[Bleak House.] The Ghost's Walk.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. The 'Ghost's Walk' was a terrace of the house.
[Ref: 27528] £40.00
(£48.00 incl.VAT)
[Bleak House.] The lonely figure.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 155 x 220mm, 6 x 8¾".
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. Lady Dedlock flees her home, battling through a snow storm near brick kilns, having fled her home.
[Ref: 27531] £40.00
(£48.00 incl.VAT)
[Bleak House.] Morning
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling, spotting.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. Lady Dedlock lying dead at the gate of a cemetery.
[Ref: 27534] £40.00
(£48.00 incl.VAT)
[Bleak House.] A new meaning in the Roman.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. 'The Roman' is a figure on a pained ceiling, apparently pointing down at a bottle on a sidetable.
[Ref: 27527] £40.00
(£48.00 incl.VAT)
[Bleak House.] Night.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 155 x 220mm, 6 x 8¾".
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. A gas-lit scene during the search for Lady Dedlock.
[Ref: 27533] £40.00
(£48.00 incl.VAT)
[Bleak House.] Shadow.
[Drawn by Phiz.]
[London: Bradbury & Evans, c.1853.]
Steel etching, sheet 220 x 155mm, 8¾ x 6". Slight surface soiling, spotting.
An illustration by Phiz (pseudonym of Hablot Knight Brown) for Charles Dickens's 'Bleak House'. A woman on a shadowy staircase, looking at a poster reading 'Murder! £100 Reward'.
[Ref: 27530] £40.00
(£48.00 incl.VAT)
The Blind Beggar of Bednall Green. Engraved from the Original Picture in the Possession of Thomas Heathcote Esq.r to whom this Plate is Dedicated by his most Obed.t Humble Serv.t W.m Ward.
Painted by W.m Owen. Engraved by Will.m Ward Mezzotinto Engraver to his Royal Highness the Duke of York.
London Pub.d April 2, 1804 by Mess.rs Wards & Co, No. 6, Newman Street.
Mezzotint. 600 x 485mm (23½ x 19"). Thread margins, tears entering plate on right. Slight vertical crease.
A grey-haired beggar in a rustic setting, his pretty daughter standing with one had on his shoulder and the another open and outstretched. A scene from a popular Elizabethan ballad ('The Blind Beggar of Bethnall Green'), in which the beggar gives a surprisingly generous dowry for his daughter's wedding to a knight. The Blind Beggar public house in Whitechapel (infamous for its connection to the Kray twins) is reputed to be the site of his begging. A version of the ballad was recorded by Ewan McColl for the Riverside anthology 'Great British Ballads Not Included in the Child Collection'. CS 95. Ex Collection of the Hon. Christopher Lennox Boyd. Frankau 30.
[Ref: 49969] £160.00
(£192.00 incl.VAT)
The Blind Beggar of Bednall Green. Engraved from the Original Picture in the Possession of Thomas Heathcote Esq.r to whom this Plate is Dedicated by his most Obed.t Humble Serv.t W.m Ward.
Painted by W.m Owen. Engraved by Will.m Ward Mezzotinto Engraver to his Royal Highness the Duke of York.
London Pub.d April 2, 1804 by Mess.rs Wards & Co, No. 6, Newman Street.
Mezzotint. 600 x 485mm (23½ x 19"), with large margins. Surface abrasions in inscription area. Small tear on left.
A grey-haired beggar in a rustic setting, his pretty daughter standing with one had on his shoulder and the another open and outstretched. A scene from a popular Elizabethan ballad ('The Blind Beggar of Bethnall Green'), in which the beggar gives a surprisingly generous dowry for his daughter's wedding to a knight. The Blind Beggar public house in Whitechapel (infamous for its connection to the Kray twins) is reputed to be the site of his begging. A version of the ballad was recorded by Ewan McColl for the Riverside anthology 'Great British Ballads Not Included in the Child Collection'. CS 95. Ex Collection of the Hon. Christopher Lennox Boyd. Frankau 30.
[Ref: 49970] £280.00
(£336.00 incl.VAT)
[The Blind Beggar of Bednall Green. Engraved from the Original Picture in the Possession of Thomas Heathcote Esq.r to whom this Plate is Dedicated by his most Obed.t Humble Serv.t W.m Ward.]
[Painted by W.m Owen. Engraved by Will.m Ward Mezzotinto Engraver to his Royal Highness the Duke of York.]
[London Pub.d April 2, 1804 by Mess.rs Wards & Co, No. 6, Newman Street.]
