Grosvenor Prints

[A game of cricket.]
[Anon., c.1840.]
Lithograph with hand colour. 70 x 197mm (2¾ x 7¾"). Sheet trimmed; possibly a fragment.
A scrap from an album, children playing cricket, with a distant view of buildings.
See Ref: 16454 for uncoloured.
[Ref: 29041] £120.00 (£144.00 incl.VAT)

[Schoolboys playing cricket.]
[n.d., c.1850.]
Lithograph, sheet 340 x 245mm (13¼ x 9½"). Trimmed into plate. Damage to lower left corner.
A view of a public school, on the grounds schoolboys are playing cricket, some are lounging.
[Ref: 67308] £190.00 (£228.00 incl.VAT)

[Schoolboys with cricket bats.]
M.Holmes. Ja.s Giles.
[n.d., c.1850.]
Very rare engraving. Sheet 175 x 130mm (7 x 5").
A view of the Summer Hill, classical, mathematical & commercial boarding school, in Bristol. Schoolboys stand in the foreground, two with cricket bats. The school was first established by the Rev Daniel Keith (Dr Keith). Later masters were Mr. John Stone who ran it from 1835 to 1855.
[Ref: 67331] £135.00 (£162.00 incl.VAT)

[Playing Cricket.]
[Eileen A. Soper.]
[n.d., c.1925.]
Etching, 195 x 235mm.
Children playing cricket.
[Ref: 5661] £420.00

The Kent Eleven, Champions, 1906.
A. Chevalier Tayler RBA Pinxit.
Swann Electric Engraving Co. Ltd. Sculpt. [n.d.1907]
Photogravure 570 x 980mm, 22½ x 38½ inches.
Kent Vs. Lancashire, Albert Chevallier Tayler’s scene of the cricket match between Kent and Lancashire at Canterbury in 1906 is regarded by some as the ultimate example of this genre. The special nature of Chevallier Tayler’s Canterbury painting stems in part from the fact that here we have identifiable players in credible poses on the field of play, several of them household names. THE CRICKETERS - KENT Edward William “Ted” Dillon (amateur), Cuthbert James “Pinky” Burnup (amateur) James “Jim” Seymour (professional) Kenneth Lotherington Hutchings (amateur). At Melbourne in the 1907-08 series, Hutchings, who, like Blythe, was to become a widely-mourned First World War casualty, scored one of the most attractive centuries in the history of England v Australia Test matches. John Richard Mason (amateur), Edward “Punter” Humphreys (professional),Richard Norman Rowsell “Dick” Blaker (amateur) , Cloudesley Henry Bullock “Slug” Marsham (amateur) , Frederick Henry Huish (professional) , Colin “Charlie” Blythe (professional). Blythe shared the role of England’s premier slow left-arm bowler with Wilfred Rhodes in the pre-Great War period. Arthur Fielder (professional) , Fielder, one of England’s fastest bowlers, took all 10 wickets in an innings while playing for the Players against the Gentlemen at Lord’s in July 1906: Hutchings was among his victims. LANCASHIRE BATSMEN - John Thomas Tyldesley (professional) and William “Billy” Findlay (amateur) As a result of the artist’s perfectionism, Billy Findlay modelled the other batsman even though he did not play in this 1906 match at Canterbury. Most of the players depicted were invited to Chevallier Tayler’s St John’s Wood studio, but Lancashire opening batsman Harry Makepeace was unable to attend. UMPIRE - Alfred John Atfield.
[Ref: 13469] £1,250.00

