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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Morison's Pills, The Wonderful Power of the Pills exemplified showing the same person before and after having taken a dose. Sung by Mr Fitzwilliam Dedicated with profound Respect to all True disciples of Esculapios, more especially To the Royal College of Physicians by Pilula Rhubarbius M.D. Professor of Phlebotomy to the Royal Islington abattoirs.
L. Brandard [in image]
[publication line illegible]
Rare lithograph, sheet 345 x 250mm (13½ x 9¾"). Creases, slight stain in centre.
Cover of a comic song based on the Universal Vegetable Pills manufactured by James Morison (1770-1840). Before & after images show the wonderous effect of the pills. Morison suffered from ill health in his youth and believed that bad humours had spread from his digestive tract throughout his body, and that the only certain cure was an all-vegetable remedy capable of purifying the blood and hence his entire system. Morison earnt a fortune (which he later lost) through his pills, but throughout his career would have nothing to do with chemists or druggists and sold his pills through other retailers. The dedication to the Royal College of Physicians is ironic, given the mutual suspicion between Morison and the medical profession at large.
[Ref: 40077] £130.00 (£156.00 incl.VAT)
L. Brandard [in image]
[publication line illegible]
Rare lithograph, sheet 345 x 250mm (13½ x 9¾"). Creases, slight stain in centre.
Cover of a comic song based on the Universal Vegetable Pills manufactured by James Morison (1770-1840). Before & after images show the wonderous effect of the pills. Morison suffered from ill health in his youth and believed that bad humours had spread from his digestive tract throughout his body, and that the only certain cure was an all-vegetable remedy capable of purifying the blood and hence his entire system. Morison earnt a fortune (which he later lost) through his pills, but throughout his career would have nothing to do with chemists or druggists and sold his pills through other retailers. The dedication to the Royal College of Physicians is ironic, given the mutual suspicion between Morison and the medical profession at large.
[Ref: 40077] £130.00 (£156.00 incl.VAT)
![[A dying female sea-monster.]](jpegs/60815.jpg)
[A dying female sea-monster.]
Drawn by I.Mortimer. Etch'd by I. Haynes.
Published as the Act directs Jan 25, 1780 by J.Mortimer, Norfolk Street, Strand [but later].
Etching. 150 x 230mm (6 x 9"), large margins.
A sea-monster with sagging breasts and a fish's tail, reclining on rocks. From a series of twelve prints of published posthumously by Mortimer's widow Jane.
See BM 1975,U.1591.23 for Mortimer's original ink sketch.
[Ref: 60815] £80.00 (£96.00 incl.VAT)
Drawn by I.Mortimer. Etch'd by I. Haynes.
Published as the Act directs Jan 25, 1780 by J.Mortimer, Norfolk Street, Strand [but later].
Etching. 150 x 230mm (6 x 9"), large margins.
A sea-monster with sagging breasts and a fish's tail, reclining on rocks. From a series of twelve prints of published posthumously by Mortimer's widow Jane.
See BM 1975,U.1591.23 for Mortimer's original ink sketch.
[Ref: 60815] £80.00 (£96.00 incl.VAT)
![[Cardinal Scipione Borghese as Orpheus Taming the Beasts.]](jpegs/41495.jpg)
[Cardinal Scipione Borghese as Orpheus Taming the Beasts.] Si'l canto d'Orfeo...
[Gio. Battista Pasqalini.]
In Roma a 4. di Febraio 1622 [but later].
Engraving. Sheet: 530 x 370mm (21 x 14½"), mid-18th century watermark. Damaged and trimmed within plate.
A portrait of the mythological figure Orpheus who was said to be able to tame the animals with his music. The engraving is taken from a 1618 mosiac in the Villa Borghese by the artist Marcello Provenzale (1595-1631) and might have been a portrait of Cardinal Scipione Borghese (1577-1633) himself. Whilst Orpheus is traditionally plays a lyre Borghese is depicted playing the popular violin which had been developed in Italy during the 16th century. Borghese is surrounded by domestic and exotic animals, including a dragon, and birds which he has bewitched with his music.
[Ref: 41495] £480.00
[Gio. Battista Pasqalini.]
In Roma a 4. di Febraio 1622 [but later].
Engraving. Sheet: 530 x 370mm (21 x 14½"), mid-18th century watermark. Damaged and trimmed within plate.
