A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
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To the Hon.ble Sir John Vaughn K.B. and the Hon.ble C. Carpenter This View of the Town and Bridge of Berwick is with the greatest respect inscribed by His most obedient Servants J. Stuart and F Ju.kes
Drawn by C. Catton Jun.r. Engraved by F. Jukes.
London, Pub.d March 20, 1793, by F. Jukes No 10, Howland Street.
Aquatint with hand colour. 465 x 640mm (18¼ x 25¼"). Trimmed and taped on paper. Some light foxing and a mark in the sky.
A view of the town from the south side of the Tweed, showing the medieval town walls and the Grade 1 listed bridge, built 1611-24. One of a series 'Six Scottish Views' after Charles Catton (1756-1819), an artist who emigrated to America c.1802.
See Ref: 52776
[Ref: 52777] £480.00
Drawn by C. Catton Jun.r. Engraved by F. Jukes.
London, Pub.d March 20, 1793, by F. Jukes No 10, Howland Street.
Aquatint with hand colour. 465 x 640mm (18¼ x 25¼"). Trimmed and taped on paper. Some light foxing and a mark in the sky.
A view of the town from the south side of the Tweed, showing the medieval town walls and the Grade 1 listed bridge, built 1611-24. One of a series 'Six Scottish Views' after Charles Catton (1756-1819), an artist who emigrated to America c.1802.
See Ref: 52776
[Ref: 52777] £480.00
Berwick on Tweed from near the Water Works.
R.T. Ross, R.S.A. Del.t. Maclure & MacDonald, Chromo Lith. Glasgow.
Thomas Muchanan, Printseller, Hide Hill, Berwick on Tweed.
Scarce chromolithograph. Sheet 435 x 565mm (17 x 22¼").
A rare, locally-published view of Berwick, from the shore of the Tweed, with the early 17th century bridge, the skyline of the town dominated by the Town Hall.
[Ref: 56693] £360.00
R.T. Ross, R.S.A. Del.t. Maclure & MacDonald, Chromo Lith. Glasgow.
Thomas Muchanan, Printseller, Hide Hill, Berwick on Tweed.
Scarce chromolithograph. Sheet 435 x 565mm (17 x 22¼").
A rare, locally-published view of Berwick, from the shore of the Tweed, with the early 17th century bridge, the skyline of the town dominated by the Town Hall.
[Ref: 56693] £360.00
Le Ch.er Berzélius (Chimiste), Associé étranger de l’Académie des Sciences de Paris, Secrétaire de l’Académie des Sciences de Stockholm etc.
Dessiné d’apres le Buste que possède M. Dulong. Et Gravé par Ambroise Tardieu.
[n.d. c.1830.]
Stipple. 214 x 145mm (8½ x 5¾").
Jöns Jacob Berzelius (1779-1848), the Swedish chemist. He worked out the modern technique of chemical formula notation, and is together with John Dalton, Antonie Lavoisier, and Robert Boyle, considered a father of modern chemistry. He is known in Sweden as the father of Swedish Chemistry, and the 20 August is known as Berzelius Day.
W: 275-2.
[Ref: 29585] £80.00 (£96.00 incl.VAT)
Dessiné d’apres le Buste que possède M. Dulong. Et Gravé par Ambroise Tardieu.
[n.d. c.1830.]
Stipple. 214 x 145mm (8½ x 5¾").
Jöns Jacob Berzelius (1779-1848), the Swedish chemist. He worked out the modern technique of chemical formula notation, and is together with John Dalton, Antonie Lavoisier, and Robert Boyle, considered a father of modern chemistry. He is known in Sweden as the father of Swedish Chemistry, and the 20 August is known as Berzelius Day.
W: 275-2.
[Ref: 29585] £80.00 (£96.00 incl.VAT)
Hortus Eystettensis, Diligens et accurata omnium plantrium, florium, stirpium, qvae, ex variis orbis terrae partibus, singulari studio collectarum, quae in celeberrimis viridariis arcem episcopalem ibidem cingentibus, olim conspiciebantur delineatio et ad vivum repraesentatio et advivum repraesentatio opera.
Wolfg. Kil[ian].
Basilii Beslaeri Philiatri et Pharmacopoei. M.D C. XIII.
Copper engraving. Sheet size: 495 x 395mm (19½ x 15½). Very scarce. Trimmed inside platemark. Damaged. Laid on backing sheet.
The titlepage to 'Hortus Eystettensis' by Basilius Besler, published in 1613. The Bishop, Johann Konrad von Gemmingen, commissioned Besler to produce the work, which he compiled over sixteen years, although the bishop died before its completion. Besler had the assistance of his brother and a group of skilled German draughtsmen and engravers, including Sebastian Schedel, an accomplished painter, and Wolfgang Kilian, a skilled engraver from Augsburg. Kilian and his team engraved the initial copper plates, but after the bishop’s death, the operations moved to Nürnberg and a new team of engravers, among whom were Johannes Leypold, Georg Gärtner, Levin and Friedrich van Hulsen, Peter Isselburg, Heinrich Ulrich, Dominicus Custos and Servatius Raeven. Camerarius' nephew, Ludwig Jungermann (1572-1653), was a botanist and wrote most of the descriptive text.
[Ref: 39039] £220.00 (£264.00 incl.VAT)
Wolfg. Kil[ian].
Basilii Beslaeri Philiatri et Pharmacopoei. M.D C. XIII.
Copper engraving. Sheet size: 495 x 395mm (19½ x 15½). Very scarce. Trimmed inside platemark. Damaged. Laid on backing sheet.
The titlepage to 'Hortus Eystettensis' by Basilius Besler, published in 1613. The Bishop, Johann Konrad von Gemmingen, commissioned Besler to produce the work, which he compiled over sixteen years, although the bishop died before its completion. Besler had the assistance of his brother and a group of skilled German draughtsmen and engravers, including Sebastian Schedel, an accomplished painter, and Wolfgang Kilian, a skilled engraver from Augsburg. Kilian and his team engraved the initial copper plates, but after the bishop’s death, the operations moved to Nürnberg and a new team of engravers, among whom were Johannes Leypold, Georg Gärtner, Levin and Friedrich van Hulsen, Peter Isselburg, Heinrich Ulrich, Dominicus Custos and Servatius Raeven. Camerarius' nephew, Ludwig Jungermann (1572-1653), was a botanist and wrote most of the descriptive text.
[Ref: 39039] £220.00 (£264.00 incl.VAT)
Tim Besom. Making a clear way for others, that he may clear a path for himself.
E.Y. esq. del.t. Eng.d by G.Hunt.
London Published by Tho.s McLean, 26 Haymarket 1827.
Coloured aquatint. 390 x 265mm (15¼ x 26¼"). Tear entering plate, one tear in margin.
"Tim Besom" is probably taken from the Glaswegian slang for "tink, annoying person, drinker" and the scene is set for the street sweeper to make sure the street is clear of any obstacles before holding out his hat to the ladies in hope of a gratuity. The "Rum" sign above the door in the background suggests where the funds would be spent.
BM Satires undescribed; Hickman p. 109.
[Ref: 11516] £230.00 (£276.00 incl.VAT)
E.Y. esq. del.t. Eng.d by G.Hunt.
London Published by Tho.s McLean, 26 Haymarket 1827.
Coloured aquatint. 390 x 265mm (15¼ x 26¼"). Tear entering plate, one tear in margin.
"Tim Besom" is probably taken from the Glaswegian slang for "tink, annoying person, drinker" and the scene is set for the street sweeper to make sure the street is clear of any obstacles before holding out his hat to the ladies in hope of a gratuity. The "Rum" sign above the door in the background suggests where the funds would be spent.
BM Satires undescribed; Hickman p. 109.
[Ref: 11516] £230.00 (£276.00 incl.VAT)
Tim Besom. Making a clear way for others, that he may clear a path for himself.
E.Y. Esq. del.t. Eng.d by G. Hunt.
Pubd March 1, 1827, by G. Hunt, Corner of York St. & Bridges St. Covent Garden.
Fine hand coloured etching and aquatint. Image 265 x 205mm (10½ x 8", on J. Whatman paper watermarked 1824. Diagonal creases to upper right corner; overall a fine, early impression.
'Tim Besom' is probably taken from the Glaswegian slang for "tink, annoying person, drinker"; the scene is set for the street sweeper to make sure the street is clear of any obstacles before holding out his hat to the ladies in hope of a gratuity. The "Rum" sign above the door in the background suggests where the funds would be spent. See item 11516 for an impression published by McLean.
BM Satires undescribed; Hickman p.109.
[Ref: 19577] £240.00 (£288.00 incl.VAT)
E.Y. Esq. del.t. Eng.d by G. Hunt.
Pubd March 1, 1827, by G. Hunt, Corner of York St. & Bridges St. Covent Garden.
Fine hand coloured etching and aquatint. Image 265 x 205mm (10½ x 8", on J. Whatman paper watermarked 1824. Diagonal creases to upper right corner; overall a fine, early impression.
'Tim Besom' is probably taken from the Glaswegian slang for "tink, annoying person, drinker"; the scene is set for the street sweeper to make sure the street is clear of any obstacles before holding out his hat to the ladies in hope of a gratuity. The "Rum" sign above the door in the background suggests where the funds would be spent. See item 11516 for an impression published by McLean.