[Eleven silk place mats, each with a hand-painted portrait of a cricketer from the collection of the MCC.]
[n.d., c.1893.]
Eleven silk mats, 170mm (6¾") in diameter, plus fringe. Framed. Unexamined out of frame.
The cricketers are: A.G. Steel (Lancashire), J.R. Mason (Kent), W.G. Grace (Gloucestershire & London County), C.B. Fry (Sussex & Hampshire), Martin Bladen Hawke, 7th Baron Hawke (Yorkshire), O.G. Radcliffe (bowler for Gloucestershire & Somerset), A.E. Stoddart (Middlesex), W.W. Read (Surrey), A.C. McLaren (Lancashire), F.S. Jackson (Yorkshire) and G. MacGregor (wicket keeper for Middlesex). All but Radcliffe also played for England. These mats were Lot 636 in the MCC sale in 1987 and were purchased by Michael Pearce for £605, who had them restored by a V&A specialist and framed. The MCC paddle and subsequent paperwork are included.
[Ref: 55124] £2,200.00 view all images for this item

[Scrap album containing Cricket Ephemera.]
[n.d., c.1850.]
Scrap album. Size: 290 x 235mm (11¼ x 9¼"). Damage to spine.
An album containing a large amount of cricketing ephemera and articles, including both printed score cards and a very important manuscript score card indicating that, in 1837 Alfred Adams scored 279 against Bishops Stortford, the highest ever score recorded in cricket at the time of 279.
[Ref: 39565] £600.00 view all images for this item

Cricket Slippers in Berlin Wool and Purse Silk.
Ad. Goubaud.-Paris. Strasburgh, print. G. Silbermann.
[n.d., c.1880.]
Chromolithograph. Sheet: 145 x 190mm (5¾ x 7½'').
An embroidery design for the toe cap of a pair of cricket slippers.
[Ref: 49196] £65.00 (£78.00 incl.VAT)

[Cricketer.] [Leg Boundary]
[Benquna]
[n.d., c.1900.]
Ink drawing. 330 x 190mm (13 x 7½"). Backed onto album paper. Some time-staining.
A sketch of a cricketer. He swings the bat across his left shoulder.
[Ref: 67291] £140.00 (£168.00 incl.VAT)

[Cricketers.]
Gregorio Prieto. 1938.
[Dolphin Book Co (Tredwr) Ltd, 1938.]
Woodcut. Printed area 210 x 300mm (8¼ x 11¾"), on laid paper, with large margins.
From ''Students: Oxford and Cambridge'', by Gregorio Prieto, a collection of twenty woodcuts, limited to 100 copies. Prieto (1897-1992), a Spanish avante garde artist whose work often featured homoerotica, moved to London to avoid the Spanish Civil War, only returning to Spain in 1950.
See also reference 60882.
[Ref: 60883] £260.00 (£312.00 incl.VAT)

Famous English Cricketers-1880. The ''Boys Own Paper''.
Willatt & Grover Lithos Nottingham. [56 Paternoster Row E.C.][n.d., c.1890.]
Chromolithograph. Sheet: 290 x 420mm (11½ x 16½''). Folds as normal.
A portrait of twenty one English cricketers, including: J. Selby; G. Ulyett; W.R. Gilbert, Esq.; A.N. Hornby, Esq.; A.P. Lucas Esq.; W. Oscroft; R. Daft; A.J. Webbe, Esq.; E. Lockwood; F. Morley; J. Lillywhite; A. Shaw; Lord Harris; W.G. Grace, Esq.; The Late G.F. Grace, Esq.; A.G. Steel, Esq; T. Emmett; R. Pilling; H. Jupp; E. Pooley; W. Bates.
[Ref: 49194] £190.00 (£228.00 incl.VAT)

The Cricketers of Vanity Fair.
Russell March. Introduction by John Arlott.
Published in Great Britain 1982 by Webb & Bower (Publishers) Limited. 9 Colleton Crescent, Exeter, Devon EX2 4BY.
Book: 4to (306 x 213mm). pp. 112. Cloth bound with title in gilt on spine. With colour illustrated dust jacket. Dust jacket a little creased around the edges and slightly dirty.
An illustrated narrative of Vanity Fair Cricketers divided by nations.
[Ref: 10113] £45.00