Mezzotint, printed in colours and hand finished. Sheet 560 x 475mm (21¾ x 18¾"). Very fine colour. Trimmed to image on all sides, title reinstated in manuscript, laid on thick paper.
A grey-haired beggar in a rustic setting, his pretty daughter standing with one had on his shoulder and the another open and outstretched. A scene from a popular Elizabethan ballad ('The Blind Beggar of Bethnall Green'), in which the beggar gives a surprisingly generous dowry for his daughter's wedding to a knight. The Blind Beggar public house in Whitechapel (infamous for its connection to the Kray twins) is reputed to be the site of his begging. A version of the ballad was recorded by Ewan McColl for the Riverside anthology 'Great British Ballads Not Included in the Child Collection'. CS 95. Ex Collection of the Hon. Christopher Lennox Boyd. Frankau 30.
[Ref: 49971] £280.00
(£336.00 incl.VAT)
Blouzelind. The peerless maid that did all maids excel. -Gay
Mr. Bunbury del. Js. Bretherton Fecit
[London: J. Bretherton, 1781.]
Hand coloured etching on 18th century laid paper, sheet 435 x 345mm (17 x 13½"). Trimmed to plate.
A woman sitting beside a spinning wheel in a landscape, pinning a corsage of flowers at her breast, a dog curled up asleep at her feet; behind at right two figures, one on horseback, travel along a path towards a tower in the distance. After Henry William Bunbury (1750 - 1811) with line from 'The Shepherd's Week’ (1714) by John Gay (1685 - 1732). The line is from the beginning of 'Friday; or, the Dirge', in which Bumkinet mourns the death of Blouzelind: 'As the wood pigeon cooes without his mate, / So shall my doleful Dirge bewail her fate. / Of Blouzelinda fair I mean to tell, / The peerless maid that did all maids excel.' For proof before letters see ref. 16983.
[Ref: 37965] £230.00
(£276.00 incl.VAT)
[Blouzelind.]
Mr. Bunbury del. Js. Bretherton f. [ink mss.]
[London: J. Bretherton, 1781.]
Hand coloured etching, proof before letters on 18th century watermarked laid paper, sheet 380 x 340mm. 15 x 13". Trimmed to plate.
A woman sitting beside a spinning wheel in a landscape, pinning a corsage of flowers at her breast, a dog curled up asleep at her feet; behind at right two figures, one on horseback, travel along a path towards a tower in the distance. After Henry William Bunbury (1750 - 1811), illustrating ‘Sweet William's Farewell To Black-Ey'd Susan: A Ballad’ by John Gay (1685 - 1732). The lettered state of the print in inscribed with a line from Gay: 'The peerless maid that did all maids excel'. The print is a pair with 'Susan'.
[Ref: 16083] £160.00
(£192.00 incl.VAT)
The Wife of Hassan Alhabbal, in cutting open the Fish she finds a large Diamond. Arab.n Nights Ent.s [&] he First Interview of the Prince of Persia and Schemselnihar, at the House of Ehn Thair. Arab.n Nights Ent.s
H. Bunbury Esqr. delt.
London, Pubd. April 10th. 1795, by W. Dickinson, No. 53, next York House, Piccadilly.
Pair of stipples with etching, printed in brown ink. 285 x 335mm. 11¼ x 13¼". Trimmed.
Kitchen scene with a woman standing over a table at left with knife in hand, displaying a diamond in her palm to a man and young boy, a figure at right seen from behind leaving the room, above a bird-cage hangs; [&] A man leaning on a table at left at which a lady is seated, turning to look at the prince at right, his sword hanging on a chain around his waist, three girls watch the meeting through an arch behind. Related to 'One Thousand and One Nights', known in English as the 'Arabian Nights', from the first English language edition (1706), which rendered the title as 'The Arabian Nights' Entertainments'.
[Ref: 27254] £280.00
(£336.00 incl.VAT)
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[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.45 No.1
D. Chodowiecki inv & sc.
[1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed.
Etching by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46370] £35.00
(£42.00 incl.VAT)
[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.119 No.4
D. Chodowiecki inv & sc.
[published by Friedrich Nicolai, 1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed. Slight foxing.
John Buncle looking at the skeleton of John Orton. One of a set of illustrations to John Amory's 'The Life of John Buncle, Esq.' by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46371] £50.00
(£60.00 incl.VAT)
[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.93 No.2
D. Chodowiecki inv & sc.
[published by Friedrich Nicolai, 1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed.