BM Satires undescribed; Hickman p.109.
[Ref: 19577] £240.00 (£288.00 incl.VAT)
Bessy Bell and Mary Gray.
S. Harding delin. Delatre sculp.t.
London, Publish'd Aug.t 1. 1787 by T. Macklin N.39 Fleet Street.
Stipple printed in sepia. Sheet 250 x 270mm (9¾ x 10½"). Trimmed within plate,
A scene from Allan Ramsay's poem: a tartan-clad boy draws straws to choose between two beautiful shepherdesses.
[Ref: 44107] £140.00 (£168.00 incl.VAT)
S. Harding delin. Delatre sculp.t.
London, Publish'd Aug.t 1. 1787 by T. Macklin N.39 Fleet Street.
Stipple printed in sepia. Sheet 250 x 270mm (9¾ x 10½"). Trimmed within plate,
A scene from Allan Ramsay's poem: a tartan-clad boy draws straws to choose between two beautiful shepherdesses.
[Ref: 44107] £140.00 (£168.00 incl.VAT)
The Best Shelter under the Banner of Love.
Published 12th May, 1794 by Laurie & Whittle. 58 Fleet Street, London.
Mezzotint. 110 x 150mm.
No. 206 lower left corner.
[Ref: 3757] £140.00 (£168.00 incl.VAT)
Published 12th May, 1794 by Laurie & Whittle. 58 Fleet Street, London.
Mezzotint. 110 x 150mm.
No. 206 lower left corner.
[Ref: 3757] £140.00 (£168.00 incl.VAT)
The Broome Estate.
W. Day, lith 17 Gate S.t, Lincoln's Inn Fields. [Watermarked "B & TS 1829".]
Rare coloured lithographic map. Sheet 380 x 555, 15 x 22". Trimmed top left for folding into the sale pamphlet.
Property near Broome Park, around Betchworth (a village on the Mole river between Dorking and Reigate, Surrey) and Boxhill, for sale in five lots. One of the lots is now the local cricket ground. A landowner named on the sheet is the Duke of Norfolk.
[Ref: 17723] £240.00
W. Day, lith 17 Gate S.t, Lincoln's Inn Fields. [Watermarked "B & TS 1829".]
Rare coloured lithographic map. Sheet 380 x 555, 15 x 22". Trimmed top left for folding into the sale pamphlet.
Property near Broome Park, around Betchworth (a village on the Mole river between Dorking and Reigate, Surrey) and Boxhill, for sale in five lots. One of the lots is now the local cricket ground. A landowner named on the sheet is the Duke of Norfolk.
[Ref: 17723] £240.00
Plan of Betchworth House Park and Estate. For Sale 1816.
Rare coloured engraved map. Sheet 450 x 300mm, 17¾ x 12". Trimmed on left.
Property around Betchworth, a village on the Mole river between Dorking and Reigate, Surrey, for sale in 22 lots. Other landowners named on the sheet are the Duke of Norfolk and R.C. Dendy, whose name survives in the area as "Dendy's Wood".
[Ref: 17722] £220.00
Rare coloured engraved map. Sheet 450 x 300mm, 17¾ x 12". Trimmed on left.
Property around Betchworth, a village on the Mole river between Dorking and Reigate, Surrey, for sale in 22 lots. Other landowners named on the sheet are the Duke of Norfolk and R.C. Dendy, whose name survives in the area as "Dendy's Wood".
[Ref: 17722] £220.00
A View of the Hospital of Bethlehem. Vüe de l'Hôpital de Bethlehem.
[after John Maurer.]
Printed for John Bowles at the Black Horse in Cornhil, & Carington Bowles in St Pual's Church Yard, London. [n.d, c.1760.]
Engraving. 175 x 270mm (7 x 10½"). Small margins.
View of the north front of Bethlem Hospital, Moorgate, looking across the grounds from the street. Staffage includes street traders, a beggar and a boy cleaning shoes;
[Ref: 51673] £130.00 (£156.00 incl.VAT)
[after John Maurer.]
Printed for John Bowles at the Black Horse in Cornhil, & Carington Bowles in St Pual's Church Yard, London. [n.d, c.1760.]
Engraving. 175 x 270mm (7 x 10½"). Small margins.
View of the north front of Bethlem Hospital, Moorgate, looking across the grounds from the street. Staffage includes street traders, a beggar and a boy cleaning shoes;
[Ref: 51673] £130.00 (£156.00 incl.VAT)
View of old Bethlem Hospital, as represented in Maitland's History of London. 1772.
Day & Haghe, Lithog.rs to the Queen, 17 Gate St. [n.d. c.1840.]
A rare lithograph. 380 x 560mm. 15 x 22". Tear into right-hand margin.
View of Old Bethlehem Hospital, Moorfields. The Bethlem Royal Hospital of London (now located in Bromley, south east London), which has been variously known as St. Mary Bethlehem, Bethlem Hospital, Bethlehem Hospital and Bedlam, was one of Europe's first and most notorious psychiatric hospitals. The word Bedlam has long been used for lunatic asylums in general, and later for a scene of uproar and confusion. In 1815, Bedlam was moved to St George's Fields, Southwark, into buildings designed by Sydney Smirke now used to house the Imperial War Museum. From a plate used in William Maitland's (c.1693-1757) 'History of London from Its Foundation to the Present Time'.
Guildhall: q8051899.
[Ref: 20297] £180.00 (£216.00 incl.VAT)
Day & Haghe, Lithog.rs to the Queen, 17 Gate St. [n.d. c.1840.]
A rare lithograph. 380 x 560mm. 15 x 22". Tear into right-hand margin.
View of Old Bethlehem Hospital, Moorfields. The Bethlem Royal Hospital of London (now located in Bromley, south east London), which has been variously known as St. Mary Bethlehem, Bethlem Hospital, Bethlehem Hospital and Bedlam, was one of Europe's first and most notorious psychiatric hospitals. The word Bedlam has long been used for lunatic asylums in general, and later for a scene of uproar and confusion. In 1815, Bedlam was moved to St George's Fields, Southwark, into buildings designed by Sydney Smirke now used to house the Imperial War Museum. From a plate used in William Maitland's (c.1693-1757) 'History of London from Its Foundation to the Present Time'.
Guildhall: q8051899.
[Ref: 20297] £180.00 (£216.00 incl.VAT)
![[Bedlam] Hospitium Mente-Captorum Londinense.](jpegs/61364.jpg)
[Bedlam] Hospitium Mente-Captorum Londinense.
R. White Sculpsit.
[Printed, Coloured and Sold By John Garrett at his Shop next ye Exchange Stairs in Cornhill] [n.d., 1694.]
Engraving on three sheets conjoined, total 570 x 1200mm (22½ x 47"). Some restoration as usual with these large prints, remains of erased publication line visible.
The frontage of Robert Hooke's New Bethlem Hospital, engraved by Robert White for Hooke in 1677. According to Griffiths, the plates were later purchased by John Garrett, ''who entered the view on the Term Catalogue for 1694'', after which ''they passed to W. Herbert at the Golden Globe on London Bridge''.
Griffiths: The Print in Stuart Britain, Cat. 186.
[Ref: 61364] £950.00
R. White Sculpsit.
[Printed, Coloured and Sold By John Garrett at his Shop next ye Exchange Stairs in Cornhill] [n.d., 1694.]
Engraving on three sheets conjoined, total 570 x 1200mm (22½ x 47"). Some restoration as usual with these large prints, remains of erased publication line visible.
The frontage of Robert Hooke's New Bethlem Hospital, engraved by Robert White for Hooke in 1677. According to Griffiths, the plates were later purchased by John Garrett, ''who entered the view on the Term Catalogue for 1694'', after which ''they passed to W. Herbert at the Golden Globe on London Bridge''.
Griffiths: The Print in Stuart Britain, Cat. 186.
[Ref: 61364] £950.00
The Hospital of Bethlehem. L'Hospital de Fou.
T. Maurer Delin. T. Bowles Sculp.
Publisd according to Act of Parliament. Printed for John Bowles ~ at the Black Horse in Cornhill.
Fine coloured 18th century engraving. Framed. Sight size 265 x 415mm (10½ x 16¼"). Unexamined out of frame.
A view of the facade of Bethlem Royal Hospital, the notorious 'Bedlam', with ornamental lawns and promenaders.
[Ref: 67567] £250.00 (£300.00 incl.VAT)
T. Maurer Delin. T. Bowles Sculp.
Publisd according to Act of Parliament. Printed for John Bowles ~ at the Black Horse in Cornhill.
Fine coloured 18th century engraving. Framed. Sight size 265 x 415mm (10½ x 16¼"). Unexamined out of frame.
A view of the facade of Bethlem Royal Hospital, the notorious 'Bedlam', with ornamental lawns and promenaders.
[Ref: 67567] £250.00 (£300.00 incl.VAT)
The Hospital of Bethlehem. L'Hospital de Fou. [47 in ink]
[Jn.o Boydell Sculp.]
[J:no Boydell Engraver.] [n.d. c.1770.]