Cricketing. (Lord Cricket Ground, St. John's Wood, Match of the Gentlemen & Players.) Drawn expressly for the "Book of Field Sports."
London: Henry Lea & Co., 125, Fleet Street. [n.d., c.1860.]
Coloured lithograph. Sheet size: 230 x 295mm (9 x 11¾") with large margins.
View of a cricket match at Lord's, watched by several spectators; cricketing vignettes to border. From 'The Book of Field Sports and Library of Veterinary Knowledge' by Henry Downes Miles.
[Ref: 46340] £140.00 (£168.00 incl.VAT)

Cricketing. (Lord Cricket Ground, St. John's Wood, Match of the Gentlemen & Players.)
London: Henry Lea & Co., 125, Fleet Street. [n.d., c.1860.]
Lithograph. Sheet size: 230 x 295mm (9 x 11¾") with large margins.
View of a cricket match at Lord's, watched by several spectators; cricketing vignettes to border. From 'The Book of Field Sports and Library of Veterinary Knowledge' by Henry Downes Miles.
[Ref: 46341] £230.00 (£276.00 incl.VAT)

Cricketing. (Lord Cricket Ground, St. John's Wood, Match of the Gentlemen & Players.) Drawn expressly for the "Book of Field Sports."
Thinot Lorrette Lith. London.
London; Henry Lea, 22, Warwick Lane. [n.d., c.1860.]
Lithograph. Sheet: 305 x 240mm (12 x 9½"), with large margins.
A view of a cricket match at Lord's, watched by several spectators; cricketing vignettes to border. From 'The Book of Field Sports and Library of Veterinary Knowledge' by Henry Downes Miles.
[Ref: 39960] £290.00 (£348.00 incl.VAT)

Cricketing.
[n.d., c.1860.]
Lithograph. Sheet: 305 x 240mm (12 x 9½"), with large margins.
A view of a cricket match at Lord's, watched by several spectators. From 'The Book of Field Sports and Library of Veterinary Knowledge' by Henry Downes Miles.
[Ref: 39961] £290.00 (£348.00 incl.VAT)

Cricketing (The Pavilion at the Lord's Cricket Ground), Drawn expressly for the 'Book of Field Sports'.
Thinot Lorrette lith. London.
London; Henry Lea, 22, Warwick Lane, Paternoster Row. [n.d., c.1860]
Lithograph. Sheet 240 x 295mm (9½ x 11¾").
A view of a game in progress, with cricketing vignettes around the image.
[Ref: 58612] £290.00 (£348.00 incl.VAT)

Cricketing. (Lord Cricket Ground, St. John's Wood, Match of the Gentlemen & Players.) Drawn expressly for the "Book of Field Sports."
London: Henry Lea & Co., 125, Fleet Street. [n.d., c.1860.]
Lithograph. Sheet size: 230 x 295mm (9 x 11¾")
View of a cricket match at Lord's, watched by several spectators; cricketing vignettes to border. From 'The Book of Field Sports and Library of Veterinary Knowledge' by Henry Downes Miles.
[Ref: 40020] £290.00 (£348.00 incl.VAT)

Cricketing. (Lord Cricket Ground, St. John's Wood, Match of the Gentlemen & Players.) Drawn expressly for the "Book of Field Sports."
Thinot Lorrette, Lith London.
[n.d., c.1860.] London: Henry Lea, 22, Warwick Lane.
Coloured lithograph. Sheet size: 305 x 245mm (12 x 9½").
View of a cricket match at Lord's, watched by several spectators; cricketing vignettes to border. From 'The Book of Field Sports and Library of Veterinary Knowledge' by Henry Downes Miles.
[Ref: 67270] £220.00 (£264.00 incl.VAT)

Cricketing. (Lord's Cricket Ground, S.t John's Wood, Match of Gentlemen & Players.)
[n.d., c.1860.]
Lithograph. Sheet: 285 x 220mm (11¼ x 8¾").
A view of a cricket match at Lord's, watched by several spectators. From 'The Book of Field Sports and Library of Veterinary Knowledge' by Henry Downes Miles.
[Ref: 67320] £260.00 (£312.00 incl.VAT)

