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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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![[Life of Aesop: Aesop convicting his fellow servants of having eaten the figs.]](jpegs/48708.jpg)
[Life of Aesop: Aesop convicting his fellow servants of having eaten the figs.] [So thrive false witnesses...]
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop, having beeen accused of eating his master's figs, has vomited to show he had eaten nothing, then insists his accusers do the same, proving their guilt. Plate 1 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.235, described as a proof state.
[Ref: 48708] £95.00 (£114.00 incl.VAT)
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop, having beeen accused of eating his master's figs, has vomited to show he had eaten nothing, then insists his accusers do the same, proving their guilt. Plate 1 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.235, described as a proof state.
[Ref: 48708] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop resolving the gardener's problem.]](jpegs/48712.jpg)
[Life of Aesop: Aesop resolving the gardener's problem.] [No more you learned fops...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
A gardener asks of Xanthus why his cultivated herbs did not grow as well as wild ones. Aesop replied that Mother Nature regarded them as step-children rather than her own. Plate 7 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.241, described as a proof state.
[Ref: 48712] £110.00 (£132.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
A gardener asks of Xanthus why his cultivated herbs did not grow as well as wild ones. Aesop replied that Mother Nature regarded them as step-children rather than her own. Plate 7 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.241, described as a proof state.
[Ref: 48712] £110.00 (£132.00 incl.VAT)
![[Life of Aesop: Aesop ordered by Xanthus to take a dish to her that loves him best.]](jpegs/48699.jpg)
[Life of Aesop: Aesop ordered by Xanthus to take a dish to her that loves him best.] [A Wife, or Dog, as certaine reasons prove...]
Tho: Dudley fecit 1678 [after Francis Barlow].
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Xanthus, Aesop's master, hands a dish of meat to Aesop, expecting him to give it to his wife. However Aesop gives in to a dog, seen in the background. Top right are musicians in a gallery Plate 8 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.243, described as a proof state.
[Ref: 48699] £95.00 (£114.00 incl.VAT)
Tho: Dudley fecit 1678 [after Francis Barlow].
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Xanthus, Aesop's master, hands a dish of meat to Aesop, expecting him to give it to his wife. However Aesop gives in to a dog, seen in the background. Top right are musicians in a gallery Plate 8 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.243, described as a proof state.
[Ref: 48699] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop serving tongues.]](jpegs/48715.jpg)
[Life of Aesop: Aesop serving tongues.] [The maryed men afronted at the jest...]
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop, ordered to serve a dinner of the best, serves up tongues at every course to Xanthus and his guests. When confronted, Aesop replies ''What excels the tongue? It is the great channel of learning and philosophy''. Plate 10 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.252, described as a proof state.
[Ref: 48715] £95.00 (£114.00 incl.VAT)
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop, ordered to serve a dinner of the best, serves up tongues at every course to Xanthus and his guests. When confronted, Aesop replies ''What excels the tongue? It is the great channel of learning and philosophy''. Plate 10 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.252, described as a proof state.
[Ref: 48715] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop taken to prison.]](jpegs/48710.jpg)
[Life of Aesop: Aesop taken to prison.] [How vaine are mens designes...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Having found treasure for Xanthus, Xanthus still orders Aesop to be imprisoned. Aesop complains of the bad faith and is released. Plate 14 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.247, described as a proof state.
[Ref: 48710] £95.00 (£114.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Having found treasure for Xanthus, Xanthus still orders Aesop to be imprisoned. Aesop complains of the bad faith and is released. Plate 14 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.247, described as a proof state.
[Ref: 48710] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Beaten by Xanthus.] [Philosophers like Fortune-tellers thrive,](jpegs/48698.jpg)
[Life of Aesop: Beaten by Xanthus.] [Philosophers like Fortune-tellers thrive, / Those by false notions, these false flateries live, / And those as oft true vertue do mistake, / As these false auguries, and predictions make.]
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 200 x 165mm (8 x 6½"). Trimmed within plate, mounted on album paper.
Aesop as a slave on Samos, being beaten by his owner Xanthus for saying he had seen two crows, when only one was in sight. Plate 16 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.249, described as a proof state.
[Ref: 48698] £95.00 (£114.00 incl.VAT)
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 200 x 165mm (8 x 6½"). Trimmed within plate, mounted on album paper.
Aesop as a slave on Samos, being beaten by his owner Xanthus for saying he had seen two crows, when only one was in sight. Plate 16 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.249, described as a proof state.
[Ref: 48698] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop interpreting an inscription on a tomb, thereby discovering a treasure.]](jpegs/48704.jpg)
[Life of Aesop: Aesop interpreting an inscription on a tomb, thereby discovering a treasure.] [How poore is man whom sordid interest sways...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop agrees to decypher an inscription and find the treasure in return for his freedom. After he digs it up, Xanthus reneges, but Aesop tricks him into giving Aesop half the trove. Plate 19 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.250, described as a proof state.
[Ref: 48704] £95.00 (£114.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop agrees to decypher an inscription and find the treasure in return for his freedom. After he digs it up, Xanthus reneges, but Aesop tricks him into giving Aesop half the trove. Plate 19 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.250, described as a proof state.
[Ref: 48704] £95.00 (£114.00 incl.VAT)
Unfortunately this item is either sold or reserved. If you are interested in similar items and cannot find what you're looking for on our website, please consider filling in our interests form. If you register, we can also send you items that match your interests when the website is updated.
![[Life of Aesop: Aesop interpreting to the Samians the portent of the eagle and the public ring.]](jpegs/48709.jpg)
[Life of Aesop: Aesop interpreting to the Samians the portent of the eagle and the public ring.] [In vaine the learned do their knowledge boast...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop agrees to decypher a portent and, in doing so, forces his master Xanthus to give him his freedom. Plate 20 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.251, described as a proof state.
[Ref: 48709] £95.00 (£114.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop agrees to decypher a portent and, in doing so, forces his master Xanthus to give him his freedom. Plate 20 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.251, described as a proof state.
[Ref: 48709] £95.00 (£114.00 incl.VAT)
Unfortunately this item is either sold or reserved. If you are interested in similar items and cannot find what you're looking for on our website, please consider filling in our interests form. If you register, we can also send you items that match your interests when the website is updated.
![[Life of Aesop: Aesop kneeling before king Croesus.]](jpegs/48714.jpg)
[Life of Aesop: Aesop kneeling before king Croesus.] [Of all the graces, Heaven in man designd...]
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop negotiates with Croesus to prevent war between Lydia and Samos. Plate 21 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.252, described as a proof state.
[Ref: 48714] £95.00 (£114.00 incl.VAT)
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop negotiates with Croesus to prevent war between Lydia and Samos. Plate 21 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life" (1687), to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.252, described as a proof state.
[Ref: 48714] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop welcomed on his return to Samos from the court of Lydia.]](jpegs/48707.jpg)
[Life of Aesop: Aesop welcomed on his return to Samos from the court of Lydia.] [When eloquence the stubborn powers assailes...]
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, small tear, mounted on album paper.
Aesop, having negotiated peace with his former master Xanthus of Lydia, steps off a boat with an olive branch in his hand, and is welcomed by the rulers of Samos, with a band of horns and trumpets. Plate 22 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.259, described as a proof state.
[Ref: 48707] £110.00 (£132.00 incl.VAT)
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, small tear, mounted on album paper.
