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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Lady Gorget raising Recruits for Cox-Heath.
[after Robert Dighton.]
Printed for Carington Bowles, No. 69 in St. Paul's Church Yard, London. Published as the Act directs, 4 June 1781.
Mezzotint with fine hand colour. 150 x 112mm (6 x 4¼"). Time staining.
An interior scene in which a lady, wearing a riding dress, officers coat, gorget and a large feathered hat, is seated on a settee to the right, with a cane in her left hand. She is looking towards, and addressing, three modestly dressed men who stand to the left. Through the window to the left, the tents of an army camp can be seen. Coxheath in Kent was often used as a military camp, with reviews and mock battles common there.
[Ref: 58390] £180.00 (£216.00 incl.VAT)
[after Robert Dighton.]
Printed for Carington Bowles, No. 69 in St. Paul's Church Yard, London. Published as the Act directs, 4 June 1781.
Mezzotint with fine hand colour. 150 x 112mm (6 x 4¼"). Time staining.
An interior scene in which a lady, wearing a riding dress, officers coat, gorget and a large feathered hat, is seated on a settee to the right, with a cane in her left hand. She is looking towards, and addressing, three modestly dressed men who stand to the left. Through the window to the left, the tents of an army camp can be seen. Coxheath in Kent was often used as a military camp, with reviews and mock battles common there.
[Ref: 58390] £180.00 (£216.00 incl.VAT)
Lady Gorget raising Recruits for the Army.
[after Robert Dighton.]
Printed for Bowles & Carver, No. 69 in St. Paul's Church Yard, London. Published as the Act directs. [n.d., c.1795].
Mezzotint. 150 x 112mm (6 x 4¼"). Small margins.
An interior scene in which a lady, wearing a riding dress, officers coat, gorget and a large feathered hat, is seated on a settee to the right, with a cane in her left hand. She is looking towards, and addressing, three modestly dressed men who stand to the left. Through the window to the left, the tents of an army camp can be seen. Military interest.
Ex CLB ii/ii. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 32969] £160.00 (£192.00 incl.VAT)
[after Robert Dighton.]
Printed for Bowles & Carver, No. 69 in St. Paul's Church Yard, London. Published as the Act directs. [n.d., c.1795].
Mezzotint. 150 x 112mm (6 x 4¼"). Small margins.
An interior scene in which a lady, wearing a riding dress, officers coat, gorget and a large feathered hat, is seated on a settee to the right, with a cane in her left hand. She is looking towards, and addressing, three modestly dressed men who stand to the left. Through the window to the left, the tents of an army camp can be seen. Military interest.
Ex CLB ii/ii. Ex: collection of the late Hon. C. Lennox-Boyd.
[Ref: 32969] £160.00 (£192.00 incl.VAT)
Love and Opportunity. 241
Printed for Carington Bowles, Map & Printseller, No.69 in St. Pauls Church Yard, London. Published as the Act directs [date erased, c.1780].
Mezzotint`. 355 x 255mm (14 x 10"). Fine with large margins.
An elderly couple sleep round a table with an empty bottle of wine, allowing a young man to pass a love-letter through the door to their daughter.
BM Satires 4591, earlier state unnumbered.
[Ref: 37576] £280.00 (£336.00 incl.VAT)
Printed for Carington Bowles, Map & Printseller, No.69 in St. Pauls Church Yard, London. Published as the Act directs [date erased, c.1780].
Mezzotint`. 355 x 255mm (14 x 10"). Fine with large margins.
An elderly couple sleep round a table with an empty bottle of wine, allowing a young man to pass a love-letter through the door to their daughter.
BM Satires 4591, earlier state unnumbered.
[Ref: 37576] £280.00 (£336.00 incl.VAT)
Sir Archibald Macdonald Knt. Lord Chief Baron of the Court of Exchequer.
Dighton del.
London: Printed for Bowles & Carver. [Published 4 June 1794].
Mezzotint. Sheet 150 x 115mm (6 x 4½"). Trimmed to image on three sides and into inscription area at bottom, losing date, laid on album paper.
A caricature portrait of Sir Archibald MacDonald (1747-1826), lawyer and politician. He was Member of Parliament for Hindon, Wiltshire, and then for Newcastle-under-Lyme. In 1790 he was promoted to Lord Chief Baron of the Exchequer.
[Ref: 57912] £140.00
Dighton del.
London: Printed for Bowles & Carver. [Published 4 June 1794].
Mezzotint. Sheet 150 x 115mm (6 x 4½"). Trimmed to image on three sides and into inscription area at bottom, losing date, laid on album paper.
A caricature portrait of Sir Archibald MacDonald (1747-1826), lawyer and politician. He was Member of Parliament for Hindon, Wiltshire, and then for Newcastle-under-Lyme. In 1790 he was promoted to Lord Chief Baron of the Exchequer.
[Ref: 57912] £140.00
A Master Parson with a Good Living.
[Robert Dighton]
Printed for & Sold by Carington Bowles at his Map & Print Warehouse, No. 69 St. Paul's Church Yard, London. Published as the Act directs, 25 June 1782.
Mezzotint with very fine hand colour. 360 x 255mm (14¼ x 10"), with large margins. Edges of left margin chipped. Slight marking lower centre.
A fat parson and his family feasting in an opulent residence, a servant in livery uncorking a bottle. The parson's wife wears spectacles. A pair to 'A Journeyman Parson' (BM Satires 3754).
[Ref: 58491] £780.00
[Robert Dighton]
Printed for & Sold by Carington Bowles at his Map & Print Warehouse, No. 69 St. Paul's Church Yard, London. Published as the Act directs, 25 June 1782.
Mezzotint with very fine hand colour. 360 x 255mm (14¼ x 10"), with large margins. Edges of left margin chipped. Slight marking lower centre.
A fat parson and his family feasting in an opulent residence, a servant in livery uncorking a bottle. The parson's wife wears spectacles. A pair to 'A Journeyman Parson' (BM Satires 3754).
[Ref: 58491] £780.00
Mr. Mattocks.
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, platemark 155 x 115mm (6 x 4½"), a good impression with very large margins. Glued to backing sheet along left edge.
George Mattocks (1734/5-1804), singer and theatre manager. Initially a singer in Covent Garden and the provinces, Mattocks leased the Portsmouth theatre in 1771 and the following year leased the newly built Theatre Royal in Liverpool alongside the Covent Garden prompter Joseph Younger. They also took a twenty-one-year lease on the Manchester theatre in 1775 and Mattocks became involved with a Birmingham theatre in 1779. Mattocks concentrated on management but began to lose singing roles in London to younger performers, and in 1784 moved with his wife, singer and actress Isabella Mattocks, to the north of England. Younger died that year, leaving Mattocks in sole charge of the Liverpool and Manchester theatres, sustaining heavy losses. Isabella returned to performing in London and George was declared bankrupt in 1788 after which he worked in administrative positions at other theatres. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallestein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Isabella Mattocks see refs 36671-2
[Ref: 36677] £260.00 (£312.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, platemark 155 x 115mm (6 x 4½"), a good impression with very large margins. Glued to backing sheet along left edge.