Very fine engraving. 280 x 370mm (11 x 14½"), with large margins
Bethlem Royal Hospital, from John Boydell's 'A Collection of One Hundred Views In England and Wales', first issued in 1770.
Adams (London): 47.47.
[Ref: 29382] £250.00 (£300.00 incl.VAT)
[Jn.o Boydell Sculp.]
[J:no Boydell Engraver.] [n.d. c.1770.]
Very fine engraving. 280 x 370mm (11 x 14½"), with large margins
Bethlem Royal Hospital, from John Boydell's 'A Collection of One Hundred Views In England and Wales', first issued in 1770.
Adams (London): 47.47.
[Ref: 29382] £250.00 (£300.00 incl.VAT)
Hospitum Mente-Captorum Londinense. A Prospect Of the Hospitall called Bedlam for the releife of Persons distracted, w.ch by ye great care & incouragement of S.r William Turner Knight (Alderman sometime Lord Mayor of London) the most worthy President, Benjamin Ducane: Esq.r Treasurer, and ye other Governo.rs of the Hospitall was begun in Aprill, 1675 amd finished in July 1676.
R. White Sculpsit.
Sold by W. Herbert at the Golden Globe on London Bridge. [n.d., c.1750.]
Scarce engraving on three sheets conjoined, total 1190 x 580mm. Some restoration with mss. fill. Small margins.
An elevation of famous mental hospital Moorfields, designed by Sir Robert Hooke. The governors of the hospital funded the first publication (1677) of this exceptionally large view, paying Robert White £40 to engrave the three plates and having final approval of his work. After presentation copies of the print were run off (for the govenors, Charles II and James, Duke of York, and others), the printing plates were given as a reward for service to the Clerk of the Governors 'to make the best advantage hee can thereof'. By 1694 the plates were owned by John Garrett (whose partially erase imprint can be seen at the bottom centre), before becoming the property of William Herbert. Herbert's address was the Golden Globe on London Bridge, one of ten new buildings erected on the bridge in 1749. He was forced to move when the bridge was cleared of buildings in 1759.
BM 1977,U.824. Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat.186.
[Ref: 51455] £1,500.00
R. White Sculpsit.
Sold by W. Herbert at the Golden Globe on London Bridge. [n.d., c.1750.]
Scarce engraving on three sheets conjoined, total 1190 x 580mm. Some restoration with mss. fill. Small margins.
An elevation of famous mental hospital Moorfields, designed by Sir Robert Hooke. The governors of the hospital funded the first publication (1677) of this exceptionally large view, paying Robert White £40 to engrave the three plates and having final approval of his work. After presentation copies of the print were run off (for the govenors, Charles II and James, Duke of York, and others), the printing plates were given as a reward for service to the Clerk of the Governors 'to make the best advantage hee can thereof'. By 1694 the plates were owned by John Garrett (whose partially erase imprint can be seen at the bottom centre), before becoming the property of William Herbert. Herbert's address was the Golden Globe on London Bridge, one of ten new buildings erected on the bridge in 1749. He was forced to move when the bridge was cleared of buildings in 1759.
BM 1977,U.824. Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat.186.
[Ref: 51455] £1,500.00
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The Beggar of Bednall Green and his Daughter. With that an angel he cast on the ground,/ And dropped, in angels, full three thousand pound/ Thus was the fair Bessee matched to a knight/ And then made a ladye in others despite/ A fairer lady there never was seen/ Then the blind beggar's daughter of Bednall Green. [&] The Beggar of Bednall Green, his Daughter and the Knight. To church then went this gallant young knight,/ His bride followed after, an angel most bright,/ With troops of ladyes the like never was seen/ That went with sweet Bessee of Bednall Green' In joy and felicity lon lived he,/ All with his fair ladye the prettye Bessye.
R. Pollard fect. Aquatinted by J. Wells [first plate]. Aquatinted by J. Jukes [second plate].
London, Published Septr. 6, 1787, by R. Pollard, Engraver, No.15, Braynes Row, Spa Fields.
Pair of aquatints with etching, each c.327 x 275mm.
A fine pair of prints that illustrate the popular Elizabethan ballad 'The Blind Beggar of Bethnal Green'. This tells the story of Henry de Montfort, a son of Simon de Montfort. He was wounded and lost his sight in the Battle of Evesham in 1265, and was nursed to health by a baroness, and together they had a child named Besse (commemorated in Besse Road in London's East End). He became the Blind Beggar of Bethnal Green and used to beg at the crossroads. The story of how he went from landed gentry to poor beggar became hugely popular in the Tudor era, and was revived by Percy's 'Reliques of Ancient English Poetry', published in 1765. The legend came to be incorporated into the arms of the Metropolitan Borough of Bethnal Green in 1900. Published by Robert Pollard (c.1755 - 1838) after his own designs.
[Ref: 8101] £490.00 view all images for this item
R. Pollard fect. Aquatinted by J. Wells [first plate]. Aquatinted by J. Jukes [second plate].
London, Published Septr. 6, 1787, by R. Pollard, Engraver, No.15, Braynes Row, Spa Fields.
Pair of aquatints with etching, each c.327 x 275mm.
A fine pair of prints that illustrate the popular Elizabethan ballad 'The Blind Beggar of Bethnal Green'. This tells the story of Henry de Montfort, a son of Simon de Montfort. He was wounded and lost his sight in the Battle of Evesham in 1265, and was nursed to health by a baroness, and together they had a child named Besse (commemorated in Besse Road in London's East End). He became the Blind Beggar of Bethnal Green and used to beg at the crossroads. The story of how he went from landed gentry to poor beggar became hugely popular in the Tudor era, and was revived by Percy's 'Reliques of Ancient English Poetry', published in 1765. The legend came to be incorporated into the arms of the Metropolitan Borough of Bethnal Green in 1900. Published by Robert Pollard (c.1755 - 1838) after his own designs.
[Ref: 8101] £490.00 view all images for this item
Betsy in Trouble.
Painted by J. Russel. Engraved by Ang. Zaffonato.
[n.d., c.1800.]
Stipple, with large margins, printed in colours. Some creasing, wear in margins.
A child weeping over her dead bird on the left in front of its cage.
[Ref: 26261] £130.00 (£156.00 incl.VAT)
Painted by J. Russel. Engraved by Ang. Zaffonato.
[n.d., c.1800.]
Stipple, with large margins, printed in colours. Some creasing, wear in margins.
A child weeping over her dead bird on the left in front of its cage.
[Ref: 26261] £130.00 (£156.00 incl.VAT)
![[Betsy in Trouble.]](jpegs/53265.jpg)
[Betsy in Trouble.]
[Painted by J. Russell R.A. Crayon Painter to his Majesty and their Royal Highnesses the Prince of Wales & Duke of York. Engraved by N. Schiavonetti junior.]
[London Published April 1. 1797 by Mess.rs Schiavonetti No 12, Michael's Place Brompton.]
Very fine stipple, proof before all letters. 325 x 380mm (12¾ x 15"). Narrow margins, small paper flaw in left edge, indistinct collector's stamp bottom right.
A child weeping over her dead bird lying in front of its cage.
[Ref: 53265] £550.00 (£660.00 incl.VAT)
[Painted by J. Russell R.A. Crayon Painter to his Majesty and their Royal Highnesses the Prince of Wales & Duke of York. Engraved by N. Schiavonetti junior.]
[London Published April 1. 1797 by Mess.rs Schiavonetti No 12, Michael's Place Brompton.]
Very fine stipple, proof before all letters. 325 x 380mm (12¾ x 15"). Narrow margins, small paper flaw in left edge, indistinct collector's stamp bottom right.
A child weeping over her dead bird lying in front of its cage.
[Ref: 53265] £550.00 (£660.00 incl.VAT)
![Betsy in Trouble. [&] The Dog's first sight of himself.](jpegs/53266.jpg)
Betsy in Trouble. [&] The Dog's first sight of himself.
Painted by J. Russell R.A. Crayon Painter to his Majesty and their Royal Highnesses the Prince of Wales & Duke of York. Engraved by N. Schiavonetti junior.
London Published April 1. 1798 by Mess.rs Schiavonetti No 12, Michael's Place Brompton [but later].
Pair of stipples, printed in colours and hand finished. 325 x 380mm (12¾ x 15"), with very large margins.
Two scenes of children and their pets. In the first a child weeps over her dead bird lying in front of its cage; the second shows a golden-haired child teasing a dog with a mirror.
[Ref: 53266] £550.00 view all images for this item
Painted by J. Russell R.A. Crayon Painter to his Majesty and their Royal Highnesses the Prince of Wales & Duke of York. Engraved by N. Schiavonetti junior.
London Published April 1. 1798 by Mess.rs Schiavonetti No 12, Michael's Place Brompton [but later].
Pair of stipples, printed in colours and hand finished. 325 x 380mm (12¾ x 15"), with very large margins.
Two scenes of children and their pets. In the first a child weeps over her dead bird lying in front of its cage; the second shows a golden-haired child teasing a dog with a mirror.
[Ref: 53266] £550.00 view all images for this item
Mr. Thomas Betterton Totus Mundus Agit Histrionem.
