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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Roxalana. Mrs. Abbington in that Character, in the Sultan. Sultan (alone) "She's not handsome, that is, what is call'd a beauty; get her little nose" "cock'd in the air, her laughing eyes, & the play of her features, have an". "effect altogether:_Who is it that lifts the curtain there?" Roxalana __ "Tis I". __
Painted by Sir Joshua Reynolds. Engraved by J.K. Shirwin.
London, Publish'd Feby. 1. 1791, by J. Thane, Rupert Street, Hay Market.
A fine stipple and etching. Plate 285 x 210mm. 11¼ x 8¼". Foxing.
The famous comic actress Frances Abington (1737 - 1815) in character as Roxalana, an English slave in Isaac Bickstaffe's play 'The Sultan; or A Peep into the Seraglio' She is, as a contemporary newspaper reported, 'in the act of drawing the Curtain when she surprises the sultan in his retirement'. Mrs Abington was rumoured to have spent her teenage years working as a prostitute. After Sir Joshua Reynolds (1723 - 1792).
Hamilton: pg.77, iii of iii. See 13807 for printed colour version.
[Ref: 21009] £180.00 (£216.00 incl.VAT)
Painted by Sir Joshua Reynolds. Engraved by J.K. Shirwin.
London, Publish'd Feby. 1. 1791, by J. Thane, Rupert Street, Hay Market.
A fine stipple and etching. Plate 285 x 210mm. 11¼ x 8¼". Foxing.
The famous comic actress Frances Abington (1737 - 1815) in character as Roxalana, an English slave in Isaac Bickstaffe's play 'The Sultan; or A Peep into the Seraglio' She is, as a contemporary newspaper reported, 'in the act of drawing the Curtain when she surprises the sultan in his retirement'. Mrs Abington was rumoured to have spent her teenage years working as a prostitute. After Sir Joshua Reynolds (1723 - 1792).
Hamilton: pg.77, iii of iii. See 13807 for printed colour version.
[Ref: 21009] £180.00 (£216.00 incl.VAT)
![[Lancelot Andrewes] Reverendissimus Et Doctiss: Domini. Lancel: Andrewes Episcop. Elyensis Etc. Anno 1618.](jpegs/53125.jpg)
[Lancelot Andrewes] Reverendissimus Et Doctiss: Domini. Lancel: Andrewes Episcop. Elyensis Etc. Anno 1618. These Lineaments of Art, have well set forth Some outward features (though no inward worth) But to these Lines his writings added, cann Make up the faire resemblance of a Man For as the Bodies forme is figurd here So there the beautyes of his Soule appeare; Which I had praised; but that in This place to praise Them, were to praise Him to his Face. Ge: Wi:
[by Simon de Passe.]
[n.d. c.1618.]
Engraving. 180 x 105mm (7 x 4½"), with wide margins. Crease on left.
Lancelot Andrewes (1555-1626) held high positions in the Church of England during the reigns of Elizabeth I and James I. Under James I he served successively as Bishop of Chichester, Ely and Winchester and oversaw the translation of the Authorised Version of the Bible. Depicted here with an open book with words 'Verbum Dei' ('Word of God') to which he points.
[Ref: 53125] £50.00 (£60.00 incl.VAT)
[by Simon de Passe.]
[n.d. c.1618.]
Engraving. 180 x 105mm (7 x 4½"), with wide margins. Crease on left.
Lancelot Andrewes (1555-1626) held high positions in the Church of England during the reigns of Elizabeth I and James I. Under James I he served successively as Bishop of Chichester, Ely and Winchester and oversaw the translation of the Authorised Version of the Bible. Depicted here with an open book with words 'Verbum Dei' ('Word of God') to which he points.
[Ref: 53125] £50.00 (£60.00 incl.VAT)
Atmospheric Refraction.
[London: David Bogue, c. 1845.]
Coloured lithograph on card. Sheet 150 x 190mm (6 x 7½"). Edges clipped at corners.
Optical illusions caused by atmospheric refraction, with mirrored images of ships. Plate 93 of 'The Beauty of the Heavens: a pictorial display of the astronomical phenomena of the universe' by Charles F Blunt.
[Ref: 56796] £90.00 (£108.00 incl.VAT)
[London: David Bogue, c. 1845.]
Coloured lithograph on card. Sheet 150 x 190mm (6 x 7½"). Edges clipped at corners.
Optical illusions caused by atmospheric refraction, with mirrored images of ships. Plate 93 of 'The Beauty of the Heavens: a pictorial display of the astronomical phenomena of the universe' by Charles F Blunt.
[Ref: 56796] £90.00 (£108.00 incl.VAT)
Aurora Borealis
[London: David Bogue, c. 1845.]
Coloured lithograph on card. Sheet 150 x 190mm (6 x 7½"). Plate cut and rejoined, tear in inscription area, edges chipped.
The Northern Lights. Plate 94 of 'The Beauty of the Heavens: a pictorial display of the astronomical phenomena of the universe' by Charles F Blunt.
[Ref: 56792] £95.00 (£114.00 incl.VAT)
[London: David Bogue, c. 1845.]
Coloured lithograph on card. Sheet 150 x 190mm (6 x 7½"). Plate cut and rejoined, tear in inscription area, edges chipped.
The Northern Lights. Plate 94 of 'The Beauty of the Heavens: a pictorial display of the astronomical phenomena of the universe' by Charles F Blunt.
[Ref: 56792] £95.00 (£114.00 incl.VAT)
Ballet 1946-1947.
Covent Garden Books - Number One. Editor: Anthony Gishford.
Printed by Jarrold and Sons Ltd. Norwich and Published by The Covent Garden Opera Trust. [n.d. c.1947.]
Book, 4to; 63 pages. Coloured cover of the stage from a right-wing box.
An illustrated sixty-three page book on the Royal Ballet. It includes contributions by Philip Page "The Royal Opera House", Anthony Gishford "The Covent Garden Opera Trust" and "Frederick Ashton" (with a portrait by Cecil Beaton), David Webster "Lord Keynes", Frances Harris "Ninette de Valois", Sacheverell Sitwell "The Sleeping Beauty" and "Giselle", and Michael Benthall "The Creation of a Ballet". This volume is superbly illustrated with portraits of the dancers and notables, including Ninette de Valois, Constant Lambert, Frederick Ashton, Margot Fonteyn, Moira Shearer, Harold Turner, Pamela May, June Brae, Robert Helpmann, David Paltenghi, Alexis Rassine, Beryl Grey, Michael Somes, and so on, together with photographs of performances and stagings. Among the photographs are works by Cecil Beaton, Germaine Kanova, Baron, Frank Sharman, Gordon Anthony, etc. Other illustrations include a colour plate depicting "William Chappell's backcloth design for the first act of Coppelia", and color photographs of performances of "The Sleeping Beauty" featuring Margot Fonteyn .Among the ballets featured in this, number one of the Covent Garden books, are "The Sleeping Beauty", "Giselle", "Adam Zero", "Les Sirenes".
[Ref: 23324] £140.00
Covent Garden Books - Number One. Editor: Anthony Gishford.
Printed by Jarrold and Sons Ltd. Norwich and Published by The Covent Garden Opera Trust. [n.d. c.1947.]
Book, 4to; 63 pages. Coloured cover of the stage from a right-wing box.
An illustrated sixty-three page book on the Royal Ballet. It includes contributions by Philip Page "The Royal Opera House", Anthony Gishford "The Covent Garden Opera Trust" and "Frederick Ashton" (with a portrait by Cecil Beaton), David Webster "Lord Keynes", Frances Harris "Ninette de Valois", Sacheverell Sitwell "The Sleeping Beauty" and "Giselle", and Michael Benthall "The Creation of a Ballet". This volume is superbly illustrated with portraits of the dancers and notables, including Ninette de Valois, Constant Lambert, Frederick Ashton, Margot Fonteyn, Moira Shearer, Harold Turner, Pamela May, June Brae, Robert Helpmann, David Paltenghi, Alexis Rassine, Beryl Grey, Michael Somes, and so on, together with photographs of performances and stagings. Among the photographs are works by Cecil Beaton, Germaine Kanova, Baron, Frank Sharman, Gordon Anthony, etc. Other illustrations include a colour plate depicting "William Chappell's backcloth design for the first act of Coppelia", and color photographs of performances of "The Sleeping Beauty" featuring Margot Fonteyn .Among the ballets featured in this, number one of the Covent Garden books, are "The Sleeping Beauty", "Giselle", "Adam Zero", "Les Sirenes".
[Ref: 23324] £140.00
Franciscus Bartolozzi. Florentiae natus 25a die 7bris 1728.