George Mattocks (1734/5-1804), singer and theatre manager. Initially a singer in Covent Garden and the provinces, Mattocks leased the Portsmouth theatre in 1771 and the following year leased the newly built Theatre Royal in Liverpool alongside the Covent Garden prompter Joseph Younger. They also took a twenty-one-year lease on the Manchester theatre in 1775 and Mattocks became involved with a Birmingham theatre in 1779. Mattocks concentrated on management but began to lose singing roles in London to younger performers, and in 1784 moved with his wife, singer and actress Isabella Mattocks, to the north of England. Younger died that year, leaving Mattocks in sole charge of the Liverpool and Manchester theatres, sustaining heavy losses. Isabella returned to performing in London and George was declared bankrupt in 1788 after which he worked in administrative positions at other theatres. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallestein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Isabella Mattocks see refs 36671-2
[Ref: 36677] £260.00 (£312.00 incl.VAT)
![[Mr. Mattocks.]](jpegs/36676.jpg)
[Mr. Mattocks.]
R. Dighton Pinx.t. R. Laurie Sculp [m.s.]
Published as the act Directs July 1st 1779
Mezzotint. 155 x 115mm (6 x 4½"). A good first state impression with very large margins. Slight paper tone.
George Mattocks (1734/5-1804), singer and theatre manager. Initially a singer in Covent Garden and the provinces, Mattocks leased the Portsmouth theatre in 1771 and the following year leased the newly built Theatre Royal in Liverpool alongside the Covent Garden prompter Joseph Younger. They also took a twenty-one-year lease on the Manchester theatre in 1775 and Mattocks became involved with a Birmingham theatre in 1779. Mattocks concentrated on management but began to lose singing roles in London to younger performers, and in 1784 moved with his wife, singer and actress Isabella Mattocks, to the north of England. Younger died that year, leaving Mattocks in sole charge of the Liverpool and Manchester theatres, sustaining heavy losses. Isabella returned to performing in London and George was declared bankrupt in 1788 after which he worked in administrative positions at other theatres. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS ii/iii. For Isabella Mattocks see refs 36671-2
[Ref: 36676] £240.00 (£288.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp [m.s.]
Published as the act Directs July 1st 1779
Mezzotint. 155 x 115mm (6 x 4½"). A good first state impression with very large margins. Slight paper tone.
George Mattocks (1734/5-1804), singer and theatre manager. Initially a singer in Covent Garden and the provinces, Mattocks leased the Portsmouth theatre in 1771 and the following year leased the newly built Theatre Royal in Liverpool alongside the Covent Garden prompter Joseph Younger. They also took a twenty-one-year lease on the Manchester theatre in 1775 and Mattocks became involved with a Birmingham theatre in 1779. Mattocks concentrated on management but began to lose singing roles in London to younger performers, and in 1784 moved with his wife, singer and actress Isabella Mattocks, to the north of England. Younger died that year, leaving Mattocks in sole charge of the Liverpool and Manchester theatres, sustaining heavy losses. Isabella returned to performing in London and George was declared bankrupt in 1788 after which he worked in administrative positions at other theatres. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS ii/iii. For Isabella Mattocks see refs 36671-2
[Ref: 36676] £240.00 (£288.00 incl.VAT)
![[Mrs. Mattocks.]](jpegs/36672.jpg)
[Mrs. Mattocks.]
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Rare mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Annotations in ink verso (ex Suckling).
Isabella Mattocks (née Hallam) (1746-1826), actress and singer. Born into a theatrical family, her father Lewis moved to America in 1752, having run into financial difficulties. He took his wife and other children but left Isabella in the care of his sister and her second husband, actor John Barrington. Isabella probably made her stage debut that year, aged five, appearing intermittently on stage until she joined the Covent Garden company aged sixteen, where she spent most of her career. She married the young tenor George Mattocks, who performed alongside her, in 1765. In 1784-6 Mattocks left Covent Garden to work in Liverpool and Manchester where her husband managed theatres, but the enterprises ruined him financially and she subsequently returned to Covent Garden, although she generally returned to Liverpool in the summers. Mattocks retired in 1808. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii; for George Mattocks see refs. 36676-7
[Ref: 36672] £240.00 (£288.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Rare mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Annotations in ink verso (ex Suckling).
Isabella Mattocks (née Hallam) (1746-1826), actress and singer. Born into a theatrical family, her father Lewis moved to America in 1752, having run into financial difficulties. He took his wife and other children but left Isabella in the care of his sister and her second husband, actor John Barrington. Isabella probably made her stage debut that year, aged five, appearing intermittently on stage until she joined the Covent Garden company aged sixteen, where she spent most of her career. She married the young tenor George Mattocks, who performed alongside her, in 1765. In 1784-6 Mattocks left Covent Garden to work in Liverpool and Manchester where her husband managed theatres, but the enterprises ruined him financially and she subsequently returned to Covent Garden, although she generally returned to Liverpool in the summers. Mattocks retired in 1808. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii; for George Mattocks see refs. 36676-7
[Ref: 36672] £240.00 (£288.00 incl.VAT)
Mrs. Mattocks.
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn.
Rare mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet along left edge at corners.
Isabella Mattocks (née Hallam) (1746-1826), actress and singer. Born into a theatrical family, her father Lewis moved to America in 1752, having run into financial difficulties. He took his wife and other children but left Isabella in the care of his sister and her second husband, actor John Barrington. Isabella probably made her stage debut that year, aged five, appearing intermittently on stage until she joined the Covent Garden company aged sixteen, where she spent most of her career. She married the young tenor George Mattocks, who performed alongside her, in 1765. In 1784-6 Mattocks left Covent Garden to work in Liverpool and Manchester where her husband managed theatres, but the enterprises ruined him financially and she subsequently returned to Covent Garden, although she generally returned to Liverpool in the summers. Mattocks retired in 1808. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection, and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; for George Mattocks see refs. 36676-7
[Ref: 36670] £240.00 (£288.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn.
Rare mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet along left edge at corners.
Isabella Mattocks (née Hallam) (1746-1826), actress and singer. Born into a theatrical family, her father Lewis moved to America in 1752, having run into financial difficulties. He took his wife and other children but left Isabella in the care of his sister and her second husband, actor John Barrington. Isabella probably made her stage debut that year, aged five, appearing intermittently on stage until she joined the Covent Garden company aged sixteen, where she spent most of her career. She married the young tenor George Mattocks, who performed alongside her, in 1765. In 1784-6 Mattocks left Covent Garden to work in Liverpool and Manchester where her husband managed theatres, but the enterprises ruined him financially and she subsequently returned to Covent Garden, although she generally returned to Liverpool in the summers. Mattocks retired in 1808. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection, and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; for George Mattocks see refs. 36676-7
[Ref: 36670] £240.00 (£288.00 incl.VAT)
Keep Within Compass And You Shall be Sure, To Avoid Many Troubles Which Others Endure. Industry Produceth Wealth. [&] Keep Within Compass And You Shall be Sure, To Avoid Many Troubles Which Others Endure. Prudence Produceth Esteem.
