A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
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![[Elizabeth Catherine ('Kitty') Clarke.]](jpegs/62755.jpg)
[Elizabeth Catherine ('Kitty') Clarke.]
E.F. Calze pinxit. Val.e Green fecit.
Published July 22 1771 [by John Boydell].
Mezzotint, scratched letter proof, very fine impression, 18th century watermark; 405 x 290mm (16 x 11½"). Thread margins; small hole near left edge & bottom centre repaired.
Elizabeth Catherine Hunter (died 1795), wife of Field Marshal Sir Alured Clarke, commander of the British army in Georgia (1780), Governor of Jamaica (1784), Commander-in-Chief of the Madras Army (1796), acting Governor-General of India (1798) and finally Commander-in-Chief of India (also 1798). They married in 1770, eight years after 'Kitty' had eloped with the married 10th Earl of Pembroke, with whom she had a son, Augustus Retnuh (Hunter backwards) Reebkomp (an anagram of Pembroke). Calse was a pseudonym for Edward Francis Cunningham.
CS 71, state i of ii. Whitman: 29 i of iii, before Boydell's name scratched on.
[Ref: 62755] £290.00 (£348.00 incl.VAT)
E.F. Calze pinxit. Val.e Green fecit.
Published July 22 1771 [by John Boydell].
Mezzotint, scratched letter proof, very fine impression, 18th century watermark; 405 x 290mm (16 x 11½"). Thread margins; small hole near left edge & bottom centre repaired.
Elizabeth Catherine Hunter (died 1795), wife of Field Marshal Sir Alured Clarke, commander of the British army in Georgia (1780), Governor of Jamaica (1784), Commander-in-Chief of the Madras Army (1796), acting Governor-General of India (1798) and finally Commander-in-Chief of India (also 1798). They married in 1770, eight years after 'Kitty' had eloped with the married 10th Earl of Pembroke, with whom she had a son, Augustus Retnuh (Hunter backwards) Reebkomp (an anagram of Pembroke). Calse was a pseudonym for Edward Francis Cunningham.
CS 71, state i of ii. Whitman: 29 i of iii, before Boydell's name scratched on.
[Ref: 62755] £290.00 (£348.00 incl.VAT)
M.r Henry Clarke.
T. Hudson Pinx.t 1739. J. Faber fecit.
London Printed for John Ryall & Rob.t Withy, at Hogarth's Head in Fleet Street.
Rare mezzotint. Sheet 345 x 245mm (13½ x 9¾"). Trimmed within plate, mounted on album paper.
A half-length portrait of a man standing in a rectangular stone window-frame with a curtain on the left, wearing a jacket with large cuffs, gesturing through the frame. According to Chaloner Smith he was a 'jerker' (jerquer), a customs officer responsible for examining a ship's papers and identifying undeclared or incorrectly declared cargo.
CS: 84, unlisted later state; Russell ii of ii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68572] £260.00 (£312.00 incl.VAT)
T. Hudson Pinx.t 1739. J. Faber fecit.
London Printed for John Ryall & Rob.t Withy, at Hogarth's Head in Fleet Street.
Rare mezzotint. Sheet 345 x 245mm (13½ x 9¾"). Trimmed within plate, mounted on album paper.
A half-length portrait of a man standing in a rectangular stone window-frame with a curtain on the left, wearing a jacket with large cuffs, gesturing through the frame. According to Chaloner Smith he was a 'jerker' (jerquer), a customs officer responsible for examining a ship's papers and identifying undeclared or incorrectly declared cargo.
CS: 84, unlisted later state; Russell ii of ii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68572] £260.00 (£312.00 incl.VAT)
![[Mary Anne Clarke] The Road to Preferment Through Clarkes Passage.](jpegs/62054.jpg)
[Mary Anne Clarke] The Road to Preferment Through Clarkes Passage.
[Thomas Rowlandson.]
Pub.d March 5. 1809 by Tho.s Tegg No 111 Cheapside.
Coloured etching, pt. watermark. Sheet 230 x 330mm (9 x 13"). Trimmed within plate, small tear in title.
Mrs Clarke, dressed in a military jacket and hat, stands in a massive archway, addressing a mixture of young, old and infirm soldiers, parsons and civilians, one of whom holds up a money bag marked '500'. Mary Anne Clarke (1776-1852), mistress of Frederick, Duke of York, was found out to be selling army commissions while he was Commander-in-Chief of the army. York was forced to resign from his position, though he was later exonerated and reinstated. Mrs Clarke was prosecuted for libel in 1813 and imprisoned. On her release, she went to live in France.
BM Satires 11239; Grego II 149.
[Ref: 62054] £180.00 (£216.00 incl.VAT)
[Thomas Rowlandson.]
Pub.d March 5. 1809 by Tho.s Tegg No 111 Cheapside.
Coloured etching, pt. watermark. Sheet 230 x 330mm (9 x 13"). Trimmed within plate, small tear in title.
Mrs Clarke, dressed in a military jacket and hat, stands in a massive archway, addressing a mixture of young, old and infirm soldiers, parsons and civilians, one of whom holds up a money bag marked '500'. Mary Anne Clarke (1776-1852), mistress of Frederick, Duke of York, was found out to be selling army commissions while he was Commander-in-Chief of the army. York was forced to resign from his position, though he was later exonerated and reinstated. Mrs Clarke was prosecuted for libel in 1813 and imprisoned. On her release, she went to live in France.
BM Satires 11239; Grego II 149.
[Ref: 62054] £180.00 (£216.00 incl.VAT)
York Commission Warehouse.
[Charles Williams.]
Pub,d February 1809 by Walker No7 Cornhill_
Hand-coloured etching. Sheet 235 x 330mm (9¼ x 13").
Satire on Mary Anne Clarke (1776-1852) published around the time of the Duke of York's trial at the conclusion of the cash-for-commissions scandal. Clarke was mistress of Prince Frederick, Duke of York and Albany, while he was Commander-in-Chief of the army. In 1809 she testified before the House of Commons that she had sold army commissions with the Duke of York's knowledge, forcing him to resign. He was reinstated, but not before he had cut all ties to Clarke and paid her a considerable sum to prevent her from publishing his letters to her. Here she stands before a large doorway inscribed 'Clark and Company'. Inside can be seen stacks of commissions, labelled: Captains Commissions 500 each, Half-pay Commissions 200 each, Lieutenant, Colonel, Major, Cornet. She urges 'now Gentlemen you had better be quick I have a few bargains to dispose of as the partnership is dissolving'. On the right stands a man playing a fiddle; from his coat-pockets hang papers. Beside him lies a large Note Book. Above his head hangs upside down a portrait: The Dukes Head; the upper part only of the Duke of York's profile is visible, defaced by a black mark, the rest of the picture being cut off by the upper margin of the design. On the left two military bandsmen play a drum and fife.
BM Satires: 11216. W395.
[Ref: 65677] £230.00 (£276.00 incl.VAT)
[Charles Williams.]
Pub,d February 1809 by Walker No7 Cornhill_
Hand-coloured etching. Sheet 235 x 330mm (9¼ x 13").
Satire on Mary Anne Clarke (1776-1852) published around the time of the Duke of York's trial at the conclusion of the cash-for-commissions scandal. Clarke was mistress of Prince Frederick, Duke of York and Albany, while he was Commander-in-Chief of the army. In 1809 she testified before the House of Commons that she had sold army commissions with the Duke of York's knowledge, forcing him to resign. He was reinstated, but not before he had cut all ties to Clarke and paid her a considerable sum to prevent her from publishing his letters to her. Here she stands before a large doorway inscribed 'Clark and Company'. Inside can be seen stacks of commissions, labelled: Captains Commissions 500 each, Half-pay Commissions 200 each, Lieutenant, Colonel, Major, Cornet. She urges 'now Gentlemen you had better be quick I have a few bargains to dispose of as the partnership is dissolving'. On the right stands a man playing a fiddle; from his coat-pockets hang papers. Beside him lies a large Note Book. Above his head hangs upside down a portrait: The Dukes Head; the upper part only of the Duke of York's profile is visible, defaced by a black mark, the rest of the picture being cut off by the upper margin of the design. On the left two military bandsmen play a drum and fife.