P.Violet Pinx. J. Bouilliard Sculpt.
Publish'd 1st Jully 1797 by J./ Boulliard London A Paris chezL'Auteur, Rue St.Thomas D'Enfer, Division des Thermes no 23 &720
Copper engraving. 365 x 250mm. Trimmed to just outside platemark with small tear into bottom right-hand side.
An engraver, etcher, and painter, b. at Florence, 1727; d. at Lisbon, 1815. His father was a goldsmith of excellent family and early taught the use of the burin to his boy who, when ten years of age, engraved two heads which gave promise of his future powers. In the Florentine Academy he learnt to work in oil, chalks, and aquarelle. Unsurpassed by any artist of his day in his knowledge of anatomy, and with a passion for the antique, young Bartolozzi became a master in depicting beauty of expression, movement, and form. From 1745 until 1751 he studied with Wagner, the Venetian historical engraver. This apprenticeship ended, he married Lucia Ferro and the young pair, on Cardinal Bottari's invitation went to Rome. Returning to Venice, his fame grew very rapidly, and in 1764, Dalton, King George III's librarian, took him to England, where he was appointed Engraver to the King, and, for years later, Royal Academician. In London he engraved over two thousand plates, nearly all in the stipple or the 'red-chalk style', a method recently invented by the French, but brought into vogue and elevated into a distinct art by Bartolozzi. He devoted himself to the human figure, and his engravings abound in sweet and tender types of beauty, graceful in form and outline. Everywhere are found delicate modulations of light and shade with a roundness, finish, and suggestion of flesh never before seen in engraved work. Bartolozzi's drawing was superb; and although he was a reproductive artist he improved the work he copied, especially the drawing, even Sir Joshua Reynolds thanking him for such a service. His pupils called him the 'god of drawing'. His splendid line work was obscured by the great popularity attained by his stippled prints, and his few etchings show a free, bold, and unfettered sweep of line. They, too, were reproduced from pictures by others, but the translation always improved on the original. In 1802 Bartolozzi went to Lisbon, where he was knighted, and where he worked and taught until his death. He was buried in the church of Saint Isabella. Among Bartolozzi's best reproductions are the 'Royal Academy Diploma', 'The Marlborough Gems', the 'Illustrations to Shakespeare', and some of his small 'Tickets', all in stipple; and 'The Silence' and 'Clytie', engraved in pure line.
[Ref: 14187] £260.00 (£312.00 incl.VAT)
P.Violet Pinx. J. Bouilliard Sculpt.
Publish'd 1st Jully 1797 by J./ Boulliard London A Paris chezL'Auteur, Rue St.Thomas D'Enfer, Division des Thermes no 23 &720
Copper engraving. 365 x 250mm. Trimmed to just outside platemark with small tear into bottom right-hand side.
An engraver, etcher, and painter, b. at Florence, 1727; d. at Lisbon, 1815. His father was a goldsmith of excellent family and early taught the use of the burin to his boy who, when ten years of age, engraved two heads which gave promise of his future powers. In the Florentine Academy he learnt to work in oil, chalks, and aquarelle. Unsurpassed by any artist of his day in his knowledge of anatomy, and with a passion for the antique, young Bartolozzi became a master in depicting beauty of expression, movement, and form. From 1745 until 1751 he studied with Wagner, the Venetian historical engraver. This apprenticeship ended, he married Lucia Ferro and the young pair, on Cardinal Bottari's invitation went to Rome. Returning to Venice, his fame grew very rapidly, and in 1764, Dalton, King George III's librarian, took him to England, where he was appointed Engraver to the King, and, for years later, Royal Academician. In London he engraved over two thousand plates, nearly all in the stipple or the 'red-chalk style', a method recently invented by the French, but brought into vogue and elevated into a distinct art by Bartolozzi. He devoted himself to the human figure, and his engravings abound in sweet and tender types of beauty, graceful in form and outline. Everywhere are found delicate modulations of light and shade with a roundness, finish, and suggestion of flesh never before seen in engraved work. Bartolozzi's drawing was superb; and although he was a reproductive artist he improved the work he copied, especially the drawing, even Sir Joshua Reynolds thanking him for such a service. His pupils called him the 'god of drawing'. His splendid line work was obscured by the great popularity attained by his stippled prints, and his few etchings show a free, bold, and unfettered sweep of line. They, too, were reproduced from pictures by others, but the translation always improved on the original. In 1802 Bartolozzi went to Lisbon, where he was knighted, and where he worked and taught until his death. He was buried in the church of Saint Isabella. Among Bartolozzi's best reproductions are the 'Royal Academy Diploma', 'The Marlborough Gems', the 'Illustrations to Shakespeare', and some of his small 'Tickets', all in stipple; and 'The Silence' and 'Clytie', engraved in pure line.
[Ref: 14187] £260.00 (£312.00 incl.VAT)
![[The Battle of Bears and Frogs]. Turmæ ranarum periunt non vulnere multo Artus si vivet, quæque salire solet.](jpegs/54044.jpg)
[The Battle of Bears and Frogs]. Turmæ ranarum periunt non vulnere multo Artus si vivet, quæque salire solet.
Eckstiene pinx [John Eckstein]. Reynolds sculp.
London Pub.d April 1.st 1801.
Rare mezzotint. 430 x 550mm (17 x 21¾"), large margins. Collector's blind stamp of a bee, in lower margin. Repaired tears, central fold, month engraved in a ferrent style to the rest of the inscription.
An army of bears storm a hill defended by frogs with cannon, bayoneting and shooting some as others hop into a pond to escape. A rough translation of the Latin title is 'The host of frogs perish and their limbs, used to jumping, twitch on'. The BM has two examples, one matching this state, and another with a different title ('Im Belles Ferro Ceciderunt Igne Robusti') and joke signatures, from the Lennox-Boyd collection, as this example. The collector's stamp, a blind-stamped Napoleonic Bee, is that of William J. Latta of Philadelphia, a collector of Napolionic prints, who began his collection c.1880, sold it Anderson Galleries, New York, in four sales 1913-4. Lugt (L.2825) says of the collection that it ''was reputed to be the most beautiful of its kind in the world. The portraits were remarkable for the beauty of the prints and the rarity of the states; the series of caricatures was particularly comprehensive''.
BM 1872,0511.896 & 2010,7081.5049. Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 54044] £320.00
Eckstiene pinx [John Eckstein]. Reynolds sculp.
London Pub.d April 1.st 1801.
Rare mezzotint. 430 x 550mm (17 x 21¾"), large margins. Collector's blind stamp of a bee, in lower margin. Repaired tears, central fold, month engraved in a ferrent style to the rest of the inscription.
An army of bears storm a hill defended by frogs with cannon, bayoneting and shooting some as others hop into a pond to escape. A rough translation of the Latin title is 'The host of frogs perish and their limbs, used to jumping, twitch on'. The BM has two examples, one matching this state, and another with a different title ('Im Belles Ferro Ceciderunt Igne Robusti') and joke signatures, from the Lennox-Boyd collection, as this example. The collector's stamp, a blind-stamped Napoleonic Bee, is that of William J. Latta of Philadelphia, a collector of Napolionic prints, who began his collection c.1880, sold it Anderson Galleries, New York, in four sales 1913-4. Lugt (L.2825) says of the collection that it ''was reputed to be the most beautiful of its kind in the world. The portraits were remarkable for the beauty of the prints and the rarity of the states; the series of caricatures was particularly comprehensive''.
BM 1872,0511.896 & 2010,7081.5049. Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 54044] £320.00
The Morning Beauty.
Miss A. Green Pinx.t.
London Pub;ished 7th June 1781, for J. Harris, Sweetings Alley, Cornhill.
Stipple, printed in brown, scarce. Sheet 180 x 140mm (7 x 5½). Trimmed within plate, corners snipped. Bit dusty.
A well-dressed young woman, hands in a fur muff, with four lines of verse from Rev. Dr Lisle's 'History of Porsenna'.
[Ref: 45377] £130.00 (£156.00 incl.VAT)
Miss A. Green Pinx.t.
London Pub;ished 7th June 1781, for J. Harris, Sweetings Alley, Cornhill.
Stipple, printed in brown, scarce. Sheet 180 x 140mm (7 x 5½). Trimmed within plate, corners snipped. Bit dusty.
A well-dressed young woman, hands in a fur muff, with four lines of verse from Rev. Dr Lisle's 'History of Porsenna'.
[Ref: 45377] £130.00 (£156.00 incl.VAT)
Beauty directed by Prudence rejects with Scorn the Solicitations of Folly.
