VAT)
P. Renouard [pencil signature.]
[n.d. c.1892.]
Etching, very large margins, signed in pencil. Plate 291 x 221
A young girl in ballet dress leans over a table to read her instructions for her class. No. 1. from a series published as 'A l'Opera 30 Eaux-Fortes par P. Renouard preface de Ludovic Halivy'.
[Ref: 34643] £220.00 (£264.00 incl.VAT)
![[Albion Mill fire] Conflagration! or the Merry Mealmongers, A New dance, as it was performed with Universal Applause, at the Theatre Blackfriars March 2d. 1791.](jpegs/59541.jpg)
[Albion Mill fire] Conflagration! or the Merry Mealmongers, A New dance, as it was performed with Universal Applause, at the Theatre Blackfriars March 2d. 1791. Attic Miscellany.
Drawn by Collings. Etch.d by Barlow.
Publish.d as the Act directs, by Bentley & C.o, April 1.st 1791.
Etching, plate 195 x 230mm (7¾ x 9"). Small margins. Folding creases, as normal.
A scene on Blackfriars Bridge, with the Albion Mills on fire in the background, while a dense crowd on the bridge rejoices at the spectacle. In the foreground three men are dancing: two face each other holding hands, but looking at the fire, the third waves his hat and a toy windmill. One holds out a broadside: 'A New Song', he carries a sheaf of papers over his shoulder inscribed 'Success to the Mills of Albion but no Albion Mills'. The print was issued in the 'Attic Miscellany' in 1791.
BM Satires 8022.
[Ref: 59541] £180.00 (£216.00 incl.VAT)
Drawn by Collings. Etch.d by Barlow.
Publish.d as the Act directs, by Bentley & C.o, April 1.st 1791.
Etching, plate 195 x 230mm (7¾ x 9"). Small margins. Folding creases, as normal.
A scene on Blackfriars Bridge, with the Albion Mills on fire in the background, while a dense crowd on the bridge rejoices at the spectacle. In the foreground three men are dancing: two face each other holding hands, but looking at the fire, the third waves his hat and a toy windmill. One holds out a broadside: 'A New Song', he carries a sheaf of papers over his shoulder inscribed 'Success to the Mills of Albion but no Albion Mills'. The print was issued in the 'Attic Miscellany' in 1791.
BM Satires 8022.
[Ref: 59541] £180.00 (£216.00 incl.VAT)
Quadrilles. From Aubers Celebrated Opera, ''Le Dieu et la Bayadère''. Respectfully Dedicated to Mad.lle Augusta, by S.M. New York.
N. Curriers Lithograph New York
Published by Hewitt & Jaques 239 Broadway. c. 1836
Lithograph and 6pp sheet music, each sheet 325 x 260mm (12¾ x 10¼").
New York-published piano arrangement of music from Daniel-François-Esprit Auber's opera 'Le dieu et la bayadère', one of several works he composed for the Paris Opéra during the 1830s. Attractive cover sheet with lithograph of a ballerina.
[Ref: 43319] £260.00 (£312.00 incl.VAT)
N. Curriers Lithograph New York
Published by Hewitt & Jaques 239 Broadway. c. 1836
Lithograph and 6pp sheet music, each sheet 325 x 260mm (12¾ x 10¼").
New York-published piano arrangement of music from Daniel-François-Esprit Auber's opera 'Le dieu et la bayadère', one of several works he composed for the Paris Opéra during the 1830s. Attractive cover sheet with lithograph of a ballerina.
[Ref: 43319] £260.00 (£312.00 incl.VAT)
The Auriol Polka. Composed by Charles Matthews, and Respectfully Dedicated by express Permission to Mademoiselle Francesca Auriol.
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Rare aquatint. 340 x 260mm (13½ x 10¼). Slightly trimmed on left.
Music cover for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, with particular success with their 'Dancing Scotsman' of 1854.
[Ref: 53234] £230.00 (£276.00 incl.VAT)
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Rare aquatint. 340 x 260mm (13½ x 10¼). Slightly trimmed on left.
Music cover for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, with particular success with their 'Dancing Scotsman' of 1854.
[Ref: 53234] £230.00 (£276.00 incl.VAT)
The Auriol Polka. Composed by Charles Matthews, and Respectfully Dedicated by express Permission to Mademoiselle Francesca Auriol.
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Aquatint with 5pp. sheet music, each sheet 340 x 260mm (13½ x 10¼). Made up corner bottom right.
Music for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, and were particularly successful with their 'Dancing Scotsman' of 1854.
[Ref: 43323] £180.00 (£216.00 incl.VAT) view all images for this item
[Anon., c.1850]
London, Published by Duncombe & Moon, 17 Holborn opposite Furnival's Inn.
Aquatint with 5pp. sheet music, each sheet 340 x 260mm (13½ x 10¼). Made up corner bottom right.
Music for a polka named in honour of the dancer Francisca (or Francesca) Auriol (1829-62). Auriol, daughter of the famed French clown Jean Baptiste Auriol, made her London debut in 1847 as a second dancer at the Royal Italian Opera, Covent Garden. She married British dancing clown Richard Flexmore and made a career dancing with him around Europe, and were particularly successful with their 'Dancing Scotsman' of 1854.