BM Satires: 11216. W395.
[Ref: 65677] £230.00 (£276.00 incl.VAT)
![[Mary Anne Clarke] A Private Examination.](jpegs/62373.jpg)
[Mary Anne Clarke] A Private Examination.
[Samuel De Wilde]
Publised for the March. 1.st 1809. by S Tipper 37 Leadenhall Street.
Etching with aquatint, sheet 205 x 340mm (8¼ x 13½"). Folds as issued. Fold second from right split and repaired with tape. Trimmed within plate on three sides.
Plate from the Satirist, iv. 209. Mary Anne Clarke (1776-1852) lies back on a little table, "How much longer need I LIE", she asks. A long garter with the inscription "Si qua [word illegible] meliora putat" protrudes from beneath her petticoats. William Cobbett (1763-1835) and his proteges stand by her side, while John Fuller (1757-1834) attacks her from the left, firing a blast from a massive pair of bellows inscribed "Rose Hill Bellows." Standing next to him is the Right Hon. Spencer Perceval (1762–1812), wearing the Chancellor of the Exchequer's robe and pointing his mirror of truth at her. "I Perceive all," he says. "I'll blast her no Forging here you baggage. And still I blew a Fuller blast . And gave a lustier cheer," declares Fuller. Sir Francis Burdett, 5th Baronet (1770-1844) kneels next to her and tries to protect her from the light of truth by holding up a little barrel of Whitbread's Entire Hogshead, which has the head of Samuel Whitbread II (1764-1815) on it. "Cobbett stands by me and I'll support you," declares Lord Folkestone (William Pleydell-Bouverie, 3rd Earl of Radnor (1779–1869), endorsing him. There are notes marked "Notes for Cobbett" in his pocket. Talk of Portland Stone I say there's nothing like Folke Stone," asserts the considerably larger and heavier Cobbett as he holds him up. Under Mrs. Clarke's table lies Col Gwyllym Lloyd Wardle (c.1761-1833), with 'Ravish'd Letters,' looking up at her with a sly grin. On the wall is a picture inscribed 'Distant View of Newgate & Pillory.'
BM Satires 11234
[Ref: 62373] £180.00 (£216.00 incl.VAT)
[Samuel De Wilde]
Publised for the March. 1.st 1809. by S Tipper 37 Leadenhall Street.
Etching with aquatint, sheet 205 x 340mm (8¼ x 13½"). Folds as issued. Fold second from right split and repaired with tape. Trimmed within plate on three sides.
Plate from the Satirist, iv. 209. Mary Anne Clarke (1776-1852) lies back on a little table, "How much longer need I LIE", she asks. A long garter with the inscription "Si qua [word illegible] meliora putat" protrudes from beneath her petticoats. William Cobbett (1763-1835) and his proteges stand by her side, while John Fuller (1757-1834) attacks her from the left, firing a blast from a massive pair of bellows inscribed "Rose Hill Bellows." Standing next to him is the Right Hon. Spencer Perceval (1762–1812), wearing the Chancellor of the Exchequer's robe and pointing his mirror of truth at her. "I Perceive all," he says. "I'll blast her no Forging here you baggage. And still I blew a Fuller blast . And gave a lustier cheer," declares Fuller. Sir Francis Burdett, 5th Baronet (1770-1844) kneels next to her and tries to protect her from the light of truth by holding up a little barrel of Whitbread's Entire Hogshead, which has the head of Samuel Whitbread II (1764-1815) on it. "Cobbett stands by me and I'll support you," declares Lord Folkestone (William Pleydell-Bouverie, 3rd Earl of Radnor (1779–1869), endorsing him. There are notes marked "Notes for Cobbett" in his pocket. Talk of Portland Stone I say there's nothing like Folke Stone," asserts the considerably larger and heavier Cobbett as he holds him up. Under Mrs. Clarke's table lies Col Gwyllym Lloyd Wardle (c.1761-1833), with 'Ravish'd Letters,' looking up at her with a sly grin. On the wall is a picture inscribed 'Distant View of Newgate & Pillory.'
BM Satires 11234
[Ref: 62373] £180.00 (£216.00 incl.VAT)
The Westbourne Procession, See page 324.
[Samuel De Wilde]
Published for the Satirist. April 1.st 1809. by S Tipper 37 Leadenhall Street.
Etching with aquatint, sheet 205 x 380mm (8¼ x 15"). Trimmed within plate bottom and right. Folds as issued. Samll hole in image on right.
Plate from the Satirist, iv. 313. Mary Anne Clarke (1776-1852), lightly clad, sits astride a black goat facing the tail which she holds, wrapped in a Letter, in her right hand; the animal has the face of Col Gwyllym Lloyd Wardle (c.1762-1833). Holding one of its long horns, William Pleydell-Bouverie, 3rd Earl of Radnor, (Viscount Folkstone) (1779-1869) drags it forwards while Sir Francis Burdett, 5th Baronet, (1770-1844) tugs at the rope around its neck. Samuel Whitbread (1764 -1815) steadies Mrs. Clarke while William Cobbett (1763-1835) pushes it aside. A boisterous group are watching and cheering with bludgeons and hats. "Here I am / Upon a black ram / Like a Wh—e as I am," Mrs. Clarke declares with a smile. A paper with the title ‘Lines to be Repeated at the House’ is held by her. A big spur with six points that reads, ‘Malice, Arrogance, Interest, Disappointment, Revenge, Ingratitude,’ is fastened to her slipper. From Cobbett's pockets project papers, 'Subscription for Miss Taylor and Cobbetts Political [Reg]ister.' He holds a piece of Democratic Ginger with which he is about to ginger the goat. He says, " A Fig for such a Ram. (To fig (from feague) is to ginger a horse.)" Behind him walks a fashionably dressed man with a pamphlet in his pocket, 'Hague's Letter to the Duke of York'. "I say Tom—How goes Trade in the Informing line?" inquires one of the debased-looking rabble. Burdett puts a coin in the hand of a ragged ruffian and says, "No Bribery No Corruption —come give us a cheer my lad & here's a Guinea for you." The man shouts, "No Bribery—No Corruption—Burdett for ever Wardle for ever No Duke." Others yell, "Burdett for ever" and "Wardle for ever." Sir Watkin Williams Wynn (1772-1840) and his brother, Charles (1775-1850), both of whom have leeks in their hats, exchange "This will keep us awake Watky" and "Aye I think we shall Wynne the day now." In the background is inscribed Westbourne Place.
BM Satires 11297.
[Ref: 62320] £190.00 (£228.00 incl.VAT)
[Samuel De Wilde]
Published for the Satirist. April 1.st 1809. by S Tipper 37 Leadenhall Street.
Etching with aquatint, sheet 205 x 380mm (8¼ x 15"). Trimmed within plate bottom and right. Folds as issued. Samll hole in image on right.