A portrait of the mythological figure Orpheus who was said to be able to tame the animals with his music. The engraving is taken from a 1618 mosiac in the Villa Borghese by the artist Marcello Provenzale (1595-1631) and might have been a portrait of Cardinal Scipione Borghese (1577-1633) himself. Whilst Orpheus is traditionally plays a lyre Borghese is depicted playing the popular violin which had been developed in Italy during the 16th century. Borghese is surrounded by domestic and exotic animals, including a dragon, and birds which he has bewitched with his music.
[Ref: 41495] £480.00
Orpheus And Eurydice.
Pub.d as the Act directs Jany 16 1784 by H Humphrey N° 51 New Bond Street.
Fine coloured etching. 250 x 305mm ( 9¾ x 12"). With small margins.
Orpheus, an elderly fiddler with a wooden leg, is being pushed out of Hades by a demon, while another clutches Eurydice, a shrewish-looking woman, round the waist, dragging her in the opposite direction. In the background are Pluto and Proserpine laughing at the separation and figures undergoing classical torments: Ixion on the wheel; Sisyphus rolling his stone up a mountain; Tantalus standing in a stream; and Prometheus on a mountain attacked by the eagle.
BM Satires 6731.
[Ref: 54336] £360.00
Pub.d as the Act directs Jany 16 1784 by H Humphrey N° 51 New Bond Street.
Fine coloured etching. 250 x 305mm ( 9¾ x 12"). With small margins.
Orpheus, an elderly fiddler with a wooden leg, is being pushed out of Hades by a demon, while another clutches Eurydice, a shrewish-looking woman, round the waist, dragging her in the opposite direction. In the background are Pluto and Proserpine laughing at the separation and figures undergoing classical torments: Ixion on the wheel; Sisyphus rolling his stone up a mountain; Tantalus standing in a stream; and Prometheus on a mountain attacked by the eagle.
BM Satires 6731.
[Ref: 54336] £360.00
![[Satan Alarmed.]](jpegs/55518.jpg)
[Satan Alarmed.]
R. Westall R.A. F. Graves. Printed by J Yates.
Printed 1835 James [sic, recte John] Macrone, 3 St, James Square & E Graves King William Street West Strand.
Engraving and etching, scratched-letter state, proof before title, printed on chine collé. 210 x 150mm (8¼ x 6"). Trimmed to plate, some spotting.
Satan standing on the top of the globe, holding shield and spear, illustrating Book IV Line 986 of 'Paradise Lost'. 'On the other side, Satan alarm'd, Collecting all his might, dilated stood, Like Teneriffe, or Atlas, unremoved: His stature reach'd the sky, and on his crest Sat horrour plumed; nor wanted in his grasp, What seem'd both spear and shield.' Published as a frontispiece to ''The Poetical Works of John Milton'.
[Ref: 55518] £90.00 (£108.00 incl.VAT)
R. Westall R.A. F. Graves. Printed by J Yates.
Printed 1835 James [sic, recte John] Macrone, 3 St, James Square & E Graves King William Street West Strand.
Engraving and etching, scratched-letter state, proof before title, printed on chine collé. 210 x 150mm (8¼ x 6"). Trimmed to plate, some spotting.
Satan standing on the top of the globe, holding shield and spear, illustrating Book IV Line 986 of 'Paradise Lost'. 'On the other side, Satan alarm'd, Collecting all his might, dilated stood, Like Teneriffe, or Atlas, unremoved: His stature reach'd the sky, and on his crest Sat horrour plumed; nor wanted in his grasp, What seem'd both spear and shield.' Published as a frontispiece to ''The Poetical Works of John Milton'.
[Ref: 55518] £90.00 (£108.00 incl.VAT)
![[Paradise Lost] They with speed /](jpegs/44245.jpg)
[Paradise Lost] They with speed / Their course through thickest Constellations held, / Spreading their bane; the blasted stars look;d wan,
Designed by H. Richter. Engraved by J. Richter Sen.r.
Publish'd May 10 1795 by J. & H. Richter, No 26, Newman S.t Oxford Road.
Stipple. Sheet 220 x 125mm (8¾ x 5"). Trimmed inside plate mark.
A scene from Milton's 'Paradise Lost', Book 10: Sin and Death escape from Hell.
[Ref: 44245] £95.00 (£114.00 incl.VAT)
Designed by H. Richter. Engraved by J. Richter Sen.r.
Publish'd May 10 1795 by J. & H. Richter, No 26, Newman S.t Oxford Road.
Stipple. Sheet 220 x 125mm (8¾ x 5"). Trimmed inside plate mark.