Angelica Kauffman pinxit. J.M. Delattre sculpsit.
Published according to Act, 28th Jan.y, 1783 for the Proprietor [Ann Bryer], No 5 Poland Street, Soho.
Fine stipple, printed in sepia. 375 x 320mm (14¾ x 12½"), with large margins.
Beauty pushes away Folly, who is attempting to drape a grape-laden vine over her.
Alexander 146.
[Ref: 61432] £390.00
Angelica Kauffman pinxit. J.M. Delattre sculpsit.
Published according to Act, 28th Jan.y, 1783 for the Proprietor [Ann Bryer], No 5 Poland Street, Soho.
Fine stipple, printed in sepia. 375 x 320mm (14¾ x 12½"), with large margins.
Beauty pushes away Folly, who is attempting to drape a grape-laden vine over her.
Alexander 146.
[Ref: 61432] £390.00
![A la Beaute. [&] A la Volupte. ['To Beauty' and 'To Pleasure'.]](jpegs/25588.jpg)
A la Beaute. [&] A la Volupte. ['To Beauty' and 'To Pleasure'.]
Peint par J.A. Laurent. Grave par Roger. [&] Peint par J.A. Laurent. Grave pa Mecou.
Depose a la Bibliotheque Nle. le 13 Pluvoise An XIIe. [&] Depose a la Bibliotheque Nle. en Fructidor An XIIe. [French, 1803.]
Pair of stipples printed in colours, each sheet c.220 x 240mm. 8¾ x 9½". Trimmed to or close to plates. Second plate chipped at lower left. Some staining and light soiling to both, mostly marginal.
Two charming images of winged putti; one emerging from inside a fallen rose in a woodland, the other peacefully asleep (inebriated?) in an empty wine glass, a background of vine leaves and grapes.
[Ref: 25588] £290.00 (£348.00 incl.VAT) view all images for this item
Peint par J.A. Laurent. Grave par Roger. [&] Peint par J.A. Laurent. Grave pa Mecou.
Depose a la Bibliotheque Nle. le 13 Pluvoise An XIIe. [&] Depose a la Bibliotheque Nle. en Fructidor An XIIe. [French, 1803.]
Pair of stipples printed in colours, each sheet c.220 x 240mm. 8¾ x 9½". Trimmed to or close to plates. Second plate chipped at lower left. Some staining and light soiling to both, mostly marginal.
Two charming images of winged putti; one emerging from inside a fallen rose in a woodland, the other peacefully asleep (inebriated?) in an empty wine glass, a background of vine leaves and grapes.
[Ref: 25588] £290.00 (£348.00 incl.VAT) view all images for this item
Critical Observations upon Beauty.
[n.d., c.1790.]
Engraving. Sheet: 175 x 110mm (7 x 4¼"). Trimmed.
An interior scene in which a man with the head of a beast, standing next to a young woman, inspects a drawing of a demon, other pictures of demonic creatures stand around them.
[Ref: 43659] £70.00 (£84.00 incl.VAT)
[n.d., c.1790.]
Engraving. Sheet: 175 x 110mm (7 x 4¼"). Trimmed.
An interior scene in which a man with the head of a beast, standing next to a young woman, inspects a drawing of a demon, other pictures of demonic creatures stand around them.
[Ref: 43659] £70.00 (£84.00 incl.VAT)
Beauty.
G.B. Cipriani del.t F. Bartolozzi Sculp.t
Published according to Act, Nov.r 6th 1782, by the Proprietor, No 5, Poland Street, Soho
Stipple printed in sepia, platemark 250 x 190mm (9¾ x 7½"). Thread margins.
Woman sat on clouds with peacock. Stipple engraving by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 576 iii/iii
[Ref: 43144] £240.00 (£288.00 incl.VAT)
G.B. Cipriani del.t F. Bartolozzi Sculp.t
Published according to Act, Nov.r 6th 1782, by the Proprietor, No 5, Poland Street, Soho
Stipple printed in sepia, platemark 250 x 190mm (9¾ x 7½"). Thread margins.
Woman sat on clouds with peacock. Stipple engraving by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 576 iii/iii
[Ref: 43144] £240.00 (£288.00 incl.VAT)
The Beauty unmasked.
[After Henry Morland.]
London: Printed for Rob.t Sayer. N.o 53 in Fleet Street. [n.d. c.1760.]
Scarce mezzotint, 150 x 110mm (6 x 4¼") with large margins. Glued on an album sheet.
A portrait of a young woman, holding a mask in right hand and wearing an ermine-trimmed cloak over a low-necked gown with pearl jewellery and her hair up in a plumed turban with a coil hanging over left shoulder.
[Ref: 60085] £260.00 (£312.00 incl.VAT)
[After Henry Morland.]
London: Printed for Rob.t Sayer. N.o 53 in Fleet Street. [n.d. c.1760.]
Scarce mezzotint, 150 x 110mm (6 x 4¼") with large margins. Glued on an album sheet.
A portrait of a young woman, holding a mask in right hand and wearing an ermine-trimmed cloak over a low-necked gown with pearl jewellery and her hair up in a plumed turban with a coil hanging over left shoulder.
[Ref: 60085] £260.00 (£312.00 incl.VAT)
Beauty looking in the Mirror of Prudence, with a Genius representing Innocence. From the Original Picture in the Collection of his Grace the Duke of Manchester, To whom this plate is dedicated by his Grace's Obedient Servant, Ja.s Birchall.
G.B. Cipriani inv. F. Bartolozzi sculpx.
London, Pub'd August 15 1786 by Jas. Birchall No.473 Strand.
Stipple, printed in sepia. Sheet 385 x 345mm (15¼ x 13½"). Trimmed within plate, creases and tears in inscription area.
[Ref: 53084] £260.00 (£312.00 incl.VAT)
G.B. Cipriani inv. F. Bartolozzi sculpx.
London, Pub'd August 15 1786 by Jas. Birchall No.473 Strand.
Stipple, printed in sepia. Sheet 385 x 345mm (15¼ x 13½"). Trimmed within plate, creases and tears in inscription area.
[Ref: 53084] £260.00 (£312.00 incl.VAT)
The Power of Beauty. What can delight like Wealth? the Miser cries...
[Engraved by Philip Dawe? after Heroman van der Mijn.]
Sold by T. Bowles in St. Pauls Ch. Y.d & J. Bowles at ye black Horse, Cornhill.
Rare mezzotint. Sheet 355 x 250mm (14 x 9¾"). Trimmed to plate.
A young ballad singer holding a music sheet is embraced by an old man who holds up his money bag.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36303] £280.00 (£336.00 incl.VAT)
[Engraved by Philip Dawe? after Heroman van der Mijn.]
Sold by T. Bowles in St. Pauls Ch. Y.d & J. Bowles at ye black Horse, Cornhill.
Rare mezzotint. Sheet 355 x 250mm (14 x 9¾"). Trimmed to plate.
A young ballad singer holding a music sheet is embraced by an old man who holds up his money bag.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36303] £280.00 (£336.00 incl.VAT)
The Evening Beauty.
Miss A. Green Pinx.t.
London Published 7th June 1781, for J. Harris, Sweetings Alley, Cornhill.
Stipple, scarce. Sheet 180 x 140mm (7 x 5½). Trimmed within plate, corners snipped. Bit dusty.
A well-dressed young woman, fan in hand, with four lines of verse from Rev. Dr Lisle's 'Charms of Beauty'.
[Ref: 45378] £130.00 (£156.00 incl.VAT)
Miss A. Green Pinx.t.
London Published 7th June 1781, for J. Harris, Sweetings Alley, Cornhill.
Stipple, scarce. Sheet 180 x 140mm (7 x 5½). Trimmed within plate, corners snipped. Bit dusty.
A well-dressed young woman, fan in hand, with four lines of verse from Rev. Dr Lisle's 'Charms of Beauty'.
[Ref: 45378] £130.00 (£156.00 incl.VAT)
The Power of Beauty. Vain is you powr, all efforts vain will prove. The Power of Beauty sways the God Love. To the Countess of Harrington. The Print from the Original Drawing by G.B.Cipriani, is with ye greatest respect Dedicated by Her Ladyships most Humble Serv.t W Palmer.
G.B. Cipriani Inv.t. Le Grand, Sculp.t.
A Paris chez Mme. Breton, Mde. d'Estampes, au Pavillon, Jardin du Palais Royal, et rue du Chantre, Maison du Chandellier. [n.d. c.1780]
Stipple, printed in colours. 197 x 192mm (7¾" x 7½").
[Ref: 8481] £420.00
G.B. Cipriani Inv.t. Le Grand, Sculp.t.