Plate from the Satirist, iv. 313. Mary Anne Clarke (1776-1852), lightly clad, sits astride a black goat facing the tail which she holds, wrapped in a Letter, in her right hand; the animal has the face of Col Gwyllym Lloyd Wardle (c.1762-1833). Holding one of its long horns, William Pleydell-Bouverie, 3rd Earl of Radnor, (Viscount Folkstone) (1779-1869) drags it forwards while Sir Francis Burdett, 5th Baronet, (1770-1844) tugs at the rope around its neck. Samuel Whitbread (1764 -1815) steadies Mrs. Clarke while William Cobbett (1763-1835) pushes it aside. A boisterous group are watching and cheering with bludgeons and hats. "Here I am / Upon a black ram / Like a Wh—e as I am," Mrs. Clarke declares with a smile. A paper with the title ‘Lines to be Repeated at the House’ is held by her. A big spur with six points that reads, ‘Malice, Arrogance, Interest, Disappointment, Revenge, Ingratitude,’ is fastened to her slipper. From Cobbett's pockets project papers, 'Subscription for Miss Taylor and Cobbetts Political [Reg]ister.' He holds a piece of Democratic Ginger with which he is about to ginger the goat. He says, " A Fig for such a Ram. (To fig (from feague) is to ginger a horse.)" Behind him walks a fashionably dressed man with a pamphlet in his pocket, 'Hague's Letter to the Duke of York'. "I say Tom—How goes Trade in the Informing line?" inquires one of the debased-looking rabble. Burdett puts a coin in the hand of a ragged ruffian and says, "No Bribery No Corruption —come give us a cheer my lad & here's a Guinea for you." The man shouts, "No Bribery—No Corruption—Burdett for ever Wardle for ever No Duke." Others yell, "Burdett for ever" and "Wardle for ever." Sir Watkin Williams Wynn (1772-1840) and his brother, Charles (1775-1850), both of whom have leeks in their hats, exchange "This will keep us awake Watky" and "Aye I think we shall Wynne the day now." In the background is inscribed Westbourne Place.
BM Satires 11297.
[Ref: 62320] £190.00 (£228.00 incl.VAT)
Mother Carey's Chickens. BM these Birds have lately been seen hovering about the Horse Guards.
[by Charles Williams.]
[Watermarked 1803 but printed later.]
Coloured etching. 255 x 380mm (10 x 15"). Mounted in album paper at edges, some toning.
Mrs Cary or Carey releases a flock of fledgling officers with money bags from a sack marked 'Pin Money instead of Allowance', to the disgust of a group of full-size officers, one of whom says 'To waste ones health in unwholesome Climates an then fail of promotion because we cannot fee ****** or Army Agents Agents.!!'. Mrs Cary succeeded Mary Anne Clarke as mistress of Prince Frederick, Duke of York and Albany, after Clarke admitted selling army commissions to support their lavish lifestyle in 1809. This satire suggests that the practice continued.
BM Satires 11050, published by Tegg 1808.
[Ref: 54569] £230.00 (£276.00 incl.VAT)
[by Charles Williams.]
[Watermarked 1803 but printed later.]
Coloured etching. 255 x 380mm (10 x 15"). Mounted in album paper at edges, some toning.
Mrs Cary or Carey releases a flock of fledgling officers with money bags from a sack marked 'Pin Money instead of Allowance', to the disgust of a group of full-size officers, one of whom says 'To waste ones health in unwholesome Climates an then fail of promotion because we cannot fee ****** or Army Agents Agents.!!'. Mrs Cary succeeded Mary Anne Clarke as mistress of Prince Frederick, Duke of York and Albany, after Clarke admitted selling army commissions to support their lavish lifestyle in 1809. This satire suggests that the practice continued.
BM Satires 11050, published by Tegg 1808.
[Ref: 54569] £230.00 (£276.00 incl.VAT)
![[Mary Anne Clarke] Dissolution of Partnership or the Industrious Mrs Clarke Winding Up Her Accounts.](jpegs/63418.jpg)
[Mary Anne Clarke] Dissolution of Partnership or the Industrious Mrs Clarke Winding Up Her Accounts.
[Thomas Rowlandson.]
Pub.d M Feb.y 15. 1809 by Tho.s Tegg N.º 111 Cheapside.
Coloured etching. Sheet 230 x 330mm (9 x 13"). Trimmed within plate.
Mary Anne Clarke sits on the left, raising her skirts to receive a money bag from Jeremiah Donovan, an ex-army surgeon who was her main go-between when she was selling commissions. On the right is Captain Tuck, who received a written scale of Mrs. Clarke's prices from Donovan. Mary Anne Clarke (1776-1852), mistress of Frederick, Duke of York, was found out to be selling army commissions while he was Commander-in-Chief of the army. York was forced to resign from his position, though he was later exonerated and reinstated. Mrs Clarke was prosecuted for libel in 1813 and imprisoned. On her release, she went to live in France.
BM Satires 11217.
[Ref: 63418] £260.00 (£312.00 incl.VAT)
[Thomas Rowlandson.]
Pub.d M Feb.y 15. 1809 by Tho.s Tegg N.º 111 Cheapside.
Coloured etching. Sheet 230 x 330mm (9 x 13"). Trimmed within plate.
Mary Anne Clarke sits on the left, raising her skirts to receive a money bag from Jeremiah Donovan, an ex-army surgeon who was her main go-between when she was selling commissions. On the right is Captain Tuck, who received a written scale of Mrs. Clarke's prices from Donovan. Mary Anne Clarke (1776-1852), mistress of Frederick, Duke of York, was found out to be selling army commissions while he was Commander-in-Chief of the army. York was forced to resign from his position, though he was later exonerated and reinstated. Mrs Clarke was prosecuted for libel in 1813 and imprisoned. On her release, she went to live in France.
BM Satires 11217.
[Ref: 63418] £260.00 (£312.00 incl.VAT)
![[Mary Ann Clarke.]](jpegs/20904.jpg)
[Mary Ann Clarke.]
Pubd. by C. Chapple Pall Mall, & Blacklock, Royal Exchange, March 11, 1809.
Scarce stipple printed in colours, 220 x 140mm (8¾ x 5½"). Good margins.
Mary Anne Clarke (née Thompson) (1776 - 1852), mistress of Frederick, Duke of York from 1803 to 1806. Their affair turned into a political scandal when the Duke was charged with corruption for promoting officers from whom Clarke had taken bribes. Renounced by the Duke, Clarke proved to be an adept political operator, writing her own revealing memoirs and extracting huge pensions from the government to keep them suppressed. In her right hand she clutches a paper (an army commission?); a vivid and subtly satirical contemporary depiction published as news of the scandal broke. The Duke resigned as commander-in-chief of the Army on 25 March 1809.
BM undescribed.
[Ref: 20904] £220.00 (£264.00 incl.VAT)
Pubd. by C. Chapple Pall Mall, & Blacklock, Royal Exchange, March 11, 1809.
Scarce stipple printed in colours, 220 x 140mm (8¾ x 5½"). Good margins.
Mary Anne Clarke (née Thompson) (1776 - 1852), mistress of Frederick, Duke of York from 1803 to 1806. Their affair turned into a political scandal when the Duke was charged with corruption for promoting officers from whom Clarke had taken bribes. Renounced by the Duke, Clarke proved to be an adept political operator, writing her own revealing memoirs and extracting huge pensions from the government to keep them suppressed. In her right hand she clutches a paper (an army commission?); a vivid and subtly satirical contemporary depiction published as news of the scandal broke. The Duke resigned as commander-in-chief of the Army on 25 March 1809.
BM undescribed.
[Ref: 20904] £220.00 (£264.00 incl.VAT)
Samuel Clarke D.D. Done after the Marble Bust in Her Majesty's Hermitage in the Royal Garden at Richmond.
I. Faber fecit.
Printed for Tho: Bowles in St. Pauls Church Yard, & John Bowles at the Black Horse in Cornhill [n.d., c.1750].
Mezzotint. 355 x 250mm (14 x 9¾''), with large margins.
A portrait of Rev. Dr. Samuel Clarke who was rector of St. James Westminster and metaphysician. From the series 'Philosophers of England'.
CS. 125.I.
[Ref: 50383] £240.00 (£288.00 incl.VAT)
I. Faber fecit.
Printed for Tho: Bowles in St. Pauls Church Yard, & John Bowles at the Black Horse in Cornhill [n.d., c.1750].
Mezzotint. 355 x 250mm (14 x 9¾''), with large margins.
A portrait of Rev. Dr. Samuel Clarke who was rector of St. James Westminster and metaphysician. From the series 'Philosophers of England'.