John Buncle saving the unconscious Miss Melmoth from her flooded cabin. One of a set of illustrations to John Amory's 'The Life of John Buncle, Esq.' by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46372] £40.00
(£48.00 incl.VAT)
[Illustration to German translation of 'The Life of John Buncle' by Thomas Amory] Leben Joh. Bunkels. S.93 No.2
D. Chodowiecki inv & sc.
[published by Friedrich Nicolai, 1778]
Etching, sheet 140 x 85mm (5½ x 3¼"). Trimmed.
John Buncle in a chapel for morning prayers. One of a set of illustrations to John Amory's 'The Life of John Buncle, Esq.' by Daniel Chodowiecki (1726-1801), German painter and etcher whose output as a printmaker consists of over 2000 plates. He was the director of the Berliner Akamie from 1797, and also an avid collector of prints and drawings.
[Ref: 46373] £40.00
(£48.00 incl.VAT)
Burns's Address to the Deil. illustrated by Landseer. (Sheet 1.) [&] (Sheet 2.)
[Engraved by Samuel Machin Slater, Charles Milton Gorway, Ebenezer Landells et al after Thomas Landseer] G.H. Davidson, Printer and Stereotyper, Tudor Street, Blackfriars.
London: - Published by G. Berger, Holywell Street, Strand; O. Hodgson, 10, Cloth Fair, West Smithfield; sold also at the Office of the Ladies' Penny Gazette, King Edward Street, New Bridge Street; and to be had, on order, of all Dealers of Periodicals.
Two sheets, with wood-engravings and letterpress. Sheets 275 x 380mm (10¾ x 15"). Both sheets with stains, '2' laid on album paper.
Two sheets with all 21 verses of Robert Burns' 'Addess to the Deil', illustrated with 10 fantastical wood engravings after Thomas Landseer, including a title and the Devil on horseback. The blocks were also used in book format. See BM 1867,1214.448 for sheet 1, with references for book issues.
[Ref: 61155] £190.00
(£228.00 incl.VAT)
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Callirhoe.
J. B. Cipriani inv.t. et del. F. Bartolozzi sculp.
Stipple. Sheet: 130 x 155mm, (5 x 6"). Trimmed within plate and publication line.
A half-length portrait of Callirhoe, a protagonist from Chariton's novel of the same name, set in 400 BC Syracuse, in which the supernaturally beautiful Callirhoe marries Chaereas. However, Chaereas' jealousy causes a chain of unfortunate events leading to years of separation. Evidence of Chariton's novel only appears in a 13th Century manuscript and the story was not published until the 18th Century. de V: 376 II of II.
[Ref: 36856] £140.00
(£168.00 incl.VAT)
[Canterbury Tales] Departure of the Canterbury Pilgrimes. Prologue, Canterbury Tale Chaucer.
Drawn by Mortimer. Engraved by J Hogg.
London Publish'd Feb.y 12.th 1787 by J. R. Smith No. 31 King Street Covent Garden.
Etching with engraving. 260 x 190mm (10¼ x 7½"), with large margins. Single spot in unprinted area of plate.
The pilgrims and their horses gather in a square outside the Tabard Inn, Southwark. One of nine plates after John Hamilton Mortimer, probably prepared for an edition of Chaucer's 'Canterbury Tales' that was abandoned before publication. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60342] £160.00
(£192.00 incl.VAT)
A Scene in the Careless Husband.
P. Mercier Pinx.t. J. Faber fecit 1739.
Printed for Rob.t Sayer, opposite Fetter Lane, Fleet Street.
Mezzotint. 275 x 325mm (10¾ x 12¾"). Laid on album paper, some wear.
Act V, Scene IV of the play 'The Careless Husband' by Colley Cibber, depicting the characters Mrs Edging, Sir Charles Easy and Lady Easy; the last is supposed by some to be a portrait of Kitty Clive (1711-85). CS 414.
[Ref: 45058] £130.00
(£156.00 incl.VAT)
A Scene in the Careless Husband.
P. Mercier Pinx.t. J. Faber fecit 1739.
Publish'd according to Act of Parliament 1739.
Mezzotint, platemark 275 x 325mm (10¾ x 12¾"), large margins. Slight printer's crease bottom left.
Scene from the play 'The Careless Husband' by Colley Cibber, engraved from a painting by Philip Mercier, showing a moment in Act V, Scene IV of the play with the characters Mrs Edging, Sir Charles Easy and Lady Easy; the last is supposed by some to be a portrait of Kitty Clive (1711-85). Originally a pendant to another theatrical scene after Mercier, 'A Scene from the Recruiting Officer'. Lennox-Boyd 1994 cat 2 (only state); CS 414; for the pendant see ref 7855. Ex: The Hon. Christopher Lennox-Boyd Collection.