A scene from Milton's 'Paradise Lost', Book 10: Sin and Death escape from Hell.
[Ref: 44245] £95.00 (£114.00 incl.VAT)
St. Andrew and the Winged Serpent
[published by A. Park, Leonard St, c.1830]
Wood-engraving with fine hand-colouring, verso "A French Stable" published J. Fairburn Minories; 225 x 190mm (8¾ x 7½"). Trimmed around image; glued to album sheet.
St. Andrew of Scotland slaying the serpent, Patron Saint of Scotland. Such sheets of mythological and allegorical characters would have been sold plain for colouring and tinselling at home.
[Ref: 32285] £140.00 (£168.00 incl.VAT)
[published by A. Park, Leonard St, c.1830]
Wood-engraving with fine hand-colouring, verso "A French Stable" published J. Fairburn Minories; 225 x 190mm (8¾ x 7½"). Trimmed around image; glued to album sheet.
St. Andrew of Scotland slaying the serpent, Patron Saint of Scotland. Such sheets of mythological and allegorical characters would have been sold plain for colouring and tinselling at home.
[Ref: 32285] £140.00 (£168.00 incl.VAT)
Persée les mains teintes encore du sang du Monstre dont il vient de délivrer Andromède; se lave à la Fontaine Hypocrène, et l'Amour prêt à les unir.
Bourdon pinx. F. Basan exc.
A Paris, chés Basan, Graveur, Place Maubert, proche le rue de la Bucherie.
Etching. 365 x 445mm (14½ x 17½") large margins. Slight staining bottom right in margins.
Perseus washing in hands in a stream after having slain the sea monster. Behind him Cupid stands looking at Andromeda who, free of her chains, is seen wrapping herself in a drapery. Pegasus flaps his wings. On the right nereids put coral on Perseus' shield. The body of the sea monster can be seen on the right.
BM: 1873,0712.297.
[Ref: 48826] £350.00
Bourdon pinx. F. Basan exc.
A Paris, chés Basan, Graveur, Place Maubert, proche le rue de la Bucherie.
Etching. 365 x 445mm (14½ x 17½") large margins. Slight staining bottom right in margins.
Perseus washing in hands in a stream after having slain the sea monster. Behind him Cupid stands looking at Andromeda who, free of her chains, is seen wrapping herself in a drapery. Pegasus flaps his wings. On the right nereids put coral on Perseus' shield. The body of the sea monster can be seen on the right.
BM: 1873,0712.297.
[Ref: 48826] £350.00
![[Illustration to 'Pygmalion' by J.J. Rousseau]](jpegs/46498.jpg)
[Illustration to 'Pygmalion' by J.J. Rousseau] Pigmalion.
C. Eisen inv.
A Paris chez Basan
Engraving, platemark 150 x 95mm (6 x 3¾") large margins.
Probably one of a set of six illustrations to Rousseau's dramatization of the Pygmalion story after designs by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus. Although unsigned, this engraving is probably by Emmanuel de Ghendt.
[Ref: 46498] £140.00 (£168.00 incl.VAT)
C. Eisen inv.
A Paris chez Basan
Engraving, platemark 150 x 95mm (6 x 3¾") large margins.
Probably one of a set of six illustrations to Rousseau's dramatization of the Pygmalion story after designs by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus. Although unsigned, this engraving is probably by Emmanuel de Ghendt.
[Ref: 46498] £140.00 (£168.00 incl.VAT)
Robb'd between Sun and Sun. Old Law Tria Juncta in Uno
Publish'd according to Act of Parliament January 18 1773 by J. Almon in Piccadilly. Price one Shilling.
Engraving, sheet 265 x 370mm (10½ x 14½"). Nicks to edges; creasing. Trimmed.
Lord Holland seated between his sons Stephen and Charles. He focuses his attention on the sleeping Stephen (elsewhere caricatured as the 'Sleepy Macaroni' [see refs. 41513 and 14220]), not noticing Charles picking his pocket. Beside Charles are emblems of gambling (a dice box and dice) while a devil, chained to his ankle, crouches under a table: Lord Holland paid Charles' extensive gambling debts at this time.
Cp. BM Satires 5223 [smaller version of same image, published 1774]
[Ref: 45462] £220.00 (£264.00 incl.VAT)
Publish'd according to Act of Parliament January 18 1773 by J. Almon in Piccadilly. Price one Shilling.