A Paris chez Mme. Breton, Mde. d'Estampes, au Pavillon, Jardin du Palais Royal, et rue du Chantre, Maison du Chandellier. [n.d. c.1780]
Stipple, printed in colours. 197 x 192mm (7¾" x 7½").
[Ref: 8481] £420.00
Beauty & Time.
Published according to Act of Parliament the 1.st of January 1781[?] by [illegible] Humprey.
Fine stipple, printed in sepia. 250 x 180mm (9¾ x 7"), with very large margins. Mint.
A bare-breasted young woman and Chronos tussle over his scythe. Ozias Humphrey (1742-1810), miniaturist and publisher, is best known for commissioning William Blake's 'A Small Book of Designs' and 'A Large Book of Designs', containing colour-printed plates from his other works.
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60292] £260.00 (£312.00 incl.VAT)
Published according to Act of Parliament the 1.st of January 1781[?] by [illegible] Humprey.
Fine stipple, printed in sepia. 250 x 180mm (9¾ x 7"), with very large margins. Mint.
A bare-breasted young woman and Chronos tussle over his scythe. Ozias Humphrey (1742-1810), miniaturist and publisher, is best known for commissioning William Blake's 'A Small Book of Designs' and 'A Large Book of Designs', containing colour-printed plates from his other works.
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60292] £260.00 (£312.00 incl.VAT)
George Anne Bellamy. Atrice du Theatre de Covent Garden. [&] Désespoir de Mris. Bellamy sur les marches du Pont de Westminster.
La Ville fe. Benoist del. F. Maradan sculp.
[n.d., c.1810.]
Rare pair of stipple engravings, plate 190 x 135mm (7½ x 5¼") Torn within plate, surface dirt and time staining.
George Anne Bellamy (1731? - 1788), actress. Initially her beauty and social reputation stood her in good stead. She was small in stature, fair, with blue eyes, and apparently very beautiful. During her early life she was thrown into intimacy with Fox and many characters of highest mark. Her later years were burdened with suffering and debt however. She describes herself on her reappearance in Dublin, when still little more than thirty, as ‘a little dirty creature bent nearly double, enfeebled by fatigue, her countenance tinged with jaundice, and in every respect the reverse of a person who could make the least pretension to beauty.'
[Ref: 58570] £180.00 (£216.00 incl.VAT) view all images for this item
La Ville fe. Benoist del. F. Maradan sculp.
[n.d., c.1810.]
Rare pair of stipple engravings, plate 190 x 135mm (7½ x 5¼") Torn within plate, surface dirt and time staining.
George Anne Bellamy (1731? - 1788), actress. Initially her beauty and social reputation stood her in good stead. She was small in stature, fair, with blue eyes, and apparently very beautiful. During her early life she was thrown into intimacy with Fox and many characters of highest mark. Her later years were burdened with suffering and debt however. She describes herself on her reappearance in Dublin, when still little more than thirty, as ‘a little dirty creature bent nearly double, enfeebled by fatigue, her countenance tinged with jaundice, and in every respect the reverse of a person who could make the least pretension to beauty.'
[Ref: 58570] £180.00 (£216.00 incl.VAT) view all images for this item
Désespoir de Mris. Bellamy sur les marches du Pont de Westminster.
La Ville fe. Benoist del. F. Maradan sculp.
[n.d., c.1810.]
Engraving, 190 x 133mm.
George Anne Bellamy (1731? - 1788), actress. Initially her beauty and social reputation stood her in good stead. She was small in stature, fair, with blue eyes, and apparently very beautiful. During her early life she was thrown into intimacy with Fox and many characters of highest mark. Her later years were burdened with suffering and debt however. She describes herself on her reappearance in Dublin, when still little more than thirty, as ‘a little dirty creature bent nearly double, enfeebled by fatigue, her countenance tinged with jaundice, and in every respect the reverse of a person who could make the least pretension to beauty.’
Ex: Collection of Alec Clunes.
[Ref: 7882] £130.00 (£156.00 incl.VAT)
La Ville fe. Benoist del. F. Maradan sculp.
[n.d., c.1810.]
Engraving, 190 x 133mm.
George Anne Bellamy (1731? - 1788), actress. Initially her beauty and social reputation stood her in good stead. She was small in stature, fair, with blue eyes, and apparently very beautiful. During her early life she was thrown into intimacy with Fox and many characters of highest mark. Her later years were burdened with suffering and debt however. She describes herself on her reappearance in Dublin, when still little more than thirty, as ‘a little dirty creature bent nearly double, enfeebled by fatigue, her countenance tinged with jaundice, and in every respect the reverse of a person who could make the least pretension to beauty.’
Ex: Collection of Alec Clunes.
[Ref: 7882] £130.00 (£156.00 incl.VAT)
![[''Biddie and Beauty Queen''.]](jpegs/47833.jpg)
[''Biddie and Beauty Queen''.]
[Cynthia Harnett and George Vernon Stokes.]
[n.d., c.1944.)
Drawing. Sheet: 205 x 185mm (8 x 7¼"). On board with pencil annotations.
A scene showing a young girl chasing after a lead. An original illustration by illustrator and author Cynthia Harnett (1893-1981) and animal artist George Vernon Stokes (1873-1954) for Muriel Denison's 'Happy Tramp: the Story of a Little Girl and Her Old English Sheep Dog', 1944. After her father is wounded as a soldier in World War II and her mother is killed by in a German air raid Biddie and her Old English Sheepdog are evacuated to America where her father has found work as a kennel man for a wealthy New York dog breeder.
[Ref: 47833] £30.00 (£36.00 incl.VAT)
[Cynthia Harnett and George Vernon Stokes.]
[n.d., c.1944.)
Drawing. Sheet: 205 x 185mm (8 x 7¼"). On board with pencil annotations.
A scene showing a young girl chasing after a lead. An original illustration by illustrator and author Cynthia Harnett (1893-1981) and animal artist George Vernon Stokes (1873-1954) for Muriel Denison's 'Happy Tramp: the Story of a Little Girl and Her Old English Sheep Dog', 1944. After her father is wounded as a soldier in World War II and her mother is killed by in a German air raid Biddie and her Old English Sheepdog are evacuated to America where her father has found work as a kennel man for a wealthy New York dog breeder.
[Ref: 47833] £30.00 (£36.00 incl.VAT)
Mrs. Brooks.
C. Spooner Fecit.
[London: J. Bowles, c.1770.]
Mezzotint with etching on thin laid paper, heavily reworked, painter's name erased. Image 315 x 250mm, 12½ x 9¾". Trimmed within plate. One crease.
Portrait of Mrs Brooke, actress, wife of James Brooke, who trained as an engraver and was afterwards associated with the stage. Seated at a writing desk, arms folded in her lap with a miniature portrait of a gentleman in her right hand and a fan in the other; she wears a mantilla cape, a dress with fanned lace sleeves, and crescent hat. On the table is an inkstand, quills and papers. Prominent beauty patch on right temple. After Thomas Worlidge (1700 - 1766).
Chaloner Smith 3 (undescribed state).
[Ref: 23503] £130.00 (£156.00 incl.VAT)
C. Spooner Fecit.
[London: J. Bowles, c.1770.]
Mezzotint with etching on thin laid paper, heavily reworked, painter's name erased. Image 315 x 250mm, 12½ x 9¾". Trimmed within plate. One crease.
Portrait of Mrs Brooke, actress, wife of James Brooke, who trained as an engraver and was afterwards associated with the stage. Seated at a writing desk, arms folded in her lap with a miniature portrait of a gentleman in her right hand and a fan in the other; she wears a mantilla cape, a dress with fanned lace sleeves, and crescent hat. On the table is an inkstand, quills and papers. Prominent beauty patch on right temple. After Thomas Worlidge (1700 - 1766).
Chaloner Smith 3 (undescribed state).
[Ref: 23503] £130.00 (£156.00 incl.VAT)
![[Lady Sarah Bunbury.] Lady S-B, - habited as a Clergyman.](jpegs/55510.jpg)
[Lady Sarah Bunbury.] Lady S-B, - habited as a Clergyman.
[n.d., c.1769.]
Etching with stipple. Sheet 160 x 190mm (6¼ x 7½"). Trimmed to printed border.
Lady Sarah Bunbury (née Lennox, 1745-1826), a society beauty, dressed in clerical robes and wig. A great-granddaughter of Charles II and daughter of Charles Lennox, 2nd Duke of Richmond and Lennox, she married Charles Bunbury in 1762 and an army officer, Hon. George Napier, in 1781. She was no stranger to scandal: she was a favourite of George III when still in her mid-teens and was divorced by Bunbury for adultery, having eloped and having an illegitimate daughter. However it is not known whether this portrait records an event or is a caricature.