G. Kneller. pinx: R: Williams fe:
E: Cooper Ex: [n.d., c.1700.]
Mezzotint. 340 x 255mm (13½ x 10"). Age toned.
Thomas Betterton (c. 1635 - 1710), actor, son of an under-cook to King Charles I. Charles II sent Betterton to Paris to study improvements to stage craft, introducing shifting scenes rather than tapestry to the English theatre. He and his actress wife, Mary Saunderson, were regarded as respectable in a period when acting was seen as indecent, and were invited to teach the children from noble and royal families to perform John Crowne's Calisto, 1675, in the last Stuart court Masque.
Chaloner Smith 7, ii of iv. Ex: Collection of Alec Clunes.
[Ref: 7833] £260.00 (£312.00 incl.VAT)
G. Kneller. pinx: R: Williams fe:
E: Cooper Ex: [n.d., c.1700.]
Mezzotint. 340 x 255mm (13½ x 10"). Age toned.
Thomas Betterton (c. 1635 - 1710), actor, son of an under-cook to King Charles I. Charles II sent Betterton to Paris to study improvements to stage craft, introducing shifting scenes rather than tapestry to the English theatre. He and his actress wife, Mary Saunderson, were regarded as respectable in a period when acting was seen as indecent, and were invited to teach the children from noble and royal families to perform John Crowne's Calisto, 1675, in the last Stuart court Masque.
Chaloner Smith 7, ii of iv. Ex: Collection of Alec Clunes.
[Ref: 7833] £260.00 (£312.00 incl.VAT)
Mr Thomas Betterton. Totus Mundus Agit Histrionem.
G.Kneller pinx. R.William fe.
E.Cooper Ex. [n.d., c.1700.]
Rare mezzotint, early 18th century watermark. Sheet 340 x 250mm (13½ x 10"). Trimmed into plate, repaired tear on lower plate.
Portrait of Thomas Betterton (1635 - 1710), the leading male actor and theatre manager during Restoration England, son of an under-cook to King Charles I.
CS: 7: ii of iv. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 65441] £260.00 (£312.00 incl.VAT)
G.Kneller pinx. R.William fe.
E.Cooper Ex. [n.d., c.1700.]
Rare mezzotint, early 18th century watermark. Sheet 340 x 250mm (13½ x 10"). Trimmed into plate, repaired tear on lower plate.
Portrait of Thomas Betterton (1635 - 1710), the leading male actor and theatre manager during Restoration England, son of an under-cook to King Charles I.
CS: 7: ii of iv. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 65441] £260.00 (£312.00 incl.VAT)
Mr. Tho.s Betterton. [Engraved for the Universal Magazine.]
[after Sir Godfrey Kneller.]
[For J. Hinton at the King's Arms in Newgate Street.] [n.d., 1754.]
Engraving. Sheet 170 x 110mm (6¾ x 4¼"). Trimmed, losing sur-title and publication line.
Thomas Betterton (c. 1635 - 1710), actor, son of an under-cook to King Charles I. Charles II sent Betterton to Paris to study improvements to stage craft, introducing shifting scenes rather than tapestry to the English theatre. He and his actress wife, Mary Saunderson, were regarded as respectable in a period when acting was seen as indecent, and were invited to teach the children from noble and royal families to perform John Crowne's Calisto, 1675, in the last Stuart court Masque.
[Ref: 52583] £45.00 (£54.00 incl.VAT)
[after Sir Godfrey Kneller.]
[For J. Hinton at the King's Arms in Newgate Street.] [n.d., 1754.]
Engraving. Sheet 170 x 110mm (6¾ x 4¼"). Trimmed, losing sur-title and publication line.
Thomas Betterton (c. 1635 - 1710), actor, son of an under-cook to King Charles I. Charles II sent Betterton to Paris to study improvements to stage craft, introducing shifting scenes rather than tapestry to the English theatre. He and his actress wife, Mary Saunderson, were regarded as respectable in a period when acting was seen as indecent, and were invited to teach the children from noble and royal families to perform John Crowne's Calisto, 1675, in the last Stuart court Masque.
[Ref: 52583] £45.00 (£54.00 incl.VAT)
Mr. Henry Betty, (Son of W. H.W. Betty, the English Roscius.) In the Character of Macbeth. "______and on high plac'd Macbeth. Shall live the lease of nature". Macbeth, Act 4th. Scene 1st.
Drawn from life & on Stone by F. Onwhyn. Hurst, lith, 244. Strand.
Proof. [n.d. c.1850.]
Lithograph. 355 x 266mm. 14 x 10½". Small paper repair, but still damaged to title area.
Henry Thomas Betty (1819-1897), actor and son of William Henry Best Betty (1791-1874).
See Harvard: p.102.2. NPG: D41914.
[Ref: 24439] £90.00 (£108.00 incl.VAT)
Drawn from life & on Stone by F. Onwhyn. Hurst, lith, 244. Strand.
Proof. [n.d. c.1850.]
Lithograph. 355 x 266mm. 14 x 10½". Small paper repair, but still damaged to title area.
Henry Thomas Betty (1819-1897), actor and son of William Henry Best Betty (1791-1874).
See Harvard: p.102.2. NPG: D41914.
[Ref: 24439] £90.00 (£108.00 incl.VAT)
The Young Roscius in the Character of Douglas.
[Engraved by Godby from the original drawing in the possession of his Royal Highness, the Prince of Wales.]
[London, Edward Orme, 1805.]
Stipple engraving, printed in colours. Image 280 x 215mm, 11 x 8". Trimmed to printed border.
William Henry West Betty (1791-1874) as Douglas in the black verse tragedy by John Home. Betty. was a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-1806, at Covent Garden.
Harvard Vol.I: p105, 45.
[Ref: 24252] £130.00 (£156.00 incl.VAT)
[Engraved by Godby from the original drawing in the possession of his Royal Highness, the Prince of Wales.]
[London, Edward Orme, 1805.]
Stipple engraving, printed in colours. Image 280 x 215mm, 11 x 8". Trimmed to printed border.
William Henry West Betty (1791-1874) as Douglas in the black verse tragedy by John Home. Betty. was a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-1806, at Covent Garden.
Harvard Vol.I: p105, 45.
[Ref: 24252] £130.00 (£156.00 incl.VAT)
W.m. Henry West Betty, Ætatis Suæ 13. From the first and only original Portrait in the possession of Tho.s Lister Parker Esq.r.
Painted by J. Northcote Esqr. R.A. Engraved by J. Ward Painter & Engraver to H.R.H. the Prince of Wales.
Published March, 16. 1805. by Mr. Betty, at Messrs. Colnaghi & Co. Printsellers, Cockspur Street.
Fine mezzotint, open letter proof. 275 x 380mm (10¾ x 15"), with large margins. Pencil annotations in lower margin.
William Henry West Betty (1791-1874), a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-6, at Covent Garden. He paid for the publication of this portrait before he was fifteen.
CS: 4: II of III.
[Ref: 50088] £350.00
Painted by J. Northcote Esqr. R.A. Engraved by J. Ward Painter & Engraver to H.R.H. the Prince of Wales.
Published March, 16. 1805. by Mr. Betty, at Messrs. Colnaghi & Co. Printsellers, Cockspur Street.
Fine mezzotint, open letter proof. 275 x 380mm (10¾ x 15"), with large margins. Pencil annotations in lower margin.
William Henry West Betty (1791-1874), a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-6, at Covent Garden. He paid for the publication of this portrait before he was fifteen.
CS: 4: II of III.
[Ref: 50088] £350.00
The Young Roscius in the Character of Douglas.
Engraved by Godby from the original drawing in the possession of his Royal Highness, the Prince of Wales.
Published Jan.y 1st 1805, by Edward Orme, His Majesty's Printseller, Bond Street, the Corner of Brook Street. Sold also by Mess.rs Colnaghi & Co. Cockspur Street, & J. Ginger, Booksellers to H.R.H. the Prince of Wales, Piccadilly.
Stipple engraving, printed in colours. Sheet 325 x 240mm (12¾ x 9½"). J. Whatman watermark 1801. Trimmed within plate.
William Henry West Betty (1791-1874) as Douglas in the black verse tragedy by John Home. Betty was a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-1806, at Covent Garden.
Harvard Vol.I: p105, 45.
[Ref: 41881] £160.00 (£192.00 incl.VAT)
Engraved by Godby from the original drawing in the possession of his Royal Highness, the Prince of Wales.
Published Jan.y 1st 1805, by Edward Orme, His Majesty's Printseller, Bond Street, the Corner of Brook Street. Sold also by Mess.rs Colnaghi & Co. Cockspur Street, & J. Ginger, Booksellers to H.R.H. the Prince of Wales, Piccadilly.
Stipple engraving, printed in colours. Sheet 325 x 240mm (12¾ x 9½"). J. Whatman watermark 1801. Trimmed within plate.
William Henry West Betty (1791-1874) as Douglas in the black verse tragedy by John Home. Betty was a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-1806, at Covent Garden.
Harvard Vol.I: p105, 45.