[Ref: 38880] £380.00
Lindorf's, First View of Caroline.
Thos. Stothard, Pinxit. C. Knight, Sculp.
London: Published Jany. 1st. 1788, by John Harris, Sweetings Alley Cornhill & No.8 Broad Street.
Stipple with etching in brown ink, sheet 390 x 340mm. 15¼ x 13½". Trimmed to plate.
A hunter with his gun and dogs looks up at a women singing from a song book on a balcony, accompanying herself on a guitar. Illustrates 'Caroline de Lichtfield, ou Mémoires d'une Famille Prussienne', by Swiss novelist Isabelle de Montolieu (1751 - 1832), an influential instant best-seller in the 1780s that stayed in print until the mid-19th century. Six line quotation from volume I in English and French below title. After Thomas Stothard (1755 - 1834).
[Ref: 13885] £190.00
(£228.00 incl.VAT)
Cato.
Burney pinx. Bartolozzi Sc.
London Printed for J. Bell, British Library, Strand, July 9, 1791.
Etching with engraving, pt 18th century watermark. 200 x 130mm (8 x 5"). Small margins. Some foxing, mainly in margins.
A warrior and a woman kneeling down over a corpse. One of six frontispieces to 'British Theatre'. De Vesme 1672, state ii of iii.
[Ref: 55516] £65.00
(£78.00 incl.VAT)
La belle Laurette
P. Loutherbourg pinx. / P. de Colle sculp. ap N. Cavalli Venetys
[c.1780]
Fine engraving, platemark 230 x 295mm (9 x 11½"). Very large margins.
'The Plea', from 'Laurette' by Jean François Marmontel (1723-99). Philippe Jacques de Loutherbourg executed a drawing (now in the National Gallery of Ireland) which was engraved by Byrne, Bartolozzi and Middiman in 1776 as 'Lauretta'. This print was presumably a copy of the British print, with some additional landscape filled in to fit the rectangular plate (the British print is an oval composition). This print is also reversed from the British print, which would also suggest that it was copied directly and then reversed when printed from the plate onto the paper.
[Ref: 38326] £190.00
(£228.00 incl.VAT)
Celadon and Amelia. From an Original Picture, in the Collection of Wm. Lock Esqr [...]
R. Wilson pinxit Londini. Browne aqua forti fecit. Woollett sculpt.
Publish'd June 10th. 1766 as the Act directs, by W. Woollett in Long's Court, Leicester Fields, & Ryland & Bryer at the King's Arms in Cornhill, London.
Engraving, sheet 440 x 550mm (17½ x 21½"). Trimmed inside platemark; repaired tear at top. Foxed.
Celadon at the centre, looking to the heavens with his arms outstretched in disbelief and grief; Amelia lies dead at his feet. In the background a house with a shepherd driving his sheep up a hill, on which is a fortress. To right, a bay with stormy seas and a broken bridge. Verse from 'Summer' by James Thomson from his 'The Seasons' below. After an unlocated painting by Richard Wilson (1714 - 1782), the preeminent British landscape painter of the mid-18th century. Wilson's painting was exhibited in 1765 as 'A Summer Storm with the Story of the Two Lovers from Thompson (Celadon and Amelia), reinforcing the link with this popular literary source for 18th century artists. David Solkin has described this subject as a modern, Christian, English equivalent to the Ovidian death scene 'Destruction of the Children of Niobe' which Wilson also famously painted. Fagan: 57, VI of VIII; for Wilson's 'Niobe' see ref 38488
[Ref: 38962] £240.00
(£288.00 incl.VAT)
L’Hospitalité ou la Cabane du Paria. Le Docteur jouissait du plaisir d’être ensûreté au milieu de la tempête...En fin jusqu’au chien prenait part au bonheur commun; couché avec un chat, auprès du fue, il entre-ouvrait de temps en temps les yeux et soupirait en regardant son maître. Voyez la Chaumiere indienne, Page 75. Par Jacques-Bernardin Henri de St. Pierre.
Challiou delineavit. Mariage sculpsit.
à Paris chez Bance ainé, Md. d’Estampes, rue St. Denis, No.214. [n.d. c.1800.]
Stipple with small margins, rare. Plate 560 x 412mm (22 x16¼").
A scene from 'La Chaumiere Indienne' ("The Indian Cottage"), by Jacques-Henri Bernardin de Saint Pierre in 1790. A traveller finds wisdom in the cottage of an Indian outcast. for another print from the same series see ref. 1193
[Ref: 28897] £350.00
[Childe-Harold et Ines.]