[After Robert Dighton] Printed for & Sold by Carington Bowles, N.o 69 S.t Paul's Church Yard, London.
Published as the Act directs 9 Nov.r 1784 [& 16 Aug. 1785].
Scarce pair of mezzotints with hand colour. Each 350 x 250mm (14 x 10"). Framed. Time stained, faded colour, some damage, Unexamined out of matching 19th century frames.
Portraits of two righteous people, standing underneath the arc of an extended pair of compasses with 'Fear God' on the cross bar, with moneybags at the feet of the man and 'Rewards of Virtue' at the feet of the woman. In the corners are scenes of wantonness and its just rewards. The compass is one of the great symbols of freemasonary.
BM Satires 6903 & 6907.
[Ref: 60771] £1,200.00 view all images for this item
[After Robert Dighton] Printed for & Sold by Carington Bowles, N.o 69 S.t Paul's Church Yard, London.
Published as the Act directs 9 Nov.r 1784 [& 16 Aug. 1785].
Scarce pair of mezzotints with hand colour. Each 350 x 250mm (14 x 10"). Framed. Time stained, faded colour, some damage, Unexamined out of matching 19th century frames.
Portraits of two righteous people, standing underneath the arc of an extended pair of compasses with 'Fear God' on the cross bar, with moneybags at the feet of the man and 'Rewards of Virtue' at the feet of the woman. In the corners are scenes of wantonness and its just rewards. The compass is one of the great symbols of freemasonary.
BM Satires 6903 & 6907.
[Ref: 60771] £1,200.00 view all images for this item
My Dear Girl!
430 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1800.
Coloured mezzotint with very large margins. 150 x 115mm (6 x 4½"). Pinhole in upper margin.
A doting father hugging his daughter.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32960] £120.00 (£144.00 incl.VAT)
430 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1800.
Coloured mezzotint with very large margins. 150 x 115mm (6 x 4½"). Pinhole in upper margin.
A doting father hugging his daughter.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32960] £120.00 (£144.00 incl.VAT)
![My Dear Girl! [&] My Charming Boy!](jpegs/32961.jpg)
My Dear Girl! [&] My Charming Boy!
431 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1795.
Pair of coloured mezzotints. Each sheet c.150 x 110mm (6 x 4¼"). Trimmed within plate, mounted on album paper together.
A doting father hugging his daughter and a besotted mother with her son.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32961] £220.00 (£264.00 incl.VAT)
431 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1795.
Pair of coloured mezzotints. Each sheet c.150 x 110mm (6 x 4¼"). Trimmed within plate, mounted on album paper together.
A doting father hugging his daughter and a besotted mother with her son.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32961] £220.00 (£264.00 incl.VAT)
Neck or Nothing! or Quite the Kick.
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Very large margins.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32962] £120.00 (£144.00 incl.VAT)
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Very large margins.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32962] £120.00 (£144.00 incl.VAT)
Neck or Nothing! or Quite the Kick.
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Trimmed into plate.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32963] £90.00 (£108.00 incl.VAT)
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Trimmed into plate.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32963] £90.00 (£108.00 incl.VAT)
Mr. Palmer
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs July 10. 1779 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet top left corner.
John Palmer (1744-98), actor, also known as 'Plausible Jack'. A popular and versatile actor, Palmer was believed to have performed over 375 different parts in his career. Palmer's remarkable career took him to many parts of the British Isles, including spells in Scotland and Ireland. After establishing himself as an actor, Palmer opened a new theatre, the Royalty, on Wellclose Square in East London. The theatre was open for less than two years however, and failed to offer the alternative to the West End which Palmer hoped to provide. His later career involved producing spectacles at the Royal Circus, but he was an actor to the last. Palmer had been beset by accidents throughout his career, including a near-fatal accident when a stage trap was released too quickly, and a stabbing when a spring in a dagger failed to work. He continued to work strenuously right up to his death, when taking on a lead role in Benjamin Thompson's 'The Stranger' at short notice. Clearly struggling, Palmer collapsed on stage and died during the fourth act. From a set of small mezzotint portraits of actors published by the printseller William Richardson in 1779. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; O'D 7; for the Royal Circus see ref. 8120. Ex: Oettingen-Wallerstein Collection.
[Ref: 36673] £220.00 (£264.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs July 10. 1779 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet top left corner.
John Palmer (1744-98), actor, also known as 'Plausible Jack'. A popular and versatile actor, Palmer was believed to have performed over 375 different parts in his career. Palmer's remarkable career took him to many parts of the British Isles, including spells in Scotland and Ireland. After establishing himself as an actor, Palmer opened a new theatre, the Royalty, on Wellclose Square in East London. The theatre was open for less than two years however, and failed to offer the alternative to the West End which Palmer hoped to provide. His later career involved producing spectacles at the Royal Circus, but he was an actor to the last. Palmer had been beset by accidents throughout his career, including a near-fatal accident when a stage trap was released too quickly, and a stabbing when a spring in a dagger failed to work. He continued to work strenuously right up to his death, when taking on a lead role in Benjamin Thompson's 'The Stranger' at short notice. Clearly struggling, Palmer collapsed on stage and died during the fourth act. From a set of small mezzotint portraits of actors published by the printseller William Richardson in 1779. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; O'D 7; for the Royal Circus see ref. 8120. Ex: Oettingen-Wallerstein Collection.
[Ref: 36673] £220.00 (£264.00 incl.VAT)
Mr. Parsons.
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet along left edge.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36679] £230.00 (£276.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet along left edge.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36679] £230.00 (£276.00 incl.VAT)
Mr. Parsons.
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, sheet 155 x 115mm (6 x 4½"). Trimmed to plate.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36678] £140.00 (£168.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, sheet 155 x 115mm (6 x 4½"). Trimmed to plate.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36678] £140.00 (£168.00 incl.VAT)
Descriptions of Battes by Sea & Land, in Two Volumes, From the Kings Library's at Greenwich & Chelsea.
Drawn, Etch'd & Pub. by Dighton, 12 Charing Cross, March 1801.
Hand-coloured etching. Plate: 220 x 175mm (8¾ x 7''), with large margins. Staining at bottom margin.
A scene showing two pensioners, a naval pensioner from Greenwich Hospital and a military pensioner from Chelsea Hospital in deep conversation over pipes and beer.
BM Satire 9746.
[Ref: 50998] £140.00 (£168.00 incl.VAT)
Drawn, Etch'd & Pub. by Dighton, 12 Charing Cross, March 1801.
Hand-coloured etching. Plate: 220 x 175mm (8¾ x 7''), with large margins. Staining at bottom margin.