[Ref: 43323] £180.00 (£216.00 incl.VAT) view all images for this item
![[Austria.]](jpegs/17571.jpg)
[Austria.]
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. 250 x 145mm. 9¾ x 5¾". Trimmed excluding title.
A dancer in a glamourous version of a Austrian ceremonial military uniform, holding the Imperial Flag. The costume was made for the Army and Navy ballet at London's Alhambra Theatre. Although the theatre 'specialized in beautiful ballets' it was notorious as a meeting place for prostitutes and their clients.
Not in Ogilby.
[Ref: 17571] £50.00 (£60.00 incl.VAT)
Alf Cooke. Leeds.
[n.d., 1887.]
Chromolithograph. 250 x 145mm. 9¾ x 5¾". Trimmed excluding title.
A dancer in a glamourous version of a Austrian ceremonial military uniform, holding the Imperial Flag. The costume was made for the Army and Navy ballet at London's Alhambra Theatre. Although the theatre 'specialized in beautiful ballets' it was notorious as a meeting place for prostitutes and their clients.
Not in Ogilby.
[Ref: 17571] £50.00 (£60.00 incl.VAT)
Cap.t Ayscough. From an Original Sketch by Dance, in the Collection of Sir William Musgrave Bar.t.
S. Haring sculp.
Pub.d Dec.r 1 1794, by E. & S. Harding, Pall Mall.
Stipple. 190 x 140mm (7½ x 5½") very large margins.
A posthumously-published sketch portrait of George Edward Ayscough (d.1779), dramatist and guards officer, nephew of the first Lord Lyttelton. In 1776 he produced a version of Voltaire's ‘Semiramis' at Drury Lane, which his brother officers attended in great force, securing its success. However Isaac Reed's '' Biographia dramatica'' (1782) described Ayscough as ‘a fool of fashion' and ‘a parasite of Lord Lyttelton'; 'Seniranis' is condemned as contemptible. Ayscough also editored the ''Miscellaneous Works'' of Lord Lyttelton, published 1774.
[Ref: 48996] £70.00 (£84.00 incl.VAT)
S. Haring sculp.
Pub.d Dec.r 1 1794, by E. & S. Harding, Pall Mall.
Stipple. 190 x 140mm (7½ x 5½") very large margins.
A posthumously-published sketch portrait of George Edward Ayscough (d.1779), dramatist and guards officer, nephew of the first Lord Lyttelton. In 1776 he produced a version of Voltaire's ‘Semiramis' at Drury Lane, which his brother officers attended in great force, securing its success. However Isaac Reed's '' Biographia dramatica'' (1782) described Ayscough as ‘a fool of fashion' and ‘a parasite of Lord Lyttelton'; 'Seniranis' is condemned as contemptible. Ayscough also editored the ''Miscellaneous Works'' of Lord Lyttelton, published 1774.
[Ref: 48996] £70.00 (£84.00 incl.VAT)
Signora Baccelli.
Painted by T. Gainsborough R.A. Engraved by John Jones.
London Pub.d Feb.y 5th 1784 by J. Jones No. 63 Great Portland Street Marylebone.
Rare mezzotint. 535 x 350mm (21 x 13¾"), with largemargins on three sides. Slight mark centre top. Top area slightly rubbed.
Giovanna Baccelli (1774, fl.- d.1801), dancer. Baccelli, first appeared at the King's Theatre, Haymarket in 1774. She reached the peak of her career during the 1780-1 season when she appeared with Gaetan Vestris and his son Auguste in several important ballets devised by Noverre. She also danced in Venice in 1783-4, and at the Paris Opéra as late as 1788. Baccelli was equally known as a mistress of John Frederick Sackville, 3rd Duke of Dorset (1745-99), who had set up Baccelli in a suite of rooms at Knole by October 1779. Baccelli accompanied him to Paris in 1783 when he was appointed Ambassador to France. They entertained lavishly, patronising the Paris Opéra, and were admitted to the friendship of Queen Marie-Antoinette. Horace Walpole records that when the Duke was awarded the Order of the Garter in 1788, Baccelli danced at the Opéra wearing the blue Garter ribbon around her head. As the events of the French Revolution unfolded, the pair returned to Knole, where Baccelli remained until their amicable parting in 1789. Engraved by John Jones after the portrait by Thomas Gainsborough (exhibited 1782) which hangs in Tate Britain. Gainsborough was well-acquainted with many theatre people, including Richard Brinsley Sheridan, the famous dramatist and part-owner of the King's Theatre. When this portrait was exhibited at the Royal Academy in 1782, Gainsborough's portrait of the Duke of Dorset was withdrawn, presumably for reasons of decorum. As well as commissioning this portrait, the Duke also patronised Gainsborough's great rival Joshua Reynolds, who painted Baccelli in 1783.
Horne: 7 II of III; CS 3 II of III.