[Ref: 55510] £230.00 (£276.00 incl.VAT)
[n.d., c.1769.]
Etching with stipple. Sheet 160 x 190mm (6¼ x 7½"). Trimmed to printed border.
Lady Sarah Bunbury (née Lennox, 1745-1826), a society beauty, dressed in clerical robes and wig. A great-granddaughter of Charles II and daughter of Charles Lennox, 2nd Duke of Richmond and Lennox, she married Charles Bunbury in 1762 and an army officer, Hon. George Napier, in 1781. She was no stranger to scandal: she was a favourite of George III when still in her mid-teens and was divorced by Bunbury for adultery, having eloped and having an illegitimate daughter. However it is not known whether this portrait records an event or is a caricature.
[Ref: 55510] £230.00 (£276.00 incl.VAT)
![[Lady Sarah Bunbury.]](jpegs/46337.jpg)
[Lady Sarah Bunbury.]
[J Reynolds pinxt. E Fisher Sculpt.]
[Publish'd as the Act directs Nov: 8, 1766, & Sold by E . Fisher at the Golden head in Leicester Square.]
Mezzotint, proof before letters. 600 x 340mm (23½ x 14½"). Small margins, old ink mss in lower margin.
Lady Sarah Napier (1745-1826), noblewoman and society beauty, offering incense to the Graces.
A great-granddaughter of Charles II and daughter of Charles Lennox, 2nd Duke of Richmond and Lennox, she married Charles Bunbury in 1762, shortly after which he commissioned this portrait. The marriage was not successful, and she was soon involved in affairs, becoming pregnant by her cousin Lord William Gordon.
CS: 6. Hamilton: p.87. The painting is now in the Kimball Collection, Art Institute of Chicago.
[Ref: 46337] £680.00
[J Reynolds pinxt. E Fisher Sculpt.]
[Publish'd as the Act directs Nov: 8, 1766, & Sold by E . Fisher at the Golden head in Leicester Square.]
Mezzotint, proof before letters. 600 x 340mm (23½ x 14½"). Small margins, old ink mss in lower margin.
Lady Sarah Napier (1745-1826), noblewoman and society beauty, offering incense to the Graces.
A great-granddaughter of Charles II and daughter of Charles Lennox, 2nd Duke of Richmond and Lennox, she married Charles Bunbury in 1762, shortly after which he commissioned this portrait. The marriage was not successful, and she was soon involved in affairs, becoming pregnant by her cousin Lord William Gordon.
CS: 6. Hamilton: p.87. The painting is now in the Kimball Collection, Art Institute of Chicago.
[Ref: 46337] £680.00
![[St Giles Beauty.]](jpegs/46716.jpg)
[St Giles Beauty.]
J.H. Benwell Pinx.t. F. Bartolozzi Sculp.t.
Pub.d 8. Sept. 1783 by E.M. Diemar Strand.
Stipple, printed in sepia, fine proof before title. Plate: 270 x 220mm (10¾ x 8¾") very large margins.
A portrait of Elizabeth Burrough, the St Giles Beauty shown in profile, wearing a bonnet with a satin sash.
De Vesme 1290.II of III. Provenance: Edge Hill, Cheshire.
[Ref: 46716] £360.00
J.H. Benwell Pinx.t. F. Bartolozzi Sculp.t.
Pub.d 8. Sept. 1783 by E.M. Diemar Strand.
Stipple, printed in sepia, fine proof before title. Plate: 270 x 220mm (10¾ x 8¾") very large margins.
A portrait of Elizabeth Burrough, the St Giles Beauty shown in profile, wearing a bonnet with a satin sash.
De Vesme 1290.II of III. Provenance: Edge Hill, Cheshire.
[Ref: 46716] £360.00
Madame Caradori, as Zora in Pacini's opera. La Schiava in Bagdad.
Drawn on Stone by R.J. Lane from a Sketch by J. Hayter.
Published by S. Robinson Chapter House Court St. Pauls. Printed by Engelmann G.C.& Co. [n.d. c.1830.]
Lithograph. 202 x 127mm. 8 x 5".
Caterina Rosalbina Maria de Munck [Maria Caradori-Allan] 1800-1865. A distinguished Italian soprano. Her chief attributes seem to have been clearness, beauty, polish, invention, and taste. She sang with sweetness, delicacy, and variety, and was one of the best singers in the 1840s.
[Ref: 12941] £75.00 (£90.00 incl.VAT)
Drawn on Stone by R.J. Lane from a Sketch by J. Hayter.
Published by S. Robinson Chapter House Court St. Pauls. Printed by Engelmann G.C.& Co. [n.d. c.1830.]
Lithograph. 202 x 127mm. 8 x 5".
Caterina Rosalbina Maria de Munck [Maria Caradori-Allan] 1800-1865. A distinguished Italian soprano. Her chief attributes seem to have been clearness, beauty, polish, invention, and taste. She sang with sweetness, delicacy, and variety, and was one of the best singers in the 1840s.
[Ref: 12941] £75.00 (£90.00 incl.VAT)
![[Lady Carpenter.]](jpegs/56273.jpg)
[Lady Carpenter.]
[Sir Joshua Reynolds. James Watson.]
[London: Robert Sayer, n.d., c.1768.]
Mezzotint. Plate: 345 x 280mm (13½ x 11"). Scratches and creasing in margins.
A half-length portrait of Lady Almeria Carpenter (1752-1809), hair dressed high. A noted beauty, she was painted by Joshua Reynolds, Richard Cosway and Angelica Kauffman.
CS: 26 I of III.
[Ref: 56273] £260.00 (£312.00 incl.VAT)
[Sir Joshua Reynolds. James Watson.]
[London: Robert Sayer, n.d., c.1768.]
Mezzotint. Plate: 345 x 280mm (13½ x 11"). Scratches and creasing in margins.
A half-length portrait of Lady Almeria Carpenter (1752-1809), hair dressed high. A noted beauty, she was painted by Joshua Reynolds, Richard Cosway and Angelica Kauffman.
CS: 26 I of III.
[Ref: 56273] £260.00 (£312.00 incl.VAT)
Sophia Countess Granville Viscountess Carteret, Baroness Carteret of Hawnes. Wife to John Earl Granville...
F. Zinke pinxt. T. Major Sculpt.
Publish'd as the Act Directs 1755.
Engraving. 320 x 215mm (12½ x 8½"). Trimmed to plate. Faint foxing across the sheet
Sophia Carteret (née Fermor), Countess Granville (1721 - 1745), second wife of John Carteret, 1st Earl Granville, Secretary of State. In a decorative oval frame surrounded by roses, on a lettered pedestal. Sophia was described by Lady M. W. Montagu as having ‘few equals in beauty or graces’; died of fever in October 1745 aged 25, a few weeks after the birth of her daughter Sophia. After Christian Friedrich Zincke (1684? - 1767).
NPG D21010.
[Ref: 53823] £130.00 (£156.00 incl.VAT)
F. Zinke pinxt. T. Major Sculpt.
Publish'd as the Act Directs 1755.
Engraving. 320 x 215mm (12½ x 8½"). Trimmed to plate. Faint foxing across the sheet
Sophia Carteret (née Fermor), Countess Granville (1721 - 1745), second wife of John Carteret, 1st Earl Granville, Secretary of State. In a decorative oval frame surrounded by roses, on a lettered pedestal. Sophia was described by Lady M. W. Montagu as having ‘few equals in beauty or graces’; died of fever in October 1745 aged 25, a few weeks after the birth of her daughter Sophia. After Christian Friedrich Zincke (1684? - 1767).
NPG D21010.
[Ref: 53823] £130.00 (£156.00 incl.VAT)
Gatta e Topo. La Gatta e il Topo sono ivi rappresentati. Sebbene di quella siasi discorso altrovo, Gatto d'angora, credemmo non inopportuna il riprodurre in questio luogo un individuo femmina del Gatto nostrano...Sopporta benissimo l'inverno, e non va soggetto a letargo, come i Ghiri e le Marmotte. Il Gatto è il mezzo più sicuro per allontanare e sperdere questi infesti animali.
[n.d. c.1820.]
Engraving. Plate 361 x 260mm. 14¼ x 10¼".
A print celebrating the beauty of the mouse and its importance as a home animal like the Angora Cat, but that the cat is the only way to rid the house of said mouse.
[Ref: 18806] £170.00 (£204.00 incl.VAT)
[n.d. c.1820.]
Engraving. Plate 361 x 260mm. 14¼ x 10¼".
