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The Faithful Playmate. To the Hon.ble Mrs. Bernard of Kilbrogan Ireland. This plate is most respectfully Dedicated by Her  Obliged and Obedient Servant. The Publisher.
The Faithful Playmate. To the Hon.ble Mrs. Bernard of Kilbrogan Ireland. This plate is most respectfully Dedicated by Her Obliged and Obedient Servant. The Publisher.
Painted by Samuel West. Engraved by T.W.Huffam.
London Published by William Tegg & Co., 85, Queen Street, Cheapside. [n.d., c.1845.]
Mezzotint. 490 x 415mm (19¼ x 16¼"). Paper lightly foxed, faint scratch vertically on image.
T.W.Huffam, mezzotint, line engraver and lithographer; worked in London about 1825 to 1855.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 6516]   £290.00   (£348.00 incl.VAT)
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Benjamin West Esq.r President of the Royal Academy and Historical Painter to His Majesty. From a Miniature of the same size in his Possession.
Benjamin West Esq.r President of the Royal Academy and Historical Painter to His Majesty. From a Miniature of the same size in his Possession.
A.Robertson Pinx.t. G. Dawe Sculp.t
Published May 10 1804. by A. Robertson No 16 Cecil Street, Strand.
Mezzotint with large margins and collector's mark, 245 x 340mm 9½ x 1`3½inches.
CS: 13 I of II. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 14760]   £260.00   (£312.00 incl.VAT)
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[Samuel Whitbread.]
[Samuel Whitbread.]
[Engraved by S.W. Reynolds after James Northcote.]
[n.d., c.1815.]
Mezzotint, proof before letters. 630 x 355mm (24¾ x 14"). Framed. Lettered in pencil. Trimmed to plate, laid on album paper. Mounted over paper edge.
Full length portrait of Samuel Whitbread (1756-1815), politician and brewer, shown with a bust of Fox, the Bill of Rights and a Magna Charta scroll. Whitbread was a friend and early patron of the engraver, Samuel William Reynolds. This mezzotint comes from an album belonging to the Northcote family and is the only example we can trace. Probably the plate was never published, shelved by the family after Whitbread's messy suicide. A lithographed version by Samuel Cecil was published by Ackermann in 1831. The painting hangs in Bedford Magistrates' Court.
Not in CS or Whitman. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 54627]   £450.00  
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Mrs. Whitmore.
Mrs. Whitmore.
T. Phillips Esq.r R.A. pinx.t. C. Turner sculp.t.
London, Published Jan.y 1810, by Ant.y Molteno. Printseller to her Royal Highness the Dutchess of York No. 29 Pall Mall.
Mezzotint with large margins, laid on Album sheet. Platemark: 505 x 350mm (19¾ x 13¾").
A portrait of Catherine Whitmore seated slightly to left in front of a curtain, facing and looking slightly towards right; wearing a cap decorated with pearls, a dark low-cut dress with short sleeves, edged with lace, a transparent shawl over her arms, and a pearl brooch at high waist. Catherine Whitmore was married to Thomas Whitmore (1782 - 1846), an English Whig politician who sat in the House of Commons from 1806 to 1831.
Ex Collection: The Honourable Christopher Lennox-Boyd. W: 606
[Ref: 35120]   £280.00   (£336.00 incl.VAT)
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[Catherine Wilkinson]
[Catherine Wilkinson] C.W. Obyt 10 Oct. 1705. AEtatis suae 35
T Hill pinx J. Smith fec [c.1706]
Mezzotint, Collector's mark on reverse: E.M.H., Mrs. E. M. Hamilton; platemark 350 x 250mm (13¾ x 9¾"). Small margins; glued to backing sheet. Good impression.
Portrait in memory of the deceased sitter, after Thomas Hill (1661?-1734?), a little-known portraitist whose work was described by Ellis Waterhouse as 'original and refreshing in a stereotyped age' ('Painting in Britain'). Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work. In 1688 Smith became the regular engraver of Kneller's portraits.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 270.
[Ref: 40244]   £260.00   (£312.00 incl.VAT)
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William and Margaret.
William and Margaret. Twas at the silent solemn hour when night and morning meet. In glided Margarets grimly ghost and stood and William's feet.