[Ref: 47602] £1,500.00
Painted by T. Gainsborough R.A. Engraved by John Jones.
London Pub.d Feb.y 5th 1784 by J. Jones No. 63 Great Portland Street Marylebone.
Rare mezzotint. 535 x 350mm (21 x 13¾"), with largemargins on three sides. Slight mark centre top. Top area slightly rubbed.
Giovanna Baccelli (1774, fl.- d.1801), dancer. Baccelli, first appeared at the King's Theatre, Haymarket in 1774. She reached the peak of her career during the 1780-1 season when she appeared with Gaetan Vestris and his son Auguste in several important ballets devised by Noverre. She also danced in Venice in 1783-4, and at the Paris Opéra as late as 1788. Baccelli was equally known as a mistress of John Frederick Sackville, 3rd Duke of Dorset (1745-99), who had set up Baccelli in a suite of rooms at Knole by October 1779. Baccelli accompanied him to Paris in 1783 when he was appointed Ambassador to France. They entertained lavishly, patronising the Paris Opéra, and were admitted to the friendship of Queen Marie-Antoinette. Horace Walpole records that when the Duke was awarded the Order of the Garter in 1788, Baccelli danced at the Opéra wearing the blue Garter ribbon around her head. As the events of the French Revolution unfolded, the pair returned to Knole, where Baccelli remained until their amicable parting in 1789. Engraved by John Jones after the portrait by Thomas Gainsborough (exhibited 1782) which hangs in Tate Britain. Gainsborough was well-acquainted with many theatre people, including Richard Brinsley Sheridan, the famous dramatist and part-owner of the King's Theatre. When this portrait was exhibited at the Royal Academy in 1782, Gainsborough's portrait of the Duke of Dorset was withdrawn, presumably for reasons of decorum. As well as commissioning this portrait, the Duke also patronised Gainsborough's great rival Joshua Reynolds, who painted Baccelli in 1783.
Horne: 7 II of III; CS 3 II of III.
[Ref: 47602] £1,500.00
William Baker Esq.r M.P.
Painted by Dance. Engraved by M. Bovi.
[n.d., c.1760.]
Rare stipple. 330 x 245mm (13 x 9¾"). Cut to platemark.
Sir William Baker (1705-1770), shown with one hand resting on a volume of Milton. As well as being an MP he was the 11th Governor of the Hudson's Bay Company, 1760-70.
[Ref: 40520] £190.00 (£228.00 incl.VAT)
Painted by Dance. Engraved by M. Bovi.
[n.d., c.1760.]
Rare stipple. 330 x 245mm (13 x 9¾"). Cut to platemark.
Sir William Baker (1705-1770), shown with one hand resting on a volume of Milton. As well as being an MP he was the 11th Governor of the Hudson's Bay Company, 1760-70.
[Ref: 40520] £190.00 (£228.00 incl.VAT)
Alfred Crowquill's Sketches From Jullien's Bal Masque. The Lion & The Lamb. Perhaps You'd Like To Take The Lady From Me Sir?
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 380 x 280mm. Light foxing to margins, some spotting to image.
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: 7818] £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 380 x 280mm. Light foxing to margins, some spotting to image.
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: 7818] £230.00 (£276.00 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. Smith Your Wife's In The Boxes!
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Lithograph, sheet 266 x 203mm. Foxing and staining, trimmed to printed border.
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: 7819] £90.00 (£108.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Lithograph, sheet 266 x 203mm. Foxing and staining, trimmed to printed border.
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: 7819] £90.00 (£108.00 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 Ball at The Mansion House. April XVII. MDCCLXXV. The Right Hon.ble Iohn Wilkes, Lord Mayor.
G.B. Cipriani inv. et del. F. Bartolozzi Sculp. 1775.
[1775.]
Etching with engraving in black ink, fine impression. 241 x 216mm. 9½ x 8½". Trimmed.
Ticket. A young woman is seated with her upper body bear and crowned with flowers, in the right hand she holds a caduceus. Three putti dance on the floor; two fly above holding grapes and a basket of flowers. The host is politician and agitator John Wilkes (1725 - 1797), elected Lord Mayor of London in 1774.
De Vesme: 1963; iii/iv. See Ref 14666 for same state in red/brown ink & 14667 for earlier state, & 21223 for same state.
[Ref: 20524] £340.00
G.B. Cipriani inv. et del. F. Bartolozzi Sculp. 1775.
[1775.]
Etching with engraving in black ink, fine impression. 241 x 216mm. 9½ x 8½". Trimmed.
Ticket. A young woman is seated with her upper body bear and crowned with flowers, in the right hand she holds a caduceus. Three putti dance on the floor; two fly above holding grapes and a basket of flowers. The host is politician and agitator John Wilkes (1725 - 1797), elected Lord Mayor of London in 1774.
De Vesme: 1963; iii/iv. See Ref 14666 for same state in red/brown ink & 14667 for earlier state, & 21223 for same state.
[Ref: 20524] £340.00
The Ball at The Mansion House. April XVII. MDCCLXXV. The Right Hon.ble Iohn Wilkes, Lord Mayor.