Peint par De Juinne, 1829. Lith par Aubry Lecomte, 1830.
Lith. de Lemercier, rue du Four S.t G.ain No.55. Publié chez Noël aîné et Fils Editeurs, rue N.ve des Petits-Champs No.6 Esc.r A C.ie Colbert. [n.d. c.1840.]
Lithograph rare on chine collé. 495 x 533mm. 19½ x 21". Damage to face of male; some scuffing and marking.
Illustration depicting Childe Harold's Pilgrimage, the lengthy narrative poem by Lord Byron. It describes the travels and reflections of a world-weary young man who, disillusioned with a life of pleasure and revelry, looks for distractions in foreign lands, dancing and merrymaking in background.
[Ref: 24832] £260.00
(£312.00 incl.VAT)
La Chose Impossible. Que ne peut point sur nous l’attrayante Beauté; Puisque pour contenter un amour qui l’accable, Et de la jeune Iris vaincre la Cruauté, Lisandre est assez fou pour se donner au Diable. De ce séxe enchanteur qui trouble la raison, Que ne peut point aussi l’ingénieuse adressé, Puisq’Iris a bien seu d’un seul trait de finesse. Et sauber son amant et duper le Demon. Moraine.
Lorrain inv. D. Sornique Sculp.
AParis chez Buldet rue de Gêvres. Avec privilege du Roi. [n.d. c.1760.]
Engraving. Plate 318 x 362mm (12½ x 14¼). Crease not visible from front. Faint time stain. Very fine impression.
A young man attempts to court Lisandre, with the help of the Devil who sits floating on a dark cloud beside them. From the Oettingen-Wallerstein Collection.
[Ref: 28359] £290.00
(£348.00 incl.VAT)
Christiana and her Children at Supper in the Interpreter’s House.
[J. Sturt?]
[London, n.d., c.1722.]
Engraving, image 160 x 95mm. 6¼ x 3¾". Trimmed just within plate on two sides.
A family in medieval dress sitting around the supper table in an interior; a man in armour at centre. A servant (right) brings a plate of food, jug and wine glasses to foreground. Illustration to an edition (the 10th?) of John Bunyan's 'The Pilgrim's Progress'. Numbered 'Page 43 P.II' upper right. See BL 04414.de.18. C.37.b.33.
[Ref: 21469] £80.00
(£96.00 incl.VAT)
[Cinderella]. Cinderilla, or The Little Glass Slipper. When she had done her work [...] [&] Cinderilla, or The Little Glass Slipper. Cinderilla laughted to herself whn she saw her Slipper [...]
Drawn & Engraved by Henry Richter.
[Published Feb.y 1799 by J & H Richter 26 Newman Street Oxford Street.]
Pair of coloured stipples, fine colour. Sheets 260 x 275mm (10¼ x 10¾"). Trimmed to images on three sides, into plate at bottom, losing publications lines; slight scuffing of print area on second plate.
Two scenes of the fairytale 'Cinderella', as told by Charles Perrault in his 'Cendrillon ou la petite pantoufle de verre' (the version used by Disney): in the first she kneels at a fireplace, her sisters looking down on her with contempt; in the second the prince's herald fits the slipper on her foot as the sisters glower.
[Ref: 62364] £250.00
(£300.00 incl.VAT)
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[The Embarkation of Carlo and Ubaldo] In the Collection of His Grace the late Duke of Kent
Claudio Gillee Lorenese pinx P.C. Canot Sculp
Publish'd by Ar. Pond May 1744
Very fine engraving, 18th century watermark; platemark 310 x 405mm (12¼ x 16"), with very large margins.
Scene from Torquato Tasso's epic poem 'Jerusalem Delivered' ('La Gerusalemme Liberata', 1581), a largely mythified account of the First Crusade in which Christian knights fought to seize the city of Jerusalem from the Fatimid Caliphate. Here the knights Carlo and Ubaldo embark on a voyage; the wizard of Ascalon (who has assisted them) departs on the left. Engraving of a 1667 painting by Claude Lorrain (?1604/5-1682), now in the Art Gallery of Ontario.
[Ref: 40465] £260.00
(£312.00 incl.VAT)
The Count de Peltzer mortally wounded by some Austrian Foragers on ye Eve of his Marriage. [&] Fred. Zemmerman having escaped from ye Abbey of La Trappe & recover'd his beloved Mistress is seiz'd & thrown into a Dungeon for Life. [ink mss titles.]
Mr Bunbury del. J.s Bretherton f. [ink mss]
[n.d., c.1787.]