[Crickhowell] Creek Howell Castle, South Wales.
Walmesley del. Hill sculp.
London, Published June 25, 1810 by John Murphy, 19 Howland Street, Fitzroy Square.
Rare aquatint, printed in brown. 245 x 300mm (9¾ x 11¾"), with very large margins, watermarked ''7 1809 John Whatman'. Mint.
The ruins of Crickhowell Castle, first built in the 12th century and destroyed by Owain Glyndwr c.1400.
Not in Abbey Scenery.
[Ref: 55542] £240.00 (£288.00 incl.VAT)

The Cries of London (Gents' New Style) No.6. (Prudent Mamma) I should have no objection Mr. Sap Green...
Dean & Son, Publishers, &c. 31, Ludgate Hill London.
Hand-coloured lithograph. Sheet: 300 x 220mm (11¾ x 8½''). Foxing.
An interior scene showing a middle aged woman in conversation with a young man who wishes to marry her daughter, from outside a peddlar calls through the window.
[Ref: 51097] £95.00 (£114.00 incl.VAT)

Cries of London Plate 6th. Knives, Scissars, and Razors to Grind. Couteaux, Ciseaux, Rasoirs a repasser.
Painted by F. Wheatley R.A. Engraved by G. Vendramini.
London Pub.d as the Act Directs, Jan.1. 1795, by Colnaghi & Co. No.132 Pall Mall.
Very fine stipple, printed in colours and hand finished. Sheet: 320 x 410mm (12½ x 16"). Trimmed within plate.
A knife grinder, speaking to two women, who hand him a pair of scissors. From the famous 'Cries of London' series after paintings by Francis Wheatley (1747 - 1801).
[Ref: 39975] £450.00 view all images for this item

Round & Sound Five Pence a Pound Duke Cherries. Cerises douces, Cerises, â la douce Cerise. Cries of London. Plate 8th.
Painted by F. Wheatly R.A. Directed by L. Schiavonetti. Engraved by A. Cardon
London Pub.d as the Act directs. June 25th. 1795 by Colnaghi & Co. No. 132 Pall Mall.
Stipple, printed in sepia, with very large margins. 415 x 320mm (16¼ x 12½").
A cherry seller gives a bunch to two small boys, while a young drayman stands nearby.
[Ref: 28150] £320.00

Round & Sound Five Pence a Pound Duke Cherries. Cerises douces, Cerises, â la douce Cerise. Cries of London. Plate 8th.
Painted by F. Wheatly R.A. Directed by L. Schiavonetti. Engraved by A. Cardon
London Pub.d as the Act Directs. June 25th. 1795 by Colnaghi & Co. No. 132 Pall Mall.
Stipple, printed in colours and hand finished. 405 x 299mm. 16 x 11¾". Trimmed to the plate.
A cherry seller gives a bunch to two small boys, while a young drayman stands nearby. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 22771] £320.00

Hot Spice Gingerbread Smoaking hot! Du Croquet de Pain d'Epices! Cries of London, Plate 12.
Painted by F. Wheatley R.A. Engraved by Vendramini.
London, Pubd as the Act directs May 1. 1796, by Colnaghi & Co. No. 132 Pall Mall.
Stipple engraving, 425 x 330mm. 16¾ x 13". Trimmed to plate, age toning.
Plate 12 from the 'Cries of London' series, a gingerbread seller. He holds his cart, with a young woman and three small children surrounding him.
Ex: Blackburn collection.
[Ref: 8745] £320.00

A New Love Song only ha'penny a piece. Chanson nouvelles deux sols le livret. Cries of London Plate 11.
Painted by F. Wheatley R.A. Engraved by A. Cardon.
London Pub.d as the Act directs 1st. March 1796 by Colnaghi & Co. (late Torres) No.127 Pall Mall.
Stipple, rich impression. Sheet 425 x 325mm (16¾ x 12¾"). Trimmed to plate, repaired tears,
A ballad seller with strip ballads, selling to two men, behind them two women with a child, and a small boy feeding a dog in the centre. This is one of thirteen plates in Wheatley's ‘Cries of London', the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries' at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 63987] £180.00 (£216.00 incl.VAT)

