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.
VAT included (see terms) | Exclude VAT
The Comic Society.
G.Douw Pinxit. W.Pether Fecit.
[n.d., c.1780.]
Mezzotint. 300 x 250mm (11¾ x 9¾").
Travelling players.
[Ref: 7008] £490.00
G.Douw Pinxit. W.Pether Fecit.
[n.d., c.1780.]
Mezzotint. 300 x 250mm (11¾ x 9¾").
Travelling players.
[Ref: 7008] £490.00
The Comic Society.
G.Douw Pinxit. W.Pether Fecit.
[n.d., c.1760.]
Mezzotint. 300 x 250mm (11¾ x 9¾")..
A group of travelling musicians, seen through an arched window, play a flute, hurdy-gurdy and tambourine, for a woman holding a pestle and mortar. One of the group reaches out to take payment.
CS: see pg. 995.
[Ref: 62731] £260.00 (£312.00 incl.VAT)
G.Douw Pinxit. W.Pether Fecit.
[n.d., c.1760.]
Mezzotint. 300 x 250mm (11¾ x 9¾")..
A group of travelling musicians, seen through an arched window, play a flute, hurdy-gurdy and tambourine, for a woman holding a pestle and mortar. One of the group reaches out to take payment.
CS: see pg. 995.
[Ref: 62731] £260.00 (£312.00 incl.VAT)
Coming it! _
I. _ etched by G. C_k.
London Pubd by G Humphrey 24 St James's Street _ Nov.r 24th 1824.
Fine coloured etching. Sheet 270 x 370mm (10½ x 14½"). Trimmed within plate.
Amateur whips, ostentatiously or ineptly negligent, drive outré vehicles with showy horses.
BM Satires 14721.
[Ref: 58274] £280.00 (£336.00 incl.VAT)
I. _ etched by G. C_k.
London Pubd by G Humphrey 24 St James's Street _ Nov.r 24th 1824.
Fine coloured etching. Sheet 270 x 370mm (10½ x 14½"). Trimmed within plate.
Amateur whips, ostentatiously or ineptly negligent, drive outré vehicles with showy horses.
BM Satires 14721.
[Ref: 58274] £280.00 (£336.00 incl.VAT)
First View of Com. Perry's Victory. Engraved for the Naval Monument.
[Abel Bowen.] M. Corne P. W.B. Annin sc.
[Published by George Clark. 1840.]
Engraving. 133 x 215mm. 5¼ x 8½".
The War of 1812 at Lake Erie where Commander Oliver Perry fought a successful and victorious fleet actions against a task force of the Royal Navy. From Bowen's "Naval Monument". See ref:23803 for similar.
[Ref: 23801] £130.00 (£156.00 incl.VAT)
[Abel Bowen.] M. Corne P. W.B. Annin sc.
[Published by George Clark. 1840.]
Engraving. 133 x 215mm. 5¼ x 8½".
The War of 1812 at Lake Erie where Commander Oliver Perry fought a successful and victorious fleet actions against a task force of the Royal Navy. From Bowen's "Naval Monument". See ref:23803 for similar.
[Ref: 23801] £130.00 (£156.00 incl.VAT)
Second View of Com. Perry's Victory. Engraved for the Naval Monument.
[Abel Bowen.] M. Corne P. W.B. Annin sc.
[Published by George Clark. 1840.]
Engraving. 133 x 215mm. 5¼ x 8½".
The War of 1812 at Lake Erie where Commander Oliver Perry fought a successful and victorious fleet actions against a task force of the Royal Navy. From Bowen's "Naval Monument". Also see ref:23801 for similar.
[Ref: 23803] £130.00 (£156.00 incl.VAT)
[Abel Bowen.] M. Corne P. W.B. Annin sc.
[Published by George Clark. 1840.]
Engraving. 133 x 215mm. 5¼ x 8½".
The War of 1812 at Lake Erie where Commander Oliver Perry fought a successful and victorious fleet actions against a task force of the Royal Navy. From Bowen's "Naval Monument". Also see ref:23801 for similar.
[Ref: 23803] £130.00 (£156.00 incl.VAT)
Commemoration Dinner, at the Freemason's Hall. Wednesday, June 18th, 1828. his Royal Highness the Duke of Sussex in the Chair, Wm. Smith, Esq. M.P, Deputy Chairman. [with list of stewards]
J. Moyes, Took's Court, Chancery Lane [printer]
Two sheets engraving and letterpress, each approx 250 x 310mm (9¾ x 12¼"). Trimmed and laid on album sheets; soiling, offsetting, small tears and creases. Other prints verso.
Ticket (numbered '409' in ink) for a dinner commemorating the 'Royal Assent to the Bill for the Repeal of the Sacramental Test, May the 9th 1828' and signed by William Smith, Chairman of the United Committee for conducting the application to Parliament, and Robert Winter, Secretary to the Committee. The Bill repealed an Act which stated all mayors and officials in municipal corporations had to receive the sacrament of Holy Communion (although the law was not always enacted). The passing of the Bill gave greater religious liberty and led to much discussion of Catholic Emancipation, which was to follow soon after.
[Ref: 32274] £220.00 (£264.00 incl.VAT) view all images for this item
J. Moyes, Took's Court, Chancery Lane [printer]
Two sheets engraving and letterpress, each approx 250 x 310mm (9¾ x 12¼"). Trimmed and laid on album sheets; soiling, offsetting, small tears and creases. Other prints verso.
Ticket (numbered '409' in ink) for a dinner commemorating the 'Royal Assent to the Bill for the Repeal of the Sacramental Test, May the 9th 1828' and signed by William Smith, Chairman of the United Committee for conducting the application to Parliament, and Robert Winter, Secretary to the Committee. The Bill repealed an Act which stated all mayors and officials in municipal corporations had to receive the sacrament of Holy Communion (although the law was not always enacted). The passing of the Bill gave greater religious liberty and led to much discussion of Catholic Emancipation, which was to follow soon after.
[Ref: 32274] £220.00 (£264.00 incl.VAT) view all images for this item
Bill of Lading.
G. Bickham sculp.
[n.d. c.1741.]
Engraving. 89 x 178mm. 3½ x 7". Cut.
George Bickham, who in The Universal Penman, published in parts between 1733 and 1741, gathered together examples of contemporary handwriting by all the best masters of the day, and produced one of the most splendid of English copy books. The end of the 17th century saw the beginning of a new era. With the increase of trade at home, and with English merchant shipping penetrating to ever-more-distant parts of the globe, there was a need for more and more clerks and accountants. In the busy world of commerce, what was most necessary was a good clear hand, easily learnt and easily read. So that, after the great variety of styles prevalent earlier, the English round-hand, a composite form which at its best was both practical and legible, became supreme. This hand, carried round the world by bills of lading, letters of credit and other commercial documents, gave the 18th century English writing masters a position in society.
[Ref: 21061] £65.00 (£78.00 incl.VAT)
G. Bickham sculp.
[n.d. c.1741.]
Engraving. 89 x 178mm. 3½ x 7". Cut.
George Bickham, who in The Universal Penman, published in parts between 1733 and 1741, gathered together examples of contemporary handwriting by all the best masters of the day, and produced one of the most splendid of English copy books. The end of the 17th century saw the beginning of a new era. With the increase of trade at home, and with English merchant shipping penetrating to ever-more-distant parts of the globe, there was a need for more and more clerks and accountants. In the busy world of commerce, what was most necessary was a good clear hand, easily learnt and easily read. So that, after the great variety of styles prevalent earlier, the English round-hand, a composite form which at its best was both practical and legible, became supreme. This hand, carried round the world by bills of lading, letters of credit and other commercial documents, gave the 18th century English writing masters a position in society.
[Ref: 21061] £65.00 (£78.00 incl.VAT)
Commissioner Yeh.
From a Sketch by Lieut.t Shearman, G. Bird. R.E.
Lithographed by Parish. Artist &.c Colchester.
Rare lithograph. Sheet: 175 x 235mm (7 x 9¼"). Marking and some staining.
A slightly satirical portrait of Commissioner Yeh (1807-1859), a Canton official who fought British influence in the aftermath of the First Opium War and who was involved in the beginning of the Second. Yeh was often characterised as the embodiment of Chinese xenophobia. Yeh died as a Prisoner of War in Calcutta.