Aesop, having negotiated peace with his former master Xanthus of Lydia, steps off a boat with an olive branch in his hand, and is welcomed by the rulers of Samos, with a band of horns and trumpets. Plate 22 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.259, described as a proof state.
[Ref: 48707] £110.00 (£132.00 incl.VAT)
![[Life of Aesop: Aesop falsely accused by Eunus, his adopted son.]](jpegs/48713.jpg)
[Life of Aesop: Aesop falsely accused by Eunus, his adopted son.] [To what vast heights had Aesop's glory run...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Eunus had forged letters, apparently from Aesop offering his services to foreign kings. Aesop is condemned to death and Ennus is given Aesop's estates as a reward. Plate 23 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.241, described as a proof state.
[Ref: 48713] £95.00 (£114.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Eunus had forged letters, apparently from Aesop offering his services to foreign kings. Aesop is condemned to death and Ennus is given Aesop's estates as a reward. Plate 23 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.241, described as a proof state.
[Ref: 48713] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop in the sepulchre fed by Hermippus.]](jpegs/48701.jpg)
[Life of Aesop: Aesop in the sepulchre fed by Hermippus.] [So pitied falls the innocent accused...]
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Eunus, Aesop's adopted son, forged papers that inplicated Aesop in treason. King Lycerus ordered Hermippus to put Aesop to death, but instead he hid Aesop until he was reprieved. Plate 24 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.255, described as a proof state.
[Ref: 48701] £95.00 (£114.00 incl.VAT)
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Eunus, Aesop's adopted son, forged papers that inplicated Aesop in treason. King Lycerus ordered Hermippus to put Aesop to death, but instead he hid Aesop until he was reprieved. Plate 24 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.255, described as a proof state.
[Ref: 48701] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Eunus confronted by Aesop.]](jpegs/48700.jpg)
[Life of Aesop: Eunus confronted by Aesop.] [Ungrateful Eunus how could you betray...]
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Eunus, Aesop's adopted son, forged papers that inplicated Aesop in treason. When Aesop is vindicated, Ennus is condemned to death, but Aesop intercedes oh his behalf and re-adopts him. However, shamed, Eunus can be seen flinging himself from a cliff behind. Plate 26 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.257, described as a proof state.
[Ref: 48700] £95.00 (£114.00 incl.VAT)
[Etched by Thomas Dudley after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Eunus, Aesop's adopted son, forged papers that inplicated Aesop in treason. When Aesop is vindicated, Ennus is condemned to death, but Aesop intercedes oh his behalf and re-adopts him. However, shamed, Eunus can be seen flinging himself from a cliff behind. Plate 26 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.257, described as a proof state.
[Ref: 48700] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop with King Nectenabo, king of Egypt.]](jpegs/48711.jpg)
[Life of Aesop: Aesop with King Nectenabo, king of Egypt.] [How vaine are mens designes...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Nectenabo challenged Xanthus to build a tower that touches neither earth nor heaven. Aesop trains eagles to carry children in baskets, travels to Egypt and tells Nectenabo they are the workmen for the tower and requests Nectenabo send the building materials to them. Nectenabo replies he has no men that can fly and admits defeat. Plate 27 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.258, described as a proof state.
[Ref: 48711] £120.00 (£144.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Nectenabo challenged Xanthus to build a tower that touches neither earth nor heaven. Aesop trains eagles to carry children in baskets, travels to Egypt and tells Nectenabo they are the workmen for the tower and requests Nectenabo send the building materials to them. Nectenabo replies he has no men that can fly and admits defeat. Plate 27 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.258, described as a proof state.
[Ref: 48711] £120.00 (£144.00 incl.VAT)
![[Life of Aesop: the death of Aesop.]](jpegs/48706.jpg)
[Life of Aesop: the death of Aesop.] [Reader reflect upon this scene of woe...]
T D [Thomas Dudley] fecit [after Francis Barlow].
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop, on a diplomatic mission to Delphi from King Croesus of Lydia, was sentenced to death on a trumped-up charge of temple theft, and is thrown from a cliff. Plate 30 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.259, described as a proof state.
[Ref: 48706] £95.00 (£114.00 incl.VAT)
T D [Thomas Dudley] fecit [after Francis Barlow].
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop, on a diplomatic mission to Delphi from King Croesus of Lydia, was sentenced to death on a trumped-up charge of temple theft, and is thrown from a cliff. Plate 30 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.259, described as a proof state.
[Ref: 48706] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop bought by the philosopher Xanthus.]](jpegs/48702.jpg)
[Life of Aesop: Aesop bought by the philosopher Xanthus.] [How poore's the price...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop bought in a slave market. Plate 5 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.239, described as a proof state.
[Ref: 48702] £95.00 (£114.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper.
Aesop bought in a slave market. Plate 5 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.239, described as a proof state.
[Ref: 48702] £95.00 (£114.00 incl.VAT)
![[Life of Aesop: Aesop passing the house of the father of Xanthus's wife.]](jpegs/48703.jpg)
[Life of Aesop: Aesop passing the house of the father of Xanthus's wife.] [Insulting women while their slaves obey...]
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper. Letterpress overprinting.
Having caused Xanthus's wife to leave him, Aesop stands outside her father's house telling a servant that Xanthus would be celebrating his second marriage the following day, the wife listening. She soon rushed home. Plate 9 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.242, described as a proof state.
[Ref: 48703] £95.00 (£114.00 incl.VAT)
Tho: Dudley fecit [after Francis Barlow.]
[Amsterdam: Etiènne Roger, 1714.]
Proof etching. Sheet 205 x 165mm (8 x 6½") Trimmed within plate, mounted on album paper. Letterpress overprinting.
Having caused Xanthus's wife to leave him, Aesop stands outside her father's house telling a servant that Xanthus would be celebrating his second marriage the following day, the wife listening. She soon rushed home. Plate 9 of thirty-one illustrations added to the second edition of Barlow's "Æsop's Fables, With His Life", to illustrate the translation of Planudes's Life of Aesop, which was unillustrated in the first edition of 1666. This example comes from an Amsterdam edition, 'Les Fables d'Esope', with the printing plate trimmed down. All of the plates were designed by Barlow: they were etched c.1678-9, only five by Barlow; the rest, including this one, by Thomas Dudley. Originally the plate extended down with a title verse (possibly written by Aphra Behn, who wrote new verses for the fables), but for this non-English edition the verse was trimmed off and new borders engraved. Little is known of Dudley: on one plate of this series he signed himself as a student of Wenceslaus Hollar; and in 1679 he went to Lisbon, where he is known to have made further prints, and he is not supposed to have returned to England thereafter. He etched some portraits but these prints after Barlow are his most important work.
BM: 1871,0812.242, described as a proof state.
[Ref: 48703] £95.00 (£114.00 incl.VAT)
![Ahoy [in pencil]](jpegs/62508.jpg)
Ahoy [in pencil]
Nat. Long. [in image and signed in pencil]
[n.d., c.1920.]
Very fine etching, titled and signed by the artist. Limited edition numbered 3 of 75. Plate 200 x 265mm (8 x 10½"), with mint, uncut margins.
A nude woman waves a towel from the sands of a wet beach. Nathaniel Long (1893-1955), book and magazine illustrator and printmaker who specialized in eroticised female etching. In 1948 he illustrated editions of both 'Tom Brown's Schooldays' and 'The Coral Island'.
Provenance: From the Artist's Studio.
[Ref: 62508] £360.00
Nat. Long. [in image and signed in pencil]
[n.d., c.1920.]