New Mackrel. New Mackrel. Maquereux, Maquereux frais et Gros. Cries of London Plate 5th.
Painted by F. Wheatly R.A. Engraved by N. Schiavonetti Jun.r.
London Pub.d as the Act Directs, Jan.1. 1795 by Colnaghi & Co. No.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
A fishwife, selling fish to two women at their doorstep. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28145] £320.00

Do you want any Matches? Marchande d'Allumettes, achetè mes bonnes allumettes. Cries of London Plate 4th.
Painted by F. Wheatly R.A. Engraved by A. Cardon.
London Pub as the Act Directs July 1794 by Colnaghi & Co, no. 132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate, repaired tear top left.
A young woman holding matches in her hand, with a small boy, who also carries matches, standing in the street; carriage in the background. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28144] £260.00 (£312.00 incl.VAT)

Milk below Maids. Qui veut du lait il est tout chaud.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2. 1793 by Colnaghi & Co N.132 Pall Mall.
Stipple in brown ink, sheet 415 x 320mm. 16¼ x 12½". Trimmed to plate. A good impression. Scuffing in sky area.
A milkmaid standing by a doorway, with two pails by her feet. She hands a small pail of milk to two young children; street lamp, chimneys and horse-drawn carriage in the background. Plate 2 to the famous 'Cries of London' series after paintings by Francis Wheatley (1747 - 1801).
[Ref: 11820] £260.00 (£312.00 incl.VAT)

Milk below Maids. Qui veut du lait il est tout chaud.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2. 1793 by Colnaghi & Co N.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
A milkmaid standing by a doorway, with two pails by her feet. She hands a small pail of milk to two young children. An early example: later states have 'Second plate of the Cries of London' added in English and French around the title. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28146] £220.00 (£264.00 incl.VAT)

Two bunches a penny primroses, two bunches a penny. A un sou mes deux poignees de primeroses, a un sou.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2 by Colnaghi and Co N.132 Pall Mall. 1793.
Stipple, printed in sepia, with large margins. 420 x 330mm (16½ x 13").
Flower sellers, a young woman and two small children, hold baskets and bunches of primroses on the street. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28149] £320.00

Strawberrys Scarlet Strawberrys. Fraises, fraises, mes belles fraises. Cries of London. Plate 9th.
Painted by F. Wheatley R.A. Engraved by Vendramini. Directed by L. Schiavonetti.
London Pub.d as the Act directs June 25th 1795 by Colnaghi & Co. No.132 Pall Mall.
Stipple printed in colours with colour added by hand. 418 x 322mm. 16½ x 12¾". Trimmed.
A strawberry seller, standing with a basket balanced on her head, in Covent Garden; behind her two horses and a cart, and two chairmen resting beside their sedan chair to right. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 19431] £450.00

Sweet China Oranges, sweet China. Oranges sucrees, Oranges fines. Cries of London Plate 3rd.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 1794 by Colnaghi & Co No.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
Two fashionably dressed women buy oranges from a man with two full baskets. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28147] £260.00 (£312.00 incl.VAT)

Mountains of Cright.
London, Published by Thomas McLean, Haymarket, 1822.
Hand coloured aquatint. Platemark: 160 x 228mm (6¼ x 8¾"). Fine hand colouring.
A fine view of the Mountains of Cright, Wales. This view is taken about a mile from Pont Aber Glass Llyn, on the upper road to Tan-y-Owlet and shows the mountains as a backdrop to the rural, wild landscape of north Wales. From 'A Picturesque Description of North Wales: Embelished with Twenty Select Views From Nature', published in 1823 by Howlett and Brimmer, 10 Frith Street, Soho.
Abbey: 525.
[Ref: 33336] £70.00 (£84.00 incl.VAT)