G.B. Cipriani inv. et del. F. Bartolozzi Sculp. 1775.
[1775.]
Etching with engraving in black ink. A very fine impression, mint. Plate 241 x 216mm. 9½ x 8½". Foxed. Very large margins.
Ticket. A young woman is seated with her upper body bear and crowned with flowers, in the right hand she holds a caduceus. Three putti dance on the floor; two fly above holding grapes and a basket of flowers. The host is politician and agitator John Wilkes (1725 - 1797), elected Lord Mayor of London in 1774.
De Vesme: 1963; iii/iv. See Ref 14666 for same state in red/brown ink & 14667 for earlier state. See Ref: 20524 for same state.
[Ref: 21223] £260.00 (£312.00 incl.VAT)
G.B. Cipriani inv. et del. F. Bartolozzi Sculp. 1775.
[1775.]
Etching with engraving in black ink. A very fine impression, mint. Plate 241 x 216mm. 9½ x 8½". Foxed. Very large margins.
Ticket. A young woman is seated with her upper body bear and crowned with flowers, in the right hand she holds a caduceus. Three putti dance on the floor; two fly above holding grapes and a basket of flowers. The host is politician and agitator John Wilkes (1725 - 1797), elected Lord Mayor of London in 1774.
De Vesme: 1963; iii/iv. See Ref 14666 for same state in red/brown ink & 14667 for earlier state. See Ref: 20524 for same state.
[Ref: 21223] £260.00 (£312.00 incl.VAT)
![[Ensemble de 14 Planche Danse Opera.]](jpegs/21615.jpg)
[Ensemble de 14 Planche Danse Opera.] No.1. M.elle Taglioni, Dans la Sylphide. [&] No.2. M.me Rosati, Ballet du Corsaire. [&] No.3. M.me Ferraris, dan le Ballet des Elfes. [&] No.4. M.lle Zina Richard, dans Marco Spada. [&] No.5. M.elle Marquet, dans Marco Spada. [&] No.6. M.elle Marquet, dans le Ballet du Dieu et la Bayadère. [&] No.7. M.lle Fiocre, dans l'Amour de Pierre de Médicis. [&] No.8. M.elle Cassegrain, dans Marco Spada. [&] No.9. M.elle Emarot, dans Guillaume Tell. [&] No.10. M.elle Emma Livry, dans Herculanum. [&] No.11. M.elle Caroline, dans Marco Spada. [&] No.12. M.elle Plunkett, dans La Mañola de La Favorite. [&] No.13 M.elle Vibon, dans le Ballet de Vert-Vert. [&] No.14.M.elle Lefèvre, dans Orfa.
Alophe del. Et lith. Imp. Auguste Bry, r. du Bac, 114, Paris.
[n.d. c.1860.]
Rare complete set of 14 hand-coloured lithographs, bound together. 330 x 255mm (13 x 10").
From Alophe's 'Les Danseuses de l'Opéra' at the Paris Opera, c.1860. Maria Taglioni, the greatest ballerina of the 19th century as the Sylph in La Sylphide her most famous role. She was teaching at the Paris opera in 1860. [&] Carolina Rosati, one of the great dramatic dancers of the mid-19th century, she was the highest paid dancer ever at the Paris Opera. [&] Amalia Ferraris, one of Paris Opera Ballet's main stars. [&] Zina Richard, in Marco Spada, performed at the Paris Opera in 1857, chosen because it provided two strong female roles for the Paris Opera Ballet's main stars. Carolina Rosati and Amalia Ferraris. [&] Louise Marquet, also in Marco Spada, as a minor soloist. [&]Louise Marquet as an Indian temple dancer. [&] Louise Fiocre, as Cupid, in the opera Pierre de Médicis at the Paris Opera in 1860. [&] Julie Cassegrain, performing also in the Paris Opera Ballet production of Marco Spada. [&] Célestine Emarot, mother to Emma Livry. [&] Emma Livry in the opera by Félicien David, produced at the Paris Opera in 1858; tragically in 1862, she died from burns received when her flimsy ballet dress caught fire during a rehearsal. [&] Caroline Lassiat, a minor soloist in the 1857 Paris Opera production of Marco Spada. [&] Adelina Plunklett, following in the footsteps of Fanny Essler; versions of La Mañola were also danced by Fanny Cerrito. [&] Mlle Vibon as a minor dancer at the Paris Opera in the 1850s. By the 1860s, most male roles in ballets in Paris and later in London were played by girls en travesti. [&] Mme Lefèvre in peasant costume from Reykjavik. The Paris Opera was founded in 1669 by Louis XIV as the Académie d'Opéra. This collection features artists from the time it was under the title of Académie Impériale de Musique and thus featured music that highlighted events and challenges faced by the Second Empire, led by Napoleon III. Marco Spada, for example was a splendid piece of French Second Empire nonsense, featuring bandits, kidnapped heroines, lovers' misunderstandings, a rejected suitor who in a fit of pique agrees to marry someone he doesn't love and a bandit chief's daughter, freed to marry her lover when it transpires she was adopted.