CS. 125.I.
[Ref: 50383] £240.00 (£288.00 incl.VAT)
Sam. Clarke ne en 1675, mort en 1729.
[J.C. François.]
C.P.R. [Paris: Brunet, c.1760.]
Crayon manner printed in reddish-brown ink, sheet 295 x 220mm. 11½ x 8¾".
Portrait of Samuel Clarke (1675 – 1729) was an English philosopher and Anglican clergyman and mathematican. By Jean Charles François (1717 - 1769), inventor the crayon manner technique of etching in 1757. Numbered 'IXe. metaph.' upper left. For Alexandre Savérien's 'Histoire des Philosophes modernes', published in eight 4to volumes from 1760-1767. 79 plates (and eight frontispieces) were engraved for the book.
Wellcome 618 - not in.
[Ref: 22206] £190.00 (£228.00 incl.VAT)
[J.C. François.]
C.P.R. [Paris: Brunet, c.1760.]
Crayon manner printed in reddish-brown ink, sheet 295 x 220mm. 11½ x 8¾".
Portrait of Samuel Clarke (1675 – 1729) was an English philosopher and Anglican clergyman and mathematican. By Jean Charles François (1717 - 1769), inventor the crayon manner technique of etching in 1757. Numbered 'IXe. metaph.' upper left. For Alexandre Savérien's 'Histoire des Philosophes modernes', published in eight 4to volumes from 1760-1767. 79 plates (and eight frontispieces) were engraved for the book.
Wellcome 618 - not in.
[Ref: 22206] £190.00 (£228.00 incl.VAT)
Samuel Clarke D.D. Done after the Marble Bust in Her Majesty's Hermitage in the Royal Garden at Richmond.
I. Faber fecit.
Printed for Tho: Bowles in St. Pauls Church Yard, & John Bowles at the Black Horse in Cornhill [n.d., c.1750].
Mezzotint. 355 x 250mm (14 x 9¾''). Trimmed to image on three sides, into plate at bottom, creased.
An engraving of a bust of Rev. Dr. Samuel Clarke (1675-1729), rector of St. James Westminster and philosopher, at the Royal Palace at Kew, now the Royal Botanic Gardens. In 1730 Queen Caroline commissioned a 'hermitage', decorated with a series of five marble busts by the English sculptor Michael Rysbrack to celebrate British philosphers: Clarke, Robert Boyle, John Locke, Isaac Newton and William Wollaston. Unfortunately the Hermitage no longer exists.
CS. 125, i of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68787] £190.00 (£228.00 incl.VAT)
I. Faber fecit.
Printed for Tho: Bowles in St. Pauls Church Yard, & John Bowles at the Black Horse in Cornhill [n.d., c.1750].
Mezzotint. 355 x 250mm (14 x 9¾''). Trimmed to image on three sides, into plate at bottom, creased.
An engraving of a bust of Rev. Dr. Samuel Clarke (1675-1729), rector of St. James Westminster and philosopher, at the Royal Palace at Kew, now the Royal Botanic Gardens. In 1730 Queen Caroline commissioned a 'hermitage', decorated with a series of five marble busts by the English sculptor Michael Rysbrack to celebrate British philosphers: Clarke, Robert Boyle, John Locke, Isaac Newton and William Wollaston. Unfortunately the Hermitage no longer exists.
CS. 125, i of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68787] £190.00 (£228.00 incl.VAT)
Tho.s Clarkson, Esq.r Born at Wisbech, 1760. Died near Ipswich, 1846.
Drawn on Stone by Ja.s P. Hunter, (by Permission) from the Portrait by Sam.t Lane, in the Council Chamber, at the Town Hall, Wisbech.
Published by J.P. Hunter, Wisbeach Nov.r 1846.
Scarce lithograph, sheet 435 x 310mm (17¼ x 12¼"), large margins. Slightly foxed.
Three-quarter length seated portrait of English cleric and abolitionist Thomas Clarkson (1760-1846). He wears a waistcoat cravat and double breasted jacket. Holds a quill in his right hand with elbow resting on a table with paper, pot of ink and candle. Two rolled wall maps of Africa & West Indies in background.
[Ref: 58992] £420.00
Drawn on Stone by Ja.s P. Hunter, (by Permission) from the Portrait by Sam.t Lane, in the Council Chamber, at the Town Hall, Wisbech.
Published by J.P. Hunter, Wisbeach Nov.r 1846.
Scarce lithograph, sheet 435 x 310mm (17¼ x 12¼"), large margins. Slightly foxed.
Three-quarter length seated portrait of English cleric and abolitionist Thomas Clarkson (1760-1846). He wears a waistcoat cravat and double breasted jacket. Holds a quill in his right hand with elbow resting on a table with paper, pot of ink and candle. Two rolled wall maps of Africa & West Indies in background.
[Ref: 58992] £420.00
Clarkson.
From a Model in Wax by Miss C. Andras. W. Worthington sculp.
Pub. by R. Bowyer, Pall Mall, Jan, 1, 1810.
Engraving, image 135 x 110mm. 5¼ x 4¼".
Cameo bust portrait in profile of Thomas Clarkson (1760 - 1846), slavery abolitionist. Thomas Clarkson devoted his life to abolitionism. His An Essay on the Slavery and Commerce of the Human Species (1786) brought him into association with Granville Sharp, William Wilberforce and other opponents of slavery; Clarkson joined them in forming a society for the abolition of the slave trade. He visited British ports to collect facts for his pamphlet A Summary View of the Slave Trade and of the Probable Consequences of Its Abolition (1787), and the evidence that he gathered was used in the antislavery campaign led by Wilberforce in Parliament. In 1807, a bill for the abolition of the slave trade finally was passed, and the next year Clarkson's two-volume history of the trade was published. After sculptor and medallist Catherine Andras (1775 - 1860).
[Ref: 19921] £130.00 (£156.00 incl.VAT)
From a Model in Wax by Miss C. Andras. W. Worthington sculp.
Pub. by R. Bowyer, Pall Mall, Jan, 1, 1810.
Engraving, image 135 x 110mm. 5¼ x 4¼".
Cameo bust portrait in profile of Thomas Clarkson (1760 - 1846), slavery abolitionist. Thomas Clarkson devoted his life to abolitionism. His An Essay on the Slavery and Commerce of the Human Species (1786) brought him into association with Granville Sharp, William Wilberforce and other opponents of slavery; Clarkson joined them in forming a society for the abolition of the slave trade. He visited British ports to collect facts for his pamphlet A Summary View of the Slave Trade and of the Probable Consequences of Its Abolition (1787), and the evidence that he gathered was used in the antislavery campaign led by Wilberforce in Parliament. In 1807, a bill for the abolition of the slave trade finally was passed, and the next year Clarkson's two-volume history of the trade was published. After sculptor and medallist Catherine Andras (1775 - 1860).
[Ref: 19921] £130.00 (£156.00 incl.VAT)
To His Royal Highness William Frederick Duke of Gloucester &c. &c. &c. This Portrait of Thomas Clarkson, Esq.re M.A. Is Dedicated with permission by His Royal Highness’s Most Obedient Obliged & very humble Servant S. Piper. Ipswich.
Painted by A.E. Chalon Esq.r R.A. Engraved by C. Turner, Mezzotinto Engraver in Ordinary to His Majesty.
London: Published [April 19,] 1828, by S. Piper, Bookseller. Colnaghi, Son & Co. Pall Mall East. & Darton & Harvey, Grace Church Street, London.
Mezzotint and etching. 540 x 385mm (21½ x 15¼"). Damaged. Tears in border; trimmed.
Whole-length seated portrait of the abolitionist Thomas Clarkson (1760-1846), quill in his hand, surrounded by artifacts of Africa, busts of Wilberforce and Granville Sharp on the mantelpiece. A founder member of the Committee for the Abolition of the Slave Trade with Granville Sharp and Josiah Wedgwood, it was Clarkson who persuaded Wilberforce to join.