A scene showing two pensioners, a naval pensioner from Greenwich Hospital and a military pensioner from Chelsea Hospital in deep conversation over pipes and beer.
BM Satire 9746.
[Ref: 50998] £140.00 (£168.00 incl.VAT)
![In Place. En Emploi. 539. [&] Out of Place. Hors d'Emplo. 540.](jpegs/51702.jpg)
In Place. En Emploi. 539. [&] Out of Place. Hors d'Emplo. 540.
Printed for & Sold by Carington Bowles, No 69 in St Paul's Church Yard, London. Published as the Act directs [*****] [1784]
Rare matching pair of mezzotints with fine hand colour. 350 x 250mm (13¾ x 9¾"), with very large margins. Remains of album paper stuck in margins, publication date erased.
In Place: a lawyer and government minister toast to their success with the Devil, surrounded with money bags. Out of Place: two out-of-officepoliticians sit shivering in a squalid room, as their landlady presents a bill. Dighton's original watercolours sold at Sotheby's, 23 February 1978.
BM Satires 3772 & 3773.
[Ref: 51702] £950.00 view all images for this item
Printed for & Sold by Carington Bowles, No 69 in St Paul's Church Yard, London. Published as the Act directs [*****] [1784]
Rare matching pair of mezzotints with fine hand colour. 350 x 250mm (13¾ x 9¾"), with very large margins. Remains of album paper stuck in margins, publication date erased.
In Place: a lawyer and government minister toast to their success with the Devil, surrounded with money bags. Out of Place: two out-of-officepoliticians sit shivering in a squalid room, as their landlady presents a bill. Dighton's original watercolours sold at Sotheby's, 23 February 1978.
BM Satires 3772 & 3773.
[Ref: 51702] £950.00 view all images for this item
Miss Younge.
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), good impression, uncut. Glued to backing sheet along left corners.
Elizabeth Pope (née Younge) (1739x45-1979), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while acting in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
[Ref: 36683] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), good impression, uncut. Glued to backing sheet along left corners.
Elizabeth Pope (née Younge) (1739x45-1979), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while acting in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
[Ref: 36683] £260.00 (£312.00 incl.VAT)
![[Miss Younge]](jpegs/36682.jpg)
[Miss Younge]
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with very large margins. Slight mount paper tone.
Elizabeth Pope (née Younge) (1742-1818), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while performing in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii.
[Ref: 36682] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with very large margins. Slight mount paper tone.
Elizabeth Pope (née Younge) (1742-1818), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while performing in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii.
[Ref: 36682] £260.00 (£312.00 incl.VAT)
Miss Pope
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint, good impression. 155 x 115mm (6 x 4½"), with very large margins. Uncut.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36681] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint, good impression. 155 x 115mm (6 x 4½"), with very large margins. Uncut.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36681] £260.00 (£312.00 incl.VAT)
Miss Pope.
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with large margins.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36680] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with large margins.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36680] £260.00 (£312.00 incl.VAT)
The Prodigal Son taking leave of his Father. Plate 1. [&] The Prodigal Son Revelling with Harlots. Plate 2. [&] The Prodigal Son in Misery. Plate 3. [&] The Prodigal Son returned Home Reclaimed, Plate 4.
[After Robert Dighton.].
Published 1st Aug.st 1791 by Rob.t Sayer & Co. Fleet Street, London.
Set of four mezzotints with early hand colour. Each 360 x 250mm (14¼ x 9¾").. A little wear in margins, some restoration
Depicting the parable of the Prodigal Son in late 18th century England, where the Protestant interpretation of the parable required the son to repent, and be worthy of his father's forgiveness.
Not in BM.
[Ref: 55425] £650.00 view all images for this item
[After Robert Dighton.].
Published 1st Aug.st 1791 by Rob.t Sayer & Co. Fleet Street, London.
Set of four mezzotints with early hand colour. Each 360 x 250mm (14¼ x 9¾").. A little wear in margins, some restoration
Depicting the parable of the Prodigal Son in late 18th century England, where the Protestant interpretation of the parable required the son to repent, and be worthy of his father's forgiveness.
Not in BM.
[Ref: 55425] £650.00 view all images for this item
A Striking View of Richmond.
Drawn, Etch'd & Pub'd By Dighton, 6 Charing Cross, March 1810.
Etching with hand colour. 325 x 220mm (12¾ x 8¾''), paper watermarked 1812? Colour faded.
A portrait of Bill Richmond (1763-1829), born a slave in Richmondtown, Staten Island, Richmond moved to England in 1777 and spent the rest of his life there. After being educated Richmond was apprenticed to a cabinet maker in York. While in Yorkshire he fought in several boxing matches, and then in 1795 he moved to London and ran the pub the Horse and Dolphin in Leicester Square, he made his name boxing and he fought against Tom Cribb, George Maddox, Tom Molineaux and Tom Shelton. The title jokily refers to topographical views of Richmond, Surrey.
Siltzer:p327. BM Satire 11587.
[Ref: 57975] £260.00 (£312.00 incl.VAT)
Drawn, Etch'd & Pub'd By Dighton, 6 Charing Cross, March 1810.
Etching with hand colour. 325 x 220mm (12¾ x 8¾''), paper watermarked 1812? Colour faded.
A portrait of Bill Richmond (1763-1829), born a slave in Richmondtown, Staten Island, Richmond moved to England in 1777 and spent the rest of his life there. After being educated Richmond was apprenticed to a cabinet maker in York. While in Yorkshire he fought in several boxing matches, and then in 1795 he moved to London and ran the pub the Horse and Dolphin in Leicester Square, he made his name boxing and he fought against Tom Cribb, George Maddox, Tom Molineaux and Tom Shelton. The title jokily refers to topographical views of Richmond, Surrey.
Siltzer:p327. BM Satire 11587.
[Ref: 57975] £260.00 (£312.00 incl.VAT)
A Rogue in Grain
[after Robert Dighton]
Printed for & Sold by Bowles & Carver No. 69 St Pauls Church Yard, London.
Mezzotint, platemark 150 x 110mm (6 x 4½"). Glued to backing sheet.
A caricatured man in rustic dress. One of many 'droll' mezzotints made from the designs of Robert Dighton (1751-1814), who after the death of John Collet in 1780 became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; for another droll after Dighton see ref. 32347
[Ref: 32354] £120.00 (£144.00 incl.VAT)
[after Robert Dighton]
Printed for & Sold by Bowles & Carver No. 69 St Pauls Church Yard, London.
Mezzotint, platemark 150 x 110mm (6 x 4½"). Glued to backing sheet.
A caricatured man in rustic dress. One of many 'droll' mezzotints made from the designs of Robert Dighton (1751-1814), who after the death of John Collet in 1780 became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; for another droll after Dighton see ref. 32347
[Ref: 32354] £120.00 (£144.00 incl.VAT)
The humorous thought of a schoolboy.
[after Robert Dighton.]