Very fine etching, titled and signed by the artist. Limited edition numbered 3 of 75. Plate 200 x 265mm (8 x 10½"), with mint, uncut margins.
A nude woman waves a towel from the sands of a wet beach. Nathaniel Long (1893-1955), book and magazine illustrator and printmaker who specialized in eroticised female etching. In 1948 he illustrated editions of both 'Tom Brown's Schooldays' and 'The Coral Island'.
Provenance: From the Artist's Studio.
[Ref: 62508] £360.00
![Bathers [in pencil]](jpegs/62506.jpg)
Bathers [in pencil]
Nat. Long. [in image and signed in pencil]
[n.d., c.1920.]
Very fine etching, titled and signed by the artist. Plate 200 x 265mm (8 x 10½"), with mint, uncut margins.
Two women in a rowing boat. One is fully nude about to dive into the water while the other holds the oars. Nathaniel Long (1893-1955), book and magazine illustrator and printmaker who specialized in eroticised female etching. In 1948 he illustrated editions of both 'Tom Brown's Schooldays' and 'The Coral Island'.
Provenance: From the Artist's Studio.
[Ref: 62506] £380.00
Nat. Long. [in image and signed in pencil]
[n.d., c.1920.]
Very fine etching, titled and signed by the artist. Plate 200 x 265mm (8 x 10½"), with mint, uncut margins.
Two women in a rowing boat. One is fully nude about to dive into the water while the other holds the oars. Nathaniel Long (1893-1955), book and magazine illustrator and printmaker who specialized in eroticised female etching. In 1948 he illustrated editions of both 'Tom Brown's Schooldays' and 'The Coral Island'.
Provenance: From the Artist's Studio.
[Ref: 62506] £380.00
![[Bathers by a Pool.] No. 5.](jpegs/47759.jpg)
[Bathers by a Pool.] No. 5.
Peint d'après nature et lithographié par C. Bargue. Imprimé par Becquet frères, à Paris.
[n.d., c.1850.]
Hand-coloured lithograph. Sheet: 335 x 280mm (13¼ x 11"). Trimmed.
A bathing scene in which two women prepare to bathe in a pool.
[Ref: 47759] £140.00 (£168.00 incl.VAT)
Peint d'après nature et lithographié par C. Bargue. Imprimé par Becquet frères, à Paris.
[n.d., c.1850.]
Hand-coloured lithograph. Sheet: 335 x 280mm (13¼ x 11"). Trimmed.
A bathing scene in which two women prepare to bathe in a pool.
[Ref: 47759] £140.00 (£168.00 incl.VAT)
Caricature Parisienne. Les Bains des Grâces et des Maigres [The Bath of the Graces and the Thin Ones]. [&] Le Bain a la Papa [Papa's Bath].
A Paris, chez Martinet Libraire, Rue du Coq St. Honore. [1815.]
Pair of hand coloured etchings, each c.245 x 325mm. 9¾ x 12¾". Fine impressions on full sheets.
Social satire; the interiors of an all-female and all-male Parisian bath house, each with their array of caricatured patrons. For the series 'Caricature Parisienne' by Aaron Martinet (1762 - 1841).
BM Satires: 12352.
[Ref: 14008] £580.00 view all images for this item
A Paris, chez Martinet Libraire, Rue du Coq St. Honore. [1815.]
Pair of hand coloured etchings, each c.245 x 325mm. 9¾ x 12¾". Fine impressions on full sheets.
Social satire; the interiors of an all-female and all-male Parisian bath house, each with their array of caricatured patrons. For the series 'Caricature Parisienne' by Aaron Martinet (1762 - 1841).
BM Satires: 12352.
[Ref: 14008] £580.00 view all images for this item
Richard Van Bleeck, Pictor.
Si. Ipse pinxit, 1753. P. Van Bleeck jun.r fec.t 1735.
1735.
Mezzotint. Very fine impression. Platemark: 350 x 250mm (13¾ x 9¾").
After a self-portrait by Dutch Golden Age painter Richard Van Bleeck (1670 - 1748), three-quarter length, sitting at a table to right, looking towards the viewer, gesturing with left hand towards a palette on the table. A large nude torso is seen behind, half obscured by a curtain.
Chaloner Smith. 10.II
[Ref: 39398] £360.00
Si. Ipse pinxit, 1753. P. Van Bleeck jun.r fec.t 1735.
1735.
Mezzotint. Very fine impression. Platemark: 350 x 250mm (13¾ x 9¾").
After a self-portrait by Dutch Golden Age painter Richard Van Bleeck (1670 - 1748), three-quarter length, sitting at a table to right, looking towards the viewer, gesturing with left hand towards a palette on the table. A large nude torso is seen behind, half obscured by a curtain.
Chaloner Smith. 10.II
[Ref: 39398] £360.00
Bono Eventui.
Fran. Bartolozzi sculp.
[Padova, 1752.]
Etching and engraving, very fine. 140 x 108mm. 5½ x 4¼". Large margins, very slight foxing.
A nude man placing an object on a pedestal. From: "Della Letteratura Italiana, de M. Foscarini, Padova, 1752. Cinq médailles entourées de cadres formés de dauphins, rubans, branches d'arbres, etc".
De Vesme: 1454 II of II..
[Ref: 20602] £220.00 (£264.00 incl.VAT)
Fran. Bartolozzi sculp.
[Padova, 1752.]
Etching and engraving, very fine. 140 x 108mm. 5½ x 4¼". Large margins, very slight foxing.
A nude man placing an object on a pedestal. From: "Della Letteratura Italiana, de M. Foscarini, Padova, 1752. Cinq médailles entourées de cadres formés de dauphins, rubans, branches d'arbres, etc".
De Vesme: 1454 II of II..
[Ref: 20602] £220.00 (£264.00 incl.VAT)
Les Sylphides. La Conversation. Two Bosom Friends!
Peint d'après nature et Lithographié par C. Bargue. Imprimé par Becquet frères, a Paris.
Paris, F. Sinnett, éditeur, Rotonde Colbert, 10. London, F. Gambart& Co. 25 Berners St. Oxf. St.
Coloured lithograph. Sheet: 420 x 310mm (16½ x 12"), with large margins. Light toning on edges.
A scene in which two nude women recline in conversation by a pond.
[Ref: 47345] £230.00 (£276.00 incl.VAT)
Peint d'après nature et Lithographié par C. Bargue. Imprimé par Becquet frères, a Paris.
Paris, F. Sinnett, éditeur, Rotonde Colbert, 10. London, F. Gambart& Co. 25 Berners St. Oxf. St.
Coloured lithograph. Sheet: 420 x 310mm (16½ x 12"), with large margins. Light toning on edges.
A scene in which two nude women recline in conversation by a pond.
[Ref: 47345] £230.00 (£276.00 incl.VAT)
Canova.
Maurin. Imp. lithog. de Chambert, rue Cassette Nº 2.
[n.d., c.1830.]
Tinted lithograph. Printed area 290 x 240mm (11½ x 9½"), with large margins. Slight foxing in margins.
Antonio Canova (1757-1822), Italian sculptor who was the most innovative and widely-acclaimed practitioner of the neo-classical style. He was made famous by his marble sculptures rendering the delicate touch of the nude flesh. Being neo-classical, his work marked a return to the classical perfection and fine art after the excessive extravagance of the Baroque era.