Harvard: [Vol.P.state.] [1] No. [2] III.439.iv/iv. [3]II.23.ii/iii. [4]III.412.i/i. [5] No. [6] III.138.i/ii. [7] II.26.ii/ii. [8] I.216.i/i. [9] No. [10] III.88.i/iv. [11] No. [12] III.343.iii/vii. [
[Ref: 21615] £2,200.00 view all images for this item
Alophe del. Et lith. Imp. Auguste Bry, r. du Bac, 114, Paris.
[n.d. c.1860.]
Rare complete set of 14 hand-coloured lithographs, bound together. 330 x 255mm (13 x 10").
From Alophe's 'Les Danseuses de l'Opéra' at the Paris Opera, c.1860. Maria Taglioni, the greatest ballerina of the 19th century as the Sylph in La Sylphide her most famous role. She was teaching at the Paris opera in 1860. [&] Carolina Rosati, one of the great dramatic dancers of the mid-19th century, she was the highest paid dancer ever at the Paris Opera. [&] Amalia Ferraris, one of Paris Opera Ballet's main stars. [&] Zina Richard, in Marco Spada, performed at the Paris Opera in 1857, chosen because it provided two strong female roles for the Paris Opera Ballet's main stars. Carolina Rosati and Amalia Ferraris. [&] Louise Marquet, also in Marco Spada, as a minor soloist. [&]Louise Marquet as an Indian temple dancer. [&] Louise Fiocre, as Cupid, in the opera Pierre de Médicis at the Paris Opera in 1860. [&] Julie Cassegrain, performing also in the Paris Opera Ballet production of Marco Spada. [&] Célestine Emarot, mother to Emma Livry. [&] Emma Livry in the opera by Félicien David, produced at the Paris Opera in 1858; tragically in 1862, she died from burns received when her flimsy ballet dress caught fire during a rehearsal. [&] Caroline Lassiat, a minor soloist in the 1857 Paris Opera production of Marco Spada. [&] Adelina Plunklett, following in the footsteps of Fanny Essler; versions of La Mañola were also danced by Fanny Cerrito. [&] Mlle Vibon as a minor dancer at the Paris Opera in the 1850s. By the 1860s, most male roles in ballets in Paris and later in London were played by girls en travesti. [&] Mme Lefèvre in peasant costume from Reykjavik. The Paris Opera was founded in 1669 by Louis XIV as the Académie d'Opéra. This collection features artists from the time it was under the title of Académie Impériale de Musique and thus featured music that highlighted events and challenges faced by the Second Empire, led by Napoleon III. Marco Spada, for example was a splendid piece of French Second Empire nonsense, featuring bandits, kidnapped heroines, lovers' misunderstandings, a rejected suitor who in a fit of pique agrees to marry someone he doesn't love and a bandit chief's daughter, freed to marry her lover when it transpires she was adopted.
Harvard: [Vol.P.state.] [1] No. [2] III.439.iv/iv. [3]II.23.ii/iii. [4]III.412.i/i. [5] No. [6] III.138.i/ii. [7] II.26.ii/ii. [8] I.216.i/i. [9] No. [10] III.88.i/iv. [11] No. [12] III.343.iii/vii. [
[Ref: 21615] £2,200.00 view all images for this item
![[Set of four Ballet scenes.]](jpegs/45059.jpg)
[Set of four Ballet scenes.]
[German/Austrian, n.d., c.1780.]
Four coloured etchings. Ech 165 x 245mm (6½ x 9¾"), with large margins. A few signs of wear.
Four ballet scenes, numbered X.1 to 4, each with a central dancer (a king, queen, shepherd and shepherdess) flanked by musicians in a rustic landscape.
[Ref: 45059] £650.00
[German/Austrian, n.d., c.1780.]
Four coloured etchings. Ech 165 x 245mm (6½ x 9¾"), with large margins. A few signs of wear.
Four ballet scenes, numbered X.1 to 4, each with a central dancer (a king, queen, shepherd and shepherdess) flanked by musicians in a rustic landscape.
[Ref: 45059] £650.00
![[Pet of the Ballet. No. 8.]](jpegs/15653.jpg)
[Pet of the Ballet. No. 8.]
[R. Gallon pinx. et lith. Day & Haghe Lith.rs to the Queen.]
[R. Ackermann 14th Feb. 1844.]
Aquatint in india. 310 x 230mm (12¼ x 9"). Staining on backing paper.
A portrait of a ballerina from a series of eight plates portraying annoymous dancers who made up the decorative background during a performance.
[Ref: 15653] £580.00
[R. Gallon pinx. et lith. Day & Haghe Lith.rs to the Queen.]
[R. Ackermann 14th Feb. 1844.]
Aquatint in india. 310 x 230mm (12¼ x 9"). Staining on backing paper.
A portrait of a ballerina from a series of eight plates portraying annoymous dancers who made up the decorative background during a performance.
[Ref: 15653] £580.00
Ballet 1946-1947.
Covent Garden Books - Number One. Editor: Anthony Gishford.