[Ref: 42615] £260.00 (£312.00 incl.VAT)
From a Sketch by Lieut.t Shearman, G. Bird. R.E.
Lithographed by Parish. Artist &.c Colchester.
Rare lithograph. Sheet: 175 x 235mm (7 x 9¼"). Marking and some staining.
A slightly satirical portrait of Commissioner Yeh (1807-1859), a Canton official who fought British influence in the aftermath of the First Opium War and who was involved in the beginning of the Second. Yeh was often characterised as the embodiment of Chinese xenophobia. Yeh died as a Prisoner of War in Calcutta.
[Ref: 42615] £260.00 (£312.00 incl.VAT)
The Old Commodore. Illustrations of Dibdin.
Designed & drawn on Stone by Ja.s & Geo. Foggo.
London: Published by Engelmann, Graf, Coindet & Co. 14 Newman St. Aug: 1830. Printed by Engelmann, Graf, Coindet & Co.
Lithograph, sheet 285 x 210mm (11¼ x 8¼"). Crease above title.
An old commodore seated in an armchair at a fireplace, with a bandaged gouty foot resting on a footstool, grabbing a walking stick with his right hand. He is watched by a younger man, standing behind the armchair. Sword and scroll lying on the floor in foreground. Illustration to a Charles Dibdin's song.
[Ref: 60607] £160.00 (£192.00 incl.VAT)
Designed & drawn on Stone by Ja.s & Geo. Foggo.
London: Published by Engelmann, Graf, Coindet & Co. 14 Newman St. Aug: 1830. Printed by Engelmann, Graf, Coindet & Co.
Lithograph, sheet 285 x 210mm (11¼ x 8¼"). Crease above title.
An old commodore seated in an armchair at a fireplace, with a bandaged gouty foot resting on a footstool, grabbing a walking stick with his right hand. He is watched by a younger man, standing behind the armchair. Sword and scroll lying on the floor in foreground. Illustration to a Charles Dibdin's song.
[Ref: 60607] £160.00 (£192.00 incl.VAT)
Court of Common Pleas, Westminster Hall.
Pugin & Rowlandson del. et Sculpt. J. C. Stadler, Aquat.
London. Pub June 1, 1808 at R. Ackermann’s Repository of Arts 101, Strand.
Hand coloured aquatint with large margins. Platemark: 240 x 285mm (9½ x 11¼").
An interior view of the Court of Common Pleas, Westminster, London. Authorised by the Magna Carta to sit in a fixed location, the Common Pleas sat in Westminster Hall for its entire existence, joined by the Exchequer of Pleas and Court of King's Bench. Published in Ackermann's famous work, the 'Microcosm of London', the figures were drawn by the famous caricaturist Thomas Rowlandson and the architecture by Augustus Pugin.
Abbey, Scenery: 212.
[Ref: 34082] £230.00 (£276.00 incl.VAT)
Pugin & Rowlandson del. et Sculpt. J. C. Stadler, Aquat.
London. Pub June 1, 1808 at R. Ackermann’s Repository of Arts 101, Strand.
Hand coloured aquatint with large margins. Platemark: 240 x 285mm (9½ x 11¼").
An interior view of the Court of Common Pleas, Westminster, London. Authorised by the Magna Carta to sit in a fixed location, the Common Pleas sat in Westminster Hall for its entire existence, joined by the Exchequer of Pleas and Court of King's Bench. Published in Ackermann's famous work, the 'Microcosm of London', the figures were drawn by the famous caricaturist Thomas Rowlandson and the architecture by Augustus Pugin.
Abbey, Scenery: 212.
[Ref: 34082] £230.00 (£276.00 incl.VAT)
Veduta della Villa Tanzi presso Torno sul Lago di Como.
F Lose dis dal Vero.
[Milano, presso Francesco Bernucca Contrada de' tre Alberghi No 4091.] [n.d., c.1818.]
Framed coloured aquatint, with fine colour, sight size 190 x 220mm (7½ x 8¾"), frame size 245 x 180mm (9½ x 11"). Unexamined outside of frame.
A view of the Villa Tanzi Taverna from Lake Como, also know as also known as Villa Taverna Borromeo, Villa Tanza, Villa Perlasca, Villa Tanzi or Villa Taverna. One of the 56 plates in 'Viaggio pittorico e storico ai tre laghi Maggiore, di Lugano, e di Como'.
[Ref: 63512] £220.00 (£264.00 incl.VAT)
F Lose dis dal Vero.
[Milano, presso Francesco Bernucca Contrada de' tre Alberghi No 4091.] [n.d., c.1818.]
Framed coloured aquatint, with fine colour, sight size 190 x 220mm (7½ x 8¾"), frame size 245 x 180mm (9½ x 11"). Unexamined outside of frame.
A view of the Villa Tanzi Taverna from Lake Como, also know as also known as Villa Taverna Borromeo, Villa Tanza, Villa Perlasca, Villa Tanzi or Villa Taverna. One of the 56 plates in 'Viaggio pittorico e storico ai tre laghi Maggiore, di Lugano, e di Como'.
[Ref: 63512] £220.00 (£264.00 incl.VAT)
Veduta della Pliniana sul Lago di Como.
F Lose dis dal Vero. Carolina Lose inc. G. Bigatti Aqua tinta.
[Milano, presso Francesco Bernucca Contrada de' tre Alberghi No 4091.] [n.d., c.1818.]
Framed coloured aquatint, with fine colour, sight size 190 x 220mm (7½ x 8¾"), frame size 245 x 180mm (9½ x 11"). Unexamined outside of frame.
A view of the Villa Pliniana, originally built in 1573, on the site of a more modest pre-existing building, in the territory of the municipality of Torno, in the province of Como, on the right bank of the western branch of Lake Como. The villa took its name from Pliny the Younger, who described an intermittent karst spring present there in a letter addressed to his friend Lucius Licinius Sura. One of the 56 plates in 'Viaggio pittorico e storico ai tre laghi Maggiore, di Lugano, e di Como'.
[Ref: 63513] £220.00 (£264.00 incl.VAT)
F Lose dis dal Vero. Carolina Lose inc. G. Bigatti Aqua tinta.
[Milano, presso Francesco Bernucca Contrada de' tre Alberghi No 4091.] [n.d., c.1818.]
Framed coloured aquatint, with fine colour, sight size 190 x 220mm (7½ x 8¾"), frame size 245 x 180mm (9½ x 11"). Unexamined outside of frame.
A view of the Villa Pliniana, originally built in 1573, on the site of a more modest pre-existing building, in the territory of the municipality of Torno, in the province of Como, on the right bank of the western branch of Lake Como. The villa took its name from Pliny the Younger, who described an intermittent karst spring present there in a letter addressed to his friend Lucius Licinius Sura. One of the 56 plates in 'Viaggio pittorico e storico ai tre laghi Maggiore, di Lugano, e di Como'.
[Ref: 63513] £220.00 (£264.00 incl.VAT)
Como.
[Anon, c.1820]
Aquatint, sheet 180 x 215mm (6¼ x 8½"). Trimmed around image and title.
French-produced view of Lago di Como in the Lombardy region of Northern Italy.
[Ref: 33759] £130.00 (£156.00 incl.VAT)
[Anon, c.1820]
Aquatint, sheet 180 x 215mm (6¼ x 8½"). Trimmed around image and title.
French-produced view of Lago di Como in the Lombardy region of Northern Italy.
[Ref: 33759] £130.00 (£156.00 incl.VAT)
Bellaggio au Lac de Como.
Exécuté d'après l'original du Daguerréotype Gravé par Falkeisen
Milan chez Ferd. Artaria et Fils, Editeurs [c.1838]
Aquatint, sheet 230 x 280mm (9 x 11"). Artaria blindstamp lower left.
The municipality of Bellaggio on the shore of Lake Como in the Lombardy region or northern Italy. Bellaggio is situated where the lake divides into two narrow arms, the Como (west) arm and Lecco (east) arm. Aquatint after a daguerreotype (an early photographic process), engraved by Johann Jacob Falkeisen (1804-83), Swiss printmaker who worked in Milan until 1838. He later set himself up as a businessman in Asia Minor before returning to Switzerland to curate the museum of Basle.