[Ref: 63182] £180.00 (£216.00 incl.VAT)
Maurin. Imp. lithog. de Chambert, rue Cassette Nº 2.
[n.d., c.1830.]
Tinted lithograph. Printed area 290 x 240mm (11½ x 9½"), with large margins. Slight foxing in margins.
Antonio Canova (1757-1822), Italian sculptor who was the most innovative and widely-acclaimed practitioner of the neo-classical style. He was made famous by his marble sculptures rendering the delicate touch of the nude flesh. Being neo-classical, his work marked a return to the classical perfection and fine art after the excessive extravagance of the Baroque era.
[Ref: 63182] £180.00 (£216.00 incl.VAT)
Antonio Canova.
Engraved by Thomson
Published by Henry Fisher, Caxton, London, Oct.r 1 1823.
Stipple, platemark 220 x 135mm (8½ x 5¾"). Small margins.
Antonio Canova (1757-1822), Italian sculptor who was the most innovative and widely-acclaimed practitioner of the neo-classical style. He was made famous by his marble sculptures rendering the delicate touch of the nude flesh. Being neo-classical, his work marked a return to the classical perfection and fine art after the excessive extravagance of the Baroque era.
[Ref: 41416] £65.00 (£78.00 incl.VAT)
Engraved by Thomson
Published by Henry Fisher, Caxton, London, Oct.r 1 1823.
Stipple, platemark 220 x 135mm (8½ x 5¾"). Small margins.
Antonio Canova (1757-1822), Italian sculptor who was the most innovative and widely-acclaimed practitioner of the neo-classical style. He was made famous by his marble sculptures rendering the delicate touch of the nude flesh. Being neo-classical, his work marked a return to the classical perfection and fine art after the excessive extravagance of the Baroque era.
[Ref: 41416] £65.00 (£78.00 incl.VAT)
![Antonio Canova. [Facsimile signature.]](jpegs/13593.jpg)
Antonio Canova. [Facsimile signature.]
F.X. Fabre pinxit. W.H. Worthington sculp.
Published by Septimus Prowett, 269 Strand. [n.d., c.1830.]
Engraving on india laid paper, 340 x 230mm. 13½ x 9". Slightly foxed.
Antonio Canova (1757 - 1822) admiring one of his creations in his studio. Canova was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical sculptor, his work marked a return to classical refinement after the theatrical excesses of Baroque art. After François Xavier Fabre (1766 - 1837).
[Ref: 13593] £160.00 (£192.00 incl.VAT)
F.X. Fabre pinxit. W.H. Worthington sculp.
Published by Septimus Prowett, 269 Strand. [n.d., c.1830.]
Engraving on india laid paper, 340 x 230mm. 13½ x 9". Slightly foxed.
Antonio Canova (1757 - 1822) admiring one of his creations in his studio. Canova was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical sculptor, his work marked a return to classical refinement after the theatrical excesses of Baroque art. After François Xavier Fabre (1766 - 1837).
[Ref: 13593] £160.00 (£192.00 incl.VAT)
![[Fresco with a Woman holding a Peacock and Chameleon.]](jpegs/42042.jpg)
[Fresco with a Woman holding a Peacock and Chameleon.]
[n.d., c.1750.]
Etching. Sheet: 200 x 320mm (8 x 12½").
An etching of a fresco set above an arch in which a semi-nude figure holds a peacock to her with one hand and holds a chameleon in her other outstretched hand.
[Ref: 42042] £75.00 (£90.00 incl.VAT)
[n.d., c.1750.]
Etching. Sheet: 200 x 320mm (8 x 12½").
An etching of a fresco set above an arch in which a semi-nude figure holds a peacock to her with one hand and holds a chameleon in her other outstretched hand.
[Ref: 42042] £75.00 (£90.00 incl.VAT)
![[The Athlete; a classical cameo] XXXV.](jpegs/21168.jpg)
[The Athlete; a classical cameo] XXXV.
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching on india paper, 250 x 185mm. 9¾ x 7¼". Light spotting; a fine impression, with margins.
Nude young male figure with inscription and table with jar; in an oval design. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2292. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21168] £130.00 (£156.00 incl.VAT)
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching on india paper, 250 x 185mm. 9¾ x 7¼". Light spotting; a fine impression, with margins.
Nude young male figure with inscription and table with jar; in an oval design. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2292. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21168] £130.00 (£156.00 incl.VAT)
![[Classical sculpture: a nude warrior seated on the ground surrounded by his armour, weapon and shields.]](jpegs/15794.jpg)
[Classical sculpture: a nude warrior seated on the ground surrounded by his armour, weapon and shields.] Tire du Cabinet de Mr. Denon.
[French, c.1820.]
Rare lithograph, sheet 275 x 265mm. 10¾ x 10½". Cut, repaired damage at top.
Unidentified sculpture from the collection of Dominique Vivant, Baron de Denon (1747-1825), French artist, writer, diplomat, author, and archaeologist. From a series of antiquities depicted by the printmaker and painter Pierre Bouillon (1776-1831). Bouillon, from Thiviers, was joint winner of the prestigious Prix de Rome in 1797 with his painting 'Death of Cato the Younger'.
[Ref: 15794] £230.00 (£276.00 incl.VAT)
[French, c.1820.]
Rare lithograph, sheet 275 x 265mm. 10¾ x 10½". Cut, repaired damage at top.
Unidentified sculpture from the collection of Dominique Vivant, Baron de Denon (1747-1825), French artist, writer, diplomat, author, and archaeologist. From a series of antiquities depicted by the printmaker and painter Pierre Bouillon (1776-1831). Bouillon, from Thiviers, was joint winner of the prestigious Prix de Rome in 1797 with his painting 'Death of Cato the Younger'.
[Ref: 15794] £230.00 (£276.00 incl.VAT)
![[William Cobbett] The Porcupine's Den.](jpegs/62417.jpg)
[William Cobbett] The Porcupine's Den.
[Samuel De Wilde]
Published for the Satirist Nov.r 1.st 1808 by S. Tipper 37 Leadenhall Street.
Etching, sheet 205 x 360mm (8 x 14"). Trimmed within plate on three sides. Holes in right margin where previously bound. Folds as issued. Small tears in folds.
Plate from the Satirist, iii. 337. Crouching on the floor of his cave is William Cobbett (1763-1835), a monster whose bare trunk ends in two scaly snake tails. Spikes sprout from behind his head and shoulders, meant for a porcupine's quills. A few of them dart toward a cave opening where Cobbett is exposed to sunlight through a sun-inscribed "Monthly Meteor." Holding up a quill, he flinches in fear and raises a "Veil of Infamy" with his left hand. Above an open book, the words "Memoranda of Infamy" are suspended. The quills take off in the direction of the "Monthly Meteor," but they fall back when they get to the cave's opening. The words "Rage," "Lies," "Vulgar," "Abuse," "Envy," "Lies," "Disappointment," and "Malice" are inscribed on them. John Horne Tooke (1736-1812) and Sir Francis Burdett, 5th Baronet (1770-1844) are the two other monsters on the right side of the cave. They are slender, nude animals with webbed wings, a tail, and talons. They have an open book with the words "Cobbetts Register 1802 - Sr F Burdett a Seditious Demagogue, Mr Pitt a God, Horne Tooke a Devil, Loyalty, England Happy" written on it, and they are pushing it over a large bonnet rouge that reads "Jacobin's Extinguisher." Rays from the "Monthly Meteor" strike Burdett. Two open books stand in front of Cobbett: 'Cobbetts Register 1807 - Sr F Burdett a God. Mr Pitt a Devil. Horne Tooke an Angel. Sedition England at her last Gasp.' and 'Instructions from Lord Edward Fitzgerald.'