Painted by J. Wright. Engraved by J. R. Smith. Mezzotint Engraver to His Royal Highness the Prince of Wales.
London Publish'd April 12th - 1785 by J. R. Smith No. 31. King Street, Covent Garden.
Mezzotint with large margins. Part printed in colour. Platemark: 450 x 545mm (17¾ x 21½").
The ghost of Margaret stands on the left, wrapped in a sheet, holding up her left hand to frighten the man who deserted her, who sits up, terrfied, in his four-poster bed, raising the sheets above his head with his right arm. From the celebrated ballad in 'Piercies Reliques of Antient English Poetry Vol. 3 XVI', (1765) by Thomas Percy, Bishop of Dromore (1729 - 1811), the first of the great ballad collections, which was responsible for the ballad revival in English poetry that was a significant part of the Romantic movement.
Ex collection of Christopher Lennox-Boyd. State II of III. Frankau: 377; D' Oench: 257 I of II; Clayton 1990: pg 26.
[Ref: 36644]   £520.00  
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[William IV] His Royal Highness the Duke of Clarence.
[William IV] His Royal Highness the Duke of Clarence.
Published 12th. May, 1794, by Laurie & Whittle, 53 Fleet Street London.
Scarce mezzotint with etching. 330 x 255mm (13 x 10"). Trimmed to plate at sides, tear taped.
Full length portrait of Prince William Henry (1765-1837, later William IV) as a naval officer, standing at the deck, guns and sword in hand. At 13 William joined the Navy as a midshipman and was present at the Battle of Cape St Vincent two years later. He was promoted to lieutenant in 1785, captain in 1786, and commanded a frigate and became vice-admiral in 1788. His active serve ended in 1790, the year after George III created him Duke of Clarence and St Andrews in 1789, and four years before this print was published.
Not in CS. Ex Collection of the Hon. Christopher Lennox-Boyd
[Ref: 60177]   £180.00   (£216.00 incl.VAT)
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The Honourable Mr. Justice Wilson.
The Honourable Mr. Justice Wilson.
G. Romney pinx.t. J. Murphy Sculp July 1792
Mezzotint, platemark 350 x 250mm (13¾ x 9¾"). Very large margins. Collector's stamp of A. Anderdon Weston verso.
Sir John Wilson (1741-93), one of the most respected judges of the late 18th century. After George Romney (1734 - 1802). From the collection of Alexander Anderdon Weston (1822-1901), who inherited the fine collection of British mezzotint portraits formed by his uncle James Hughes Anderdon.
Ex: collection of the Late Hon. C. Lennox-Boyd; L.65; O'D 1; Horne 134; CS 19
[Ref: 37367]   £230.00   (£276.00 incl.VAT)
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The Windsor Castle Packet of 150 Tons & 28 Men, Commanded by Capt.n Rogers Capturing the Jeune Richard of 250 Tons & 93 Men,
The Windsor Castle Packet of 150 Tons & 28 Men, Commanded by Capt.n Rogers Capturing the Jeune Richard of 250 Tons & 93 Men, Dedicated by permission to the R.t Hon.ble Thomas Earl of Chichester & the R.t Hon.ble John Earl of Sandwich, His Majesty's Post Masters General By their most devoted humble Serv.t Sam.l Drummond.
Painted by S.Drummond A.R.A. Engraved by Will.m Ward Engraver Extraordinary to H.R.H. the Prince of Wales and the Duke of York.
Published June 21 1809 by S.Drummond Church Street Soho.
Mezzotint. 705 x 480mm. Top right corner of margin lacking.
On the 1st October 1806 the British Leeward island packet ‘Windsor Castle’ was sailing to Barbados when it was attacked by a French privateer, the ‘Jeune-Richard’. Despite being out-manned and outgunned the English fought off the French boarding party with pikes then followed the retreating pirates back onto their schooner, capturing it. Despite killing over twenty of the Frenchmen the English were still outnumbered by their prisoners, but the ‘Windsor Castle’ managed to reach Barbados safely.
Frankau, state ii of ii; NMM PAI6156. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 1906]   £620.00  
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[Winter Evening] La Soirée d'Hyver [parallel text in German]
[Winter Evening] La Soirée d'Hyver [parallel text in German] Préchant ce Magistrat à la tête légere [...]