[Ref: 41110] £160.00 (£192.00 incl.VAT)
Exécuté d'après l'original du Daguerréotype Gravé par Falkeisen
Milan chez Ferd. Artaria et Fils, Editeurs [c.1838]
Aquatint, sheet 230 x 280mm (9 x 11"). Artaria blindstamp lower left.
The municipality of Bellaggio on the shore of Lake Como in the Lombardy region or northern Italy. Bellaggio is situated where the lake divides into two narrow arms, the Como (west) arm and Lecco (east) arm. Aquatint after a daguerreotype (an early photographic process), engraved by Johann Jacob Falkeisen (1804-83), Swiss printmaker who worked in Milan until 1838. He later set himself up as a businessman in Asia Minor before returning to Switzerland to curate the museum of Basle.
[Ref: 41110] £160.00 (£192.00 incl.VAT)
Villa Carlotta au Lac de Como. autrefois Villa Sommariva
Mazzola dess Gravé par L. Cherbuin
Milan chez Ferd. Artaria et Fils, Editeurs [c.1838]
Aquatint, sheet 230 x 280mm (9 x 11"). Artaria blindstamp lower left.
Villa Carlotta on the western shore of Lake Como in the Lombardy region of northern Italy. Completed in 1745, it was acquired by the Neapolitan banker and politician Giambattista Sommariva (hence its previous name 'Villa Sommariva').
[Ref: 41111] £160.00 (£192.00 incl.VAT)
Mazzola dess Gravé par L. Cherbuin
Milan chez Ferd. Artaria et Fils, Editeurs [c.1838]
Aquatint, sheet 230 x 280mm (9 x 11"). Artaria blindstamp lower left.
Villa Carlotta on the western shore of Lake Como in the Lombardy region of northern Italy. Completed in 1745, it was acquired by the Neapolitan banker and politician Giambattista Sommariva (hence its previous name 'Villa Sommariva').
[Ref: 41111] £160.00 (£192.00 incl.VAT)
You are desired to meet the Company of Painter Stayners at Dinner...
[n.d., c.1890.]
Facsimile etching, uncompleted diploma, sheet 310 x 240mm. 12¼ x 9½".
Reproduction of an invitation to accompany the Worshipful Company of Painter-Stainers at St Lukes Feast on Thursday 24 November, 1687 in Painter's Hall in the City of London. Lettering to cartouche illustrated above with an allegorical scene, including a female artist painting an angel, an old man (Time?) leaning over her shoulder, spilling coins from a purse. Two putti, one to right sculpting a bust, the other to left sketching, the whole surrounded by a frame of laurels. The Company is the 28th in seniority in the City of London's Livery Companies. After Antonio Verrio (Italian/British, 1639 - 1707).
See BM 1977,U.1223 for a 17th century impression.
[Ref: 21983] £60.00 (£72.00 incl.VAT)
[n.d., c.1890.]
Facsimile etching, uncompleted diploma, sheet 310 x 240mm. 12¼ x 9½".
Reproduction of an invitation to accompany the Worshipful Company of Painter-Stainers at St Lukes Feast on Thursday 24 November, 1687 in Painter's Hall in the City of London. Lettering to cartouche illustrated above with an allegorical scene, including a female artist painting an angel, an old man (Time?) leaning over her shoulder, spilling coins from a purse. Two putti, one to right sculpting a bust, the other to left sketching, the whole surrounded by a frame of laurels. The Company is the 28th in seniority in the City of London's Livery Companies. After Antonio Verrio (Italian/British, 1639 - 1707).
See BM 1977,U.1223 for a 17th century impression.
[Ref: 21983] £60.00 (£72.00 incl.VAT)
![Aln-måtts jemföring emellan the förnämsta Handels-Städer i Europa. [&] Wigtens jemföring emellan the förnämsta Handels-Städer i Europa.](jpegs/18936.jpg)
Aln-måtts jemföring emellan the förnämsta Handels-Städer i Europa. [&] Wigtens jemföring emellan the förnämsta Handels-Städer i Europa.
[n..d. c.1750.]
Printed letterpress, very scarce. Sheet 381 x 235mm. 15 x 9¼".
Stockholm during the Age of Liberty (1718-1772) and following the Stockholm Treaties of 1719 and 1720 financial resources were transposed from countryside to cities, this was closely followed by urbanisation which in turn affected the rate of growth in social development and education standards. During the 18th century the economic model introduced the previous century was further developed, and Stockholm became the vital centre of trade in Europe; this particular chart outlines the comparison in measures and weights amongst the principal Cities of Commerce in Europe.
Ex: Collection of Norman Blackburn
[Ref: 18936] £390.00
[n..d. c.1750.]
Printed letterpress, very scarce. Sheet 381 x 235mm. 15 x 9¼".
Stockholm during the Age of Liberty (1718-1772) and following the Stockholm Treaties of 1719 and 1720 financial resources were transposed from countryside to cities, this was closely followed by urbanisation which in turn affected the rate of growth in social development and education standards. During the 18th century the economic model introduced the previous century was further developed, and Stockholm became the vital centre of trade in Europe; this particular chart outlines the comparison in measures and weights amongst the principal Cities of Commerce in Europe.
Ex: Collection of Norman Blackburn
[Ref: 18936] £390.00
![[Compass Rose]](jpegs/42479.jpg)
[Compass Rose]
[Basel, c.1588]
Woodcut with letterpress, sheet 310 x 200mm (12¼ x 8").
Sheet from a Latin edition of Sebastian Munster's important sixteenth century geographical work 'Cosmography'.
[Ref: 42479] £130.00 (£156.00 incl.VAT)
[Basel, c.1588]
Woodcut with letterpress, sheet 310 x 200mm (12¼ x 8").
Sheet from a Latin edition of Sebastian Munster's important sixteenth century geographical work 'Cosmography'.
[Ref: 42479] £130.00 (£156.00 incl.VAT)
![[A compass rose.]](jpegs/10752.jpg)
[A compass rose.]
[Dutch, n.d., c.1620.]
Hand coloured engraved compass rose, sheet 100 x 100mm. 4 x 4". Excised from an atlas and glued to card.
Finely engraved and decorated with floral and animal motifs, fine later colour. From a Dutch atlas.
[Ref: 10752] £120.00 (£144.00 incl.VAT)
[Dutch, n.d., c.1620.]
Hand coloured engraved compass rose, sheet 100 x 100mm. 4 x 4". Excised from an atlas and glued to card.
Finely engraved and decorated with floral and animal motifs, fine later colour. From a Dutch atlas.
[Ref: 10752] £120.00 (£144.00 incl.VAT)
![[Measuring instruments and scale]](jpegs/42482.jpg)
[Measuring instruments and scale] Meta del Piedi Vicentino. Diviso in sei oncie, ed ogni oncia in quattro Minuti.
M. Vd. Gucht Sculp [c.1720]
Rare engraving; platemark 310 x 215mm (12¼ x 8½").
[Ref: 42482] £160.00 (£192.00 incl.VAT)
M. Vd. Gucht Sculp [c.1720]
Rare engraving; platemark 310 x 215mm (12¼ x 8½").
[Ref: 42482] £160.00 (£192.00 incl.VAT)
![[La Compassion.]](jpegs/36312.jpg)
[La Compassion.]
[J.B.Greuze pinxit. J.Massard fecit.]
[n.d., 1777.]
Mezzotint with very large margins, proof before letters, rare. 255 x 195mm (10 x 7¾"). SIGNED BY THE ENGRAVER ON REVERSE.
Head and shoulders of a young girl throwing up her hands in pity, set in an oval against a blank frame. The artist Jean Baptiste Greuze (1725-1805), who specialised in domestic genre scenes, signed prints after his designs to prevent undeclared impressions being run off without his knowledge; here, however, only the signature of the engraver, Jean Massard (1740-1822) is visible, albeit faintly.
See BM 2004,0430.9 for published state, 'the only example known of a mezzotint after Greuze made in France'. Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36312] £250.00 (£300.00 incl.VAT)
[J.B.Greuze pinxit. J.Massard fecit.]