BM Satires 11049.
[Ref: 62417] £190.00 (£228.00 incl.VAT)
[Samuel De Wilde]
Published for the Satirist Nov.r 1.st 1808 by S. Tipper 37 Leadenhall Street.
Etching, sheet 205 x 360mm (8 x 14"). Trimmed within plate on three sides. Holes in right margin where previously bound. Folds as issued. Small tears in folds.
Plate from the Satirist, iii. 337. Crouching on the floor of his cave is William Cobbett (1763-1835), a monster whose bare trunk ends in two scaly snake tails. Spikes sprout from behind his head and shoulders, meant for a porcupine's quills. A few of them dart toward a cave opening where Cobbett is exposed to sunlight through a sun-inscribed "Monthly Meteor." Holding up a quill, he flinches in fear and raises a "Veil of Infamy" with his left hand. Above an open book, the words "Memoranda of Infamy" are suspended. The quills take off in the direction of the "Monthly Meteor," but they fall back when they get to the cave's opening. The words "Rage," "Lies," "Vulgar," "Abuse," "Envy," "Lies," "Disappointment," and "Malice" are inscribed on them. John Horne Tooke (1736-1812) and Sir Francis Burdett, 5th Baronet (1770-1844) are the two other monsters on the right side of the cave. They are slender, nude animals with webbed wings, a tail, and talons. They have an open book with the words "Cobbetts Register 1802 - Sr F Burdett a Seditious Demagogue, Mr Pitt a God, Horne Tooke a Devil, Loyalty, England Happy" written on it, and they are pushing it over a large bonnet rouge that reads "Jacobin's Extinguisher." Rays from the "Monthly Meteor" strike Burdett. Two open books stand in front of Cobbett: 'Cobbetts Register 1807 - Sr F Burdett a God. Mr Pitt a Devil. Horne Tooke an Angel. Sedition England at her last Gasp.' and 'Instructions from Lord Edward Fitzgerald.'
BM Satires 11049.
[Ref: 62417] £190.00 (£228.00 incl.VAT)
Cornaline Antique du Cabinet de Mr. Bourdaloue. Grand.r de la Pierre.
Eliz. Cheron L.H. delin et Sculp.
Cum Privilegio Regis. [n.d. c.1720.]
Engraving. Plate 127 x 102mm. 5 x 4". Large margins.
Two classical figures both with nude torso; a woman greeting her military man who stands holding a spear and wearing a helmet, whilst she rests her left foot on the decapitated head of another man. Plate 20 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25084] £70.00 (£84.00 incl.VAT)
Eliz. Cheron L.H. delin et Sculp.
Cum Privilegio Regis. [n.d. c.1720.]
Engraving. Plate 127 x 102mm. 5 x 4". Large margins.
Two classical figures both with nude torso; a woman greeting her military man who stands holding a spear and wearing a helmet, whilst she rests her left foot on the decapitated head of another man. Plate 20 from "Pierres Antiques Gravées Tirées des Principaux Cabinets de la France".
[Ref: 25084] £70.00 (£84.00 incl.VAT)
John Bull In The Council Chamber.
G. Cruikshank fec.t.
Pub.d July 1.st 1813 by W N Jones N.o5 Newgate Street.
Etching with hand colour, Whatman 1811 watermark; sheet 210 x 495mm (8¼ x 19½"). Trimmed within plate. Folds as issued. Some small tears in the folds. Right side ragged. Large repaired tear on left.
Plate from the 'Scourge', vi, frontispiece. In the center of the design, a caricatured Queen Charlotte (1744-1818) sits enthroned beneath a canopy. Her knees are spread wide, and she has one slender foot elevated on a cushioned stool, a coffer holding the "Hastings Diamond"; in her left hand she holds a sceptre topped with an eagle, and her left elbow rests on a bolster bearing the name "German Sausage," which is perched atop a large mound of greenery inside a receptacle labeled "Sauer Kraut." Perched on her feathered cap is a small crown. A lean, hideous courtier (left) kneels and offers her a box labelled 'Strasbu[rgh],' from which she takes snuff; another (right) stands with her knees bent and holds another box bearing the same inscription. Both sport feminine mob-caps, quasi-military attire with epaulets, and have grotesque comic profiles. Behind the first, a third, capless, holds out a jar of 'Strasbu[rgh]' snuff. Three small, hideous demons sprint forward from the left, each holding a box on their head that reads "Real Strasburg," "Princes Mixture," and "Irish Blaguard." A fourth moves forward from the right, carrying a massive jar of "Royal Strasburgh" atop his head. The Queen's festooned canopy is held up by terminal pillars topped with half-length representations of repulsive, nude hags resting their arms on a cluster of money bags bearing the words "1000" or "... 00." A serpent with fangs and fiery jaws is entwined around each, projecting the words "Pride Corruption" on the left and "Malice Hatered" on the right. "Am I not the Q—n?" she asks. I refuse to give up even the slightest bit of my authority—more Strasburgh there—present the reports to me." Robert Banks Jenkinson, 2nd Earl of Liverpool (1770-1828) is depicted on the left, his body covered in scales, his tail barbed, small horns growing from his forehead, cloven hooves, and an incorrectly placed star on his breast. He is holding out a paper with the words "Secret Inquiry" written on it and is making an exclamatory gesture with his extended arms. " May it please your — The precious Ore resists every Chemical attempt at deterioration— so the Virtue of injured Woman repels the touch of Slander & rises superior to its malevolence. I take Shame to myself at discomfiture—but the Princess is declared "Innocen!" Edward Law, 1st Baron Ellenborough (1750-1818) is seen behind Liverpool on the left, wearing a wig and a gown, and facing right with her fists clenched. "By Hell, I thought to shame the Rogues, but the d—d Brewer [Samuel Whitbread II (1764-1815), the Princess's champion] was too much for me," he says with a frown. "May it please your M—g—ty the Reports of the Physicians is admirably confused & equivocating & well calculated to meet the public eye!" bows Sir Henry Halford (1766-1844), who is positioned on the extreme left and has a huge, hooked nose. He holds a paper with the title "Medical monthly Report." The Regent (1762-1830) is pictured on the far right, sleeping in a cradle with the motto "Ich Dein" and three unkempt ostrich feathers on top. A decanter of "Curacoa" rests between his legs, and he is holding a doll meant for Isabella, Marchioness of Hertford (1760-1834) that has enormous breasts and a spikey crown. A ragged Irishman is seen in profile to the right, kneeling before the cradle and holding out a piece of paper titled "Catholic Claims." Wearing the Chancellor's wig and gown, John Scott, 1st Earl of Eldon (1751-1838) kneels beside the cradle, offering the child his arms in defense against the Irishman. "Pat, take it easy or you'll wake up the Royal Conscience, who is currently sound asleep." he says. "By St. Patrick, but there's no risk of upsetting it as long as your Lordship is its Keeper," Pat responds. John Bull is standing behind Pat, his hands up in shock and his legs arched. He looks to the left and cries, " Mercy on me what have we hear, Conscience asleep! on the one hand & the Manufacture of Reports on the other— Is this the way I am bubbled?!" As though he is standing in the opening of a cave, rocks surround him.