Whitman: 117, state ii of ii.
[Ref: 52498] £230.00 (£276.00 incl.VAT)
Painted by A.E. Chalon Esq.r R.A. Engraved by C. Turner, Mezzotinto Engraver in Ordinary to His Majesty.
London: Published [April 19,] 1828, by S. Piper, Bookseller. Colnaghi, Son & Co. Pall Mall East. & Darton & Harvey, Grace Church Street, London.
Mezzotint and etching. 540 x 385mm (21½ x 15¼"). Damaged. Tears in border; trimmed.
Whole-length seated portrait of the abolitionist Thomas Clarkson (1760-1846), quill in his hand, surrounded by artifacts of Africa, busts of Wilberforce and Granville Sharp on the mantelpiece. A founder member of the Committee for the Abolition of the Slave Trade with Granville Sharp and Josiah Wedgwood, it was Clarkson who persuaded Wilberforce to join.
Whitman: 117, state ii of ii.
[Ref: 52498] £230.00 (£276.00 incl.VAT)
[To His Royal Highness William Frederick Duke of Gloucester &c. &c. &c. This Portrait of Thomas Clarkson, Esq.re M.A. Is Dedicated with permission by His Royal Highness’s Most Obedient Obliged & very humble Servant S. Piper. Ipswich.]
Painted by A.E. Chalon Esq.r R.A. Engraved by C. Turner, Mezzotinto Engraver in Ordinary to His Majesty.
[London: Published April 19, 1828, by S. Piper, Bookseller. Colnaghi, Son & Co. Pall Mall East. & Darton & Harvey, Grace Church Street, London.]
Mezzotint and etching, proof before title. Sheet 520 x 385mm (20½ x 15¼"). Trimmed within plate, losing publication line, tears and scuffing. Damaged.
Whole-length seated portrait of the abolitionist Thomas Clarkson (1760-1846), quill in his hand, surrounded by artifacts of Africa, busts of Wilberforce and Granville Sharp on the mantelpiece. A founder member of the Committee for the Abolition of the Slave Trade with Granville Sharp and Josiah Wedgwood, it was Clarkson who persuaded Wilberforce to join, also providing the material for Wilberforce's speeches in the House of Commons.
Whitman: 117, ii of ii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 66483] £280.00 (£336.00 incl.VAT)
Painted by A.E. Chalon Esq.r R.A. Engraved by C. Turner, Mezzotinto Engraver in Ordinary to His Majesty.
[London: Published April 19, 1828, by S. Piper, Bookseller. Colnaghi, Son & Co. Pall Mall East. & Darton & Harvey, Grace Church Street, London.]
Mezzotint and etching, proof before title. Sheet 520 x 385mm (20½ x 15¼"). Trimmed within plate, losing publication line, tears and scuffing. Damaged.
Whole-length seated portrait of the abolitionist Thomas Clarkson (1760-1846), quill in his hand, surrounded by artifacts of Africa, busts of Wilberforce and Granville Sharp on the mantelpiece. A founder member of the Committee for the Abolition of the Slave Trade with Granville Sharp and Josiah Wedgwood, it was Clarkson who persuaded Wilberforce to join, also providing the material for Wilberforce's speeches in the House of Commons.
Whitman: 117, ii of ii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 66483] £280.00 (£336.00 incl.VAT)
Der Claufürmacher.
[Nuremberg: Johann Christoph Weigel. 1699.]
Engraving. Plate: 85 x 135mm (3¼ x 5¼"). Large margins.
A depiction of a clasp maker's workshop in which two figures are at work, finished claps lie on the bench alongside a large book with clasps. An illustration from 'Etwas für Alle...' by Abraham à Santa Clara (1644-1709).
[Ref: 38898] £220.00 (£264.00 incl.VAT)
[Nuremberg: Johann Christoph Weigel. 1699.]
Engraving. Plate: 85 x 135mm (3¼ x 5¼"). Large margins.
A depiction of a clasp maker's workshop in which two figures are at work, finished claps lie on the bench alongside a large book with clasps. An illustration from 'Etwas für Alle...' by Abraham à Santa Clara (1644-1709).
[Ref: 38898] £220.00 (£264.00 incl.VAT)
Cornaline antique du Cabinet de Mr. Bourdaloue.
Eliz Cheron L.H. delin et Sculp. Cum Privilegio Regis.
Grand.r de la Pierre [n.d., c.1710.]
Engraving, 125 x 100mm (5 x 4"), with large margins. On 18th century watermarked paper.
A naked man and women stand together, their bodies partially covered with draped robes. Published in Cheron's, 'Recueil des pierres antiques gravées'. Élisabeth Sophie Chéron (1648-1711) was a French painter and engraver who received her training from her father, Henri Chéron, an enamel painter, miniaturist, and engraver. Coming from an artistic family, her brother, Louis Chéron (1655-1725), was also a painter, illustrator, and art teacher. At the age of 22, in 1670, she became a member of the Académie Royale de Peinture et de Sculpture as a portrait painter, supported by the renowned artist Charles Le Brun (1619-90). She was the fourth woman to be admitted to the academy.
[Ref: 65286] £80.00 (£96.00 incl.VAT)
Eliz Cheron L.H. delin et Sculp. Cum Privilegio Regis.
Grand.r de la Pierre [n.d., c.1710.]
Engraving, 125 x 100mm (5 x 4"), with large margins. On 18th century watermarked paper.
A naked man and women stand together, their bodies partially covered with draped robes. Published in Cheron's, 'Recueil des pierres antiques gravées'. Élisabeth Sophie Chéron (1648-1711) was a French painter and engraver who received her training from her father, Henri Chéron, an enamel painter, miniaturist, and engraver. Coming from an artistic family, her brother, Louis Chéron (1655-1725), was also a painter, illustrator, and art teacher. At the age of 22, in 1670, she became a member of the Académie Royale de Peinture et de Sculpture as a portrait painter, supported by the renowned artist Charles Le Brun (1619-90). She was the fourth woman to be admitted to the academy.
[Ref: 65286] £80.00 (£96.00 incl.VAT)
Calliope. Calliope.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Calliope', in full costume, holding three lorel wreaths along her left arm, an a scroll in her right, inscribed 'Iliad Odessy Aeneid'. Plate 221 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34880] £95.00 (£114.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Calliope', in full costume, holding three lorel wreaths along her left arm, an a scroll in her right, inscribed 'Iliad Odessy Aeneid'. Plate 221 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34880] £95.00 (£114.00 incl.VAT)
Erato. Erato.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slighty coloured paper.
The character of 'Erato', in full costume, holding a lit torch in her right hand, and a bow and arrows in her left. She has a crown of red roses on her head. Plate 217 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34877] £95.00 (£114.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slighty coloured paper.
The character of 'Erato', in full costume, holding a lit torch in her right hand, and a bow and arrows in her left. She has a crown of red roses on her head. Plate 217 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34877] £95.00 (£114.00 incl.VAT)
Euterpe. Euterpe.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slightly creased at top.
The character of 'Euterpe', in full costume, playing the flute. Plate 223 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34874] £95.00 (£114.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slightly creased at top.
The character of 'Euterpe', in full costume, playing the flute. Plate 223 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34874] £95.00 (£114.00 incl.VAT)
Melpopmene. Melpomene.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Melpomene', in full costume, holding a raised dagger in her right hand, and a golden crown in her left. She wears a laurel wreath on her head. Plate 225 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34876] £95.00 (£114.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Melpomene', in full costume, holding a raised dagger in her right hand, and a golden crown in her left. She wears a laurel wreath on her head. Plate 225 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34876] £95.00 (£114.00 incl.VAT)
Polyhymnia. Polyhymnie.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slight hole centre right.