Engraving, sheet 265 x 370mm (10½ x 14½"). Nicks to edges; creasing. Trimmed.
Lord Holland seated between his sons Stephen and Charles. He focuses his attention on the sleeping Stephen (elsewhere caricatured as the 'Sleepy Macaroni' [see refs. 41513 and 14220]), not noticing Charles picking his pocket. Beside Charles are emblems of gambling (a dice box and dice) while a devil, chained to his ankle, crouches under a table: Lord Holland paid Charles' extensive gambling debts at this time.
Cp. BM Satires 5223 [smaller version of same image, published 1774]
[Ref: 45462] £220.00 (£264.00 incl.VAT)
![[Rural Idyll]](jpegs/37668.jpg)
[Rural Idyll]
[Anon., c.1760]
Etching, platemark 190 x 240mm (7½ x 9½"). Large margins.
Fascinating and rare pastoral scene showing a dozen figures (and a dog) playing on swings, singing, and taking part in other activities. The scene echoes the landscapes of Gaspar Poussin and the fêtes champêtres painted by Watteau and his contemporaries. The classical vase on a plinth on the right, for instance, is an explicit act of homage to painters of Italian landscape. The bizarre mask in the lower right corner, however, suggests something more than straightforward pastiche.
[Ref: 37668] £180.00 (£216.00 incl.VAT)
[Anon., c.1760]
Etching, platemark 190 x 240mm (7½ x 9½"). Large margins.
Fascinating and rare pastoral scene showing a dozen figures (and a dog) playing on swings, singing, and taking part in other activities. The scene echoes the landscapes of Gaspar Poussin and the fêtes champêtres painted by Watteau and his contemporaries. The classical vase on a plinth on the right, for instance, is an explicit act of homage to painters of Italian landscape. The bizarre mask in the lower right corner, however, suggests something more than straightforward pastiche.
[Ref: 37668] £180.00 (£216.00 incl.VAT)
Saint George, né en Cappadoce, Martyr, dont le culte a toujours été très célébre dans l’Eglise, et surtout dans le Royaume d’Angleterre, que l’avoit choisi pour son Patron, et où l’Ordre de la Jarretière a été inflitué sous son nom. On dit, qu’étant Tribun des Soldats, il combattit près de Siléne en Affrique un énorme Dragon, et délivra une Princesse destinée à un être dévorée.
D. Teniers Pinxit. J.C. le Vasseur Sculp.
[n.d. c.1790.]
Copper engraving. 350 x 425mm. 13¾ x 16¾". Trimmed to plate. Small spotty stain effecting the sky, with a slight crease far upper right corner.
Saint George hands over a relic to one of the many female onlookers. His right foot rests on the head of the slain dragon underneath him. St George's Day is the feast day of England's patron saint and is celebrated on April 23, to commemorate the anniversary of his death in 303 AD.
[Ref: 17032] £130.00 (£156.00 incl.VAT)
D. Teniers Pinxit. J.C. le Vasseur Sculp.
[n.d. c.1790.]
Copper engraving. 350 x 425mm. 13¾ x 16¾". Trimmed to plate. Small spotty stain effecting the sky, with a slight crease far upper right corner.
Saint George hands over a relic to one of the many female onlookers. His right foot rests on the head of the slain dragon underneath him. St George's Day is the feast day of England's patron saint and is celebrated on April 23, to commemorate the anniversary of his death in 303 AD.
[Ref: 17032] £130.00 (£156.00 incl.VAT)
![[Satan's auction.]](jpegs/54371.jpg)
[Satan's auction.]
Imp. Houiste rue Hautefeuille, 5, à Paris.
Chine collé etching. 170 x 110mm (6¾ x 4¼"), with wide margins.
A slave auction, with Satan behind the podium. A naked woman stands with her hands tied behind her back, 'Vendre' on a sign around her neck.
[Ref: 54371] £160.00 (£192.00 incl.VAT)
Imp. Houiste rue Hautefeuille, 5, à Paris.
Chine collé etching. 170 x 110mm (6¾ x 4¼"), with wide margins.
A slave auction, with Satan behind the podium. A naked woman stands with her hands tied behind her back, 'Vendre' on a sign around her neck.
[Ref: 54371] £160.00 (£192.00 incl.VAT)
La Naissance. Un satyre icy naît... ne souffre pas toûjours.
C. Gillot fecit. avec privilege du Roi.
A Paris chez J. Audran Graveur du Roy à l'Hôtel Royal des Gobelins. [n.d., c.1715.]