[n.d., 1777.]
Mezzotint with very large margins, proof before letters, rare. 255 x 195mm (10 x 7¾"). SIGNED BY THE ENGRAVER ON REVERSE.
Head and shoulders of a young girl throwing up her hands in pity, set in an oval against a blank frame. The artist Jean Baptiste Greuze (1725-1805), who specialised in domestic genre scenes, signed prints after his designs to prevent undeclared impressions being run off without his knowledge; here, however, only the signature of the engraver, Jean Massard (1740-1822) is visible, albeit faintly.
See BM 2004,0430.9 for published state, 'the only example known of a mezzotint after Greuze made in France'. Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36312] £250.00 (£300.00 incl.VAT)
Compensation. Old TAOW-KWANG, being now tired of the war, sent Commisioners to treat for peace. Accordingly, on the 26th of August, 1842, they arrived, and a Treaty was immediately commenced.- China to pay 21,000,000 dollars in the course of the present and three succeeding years.- Five Large Ports to be thrown open to British trade, and the Island of Hong-Kong to be ceded for ever to England. - Who retains possession of Nankin and the Grand Canal until the first installment of 6,000,000 dollars is paid.
Wood engraving, printed in blue 135 x 150mm (5¼ x 6"). Glued to backing sheet.
A rare satire on the Treaty of Nanking (Nanjing) a peace treaty that ended the First Opium War (1839-1842). The image shows the Emperor Daoguang (otherwise known as Tao Kuang) (1782 -1850) handing the money over to the English Soldiers and presenting sacks, the one in his hand reads ' Holland & Wood to Burn,' and behind his men are jars containing Opium. The Chinese Court spectates. This could possibly be a Tea Wrapper.
[Ref: 55017] £300.00
Wood engraving, printed in blue 135 x 150mm (5¼ x 6"). Glued to backing sheet.
A rare satire on the Treaty of Nanking (Nanjing) a peace treaty that ended the First Opium War (1839-1842). The image shows the Emperor Daoguang (otherwise known as Tao Kuang) (1782 -1850) handing the money over to the English Soldiers and presenting sacks, the one in his hand reads ' Holland & Wood to Burn,' and behind his men are jars containing Opium. The Chinese Court spectates. This could possibly be a Tea Wrapper.
[Ref: 55017] £300.00
With the Compliments of the Season.
W.M.Trood. S.Arlent Edwards.
[n.d., c.1885.]
Photogravure, mounted on card bearing Artist & engraver's signatures.
A puppy being confronted by a stag beetle.
[Ref: 6182] £240.00 (£288.00 incl.VAT)
W.M.Trood. S.Arlent Edwards.
[n.d., c.1885.]
Photogravure, mounted on card bearing Artist & engraver's signatures.
A puppy being confronted by a stag beetle.
[Ref: 6182] £240.00 (£288.00 incl.VAT)
A Composer. If You Doubt What I Say Take a Bumper and Try. Hodgson's Special Originals No. 2.
[London: Orlando Hodgson, n.d., c.1835.]
Coloured lithograph. Sheet 255 x 180mm (10 x 7"). Faint soiling.
A sour-looking and unkept man is carpet slippers lifts a large goblet to drink. Behind is a table with a large corked bottle with a label 'A Goblet full to be taken every ten minutes', and a pocket watch.
[Ref: 58367] £70.00 (£84.00 incl.VAT)
[London: Orlando Hodgson, n.d., c.1835.]
Coloured lithograph. Sheet 255 x 180mm (10 x 7"). Faint soiling.
A sour-looking and unkept man is carpet slippers lifts a large goblet to drink. Behind is a table with a large corked bottle with a label 'A Goblet full to be taken every ten minutes', and a pocket watch.
[Ref: 58367] £70.00 (£84.00 incl.VAT)
![[Composition]](jpegs/54116.jpg)
[Composition]
J. B. Cipriani del.t. Rob.t Sa.l Marcuard Scu.t.
London, [n.d. 1784]
Stipple and etching, proof before title and publication line, watermark 1784; 165 x 225mm (6½ x 8¾"). Trimmed to plate. Light foxing
An allegorical scene of a classical female figure painting a figure of Athena; she is being advised by a cherub over her shoulder, while another cherub holds her drawing board. A companion print to 'Study' also by Marcuard (after Cipriani), published by Palmer 1784.
[Ref: 54116] £220.00 (£264.00 incl.VAT)
J. B. Cipriani del.t. Rob.t Sa.l Marcuard Scu.t.
London, [n.d. 1784]
Stipple and etching, proof before title and publication line, watermark 1784; 165 x 225mm (6½ x 8¾"). Trimmed to plate. Light foxing
An allegorical scene of a classical female figure painting a figure of Athena; she is being advised by a cherub over her shoulder, while another cherub holds her drawing board. A companion print to 'Study' also by Marcuard (after Cipriani), published by Palmer 1784.
[Ref: 54116] £220.00 (£264.00 incl.VAT)
The R.t Hon.ble Catherine Compton, Countess of Egmont, Daughter of Charles Compton Esq.r and Sister to Spencer Compton, now Earl of Northampton. With Master Charles Perceval, Her Eldest Son.
T. Hudson pinxit. J. M.cArdell fecit.
Pub.d accord.g to Act of Parliam.t 1765.
Mezzotint. 380 x 275mm (15 x 10¾"). Laid on album paper at margins.
A three-quarter seated portrait of Catherine Compton (1731-84), second wife of John Perceval, 2nd Earl of Egmont, wearing ermine-trimmed robes, holding her eldest son, Charles George Perceval (1756-1840, later Baron Arden) on a table in front of her. Her fourth child was Spencer Perceval (1762–1812), the only Prime Minister to be assassinated in office.
CS 60, Russell ii of ii. Goodwin 112 ii of ii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68356] £230.00 (£276.00 incl.VAT)
T. Hudson pinxit. J. M.cArdell fecit.
Pub.d accord.g to Act of Parliam.t 1765.
Mezzotint. 380 x 275mm (15 x 10¾"). Laid on album paper at margins.
A three-quarter seated portrait of Catherine Compton (1731-84), second wife of John Perceval, 2nd Earl of Egmont, wearing ermine-trimmed robes, holding her eldest son, Charles George Perceval (1756-1840, later Baron Arden) on a table in front of her. Her fourth child was Spencer Perceval (1762–1812), the only Prime Minister to be assassinated in office.
CS 60, Russell ii of ii. Goodwin 112 ii of ii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 68356] £230.00 (£276.00 incl.VAT)
The Most Noble Charles Marquess of Northampton, Dedicated by Permission to the Dowager Marchioness of Northampton by her Ladyships obedient Servant George Perfect Harding.
G.P. Harding pinx.t. T.A. Dean sculp.
Published June 1st 1830 by G.P. Harding, 18 Hercules Buildings, Lambeth.
Engraving on india. 305 x 240mm, 12 x 9½". Collector's blindstamp.
Charles Compton, 1st Marquess of Northampton (1760-1828), MP for Northampton from 1784 until he inherited the earldom of Northampton in 1796. He was made Marquess of Northampton. in 1812.
[Ref: 13978] £70.00 (£84.00 incl.VAT)
G.P. Harding pinx.t. T.A. Dean sculp.
Published June 1st 1830 by G.P. Harding, 18 Hercules Buildings, Lambeth.
Engraving on india. 305 x 240mm, 12 x 9½". Collector's blindstamp.
Charles Compton, 1st Marquess of Northampton (1760-1828), MP for Northampton from 1784 until he inherited the earldom of Northampton in 1796. He was made Marquess of Northampton. in 1812.
[Ref: 13978] £70.00 (£84.00 incl.VAT)
![[Henry Compton] Henry Bishop of London.](jpegs/65379.jpg)
[Henry Compton] Henry Bishop of London.
J Rily pinx: I. Beckett sc.
Sold by J. Smith att the Golden Lyon in Russel Street Covent Garden.
Mezzotint. Sheet 330 x 245mm (13 x 9½"), unidentified collector's stamp of a palette on reverse. Trimmed within plate.