J.H.E. in. S. Freudeberg del.
Printed for Carington Bowles in St Pauls Church Yard London [c.1775]
Mezzotint with very large margins, scarce; 'CLB' collector's stamp verso; platemark 340 x 245mm (13½ x 9½"). Staining in right outer margin.
Continental copy in reverse of a plate depicting a candlelit courtship scene, from the 'Monument du Costume Physique et Moral de la fin du Dix-huitième siècle', first published in 1774. Sigmund Fredenberger was the intermediate draftsman for the plate from which this is copied, so both the attribution of the print to him and the claim for Carington Bowles as publisher appear to have been made up to conceal the identities of the makers.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36204]   £260.00   (£312.00 incl.VAT)
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Guilielmus Wissing.
Guilielmus Wissing. Inter Pictores sui Soeculi celeberrimos nulli secundus, Artis suae non exiguum Deeus & Ornamentum, Obijt Sept: 10. An Aet: 31 D.ni 1687. Immodicis brevis est Aetas.
W Wissing pinx: J Smith fe. [1687]
Mezzotint, 18th century watermark, 340 x 245mm (13½ x 9¾"). Trimmed to plate. Nick and stain in top right corner.
William Wissing (1656-87), portrait painter. Apprenticed to Sir Peter Lely, Wissing became one of the leading portraitists of the 1680s, in the period between the death of Lely and rise of Sir Godfrey Kneller. Wissing's career coincided with the vogue for mezzotint publishing, in which next to Kneller's, Wissing's works were the most widely reproduced (as in this self-portrait). Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work. In 1688 Smith became the regular engraver of Kneller's portraits.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 278 i/ii.
[Ref: 60247]   £260.00   (£312.00 incl.VAT)
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Guilielmus Wissing.
Guilielmus Wissing. Inter Pictores sui Soeculi celeberrimos nulli secundus, Artis suae non exiguum Deeus & Ornamentum, Obijt Sept: 10. An Aet: 31 D.ni 1687. Immodicis brevis est Aetas.
W Wissing pinx: J Smith fe. [1687]
Mezzotint, 340 x 245mm (13½ x 9¾") with small margins. Slightly foxed.
William Wissing (1656-87), portrait painter. Apprenticed to Sir Peter Lely, Wissing became one of the leading portraitists of the 1680s, in the period between the death of Lely and rise of Sir Godfrey Kneller. Wissing's career coincided with the vogue for mezzotint publishing, in which next to Kneller's, Wissing's works were the most widely reproduced (as in this self-portrait). Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work. In 1688 Smith became the regular engraver of Kneller's portraits.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 278 i/ii.
[Ref: 60249]   £190.00   (£228.00 incl.VAT)
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George Hyde Wollaston
George Hyde Wollaston
Painted by T. Phillips, Esq.r R.A. Engraved by W.m Ward, Engraver to His Majesty
1831 [pencil inscription in title area]
Mezzotint with very large margins, platemark 455 x 300mm (18 x 11¾"). Foxing to margins and title area. Private plate.
George Hyde Wollaston (1765-1841), merchant and banker, son of the natural philosopher Francis John Hyde Wollaston. Wollaston lived on Clapham Common, where his neighbours included another natural philosopher, Henry Cavendish (1731-1810). His daughter Henrietta married the army officer Sir George Pollock, well-known for his part in the Afghan campaign of 1842. Engraved by William Ward, one of the most prominent mezzotint engravers of his generation, after the portrait by Thomas Phillips (1770-1845), whose over 700 portraits record the leading personalities of his time.
Ex: Collection of the Late Hon. C. Lennox-Boyd; Not in CS or Frankau; O'D 1 (only likeness of sitter).
[Ref: 34926]   £260.00   (£312.00 incl.VAT)
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Mr. William Wollaston.  Done after the Marble Bust, in Her Majesty's Hermitage in the Royal Garden at Richmond.
Mr. William Wollaston. Done after the Marble Bust, in Her Majesty's Hermitage in the Royal Garden at Richmond.
I.Faber fecit.
Printed for Ca: Bowles in St.Pauls Church Yard, London.
Mezzotint with very large margins, platemark 362 x 257mm (14¼ x 10").