Etching, sheet 260 x 340mm. 10¼ x 13½". Trimmed close to and within plate. Slight soiling, small chip and tear to lower edge. Plate worn to left.
Several satyrs gathered in wooded landscape and attending the birth of a satyr. The mother lies on a hamac while some female figures are taking care of her baby. From a set of four 'Vie des satyres' by painter and etcher Claude Gillot (1673 - 1722), master of Watteau. A magnificent collection of proof states of his etchings is in the Fitzwilliam Museum, Cambridge.
See BM: 1874,0808.1601.
[Ref: 11644] £250.00 (£300.00 incl.VAT)
C. Gillot fecit. avec privilege du Roi.
A Paris chez J. Audran Graveur du Roy à l'Hôtel Royal des Gobelins. [n.d., c.1715.]
Etching, sheet 260 x 340mm. 10¼ x 13½". Trimmed close to and within plate. Slight soiling, small chip and tear to lower edge. Plate worn to left.
Several satyrs gathered in wooded landscape and attending the birth of a satyr. The mother lies on a hamac while some female figures are taking care of her baby. From a set of four 'Vie des satyres' by painter and etcher Claude Gillot (1673 - 1722), master of Watteau. A magnificent collection of proof states of his etchings is in the Fitzwilliam Museum, Cambridge.
See BM: 1874,0808.1601.
[Ref: 11644] £250.00 (£300.00 incl.VAT)
![[Man struggling with a scaly-legged monster.]](jpegs/10645.jpg)
[Man struggling with a scaly-legged monster.]
[Etched by Robert Blyth after John Hamilton Mortimer.]
[n.d., c.1770.]
Etching in brown. 335 x 245mm (13¼ x 9¾"). Trimmed to plate on three sides.
A half man, half sea-monster about to be stabbed. The study for this print is in the British Museum collection.
[Ref: 10645] £220.00 (£264.00 incl.VAT)
[Etched by Robert Blyth after John Hamilton Mortimer.]
[n.d., c.1770.]
Etching in brown. 335 x 245mm (13¼ x 9¾"). Trimmed to plate on three sides.
A half man, half sea-monster about to be stabbed. The study for this print is in the British Museum collection.
[Ref: 10645] £220.00 (£264.00 incl.VAT)
Silvano Littorali et Musae Laches. Silvain 1. CLXXVIII. Pl a la 276. page T1.
Boissard.
[Franckfurt : Zufinden bey Matthäi Merians seel. Erben, 1681.]
Engraving, framed. Visible area 159 x 178mm (6¼ x 7"). Frame 377 x 374mm (14¾ x 14¾").
Silvanus, the Roman tutelary deity of woods and fields seen here with a woman and a cupid; he is depicted here as half-fawn, half-man.
[Ref: 29522] £220.00 (£264.00 incl.VAT)
Boissard.
[Franckfurt : Zufinden bey Matthäi Merians seel. Erben, 1681.]
Engraving, framed. Visible area 159 x 178mm (6¼ x 7"). Frame 377 x 374mm (14¾ x 14¾").
Silvanus, the Roman tutelary deity of woods and fields seen here with a woman and a cupid; he is depicted here as half-fawn, half-man.
[Ref: 29522] £220.00 (£264.00 incl.VAT)
![[Squelette.]](jpegs/12994.jpg)
[Squelette.]
[n.d. c.1840.]
Rare lithograph. 279 x 342mm. 11 x 13½".
A single human wanders alone through a townscape populated with animated skeletons.
[Ref: 12994] £130.00 (£156.00 incl.VAT)
[n.d. c.1840.]
Rare lithograph. 279 x 342mm. 11 x 13½".
A single human wanders alone through a townscape populated with animated skeletons.
[Ref: 12994] £130.00 (£156.00 incl.VAT)
La Visione D'Ezechiello.
Raffaello Sansia Dipense, Vincenzo Raggio Designo, Paolo Caronni Incise 1825.
Engraving. 755 x 550mm. 29¾ x 21".
Symbolic representations of the four Evangelists St. Mark's winged lion and St. Matthew's angel, St. Luke's winged ox and St. John's eagle, supports God in the image of man. Ezekiel is the tiny figure standing in the beam of light in the bottom left. Ezekiel is one of three of the major prophets of the Old Testament. The original painting was stolen by the French but returned to Florence in 1816 where is now hangs in the Galleria Palatina of the Palazzo Pitti.