A print celebrating the beauty of the mouse and its importance as a home animal like the Angora Cat, but that the cat is the only way to rid the house of said mouse.
[Ref: 18806] £170.00 (£204.00 incl.VAT)
![[The pretty charlatan]](jpegs/44946.jpg)
[The pretty charlatan] La jolie charlatane / Sur les quays, ou les boulevards / Si jamais l'avois l'avantage [...]
F. Eisen le Pere Pinx. L. Halbou sculp
A Paris chez Ouvrier Graveur Place Maubert chez un M.d Bonnetier au Soleil d'or [c.1760]
Fine engraving, sheet 425 x 305mm (16¾ x 11¾"). Trimmed to platemark; glued to album sheet at corners.
Scene in trompe l'oeil border showing a 'pretty charlatan', with verses below explaining why she is best avoided. Engraved after François Eisen (c.1695-1778), painter who specialised in such genre pictures in a light-hearted Flemish manner. Eisen's son Charles was also a notable artist, hence the need to identify Eisen as 'le Pere' [father] on this print. Part of a series of prints in this format after paintings by Eisen, with texts focusing on love, beauty and deception.
[Ref: 44946] £520.00
F. Eisen le Pere Pinx. L. Halbou sculp
A Paris chez Ouvrier Graveur Place Maubert chez un M.d Bonnetier au Soleil d'or [c.1760]
Fine engraving, sheet 425 x 305mm (16¾ x 11¾"). Trimmed to platemark; glued to album sheet at corners.
Scene in trompe l'oeil border showing a 'pretty charlatan', with verses below explaining why she is best avoided. Engraved after François Eisen (c.1695-1778), painter who specialised in such genre pictures in a light-hearted Flemish manner. Eisen's son Charles was also a notable artist, hence the need to identify Eisen as 'le Pere' [father] on this print. Part of a series of prints in this format after paintings by Eisen, with texts focusing on love, beauty and deception.
[Ref: 44946] £520.00
Stadium, Cremorne House, Chelsea.
R. Martin Lithog. 124, High Holborn.
[n.d. c.1832.]
Hand coloured lithograph on india laid paper, india 135 x 170mm. 5¼ x 6¾". Rare
A view in Cremorne Gardens, Chelsea, named after Thomas Dawson, Lord Cremorne, and the site of his former residence. In the early part of the 19th century, Lord Cremorne's mansion, known as Chelsea Farm, was often visited by George III, Queen Charlotte, and the Prince of Wales. The natural beauty of the situation led to the grounds being opened to the public as the ‘Stadium’.
See Longford: 354.
[Ref: 18209] £120.00 (£144.00 incl.VAT)
R. Martin Lithog. 124, High Holborn.
[n.d. c.1832.]
Hand coloured lithograph on india laid paper, india 135 x 170mm. 5¼ x 6¾". Rare
A view in Cremorne Gardens, Chelsea, named after Thomas Dawson, Lord Cremorne, and the site of his former residence. In the early part of the 19th century, Lord Cremorne's mansion, known as Chelsea Farm, was often visited by George III, Queen Charlotte, and the Prince of Wales. The natural beauty of the situation led to the grounds being opened to the public as the ‘Stadium’.
See Longford: 354.
[Ref: 18209] £120.00 (£144.00 incl.VAT)
The Chosen Five.
Painted by Edwin Long R.A. Engraved by G. H. Every.
London, January 2nd, 1890, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1890 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with open letters. 585 x 857mm. 23 x 33¾". Uncut. Mint.
Companion to Search for Beauty in same state: see Ref. 14089.
'The Search for Beauty' ref:14089
[Ref: 14077] £350.00
Painted by Edwin Long R.A. Engraved by G. H. Every.
London, January 2nd, 1890, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1890 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with open letters. 585 x 857mm. 23 x 33¾". Uncut. Mint.
Companion to Search for Beauty in same state: see Ref. 14089.
'The Search for Beauty' ref:14089
[Ref: 14077] £350.00
![[The Chosen Five.]](jpegs/14092.jpg)
[The Chosen Five.]
[Painted by Edwin Long R.A. Engraved by G. H. Every.]
London, January 2nd, 1890, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1890 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with engraver's signature in pencil. 585 x 857mm (23 x 33¾"). Uncut. Mint.
This is also known as Zeuxis at Crotona. The ancient Greek painter Zeuxis, who in an attempt to portray the perfect beauty of Helen of Troy, invited the most beautiful women in the city of Croton to model for him. From these he selected five, taking from each their best physical features to make a composite ideal. Long's pendant to the present picture was a 'prequel' entitled The Search for Beauty, See ref:14093, in which the artist takes his pick of the available women on offer. The Painting hangs in the Russell Cotes Art Gallery And Museum Bournemouth England. For Companion see "Search for Beauty" ref:14093
[Ref: 14092] £420.00
[Painted by Edwin Long R.A. Engraved by G. H. Every.]
London, January 2nd, 1890, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1890 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with engraver's signature in pencil. 585 x 857mm (23 x 33¾"). Uncut. Mint.
This is also known as Zeuxis at Crotona. The ancient Greek painter Zeuxis, who in an attempt to portray the perfect beauty of Helen of Troy, invited the most beautiful women in the city of Croton to model for him. From these he selected five, taking from each their best physical features to make a composite ideal. Long's pendant to the present picture was a 'prequel' entitled The Search for Beauty, See ref:14093, in which the artist takes his pick of the available women on offer. The Painting hangs in the Russell Cotes Art Gallery And Museum Bournemouth England. For Companion see "Search for Beauty" ref:14093
[Ref: 14092] £420.00
Church Stretton.
[n.d. c.1832.]
Lithograph on india with very large margins. Sheet 279 x 380mm (11 x 15"). Some creasing.
A view of Church Stretton, in the Shropshire Hills. The town was nicknamed Little Switzerland in the late-Victorian and Edwardian period, due to its landscape and development as a health resort. The local geology is complex and incorporates some of the oldest rocks in England.
[Ref: 34741] £130.00 (£156.00 incl.VAT)
[n.d. c.1832.]
Lithograph on india with very large margins. Sheet 279 x 380mm (11 x 15"). Some creasing.
A view of Church Stretton, in the Shropshire Hills. The town was nicknamed Little Switzerland in the late-Victorian and Edwardian period, due to its landscape and development as a health resort. The local geology is complex and incorporates some of the oldest rocks in England.
[Ref: 34741] £130.00 (£156.00 incl.VAT)
Clouds - Cirro - Stratus N.o 100
[Published 1842, London for "The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe" by Charles. F. Blunt.]
Very rare coloured lithograph, sheet 160 x 205mm (6¼ x 8¼") Right corner missing.
A view of Cirrostratus clouds above a rocky terrain with a dam, ruins, buildings and mountains in the distance. The thin, layered cirrostratus cloud is composed of ice crystals and forms a veil that covers all or part of the sky.
[Ref: 56990] £120.00 (£144.00 incl.VAT)
[Published 1842, London for "The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe" by Charles. F. Blunt.]
Very rare coloured lithograph, sheet 160 x 205mm (6¼ x 8¼") Right corner missing.
A view of Cirrostratus clouds above a rocky terrain with a dam, ruins, buildings and mountains in the distance. The thin, layered cirrostratus cloud is composed of ice crystals and forms a veil that covers all or part of the sky.
[Ref: 56990] £120.00 (£144.00 incl.VAT)
Clouds - Stratus N.o 101
[Published 1842, London for "The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe" by Charles. F. Blunt.]
Very rare coloured lithograph, sheet 160 x 205mm (6¼ x 8¼")
A view of a high altitude town covered in a fog of stratus clouds. Stratus clouds are low-level clouds characterized by horizontal layering with a uniform base.
[Ref: 56992] £120.00 (£144.00 incl.VAT)
[Published 1842, London for "The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe" by Charles. F. Blunt.]
Very rare coloured lithograph, sheet 160 x 205mm (6¼ x 8¼")
A view of a high altitude town covered in a fog of stratus clouds. Stratus clouds are low-level clouds characterized by horizontal layering with a uniform base.
[Ref: 56992] £120.00 (£144.00 incl.VAT)
Clouds - Cirrus N.o 98
[Published 1842, London for "The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe" by Charles. F. Blunt.]
Very rare coloured lithograph, sheet 160 x 205mm (6¼ x 8¼")
A view on the sea with ships and boats, Cirrus clouds float in the sky above. Cirrus clouds are short, detached, hair-like clouds found at high altitudes. These delicate clouds are wispy, with a silky sheen, or look like tufts of hair.