William Wollaston (1659-1724), moral philosopher. After studies at the University of Cambridge, Wollaston became a schoolteacher in Birmingham (1682) and soon afterward was ordained a priest. His major work was 'The Religion of Nature Delineated' (1724). In 1730 Queen Caroline commissioned a garden Hermitage with a series of marble busts by the English sculptor Michael Rysbrack to celebrate scientists and thinkers. These were engraved and issued as a set of five 'philosophers of England' (Wollaston, Isaac Newton, Robert Boyle, John Locke and Samuel Clarke) with a view of the Hermitage prefixed.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 125 iii/iii; for an earlier impression of this print see ref. 2368; for the bust of Locke see ref. 32333.
[Ref: 34116]   £320.00  
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Thomas Wood, of Bellericay Mills in Essex.
Thomas Wood, of Bellericay Mills in Essex. Who in 1764 was very Corpulent & unhealthy, but by an abstemious diet has recovered his health & reduced himself to a moderate size; he eats no kind of flesh, butter or cheese...
Ogborne Pinx.t 1773.
Publish'd March the 1st 1774. by John Thane Printseller and Medallist in Gerrard Street Soho.
Mezzotint. 360 x 250mm. Repair on lower platemark.
A portrait of one of England's first dieters and vegetarians, Thomas Miller (1719-83), known as the 'Abstemious Miller' or the 'Ghastly Miller'. As a young man he was fond of fatty meat, milk and cheese, causing his weight to reach dangerous levels. By the age of 44 he was suffering from gout, heartburn, constipation and diarrhoea, a constant thirst and epilepsy. In 1764 a friend recommended a Venetian book, 'Discourses on a Sober and Temperate Life' by Luigi Cornaro; Miller started to follow the book's advice, reducing his comsumption of ale and meat, replacing them with meals of sea-biscuit mixed with skimmed milk. A paper describing the improvement in his health was published in the 'Medical Transactions' (Vol. 2 p. 259) by Sir George Baker of the Royal College of Physicians. After David Ogbourne.]
CS ENA III 166, ii of ii. Ex: Collection of The Hon. C. Lennox-Boyd. For proof see 4469
[Ref: 4468]   £280.00   (£336.00 incl.VAT)
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[Thomas Wood, of Bellericay Mills in Essex.
[Thomas Wood, of Bellericay Mills in Essex. Who in 1764 was very Corpulent & unhealthy, but by an abstemious diet has recovered his health & reduced himself to a moderate size; he eats no kind of flesh, butter or cheese...]
[Ogborne Pinx.t 1773.]
[Publish'd March the 1st 1774. by John Thane Printseller and Medallist in Gerrard Street Soho.]
Mezzotint, proof before letters. 360 x 250mm. Mounted on album paper.
A portrait of one of England's first dieters and vegetarians, Thomas Miller (1719-83), known as the 'Abstemious Miller' or the 'Ghastly Miller'. As a young man he was fond of fatty meat, milk and cheese, causing his weight to reach dangerous levels. By the age of 44 he was suffering from gout, heartburn, constipation and diarrhoea, a constant thirst and epilepsy. In 1764 a friend recommended a Venetian book, 'Discourses on a Sober and Temperate Life' by Luigi Cornaro; Miller started to follow the book's advice, reducing his comsumption of ale and meat, replacing them with meals of sea-biscuit mixed with skimmed milk. A paper describing the improvement in his health was published in the 'Medical Transactions' (Vol. 2 p. 259) by Sir George Baker of the Royal College of Physicians.
CS ENA III 166, i of ii. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 4469]   £460.00  
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[The Honble Dudley Woodbridg Esq: Director Genll of ye Royal Assiento Company of England in Barbados]
[The Honble Dudley Woodbridg Esq: Director Genll of ye Royal Assiento Company of England in Barbados]
[G. Kneller Baronets pinx. 1718. J. Smith fec. et ex. 1718]
Rare mezzotint, platemark 335 x 250mm (13¼ x 9¾"). Thread margins; fine proof before letters; some marking in centre. Collector's stamp of the Royal Library, Windsor lower right.