[Ref: 14829] £380.00
Raffaello Sansia Dipense, Vincenzo Raggio Designo, Paolo Caronni Incise 1825.
Engraving. 755 x 550mm. 29¾ x 21".
Symbolic representations of the four Evangelists St. Mark's winged lion and St. Matthew's angel, St. Luke's winged ox and St. John's eagle, supports God in the image of man. Ezekiel is the tiny figure standing in the beam of light in the bottom left. Ezekiel is one of three of the major prophets of the Old Testament. The original painting was stolen by the French but returned to Florence in 1816 where is now hangs in the Galleria Palatina of the Palazzo Pitti.
[Ref: 14829] £380.00
La Visione D'Ezechiello.
[Raffaello Sansia Dipense, Vincenzo Raggio Designo, Paolo Caronni Incise 1825.]
Engraving, proof before all letters. 570 x 795mm. 22½ x 31 inches.
Symbolic representations of the four Evangelists St. Mark's winged lion and St. Matthew's angel, St. Luke's winged ox and St. John's eagle, supports God in the image of man. Ezekiel is the tiny figure standing in the beam of light in the bottom left. Ezekiel is one of three of the major prophets of the Old Testament. The original painting was stolen by the French but returned to Florence in 1816 where is now hangs in the Galleria Palatina of the Palazzo Pitti.
[Ref: 13738] £380.00
[Raffaello Sansia Dipense, Vincenzo Raggio Designo, Paolo Caronni Incise 1825.]
Engraving, proof before all letters. 570 x 795mm. 22½ x 31 inches.
Symbolic representations of the four Evangelists St. Mark's winged lion and St. Matthew's angel, St. Luke's winged ox and St. John's eagle, supports God in the image of man. Ezekiel is the tiny figure standing in the beam of light in the bottom left. Ezekiel is one of three of the major prophets of the Old Testament. The original painting was stolen by the French but returned to Florence in 1816 where is now hangs in the Galleria Palatina of the Palazzo Pitti.
[Ref: 13738] £380.00
St. George and the Dragon.
[n.d., c.1835.]
Wood-engraving with fine hand-colouring. 230 x 200mm (9 x 8"). Trimmed around image and glued to backing sheet.
Toy theatre print, which was sold for use in miniature theatres which could be assembled through purchasing various backdrops and personages for home performance.
[Ref: 32471] £95.00 (£114.00 incl.VAT)
[n.d., c.1835.]
Wood-engraving with fine hand-colouring. 230 x 200mm (9 x 8"). Trimmed around image and glued to backing sheet.
Toy theatre print, which was sold for use in miniature theatres which could be assembled through purchasing various backdrops and personages for home performance.
[Ref: 32471] £95.00 (£114.00 incl.VAT)
![[Tam O' Shanter.]](jpegs/14862.jpg)
[Tam O' Shanter.]
[Painted by Abraham Cooper. Engraved by Henry Meyer.]
[London: S.Knight, 1814.]
Mezzotint, a unique unfinished proof before all letters with publication area uncleaned. 510 x 585mm (20 x 23"). Trimmed to image; laid on board. Slight foxing.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd. This proof also precedes the highlights in the pursuing witch's hat
[Ref: 14862] £480.00
[Painted by Abraham Cooper. Engraved by Henry Meyer.]
[London: S.Knight, 1814.]
Mezzotint, a unique unfinished proof before all letters with publication area uncleaned. 510 x 585mm (20 x 23"). Trimmed to image; laid on board. Slight foxing.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd. This proof also precedes the highlights in the pursuing witch's hat
[Ref: 14862] £480.00
Tam O' Shanter.
Painted by Abraham Cooper. Engraved by Henry Meyer.
[London: S. Knight, 1814.]
A rare mezzotint. Sheet 515 x 585mm (20½ x 23"). Trimmed within plate on three sides, into title at bottom, losing publication line and half of crest.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 47702] £360.00
Painted by Abraham Cooper. Engraved by Henry Meyer.
[London: S. Knight, 1814.]
A rare mezzotint. Sheet 515 x 585mm (20½ x 23"). Trimmed within plate on three sides, into title at bottom, losing publication line and half of crest.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 47702] £360.00
Alfred Crowquill's Sketches From Jullien's Bal Masque. That's About The Step I Think Maria? Yes Love, Now Isn't He A Duck!