Pair of mixed method engravings, proofs before all letters with colour wash. Sheets 485 x 570mm (19 x 22½"), 1st on Whatman laid paper, 2nd with large 18th century watermark. Creasing and slight staining. Cut inside platemark.
Two well-executed sketches, with the titles and inscriptions of the smaller etchings published by James Bretherton in 1787. The first shows the Count lying on a bed, attended by his fiancée M.lle de Benskow, her mother and her brother, as a boy brings soup for the dying man. The second shows a young man being captured by soldiers as a pair of monks watch, a scene from Claudine Guérin de Tencin's tragedy ''Les Amants malheureux ou Le Comte de Comminges'', adapted for the stage by Baculard d’Arnaud.
[Ref: 54536] £550.00
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Adelaide entering in disguise the Abbey of La Trappe, hears her lovers voice in the Choir. mem: of the Comte de Comminge.
H. Bunbury Esq.r Delin.t. W. Dickinson Excudit.
London, Publish'd Oct.r 20;th 1782, by W. Dickinson Engraver & Printseller No. 158 New Bond Street.
Stipple and aquatint, 18th century watermark. 385 x 505mm (15¼ x 19¾"). Thread margins top and bottom.
A scene from Claudine Guérin de Tencin's tragedy ''Les Amants malheureux ou Le Comte de Comminges'', adapted for the stage by Baculard d’Arnaud. A girl, dressed in male clothing, is apprehended by two Trappist monks.
[Ref: 54587] £280.00
(£336.00 incl.VAT)
Comus and Lady, Milton's Comus.
Shelley pinx.t C. Taylor excudit. W. Nutter Sculp.t
London, Published by C. Taylor, Holborn, Oct.r 1, 1824.
Stipple. Plate 158 x 152mm. 6¼ x 6".
The point in Milton's masque 'Comus', when Comus urges the Lady to "be not coy" and drink form his magical cup (representing sexual pleasure and intemperance), but she repeatedly refuses, arguing for the virtuousness of temperance and chastity.
[Ref: 22607] £60.00
(£72.00 incl.VAT)
Constantia. Nor yet he ended_When, with troubled mien. [...] He could no more; but on her neck he fell.
Rigaud, R.A. pinx.t. F. Bartolozzi R.A. sculp.t.
London Publish'd Nov.r 30. 1799, by Tho.s Macklin Poets Gallery Fleet Street.
Stipple. Platemark: 430 x 500mm (17 x 19¾"). Very large margins. Small tears along top and bottom edges of sheet. Puncture holes for binding into wrappers along left margin.
Constantia kneeling before a king, her left arm resting on the king's knee as he leans towards her with his arms outstretched in grief. Courtiers are surrounding, with a columned building beyond to the left. An illustration to 'Constantia, or the Man of Law's Tale', attributed to Henry Brooke. From Macklin's 'One hundred pictures/Prints illustrative of the most celebrated British Poets [...] with letter-press explanatory of the subject, extracted from the writings of the respective poets.' For proof impressions see items ref: 18230. De Vesme: 1443.
[Ref: 38513] £260.00
(£312.00 incl.VAT)
Constantia. Nor yet he ended - When, with troubled mien ... He could no more; but on her neck he fell. [ten lines of verse.]
Rigaud R.A. pinxt. F. Bartolozzi R.A. sculpt.
London, Publish'd Novr. 30. 1799, by Thos. Macklin Poets Gallery Fleet Street.
Stipple and etching, fine proof before letters, sheet 420 x 505mm. 16½ x 19¾". Trimmed to plate.
Illustration of 'Constantia, or the Man of Law's Tale', contributed by Henry Brooke (1703? - 1783) to Chaucer Modernised, published by George Ogle, London 1741. Interior of a Roman palace, with corinthian pillars and an eagle in the background to left; Constantia revealing her identity to her father, kneeling at the foot of his throne. He leans forward with outstretched arms, wearing uniform and a laurel wreath, to the joy of the attendant courtiers. After John Francis Rigaud (1742 - 1810). For a proof impression see item 18230. From the Norman Blackburn Collection.
[Ref: 18277] £380.00
[Constantia kneeling before a king.]
[Francesco Bartolozzi after John Francis Rigaud.]
[London: T. Macklin, 1799.]
Stipple and etching, proof before letters, sheet 420 x 505mm (16½ x 19¾"). Faint trace of waterstain; two closed tears from upper edge.