Dudley Woodbridge (d.1721), director general of the South Sea Company (referred to on the lettered state of this print as the Royal Assiento Company), judge-advocate, and member of the 'Society for Propagating the Gospel in Foreign Parts'. Woodbridge sat for Godfrey Kneller in London, holding his South Sea Company commission in his hand, testifying to the importance he attached to the post and Britain's grand vision of the riches that Spanish American trade would bring. At this time Barbados rather than Jamaica was the primary hub of the South Sea Company. Imagined view of ships on the Atlantic through window.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 280 (proof state not listed); L.2535. See Gregory E. O'Malley, 'Final Passages: The Intercolonial Slave Trade of British America, 1619-1807', p.231.
[Ref: 40239]   £420.00  
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[Elizabeth, Queen of Edward IV., Founder of Queen's College]
[Elizabeth, Queen of Edward IV., Founder of Queen's College]
[Anon, c.1720]
Mezzotint, proof before letters, sheet 250 x 210mm (9¾ x 8¼"). Trimmed inside platemark lower edge; ms inscription in title area.
Elizabeth, queen of England, consort of Edward IV (c.1437-1492). Anonymous copy in reverse from a set of portraits of the founders of Oxford and Cambridge colleges by John Faber, Senior.
Ex: collection of the late Hon. C. Lennox-Boyd; O'D 5 ; CS (Faber, Sen.) 34, copy; for scenes from the life of Elizabeth see refs. 23081 and 23054.
[Ref: 34119]   £160.00   (£192.00 incl.VAT)
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[Elizabeth, Queen of Edward IV., Founder of Queen's College]
[Elizabeth, Queen of Edward IV., Founder of Queen's College]
[Anon, c.1720]
Mezzotint, fine; sheet 260 x 200mm (10¼ x 8"). Trimmed and tipped into album sheet; nick out of image at top.
Elizabeth, queen of England, consort of Edward IV (c.1437-1492). Anonymous copy in reverse from a set of portraits of the founders of Oxford and Cambridge colleges by John Faber, Senior.
Ex: collection of the late Hon. C. Lennox-Boyd; O'D 5 ; CS (Faber, Sen.) 34, copy; for scenes from the life of Elizabeth see refs. 23081 and 23054.
[Ref: 34120]   £220.00   (£264.00 incl.VAT)
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Henry Worster
Henry Worster
T Murrey pinx: J. Smith fc: & ex: [c.1690]
Mezzotint, platemark 325 x 235mm (12¾ x 8¾") small margins.
Portrait after Thomas Murray (1663-1735), a popular portrait painter whose sitters included Queen Ann. Engraved by John Smith (1652-1743), a first-class mezzotint engraver who made the mezzotint portrait a serious rival to the traditional engraved portrait (in which the French specialised). In the first half of the 18th century no serious print collection, whether in Britain or abroad, was without examples of Smith's work.
Ex: collection of the Late Hon. C. Lennox-Boyd; CS 282
[Ref: 40238]   £180.00   (£216.00 incl.VAT)
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Madam Wright
Madam Wright
John Vanderbank pinx.t 1729. J. Faber Fec.t
Mezzotint, sheet 350 x 250mm (13¾ x 9¾"). Trimmed inside platemark; glued to backing sheet; repair top left.
Portrait of an unidentified sitter, after John Vanderbank (1694-1739), painter and draughtsman whose sitters included Sir Isaac Newton, the sculptor John Michael Rysbrac, and the poet James Thomson.
Ex: collection of the late Hon. C. Lennox-Boyd; O'D 1 (only likeness); CS 396. For Vanderbank's portraits of Newton and Rysbrac see refs. 33218 and 27207.
[Ref: 36692]   £130.00   (£156.00 incl.VAT)
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Mrs. Wrighten.
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)
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[Mrs. Wrighten]
[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)
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Mr. Wroughton.
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)
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Mr. Wroughton.
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)
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The Earl of Egremont.
The Earl of Egremont.
Painted by T. Phillips Esq. R. A. Engraved by S. W. Reynolds.
London Published Jan.y. 1. 1826 by W. Sams Book and Printseller to the Royal Family N.o. 1 S.t. James's Street opposite the Palace.
Very fine proof mezzotint. 270 x 380mm (10¾ x 15"), with very large margins. Foxing in margins.
Half-length portrait of George Wyndham, 3rd Earl of Egremont (1751-1837) peer and landowner, notably Petworth House in Sussex. Wyndham was a prolific patron of the arts and commissioned works by artists such as Constable and Romney; J. M. W. Turner even had a studio at Petworth House.