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7813] £230.00 (£276.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 379 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7813] £230.00 (£276.00 incl.VAT)
![[Man examining a tiny person in a jar]](jpegs/46587.jpg)
[Man examining a tiny person in a jar]
[Anon., c.1850]
Engraving on laid paper, platemark 440 x 340mm (17¼ x 13¼") very large margins. Unfinished proof?
[Ref: 46587] £180.00 (£216.00 incl.VAT)
[Anon., c.1850]
Engraving on laid paper, platemark 440 x 340mm (17¼ x 13¼") very large margins. Unfinished proof?
[Ref: 46587] £180.00 (£216.00 incl.VAT)
Ah! You Dear Toad, _ I Will Have a Kiss.
E. Hull del. Printed by C. Hullmandel.
[British, E. Hull?, n.d., c.1820s.]
Hand-coloured lithograph, very scarce, sheet 165 x 225mm. 6½ x 9". Margin a little trimmed.
A curious illustration showing a toad cavorting with two fantastical female troll-like creatures beside a pond. He smokes a pipe and appears to have a jug of foaming ale on the nearby toadstool. By Edward Hull (1815 - 1829; fl.), lithographer and drawing master who worked in London.
[Ref: 26220] £260.00 (£312.00 incl.VAT)
E. Hull del. Printed by C. Hullmandel.
[British, E. Hull?, n.d., c.1820s.]
Hand-coloured lithograph, very scarce, sheet 165 x 225mm. 6½ x 9". Margin a little trimmed.
A curious illustration showing a toad cavorting with two fantastical female troll-like creatures beside a pond. He smokes a pipe and appears to have a jug of foaming ale on the nearby toadstool. By Edward Hull (1815 - 1829; fl.), lithographer and drawing master who worked in London.
[Ref: 26220] £260.00 (£312.00 incl.VAT)
![Who wisely governs and directs his Mind/ Never despairs, though Fortune be Unkind [...]](jpegs/38627.jpg)
Who wisely governs and directs his Mind/ Never despairs, though Fortune be Unkind [...]
[Anon, c.1780]
Engraving, sheet 200 x 130mm (8 x 5"). Small margins on 3 sides.
Interior with an angel directing a young man's attention towards the scene revealed behind a curtain, showing a man stricken by bad fortune. At the same time with her other hand she points towards the 'Universal Magazine' (from which this sheet is taken), implying that study of the publication will help him to, as the accompanying lines from Horace's tenth ode have it, 'use good fortune and to bear our Ill'.
[Ref: 38627] £75.00 (£90.00 incl.VAT)
[Anon, c.1780]
Engraving, sheet 200 x 130mm (8 x 5"). Small margins on 3 sides.
Interior with an angel directing a young man's attention towards the scene revealed behind a curtain, showing a man stricken by bad fortune. At the same time with her other hand she points towards the 'Universal Magazine' (from which this sheet is taken), implying that study of the publication will help him to, as the accompanying lines from Horace's tenth ode have it, 'use good fortune and to bear our Ill'.
[Ref: 38627] £75.00 (£90.00 incl.VAT)
![[The sorceress Urganda la Desconocida] Her seat o'er Elna's mouth involv'd in smoke, / And pillow'd by the flames, Urganda took.](jpegs/56313.jpg)
[The sorceress Urganda la Desconocida] Her seat o'er Elna's mouth involv'd in smoke, / And pillow'd by the flames, Urganda took.
C.F. delin. W. Say sculp 92 Norton Street.
[London, Published Jan.y 1. 1812. by J. Hatchard, Piccadilly]
Rare mezzotint. Sheet 280 x 215mm (11 x 8½"). Trimmed within plate, losing publication line.
A grim-faced sorceress in classical robe, sitting on a cloud with a two-headed snake. Urganda la Desconocida (the Unknown), a mythological witch in Portuguese romances, including 'Orlando in Love' and 'Don Quixote', taking a role similar to a Fate, Merlin or Medea.
[Ref: 56313] £240.00 (£288.00 incl.VAT)
C.F. delin. W. Say sculp 92 Norton Street.
[London, Published Jan.y 1. 1812. by J. Hatchard, Piccadilly]
Rare mezzotint. Sheet 280 x 215mm (11 x 8½"). Trimmed within plate, losing publication line.
A grim-faced sorceress in classical robe, sitting on a cloud with a two-headed snake. Urganda la Desconocida (the Unknown), a mythological witch in Portuguese romances, including 'Orlando in Love' and 'Don Quixote', taking a role similar to a Fate, Merlin or Medea.