Henry Compton (1632-1713), youngest son of the 2nd Earl of Northampton, Bishop of London from 1675 to 1713. Before the Glorious Revolution of 1688 he officiated at the weddings of princesses Mary and Anne before being suspended for his anti-catholic stance by James II. He was one of the 'Immortal Seven' who signed the invitation for William and Mary to take the English throne from James and performed their coronation. He was a commissioner for the Act of Union of 1707 and helped set up the Anglican church in Maryland, where he had a land grant.
CS 26, iii of iv. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65379] £160.00 (£192.00 incl.VAT)
J Rily pinx: I. Beckett sc.
Sold by J. Smith att the Golden Lyon in Russel Street Covent Garden.
Mezzotint. Sheet 330 x 245mm (13 x 9½"), unidentified collector's stamp of a palette on reverse. Trimmed within plate.
Henry Compton (1632-1713), youngest son of the 2nd Earl of Northampton, Bishop of London from 1675 to 1713. Before the Glorious Revolution of 1688 he officiated at the weddings of princesses Mary and Anne before being suspended for his anti-catholic stance by James II. He was one of the 'Immortal Seven' who signed the invitation for William and Mary to take the English throne from James and performed their coronation. He was a commissioner for the Act of Union of 1707 and helped set up the Anglican church in Maryland, where he had a land grant.
CS 26, iii of iv. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65379] £160.00 (£192.00 incl.VAT)
Henry Bishop of London.
J Rily pinx: I. Beckett sc.
Sold by J. Smith att the Golden Lyon in Russel Street Covent Garden.
Mezzotint. 340 x 250mm (13½ x 9¾"). Trimmed to plate at bottom, thread margins elsewhere.
Henry Compton (1632-1713), youngest son of the 2nd Earl of Northampton, Bishop of London from 1675 to 1713. Before the Glorious Revolution of 1688 he officiated at the weddings of princesses Mary and Anne before being suspended for his anti-catholic stance by James II. He was one of the 'Immortal Seven' who signed the invitation for William and Mary to take the English throne from James and performed their coronation. He American interest.
CS 26, iii of iv. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65380] £90.00 (£108.00 incl.VAT)
J Rily pinx: I. Beckett sc.
Sold by J. Smith att the Golden Lyon in Russel Street Covent Garden.
Mezzotint. 340 x 250mm (13½ x 9¾"). Trimmed to plate at bottom, thread margins elsewhere.
Henry Compton (1632-1713), youngest son of the 2nd Earl of Northampton, Bishop of London from 1675 to 1713. Before the Glorious Revolution of 1688 he officiated at the weddings of princesses Mary and Anne before being suspended for his anti-catholic stance by James II. He was one of the 'Immortal Seven' who signed the invitation for William and Mary to take the English throne from James and performed their coronation. He American interest.
CS 26, iii of iv. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65380] £90.00 (£108.00 incl.VAT)
The R.t Hon.ble Spencer Compton. Baron of Wilmington. Receiver & Pay Master General of all his Maj.ties Guards Garrisons & Forces Pay Master of the Royal Hospital of Invalids at Chelsea, One of the Lords of his Maj.ties Privy Council, One of ye Commis.rs for building 50 new Churches & Knight of the Bath.
G. Kneller pinx. P. Pelham fecit.
[London, Printed & Sold by J. Bowles Printsel.r at Mercer's Hall in Cheapside.] [n.d. c.1728.]
Mezzotint. Sheet 350 x 255mm (13¾ x 10"). Trimmed into plate at bottom, losing publication line, narrow margins elsewhere.
Half-length portrait of Spencer Compton (c.1674-1743), 1st Earl of Wilmington, wearing velvet coat, white cravat, and long brown wig. He stands with a tree behind him and mountains in the background to right. His crest with the motto of the Bath 'Tria Juncta in Uno', and 'Sola Bona Quae Honesta' splits the title. Compton was a Whig politician, favourite of King George II, and prime minister of Great Britain from February 1742 to July 1743. He was created Baron Wilmington in 1728 and Earl of Wilmington two years later. Kneller's original oil, painted c.1710, is in the National Portrait Gallery (NPG 3234). The engraver, Peter Pelham, emigrated to Boston in 1727, becoming America's first mezzotinter. In 1748 he married John Singleton Copley's mother.
CS 8, state ii of iii of iii. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 64845] £180.00 (£216.00 incl.VAT)
G. Kneller pinx. P. Pelham fecit.
[London, Printed & Sold by J. Bowles Printsel.r at Mercer's Hall in Cheapside.] [n.d. c.1728.]
Mezzotint. Sheet 350 x 255mm (13¾ x 10"). Trimmed into plate at bottom, losing publication line, narrow margins elsewhere.
Half-length portrait of Spencer Compton (c.1674-1743), 1st Earl of Wilmington, wearing velvet coat, white cravat, and long brown wig. He stands with a tree behind him and mountains in the background to right. His crest with the motto of the Bath 'Tria Juncta in Uno', and 'Sola Bona Quae Honesta' splits the title. Compton was a Whig politician, favourite of King George II, and prime minister of Great Britain from February 1742 to July 1743. He was created Baron Wilmington in 1728 and Earl of Wilmington two years later. Kneller's original oil, painted c.1710, is in the National Portrait Gallery (NPG 3234). The engraver, Peter Pelham, emigrated to Boston in 1727, becoming America's first mezzotinter. In 1748 he married John Singleton Copley's mother.
CS 8, state ii of iii of iii. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 64845] £180.00 (£216.00 incl.VAT)
![[Spencer Compton, second earl of Northampton]](jpegs/42320.jpg)
[Spencer Compton, second earl of Northampton]
Silvester Harding 1801
Watercolour and wash, sheet 180 x 160mm (7 x 6¼").
Spencer Compton, second earl of Northampton (1601-43), army officer. A courtier loyal to the crown, Compton was appointed master of the robes to Prince Charles in 1622 and became a close friend of the future king. He raised troops for the bishops' wars of 1639 and 1640 and was quick to side with the king after the outbreak of civil war in 1642. During the Battle of Hopton Heath in Staffordshire the following year he was killed by a blow to the head from a halberd. Watercolour by Silvester Harding (1745/51-1809), artist and publisher. After setting up a shop in Fleet Street with his brother Edward in 1786, Harding was chiefly employed in drawing portraits of theatrical celebrities, and in copying ancient portraits in watercolours, as here. The partnership was dissolved by 1798 (before this watercolour was made). Harding was known to, and esteemed by the collectors of his day, and many examples of his work are in the British Museum. His son George Perfect Harding also specialised in watercolour copies of early portraits.
[Ref: 42320] £280.00 (£336.00 incl.VAT)
Silvester Harding 1801
Watercolour and wash, sheet 180 x 160mm (7 x 6¼").
Spencer Compton, second earl of Northampton (1601-43), army officer. A courtier loyal to the crown, Compton was appointed master of the robes to Prince Charles in 1622 and became a close friend of the future king. He raised troops for the bishops' wars of 1639 and 1640 and was quick to side with the king after the outbreak of civil war in 1642. During the Battle of Hopton Heath in Staffordshire the following year he was killed by a blow to the head from a halberd. Watercolour by Silvester Harding (1745/51-1809), artist and publisher. After setting up a shop in Fleet Street with his brother Edward in 1786, Harding was chiefly employed in drawing portraits of theatrical celebrities, and in copying ancient portraits in watercolours, as here. The partnership was dissolved by 1798 (before this watercolour was made). Harding was known to, and esteemed by the collectors of his day, and many examples of his work are in the British Museum. His son George Perfect Harding also specialised in watercolour copies of early portraits.
[Ref: 42320] £280.00 (£336.00 incl.VAT)
S.r William Compton. From an Original Picture at Castle-Ashby, Northamptonshire.[original ink mss.
T. Athow.
[c.1810.]
Ink, watercolour and wash with inscription in ink. Image 170 x 150mm (6¾ x 6").
Sir William Compton (1625-1663), a Royalist Commander elected Member of Parliament for Cambridge in 1661 for the Cavalier Parliament. Three similar works by Thomas Athow (1802-1820, fl.) are in the British Museum and a collection are in the National Portrait Gallery.
[Ref: 42311] £350.00
T. Athow.
[c.1810.]