The character of 'Polyhymnia', in full costume, wearing a heavily embroided floral dress, holding a scroll in her right hand which is inscribed 'Suadere'. Plate 218 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34878] £90.00 (£108.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slight hole centre right.
The character of 'Polyhymnia', in full costume, wearing a heavily embroided floral dress, holding a scroll in her right hand which is inscribed 'Suadere'. Plate 218 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34878] £90.00 (£108.00 incl.VAT)
Thalia. Thalie.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Thalia', in full costume, facing the viewer, holding a horned mask in each hand. Plate 224 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34875] £95.00 (£114.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Thalia', in full costume, facing the viewer, holding a horned mask in each hand. Plate 224 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34875] £95.00 (£114.00 incl.VAT)
Urania. Uranie.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Urania', in full costume, holding a celestial sphere in her left hand, with her right hand raised to the side. Plate 220 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34879] £95.00 (£114.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark.
The character of 'Urania', in full costume, holding a celestial sphere in her left hand, with her right hand raised to the side. Plate 220 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34879] £95.00 (£114.00 incl.VAT)
![[Classical bust]](jpegs/46362.jpg)
[Classical bust] Apud Card. Caesium
[Anon, c.1650]
Engraving, platemark 220 x 150mm (8½ x 6"). False margins added.
[Ref: 46362] £75.00 (£90.00 incl.VAT)
[Anon, c.1650]
Engraving, platemark 220 x 150mm (8½ x 6"). False margins added.
[Ref: 46362] £75.00 (£90.00 incl.VAT)
![[Bacchanalian festival; a classical cameo] XLIX.](jpegs/21169.jpg)
[Bacchanalian festival; a classical cameo] XLIX.
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching printed in brown ink on india paper, sheet 260 x 200mm. 10½ x 8". Trimmed within plate; light spotting.
Two satyr-type male figures and a female reveller. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2306. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21169] £75.00 (£90.00 incl.VAT)
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching printed in brown ink on india paper, sheet 260 x 200mm. 10½ x 8". Trimmed within plate; light spotting.
Two satyr-type male figures and a female reveller. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2306. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21169] £75.00 (£90.00 incl.VAT)
![[Bacchus; a classical cameo]](jpegs/21171.jpg)
[Bacchus; a classical cameo] [Plate 13.]
[G.B. Cipriani. F. Bartolozzi.]
[London, c.1781-1791.]
Stipple and etching printed in brown ink on india paper, 270 x 210mm. 10½ x 8¼". Light spotting.
Bust of Bacchus, looking up towards top right; in an oval medallion. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2320, I. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21171] £75.00 (£90.00 incl.VAT)
[G.B. Cipriani. F. Bartolozzi.]
[London, c.1781-1791.]
Stipple and etching printed in brown ink on india paper, 270 x 210mm. 10½ x 8¼". Light spotting.
Bust of Bacchus, looking up towards top right; in an oval medallion. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2320, I. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21171] £75.00 (£90.00 incl.VAT)
![[Classical guitarist]](jpegs/8693.jpg)
[Classical guitarist] R. de los Rios [pencil signature.]
R. de los Rios. Sculpt. Charles Sprague Pearce. Paris
[n.d. c.1890.]
Engraving. 357 x 279mm. 14" x 11".
Ricardo de los Ríos (1846-1929), born in Spain. He did a lot of work while he lived in Paris, France.
[Ref: 8693] £180.00 (£216.00 incl.VAT)
R. de los Rios. Sculpt. Charles Sprague Pearce. Paris
[n.d. c.1890.]
Engraving. 357 x 279mm. 14" x 11".
Ricardo de los Ríos (1846-1929), born in Spain. He did a lot of work while he lived in Paris, France.
[Ref: 8693] £180.00 (£216.00 incl.VAT)
![[Classical guitarist]](jpegs/58164.jpg)
[Classical guitarist] R. de los Rios [pencil signature.]
R. de los Rios. Sculpt. Charles Sprague Pearce. Paris
[n.d. c.1890.]
Engraving, plate 357 x 279mm (14" x 11"), with very large margins.
Ricardo de los Ríos (1846-1929), born in Spain. He did a lot of work while he lived in Paris, France.
[Ref: 58164] £180.00 (£216.00 incl.VAT)
R. de los Rios. Sculpt. Charles Sprague Pearce. Paris
[n.d. c.1890.]
Engraving, plate 357 x 279mm (14" x 11"), with very large margins.
Ricardo de los Ríos (1846-1929), born in Spain. He did a lot of work while he lived in Paris, France.
[Ref: 58164] £180.00 (£216.00 incl.VAT)
![[Classical guitarist]](jpegs/58165.jpg)
[Classical guitarist] R. de los Rios [pencil signature.]
R. de los Rios. Sculpt. Charles Sprague Pearce. Paris
[n.d. c.1890.]
Engraving on vellum, plate 357 x 279mm (14" x 11"), with very large margins.
Ricardo de los Ríos (1846-1929), born in Spain. He did a lot of work while he lived in Paris, France.
[Ref: 58165] £180.00 (£216.00 incl.VAT)
R. de los Rios. Sculpt. Charles Sprague Pearce. Paris
[n.d. c.1890.]
Engraving on vellum, plate 357 x 279mm (14" x 11"), with very large margins.
Ricardo de los Ríos (1846-1929), born in Spain. He did a lot of work while he lived in Paris, France.
[Ref: 58165] £180.00 (£216.00 incl.VAT)
![[River scene with ruined castle.]](jpegs/52016.jpg)
[River scene with ruined castle.]
Clerisau del. Berardi Scul. appo Wagner Venezia C.P.E.S.
[n.d., c. 1760.]
Rare etching. 260 x 320mm (10¼ x 12½), with large margins. Slight creasing.
After Charles Louis Clérisseau (1721-1820), draughtsman and architect. He went to Rome in 1749 and was working for Robert Adam as a draughtsman during the architect's tour of Italy (1755-63). Many of the illustrations in Adam’s 'Ruins of the Palace of the Emperor Diocletian at Spalatro' (1764) were drawn by Clérisseau, without attribution. The engraver is Fabio Berardi (1728-88).
[Ref: 52016] £190.00 (£228.00 incl.VAT)
Clerisau del. Berardi Scul. appo Wagner Venezia C.P.E.S.
[n.d., c. 1760.]
Rare etching. 260 x 320mm (10¼ x 12½), with large margins. Slight creasing.
After Charles Louis Clérisseau (1721-1820), draughtsman and architect. He went to Rome in 1749 and was working for Robert Adam as a draughtsman during the architect's tour of Italy (1755-63). Many of the illustrations in Adam’s 'Ruins of the Palace of the Emperor Diocletian at Spalatro' (1764) were drawn by Clérisseau, without attribution. The engraver is Fabio Berardi (1728-88).
[Ref: 52016] £190.00 (£228.00 incl.VAT)
![[Classical ruin.]](jpegs/52001.jpg)
[Classical ruin.]
Clerisau del. Wagner Scul. Venezia C.P.E.S.
[n.d., c. 1760.]
Rare etching. 260 x 320mm (10¼ x 12½), large margins. Slight crease in title.
After Charles Louis Clérisseau (1721-1820), draughtsman and architect. He went to Rome in 1749 and was working for Robert Adam as a draughtsman during the architect's tour of Italy (1755-63). Many of the illustrations in Adam’s 'Ruins of the Palace of the Emperor Diocletian at Spalatro' (1764) were drawn by Clérisseau, without attribution.
[Ref: 52001] £190.00 (£228.00 incl.VAT)
Clerisau del. Wagner Scul. Venezia C.P.E.S.
[n.d., c. 1760.]
Rare etching. 260 x 320mm (10¼ x 12½), large margins. Slight crease in title.
After Charles Louis Clérisseau (1721-1820), draughtsman and architect. He went to Rome in 1749 and was working for Robert Adam as a draughtsman during the architect's tour of Italy (1755-63). Many of the illustrations in Adam’s 'Ruins of the Palace of the Emperor Diocletian at Spalatro' (1764) were drawn by Clérisseau, without attribution.