BM Satires 12066.
[Ref: 62415] £180.00 (£216.00 incl.VAT)
G. Cruikshank fec.t.
Pub.d July 1.st 1813 by W N Jones N.o5 Newgate Street.
Etching with hand colour, Whatman 1811 watermark; sheet 210 x 495mm (8¼ x 19½"). Trimmed within plate. Folds as issued. Some small tears in the folds. Right side ragged. Large repaired tear on left.
Plate from the 'Scourge', vi, frontispiece. In the center of the design, a caricatured Queen Charlotte (1744-1818) sits enthroned beneath a canopy. Her knees are spread wide, and she has one slender foot elevated on a cushioned stool, a coffer holding the "Hastings Diamond"; in her left hand she holds a sceptre topped with an eagle, and her left elbow rests on a bolster bearing the name "German Sausage," which is perched atop a large mound of greenery inside a receptacle labeled "Sauer Kraut." Perched on her feathered cap is a small crown. A lean, hideous courtier (left) kneels and offers her a box labelled 'Strasbu[rgh],' from which she takes snuff; another (right) stands with her knees bent and holds another box bearing the same inscription. Both sport feminine mob-caps, quasi-military attire with epaulets, and have grotesque comic profiles. Behind the first, a third, capless, holds out a jar of 'Strasbu[rgh]' snuff. Three small, hideous demons sprint forward from the left, each holding a box on their head that reads "Real Strasburg," "Princes Mixture," and "Irish Blaguard." A fourth moves forward from the right, carrying a massive jar of "Royal Strasburgh" atop his head. The Queen's festooned canopy is held up by terminal pillars topped with half-length representations of repulsive, nude hags resting their arms on a cluster of money bags bearing the words "1000" or "... 00." A serpent with fangs and fiery jaws is entwined around each, projecting the words "Pride Corruption" on the left and "Malice Hatered" on the right. "Am I not the Q—n?" she asks. I refuse to give up even the slightest bit of my authority—more Strasburgh there—present the reports to me." Robert Banks Jenkinson, 2nd Earl of Liverpool (1770-1828) is depicted on the left, his body covered in scales, his tail barbed, small horns growing from his forehead, cloven hooves, and an incorrectly placed star on his breast. He is holding out a paper with the words "Secret Inquiry" written on it and is making an exclamatory gesture with his extended arms. " May it please your — The precious Ore resists every Chemical attempt at deterioration— so the Virtue of injured Woman repels the touch of Slander & rises superior to its malevolence. I take Shame to myself at discomfiture—but the Princess is declared "Innocen!" Edward Law, 1st Baron Ellenborough (1750-1818) is seen behind Liverpool on the left, wearing a wig and a gown, and facing right with her fists clenched. "By Hell, I thought to shame the Rogues, but the d—d Brewer [Samuel Whitbread II (1764-1815), the Princess's champion] was too much for me," he says with a frown. "May it please your M—g—ty the Reports of the Physicians is admirably confused & equivocating & well calculated to meet the public eye!" bows Sir Henry Halford (1766-1844), who is positioned on the extreme left and has a huge, hooked nose. He holds a paper with the title "Medical monthly Report." The Regent (1762-1830) is pictured on the far right, sleeping in a cradle with the motto "Ich Dein" and three unkempt ostrich feathers on top. A decanter of "Curacoa" rests between his legs, and he is holding a doll meant for Isabella, Marchioness of Hertford (1760-1834) that has enormous breasts and a spikey crown. A ragged Irishman is seen in profile to the right, kneeling before the cradle and holding out a piece of paper titled "Catholic Claims." Wearing the Chancellor's wig and gown, John Scott, 1st Earl of Eldon (1751-1838) kneels beside the cradle, offering the child his arms in defense against the Irishman. "Pat, take it easy or you'll wake up the Royal Conscience, who is currently sound asleep." he says. "By St. Patrick, but there's no risk of upsetting it as long as your Lordship is its Keeper," Pat responds. John Bull is standing behind Pat, his hands up in shock and his legs arched. He looks to the left and cries, " Mercy on me what have we hear, Conscience asleep! on the one hand & the Manufacture of Reports on the other— Is this the way I am bubbled?!" As though he is standing in the opening of a cave, rocks surround him.
BM Satires 12066.
[Ref: 62415] £180.00 (£216.00 incl.VAT)
Lady Godiva and Peeping Tom of Coventry.
[n.d. c.1820.]
Engraving and etching, rare. 102 x 165mm (4 x 6½"). Laid on album sheet.
Lady Godiva, the 11th century Anglo-saxon noblewoman, who rode naked through the streets of Coventry in order to gain a remission of the oppressive taxation imposed by her husband on his tenants. The man seen at the window, was 'Peeping Tom' who after watching her ride was struck blind or dead.
[Ref: 28945] £50.00 (£60.00 incl.VAT)
[n.d. c.1820.]
Engraving and etching, rare. 102 x 165mm (4 x 6½"). Laid on album sheet.
Lady Godiva, the 11th century Anglo-saxon noblewoman, who rode naked through the streets of Coventry in order to gain a remission of the oppressive taxation imposed by her husband on his tenants. The man seen at the window, was 'Peeping Tom' who after watching her ride was struck blind or dead.
[Ref: 28945] £50.00 (£60.00 incl.VAT)
![[Reclining woman] No 602](jpegs/40358.jpg)
[Reclining woman] No 602
Joullain delin De Frenne Sculp [c.1750]
Rare crayon-manner printed in red, Collector's Mark verso; platemark 270 x 350mm (10½ x 13¾"), very large margins.
Attractive print in crayon-manner (a printmaking medium developed to reproduced the pastel drawings popular in the 18th century), probably after a drawing by François Joullain (1697-1778)
[Ref: 40358] £320.00
Joullain delin De Frenne Sculp [c.1750]
Rare crayon-manner printed in red, Collector's Mark verso; platemark 270 x 350mm (10½ x 13¾"), very large margins.
Attractive print in crayon-manner (a printmaking medium developed to reproduced the pastel drawings popular in the 18th century), probably after a drawing by François Joullain (1697-1778)
[Ref: 40358] £320.00
Cupid and Psyche.
Painted by Jn.o Hoppner Esq:r Portrait Painter to His Royal Highness the Prince of Wales. Engraved by Jn.o Young Engraver in Mezzotinto to His Royal Highness the Prince of Wales.
London, Published by Jn.o Young No 58 Upper Charlotte Street Rathbone Place Jan.y 1st. 1793.
Mezzotint, scratched letter proof. 565 x 435mm (22¼ x 17"). Small margins.
Romantic image showing Psyche asleep in a landscape, enveloped in vapour wafting from an open casket at her side, Cupid bending over her.
[Ref: 51164] £690.00
Painted by Jn.o Hoppner Esq:r Portrait Painter to His Royal Highness the Prince of Wales. Engraved by Jn.o Young Engraver in Mezzotinto to His Royal Highness the Prince of Wales.
London, Published by Jn.o Young No 58 Upper Charlotte Street Rathbone Place Jan.y 1st. 1793.
Mezzotint, scratched letter proof. 565 x 435mm (22¼ x 17"). Small margins.
Romantic image showing Psyche asleep in a landscape, enveloped in vapour wafting from an open casket at her side, Cupid bending over her.