[Ref: 41881] £160.00 (£192.00 incl.VAT)
[William H.W. Betty Engraved by S.W.Reynolds from a drawing in the possession of Her Grace the Duchess of Devonshire to whom this plate is with permission respectfully inscribed by Her Grace's most humble servants S.W.Reynolds & J.s Ramsay.]
[Drawn by J.s Ramsay Sheffield Sept 1804 and published in London Feb.y 1805 by S.W.Reynolds 47 Poland Street, R.Ramsay Duke Street, Strand and sold by Ramsay Sheffield.]
Fine mezzotint, proof before all letters. 505 x 355mm (20 x 14"). Thread margins reinforced on verso, creasing.
William Henry West Betty (1791-1874), a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-6, at Covent Garden. After leaving the stage in 1808 to study at Christ's College, Cambridge, his attempts to return to the stage as an adult all failed. This plate is unusual in that the entire surface is mezzotinted. The published state also had 'The Young Roscius' written in the lower image.
Whitman: 26, state i of ii.
[Ref: 51180] £360.00
[Drawn by J.s Ramsay Sheffield Sept 1804 and published in London Feb.y 1805 by S.W.Reynolds 47 Poland Street, R.Ramsay Duke Street, Strand and sold by Ramsay Sheffield.]
Fine mezzotint, proof before all letters. 505 x 355mm (20 x 14"). Thread margins reinforced on verso, creasing.
William Henry West Betty (1791-1874), a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-6, at Covent Garden. After leaving the stage in 1808 to study at Christ's College, Cambridge, his attempts to return to the stage as an adult all failed. This plate is unusual in that the entire surface is mezzotinted. The published state also had 'The Young Roscius' written in the lower image.
Whitman: 26, state i of ii.
[Ref: 51180] £360.00
The Young Roscius, Aged 13. Willm. Henry West Betty, Born at Shrewsbury. September 15, 1791.
A Warranted Likeness Drawn by Permission. F. Eginton, fecit Birmm.
Publish'd by J. Bisset. Museum, Birmingham, Feby. 12th 1803. Sold in London by Mr. Ackerman, Strand _ Messrs. Colnaghi & Co. Cockspur St. & Mr. Thompson, Gt. Newport St. Printseller to his Majesty, &c.&c.
Stipple and engraving, scarce, sheet 225 x 175mm. 8¾ x 7". Trimmed within plate.
William Henry West Betty (1791-1874) was a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-1806, at Covent Garden. His bust is enclosed in a floral circular frame decorated with theatrical and musical motifs, on an inscribed pediment. Eight lines of text below, three lines of poetry above. Betty's first appearance on the stage at was at Belfast before he was twelve years old, as Osman in Aaron Hill's Zara, an English version of Voltaire's Zaire. His success was immediate, and he shortly afterwards appeared in Dublin, where it is said that in three hours of study he committed the part of Hamlet to memory. His precocious talents aroused great enthusiasm in Glasgow and Edinburgh, and he was favourably compared with some of the greatest tragedians. In 1801, he first appeared at Covent Garden, when the troops had to be called out to preserve order, so great was the crush to obtain admittance. At Drury Lane, the house was similarly packed. He was a great success socially; George III himself presenting him to the queen, and Pitt upon one occasion adjourning the House of Commons so that members might be in time for his performance. But this enthusiasm gradually subsided, and in 1808, he made his final appearance as a boy actor, and entered Christ's College, Cambridge. He re-appeared four years later, but the public would have none of him, and he retired to the enjoyment of the large fortune that he had amassed as a prodigy. His son Henry Thomas Betty (1819-1897) was also an actor. Engraved by Birmingham printmaker Francis Eginton (1737 - 1805), published for the Birmingham Museum.
Harvard Theatre Collection: pg.103, 10.
[Ref: 13321] £140.00 (£168.00 incl.VAT)
A Warranted Likeness Drawn by Permission. F. Eginton, fecit Birmm.
Publish'd by J. Bisset. Museum, Birmingham, Feby. 12th 1803. Sold in London by Mr. Ackerman, Strand _ Messrs. Colnaghi & Co. Cockspur St. & Mr. Thompson, Gt. Newport St. Printseller to his Majesty, &c.&c.
Stipple and engraving, scarce, sheet 225 x 175mm. 8¾ x 7". Trimmed within plate.
William Henry West Betty (1791-1874) was a child actor billed as the 'Young Roscius' for his performances in adult roles like Hamlet and Romeo, 1804-1806, at Covent Garden. His bust is enclosed in a floral circular frame decorated with theatrical and musical motifs, on an inscribed pediment. Eight lines of text below, three lines of poetry above. Betty's first appearance on the stage at was at Belfast before he was twelve years old, as Osman in Aaron Hill's Zara, an English version of Voltaire's Zaire. His success was immediate, and he shortly afterwards appeared in Dublin, where it is said that in three hours of study he committed the part of Hamlet to memory. His precocious talents aroused great enthusiasm in Glasgow and Edinburgh, and he was favourably compared with some of the greatest tragedians. In 1801, he first appeared at Covent Garden, when the troops had to be called out to preserve order, so great was the crush to obtain admittance. At Drury Lane, the house was similarly packed. He was a great success socially; George III himself presenting him to the queen, and Pitt upon one occasion adjourning the House of Commons so that members might be in time for his performance. But this enthusiasm gradually subsided, and in 1808, he made his final appearance as a boy actor, and entered Christ's College, Cambridge. He re-appeared four years later, but the public would have none of him, and he retired to the enjoyment of the large fortune that he had amassed as a prodigy. His son Henry Thomas Betty (1819-1897) was also an actor. Engraved by Birmingham printmaker Francis Eginton (1737 - 1805), published for the Birmingham Museum.
Harvard Theatre Collection: pg.103, 10.
[Ref: 13321] £140.00 (£168.00 incl.VAT)
Between Friends.
From the Original Painting by O. Goldmann. Etched by J.S. King.
Copyrighted 1885. Gebbie & Co. Philadelphia, PA [USA].
Etching, 225 x 265mm (9 x 10½").
American social genre: two men and a woman share some gossip over refreshments at a table.
[Ref: 27685] £120.00 (£144.00 incl.VAT)
From the Original Painting by O. Goldmann. Etched by J.S. King.
Copyrighted 1885. Gebbie & Co. Philadelphia, PA [USA].
Etching, 225 x 265mm (9 x 10½").
American social genre: two men and a woman share some gossip over refreshments at a table.
[Ref: 27685] £120.00 (£144.00 incl.VAT)
Between Two Stools the Bottom goes o the Ground. There is no trusting I find to that deceitfull Ceylon Manufacture.
Folios of Caracatures lent out for the Evening. [Charles Williams.]
Pubd March 1t 1802 SW Fores 50 Piccadilly.
Hand-coloured etching; 18th century watermark. Plate 248 x 345mm (9¾ x 13½"), with large margins.
Tierney has fallen between two (upholstered) stools: 'Whig Stool' [tattered] and 'Tory Stool' [in good repair]; he holds out his arms, saying, "There is no trusting I find to that deceitfull Ceylon Manufacture". On the extreme left and right stand Fox and Addington both clasping their sides in amusement at the mishap; the latter wears robes and wig.
BM Satires 9844.
[Ref: 52270] £230.00 (£276.00 incl.VAT)
Folios of Caracatures lent out for the Evening. [Charles Williams.]
Pubd March 1t 1802 SW Fores 50 Piccadilly.
Hand-coloured etching; 18th century watermark. Plate 248 x 345mm (9¾ x 13½"), with large margins.
Tierney has fallen between two (upholstered) stools: 'Whig Stool' [tattered] and 'Tory Stool' [in good repair]; he holds out his arms, saying, "There is no trusting I find to that deceitfull Ceylon Manufacture". On the extreme left and right stand Fox and Addington both clasping their sides in amusement at the mishap; the latter wears robes and wig.
BM Satires 9844.
[Ref: 52270] £230.00 (£276.00 incl.VAT)
William Beveridge DD. Ld Bishop of St Asaph Aetatis Sue 71
B Ferrers pinx. W Sherwin fe.
[n.d., c.1709.]
Mezzotint. 205 x 155mm (8 x 6"). Trimmed to plate.
A portrait in oval of William Beveridge (1637-1708), writer and clergyman who served as Bishop of St Asaph from 1704 until his death. A reversed copy of the painting by Benjamin Ferrers now in the Bodleian Library. During his lifetime Beveridge refused to sit for his portrait: Ferrers (c. 166-1732), a relative, painted this portrait from his corpse.
Ex: collection of The Hon. Christopher Lennox-Boyd. CS 5.
[Ref: 66415] £160.00 (£192.00 incl.VAT)
B Ferrers pinx. W Sherwin fe.
[n.d., c.1709.]
Mezzotint. 205 x 155mm (8 x 6"). Trimmed to plate.
A portrait in oval of William Beveridge (1637-1708), writer and clergyman who served as Bishop of St Asaph from 1704 until his death. A reversed copy of the painting by Benjamin Ferrers now in the Bodleian Library. During his lifetime Beveridge refused to sit for his portrait: Ferrers (c. 166-1732), a relative, painted this portrait from his corpse.
Ex: collection of The Hon. Christopher Lennox-Boyd. CS 5.