[Ref: 52001] £190.00 (£228.00 incl.VAT)
![[Classical Scene.]](jpegs/14941.jpg)
[Classical Scene.]
[n.d. c.1780.]
Mezzotint with etching. Plate 213 x 161mm. 8½ x 6¼". Trimmed within the platemark to the left, no damage to the image.
Possibly the muse Terpsichore introducing a young woman to a possible suitor, educated and well-dressed. It was believed that the muses would help inspire people to do their best.
[Ref: 14941] £230.00 (£276.00 incl.VAT)
[n.d. c.1780.]
Mezzotint with etching. Plate 213 x 161mm. 8½ x 6¼". Trimmed within the platemark to the left, no damage to the image.
Possibly the muse Terpsichore introducing a young woman to a possible suitor, educated and well-dressed. It was believed that the muses would help inspire people to do their best.
[Ref: 14941] £230.00 (£276.00 incl.VAT)
![[Classical sculpture: a nude warrior seated on the ground surrounded by his armour, weapon and shields.]](jpegs/15794.jpg)
[Classical sculpture: a nude warrior seated on the ground surrounded by his armour, weapon and shields.] Tire du Cabinet de Mr. Denon.
[French, c.1820.]
Rare lithograph, sheet 275 x 265mm. 10¾ x 10½". Cut, repaired damage at top.
Unidentified sculpture from the collection of Dominique Vivant, Baron de Denon (1747-1825), French artist, writer, diplomat, author, and archaeologist. From a series of antiquities depicted by the printmaker and painter Pierre Bouillon (1776-1831). Bouillon, from Thiviers, was joint winner of the prestigious Prix de Rome in 1797 with his painting 'Death of Cato the Younger'.
[Ref: 15794] £230.00 (£276.00 incl.VAT)
[French, c.1820.]
Rare lithograph, sheet 275 x 265mm. 10¾ x 10½". Cut, repaired damage at top.
Unidentified sculpture from the collection of Dominique Vivant, Baron de Denon (1747-1825), French artist, writer, diplomat, author, and archaeologist. From a series of antiquities depicted by the printmaker and painter Pierre Bouillon (1776-1831). Bouillon, from Thiviers, was joint winner of the prestigious Prix de Rome in 1797 with his painting 'Death of Cato the Younger'.
[Ref: 15794] £230.00 (£276.00 incl.VAT)
The Printed Work of Claud Lovat Fraser.
[By Christopher Millard.]
London Henry Danielson 1923.
Book, bibliography, 8vo (255 x 155mm, 10 x 6") five plates by Clark including portrait frontispiece, pp. 106. Quarter black buckram with printed spine label, Lovat Fraser Curwen patterned paper-covered boards. One of a limited edition of 275 copies printed on antique de luxe paper numbered '183' and signed by the author. With errata slip and extra spine label. A very good copy, uncut, with minor rubbing to extremities.
Claud Lovat Fraser (1890 - 1921) was an artist and designer of theatrical characters and scenes, and decorations for chap-books and broadsides, which were published under the title Flying Fame (1913). Judged by their imaginative quality, these latter designs are perhaps the most important which he achieved. On the outbreak of the European War in 1914 Fraser joined the army, and in 1916 was invalided home from Flanders. In 1919 he held the first representative exhibition of his work, and established his reputation. In the next year his designs for the settings and costumes of As You Like It and The Beggar's Opera, produced at the Lyric Theatre, Hammersmith, brought him unusual fame, and from this time onwards he produced innumerable designs for the theatre. He made a close study also of the various approaches to process-reproduction in colour, and this resulted in a prolific output by him of booklets, rhyme sheets, end papers, trade cards, and similar matter. He had realized early the importance of visualizing design and type together as an inseparable whole; and the methods which he came to employ in his printed and published work exercised a considerable influence. Among the later books which he decorated, Poems from the Works of Charles Cotton (1922) and The Luck of the Bean-Rows by Charles Nodier (1921) are notable examples. He made designs for other theatrical productions, such as La Serva Padrona, Lord Dunsany's If, two ballets for Madame Tamar Karsavina, and Gustav Holst's Savitri.
[Ref: 11922] £220.00
[By Christopher Millard.]
London Henry Danielson 1923.
Book, bibliography, 8vo (255 x 155mm, 10 x 6") five plates by Clark including portrait frontispiece, pp. 106. Quarter black buckram with printed spine label, Lovat Fraser Curwen patterned paper-covered boards. One of a limited edition of 275 copies printed on antique de luxe paper numbered '183' and signed by the author. With errata slip and extra spine label. A very good copy, uncut, with minor rubbing to extremities.
Claud Lovat Fraser (1890 - 1921) was an artist and designer of theatrical characters and scenes, and decorations for chap-books and broadsides, which were published under the title Flying Fame (1913). Judged by their imaginative quality, these latter designs are perhaps the most important which he achieved. On the outbreak of the European War in 1914 Fraser joined the army, and in 1916 was invalided home from Flanders. In 1919 he held the first representative exhibition of his work, and established his reputation. In the next year his designs for the settings and costumes of As You Like It and The Beggar's Opera, produced at the Lyric Theatre, Hammersmith, brought him unusual fame, and from this time onwards he produced innumerable designs for the theatre. He made a close study also of the various approaches to process-reproduction in colour, and this resulted in a prolific output by him of booklets, rhyme sheets, end papers, trade cards, and similar matter. He had realized early the importance of visualizing design and type together as an inseparable whole; and the methods which he came to employ in his printed and published work exercised a considerable influence. Among the later books which he decorated, Poems from the Works of Charles Cotton (1922) and The Luck of the Bean-Rows by Charles Nodier (1921) are notable examples. He made designs for other theatrical productions, such as La Serva Padrona, Lord Dunsany's If, two ballets for Madame Tamar Karsavina, and Gustav Holst's Savitri.
[Ref: 11922] £220.00
![[Landscape with Flight into Egypt]](jpegs/38587.jpg)
[Landscape with Flight into Egypt] [Engraved from the Original Picture, in the Collection of the Revd Dr Newton...Published by F. Vivares may 5th 1757]
Chatelin & Vivares fecit [1757]
Etching and engraving, platemark 415 x 500mm (16¼ x 19¾"). Small margins; stains; very fine unfinished proof.
Landscape with Mary, Joseph and the Christ child on left, peasant and cows crossing a bridge on right, and a flock in distance. After a painting by Claude Lorrain (c.1600-82), 17th century landscape painter whose paintings were immensely important for the development of British landscape painting in the 18th century, largely disseminated through prints such as this.
[Ref: 38587] £260.00 (£312.00 incl.VAT)
Chatelin & Vivares fecit [1757]
Etching and engraving, platemark 415 x 500mm (16¼ x 19¾"). Small margins; stains; very fine unfinished proof.
Landscape with Mary, Joseph and the Christ child on left, peasant and cows crossing a bridge on right, and a flock in distance. After a painting by Claude Lorrain (c.1600-82), 17th century landscape painter whose paintings were immensely important for the development of British landscape painting in the 18th century, largely disseminated through prints such as this.
[Ref: 38587] £260.00 (£312.00 incl.VAT)
![After a Picture of Claude Lorrain [ms]](jpegs/38516.jpg)
After a Picture of Claude Lorrain [ms] [In the Collection of Dr. Mead]
[Claudio Gillee Lorenese pinxit 1656. Vivares Sculp]
[Published by C. Knapton 1741]
Engraving, platemark 315 x 405mm (12½ x 16"). Scarce proof before letters; platemark broken in places. Very large margins.