[Ref: 51164] £690.00
![L'Amour Fait L'Offerande de son Coeur a Venus. [Cupid offering his heart to Venus.]](jpegs/17662.jpg)
L'Amour Fait L'Offerande de son Coeur a Venus. [Cupid offering his heart to Venus.]
[Anon., French, c.1800.]
Stipple with etching and aquatint, in fine hand colour. Framed. Image 235 x 160mm, 9¼ x 6¼". Unexamined out of frame.
Attractive scene from classical mythology; Cupid offers up a human heart to a nude Venus, who sit sin a landscape with flowing robes. The goddess gestures towards two winged putti behind, one of whom appears to be clutching some fruit(?); classical temple to background, scene also features dog and doves.
[Ref: 17662] £380.00
[Anon., French, c.1800.]
Stipple with etching and aquatint, in fine hand colour. Framed. Image 235 x 160mm, 9¼ x 6¼". Unexamined out of frame.
Attractive scene from classical mythology; Cupid offers up a human heart to a nude Venus, who sit sin a landscape with flowing robes. The goddess gestures towards two winged putti behind, one of whom appears to be clutching some fruit(?); classical temple to background, scene also features dog and doves.
[Ref: 17662] £380.00
Cupid's Bower.
London Published by S.W. Fores, 41 Piccadilly.
Stipple, 160 x 175mm. 6¼ x 7". 1823 watermark.
Very scarce erotic scene depicting cupid taking aim at a reclining woman.
[Ref: 14683] £280.00 (£336.00 incl.VAT)
London Published by S.W. Fores, 41 Piccadilly.
Stipple, 160 x 175mm. 6¼ x 7". 1823 watermark.
Very scarce erotic scene depicting cupid taking aim at a reclining woman.
[Ref: 14683] £280.00 (£336.00 incl.VAT)
![[Cymbeline] Imogen's Chamber.](jpegs/54204.jpg)
[Cymbeline] Imogen's Chamber. On her left breast a mole, cinque spotted...
Painted by W. Martin. Engraved by A. Zaffonato
Publish'd November 30th 1793 by A. Suntach.
Stipple, printed in brown. Sheet 230 x 250mm (9 x 9¾") Trimmed into plate top and bottom, thread margins at sides.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
[Ref: 54204] £260.00 (£312.00 incl.VAT)
Painted by W. Martin. Engraved by A. Zaffonato
Publish'd November 30th 1793 by A. Suntach.
Stipple, printed in brown. Sheet 230 x 250mm (9 x 9¾") Trimmed into plate top and bottom, thread margins at sides.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
[Ref: 54204] £260.00 (£312.00 incl.VAT)
![[Cymbeline] Imogen's Chamber.](jpegs/53334.jpg)
[Cymbeline] Imogen's Chamber. On her left breast a mole, cinque spotted...
W. Martin inv. et pinx. F. Bartolozzi sculps. 1786.
London, Publish'd June 21st; 1786 by W. Dickinson Engraver Bond Street.
Etching with stipple printed in reddish brown. 265 x 355mm (10½ x 14"). Thread margins, some creasing. Messy.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
De Vesme 1840, state iii of iii.
[Ref: 53334] £220.00 (£264.00 incl.VAT)
W. Martin inv. et pinx. F. Bartolozzi sculps. 1786.
London, Publish'd June 21st; 1786 by W. Dickinson Engraver Bond Street.
Etching with stipple printed in reddish brown. 265 x 355mm (10½ x 14"). Thread margins, some creasing. Messy.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
De Vesme 1840, state iii of iii.
[Ref: 53334] £220.00 (£264.00 incl.VAT)
![[Cymbeline] [Imogen's Chamber.](jpegs/53335.jpg)
[Cymbeline] [Imogen's Chamber. On her left breast a mole, cinque spotted...]
W. Martin inv. et pinx. F. Bartolozzi sculps. 1786.
London, Publish'd June 21st; 1786 by W. Dickinson Engraver Bond Street.
Very fine etching with stipple, proof before title, printed in brown. 265 x 355mm (10½ x 14"), with large margins.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
De Vesme 1840, state ii of iii.
[Ref: 53335] £450.00
W. Martin inv. et pinx. F. Bartolozzi sculps. 1786.
London, Publish'd June 21st; 1786 by W. Dickinson Engraver Bond Street.
Very fine etching with stipple, proof before title, printed in brown. 265 x 355mm (10½ x 14"), with large margins.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
De Vesme 1840, state ii of iii.
[Ref: 53335] £450.00
![The Dark Canoe [in pencil]](jpegs/62512.jpg)
The Dark Canoe [in pencil]
Nat. Long. [in image and signed in pencil]
[n.d., c.1920.]
Very fine etching, titled and signed by the artist. Plate 200 x 265mm (8 x 10½"), with mint, uncut margins.
A pair of naked women and their canoe. Nathaniel Long (1893-1955), book and magazine illustrator and printmaker who specialized in eroticised female etching. In 1948 he illustrated editions of both 'Tom Brown's Schooldays' and 'The Coral Island'.
Provenance: From the Artist's Studio.
[Ref: 62512] £420.00
Nat. Long. [in image and signed in pencil]
[n.d., c.1920.]
Very fine etching, titled and signed by the artist. Plate 200 x 265mm (8 x 10½"), with mint, uncut margins.
A pair of naked women and their canoe. Nathaniel Long (1893-1955), book and magazine illustrator and printmaker who specialized in eroticised female etching. In 1948 he illustrated editions of both 'Tom Brown's Schooldays' and 'The Coral Island'.
Provenance: From the Artist's Studio.
[Ref: 62512] £420.00
![[The delights of country life]](jpegs/45077.jpg)
[The delights of country life] Les délices de la vie champetres
Eisen Del. de G.t Sculp. [c.1770]
Fine engraving before margins cleaned, sheet 295 x 205mm (11½ x 8"). Trimmed to platemark; glued to album sheet at corners.
Two naked women frolic in a river. Engraving after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, Erasmus and La Fontaine.
[Ref: 45077] £320.00
Eisen Del. de G.t Sculp. [c.1770]
Fine engraving before margins cleaned, sheet 295 x 205mm (11½ x 8"). Trimmed to platemark; glued to album sheet at corners.
Two naked women frolic in a river. Engraving after a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, Erasmus and La Fontaine.
[Ref: 45077] £320.00
![[Cartouche with two women holding a vase of flowers.]](jpegs/24293.jpg)
[Cartouche with two women holding a vase of flowers.]
Stef. Della Bella in. fecit
F.L.D. Il Ciartres excud. Cum Privil. Regis Chris. [n.d., c.1646.]
Etching, platemark 233 x 182mm (9? x 7?"). Glued to backing sheet at three corners.
Plate ten from the 'Raccolta di varii cappricii et nove inventioni di cartelle et ornamenti', a set of eighteen etchings of cartouches by Stefano Della Bella (1610-64).
De Vesme/Massar: 1036.ii or iii
[Ref: 24293] £220.00 (£264.00 incl.VAT)
Stef. Della Bella in. fecit
F.L.D. Il Ciartres excud. Cum Privil. Regis Chris. [n.d., c.1646.]
Etching, platemark 233 x 182mm (9? x 7?"). Glued to backing sheet at three corners.
Plate ten from the 'Raccolta di varii cappricii et nove inventioni di cartelle et ornamenti', a set of eighteen etchings of cartouches by Stefano Della Bella (1610-64).