[Ref: 66415] £160.00 (£192.00 incl.VAT)
William Beveridge DD. Ld Bishop of St Asaph Aetatis Sue 71
B Ferrers pinx. W Sherwin fe.
[n.d., c.1709.]
Mezzotint. 205 x 155mm (8 x 6"). Trimmed to plate, ink library stamp on the reverse.
A portrait in oval of William Beveridge (1637-1708), writer and clergyman who served as Bishop of St Asaph from 1704 until his death. A reversed copy of the painting by Benjamin Ferrers now in the Bodleian Library. During his lifetime Beveridge refused to sit for his portrait: Ferrers (c. 166-1732), a relative, painted this portrait from his corpse.
Ex: collection of The Hon. Christopher Lennox-Boyd. CS 5.
[Ref: 66416] £160.00 (£192.00 incl.VAT)
B Ferrers pinx. W Sherwin fe.
[n.d., c.1709.]
Mezzotint. 205 x 155mm (8 x 6"). Trimmed to plate, ink library stamp on the reverse.
A portrait in oval of William Beveridge (1637-1708), writer and clergyman who served as Bishop of St Asaph from 1704 until his death. A reversed copy of the painting by Benjamin Ferrers now in the Bodleian Library. During his lifetime Beveridge refused to sit for his portrait: Ferrers (c. 166-1732), a relative, painted this portrait from his corpse.
Ex: collection of The Hon. Christopher Lennox-Boyd. CS 5.
[Ref: 66416] £160.00 (£192.00 incl.VAT)
![[Adrian Beverland.]](jpegs/65532.jpg)
[Adrian Beverland.] Viro perillustri Hadriano Berverlando numismatim Insectorum Cochlearam Picturarum ac Librorum rariorum Vindici ac Statori Hanc Tab.
J.Smith ex. Is.Beckett. [After Simon Du Bois.]
[n.d., c.1680.]
Mezzotint. Sheet 425 x 250mm (16¾ x 9"). Trimmed. Some faint creases. Taped into mount at top.
Portrait of Hadriaan Beverland (1650 - 1716), Dutch humanist scholar who was banished from Holland in 1679 and settled in England in 1680. In his studies Beverland defined sexual lust as the original sin. He argued that Adam and Eve had had sexual relations in the Garden of Eden, disobeying God's commands. As a punishment, all people were henceforth dominated by sexual desire. Beverland concentrated on the past to display the universal power of lust in human nature. During a provincial Synod in Gouda in July 1679 Beverland's works were discussed by members of the Dutch Reformed Church. They concluded that his study on sex and sin was licentious and injurious, deputies from the Synods of North- and South-Holland sent a request to the States of Holland. On 12 September 1679 the States approved the request of the deputies of the Synods, in which they had asked to prohibit and repress Beverland's publications to conserve God, his Word, and the Dutch Reformed religion, and to protect young people in Dutch society from Beverland's ideas. On the 26th of October 1679 Beverland was arrested.
Ex: Collection of The Hon. Christopher Lennox-Boyd & Christopher Mendez & J. E. Hodgkin. See Griffiths Stuart Britain 164.
[Ref: 65532] £350.00
J.Smith ex. Is.Beckett. [After Simon Du Bois.]
[n.d., c.1680.]
Mezzotint. Sheet 425 x 250mm (16¾ x 9"). Trimmed. Some faint creases. Taped into mount at top.
Portrait of Hadriaan Beverland (1650 - 1716), Dutch humanist scholar who was banished from Holland in 1679 and settled in England in 1680. In his studies Beverland defined sexual lust as the original sin. He argued that Adam and Eve had had sexual relations in the Garden of Eden, disobeying God's commands. As a punishment, all people were henceforth dominated by sexual desire. Beverland concentrated on the past to display the universal power of lust in human nature. During a provincial Synod in Gouda in July 1679 Beverland's works were discussed by members of the Dutch Reformed Church. They concluded that his study on sex and sin was licentious and injurious, deputies from the Synods of North- and South-Holland sent a request to the States of Holland. On 12 September 1679 the States approved the request of the deputies of the Synods, in which they had asked to prohibit and repress Beverland's publications to conserve God, his Word, and the Dutch Reformed religion, and to protect young people in Dutch society from Beverland's ideas. On the 26th of October 1679 Beverland was arrested.
Ex: Collection of The Hon. Christopher Lennox-Boyd & Christopher Mendez & J. E. Hodgkin. See Griffiths Stuart Britain 164.
[Ref: 65532] £350.00
![[Playbill] Theatre, Beverley,](jpegs/65955.jpg)
[Playbill] Theatre, Beverley, For the Benefit of Mr. Piercy, Treasurer. On Friday Evening, July 6th, 1827, Will be performed Lewis's Romantic Drame, of The Castle Spectre...
W.B. Johnson, Printer, Sow-Hill, Market-Place, Beverley.
Rare letterpress, sheet 335 x 210mm (13 x 8¼"). Creasing. Surface dirt. Nicks to edges.
Playbill for the Beverley Theatre featuring, 'Fun, Frolic, Fashion, and Flash,' & 'Tom & Jerry; Or, Life In London.'
[Ref: 65955] £140.00 (£168.00 incl.VAT)
W.B. Johnson, Printer, Sow-Hill, Market-Place, Beverley.
Rare letterpress, sheet 335 x 210mm (13 x 8¼"). Creasing. Surface dirt. Nicks to edges.
Playbill for the Beverley Theatre featuring, 'Fun, Frolic, Fashion, and Flash,' & 'Tom & Jerry; Or, Life In London.'
[Ref: 65955] £140.00 (£168.00 incl.VAT)
Ernest Bevin. Supplement to the New Statesman and Nation, December 30, 1933 (11).
Low.
Photo-lithograph. Sheet size: 230 x 330mm (9 x 13").
A portrait of Ernest Bevin (1881 - 1951), a British statesman, trade union leader, and Labour politician. He co-founded and served as general secretary of the Transport and General Workers' Union from 1922 to 1940, and as Minister of Labour in the war-time coalition government. By New Zealand born artist, Sir David Low (1891 - 1963). Unhappy with the political leadership of the British establishment David Low created his cartoon character, Colonel Blimp in 1934.
[Ref: 37143] £75.00 (£90.00 incl.VAT)
Low.
Photo-lithograph. Sheet size: 230 x 330mm (9 x 13").
A portrait of Ernest Bevin (1881 - 1951), a British statesman, trade union leader, and Labour politician. He co-founded and served as general secretary of the Transport and General Workers' Union from 1922 to 1940, and as Minister of Labour in the war-time coalition government. By New Zealand born artist, Sir David Low (1891 - 1963). Unhappy with the political leadership of the British establishment David Low created his cartoon character, Colonel Blimp in 1934.
[Ref: 37143] £75.00 (£90.00 incl.VAT)
![Thomas Bewick [facsimile siganture.]](jpegs/29928.jpg)
Thomas Bewick [facsimile siganture.]
[Frederick Bacon, after James Ramsay.]
R. Turner [stamped.] [n.d. c.1852.]
Engraving on india with small margins, scarce, printseller's association stamp, publisher's blindstamp of R. Turner Newcastle. Limited edition 150 Autograph proofs on india paper; Plate 405 x 305mm (16 x 12").
Thomas Bewick (1753-1828), the British wood-engraver. He is credited with reviving this art and establishing it as a major form of printmaking. He developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragment of Arts, Manufactures and Commerce for a wood engraving of the 'Huntsman and the Old Hound'. Bewick's most important works are illustrations for books such as 'A General History of Quadrupeds' (1790) and 'A History of British Birds' (1797).
NPG: D31747.
[Ref: 29928] £250.00 (£300.00 incl.VAT)
[Frederick Bacon, after James Ramsay.]
R. Turner [stamped.] [n.d. c.1852.]
Engraving on india with small margins, scarce, printseller's association stamp, publisher's blindstamp of R. Turner Newcastle. Limited edition 150 Autograph proofs on india paper; Plate 405 x 305mm (16 x 12").
Thomas Bewick (1753-1828), the British wood-engraver. He is credited with reviving this art and establishing it as a major form of printmaking. He developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragment of Arts, Manufactures and Commerce for a wood engraving of the 'Huntsman and the Old Hound'. Bewick's most important works are illustrations for books such as 'A General History of Quadrupeds' (1790) and 'A History of British Birds' (1797).
NPG: D31747.
[Ref: 29928] £250.00 (£300.00 incl.VAT)
Mr. Tho.s Bewick, celebrated Engraver on Wood.
Miss Kirkley, Pinx.t. T.A. Kidd, Sculp.t
Published as the Act directs, Jan.y 4th 1798 by G.G. & J. Robinson Paternoster Row, & I.A. Kidd NewCastle upon Tyne.
Engraving. 195 x 140mm (7¾ x 5½"), with very large margins.
Thomas Bewick (1753-1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804). This portrait is engraved from a painting by Caroline Kirkley (1795-1798, fl.), daughter of Sir Joshua Reynolds' manservant Ralph Kirkely.