Ink, watercolour and wash with inscription in ink. Image 170 x 150mm (6¾ x 6").
Sir William Compton (1625-1663), a Royalist Commander elected Member of Parliament for Cambridge in 1661 for the Cavalier Parliament. Three similar works by Thomas Athow (1802-1820, fl.) are in the British Museum and a collection are in the National Portrait Gallery.
[Ref: 42311] £350.00
Adelaide entering in disguise the Abbey of La Trappe, hears her lovers voice in the Choir. mem: of the Comte de Comminge.
H. Bunbury Esq.r Delin.t. W. Dickinson Excudit.
London, Publish'd Oct.r 20;th 1782, by W. Dickinson Engraver & Printseller No. 158 New Bond Street.
Stipple and aquatint, 18th century watermark. 385 x 505mm (15¼ x 19¾"). Thread margins top and bottom.
A scene from Claudine Guérin de Tencin's tragedy ''Les Amants malheureux ou Le Comte de Comminges'', adapted for the stage by Baculard d'Arnaud. A girl, dressed in male clothing, is apprehended by two Trappist monks.
[Ref: 54587] £280.00 (£336.00 incl.VAT)
H. Bunbury Esq.r Delin.t. W. Dickinson Excudit.
London, Publish'd Oct.r 20;th 1782, by W. Dickinson Engraver & Printseller No. 158 New Bond Street.
Stipple and aquatint, 18th century watermark. 385 x 505mm (15¼ x 19¾"). Thread margins top and bottom.
A scene from Claudine Guérin de Tencin's tragedy ''Les Amants malheureux ou Le Comte de Comminges'', adapted for the stage by Baculard d'Arnaud. A girl, dressed in male clothing, is apprehended by two Trappist monks.
[Ref: 54587] £280.00 (£336.00 incl.VAT)
The Count de Peltzer mortally wounded by some Austrian Foragers on ye Eve of his Marriage. [&] Fred. Zemmerman having escaped from ye Abbey of La Trappe & recover'd his beloved Mistress is seiz'd & thrown into a Dungeon for Life. [ink mss titles.]
Mr Bunbury del. J.s Bretherton f. [ink mss]
[n.d., c.1787.]
Pair of mixed method engravings, proofs before all letters with colour wash. Sheets 485 x 570mm (19 x 22½"), 1st on Whatman laid paper, 2nd with large 18th century watermark. Creasing and slight staining. Cut inside platemark.
Two well-executed sketches, with the titles and inscriptions of the smaller etchings published by James Bretherton in 1787. The first shows the Count lying on a bed, attended by his fiancée M.lle de Benskow, her mother and her brother, as a boy brings soup for the dying man. The second shows a young man being captured by soldiers as a pair of monks watch, a scene from Claudine Guérin de Tencin's tragedy ''Les Amants malheureux ou Le Comte de Comminges'', adapted for the stage by Baculard d'Arnaud.
[Ref: 54536] £550.00 view all images for this item
Mr Bunbury del. J.s Bretherton f. [ink mss]
[n.d., c.1787.]
Pair of mixed method engravings, proofs before all letters with colour wash. Sheets 485 x 570mm (19 x 22½"), 1st on Whatman laid paper, 2nd with large 18th century watermark. Creasing and slight staining. Cut inside platemark.
Two well-executed sketches, with the titles and inscriptions of the smaller etchings published by James Bretherton in 1787. The first shows the Count lying on a bed, attended by his fiancée M.lle de Benskow, her mother and her brother, as a boy brings soup for the dying man. The second shows a young man being captured by soldiers as a pair of monks watch, a scene from Claudine Guérin de Tencin's tragedy ''Les Amants malheureux ou Le Comte de Comminges'', adapted for the stage by Baculard d'Arnaud.
[Ref: 54536] £550.00 view all images for this item
![[Comus] The Enchanted Lady.](jpegs/67872.jpg)
[Comus] The Enchanted Lady. Vide Milton's Comus.
S. Harding Inv.t. P.W. Tomkins Sculp. Pupil of F. Bartolozzi.
London: Published June 8th 1785 by Tho.s Macklin, Fleet Street.
Stipple, open lettered title, printed in brown with hand colour. Sheet 255 x 275mm (10 x 11¼"). Trimmed within plate on three sides.
Comus, holding a necromancer's wand, urges 'The Lady', stuck in an enchanted chair, to drink from his magical cup (representing sexual pleasure and intemperance).
See [Ref: 45215] for uncoloured version
[Ref: 67872] £260.00 (£312.00 incl.VAT)
S. Harding Inv.t. P.W. Tomkins Sculp. Pupil of F. Bartolozzi.
London: Published June 8th 1785 by Tho.s Macklin, Fleet Street.
Stipple, open lettered title, printed in brown with hand colour. Sheet 255 x 275mm (10 x 11¼"). Trimmed within plate on three sides.
Comus, holding a necromancer's wand, urges 'The Lady', stuck in an enchanted chair, to drink from his magical cup (representing sexual pleasure and intemperance).
See [Ref: 45215] for uncoloured version
[Ref: 67872] £260.00 (£312.00 incl.VAT)
![[Comus] The Enchanted Lady.](jpegs/45215.jpg)
[Comus] The Enchanted Lady. Vide Milton's Comu[s]
S. Harding Inv.t. P.W. Tomkins Sculp. Pupil of F. Bartolozzi.
London: Published June 8th 1785 by Tho.s Macklin, Fleet Street.
Stipple, printed in brown. Sheet 240 x 255mm (9½ x 10"). Trimmed to printed border.
Comus, holding a necromancer's wand, urges 'The Lady', stuck in an enchanted chair, to drink from his magical cup (representing sexual pleasure and intemperance).
See [Ref: 67872] for version with colour.
[Ref: 45215] £140.00 (£168.00 incl.VAT)
S. Harding Inv.t. P.W. Tomkins Sculp. Pupil of F. Bartolozzi.
London: Published June 8th 1785 by Tho.s Macklin, Fleet Street.
Stipple, printed in brown. Sheet 240 x 255mm (9½ x 10"). Trimmed to printed border.
Comus, holding a necromancer's wand, urges 'The Lady', stuck in an enchanted chair, to drink from his magical cup (representing sexual pleasure and intemperance).
See [Ref: 67872] for version with colour.
[Ref: 45215] £140.00 (£168.00 incl.VAT)
Comus and Lady, Milton's Comus.
Shelley pinx.t C. Taylor excudit. W. Nutter Sculp.t
London, Published by C. Taylor, Holborn, Oct.r 1, 1824.
Stipple. Plate 158 x 152mm. 6¼ x 6".
The point in Milton's masque 'Comus', when Comus urges the Lady to "be not coy" and drink form his magical cup (representing sexual pleasure and intemperance), but she repeatedly refuses, arguing for the virtuousness of temperance and chastity.
[Ref: 22607] £60.00 (£72.00 incl.VAT)
Shelley pinx.t C. Taylor excudit. W. Nutter Sculp.t
London, Published by C. Taylor, Holborn, Oct.r 1, 1824.
Stipple. Plate 158 x 152mm. 6¼ x 6".
The point in Milton's masque 'Comus', when Comus urges the Lady to "be not coy" and drink form his magical cup (representing sexual pleasure and intemperance), but she repeatedly refuses, arguing for the virtuousness of temperance and chastity.
[Ref: 22607] £60.00 (£72.00 incl.VAT)
Hill Fort of Sidghur, Northern Concan.
Drawn by Capt.n Barton. R.Ackermann's Lithography.
[n.d., c.1820.]
Lithograph. Printed area 230 x 330mm.
From '12 Views of Hill Forts in the Western Ghats near Bombay' by Captain James Barton (1793-1829), an artillery officer in the Fourth Anglo-Maratha War, 1817-19. The Western Ghats are a range of hills that reach from the state of Maharashtra to Tamil Nadu and separate Bombay, on the western coast, from central India.
[Ref: 7629] £140.00 (£168.00 incl.VAT)
Drawn by Capt.n Barton. R.Ackermann's Lithography.
[n.d., c.1820.]
Lithograph. Printed area 230 x 330mm.