De Vesme/Massar: 1036.ii or iii
[Ref: 24293] £220.00 (£264.00 incl.VAT)
Eco A Madame Stamaty Son Fior Narciso Eco sonora io sono: To la bellezza, io l'armonia to dono.
Guido Head inv. e dipin. Agostino Tofanelli delin. Gio Folo incis. e vende in Roma. In segno di rispetto Giovanni Folo dedica.
Rome, [n.d. 1801].
Etching, open letter proof. 415 x 290mm (16¼ x 11½"), very large margins. Uncut. Foxing and creasing in the margins.
The nymph Echo by Agostino Tofanelli (1770-1834) and Giovanni Folo (1764-1836), after the oil painting 'Echo Flying from Narcissus' (1798) by Guy Head (1753-1800). As told by Ovid in Met III, Echo flees Narcissus' presence, humiliated and distraught, after he rejects her. The engravers have embellished Head's original composition with the addition of a figure in the background on the far bank on the water's edge, which is perhaps Narcissus.
From the Berkeley Collection, Spetchley Park.
[Ref: 54993] £320.00
Guido Head inv. e dipin. Agostino Tofanelli delin. Gio Folo incis. e vende in Roma. In segno di rispetto Giovanni Folo dedica.
Rome, [n.d. 1801].
Etching, open letter proof. 415 x 290mm (16¼ x 11½"), very large margins. Uncut. Foxing and creasing in the margins.
The nymph Echo by Agostino Tofanelli (1770-1834) and Giovanni Folo (1764-1836), after the oil painting 'Echo Flying from Narcissus' (1798) by Guy Head (1753-1800). As told by Ovid in Met III, Echo flees Narcissus' presence, humiliated and distraught, after he rejects her. The engravers have embellished Head's original composition with the addition of a figure in the background on the far bank on the water's edge, which is perhaps Narcissus.
From the Berkeley Collection, Spetchley Park.
[Ref: 54993] £320.00
Les Sylphides. L'Echo. The Echo.
Peint d’après nature et lithographié par C. Bargue. Imprimé par Becquet frères, à Paris.
[n.d. c.1860.]
Lithograph. 306 x 385mm. 12 x 15¼". Some scuffing. Cut.
Two young sylphs naked, one covering herself and bowing her head; the other paying a lute and gazing up into the sky. The scene is that of a garden at the side of a lake. Possible reference to the Les Sylphides the ballet of 1836 which had no particular plot but instead consisted of many white-clad slyphs, which is this image have removed their white coverings, dancing and playing in the moolight.
[Ref: 13940] £90.00 (£108.00 incl.VAT)
Peint d’après nature et lithographié par C. Bargue. Imprimé par Becquet frères, à Paris.
[n.d. c.1860.]
Lithograph. 306 x 385mm. 12 x 15¼". Some scuffing. Cut.
Two young sylphs naked, one covering herself and bowing her head; the other paying a lute and gazing up into the sky. The scene is that of a garden at the side of a lake. Possible reference to the Les Sylphides the ballet of 1836 which had no particular plot but instead consisted of many white-clad slyphs, which is this image have removed their white coverings, dancing and playing in the moolight.
[Ref: 13940] £90.00 (£108.00 incl.VAT)
![[Angle in the vault of the Sistine Chapel] Pio Septimo Pont. Opt. Max.](jpegs/22902.jpg)
[Angle in the vault of the Sistine Chapel] Pio Septimo Pont. Opt. Max. Eleazar Mathan Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello [in design] .
Ang. di Angelis del. Aloys. Cunego sculp. Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, laid on original album sheet, 405 x 585mm. 16 x 23", large margins. Some creasing.
Two figures from the Hebrew Bible: Eleazar (Elazar) was the second Kohen Gadol (High Priest), succeeding his father Aaron. He was a nephew of Moses. Nathan (fl. c.1000 BC) was a court prophet who lived in the time of King David and Queen Bathsheba. Dedication to Pope Pius VII to lower margin. From a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome.
[Ref: 22902] £230.00 (£276.00 incl.VAT)
Ang. di Angelis del. Aloys. Cunego sculp. Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, laid on original album sheet, 405 x 585mm. 16 x 23", large margins. Some creasing.
Two figures from the Hebrew Bible: Eleazar (Elazar) was the second Kohen Gadol (High Priest), succeeding his father Aaron. He was a nephew of Moses. Nathan (fl. c.1000 BC) was a court prophet who lived in the time of King David and Queen Bathsheba. Dedication to Pope Pius VII to lower margin. From a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome.
[Ref: 22902] £230.00 (£276.00 incl.VAT)
![[The Expulsion (from Paradise).]](jpegs/22885.jpg)
[The Expulsion (from Paradise).] Tulit Igitur Mulier de Fructu, et Comedit...
Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello. Dom. Cunego del. et sculp. Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, laid on original album sheet, 305 x 480mm. 12 x 19". A fine impression with full margins.
Two Latin biblical quotations from the Book of Genesis to lower margin, from a series of 37 plates published under the title 'La volta della Cappella Sistina' between 1772 and 1834 after the master painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome, by Domenico Cunego (Italian, 1727 - 1803).
See V&A DYCE.1655.
[Ref: 22885] £260.00 (£312.00 incl.VAT)
Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello. Dom. Cunego del. et sculp. Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, laid on original album sheet, 305 x 480mm. 12 x 19". A fine impression with full margins.
Two Latin biblical quotations from the Book of Genesis to lower margin, from a series of 37 plates published under the title 'La volta della Cappella Sistina' between 1772 and 1834 after the master painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome, by Domenico Cunego (Italian, 1727 - 1803).
See V&A DYCE.1655.
[Ref: 22885] £260.00 (£312.00 incl.VAT)
La colombe favorite. The favourite dove. Das saufte taübchen.
Joseph Felon inv. et lith.
London, E. Gambart & Co. 25 Berners S.t Oxf. St. Imp. F.ois Delarue.r Larrey, 8, Paris.
Coloured lithograph. Sheet: 415 x 300mm (16¼ x 12"), with large margins
A portrait of a nude woman, shown washing her feet in a pond while a dove sits on her shoulder.
[Ref: 47346] £230.00 (£276.00 incl.VAT)
Joseph Felon inv. et lith.
London, E. Gambart & Co. 25 Berners S.t Oxf. St. Imp. F.ois Delarue.r Larrey, 8, Paris.
Coloured lithograph. Sheet: 415 x 300mm (16¼ x 12"), with large margins
A portrait of a nude woman, shown washing her feet in a pond while a dove sits on her shoulder.
[Ref: 47346] £230.00 (£276.00 incl.VAT)
![[Female nude standing in a classical garden.]](jpegs/51963.jpg)
[Female nude standing in a classical garden.] 36.
J. Collet del. C. Grignon sculp.
London, Printed for Rob.t Sayer, No 53 Fleet Street as the Act directs 15 Dec.r 1770.
Etching, pt 18th century watermark. 200 x 140mm (8 x 5½"), very large margins.
Originally published in a set of six 'Studies of the Female Figure'.
[Ref: 51963] £130.00 (£156.00 incl.VAT)
J. Collet del. C. Grignon sculp.
London, Printed for Rob.t Sayer, No 53 Fleet Street as the Act directs 15 Dec.r 1770.
Etching, pt 18th century watermark. 200 x 140mm (8 x 5½"), very large margins.
Originally published in a set of six 'Studies of the Female Figure'.
[Ref: 51963] £130.00 (£156.00 incl.VAT)