[Ref: 33972] £130.00 (£156.00 incl.VAT)
Miss Kirkley, Pinx.t. T.A. Kidd, Sculp.t
Published as the Act directs, Jan.y 4th 1798 by G.G. & J. Robinson Paternoster Row, & I.A. Kidd NewCastle upon Tyne.
Engraving. 195 x 140mm (7¾ x 5½"), with very large margins.
Thomas Bewick (1753-1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804). This portrait is engraved from a painting by Caroline Kirkley (1795-1798, fl.), daughter of Sir Joshua Reynolds' manservant Ralph Kirkely.
[Ref: 33972] £130.00 (£156.00 incl.VAT)
Thomas Bewick. Engraver on Wood.
Ja.s Ramsay Pinx.t Henry Hoppner Meyer, Sculp.t
Edwin Pearson Excudit. [n.d., c.1840.]
Stipple. 279 x 215mm. 11 x 8½".
Thomas Bewick (1753-1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804).
[Ref: 18949] £90.00 (£108.00 incl.VAT)
Ja.s Ramsay Pinx.t Henry Hoppner Meyer, Sculp.t
Edwin Pearson Excudit. [n.d., c.1840.]
Stipple. 279 x 215mm. 11 x 8½".
Thomas Bewick (1753-1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a bruin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804).
[Ref: 18949] £90.00 (£108.00 incl.VAT)
![[Thomas Bewick.]](jpegs/7377.jpg)
[Thomas Bewick.]
[Painted by James Ramsay.]
[n.d., c.1840.]
Steel engraving, proof before all letters on india paper. India 270 x 180mm. Small holes in india where glued to backing sheet top right and lower left. Pin-sized hole to right of Bewick's head. Two rust spots on image.
Thomas Bewick (1753 - 1828), wood-engraver. Taken from the 1823 portrait by James Ramsay.
NP: 319.
[Ref: 7377] £65.00 (£78.00 incl.VAT)
[Painted by James Ramsay.]
[n.d., c.1840.]
Steel engraving, proof before all letters on india paper. India 270 x 180mm. Small holes in india where glued to backing sheet top right and lower left. Pin-sized hole to right of Bewick's head. Two rust spots on image.
Thomas Bewick (1753 - 1828), wood-engraver. Taken from the 1823 portrait by James Ramsay.
NP: 319.
[Ref: 7377] £65.00 (£78.00 incl.VAT)
Mr. Thos. Bewick, Restorer of the Art of Engraving on Wood.
From an original Miniature by Murphy, in the possession of Mr. Bewick, with whose permission this Plate is Engraved by J. Summerfield.
Published Feby. 1, 1816, by T. McLean, Sackville Street, Piccadilly.
Engraving on india laid paper, 235 x 155mm. 9¼ x 6". A fine impression.
Scarce portrait of Thomas Bewick (1753 - 1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a burin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804).
for the portrait with additional letterpress see ref. 18951
[Ref: 17200] £160.00 (£192.00 incl.VAT)
From an original Miniature by Murphy, in the possession of Mr. Bewick, with whose permission this Plate is Engraved by J. Summerfield.
Published Feby. 1, 1816, by T. McLean, Sackville Street, Piccadilly.
Engraving on india laid paper, 235 x 155mm. 9¼ x 6". A fine impression.
Scarce portrait of Thomas Bewick (1753 - 1828), wood-engraver. At the age of fourteen Bewick was apprenticed to Ralph Beilby, an engraver in Newcastle. He devoted himself to engraving on wood, and is credited with reviving this art and establishing it as a major form of printmaking. Bewick developed the technique of cutting a design into hardwood cut across, rather than with, the grain, using a sharp tool called a burin. In 1775, he received a payment from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the Huntsman and the Old Hound. Bewick's most important works are illustrations for books such as A General History of Quadrupeds (1790) and A History of British Birds (1797 and 1804).
for the portrait with additional letterpress see ref. 18951
[Ref: 17200] £160.00 (£192.00 incl.VAT)
Bewick Gleanings: being Impressions from Copperplates and Wood Blocks, Engraved in the Bewick Workshop, Remaining in the possession of the family until the death of the last Miss Bewick, and sold afterwards by order of her executors. Edited, with Notes, by Julia Boyd... To which are added, Lives of Thos. Bewick and his Pupils. With Impressions from other Wood Blocks Collected by or Left to the Author.
Printed and Published by Andrew Reid, Printing Court Buildings, Akenside Hill, Newcastle-Upon-Tyne. 1886.
4to, Small Paper Copy No 44, signed in ink by the editor; green half morocco gilt, top edge gilt; pp. xiv, including engraved frontis. portrait, + 108 + 104, woodcuts throughout, 53 numbered engraved plates at rear with tissue guards. A little rubbing to binding, occasional foxing, bookplate of Leonard Harrison Matthews on front pastedown.
A collection of the work of Thomas Bewick (1753-1828), a natural history author famed for the quality of his wood engravings. Leonard Harrison Matthews (1901-86) was a British zoologist, especially known for his research and writings on marine mammals. In the 1920s he spent some time on South Georgia studying the biology of whales and southern elephant seals.
[Ref: 56129] £350.00
Printed and Published by Andrew Reid, Printing Court Buildings, Akenside Hill, Newcastle-Upon-Tyne. 1886.
4to, Small Paper Copy No 44, signed in ink by the editor; green half morocco gilt, top edge gilt; pp. xiv, including engraved frontis. portrait, + 108 + 104, woodcuts throughout, 53 numbered engraved plates at rear with tissue guards. A little rubbing to binding, occasional foxing, bookplate of Leonard Harrison Matthews on front pastedown.
A collection of the work of Thomas Bewick (1753-1828), a natural history author famed for the quality of his wood engravings. Leonard Harrison Matthews (1901-86) was a British zoologist, especially known for his research and writings on marine mammals. In the 1920s he spent some time on South Georgia studying the biology of whales and southern elephant seals.
[Ref: 56129] £350.00
Thomas Bewick the Celebrated Engraver on Wood.
William Nicholson Pinx.t. Thomas Ranson Sculp.t.
London Published by T. Ranson, Judd Place West New Road & Mess.rs Boydell Cheapside, Jan.y 1816.
Scarce etching, scratched letter proof on chine collé. 280 x 180mm (11 x 7"), with large margins. Some spotting and creasing,
Seated portrait of Thomas Bewick (1753-1828), holding burin, with a sketch of a cow on a table beside him. Thomas Ranson (1784-1828) was apprenticed in Newcastle before moving to London. He was a noted bank note engraver.
Provenance Davidson Album. Alexander: Pg 731.
[Ref: 57720] £240.00 (£288.00 incl.VAT)
William Nicholson Pinx.t. Thomas Ranson Sculp.t.
London Published by T. Ranson, Judd Place West New Road & Mess.rs Boydell Cheapside, Jan.y 1816.
Scarce etching, scratched letter proof on chine collé. 280 x 180mm (11 x 7"), with large margins. Some spotting and creasing,
Seated portrait of Thomas Bewick (1753-1828), holding burin, with a sketch of a cow on a table beside him. Thomas Ranson (1784-1828) was apprenticed in Newcastle before moving to London. He was a noted bank note engraver.
Provenance Davidson Album. Alexander: Pg 731.
[Ref: 57720] £240.00 (£288.00 incl.VAT)
Bex.
Martens del. Imp. Lemercier Paris.
[n.d., c.1853.]
Tinted lithograph. Sheet 165 x 210mm (6½ x 8¼").
The village of Bex, in the Vaud district of Switzerland.
[Ref: 38977] £95.00 (£114.00 incl.VAT)
Martens del. Imp. Lemercier Paris.
[n.d., c.1853.]
Tinted lithograph. Sheet 165 x 210mm (6½ x 8¼").
The village of Bex, in the Vaud district of Switzerland.
[Ref: 38977] £95.00 (£114.00 incl.VAT)
Vue de Bex.
J. Weibel fc.
1818.
Aquatint and etching with fine hand colouring. Size: 209 x 280mm (8¼ x 11"). Trimmed around image and text.
A landscape view of the town of Bex, Switzerland, with mountains and a glacier in the background. A path next to rocks with a herder and his animals can be seen on the left side. Bex sits on the east side of the Rhone River in a wide valley, surrounded on the east by the Bernese Alps and west by the Chablais Alps. By Swiss landscape painter and printmaker, Samuel Jakob Weibel (1771 - 1846).
[Ref: 31913] £260.00 (£312.00 incl.VAT)
J. Weibel fc.
1818.
Aquatint and etching with fine hand colouring. Size: 209 x 280mm (8¼ x 11"). Trimmed around image and text.
A landscape view of the town of Bex, Switzerland, with mountains and a glacier in the background. A path next to rocks with a herder and his animals can be seen on the left side. Bex sits on the east side of the Rhone River in a wide valley, surrounded on the east by the Bernese Alps and west by the Chablais Alps. By Swiss landscape painter and printmaker, Samuel Jakob Weibel (1771 - 1846).
[Ref: 31913] £260.00 (£312.00 incl.VAT)
Mourat Bey.
[n.d., c.1800.]
Stipple. Sheet size: 112 x 80mm (4½ x 3¼"). Trimmed inside platemark. Glued to backing sheet.