Printed by Jarrold and Sons Ltd. Norwich and Published by The Covent Garden Opera Trust. [n.d. c.1947.]
Book, 4to; 63 pages. Coloured cover of the stage from a right-wing box.
An illustrated sixty-three page book on the Royal Ballet. It includes contributions by Philip Page "The Royal Opera House", Anthony Gishford "The Covent Garden Opera Trust" and "Frederick Ashton" (with a portrait by Cecil Beaton), David Webster "Lord Keynes", Frances Harris "Ninette de Valois", Sacheverell Sitwell "The Sleeping Beauty" and "Giselle", and Michael Benthall "The Creation of a Ballet". This volume is superbly illustrated with portraits of the dancers and notables, including Ninette de Valois, Constant Lambert, Frederick Ashton, Margot Fonteyn, Moira Shearer, Harold Turner, Pamela May, June Brae, Robert Helpmann, David Paltenghi, Alexis Rassine, Beryl Grey, Michael Somes, and so on, together with photographs of performances and stagings. Among the photographs are works by Cecil Beaton, Germaine Kanova, Baron, Frank Sharman, Gordon Anthony, etc. Other illustrations include a colour plate depicting "William Chappell's backcloth design for the first act of Coppelia", and color photographs of performances of "The Sleeping Beauty" featuring Margot Fonteyn .Among the ballets featured in this, number one of the Covent Garden books, are "The Sleeping Beauty", "Giselle", "Adam Zero", "Les Sirenes".
[Ref: 23324] £140.00
Covent Garden Books - Number One. Editor: Anthony Gishford.
Printed by Jarrold and Sons Ltd. Norwich and Published by The Covent Garden Opera Trust. [n.d. c.1947.]
Book, 4to; 63 pages. Coloured cover of the stage from a right-wing box.
An illustrated sixty-three page book on the Royal Ballet. It includes contributions by Philip Page "The Royal Opera House", Anthony Gishford "The Covent Garden Opera Trust" and "Frederick Ashton" (with a portrait by Cecil Beaton), David Webster "Lord Keynes", Frances Harris "Ninette de Valois", Sacheverell Sitwell "The Sleeping Beauty" and "Giselle", and Michael Benthall "The Creation of a Ballet". This volume is superbly illustrated with portraits of the dancers and notables, including Ninette de Valois, Constant Lambert, Frederick Ashton, Margot Fonteyn, Moira Shearer, Harold Turner, Pamela May, June Brae, Robert Helpmann, David Paltenghi, Alexis Rassine, Beryl Grey, Michael Somes, and so on, together with photographs of performances and stagings. Among the photographs are works by Cecil Beaton, Germaine Kanova, Baron, Frank Sharman, Gordon Anthony, etc. Other illustrations include a colour plate depicting "William Chappell's backcloth design for the first act of Coppelia", and color photographs of performances of "The Sleeping Beauty" featuring Margot Fonteyn .Among the ballets featured in this, number one of the Covent Garden books, are "The Sleeping Beauty", "Giselle", "Adam Zero", "Les Sirenes".
[Ref: 23324] £140.00
![The Chinese Lantern [pencil].](jpegs/49154.jpg)
The Chinese Lantern [pencil].
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 12 of 100. 200 x 135mm (8 x 5¼"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer standing under a Chinese lantern.
[Ref: 49154] £260.00 (£312.00 incl.VAT)
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 12 of 100. 200 x 135mm (8 x 5¼"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer standing under a Chinese lantern.
[Ref: 49154] £260.00 (£312.00 incl.VAT)
![Classe du premier quadrille [in pencil.]](jpegs/34645.jpg)
Classe du premier quadrille [in pencil.]
P. Rd [pencil signature; Paul Renouard.]
[n.d. c.1892.]
Etching with very large margins, signed in pencil. Plate 229 x 280mm (9 x 11").
Inside a dance studio, the maestro plays a violin, the teacher directs four dancers on the floor; the rest sit behind the musician on a window ledge. No. 25 from a series published as 'A l'Opera 30 Eaux-Fortes par P. Renouard preface de Ludovic Halivy'.
[Ref: 34645] £220.00 (£264.00 incl.VAT)
P. Rd [pencil signature; Paul Renouard.]
[n.d. c.1892.]
Etching with very large margins, signed in pencil. Plate 229 x 280mm (9 x 11").
Inside a dance studio, the maestro plays a violin, the teacher directs four dancers on the floor; the rest sit behind the musician on a window ledge. No. 25 from a series published as 'A l'Opera 30 Eaux-Fortes par P. Renouard preface de Ludovic Halivy'.
[Ref: 34645] £220.00 (£264.00 incl.VAT)
![[Ballet Costume.]](jpegs/22715.jpg)
[Ballet Costume.]
[n.d. c.1890.]
Watercolour with pen outline and detail. Image 310 x 135mm. 12¼ x 5¼". Laid on board.
A lady standing in an arabesque posture, without the hand positioning. In a long drape floral dress, with pink floral detail down the pleats. She wears a small jacket with pink and blue frills on the sides and collar. In her right hand she daintly leans on a parasol and in her left hand she holds a hand bag with a pink bow. On her head she wears a pink ribboned bow.