222. Printed for Bowles & Carver,. No'69 in St Paul's Churchyard, London [n.d., c.1774].
Mezzotint with strong original colour. 170mm x 140mm (7''x 5''). Framed. Unexamined out of frame. Tear in title
A schoolboy about to be beaten by his master drops his trousers to reveal a face painted on his backside. Two spheres on wall over fireplace.
See BM Satires 4535 for larger version. Similar to Ref: 52131.
[Ref: 52129] £230.00 (£276.00 incl.VAT)
[after Robert Dighton.]
222. Printed for Bowles & Carver,. No'69 in St Paul's Churchyard, London [n.d., c.1774].
Mezzotint with strong original colour. 170mm x 140mm (7''x 5''). Framed. Unexamined out of frame. Tear in title
A schoolboy about to be beaten by his master drops his trousers to reveal a face painted on his backside. Two spheres on wall over fireplace.
See BM Satires 4535 for larger version. Similar to Ref: 52131.
[Ref: 52129] £230.00 (£276.00 incl.VAT)
![[Mrs. Siddons.] Hold! - Pizarro - hear me! - if not always Justly, at least act always Greatly.](jpegs/11533.jpg)
[Mrs. Siddons.] Hold! - Pizarro - hear me! - if not always Justly, at least act always Greatly.
Drawn Etch'd & Pubd. by Dighton, Charg. Cross. Dec. 14th. 1799.
Hand-coloured etching, 220 x 175mm. 8¾ x 7".
The actress Sarah Siddons (1755 - 1831) as Elvira in 'Pizarro'. Her words are from Act III. iii (in Pizarro's tent). She stands with her head turned in profile to the left, right arm extended in a commanding gesture. She wears a high-waisted, quasi-classical dress, with a long cloak bordered with gold, folds of which are twisted round her left arm Richard Brinsley Sheridan (1751 - 1816), dramatist and politician, adapted August Friedrich Kotzebue's comedy 'Die Sonnenjungfrau and Die Spanier in Peru' as 'Pizarro' to critical acclaim and popular success in 1799 (and became known by satirists as 'Doctor Pizarro'). By Robert Dighton (1752 - 1814).
BM Satires: 9437.
[Ref: 11533] £95.00 (£114.00 incl.VAT)
Drawn Etch'd & Pubd. by Dighton, Charg. Cross. Dec. 14th. 1799.
Hand-coloured etching, 220 x 175mm. 8¾ x 7".
The actress Sarah Siddons (1755 - 1831) as Elvira in 'Pizarro'. Her words are from Act III. iii (in Pizarro's tent). She stands with her head turned in profile to the left, right arm extended in a commanding gesture. She wears a high-waisted, quasi-classical dress, with a long cloak bordered with gold, folds of which are twisted round her left arm Richard Brinsley Sheridan (1751 - 1816), dramatist and politician, adapted August Friedrich Kotzebue's comedy 'Die Sonnenjungfrau and Die Spanier in Peru' as 'Pizarro' to critical acclaim and popular success in 1799 (and became known by satirists as 'Doctor Pizarro'). By Robert Dighton (1752 - 1814).
BM Satires: 9437.
[Ref: 11533] £95.00 (£114.00 incl.VAT)
A Noble Aiddecamp.
Pub.d by Dighton J.nr. Charing Cross June 1804.
Hand coloured etching. Platemark: 300 x 230mm (11¾ x 9"). Cut to platemark top & bottom.
Lord Petersham, Charles Stanhope (1780-1851), 4th Earl of Harrington (1830-1851), sits on his horse in profile to the right, holding a large cocked hat in his right hand. Stanhope entered the Coldstream Guards in 1795 and became Captain of the 10th (Prince of Wales's Own) Regiment of the Light Dragoons in 1799. In 1803, was Major of the Queen's Rangers and in 1807 Lieutenant Colonel 3rd West India Regiment.
[Ref: 36589] £85.00 (£102.00 incl.VAT)
Pub.d by Dighton J.nr. Charing Cross June 1804.
Hand coloured etching. Platemark: 300 x 230mm (11¾ x 9"). Cut to platemark top & bottom.
Lord Petersham, Charles Stanhope (1780-1851), 4th Earl of Harrington (1830-1851), sits on his horse in profile to the right, holding a large cocked hat in his right hand. Stanhope entered the Coldstream Guards in 1795 and became Captain of the 10th (Prince of Wales's Own) Regiment of the Light Dragoons in 1799. In 1803, was Major of the Queen's Rangers and in 1807 Lieutenant Colonel 3rd West India Regiment.
[Ref: 36589] £85.00 (£102.00 incl.VAT)
We're All in the Suds.
[after Robert Dighton]
Printed for & Sold by Bowles & Carver / No. 69 St Pauls Church Yard, London. / Publish'd as the Act directs 4 June 1800. 381
Mezzotint with hand-colouring and large margins, platemark 155 x 115mm (6 x 4½"). Two horizontal creases to top of image; holes from silverfish at top.
Man holding his shaving dish in his left hand and the 'Gazette Extraordinary' in his right. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814), who after the death of John Collet in 1780 became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; CLB ii/ii.
[Ref: 32363] £130.00 (£156.00 incl.VAT)
[after Robert Dighton]
Printed for & Sold by Bowles & Carver / No. 69 St Pauls Church Yard, London. / Publish'd as the Act directs 4 June 1800. 381
Mezzotint with hand-colouring and large margins, platemark 155 x 115mm (6 x 4½"). Two horizontal creases to top of image; holes from silverfish at top.
Man holding his shaving dish in his left hand and the 'Gazette Extraordinary' in his right. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814), who after the death of John Collet in 1780 became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; CLB ii/ii.
[Ref: 32363] £130.00 (£156.00 incl.VAT)
We're All in the Suds.
[after Robert Dighton]
Printed for & Sold by Bowles & Carver / No. 69 St Pauls Church Yard, London. / [Publish'd as the Act directs 4 June 1800]
Mezzotint, sheet 150 x 120mm (6 x 4¾"). Trimmed inside platemark at bottom, losing publication line; border coloured yellow.
Man holding his shaving dish in his left hand and the 'Gazette Extraordinary' in his right. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814) who, after the death of John Collet in 1780, became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; CLB ii/ii.
[Ref: 32364] £120.00 (£144.00 incl.VAT)
[after Robert Dighton]
Printed for & Sold by Bowles & Carver / No. 69 St Pauls Church Yard, London. / [Publish'd as the Act directs 4 June 1800]
Mezzotint, sheet 150 x 120mm (6 x 4¾"). Trimmed inside platemark at bottom, losing publication line; border coloured yellow.
Man holding his shaving dish in his left hand and the 'Gazette Extraordinary' in his right. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814) who, after the death of John Collet in 1780, became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; CLB ii/ii.
[Ref: 32364] £120.00 (£144.00 incl.VAT)
We're All in the Suds.