[Ref: 56313] £240.00 (£288.00 incl.VAT)
![[Skeleton holding hourglass pulling a child away from his family; verses from the Bible below]](jpegs/38346.jpg)
[Skeleton holding hourglass pulling a child away from his family; verses from the Bible below] Homo natus de muliere brevi vivens tempore repletus multis miseriis; qui quasi flos egreditur et conteritur et fugit velut umbra / Job
FB [c.1650] Bit later.
Etching, platemark 75 x 55mm (3 x 2¼"). Very large margins. Slight surface loss at bottom.
Delicate etching with vanitas subject with verses from Job 14.i-ii (Man that is born of a woman is of few days and full of trouble. He cometh forth like a flower, and is cut down: he fleeth also as a shadow).
[Ref: 38346] £65.00 (£78.00 incl.VAT)
FB [c.1650] Bit later.
Etching, platemark 75 x 55mm (3 x 2¼"). Very large margins. Slight surface loss at bottom.
Delicate etching with vanitas subject with verses from Job 14.i-ii (Man that is born of a woman is of few days and full of trouble. He cometh forth like a flower, and is cut down: he fleeth also as a shadow).
[Ref: 38346] £65.00 (£78.00 incl.VAT)
Repubblica di Venezia P. II.
[by Vincenzo Coronelli.]
[Venice, c.1670.]
Engraving. 130 x 180mm (5¼ x 7") Old ink numeral in the margin.
A decorative half-title from one of Coronelli's smaller format works, featuring the Venetian Lion, wings spread and sword in paw. Vincenzo Coronelli (1650-1718) was official cartographer of the Republic of Venice, and many of his publications glorified their achievements.
[Ref: 41451] £130.00 (£156.00 incl.VAT)
[by Vincenzo Coronelli.]
[Venice, c.1670.]
Engraving. 130 x 180mm (5¼ x 7") Old ink numeral in the margin.
A decorative half-title from one of Coronelli's smaller format works, featuring the Venetian Lion, wings spread and sword in paw. Vincenzo Coronelli (1650-1718) was official cartographer of the Republic of Venice, and many of his publications glorified their achievements.
[Ref: 41451] £130.00 (£156.00 incl.VAT)
Alfred Crowquill's Sketches From Jullien's Bal Masque. What Not One Kiss. Why We Both Belong To The Sea.
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 384 x 281mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7812] £230.00 (£276.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 384 x 281mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,' where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News' as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7812] £230.00 (£276.00 incl.VAT)
Alfred Crowquill's Sketches From Jullien's Bal Masque. You Shall Dance One More __ Pon My Word You Must Excuse Me Ive. No Key And Promised To Be Home Early.
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 378 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7815] £260.00 (£312.00 incl.VAT)
Alfred Crowquill, delt. et lith. M & N. Hanhart, Impt.
Published by E. Sidebetham, 38, Burlington Arcade [n.d., c.1850].
Coloured lithograph, sheet 378 x 279mm. Light foxing to margins.
Illustrations to Jullien's Bal Masque quadrille, by Alfred Henry Forrester, best known under the name of Alfred Crowquill (1804 - 1872). Louis Antoine Jullien (1812 -1860) conducted a series of winter season promenade concerts at the Covent Garden Theatre, which were highly successful; and on March 4th, 1844, the first bal-masqué given in England in the 19th century took place at Covent Garden under his auspices. In 1822 Forrester wrote for the Hive and in 1823 for the Mirror. He next applied himself to the study of drawing and modelling, as well as to wood and steel engraving. He was also the writer of burlesques, drew pantomimic extravaganzas for the pictorial papers, and exhibited pen-and-ink sketches in the miniature room of the Royal Academy in 1845 and 1846. For a time he contributed sketches to ‘Punch,’ where his work will be found in vols. ii. iii. and iv., and then went over to the ‘Illustrated London News’ as a member of the literary and pictorial staff. As a writer and illustrator of his own writings he was very popular; upwards of twenty works came from his pen, many of them being children's books. For some years the London pantomimes were indebted to him for designs, devices, and effects. In 1851 he modelled a statuette of the Duke of Wellington, which he produced a fortnight before the duke's death and presented to Queen Victoria and the allied sovereigns. At the time when he originally started as an artist there was not much competition, and he consequently found constant work. His works have enjoyed a considerable amount of popularity.
Ex: Collection of Alec Clunes.
[Ref: 7815] £260.00 (£312.00 incl.VAT)