From '12 Views of Hill Forts in the Western Ghats near Bombay' by Captain James Barton (1793-1829), an artillery officer in the Fourth Anglo-Maratha War, 1817-19. The Western Ghats are a range of hills that reach from the state of Maharashtra to Tamil Nadu and separate Bombay, on the western coast, from central India.
[Ref: 7629] £140.00 (£168.00 incl.VAT)
Hill Fort of Bhow Mullen, Northern Concan.
Drawn by Capt.n Barton. R.Ackermann's Lithography.
[n.d., c.1820.]
Lithograph. Printed area 230 x 330mm.
From '12 Views of Hill Forts in the Western Ghats near Bombay' by Captain James Barton (1793-1829), an artillery officer in the Fourth Anglo-Maratha War, 1817-19. The Western Ghats are a range of hills that reach from the state of Maharashtra to Tamil Nadu and separate Bombay, on the western coast, from central India.
[Ref: 7627] £140.00 (£168.00 incl.VAT)
Drawn by Capt.n Barton. R.Ackermann's Lithography.
[n.d., c.1820.]
Lithograph. Printed area 230 x 330mm.
From '12 Views of Hill Forts in the Western Ghats near Bombay' by Captain James Barton (1793-1829), an artillery officer in the Fourth Anglo-Maratha War, 1817-19. The Western Ghats are a range of hills that reach from the state of Maharashtra to Tamil Nadu and separate Bombay, on the western coast, from central India.
[Ref: 7627] £140.00 (£168.00 incl.VAT)
View in the Northern Concan.
Drawn by Capt.n Barton. R.Ackermann's Lithography.
[n.d., c.1820.]
Lithograph. Printed area 230 x 330mm. Ink stamp on verso.
From '12 Views of Hill Forts in the Western Ghats near Bombay' by Captain James Barton (1793-1829), an artillery officer in the Fourth Anglo-Maratha War, 1817-19. The Western Ghats are a range of hills that reach from the state of Maharashtra to Tamil Nadu and separate Bombay, on the western coast, from central India.
[Ref: 7626] £140.00 (£168.00 incl.VAT)
Drawn by Capt.n Barton. R.Ackermann's Lithography.
[n.d., c.1820.]
Lithograph. Printed area 230 x 330mm. Ink stamp on verso.
From '12 Views of Hill Forts in the Western Ghats near Bombay' by Captain James Barton (1793-1829), an artillery officer in the Fourth Anglo-Maratha War, 1817-19. The Western Ghats are a range of hills that reach from the state of Maharashtra to Tamil Nadu and separate Bombay, on the western coast, from central India.
[Ref: 7626] £140.00 (£168.00 incl.VAT)
![[View in the Conkan.]](jpegs/35529.jpg)
[View in the Conkan.]
[Sketched by an Officer in the Indian Army. Drawn on Stone by J.Lynch.]
[Printed and published by A. Friedel, 24, Greek Street, Soho, London.]
Lithograph on india, proof before letters. Printed area 180 x 255mm (7 x 10").
A river scene under steep hills in the Koncan. From 'Eight Most Splendid Views of India, sketched by an Officer in the Indian Army', showing hill forts in forts situated in the Western Ghats of Maharashtra, western India. Although Baron Adam Friedel is sometimes quoted as the artist as well as the publisher, it is unlikely that he served as a soldier in India; he was already a successful publisher, particularly of portraits of the leaders of the Greek revolution.
[Ref: 35529] £190.00 (£228.00 incl.VAT)
[Sketched by an Officer in the Indian Army. Drawn on Stone by J.Lynch.]
[Printed and published by A. Friedel, 24, Greek Street, Soho, London.]
Lithograph on india, proof before letters. Printed area 180 x 255mm (7 x 10").
A river scene under steep hills in the Koncan. From 'Eight Most Splendid Views of India, sketched by an Officer in the Indian Army', showing hill forts in forts situated in the Western Ghats of Maharashtra, western India. Although Baron Adam Friedel is sometimes quoted as the artist as well as the publisher, it is unlikely that he served as a soldier in India; he was already a successful publisher, particularly of portraits of the leaders of the Greek revolution.
[Ref: 35529] £190.00 (£228.00 incl.VAT)
A Public Concert by Well-Known Performers
[anon., c.1830]
Lithograph, sheet 190 x 205mm (7½ x 8").
Group of Scottish musicians.
[Ref: 40815] £130.00 (£156.00 incl.VAT)
[anon., c.1830]
Lithograph, sheet 190 x 205mm (7½ x 8").
Group of Scottish musicians.
[Ref: 40815] £130.00 (£156.00 incl.VAT)
A Con-Cert. From the Original Picture, painted by Michel Angel da Caravaggio in the Collection of his Grace the Duke of Devonshire;_To Whom this Plate is most humble inscribed, by his Grace's most Obliged,_and most Obedient humble Servant, _ J. Boydell. Size of the Picture, 3F. 1In. by 4F. 3In in Length. No.7.
Michel Angel da Caravaggio Pinx.t. E. Edwards delin.t. Thomas Chambars Sculpsit.
Publish'd according to Act of Parliament March 1st. 1764, by J. Boydell Engraver, in Cheapside: London.
Engraving. 431 x 532mm (17 x 21").
Very fine image of three musicians, seen half-length, to the left a man playing guitars and looking towards the viewer; nearby his companion, who has put his hand around his shoulders, is singing whilst raising his glass; to the right is a flute player; on the far right, a pitcher. After a painting attributed on plate to Caravaggion, and to Valentin. Dedication to William Cavendish, 4th Duke of Devonshire.
Ex Collection Duke of Westminster.
[Ref: 38266] £420.00
Michel Angel da Caravaggio Pinx.t. E. Edwards delin.t. Thomas Chambars Sculpsit.
Publish'd according to Act of Parliament March 1st. 1764, by J. Boydell Engraver, in Cheapside: London.
Engraving. 431 x 532mm (17 x 21").
Very fine image of three musicians, seen half-length, to the left a man playing guitars and looking towards the viewer; nearby his companion, who has put his hand around his shoulders, is singing whilst raising his glass; to the right is a flute player; on the far right, a pitcher. After a painting attributed on plate to Caravaggion, and to Valentin. Dedication to William Cavendish, 4th Duke of Devonshire.
Ex Collection Duke of Westminster.
[Ref: 38266] £420.00
Le Concert Agreable.
Peint par Lavreince, Peintre du Roi de Suede et de l'Acad. Rle. de Stokolm. Grave par C.N. Varin.
A Paris chez Vidal, Graveur, rue des Noyers No.29. [n.d., 1785.]
Copper engraving on laid paper, 385 x 460mm. 15¼ x 18". Fine impression with full margins.
An attractive outdoor scene demonstrating the leisurely pursuits of fashionable French society. A group of men and women partake in a musical recital; featuring flute, guitars and a lute, one woman preparing to sing from the open song-book she holds. Engraved by Charles Nicolas Varin (c.1741 - 1812). The artist Nicolas Lavreince was a Swedish miniature painter who trained and worked in Paris until the onset of the Revolution. The print was advertised in Mercure de France, 26th March 1785, and in the Journal de Paris, 30th March 1785.
BNF: FRBNF40279153.
[Ref: 21361] £420.00
Peint par Lavreince, Peintre du Roi de Suede et de l'Acad. Rle. de Stokolm. Grave par C.N. Varin.
A Paris chez Vidal, Graveur, rue des Noyers No.29. [n.d., 1785.]
Copper engraving on laid paper, 385 x 460mm. 15¼ x 18". Fine impression with full margins.
An attractive outdoor scene demonstrating the leisurely pursuits of fashionable French society. A group of men and women partake in a musical recital; featuring flute, guitars and a lute, one woman preparing to sing from the open song-book she holds. Engraved by Charles Nicolas Varin (c.1741 - 1812). The artist Nicolas Lavreince was a Swedish miniature painter who trained and worked in Paris until the onset of the Revolution. The print was advertised in Mercure de France, 26th March 1785, and in the Journal de Paris, 30th March 1785.
BNF: FRBNF40279153.