Illustration of 'Constantia, or the Man of Law's Tale', contributed by Henry Brooke (1703? - 1783) to Chaucer Modernised, published by George Ogle, London 1741. Interior of a Roman palace, with corinthian pillars and an eagle in the background to left; Constantia revealing her identity to her father, kneeling at the foot of his throne. He leans forward with outstretched arms, wearing uniform and a laurel wreath, to the joy of the attendant courtiers. After John Francis Rigaud (1742 - 1810). From the Norman Blackburn Collection.
[Ref: 18230] £330.00
[Pair] Plate 1. The Contented Waterman / Plate 2. Jack in the Bilboes. [Plate 1.] From Mr. Dibdin's celebrated Song, call'd My Poll & my partner Joe. My pot was smug, well fill'd my keg, My grunter in the sty. / [Plate 2.] From Mr. Dibdin's celebrated Song, call'd My Poll & my partner Joe. Till woe is me so lubberly, The press gang came and pressed me.
Painted by G. Morland. Engraved by W. Ward.
Published as the Act directs, Sept. 8. 1806, by James Linnell, No. 2 Streatham Str. Charlotte Str. Bloomsbury.
Pair of mezzotints, very fine colour with large margins & rare; printed in colour. Plate size: 460 x 410mm, 18 x 16" each. Unexamined out of frame.
Plate 1. Subject from Charles Dibdin's 'the Waterman'; a family outside a small house on the waterfront, with a view of the river to left, and a small boat tethered alongside, the waterman standing leaning on the back of a chair upon the seat of which his young daugther leans playing with a doll, his wife seated sewing at left with dog at feet, a young man seated to right, drinking, beside a pig in its sty. Plate 2. A pressgang seizing a waterman on the morning of his wedding day. Frankau: 71 II of II; 169 II of II.
[Ref: 28093] £950.00
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[Pair of portraits from comic operas performed at the Theatre Royal, Covent Garden.] Flora. [&] Rosina.
H. Singleton Pinx.t. F.D. Soiron Sculp.t. [&] T. Stothard Pinx.t. C. Knight sculp.t.
London. Published June 1, 1791, by C. Knight, Engraver, Brompton Road, W. Dickinson, No. 23 Old Bond Street, & Moltino Colnaggi, Pall Mall.
Pair of very fine stipples, printed in sepia, with very large margins. 365 x 275mm (14½ x 10¾").
Two pastoral scenes with portraits of women from comic operas performed at the Theatre Royal, Covent Garden, during the 1780s: 'Flora' is from John O'Keeffe's 'Love in a camp; or, Patrick in Prussia', 1786; 'Rosina' from Frances Brooke's 'Rosina', 1783.
[Ref: 28155] £520.00
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Cephisa drawing an Arrow from Cupid's quiver to wound her Lover. Vide Montesquieu V.4 P.186.
Designed by W. Hamilton, R.A. Engrav'd by J. Barney,
Pub.d Sept.r 1789 by J. Walker No 7 Cornhill & No 106 Bond Street
Stipple. Sheet 250 x 190mm (9¾ x 7½"). Trimmed just within plate.
A scene from Montesquieu's 'Céphise et l'Amour'. Finding Cupid asleep Cephisa steals an arrow and wounds her lover. Later she clips Cupid's wings.
[Ref: 52673] £120.00
(£144.00 incl.VAT)
Cupid and Cephisa, One Day as I was walking in the Woods... From the Original Picture, in the possession of George Bowles, Esqr.
Angelica Kauffman pinxt. Thomas Burke Fecit.
London, Publish'd July 10th. 1789 by T Burke, No. 5, Great College Street, Westminster.
Stipple and etching, 470 x 335mm (18½ x 13¼"). Light spotting.
A scene from Montesquieu's 'Céphise et l'Amour'. Lying asleep in a bush of flowers, Cupid is discovered by Cephisa and a male companion, intended to be the author.
[Ref: 8016] £520.00
Cupid and Cephisa, [One Day as I was walking in the Woods...] From the Original Picture, in the possession of George Bowles, Esqr. [&] Cupid and Cephisa, [Cephisa says, we ought to cut the Wings of Love...] From the Original Picture, in the possession of George Bowles, Esqr.
Angelica Kauffman pinx.t. Thomas Burke Fecit.
London, Publish'd July 10th. 1789 by T Burke, No. 5, Great College Street, Westminster. [&] Publish'd Feb.y 1st. 1789 by T Burke No 5 Great College Street, Westminster.
Very fine matching pair of stipples with etching, proof states before lines of verse, one with publisher's inscription scratched. Each 470 x 335mm (18½ x 13¼"), with large margins.