[Ref: 56991] £120.00 (£144.00 incl.VAT)
[Published 1842, London for "The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe" by Charles. F. Blunt.]
Very rare coloured lithograph, sheet 160 x 205mm (6¼ x 8¼")
A view on the sea with ships and boats, Cirrus clouds float in the sky above. Cirrus clouds are short, detached, hair-like clouds found at high altitudes. These delicate clouds are wispy, with a silky sheen, or look like tufts of hair.
[Ref: 56991] £120.00 (£144.00 incl.VAT)
![[Columbus and the Egg.]](jpegs/62065.jpg)
[Columbus and the Egg.]
Design'd & etched by W.m Hogarth Decem 1. 1753.
[18th century impression.]
Etching. 165 x 195mm (6½ x 7¾")
Christopher Columbus cracking an egg on a table to make it stand, demonstrating that a discovery appears simple only after an inventive mind has made it known. This plate was originally published in 1752 as the subscription ticket for the 'Analysis of Beauty', with etched text underneath. For this second state the plate was cut down, leaving two sworls of the letters of the text.
Paulson 194, state ii of ii. BM Satires 3192.
[Ref: 62065] £180.00 (£216.00 incl.VAT)
Design'd & etched by W.m Hogarth Decem 1. 1753.
[18th century impression.]
Etching. 165 x 195mm (6½ x 7¾")
Christopher Columbus cracking an egg on a table to make it stand, demonstrating that a discovery appears simple only after an inventive mind has made it known. This plate was originally published in 1752 as the subscription ticket for the 'Analysis of Beauty', with etched text underneath. For this second state the plate was cut down, leaving two sworls of the letters of the text.
Paulson 194, state ii of ii. BM Satires 3192.
[Ref: 62065] £180.00 (£216.00 incl.VAT)
Come, Maria, do walk faster, for the young mean do stare so! Funny Characters No.3.
London W. Spooner 377 Strand. [n.d. c.1840.]
Fine coloured lithograph. 345 x 260mm (13½ x 10¼"). Stains in corners.
A woman with a parasol urges her companion to move along more hastily, for the looks of passing men is all too much for her, probably not for their beauty.
[Ref: 54465] £140.00 (£168.00 incl.VAT)
London W. Spooner 377 Strand. [n.d. c.1840.]
Fine coloured lithograph. 345 x 260mm (13½ x 10¼"). Stains in corners.
A woman with a parasol urges her companion to move along more hastily, for the looks of passing men is all too much for her, probably not for their beauty.
[Ref: 54465] £140.00 (£168.00 incl.VAT)
Cottage Beauty.
London Printed for Robert Sayer, Map & Print Seller, No 53, Fleet Street as the Act directs 17th April 1788.
Mezzotint. 355 x 250mm (14 x 8¾") very large margins. Some surface wear, tears in edges.
Exterior scene in which a young woman scatters corn for chickens and ducks. A donkey eats hay and a pig drinks water from a trough in the background.
Ex Collection of the Hon. Christopher Lennox-Boyd
[Ref: 56391] £240.00 (£288.00 incl.VAT)
London Printed for Robert Sayer, Map & Print Seller, No 53, Fleet Street as the Act directs 17th April 1788.
Mezzotint. 355 x 250mm (14 x 8¾") very large margins. Some surface wear, tears in edges.
Exterior scene in which a young woman scatters corn for chickens and ducks. A donkey eats hay and a pig drinks water from a trough in the background.
Ex Collection of the Hon. Christopher Lennox-Boyd
[Ref: 56391] £240.00 (£288.00 incl.VAT)
Cottage Beauty.
[n.d., c.1790].
Coloured wood engraving. Sheet: 240 x 345mm (9½ x 13½"). Trimmed to image. Small tear in right edge.
Exterior scene in which a young woman scatters corn for chickens and ducks. A donkey eats hay and a pig drinks water from a trough in the background. A reversed copy of a mezzotint published by Robert Sayer.
See ref: 33132
[Ref: 33141] £140.00 (£168.00 incl.VAT)
[n.d., c.1790].
Coloured wood engraving. Sheet: 240 x 345mm (9½ x 13½"). Trimmed to image. Small tear in right edge.
Exterior scene in which a young woman scatters corn for chickens and ducks. A donkey eats hay and a pig drinks water from a trough in the background. A reversed copy of a mezzotint published by Robert Sayer.
See ref: 33132
[Ref: 33141] £140.00 (£168.00 incl.VAT)
Procession of Lady Godiva, at Coventry Fair.
Engraved by M.U. Sears I Warwick Sq.r Paternoster Row.
Published by Henry Merridew, Coventry [n.d., c.1840.]
Scarce engraving on chiné collé. 180 x 400mm (7 x 15¾"). Trimmed at sides.
A locally published view of the annual Coventry Great Fair, with a local beauty recreating Lady Godiva's famous ride, but not quite naked. The Godiva Procession was first recorded in 1678. It has survived several attempts to suppress it.
[Ref: 57626] £260.00 (£312.00 incl.VAT)
Engraved by M.U. Sears I Warwick Sq.r Paternoster Row.
Published by Henry Merridew, Coventry [n.d., c.1840.]
Scarce engraving on chiné collé. 180 x 400mm (7 x 15¾"). Trimmed at sides.
A locally published view of the annual Coventry Great Fair, with a local beauty recreating Lady Godiva's famous ride, but not quite naked. The Godiva Procession was first recorded in 1678. It has survived several attempts to suppress it.
[Ref: 57626] £260.00 (£312.00 incl.VAT)
![[Cupido et Psyché.]](jpegs/20440.jpg)
[Cupido et Psyché.] To guard the willing Captive he has made, Love seeks from Sculpture no inglorious aid; And fondly binds her Gems expressive charm, A graceful Amulet! on Beauty's arm. Hayley.
Lavinia Countess Spencer invt. et delt. F. Bartolozzi R.A. Sculps: 1792.
London Published as the Act directs May 30. 1792, by N. Marchant No.57 New Bond Street.
Etching with engraving. 285 x 222mm. 11¼ x 8¾". Surface scratching.
Cupid standing on the right, putting a bracelet on Psyche's arm. Illustration to "A Catalogue of One Hundred Impressions from Gems, Engraved by Nathaniel Marchant," by James Edwards (London: 1792).
De Vesme: 2369; iv/iv. See 20471 & 20473 for earlier states.
[Ref: 20440] £180.00 (£216.00 incl.VAT)
Lavinia Countess Spencer invt. et delt. F. Bartolozzi R.A. Sculps: 1792.
London Published as the Act directs May 30. 1792, by N. Marchant No.57 New Bond Street.
Etching with engraving. 285 x 222mm. 11¼ x 8¾". Surface scratching.
Cupid standing on the right, putting a bracelet on Psyche's arm. Illustration to "A Catalogue of One Hundred Impressions from Gems, Engraved by Nathaniel Marchant," by James Edwards (London: 1792).
De Vesme: 2369; iv/iv. See 20471 & 20473 for earlier states.
[Ref: 20440] £180.00 (£216.00 incl.VAT)
[Cymon and Iphegenia. The Fool of Nature, stood with stupid Eyes...]
Angelica Kauffman Pinx.t. W.W. Ryland Fecit.
[Publish'd Jan.y ye 15;th 1782 by W. W. Ryland N.º 159 Strand, London.]
Circular stipple, scratch-letter proof before title, printed in reddish-brown. 365 x 315mm (14¼ x 12½").
Cymon, resting on his walking stick, stares down at Iphegenia, sleeping with her companions, struck by her beauty. Kauffman's painting of this scene from Giovanni Boccaccio's 'Decameron' is now in the Gibbes Museum of Art, Charleston, SC.
Alexander 120.
[Ref: 62361] £360.00
Angelica Kauffman Pinx.t. W.W. Ryland Fecit.
[Publish'd Jan.y ye 15;th 1782 by W. W. Ryland N.º 159 Strand, London.]
Circular stipple, scratch-letter proof before title, printed in reddish-brown. 365 x 315mm (14¼ x 12½").
Cymon, resting on his walking stick, stares down at Iphegenia, sleeping with her companions, struck by her beauty. Kauffman's painting of this scene from Giovanni Boccaccio's 'Decameron' is now in the Gibbes Museum of Art, Charleston, SC.
Alexander 120.
[Ref: 62361] £360.00
Sigr: Giuseppe De Begnis of the Italian Opera London.
Engrav'd by C. Knight 1822 from a Miniature Painted by Titus G. Perlotti.
[British, c.1822.]
Scarce stipple, sheet 260 x 200mm. 10¼ x 8". Sheet trimmed.