Ex Collection: Alec Clunes.
[Ref: 22715] £140.00 (£168.00 incl.VAT)
[n.d. c.1890.]
Watercolour with pen outline and detail. Image 310 x 135mm. 12¼ x 5¼". Laid on board.
A lady standing in an arabesque posture, without the hand positioning. In a long drape floral dress, with pink floral detail down the pleats. She wears a small jacket with pink and blue frills on the sides and collar. In her right hand she daintly leans on a parasol and in her left hand she holds a hand bag with a pink bow. On her head she wears a pink ribboned bow.
Ex Collection: Alec Clunes.
[Ref: 22715] £140.00 (£168.00 incl.VAT)
![In the Limelight [pencil].](jpegs/49151.jpg)
In the Limelight [pencil].
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 4 of 100. 125 x 170mm (5 x 6¾") very large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer on pointe, in tutu, hair bobbed.
[Ref: 49151] £350.00
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 4 of 100. 125 x 170mm (5 x 6¾") very large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer on pointe, in tutu, hair bobbed.
[Ref: 49151] £350.00
![The little dancer [pencil].](jpegs/49153.jpg)
The little dancer [pencil].
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 5 of 100. 170 x 125mm (6¾ x 5"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer, on pointe with back arched.
[Ref: 49153] £350.00
E. Gordon Carter [pencil].
[London: Alfred Bell & Co., n.d., c.1930.]
Drypoint etching, signed by the artist, numbered 5 of 100. 170 x 125mm (6¾ x 5"), with large margins. In original mount with printed gallery label with artist's name and publisher's logo of a black bell with ABC in white. Mint.
A ballet dancer, on pointe with back arched.
[Ref: 49153] £350.00
![[Scrapsheet with Drawings of Ballet Dancers.]](jpegs/50597.jpg)
[Scrapsheet with Drawings of Ballet Dancers.]
Scrapsheet. Sheet: 325 x 220mm (12¾ x 8¾''). Tears.
A scrapsheet with various scenes including amateur portraits of Taglioni, Grisi, Cerrito and Lucile Grahn dancing.
[Ref: 50597] £180.00 (£216.00 incl.VAT)
Scrapsheet. Sheet: 325 x 220mm (12¾ x 8¾''). Tears.
A scrapsheet with various scenes including amateur portraits of Taglioni, Grisi, Cerrito and Lucile Grahn dancing.
[Ref: 50597] £180.00 (£216.00 incl.VAT)
Ballets de l’Opéra de Paris. Ballets dans les Opéras-Nouveaux Ballets.
Par Léandre Vaillat. Dessins de Jean-Charles Duval.
Compagnie Française des Arts Graphiques. MCMXLVII [1947].
4to, with original protective tissue cover. pp. 187. Profusely illustrated with colour and b/w images. Tissue slightly torn along spine and corners.
A survey of the major dance productions of the Paris Opera during the first half of the 20th century, including Castor et Pollux, Aida, Roméo et Juliette and Impressions de Music-Hall, indexes, profusely illustrated by Jean-Charles Duval.
[Ref: 22089] £260.00
Par Léandre Vaillat. Dessins de Jean-Charles Duval.
Compagnie Française des Arts Graphiques. MCMXLVII [1947].
4to, with original protective tissue cover. pp. 187. Profusely illustrated with colour and b/w images. Tissue slightly torn along spine and corners.
A survey of the major dance productions of the Paris Opera during the first half of the 20th century, including Castor et Pollux, Aida, Roméo et Juliette and Impressions de Music-Hall, indexes, profusely illustrated by Jean-Charles Duval.
[Ref: 22089] £260.00
![[Five comic scenes]](jpegs/57072.jpg)
[Five comic scenes] Plate 15.
Designed and Drawn on Zine by A.I. Molinari. Printed by J. Grieve. Nicholas Lane London.
London: Charles Tilt, Fleet Street. [n.d.,c.1820].
Very rare zincograph, sheet 220 x 275mm (8¾ x 10¾").
Five comic scenes with one line of text; A man being handed a piece of paper, 'Hope I don't Intrude?', two men dragging a hot air balloon out of the water, 'Cloud's Omnibus arrival at the bank,' dance partners with the woman's feather accessory attaching itself to the man's hair, 'Miss Huggins, M.r Huggins,' a man sliding down a ladder from a gas lamp post,'More speed than pleasure,' and two gentleman leaning, 'a pair of Cross-grained fellows'.
[Ref: 57072] £160.00 (£192.00 incl.VAT)
Designed and Drawn on Zine by A.I. Molinari. Printed by J. Grieve. Nicholas Lane London.
London: Charles Tilt, Fleet Street. [n.d.,c.1820].
Very rare zincograph, sheet 220 x 275mm (8¾ x 10¾").