[Ref: 21361] £420.00
"Hark! Music I' The Air." Ant. & Cleop. IV.3. Mansion House. The Right Honourable John Whittaker Ellis, Lord Mayor. Thursday, May 18th, 1882. [Inside:] Cavatina... "Nobil Signor" (Les Huguenots)... Meyerbeer...Song... "Waiting"... E.H. Flagg. Melodie... "Si Tu M'Aimais!"... L. Denza. At the Pianoforte-Mr. Alfred Gilbert. [On verso:] Programme of Music. To be performed during Dinner by the Coldstream Guards' Band. Conductor... Mr. C. Thomas. [list follows.]
F. Bartolozzi inv. Sherborn Sculp.
Etching and letterpress, printed in brown ink. 222 x 146mm. 8¾ x 5¾". Crease through centre.
Programme for a concert held in honour of Sir John Whittaker Ellis (1829-1912), a Conservative Party politician in the United Kingdom. He was Lord Mayor of London from 1881-2. The programme includes music by Meyerbeer, Mendelssohn and Berlioz.
[Ref: 21006] £60.00 (£72.00 incl.VAT)
F. Bartolozzi inv. Sherborn Sculp.
Etching and letterpress, printed in brown ink. 222 x 146mm. 8¾ x 5¾". Crease through centre.
Programme for a concert held in honour of Sir John Whittaker Ellis (1829-1912), a Conservative Party politician in the United Kingdom. He was Lord Mayor of London from 1881-2. The programme includes music by Meyerbeer, Mendelssohn and Berlioz.
[Ref: 21006] £60.00 (£72.00 incl.VAT)
Le Concert de Famille. Dedié à Sa Majesté Christian VII. Roi de dannemark, Norwege des Vandales et des Goths, Duc de Sleswic, Holstein, Storman et des Ditmarses, Comte d’Oldenbourg et de Delinenborst &c.&c. Par son très humble très obeissant et très soumis Serviteur, Jean George Wille.
Peint par G. Schalken. Gravé par I.G. Wille Graveur du Roi et de S.M. Imp et Royale d’apres le Tableau Original que est dans son Cabinet.
a Pars chez l'Auteur Quay des Augustins. [n.d. c.1768.]
Engraving, collector's stamp on verso. Plate 484 x 369mm (19 x 14½"). Trimmed to platemark.
A family of six sitting around a table, playing music and singing. Engraved by Johann Georg Wille (1715-1808).
Lugt: 2764 [unidentified].
[Ref: 28783] £280.00 (£336.00 incl.VAT)
Peint par G. Schalken. Gravé par I.G. Wille Graveur du Roi et de S.M. Imp et Royale d’apres le Tableau Original que est dans son Cabinet.
a Pars chez l'Auteur Quay des Augustins. [n.d. c.1768.]
Engraving, collector's stamp on verso. Plate 484 x 369mm (19 x 14½"). Trimmed to platemark.
A family of six sitting around a table, playing music and singing. Engraved by Johann Georg Wille (1715-1808).
Lugt: 2764 [unidentified].
[Ref: 28783] £280.00 (£336.00 incl.VAT)
![[The Concert.]](jpegs/13931.jpg)
[The Concert.]
Peint par Giorgion. Grave a Dresde par Stoelzel.
Dessine par Vignaud le Jne. [n.d. c.1810.]
Engraving. Image 310 x 350mm. 12¼ x 13¾".
A depiction of Titian's "The Concert" attributed to Giorgione. Giorgio Vasari claimed that Giorgione was Titian's master thus demonstrating the close association and confusion behind said image as to who was the true artist.
[Ref: 13931] £90.00 (£108.00 incl.VAT)
Peint par Giorgion. Grave a Dresde par Stoelzel.
Dessine par Vignaud le Jne. [n.d. c.1810.]
Engraving. Image 310 x 350mm. 12¼ x 13¾".
A depiction of Titian's "The Concert" attributed to Giorgione. Giorgio Vasari claimed that Giorgione was Titian's master thus demonstrating the close association and confusion behind said image as to who was the true artist.
[Ref: 13931] £90.00 (£108.00 incl.VAT)
Grand-Théàtre de Bordeaux. Fossés de l'Intendance ch du Chapeau-Rouge.
[n.d., c.1845.]
Lithograph. Sheet 95 x 115mm (7¾ x 4½").
A trade card for a concert hall, illustrated with a view of the exterior. It is pasted on the back of another trade card, for the Hôtel de Rouen.
[Ref: 41765] £65.00 (£78.00 incl.VAT)
[n.d., c.1845.]
Lithograph. Sheet 95 x 115mm (7¾ x 4½").
A trade card for a concert hall, illustrated with a view of the exterior. It is pasted on the back of another trade card, for the Hôtel de Rouen.
[Ref: 41765] £65.00 (£78.00 incl.VAT)
A Concert out of Tune!!
London Published by J.L Marks, 11 Artillery St.t Bishopsgate. [n.d. c. 1824-1832.]
Coloured etching. Sheet 210 x 335mm (8½ x 13¼"). Trimmed on three sides. Surface dirt. Creased. Tears. Laid on album paper.
An orchestra coming to blows, using their instruments as weapons. Among the music sheets tossed around are: 'Grand Battle Sinforna' and 'Britons Strike Home'.
Yale Center for British Art B2019.17.49, also unidentified. Not in BM.
[Ref: 68056] £95.00 (£114.00 incl.VAT)
London Published by J.L Marks, 11 Artillery St.t Bishopsgate. [n.d. c. 1824-1832.]
Coloured etching. Sheet 210 x 335mm (8½ x 13¼"). Trimmed on three sides. Surface dirt. Creased. Tears. Laid on album paper.
An orchestra coming to blows, using their instruments as weapons. Among the music sheets tossed around are: 'Grand Battle Sinforna' and 'Britons Strike Home'.
Yale Center for British Art B2019.17.49, also unidentified. Not in BM.
[Ref: 68056] £95.00 (£114.00 incl.VAT)
![[Concert ticket] The Concert of Antient Music in Tottenham Street.](jpegs/63518.jpg)
[Concert ticket] The Concert of Antient Music in Tottenham Street.
[Smirke del. Heath sc.]
[London, c.1792.]
Stipple, printed in sepia. Oval, 70 x 55mm (2¾ x 2¼"). Trimmed, losing the border of a laurel wreath topped by a medley of musical instruments.
A classical bust portrait in profile, used c.1789-96: the colour signifies this is a lady's ticket (men's were black, blue & green). The concert room at Tottenham Street, Fitzrovia was built by Francis Pasquali in 1772, apparently with the support of the Earl of Sandwich and others. In 1786 Pasquali and Michael Novosielski, architect of His Majesty's Theatre in the Haymarket, leased the building to Lord Sandwich and his friends for the "concerts of ancient music" which had been inaugurated elsewhere in 1776. The building was enlarged and fitted under the direction of James Wyatt with a royal box for George III and Queen Charlotte, who were constant patrons, and became known as The King's Concert Rooms. In 1794 the concerts were removed to the King's Theatre, Haymarket, and thence to the Hanover Rooms. After Robert Smirke (1752-1845).
See BM C,3.54-63 for a collection of 10.
[Ref: 63518] £95.00 (£114.00 incl.VAT)
[Smirke del. Heath sc.]
[London, c.1792.]
Stipple, printed in sepia. Oval, 70 x 55mm (2¾ x 2¼"). Trimmed, losing the border of a laurel wreath topped by a medley of musical instruments.
A classical bust portrait in profile, used c.1789-96: the colour signifies this is a lady's ticket (men's were black, blue & green). The concert room at Tottenham Street, Fitzrovia was built by Francis Pasquali in 1772, apparently with the support of the Earl of Sandwich and others. In 1786 Pasquali and Michael Novosielski, architect of His Majesty's Theatre in the Haymarket, leased the building to Lord Sandwich and his friends for the "concerts of ancient music" which had been inaugurated elsewhere in 1776. The building was enlarged and fitted under the direction of James Wyatt with a royal box for George III and Queen Charlotte, who were constant patrons, and became known as The King's Concert Rooms. In 1794 the concerts were removed to the King's Theatre, Haymarket, and thence to the Hanover Rooms. After Robert Smirke (1752-1845).
See BM C,3.54-63 for a collection of 10.
[Ref: 63518] £95.00 (£114.00 incl.VAT)