A bust portrait of Murad Bey Mohammed (c.1750- 1801), full face, bearded, in a hat with turban, and dressed in a plain gown. In an oval. Murad was an Egyptian Mamluk chieftain (Bey), cavalry commander and joint ruler of Egypt with Ibrahim Bey. After the death of his master Muhammad Bey Abu al-Dhahab, Murad Bey was in command of the Mamluk army, whereas Ibrahim Bey was in charge of administrative duties of Egypt. They survived through the persistent Ottoman attempts at overthrowing the Mamluk regime and civil strifes. They served as kaymakams (acting governors) in Egypt on occasion, although they effectively held power for decades, even over the appointed Ottoman governor of Egypt.
[Ref: 34389] £65.00 (£78.00 incl.VAT)
[n.d., c.1800.]
Stipple. Sheet size: 112 x 80mm (4½ x 3¼"). Trimmed inside platemark. Glued to backing sheet.
A bust portrait of Murad Bey Mohammed (c.1750- 1801), full face, bearded, in a hat with turban, and dressed in a plain gown. In an oval. Murad was an Egyptian Mamluk chieftain (Bey), cavalry commander and joint ruler of Egypt with Ibrahim Bey. After the death of his master Muhammad Bey Abu al-Dhahab, Murad Bey was in command of the Mamluk army, whereas Ibrahim Bey was in charge of administrative duties of Egypt. They survived through the persistent Ottoman attempts at overthrowing the Mamluk regime and civil strifes. They served as kaymakams (acting governors) in Egypt on occasion, although they effectively held power for decades, even over the appointed Ottoman governor of Egypt.
[Ref: 34389] £65.00 (£78.00 incl.VAT)
![[Bhutan] A Temple of Bode.](jpegs/52892.jpg)
[Bhutan] A Temple of Bode.
Drawn by S. Davis Esq.r. Engraved by W. Daniell.
Published by W.m Daniell, No 9 Cleveland Street, Fitzroy Square, London, July 25, 1813.
Fine and rare coloured aquatint. 350 x 475mm (13¾ x 18¾").
A chorten (temple) flanked by tall dashis, prayer flags inscribed from top to bottom with the sacred Buddhist mantra 'om-mani-padme-hum'. In the distance is a Rajah's small villa. It was drawn by Samuel Davis and engraved by William Daniell for their 'Views in Bootan', a rare book containing only six plates, the first views of Bhutan published in England. Davis (1760-1819) was ''Draftsman and Surveyor'' on Samuel Turner's expedition to Tibet on behalf of the East India Company. He was refused entry into Tibet and had to remain in Bhutan as the expedition proceeded. In 1789 he met William Daniell in Bhagalpur, while William was travelling with his uncle Thomas Daniell, and encouraged the two artists to visit the Himalayas. Davis returned to England in 1806 and was made a director of the East India Company the same year. William Daniell (1769-1837) published this work the year he began travelling for his 'Voyage Round Great Britain'.
[Ref: 52892] £2,500.00
Drawn by S. Davis Esq.r. Engraved by W. Daniell.
Published by W.m Daniell, No 9 Cleveland Street, Fitzroy Square, London, July 25, 1813.
Fine and rare coloured aquatint. 350 x 475mm (13¾ x 18¾").
A chorten (temple) flanked by tall dashis, prayer flags inscribed from top to bottom with the sacred Buddhist mantra 'om-mani-padme-hum'. In the distance is a Rajah's small villa. It was drawn by Samuel Davis and engraved by William Daniell for their 'Views in Bootan', a rare book containing only six plates, the first views of Bhutan published in England. Davis (1760-1819) was ''Draftsman and Surveyor'' on Samuel Turner's expedition to Tibet on behalf of the East India Company. He was refused entry into Tibet and had to remain in Bhutan as the expedition proceeded. In 1789 he met William Daniell in Bhagalpur, while William was travelling with his uncle Thomas Daniell, and encouraged the two artists to visit the Himalayas. Davis returned to England in 1806 and was made a director of the East India Company the same year. William Daniell (1769-1837) published this work the year he began travelling for his 'Voyage Round Great Britain'.
[Ref: 52892] £2,500.00
![[Bhutan] View of Choka.](jpegs/52891.jpg)
[Bhutan] View of Choka.
Drawn by S. Davis Esq.r. Engraved by W. Daniell.
Published by W.m Daniell, No 9 Cleveland Street, Fitzroy Square, London, June 1, 1813.
Fine and rare coloured aquatint. 350 x 475mm (13¾ x 18¾"), watermarked 'J. Whatman', 1810?
A view of a dzong (fortress) in Chukha, one of the 20 dzongkhag (districts) comprising Bhutan. It was drawn by Samuel Davis and engraved by William Daniell for their 'Views in Bootan', a rare book containing only six plates, the first views of Bhutan published in England. Davis (1760-1819) was ''Draftsman and Surveyor'' on Samuel Turner's expedition to Tibet on behalf of the East India Company. He was refused entry into Tibet and had to remain in Bhutan as the expedition proceeded. In 1789 he met William Daniell in Bhagalpur, while William was travelling with his uncle Thomas Daniell, and encouraged the two artists to visit the Himalayas. Davis returned to England in 1806 and was made a director of the East India Company the same year. William Daniell (1769-1837) published this work the year he began travelling for his 'Voyage Round Great Britain'.
[Ref: 52891] £2,500.00
Drawn by S. Davis Esq.r. Engraved by W. Daniell.
Published by W.m Daniell, No 9 Cleveland Street, Fitzroy Square, London, June 1, 1813.
Fine and rare coloured aquatint. 350 x 475mm (13¾ x 18¾"), watermarked 'J. Whatman', 1810?
A view of a dzong (fortress) in Chukha, one of the 20 dzongkhag (districts) comprising Bhutan. It was drawn by Samuel Davis and engraved by William Daniell for their 'Views in Bootan', a rare book containing only six plates, the first views of Bhutan published in England. Davis (1760-1819) was ''Draftsman and Surveyor'' on Samuel Turner's expedition to Tibet on behalf of the East India Company. He was refused entry into Tibet and had to remain in Bhutan as the expedition proceeded. In 1789 he met William Daniell in Bhagalpur, while William was travelling with his uncle Thomas Daniell, and encouraged the two artists to visit the Himalayas. Davis returned to England in 1806 and was made a director of the East India Company the same year. William Daniell (1769-1837) published this work the year he began travelling for his 'Voyage Round Great Britain'.
[Ref: 52891] £2,500.00
![[Bhutan] View between Murichom & Choka.](jpegs/52893.jpg)
[Bhutan] View between Murichom & Choka.
Drawn by S. Davis Esq.r. Engraved by W. Daniell.
Published by W.m Daniell, No 9 Cleveland Street, Fitzroy Square, London, July 25, 1813.
Fine and rare coloured aquatint. 480 x 350mm (19 x 13¾").
A precipitous path with steps cut into the rock. A European sits using a telescope to view the scenery. It was drawn by Samuel Davis and engraved by William Daniell for their 'Views in Bootan', a rare book containing only six plates, the first views of Bhutan published in England. Davis (1760-1819) was ''Draftsman and Surveyor'' on Samuel Turner's expedition to Tibet on behalf of the East India Company. He was refused entry into Tibet and had to remain in Bhutan as the expedition proceeded. In 1789 he met William Daniell in Bhagalpur, while William was travelling with his uncle Thomas Daniell, and encouraged the two artists to visit the Himalayas. Davis returned to England in 1806 and was made a director of the East India Company the same year. William Daniell (1769-1837) published this work the year he began travelling for his 'Voyage Round Great Britain'.
[Ref: 52893] £2,500.00
Drawn by S. Davis Esq.r. Engraved by W. Daniell.
Published by W.m Daniell, No 9 Cleveland Street, Fitzroy Square, London, July 25, 1813.
Fine and rare coloured aquatint. 480 x 350mm (19 x 13¾").
A precipitous path with steps cut into the rock. A European sits using a telescope to view the scenery. It was drawn by Samuel Davis and engraved by William Daniell for their 'Views in Bootan', a rare book containing only six plates, the first views of Bhutan published in England. Davis (1760-1819) was ''Draftsman and Surveyor'' on Samuel Turner's expedition to Tibet on behalf of the East India Company. He was refused entry into Tibet and had to remain in Bhutan as the expedition proceeded. In 1789 he met William Daniell in Bhagalpur, while William was travelling with his uncle Thomas Daniell, and encouraged the two artists to visit the Himalayas. Davis returned to England in 1806 and was made a director of the East India Company the same year. William Daniell (1769-1837) published this work the year he began travelling for his 'Voyage Round Great Britain'.
[Ref: 52893] £2,500.00
Avro Training Biplane.
Signed in pencil Howard Leigh.
Etching 250 x 190mm, 7½ x 9¾". Light spotting.
Howard Leigh, American 1896-1981.
[Ref: 10908] £220.00 (£264.00 incl.VAT)
Signed in pencil Howard Leigh.
Etching 250 x 190mm, 7½ x 9¾". Light spotting.
Howard Leigh, American 1896-1981.
[Ref: 10908] £220.00 (£264.00 incl.VAT)