Five comic scenes with one line of text; A man being handed a piece of paper, 'Hope I don't Intrude?', two men dragging a hot air balloon out of the water, 'Cloud's Omnibus arrival at the bank,' dance partners with the woman's feather accessory attaching itself to the man's hair, 'Miss Huggins, M.r Huggins,' a man sliding down a ladder from a gas lamp post,'More speed than pleasure,' and two gentleman leaning, 'a pair of Cross-grained fellows'.
[Ref: 57072] £160.00 (£192.00 incl.VAT)
The Right Honourable Sir Joseph Banks.K.B. President of the Royal Society.
Geo. Dance del. June 27,1803. W.m Daniell Fecit.
[Published by Will.m Daniell No.9 Cleveland Street, Fitzroy Square, London June 1, 1811.]
Soft ground etching. 270 x 200mm (10½" x 8") large margins. Margins bit messy.
Sir Joseph Banks, Bt, KCB, FRS. (1743-1820), naturalist who sailed with Cook on his first voyage to the Pacific, and subsequently esteemed patron of science and President of the Royal Society.
[Ref: 53834] £190.00 (£228.00 incl.VAT)
Geo. Dance del. June 27,1803. W.m Daniell Fecit.
[Published by Will.m Daniell No.9 Cleveland Street, Fitzroy Square, London June 1, 1811.]
Soft ground etching. 270 x 200mm (10½" x 8") large margins. Margins bit messy.
Sir Joseph Banks, Bt, KCB, FRS. (1743-1820), naturalist who sailed with Cook on his first voyage to the Pacific, and subsequently esteemed patron of science and President of the Royal Society.
[Ref: 53834] £190.00 (£228.00 incl.VAT)
Thomas Banks R.A.
Geo. Dance del. Feby. 1793. Wm. Daniell Fecit.
Published by Willm. Daniell No. 9 Cleveland Street, Fitzroy Square London, Septr. 15, 1809.
Soft-ground etching. 268 x 197mm. 10½" x 7¾".
Thomas Banks (1735 - 1805), English sculptor. He was taught drawing by his father, and in 1750 was apprenticed to a woodcarver. In his spare time he worked at sculpture, spending his evenings in the studio of the Flemish émigré sculptor Peter Scheemakers. Before 1772, when he obtained a travelling studentship given by the Royal Academy and proceeded to Rome, he had already exhibited several fine works. Banks was paid 500 guineas for the group which depicts Shakespeare, reclining against a rock, between the Dramatic Muse and the Genius of Painting.
[Ref: 8426] £130.00 (£156.00 incl.VAT)
Geo. Dance del. Feby. 1793. Wm. Daniell Fecit.
Published by Willm. Daniell No. 9 Cleveland Street, Fitzroy Square London, Septr. 15, 1809.
Soft-ground etching. 268 x 197mm. 10½" x 7¾".
Thomas Banks (1735 - 1805), English sculptor. He was taught drawing by his father, and in 1750 was apprenticed to a woodcarver. In his spare time he worked at sculpture, spending his evenings in the studio of the Flemish émigré sculptor Peter Scheemakers. Before 1772, when he obtained a travelling studentship given by the Royal Academy and proceeded to Rome, he had already exhibited several fine works. Banks was paid 500 guineas for the group which depicts Shakespeare, reclining against a rock, between the Dramatic Muse and the Genius of Painting.
[Ref: 8426] £130.00 (£156.00 incl.VAT)
St. Ann's Garrison and the Savannah, Barbados, looking towards the Line Barracks. This Print is respectfully dedicated by Permission to his Excellency Lieut. General Wood, C.B. & K.H. By his obedient Servant W.H. Freeman, M.D. Barbados.
E. Walker, Lith. from a Daguerrotype by W.H. Freeman, M.D. Nov.r 1853. Day & Son, Lith.rs to the Queen.
London, Published by Day & Son, Lithographers to the Queen, 17, Gate Street, Lincoln's Inn Fields... And by Israel Bowen, Barbados. [n.d., c.1853.]
A large and rare lithograph with original hand colour. Sheet 500 x 660mm (19¾ x 26"). The image laid on card as issued.
The garrison of St Ann's Fort on parade, with crowds of onlookers and a military band. The scene was taken from a daguerrotype (the first commercially successful photographic process) by Dr W.H. Freeman, the Physician in Attendance at Government House, a pair to 'Looking towards the Barracks'.
[Ref: 46553] £2,200.00
E. Walker, Lith. from a Daguerrotype by W.H. Freeman, M.D. Nov.r 1853. Day & Son, Lith.rs to the Queen.
London, Published by Day & Son, Lithographers to the Queen, 17, Gate Street, Lincoln's Inn Fields... And by Israel Bowen, Barbados. [n.d., c.1853.]
A large and rare lithograph with original hand colour. Sheet 500 x 660mm (19¾ x 26"). The image laid on card as issued.
The garrison of St Ann's Fort on parade, with crowds of onlookers and a military band. The scene was taken from a daguerrotype (the first commercially successful photographic process) by Dr W.H. Freeman, the Physician in Attendance at Government House, a pair to 'Looking towards the Barracks'.
[Ref: 46553] £2,200.00