Nan. Holland & Tristram Savage Robbing Dr: Trotter in Moorfields. [Ann Holland, alias Andrews.. she died without the least seeming Remorse for her Wickedness.]
J: Nicholls delin. Parr Sculp.
[n.d. c.1780.]
Etching. Plate 310 x 210mm. 12¼ x 8¼". Some tearing in the margins.
A depiction of a daring robbery of one Dr. Trotter by two notorious female criminals, Ann Holland and Tristram Savage. According to the text, Holland was hanged at the Tyburn gallows in 1705 for several robberies of wealthy households. A human skeleton hangs in Dr. Trotter's library along with the preserved body of a crocodile. Satan appears at the scene of the crime lower right.
[Ref: 15640] £110.00 (£132.00 incl.VAT)

Le Crime Luny.
[n.d., c.1780.]
Rare etching. 430 x 265mm (17 x 10½") Small margins, wear to edges.
Three armoured angels, armed with swords and lightning bolts, drive a group of Catholic clergy into the pits of hell, where demons wait to drag them down. A satire on the corruption of the French church.
[Ref: 52986] £450.00

[Female Dress.] Vol.2.Pl.22.
Geisler del.t Medland Sc.
[London: John Stockdale, n.d. c.1812.]
Hand-coloured engraving with large margins, offset; Stamp: Stamford Library. Plate 197 x 159mm (7¾ x 6¼").
Plate 22: a representation of dress prevalent amoung the females of Crim-Tartary. Two women in their best attire, such as is worn in domestic life, without an upper garment; the third figure is drawn with a white upper gown, and head is enveloped in a veil. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31042] £60.00 (£72.00 incl.VAT)

[Fort Arabat.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
The Arabat Spit between Sivash and the Sea of Azov is a long narrow strip of land with this 17th sentury Turkish fort dominating the landscape. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17047] £160.00 (£192.00 incl.VAT)

[Interior of a Tartar House.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17048] £80.00 (£96.00 incl.VAT)

[General View of Kara-su-Bazar.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of Bilohirsk, placed on the high road between Simferopol and Kerch, and in the midst of a country rich in cereal land, vineyards and gardens, Karasubazar used to be a chief seat of commercial activity in Crimea. Also the largest traditional settlement for Krymchaks, known by the name Crimean Jews. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17049] £220.00 (£264.00 incl.VAT)

[Simferopol.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour, slightly foxed.
Simferopol, now the capital of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17052] £220.00 (£264.00 incl.VAT)

[Alushta.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Faint spotting.
Alushta viewed from Simferopol, depicting its Byzantine and Genoese defensive towers. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17053] £160.00 (£192.00 incl.VAT)

[A Tartar House in the Village of Alupka.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A chalet-like Tartar house of the seaside village of Alupka near Yalta. Alupka was the chosen location of The Vorontsovsky Palace designed by Englishman Edward Clore and built between 1830-1848. It was to be used as a summer residence of the governor-general of the Novorossiysky Krai, Prince Mikhail Semyonovich Vorontsov. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17055] £120.00 (£144.00 incl.VAT)

[The River Katcha.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A river north of Sevastopol surrounded by rock escarpments and peaks that make up the Crimean ranges. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17058] £140.00 (£168.00 incl.VAT)

[Tomb of Mithridates, near the Lazaretto Kertch.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
Tourists viewing the interior of a famous 'kurgan' or burial mound of the ancient King Mithridates foe to the Romans at the end of the Republic. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17063] £160.00 (£192.00 incl.VAT)

[Remains of a large Genoese Fortress at Sudak.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Small tear.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Sudak on the Black Sea east of Simferopol. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17065] £160.00 (£192.00 incl.VAT)

[Mount Tchatyr Dagh.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Tinted lithograph, mounted on card and hand coloured, as issued in the Subscription edition. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Mountainous plateau of Caves and alpine meadows near Alushta. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17067] £140.00 (£168.00 incl.VAT)

[The Valley of Termerd-Ji.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17068] £160.00 (£192.00 incl.VAT)

[A General View of the Coast, extending from Cape Fiolente to Sebastopol.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of the south coast of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17070] £140.00 (£168.00 incl.VAT)

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