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
Round & Sound Five Pence a Pound Duke Cherries. Cerises douces, Cerises, â la douce Cerise. Cries of London. Plate 8th.
Painted by F. Wheatly R.A. Directed by L. Schiavonetti. Engraved by A. Cardon
London Pub.d as the Act directs. June 25th. 1795 by Colnaghi & Co. No. 132 Pall Mall.
Stipple, printed in sepia, with very large margins. 415 x 320mm (16¼ x 12½").
A cherry seller gives a bunch to two small boys, while a young drayman stands nearby.
[Ref: 28150] £320.00
Painted by F. Wheatly R.A. Directed by L. Schiavonetti. Engraved by A. Cardon
London Pub.d as the Act directs. June 25th. 1795 by Colnaghi & Co. No. 132 Pall Mall.
Stipple, printed in sepia, with very large margins. 415 x 320mm (16¼ x 12½").
A cherry seller gives a bunch to two small boys, while a young drayman stands nearby.
[Ref: 28150] £320.00
Round & Sound Five Pence a Pound Duke Cherries. Cerises douces, Cerises, â la douce Cerise. Cries of London. Plate 8th.
Painted by F. Wheatly R.A. Directed by L. Schiavonetti. Engraved by A. Cardon
London Pub.d as the Act Directs. June 25th. 1795 by Colnaghi & Co. No. 132 Pall Mall.
Stipple, printed in colours and hand finished. 405 x 299mm. 16 x 11¾". Trimmed to the plate.
A cherry seller gives a bunch to two small boys, while a young drayman stands nearby. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 22771] £320.00
Painted by F. Wheatly R.A. Directed by L. Schiavonetti. Engraved by A. Cardon
London Pub.d as the Act Directs. June 25th. 1795 by Colnaghi & Co. No. 132 Pall Mall.
Stipple, printed in colours and hand finished. 405 x 299mm. 16 x 11¾". Trimmed to the plate.
A cherry seller gives a bunch to two small boys, while a young drayman stands nearby. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 22771] £320.00
Hot Spice Gingerbread Smoaking hot! Du Croquet de Pain d'Epices! Cries of London, Plate 12.
Painted by F. Wheatley R.A. Engraved by Vendramini.
London, Pubd as the Act directs May 1. 1796, by Colnaghi & Co. No. 132 Pall Mall.
Stipple engraving, 425 x 330mm. 16¾ x 13". Trimmed to plate, age toning.
Plate 12 from the 'Cries of London' series, a gingerbread seller. He holds his cart, with a young woman and three small children surrounding him.
Ex: Blackburn collection.
[Ref: 8745] £320.00
Painted by F. Wheatley R.A. Engraved by Vendramini.
London, Pubd as the Act directs May 1. 1796, by Colnaghi & Co. No. 132 Pall Mall.
Stipple engraving, 425 x 330mm. 16¾ x 13". Trimmed to plate, age toning.
Plate 12 from the 'Cries of London' series, a gingerbread seller. He holds his cart, with a young woman and three small children surrounding him.
Ex: Blackburn collection.
[Ref: 8745] £320.00
A New Love Song only ha'penny a piece. Chanson nouvelles deux sols le livret. Cries of London Plate 11.
Painted by F. Wheatley R.A. Engraved by A. Cardon.
London Pub.d as the Act directs 1st. March 1796 by Colnaghi & Co. (late Torres) No.127 Pall Mall.
Stipple, rich impression. Sheet 425 x 325mm (16¾ x 12¾"). Trimmed to plate, repaired tears,
A ballad seller with strip ballads, selling to two men, behind them two women with a child, and a small boy feeding a dog in the centre. This is one of thirteen plates in Wheatley's ‘Cries of London', the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries' at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 63987] £180.00 (£216.00 incl.VAT)
Painted by F. Wheatley R.A. Engraved by A. Cardon.
London Pub.d as the Act directs 1st. March 1796 by Colnaghi & Co. (late Torres) No.127 Pall Mall.
Stipple, rich impression. Sheet 425 x 325mm (16¾ x 12¾"). Trimmed to plate, repaired tears,
A ballad seller with strip ballads, selling to two men, behind them two women with a child, and a small boy feeding a dog in the centre. This is one of thirteen plates in Wheatley's ‘Cries of London', the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries' at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 63987] £180.00 (£216.00 incl.VAT)
New Mackrel. New Mackrel. Maquereux, Maquereux frais et Gros. Cries of London Plate 5th.
Painted by F. Wheatly R.A. Engraved by N. Schiavonetti Jun.r.
London Pub.d as the Act Directs, Jan.1. 1795 by Colnaghi & Co. No.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
A fishwife, selling fish to two women at their doorstep. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28145] £320.00
Painted by F. Wheatly R.A. Engraved by N. Schiavonetti Jun.r.
London Pub.d as the Act Directs, Jan.1. 1795 by Colnaghi & