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No. 5148. Play. Character.
No. 5148. Play. Character. Mr. Freemans Panto.
Hugo Baruch & Co. Commandit-Gesellschaft. Berlin - London. [n.d. c.1890.]
Watercolour with pen and ink on board. 380 x 191mm. 15 x 7½".
A young lady dressed in a chequered black and white dress with white ruffles and long arm length gloves. She holds a large cane with a black and white bow near the top. On her waist a broach joins a piece of flowing material from across her right should to a draping black banner to her left wrist with silver beads. A costume design by the large costumier company of Hugo Baruch & Co. for "Mr Freeman's Pantomime".
Ex Collection: Alec Clunes.
[Ref: 22700]   £260.00  
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John Campbell. Duke of Argyll & Greenwich &c.
John Campbell. Duke of Argyll & Greenwich &c. Hereditary Justice General of the Shire of Argyll, the Western Islands &c [...]
A. Ramsay pinx.t 1740. J. Faber fecit.
Mezzotint. Sheet 505 x 355mm (20¼ x 14"). Collector's mark on reverse: E.M.H. (Mrs. E. M. Hamilton). Trimmed to plate; small tear at bottom.
John Campbell (1680-1743), army officer and politician. Commissioner for negotiating Union with Scotland in 1705, Campbell served with distinction at Ramillies, Oudenard, Malplaquet and other battlefields in the War of the Spanish Succession. In 'the Fifteen', Argyll led the government army at Sheriffmuir and defeated the Jacobites led by the Earl of Mar. He was Master General of the Ordnance from 1725-1740 and was promoted to Field Marshal in 1736. In 1742, a year before his death, he was given the position of Commander in Chief of the British Army. Engraved after the full-length portrait by Allan Ramsay (Inverary Castle).
Ex: collection of the late Hon. C. Lennox-Boyd; CS 15 (only state); for another portrait of Campbell see ref. 7108.
[Ref: 34103]   £420.00  
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Miss Carter.
Miss Carter.
Painted & Engraved by J. R. Smith.
Pub'd 24 June, 1777 by W. Humphrey, Gerrard Street, Soho. & J. R. Smith, N.10, Batesmans Buildings, Soho Square.
Mezzotint. Platemark: 260 x 200mm (10 x 7). Cut to platemark.
Portrait of Miss Carter wearing a shawl and large hat with tassels and hair in curls, situated within an oval frame.
CS: 34.II; Frankau: 64; O' Dench: 100
[Ref: 31655]   £220.00  
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Costume Espagnol (Manola.)
Costume Espagnol (Manola.)
Lith. par A. Deveria d'après Becguer.
Imp. Lith. de Cattier, rue de Lancry, 19.
Fine coloured lithograph. Printed area 375 x 240mm, 14¾ x 9½".
The costume of the Manola or Maja, lower-class Spanish women who dressed elaborately, exaggerating traditional Spanish dress. The style became the stereotypical foreign view of Spanish women, influencing the dress of Bizet's Carmen. Drawn by Joaquin Becquer (1805-41), a native of Seville.
[Ref: 25230]   £140.00   (£168.00 incl.VAT)
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The Surprise.
The Surprise. Dear Me Frank who would have thought of you Shewing Up in Crinoline?
Copyright. London, W.H.J. Carter, Printseller, Bookseller &c. 12, Regent Street, Pall Mall.
Hand coloured lithograph, sheet 290 x 325mm. 11½ x 12¾". Facsimile mss. publisher's price list to verso, for '...Prints, Illustrative of Crinoline...beautifully coloured'. Tatty extremities, tear from right.
A satire on the mid 19th century fashion for crinolines, from an annual series on that theme by the same publisher. Here the artist envisages a male equivalent. Crinoline was originally a stiff fabric with a weft of horse-hair and a warp of cotton or linen thread. The fabric first appeared around 1830, but by 1850 the word had come to mean a stiffened petticoat or rigid skirt-shaped structure of steel designed to support the skirts of a woman’s dress in the required shape. The crinoline was the subject of much ridicule and satire, particularly in Punch magazine. Dress reformers did not like it either — they seized upon the cage aspect of the crinoline and claimed that it effectively imprisoned women. Given that the crinoline did eventually have a maximum diameter of up to 180 centimetres (six feet), it is easy to imagine difficulties in getting through doors, in and out of carriages, and the general problems of moving in such a large structure. The second problem was the potential impropriety of the crinoline. Its lightness was a curse as well as a blessing, as a gust of wind or a knock could set it swinging and reveal the wearer's legs. Even worse, if a woman tripped or was knocked over, the crinoline would hold her skirts up.
[Ref: 15160]   £190.00   (£228.00 incl.VAT)
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Dame de la Cour en habit de Baal.
Dame de la Cour en habit de Baal.
I.Gole fec. et Exc. cum privil. Amstelodami.
[n.d., c.1690.]
Mezzotint. 245 x 180mm. Two small wormholes within platemark, slight damge to lower margin.
Full length portrait of a woman in an embroidered ball-gown, holding a mask.
[Ref: 2756]   £220.00  
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Théâtre des Folies Dramatiques. 31. Mr Haymé dans la Fille de Angot.
Théâtre des Folies Dramatiques. 31. Mr Haymé dans la Fille de Angot. Rôle de Trénitz,
[by Antonin Marie Chatinière?]
[Paris c.1875?]
Tinted lithograph with hand colour. Sheet 315 x 230mm (12¼ x 9"). `
Trénitz was a dandy officer of the Hussars., in 'The Daughter of Madame Angot', a comic opera by Charles Lecocq that ran for 411 performances at the Théâtre des Folies-Dramatiques from December 1872 before going on tour. Other productions ran in London, Edinburgh and New York.
[Ref: 38828]   £70.00   (£84.00 incl.VAT)
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Edmund Kean Esq.r
Edmund Kean Esq.r In the Dress presented to and worn by him on the Occasion of his being chosen a Chief and Prince of the Huron tribe of Indians by the name of Alanienouidet. To the Patentee, Committee, and Performers of the Theatre Royal Drury Lane... This Print is most respectfully dedicated by their obliged and ob.t Ser.t William Kenneth.
Painted by Frederick Meyer Jun.r 3 Red Lion Square. Engraved by G.F. Storm.
London Published by William Kenneth at his Dramatic Repository Corner of Bow St. Covent Garden May 14th 1827.
Fine image.
In Canada on his North American tour of 1826 (taken to avoid the scandal caused by his adultery), Edmund Kean was made an honorary chieftain in the Huron tribe of Indians, with an Indian name of Alanienouidet.
[Ref: 38811]   £420.00  
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Sir Evan J. Murray MacGregor of MacGregor, Baronet. C.B. &cc. In the Dress as He appeared at His Majesty's Levee Holyrood Palace. 1822.
Sir Evan J. Murray MacGregor of MacGregor, Baronet. C.B. &cc. In the Dress as He appeared at His Majesty's Levee Holyrood Palace. 1822.
Painted by G. Watson Esq.r Engraved by Henry Dawe, London.
Published by R. Scott Engraver, 65, Princes Street Edinburgh May 1825.
Coloured mezzotint, very rare & fine, partly printed in colour, with small margins. Plate 705 x 430mm (27¾ x 17"). Some creasing and small tears into upper edge.
General Sir Evan John Murray MacGregor, 2nd Baronet (1785-1841), the Blood Royal of Britain, Tudor Roll.
[Ref: 28917]   £480.00  
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Dressing for a Masquerade.
Dressing for a Masquerade.
Rowlandson 1790.
Pub. April 1 1790 by S.W. Fores N3 Piccadilly.
Etching with hand-colouring, sheet 360 x 470mm (14¼ x 18½"). Trimmed inside platemark.
Courtesans were known to be frequent visitors to fashionable masquerades, and here they dress for one. Four courtesans are shown in various stages of preparation, from putting on stockings to masked final appearance (far right). Large satirical etching by Thomas Rowlandson (1757-1827), whose name is now 'synonymous with the popular vision of late Georgian Britain' (DNB).
BM Satires 9680
[Ref: 35591]   £880.00   view all images for this item
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[The Inside of the Pantheon in Oxford Road.] L'Intérior du Panthéon de Londres.  From an Original Drawing in the Possession of Robt. Sayer.
[The Inside of the Pantheon in Oxford Road.] L'Intérior du Panthéon de Londres. From an Original Drawing in the Possession of Robt. Sayer.
Chas. Brandoin inv. et delin. Richd. Earlom fecit. R. Sayer Execudt.
London, printed for Robt. Sayer No. 53 in Fleet Street. As the Act directs 30 August 1772.
Mezzotint. 475 x 560mm. Lettered in panel at bottom, published state. Slightly rubbed.
A group of men and women stand conversing amongst tall marble pillars, inside a richly decorated hall. In the background are more open rooms, with statues set within niches along the wall. Further figures congregrate throughout. The Pantheon, was a place of public entertainment on the south side of Oxford Street. It was designed by James Wyatt, and opened in 1772. One of the largest rooms in England, the main rotunda, with its central dome, was somewhat reminiscent of the celebrated Pantheon in Rome. Orginally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. Michel Vincent Brandoin (1733 - 1790) was a Swiss painter, watercolourist, draughtsman, and caricaturist who working out of London. Although he was often called, and is referred to, as Charles Brandoin, his real name was Michael Vincent.
Wessely 100.II. CS:45. BM:5091.
[Ref: 7221]   £2,200.00  
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Mademoiselle Parisot.
Mademoiselle Parisot.
Painted by A.W.Devis. Engraved by I.R.Smith Mezzotinto Engraver to his Royal Highness the Prince of Wales.
London Published as the Act directs March 11 1797 by A.W.Devis.
Mezzotint printed in colour, fine with open letters; platemark 610 x 380mm. Wormholes lower right. Few minor repairs.
Rose Parisot (c.1775-1837), French opera singer and ballerina, 'celebrated for the scantiness of her draperies' (Frankau). Parisot made her debut in Paris in 1789, and moved to London in 1796 (this print was published the following year). Her sheer costumes, which often exposed one breast, caused scandal, as recorded in many satirical prints of the 1790s. The Bishop of Durham denounced Parisot's costumes as 'indecent', and after an address to the House of Lords in 1798 certain adjustments were made. Her celebrated career ended in 1807, after which she married a Soho florist. Engraved by the celebrated mezzotint engraver John Raphael Smith and published by the portrait painter Arthur William Devis (1762-1822), from whose portrait the engraving is made. After a decade working in India, Devis struggled to establish himself in London in the late 1790s, but by 1800 he was in dire financial straits, and was finally imprisoned in 1804.
Ex: collection of the late Hon C. Lennox-Boyd; D'Oench 335 (only state); Frankau ii/iii; for uncoloured impressions see refs 5612 and 36612.
[Ref: 36613]   £1,200.00  
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Scenen in einer Schneider-Werkstatte. Satyrische Bilder No.45.
Scenen in einer Schneider-Werkstatte. Satyrische Bilder No.45.
Cajetan del. And. Geiger sc.
Wien im Bureau der Theaterzeitung, Rauhensteingasse No.926. [n.d. c.1820.]
Coloured engraving. 222 x 266mm. 8¾ x 10½". Creasing. Fold down centre.
A scene inside a tailor's workshop. A fitting for a young man's fashionable new suit. The tailor's assistant appears to be delighted with the challenge.
[Ref: 16523]   £130.00   (£156.00 incl.VAT)
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The Present Fashions
The Present Fashions Scene near the canal_St. James's Park
Drawn & Etched by J. Findlay, Aquatinted by S.G. Hughes.
Published & Sold by J. Wyatt, 36 Frith Street, Soho Square, London.
Coloured aquatint. Plate: 560 x 410mm (22 x 16"). Stain on left. Tears in bottom and top edge.
One of a series of fashion prints published by Wyatt set in fashionable London locations. A group of men, women and children in fine examples of the current fashions stand and converse in St. James's Park.
[Ref: 11230]   £950.00  
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The most noble George Marquis Townshend.
The most noble George Marquis Townshend. Field Marshall of the Majesty's Forces, Colonal of the 2nd Regiment of Dragoon Guards. Governor of Jersey. High Steward of Tamworth and Yarmouth. Lord Lieutenant and Vice Admiral of the County of Norfolk &c &c &c.
Painted by Sir Jos.a Reynolds. Engraved by C. Turner.
London Published Jany. 1. 1807, for the Proprietor by Charles Turner No.50 Warren Street, Fitzroy Square.
Mezzotint. Platemark: 660 x 380mm (26 x 15"). Scuffing to sheet.
Full length portrait of Field Marshal George Townshend, 1st Marquess Townshend (1724 -1807), wearing armour, with his hand resting on a table, and a tent and cavalry behind him. Townshend fought at the Battle of Culloden during the Jacobite Rising in 1745 and the Battle of Lauffeld during the War of the Austrian Succession in 1747. He served as a brigadier in Quebec, under General James Wolfe, and took command of the British forces during the siege of Quebec. He held General Wolfe in much contempt and was harshly criticized upon his return to Great Britain. Townshend was eventually promoted to general in 1782, and elevated to the marquessate in 1787. He became a field marshal on 30 July 1796, and was appointed Governor of Jersey until 1806.
[Ref: 32479]   £420.00  
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Habit of Zara, in the Tragedy of the Mourning Bride.
Habit of Zara, in the Tragedy of the Mourning Bride. Habillement de Zara, dans la Tragédie intituleé the Mourning Bride.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Zara' in full costume, wearing an exceptionally large floral dress. She is directed to the right and holds a dagger in her right hand and a handkerchief in her left. Plate 237 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34891]   £95.00   (£114.00 incl.VAT)
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