[after Robert Dighton]
Printed for & Sold by Bowles & Carver. No. 69 St Pauls Church Yard, London. [Publish'd as the Act directs 4 June 1800]
Mezzotint. Sheet: 145 x 110mm (5¾ x 4¼''). Trimmed inside platemark, laid on album sheet.
Man holding his shaving dish in his left hand and the 'Gazette Extraordinary' in his right. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814) who, after the death of John Collet in 1780, became the foremost designer of such images.
[Ref: 50399] £130.00 (£156.00 incl.VAT)
[after Robert Dighton]
Printed for & Sold by Bowles & Carver. No. 69 St Pauls Church Yard, London. [Publish'd as the Act directs 4 June 1800]
Mezzotint. Sheet: 145 x 110mm (5¾ x 4¼''). Trimmed inside platemark, laid on album sheet.
Man holding his shaving dish in his left hand and the 'Gazette Extraordinary' in his right. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814) who, after the death of John Collet in 1780, became the foremost designer of such images.
[Ref: 50399] £130.00 (£156.00 incl.VAT)
What d'ye think of Me?
[after Robert Dighton]
Printed for & Sold by Bowles & Carver No. 69 St Pauls Church Yard, London. [n.d., c.1796]
Mezzotint. Sheet 150 x 115mm (6 x 4½"), with large margins. Repaired small tear top right.
A buxom woman, probably a St. Giles's barmaid, standing hands on hips. Behind her is a chalked ale-house score and small tankard (indicating gin) and a glass. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814) who, after the death of John Collet in 1780, became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; CLB ii/ii [series number excised]; BM Satires 9103; for another droll after Dighton see ref. 32347
[Ref: 32381] £140.00 (£168.00 incl.VAT)
[after Robert Dighton]
Printed for & Sold by Bowles & Carver No. 69 St Pauls Church Yard, London. [n.d., c.1796]
Mezzotint. Sheet 150 x 115mm (6 x 4½"), with large margins. Repaired small tear top right.
A buxom woman, probably a St. Giles's barmaid, standing hands on hips. Behind her is a chalked ale-house score and small tankard (indicating gin) and a glass. One of many 'droll' mezzotints in roundels made from the designs of Robert Dighton (1751-1814) who, after the death of John Collet in 1780, became the foremost designer of such images.
Ex: collection of the Late Hon. C. Lennox-Boyd; CLB ii/ii [series number excised]; BM Satires 9103; for another droll after Dighton see ref. 32347
[Ref: 32381] £140.00 (£168.00 incl.VAT)
Triumph of the British Flag over the French Eagles & Colours, Taken by our Brave Soldiers in Different Actions, as they appear'd in the Park May 18.th, 1811.
Pub.d by Dighton, Spring Gardens. May 1811.
Hand-coloured etching. Plate: 280 x 205mm (11 x 8"). Some diagonal creasing. Some marks in margins.
A scene showing soldiers of various regiments taking part in a parade in Hyde Park on 18th May 1811, which celebrated the success of British troops under Wellington in the Iberian Peninsular War. Several soldiers are shown holding French colours and standards as trophies while the two soldiers at the front are shown ceremoniously lowering the French banners.
[Ref: 41516] £160.00 (£192.00 incl.VAT)
Pub.d by Dighton, Spring Gardens. May 1811.
Hand-coloured etching. Plate: 280 x 205mm (11 x 8"). Some diagonal creasing. Some marks in margins.
A scene showing soldiers of various regiments taking part in a parade in Hyde Park on 18th May 1811, which celebrated the success of British troops under Wellington in the Iberian Peninsular War. Several soldiers are shown holding French colours and standards as trophies while the two soldiers at the front are shown ceremoniously lowering the French banners.
[Ref: 41516] £160.00 (£192.00 incl.VAT)
Twelve Elegant and Humorous Prints of Rural Scenes, adorned with Comic Figures, by Robert Dighton.
Printed for & Sold by Bowles & Carver, No.69 in St.Paul's Church Yard, London. [n.d., c.1800.]
Set of twelve numbered engravings, each c. 170 x 260mm (6¾ x 10¼"). Trimmed to image & laid on album paper.
Rural pastimes, from fencing and skating to garden parties.
[Ref: 50333] £1,450.00 view all images for this item
Printed for & Sold by Bowles & Carver, No.69 in St.Paul's Church Yard, London. [n.d., c.1800.]
Set of twelve numbered engravings, each c. 170 x 260mm (6¾ x 10¼"). Trimmed to image & laid on album paper.
Rural pastimes, from fencing and skating to garden parties.
[Ref: 50333] £1,450.00 view all images for this item
![[Alexander Wedderburn] Lord Loughborough.](jpegs/36513.jpg)
[Alexander Wedderburn] Lord Loughborough. Lord High Chancellor of Great Britain.
Dighton del.
London: Printed for Bowles & Carver / No. 69 St Paul's Church Yard [n.d., c.1780]
Mezzotint with small margins, rare, platemark 155 x 115mm (6 x 4½"). Glued to backing sheet at corners.
Alexander Wedderburn, first Earl of Rosslyn (1733-1805), lord chancellor. Born in Scotland, Wedderburn struggled to establish himself in the 1750s (a time of English mistrust of ambitious Scots), but by 1764 he was made king's counsel. In 1780, around the time this print was made, he became chief justice of the court of common pleas and a peer as Baron Loughborough, going on to become lord chancellor in 1793 where he opposed catholic emancipation. While Wedderburn has not been viewed kindly by many historians, he was a valued public speaker and competent judge.
Ex Collection of the Late Hon. C. Lennox-Boyd; CS: Page 1763.
[Ref: 36513] £180.00 (£216.00 incl.VAT)
Dighton del.
London: Printed for Bowles & Carver / No. 69 St Paul's Church Yard [n.d., c.1780]
Mezzotint with small margins, rare, platemark 155 x 115mm (6 x 4½"). Glued to backing sheet at corners.
Alexander Wedderburn, first Earl of Rosslyn (1733-1805), lord chancellor. Born in Scotland, Wedderburn struggled to establish himself in the 1750s (a time of English mistrust of ambitious Scots), but by 1764 he was made king's counsel. In 1780, around the time this print was made, he became chief justice of the court of common pleas and a peer as Baron Loughborough, going on to become lord chancellor in 1793 where he opposed catholic emancipation. While Wedderburn has not been viewed kindly by many historians, he was a valued public speaker and competent judge.
Ex Collection of the Late Hon. C. Lennox-Boyd; CS: Page 1763.
[Ref: 36513] £180.00 (£216.00 incl.VAT)
What d'ye think of me?
[after Robert Dighton.]
434. London printed for Bowles & Carver, No69 St Paul's Church Yard. [n.d., c.1797.]
Mezzotint with strong original colour. 180mm x 140mm (7'' x 5''). Framed. Unexamined out of frame.
A portrait of a busty barmaid, with her hands on her hips. Standing and looking towards the right. Behind her is chalked ale house score board with tankards and glasses.