Landscape with bridge in background, fishermen casting nets from a small boat, and a group of figures in the foreground, including a lady putting on stockings, typical of Claude Lorrain's earlier works. Engraving (in reverse) of Claude's painting 'The Ford', executed by Francis Vivares while the painting was in the collection of the physician and collector Dr Richard Mead. The painting is now in the collection of the Metropolitan Museum of Art, New York, and it is now believed that it was executed in 1636 rather than 1656 as claimed on the lettered later state of this print. From a successful and well-known series of landscape prints from paintings in important British collections.
For a portrait of Mead see ref. 11688. Private Collection.
[Ref: 38516] £320.00
[Claudio Gillee Lorenese pinxit 1656. Vivares Sculp]
[Published by C. Knapton 1741]
Engraving, platemark 315 x 405mm (12½ x 16"). Scarce proof before letters; platemark broken in places. Very large margins.
Landscape with bridge in background, fishermen casting nets from a small boat, and a group of figures in the foreground, including a lady putting on stockings, typical of Claude Lorrain's earlier works. Engraving (in reverse) of Claude's painting 'The Ford', executed by Francis Vivares while the painting was in the collection of the physician and collector Dr Richard Mead. The painting is now in the collection of the Metropolitan Museum of Art, New York, and it is now believed that it was executed in 1636 rather than 1656 as claimed on the lettered later state of this print. From a successful and well-known series of landscape prints from paintings in important British collections.
For a portrait of Mead see ref. 11688. Private Collection.
[Ref: 38516] £320.00
![[The Embarkation of Carlo and Ubaldo]](jpegs/40465.jpg)
[The Embarkation of Carlo and Ubaldo] In the Collection of His Grace the late Duke of Kent
Claudio Gillee Lorenese pinx P.C. Canot Sculp
Publish'd by Ar. Pond May 1744
Very fine engraving, 18th century watermark; platemark 310 x 405mm (12¼ x 16"), with very large margins.
Scene from Torquato Tasso's epic poem 'Jerusalem Delivered' ('La Gerusalemme Liberata', 1581), a largely mythified account of the First Crusade in which Christian knights fought to seize the city of Jerusalem from the Fatimid Caliphate. Here the knights Carlo and Ubaldo embark on a voyage; the wizard of Ascalon (who has assisted them) departs on the left. Engraving of a 1667 painting by Claude Lorrain (?1604/5-1682), now in the Art Gallery of Ontario.
[Ref: 40465] £260.00 (£312.00 incl.VAT)
Claudio Gillee Lorenese pinx P.C. Canot Sculp
Publish'd by Ar. Pond May 1744
Very fine engraving, 18th century watermark; platemark 310 x 405mm (12¼ x 16"), with very large margins.
Scene from Torquato Tasso's epic poem 'Jerusalem Delivered' ('La Gerusalemme Liberata', 1581), a largely mythified account of the First Crusade in which Christian knights fought to seize the city of Jerusalem from the Fatimid Caliphate. Here the knights Carlo and Ubaldo embark on a voyage; the wizard of Ascalon (who has assisted them) departs on the left. Engraving of a 1667 painting by Claude Lorrain (?1604/5-1682), now in the Art Gallery of Ontario.
[Ref: 40465] £260.00 (£312.00 incl.VAT)
![[The finding of Moses] From the Original Drawing in the Collection of the Duke of Devonshire. No 47.](jpegs/21833.jpg)
[The finding of Moses] From the Original Drawing in the Collection of the Duke of Devonshire. No 47.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Sept.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 260 x 210mm, 10¼ x 8½". Uncut, with large margins, slight soiling of margins.
Classical pastoral scene, engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21833] £130.00 (£156.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Sept.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 260 x 210mm, 10¼ x 8½". Uncut, with large margins, slight soiling of margins.
Classical pastoral scene, engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21833] £130.00 (£156.00 incl.VAT)
![[Pastoral scene with nymph and satyr.] From the Original Drawing in the Collection of the Duke of Devonshire. No 55.](jpegs/21839.jpg)
[Pastoral scene with nymph and satyr.] From the Original Drawing in the Collection of the Duke of Devonshire. No 55.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Aug. 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut with large margins, slight soiling of margins.
St Ursula was a a Romano-British princess who set sail to get married with 11,000 virginal handmaidens. All were beheaded by the Huns. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21839] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Aug. 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut with large margins, slight soiling of margins.
St Ursula was a a Romano-British princess who set sail to get married with 11,000 virginal handmaidens. All were beheaded by the Huns. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21839] £120.00 (£144.00 incl.VAT)
![[Italianate port scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 61.](jpegs/21841.jpg)
[Italianate port scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 61.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21841] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21841] £120.00 (£144.00 incl.VAT)
![[Italianate pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 62.](jpegs/21842.jpg)
[Italianate pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 62.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Peasants driving a cow and goats across a bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21842] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Peasants driving a cow and goats across a bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21842] £120.00 (£144.00 incl.VAT)
![[The Landing of Cleopatra.] From the Original Drawing in the Collection of the Duke of Devonshire. No 63.](jpegs/21843.jpg)
[The Landing of Cleopatra.] From the Original Drawing in the Collection of the Duke of Devonshire. No 63.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The landing of Cleopatra at Tarsus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21843] £170.00 (£204.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The landing of Cleopatra at Tarsus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21843] £170.00 (£204.00 incl.VAT)
![[Samuel anointing David King of Israel.] From the Original Drawing in the Collection of the Duke of Devonshire. No 69.](jpegs/21847.jpg)
[Samuel anointing David King of Israel.] From the Original Drawing in the Collection of the Duke of Devonshire. No 69.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Samuel anointing David King of Israel in the portico of a temple. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21847] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Samuel anointing David King of Israel in the portico of a temple. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21847] £120.00 (£144.00 incl.VAT)
![[Mercury with Herse and Aglaurus.] From the Original Drawing in the Collection of the Duke of Devonshire. No 70.](jpegs/21848.jpg)
[Mercury with Herse and Aglaurus.] From the Original Drawing in the Collection of the Duke of Devonshire. No 70.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The god Mercury with Herse, with whom he is in love, and her sister Aglaurus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21848] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The god Mercury with Herse, with whom he is in love, and her sister Aglaurus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21848] £120.00 (£144.00 incl.VAT)
![[The women of Troy destroying the Greek fleet.] From the Original Drawing in the Collection of the Duke of Devonshire. No 71.](jpegs/21849.jpg)
[The women of Troy destroying the Greek fleet.] From the Original Drawing in the Collection of the Duke of Devonshire. No 71.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Trojan women setting fire to the Greek fleet. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21849] £160.00 (£192.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Trojan women setting fire to the Greek fleet. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21849] £160.00 (£192.00 incl.VAT)
![[Shipwreck in a storm.] From the Original Drawing in the Collection of the Duke of Devonshire. No 72.](jpegs/21850.jpg)
[Shipwreck in a storm.] From the Original Drawing in the Collection of the Duke of Devonshire. No 72.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
A shipwreck off a rocky coastline with a keep. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21850] £110.00 (£132.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
A shipwreck off a rocky coastline with a keep. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21850] £110.00 (£132.00 incl.VAT)
![[Ulysses restituting Chryseis to her father Chryses.] From the Original Drawing in the Collection of the Duke of Devonshire. No 80.](jpegs/21858.jpg)
[Ulysses restituting Chryseis to her father Chryses.] From the Original Drawing in the Collection of the Duke of Devonshire. No 80.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins. Creased left of centre.
A sea-port, with Ulysses returning Chryseis to her father Chryses, a Trojan priest of Apollo. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21858] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins. Creased left of centre.
A sea-port, with Ulysses returning Chryseis to her father Chryses, a Trojan priest of Apollo. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21858] £120.00 (£144.00 incl.VAT)
![[Pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 52.](jpegs/21859.jpg)
[Pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 52.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Herdsmen driving cattle and goats across a small wooden bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21859] £120.00 (£144.00 incl.VAT)
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Herdsmen driving cattle and goats across a small wooden bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21859] £120.00 (£144.00 incl.VAT)