Two scenes from Montesquieu's 'Céphise et l'Amour'. In the first Cupid is discovered by Cephisa and a male companion (intended to be the author), lying asleep in a bush of flowers; in the second Cephisa raises one of his wings, preparing to cut it off, as her companion leans forward to stop her.
[Ref: 53336] £850.00
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Cupid and Cephisa, One Day as I was walking in the Woods [...] From the Original Picture, in the possession of George Bowles, Esqr.
Angelica Kauffman pinx.t. Thomas Burke Fecit.
London, Publish'd July 10th. 1789 by T Burke, No. 5, Great College Street, Westminster.
Stipple and etching, with large margins; 475 x 340mm (18¾ x 13½". Damage to title area.
A scene from Montesquieu's 'Céphise et l'Amour'. Lying asleep in a bush of flowers, Cupid is discovered by Cephisa and a male companion, intended to be the author.
[Ref: 29790] £320.00
[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
[The death of the beautiful Gabrielle d'Estrées] Mort de la belle Gabrielle destrés [in ms lower margin]
Ch. Eisen inv. et fec. 1765 J.F. Rousseau Sculp.
a Paris chez Basan [c.1760]
Engraving, platemark 230 x 150mm (9 x 6").
Engraving after Charles Eisen (1720-78), painter, draughtsman and illustrator, believed to be an allegorical representation of the death of Gabrielle d'Estrées (1573-99), mistress of Henry IV of France. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, La Fontaine and Erasmus.
[Ref: 46500] £190.00
(£228.00 incl.VAT)
[Frontispiece to Dante's 'The Divine Comedy'?]
[n.d., c.1600]
Wood engraving, sheet 195 x 120mm (7¾ x 4¾"). Description of the 'Divine Comedy' in Italian verso.
Dante, accompanied by his guide Virgil.
[Ref: 38349] £280.00
(£336.00 incl.VAT)
Darthula. [&] Daura.
E. Burney del.t. J. Baldrey sculp.t.
London Pub.d Jan.y 1.st 1788 by J. Baldrey No. 15 Carlisle Street Soho.
A very fine pair of stipples. Plate: 210 x 150mm (8¼ x 6''), with very large margins, uncut.
Two portraits of characters from James Macpherson's Ossian poems published in 1760.
[Ref: 48088] £290.00
(£348.00 incl.VAT)
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Dawn Island a Tale by Harriet Martineau. Page 18. Written by the National Anti Corn Law Bazaar May. 1845. Dawn Island.
Draw & Etch'd by J. Stephenson.
[n.d. c.1845.]
Uncut before binding. Proof. In pencil at bottom Engraved by Jo Barlow for Stephenson.
Frontispiece and title page to Dawn Island by Harriet Martineau. It is a tale that depicts the confrontations between a native island tribe and white British traders. Martineau (1802-76), writer and journalist, undertook an American tour in 1834-6 and her works include 'Society in America' (1837). 'By inheritance a political radical and dedicated dissenter', in George Eliot's estimation she was 'the only English woman that possesses thoroughly the art of writing'. DNB
[Ref: 29645] £75.00
(£90.00 incl.VAT)
The Dead Knight. His houndes they lie downe as his feete. So well they their master keepe, his haukes they flie to eagerly There's no fowle dare come him nie" Border Minstrelsy.
Drawn & Lith.d by W.m Barraud.
Day & Haghe Lith.rs to the King, Gate St. Linc.Inn F.ds [n.d. c.1836.]
Lithograph on india, very scarce. 400 x 507mm. 15¾ x 20".
A knight lies on the ground, still with dagger in his hand. His hounds stay guard as loyal friends with his hawks flying above and one sitting on the tree nearby, also keeping watch. The verse is from ''The Three Ravens'', an old English ballad which predates 1611, when it appeared in Thomas Ravenscroft's ''Melismata. Musicall Phansies. Fitting the Court, Citie, and Countrey Humours'', a collection of folk songs.
[Ref: 24963] £160.00
(£192.00 incl.VAT)
[A naked washing herself with a sponge, aided by a dark-skinned slave girl, a scene from Giovanni Boccaccio's 'Decameron']
L. Chalon.
[London: Navarre Society, c.1900.]
Aquatint on steel. 175 x 140mm (6¾ x 5½").
The Decameron by Giovanni Boccaccio is a medieval allegory told as a frame story encompassing 100 tales by ten young people, writen 1350-3. This plate was one of 15 aquatints published for a fine private-press edition which first appeared in the late 1890s as an imprint of the Navarre Society, which specialized in publishing classical literature and erotica. Perhaps not issued.
[Ref: 31373] £60.00
(£72.00 incl.VAT)