BM Satires 9103.
[Ref: 52128] £220.00 (£264.00 incl.VAT)
[after Robert Dighton.]
434. London printed for Bowles & Carver, No69 St Paul's Church Yard. [n.d., c.1797.]
Mezzotint with strong original colour. 180mm x 140mm (7'' x 5''). Framed. Unexamined out of frame.
A portrait of a busty barmaid, with her hands on her hips. Standing and looking towards the right. Behind her is chalked ale house score board with tankards and glasses.
BM Satires 9103.
[Ref: 52128] £220.00 (£264.00 incl.VAT)
Mrs. Wrighten.
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut.
Mary Ann Wrighten (later Pownall) (1751-96), singer and actress. Born in Hoxton, London in 1751, she married the actor James Wrighten in 1769 and was enaged by David Garrick for his Drury Lane Theatre in 1770. She was a leading singer at the theatre for the next sixteen years, and was also a favourite performer at Vauxhall Gardens. Wrighten had six children with only brief respites from the stage in between, and was seriously ill in both 1784 and 1786. In December 1786 her marriage broke down and she left her husband and children and abandoned the theatre, and went to live in Southwark with Hugh Pownall, a manufacturer of sulphuric acid. As a result her father cut her out of his will. The couple moved to America where they married, and the now Mrs Pownall sang to much acclaim in Philadelphia, New York, Boston and Charleston (some considered her the best vocalist heard in America up to that point). James Wrighten having died in the meantime, her daughters joined her in America where they performed alongisde her. Mary Ann died in Charleston. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area; sitter holding manuscript.
Ex: Oettingen-Wallenstein collection, and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
[Ref: 36684] £260.00 (£312.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut.
Mary Ann Wrighten (later Pownall) (1751-96), singer and actress. Born in Hoxton, London in 1751, she married the actor James Wrighten in 1769 and was enaged by David Garrick for his Drury Lane Theatre in 1770. She was a leading singer at the theatre for the next sixteen years, and was also a favourite performer at Vauxhall Gardens. Wrighten had six children with only brief respites from the stage in between, and was seriously ill in both 1784 and 1786. In December 1786 her marriage broke down and she left her husband and children and abandoned the theatre, and went to live in Southwark with Hugh Pownall, a manufacturer of sulphuric acid. As a result her father cut her out of his will. The couple moved to America where they married, and the now Mrs Pownall sang to much acclaim in Philadelphia, New York, Boston and Charleston (some considered her the best vocalist heard in America up to that point). James Wrighten having died in the meantime, her daughters joined her in America where they performed alongisde her. Mary Ann died in Charleston. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area; sitter holding manuscript.
Ex: Oettingen-Wallenstein collection, and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
[Ref: 36684] £260.00 (£312.00 incl.VAT)
![[Mrs. Wrighten]](jpegs/36685.jpg)
[Mrs. Wrighten]
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint, good impression. 155 x 115mm (6 x 4½"), with very large margins. Slight mount paper tone.
Mary Ann Wrighten (later Pownall) (1751-96), singer and actress. Born in Hoxton, London in 1751, she married the actor James Wrighten in 1769 and was enaged by David Garrick for his Drury Lane Theatre in 1770. She was a leading singer at the theatre for the next sixteen years, and was also a favourite performer at Vauxhall Gardens. Wrighten had six children with only brief respites from the stage in between, and was seriously ill in both 1784 and 1786. In December 1786 her marriage broke down and she left her husband and children and abandoned the theatre, and went to live in Southwark with Hugh Pownall, a manufacturer of sulphuric acid. As a result her father cut her out of his will. The couple moved to America where they married, and the now Mrs Pownall sang to much acclaim in Philadelphia, New York, Boston and Charleston (some considered her the best vocalist heard in America up to that point). James Wrighten having died in the meantime, her daughters joined her in America where they performed alongisde her. Mary Ann died in Charleston. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area; sitter holding manuscript.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii.
[Ref: 36685] £260.00 (£312.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint, good impression. 155 x 115mm (6 x 4½"), with very large margins. Slight mount paper tone.
Mary Ann Wrighten (later Pownall) (1751-96), singer and actress. Born in Hoxton, London in 1751, she married the actor James Wrighten in 1769 and was enaged by David Garrick for his Drury Lane Theatre in 1770. She was a leading singer at the theatre for the next sixteen years, and was also a favourite performer at Vauxhall Gardens. Wrighten had six children with only brief respites from the stage in between, and was seriously ill in both 1784 and 1786. In December 1786 her marriage broke down and she left her husband and children and abandoned the theatre, and went to live in Southwark with Hugh Pownall, a manufacturer of sulphuric acid. As a result her father cut her out of his will. The couple moved to America where they married, and the now Mrs Pownall sang to much acclaim in Philadelphia, New York, Boston and Charleston (some considered her the best vocalist heard in America up to that point). James Wrighten having died in the meantime, her daughters joined her in America where they performed alongisde her. Mary Ann died in Charleston. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area; sitter holding manuscript.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii.
[Ref: 36685] £260.00 (£312.00 incl.VAT)
Mr. Wroughton.
R. Dighton Pinx.t. R. Laurie Sculp
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, platemark 155 x 115mm (6 x 4½"). Small margins; glued to backing sheet; m.s. in ink verso.
Richard Wroughton (real name Richard Rotten) (1748-1822), actor and theatre manager. Wroughton made his debut at Covent Garden in 1768, staying there until an argument with management led to the familiar defection to Drury Lane. Wroughton briefly retired between 1798 and 1800 before returning to Drury Lane as an actor-manager (he had previously managed Sadlers Wells so had management experience), remaining in the position until the end of the 1814-5 season. While unpopular with critics, Wroughton was a competent actor liked by audiences. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836), as part of a series of small portraits of actors published by Richardson in 1779. Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; O'D 3.
[Ref: 36695] £190.00 (£228.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, platemark 155 x 115mm (6 x 4½"). Small margins; glued to backing sheet; m.s. in ink verso.
Richard Wroughton (real name Richard Rotten) (1748-1822), actor and theatre manager. Wroughton made his debut at Covent Garden in 1768, staying there until an argument with management led to the familiar defection to Drury Lane. Wroughton briefly retired between 1798 and 1800 before returning to Drury Lane as an actor-manager (he had previously managed Sadlers Wells so had management experience), remaining in the position until the end of the 1814-5 season. While unpopular with critics, Wroughton was a competent actor liked by audiences. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836), as part of a series of small portraits of actors published by Richardson in 1779. Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; O'D 3.
[Ref: 36695] £190.00 (£228.00 incl.VAT)
Mr. Wroughton.
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"). Good impression with very large margins, uncut.
The prominent Georgian actor, Richard Wroughton (1748-1822), engraved Robert Laurie (1755?-1836) after Robert Dighton (1751-1814), as part of a series of small portraits of actors.