Ex: Collection the Hon. C. Lennox-Boyd. W: 84 I of II.
[Ref: 35137]   £320.00  
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[Mary Ann Yates] Mrs. Yates.
[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)
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[Mary Ann Yates] Mrs. Yates.
[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)
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[The Young Ballad Singers]
[The Young Ballad Singers]
[Painted by J. Rising. Engraved by J. Jones Engraver Extraordinary to His R.H. the Prince of Wales & Principal Engraver to His R.H. the Duke of York.]
[London Publish'd as the Act directs June [*]179[*] by J. Jones No 75 Great Portland Street.]
Fine mezzotint. 510 x 355mm (20 x 14"), with wide margins. Part of the publication line erased on plate.
Two children selling ballads on a street corner, singing the same ballads that they are offering for sale. First state published by Jones, before title added. It was later republished by Robert Cribb. Rare print after John Rising (1753-1817), portrait and subject painter and also an accomplished restorer and skilled copyist.
L.2178. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 52823]   £520.00  
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The Young Musicians
The Young Musicians From the Original Picture of the same size, Painted by Scalcken, in the Collection of John Darker Esq.r
Scalcken Pinx.t / Joh. Godfrid Haid fecit
Published by J. Boydell Engraver in Cheapside London 1764.
Mezzotint, platemark 435 x 280mm (17 x 11"). Thread margins; false margins added; creases and tear at bottom; rubbed; 'JC Smith 824' verso.
Genre subject after Dutch artist Godfried Schalken, engraved by Johann Gottfried Haid (1714-1776), one of a German family of artists. In the early 1760s Haid worked in London for the influential publisher John Boydell, engraving pictures by artists also including Rembrandt and Reynolds. He later founded a school of mezzotint engraving in Vienna. This impression from the collection of John Chaloner Smith (1827-95), author of an authoritative four-volume catalogue of British mezzotint portraits.
Le Blanc 41; Ex: collection of John Chaloner Smith, and subsequently the Late Hon. C. Lennox-Boyd.
[Ref: 34661]   £380.00  
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Youth and Age. 586.
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  
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[La Signora Zamperini in the Character of Cecchina. La Buona Figliuola, Act 2d Scene 3d.]
[La Signora Zamperini in the Character of Cecchina. La Buona Figliuola, Act 2d Scene 3d.]
[N. Hone pinx.t. J. Finlayson fec.t. Publish'd Feb.y 1st 1769.]
[Sold by Mr Parker No 82 Cornhill, & Mr Finlayson in Berwick Street Soho.]
Mezzotint, rare proof before all letters. 380 x 280mm (15 x 11"). Trimmed to plate; small tear lower right.
Anna Zamperini, in the lead role in Niccolò Piccinni's 'La buona figliuola' ('the good-natured maid'), adapted from Samuel Richardson's novel 'Pamela'. Zamperini was portrayed in the same role by Scottish painter John Paxton. After a portrait by Nathaniel Hone (1718-84), one of two Irish founder members of the Royal Academy
Ex: collection of the late Hon. C. Lennox-Boyd; CS 20, prior to state i of ii.
[Ref: 36379]   £280.00   (£336.00 incl.VAT)
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[La Signora Zamperini in the Character of Cecchina. La Buona Figliuola, Act 2d Scene 3d.]
[La Signora Zamperini in the Character of Cecchina. La Buona Figliuola, Act 2d Scene 3d.]
N. Hone pinx.t. J. Finlayson fec.t. Publish'd Feb.y 1st 1769.
[Sold by Mr Parker No 82 Cornhill, & Mr Finlayson in Berwick Street Soho.]
Mezzotint, sheet 380 x 280mm (15 x 11"). Trimmed inside platemark; name of sitter in pencil
Anna Zamperini in the lead role in Niccolò Piccinni's 'La buona figliuola' ('the good-natured maid'), adapted from Samuel Richardson's novel 'Pamela'. Zamperini was portrayed in the same role by Scottish painter John Paxton. After a portrait by Nathaniel Hone (1718-84), one of two Irish founder members of the Royal Academy.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 20, state i of ii.
[Ref: 36380]   £240.00   (£288.00 incl.VAT)
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