Portrait of Giuseppe De Begnis (1793 – 1849), bass opera singer. In 1816 he married the noted prima-donna and famous beauty, Signorina Giuseppina Ronzi. They sang throughout Italy with great success, and in 1819 made their first appearance at the Italian opera in Paris, remaining three seasons. In 1821 they came to London, Begnis debuting there as Don Geronio opposite his wife’s Fiorilla in Rossini’s 'Il Turco in Italia' at the King’s Theatre on May 19, 1821. They continued to appear in opera together until their separation in 1825. Begnis remained at the King’s Theatre until 1827, but also served as an opera manager in Bath (1823–24) and later in Dublin (1834–37) before settling in New York.
[Ref: 19542] £130.00 (£156.00 incl.VAT)
Engrav'd by C. Knight 1822 from a Miniature Painted by Titus G. Perlotti.
[British, c.1822.]
Scarce stipple, sheet 260 x 200mm. 10¼ x 8". Sheet trimmed.
Portrait of Giuseppe De Begnis (1793 – 1849), bass opera singer. In 1816 he married the noted prima-donna and famous beauty, Signorina Giuseppina Ronzi. They sang throughout Italy with great success, and in 1819 made their first appearance at the Italian opera in Paris, remaining three seasons. In 1821 they came to London, Begnis debuting there as Don Geronio opposite his wife’s Fiorilla in Rossini’s 'Il Turco in Italia' at the King’s Theatre on May 19, 1821. They continued to appear in opera together until their separation in 1825. Begnis remained at the King’s Theatre until 1827, but also served as an opera manager in Bath (1823–24) and later in Dublin (1834–37) before settling in New York.
[Ref: 19542] £130.00 (£156.00 incl.VAT)
Sig.r de Begnis.
[n.d. C.1825.]
Lithograph. 216 x 127mm (8½ x 5"). Trimmed.
Giuseppe De Begnis (1793-1849), the Italian bass opera singer. In 1816 he married the noted prima-donna and famous beauty, Signorina Giuseppina Ronzi. They sang throughout Italy with great success. In 1819 they appeared in Paris and then in London in 1821 at the King’s Theatre. They continued to appear in opera together until their separation in 1825. Begnis then remained at the King’s Theatre until 1827, but also served as an opera manager in Bath (1823-24) and later in Dublin (1834-37) before settling in New York.
[Ref: 34569] £65.00 (£78.00 incl.VAT)
[n.d. C.1825.]
Lithograph. 216 x 127mm (8½ x 5"). Trimmed.
Giuseppe De Begnis (1793-1849), the Italian bass opera singer. In 1816 he married the noted prima-donna and famous beauty, Signorina Giuseppina Ronzi. They sang throughout Italy with great success. In 1819 they appeared in Paris and then in London in 1821 at the King’s Theatre. They continued to appear in opera together until their separation in 1825. Begnis then remained at the King’s Theatre until 1827, but also served as an opera manager in Bath (1823-24) and later in Dublin (1834-37) before settling in New York.
[Ref: 34569] £65.00 (£78.00 incl.VAT)
The Countess of Ossory.
W: Wissing pinxit. I. Beckit fecit.
E. Cooper excudit. [n.d. c. 1680-7.]
Rare mezzotint. 340 x 250mm (13½ x 10"). Small margins. Slightly time stained.
An almost full length portrait of Emilie de Nassau (c.1635-88), Countess of Ossory, seated by a tree petting a little dog with a castle in the distance. She moved to England after her marriage to Lord Thurles, who became the earl of Ossory in 1662. Emilie served as a lady in waiting to Catherine of Braganza soon after she arrived in England until the death of the queen's husband Charles II. She was renowned for her beauty and sat for her portrait by Wissing, who painted numerous portraits of British Royals.
CS 83 only state.
[Ref: 56238] £490.00
W: Wissing pinxit. I. Beckit fecit.
E. Cooper excudit. [n.d. c. 1680-7.]
Rare mezzotint. 340 x 250mm (13½ x 10"). Small margins. Slightly time stained.
An almost full length portrait of Emilie de Nassau (c.1635-88), Countess of Ossory, seated by a tree petting a little dog with a castle in the distance. She moved to England after her marriage to Lord Thurles, who became the earl of Ossory in 1662. Emilie served as a lady in waiting to Catherine of Braganza soon after she arrived in England until the death of the queen's husband Charles II. She was renowned for her beauty and sat for her portrait by Wissing, who painted numerous portraits of British Royals.
CS 83 only state.
[Ref: 56238] £490.00
Diane & Endymion Gravés d'après le Dessein original de Ch. Eisen Peintre et Dessinateur du Roi.
Car. Eisen del. P.F. Tardieu Sculp. [c.1760]
Fine engraving, sheet 280 x 315mm (11 x 12½"). Trimmed to platemark; glued to album sheet at corners. Slight fox mark left corner.
The shepherd Endymion, renowned for his beauty, sent to sleep by the goddess Diana, so that she might embrace him unobserved. After a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, Erasmus and La Fontaine.
[Ref: 44937] £380.00
Car. Eisen del. P.F. Tardieu Sculp. [c.1760]
Fine engraving, sheet 280 x 315mm (11 x 12½"). Trimmed to platemark; glued to album sheet at corners. Slight fox mark left corner.
The shepherd Endymion, renowned for his beauty, sent to sleep by the goddess Diana, so that she might embrace him unobserved. After a design by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, Erasmus and La Fontaine.
[Ref: 44937] £380.00
![[Nine lithographs from the rare book 'Views in the Island of Dominica'.]](jpegs/45841.jpg)
[Nine lithographs from the rare book 'Views in the Island of Dominica'.]
[Lieutenant Whitworth Porter and Mrs Anne Porter.]
[British, 1849.]
Group of nine (out of eleven) sepia tinted lithographs, trimmed within image and glued album sheets, captioned in ink below. Each c.150 x 225mm (6 x 9"), one double-page view 150 x 450mm (6 x 17¾"). Some scuffing and damage.
A charming series of views of the Caribbean island of Dominica, probably, according to Abbey, published for private circulation. The plates include large prospect of Roseau, Prince Rupert's Bay and Morne Daniole. In his dedication to Colonel MacDonald, the Lieutenant-Governor of Dominica, the artist Porter shows the purpose of his sketches to be to convey the 'beauty and grandeur' of the island, and to select 'the most familiar' views, 'considered the most likely to be interesting to the inhabitants.'
Abbey Travel: 695. Not in BL.
[Ref: 45841] £1,950.00 view all images for this item
[Lieutenant Whitworth Porter and Mrs Anne Porter.]
[British, 1849.]
Group of nine (out of eleven) sepia tinted lithographs, trimmed within image and glued album sheets, captioned in ink below. Each c.150 x 225mm (6 x 9"), one double-page view 150 x 450mm (6 x 17¾"). Some scuffing and damage.
A charming series of views of the Caribbean island of Dominica, probably, according to Abbey, published for private circulation. The plates include large prospect of Roseau, Prince Rupert's Bay and Morne Daniole. In his dedication to Colonel MacDonald, the Lieutenant-Governor of Dominica, the artist Porter shows the purpose of his sketches to be to convey the 'beauty and grandeur' of the island, and to select 'the most familiar' views, 'considered the most likely to be interesting to the inhabitants.'
Abbey Travel: 695. Not in BL.
[Ref: 45841] £1,950.00 view all images for this item
Dr. Syntax with a Blue Stocking Beauty.
Drawn by Rowlandson.
Published Nov.r 1. 1820, at R. Ackermann, 101, Strand.
Coloured aquatint. 152 x 240mm. 6 x 9½". Slight toning.
A young lady reclining on a sofa holding her head with her left-hand and holding a quill over parchment in her right. Dr Syntax is seated on a chair reading to her. They are set inside an ornate library with stone busts on pillars; books, scrolls and mathematical instruments on the ground with a globe to the far right. From 'The Third Tour of Dr Syntax. In Search of a Wife'.
[Ref: 23551] £60.00 (£72.00 incl.VAT)
Drawn by Rowlandson.
Published Nov.r 1. 1820, at R. Ackermann, 101, Strand.
Coloured aquatint. 152 x 240mm. 6 x 9½". Slight toning.
A young lady reclining on a sofa holding her head with her left-hand and holding a quill over parchment in her right. Dr Syntax is seated on a chair reading to her. They are set inside an ornate library with stone busts on pillars; books, scrolls and mathematical instruments on the ground with a globe to the far right. From 'The Third Tour of Dr Syntax. In Search of a Wife'.
[Ref: 23551] £60.00 (£72.00 incl.VAT)