Ex: Oettingen-Wallenstein collection; CS 1 iii/iii.
[Ref: 36696] £240.00 (£288.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"). Good impression with very large margins, uncut.
The prominent Georgian actor, Richard Wroughton (1748-1822), engraved Robert Laurie (1755?-1836) after Robert Dighton (1751-1814), as part of a series of small portraits of actors.
Ex: Oettingen-Wallenstein collection; CS 1 iii/iii.
[Ref: 36696] £240.00 (£288.00 incl.VAT)
![[Mary Ann Yates] Mrs. Yates.](jpegs/36686.jpg)
[Mary Ann Yates] Mrs. Yates.
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), uncut. Glued to backing sheet on left corner.
Mary Ann Yates (née Graham) (1728-1787), actress and theatre manager. She made her debut with Garrick's Drury Lane company in 1754 and in 1756 married another member of the company, the recently-widowed comedian Richard Yates (1706?-1796). She remained a regular member of Garrick's company until 1767, when she switched her allegiances to the rival Covent Garden Theatre, allegedly for financial reasons (although Yates denied this). She then broke with Covent Garden, less for financial reasons than the company's reluctance to retain Richard Yates, and in 1773 she took over management, with novelist and playwright Frances Brooke, of the King's Theatre, then London's home of opera. Around this time Richard Yates took over a playhouse in Birmingham, where Mary Ann sometimes performed. Having improved the fortunes of the King's Theatre, Yates returned to Drury Lane and sold her share in the King's Theatre. London's leading tragedienne of the period, Yates was admired by the public, with notable admirers including Horace Walpole and William Godwin. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; for Yates and Garrick, see ref. 20918.
[Ref: 36686] £260.00 (£312.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), uncut. Glued to backing sheet on left corner.
Mary Ann Yates (née Graham) (1728-1787), actress and theatre manager. She made her debut with Garrick's Drury Lane company in 1754 and in 1756 married another member of the company, the recently-widowed comedian Richard Yates (1706?-1796). She remained a regular member of Garrick's company until 1767, when she switched her allegiances to the rival Covent Garden Theatre, allegedly for financial reasons (although Yates denied this). She then broke with Covent Garden, less for financial reasons than the company's reluctance to retain Richard Yates, and in 1773 she took over management, with novelist and playwright Frances Brooke, of the King's Theatre, then London's home of opera. Around this time Richard Yates took over a playhouse in Birmingham, where Mary Ann sometimes performed. Having improved the fortunes of the King's Theatre, Yates returned to Drury Lane and sold her share in the King's Theatre. London's leading tragedienne of the period, Yates was admired by the public, with notable admirers including Horace Walpole and William Godwin. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; for Yates and Garrick, see ref. 20918.
[Ref: 36686] £260.00 (£312.00 incl.VAT)
![[Mary Ann Yates] Mrs. Yates.](jpegs/36687.jpg)
[Mary Ann Yates] Mrs. Yates.
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn.
Mezzotint. 155 x 115mm (6 x 4½"), a good impression with very large margins. Slight foxing.
Mary Ann Yates (née Graham) (1728-1787), actress and theatre manager. She made her debut with Garrick's Drury Lane company in 1754 and in 1756 married another member of the company, the recently-widowed comedian Richard Yates (1706?-1796). She remained a regular member of Garrick's company until 1767, when she switched her allegiances to the rival Covent Garden Theatre, allegedly for financial reasons (although Yates denied this). She then broke with Covent Garden, less for financial reasons than the company's reluctance to retain Richard Yates, and in 1773 she took over management, with novelist and playwright Frances Brooke, of the King's Theatre, then London's home of opera. Around this time Richard Yates took over a playhouse in Birmingham, where Mary Ann sometimes performed. Having improved the fortunes of the King's Theatre, Yates returned to Drury Lane and sold her share in the King's Theatre. London's leading tragedienne of the period, Yates was admired by the public, with notable admirers including Horace Walpole and William Godwin. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii; for Yates and Garrick, see ref. 20918.
[Ref: 36687] £260.00 (£312.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn.
Mezzotint. 155 x 115mm (6 x 4½"), a good impression with very large margins. Slight foxing.
Mary Ann Yates (née Graham) (1728-1787), actress and theatre manager. She made her debut with Garrick's Drury Lane company in 1754 and in 1756 married another member of the company, the recently-widowed comedian Richard Yates (1706?-1796). She remained a regular member of Garrick's company until 1767, when she switched her allegiances to the rival Covent Garden Theatre, allegedly for financial reasons (although Yates denied this). She then broke with Covent Garden, less for financial reasons than the company's reluctance to retain Richard Yates, and in 1773 she took over management, with novelist and playwright Frances Brooke, of the King's Theatre, then London's home of opera. Around this time Richard Yates took over a playhouse in Birmingham, where Mary Ann sometimes performed. Having improved the fortunes of the King's Theatre, Yates returned to Drury Lane and sold her share in the King's Theatre. London's leading tragedienne of the period, Yates was admired by the public, with notable admirers including Horace Walpole and William Godwin. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii; for Yates and Garrick, see ref. 20918.
[Ref: 36687] £260.00 (£312.00 incl.VAT)
Youth and Age. 586.
[after Robert Dighton.]
Printed for & Sold by Carington Bowles, No.69 St. Pauls Church Yard, London. Published as the Act directs [****] [1793?]
Mezzotint with fine hand colour. 350 x 250mm (13¾ x 9¾"). Cut inside platemark at bottom.
An old fruit seller sits asleep beside a table on which her apples and strawberries are arranged, with baskets under the table, her dog sleeping beside her. A finely-dressed little boy pushes an ear of corn up her nose as a little girl eggs him on. The scene is in the fields near London, as the dome of St. Paul's Cathedral can be seen on the horizon. To the right is a wooden box with a closed door (sentry box?) with a recruitment poster: 'All able bodied [men] willing to serve five guineas.' According to Fortescue, 'Hist. of the British Army', iv. 887, by 1793 the recruitment bounty had already jumped to ten guineas.
BM Satires 8414; ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 50341] £360.00
[after Robert Dighton.]
Printed for & Sold by Carington Bowles, No.69 St. Pauls Church Yard, London. Published as the Act directs [****] [1793?]
Mezzotint with fine hand colour. 350 x 250mm (13¾ x 9¾"). Cut inside platemark at bottom.
An old fruit seller sits asleep beside a table on which her apples and strawberries are arranged, with baskets under the table, her dog sleeping beside her. A finely-dressed little boy pushes an ear of corn up her nose as a little girl eggs him on. The scene is in the fields near London, as the dome of St. Paul's Cathedral can be seen on the horizon. To the right is a wooden box with a closed door (sentry box?) with a recruitment poster: 'All able bodied [men] willing to serve five guineas.' According to Fortescue, 'Hist. of the British Army', iv. 887, by 1793 the recruitment bounty had already jumped to ten guineas.
BM Satires 8414; ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 50341] £360.00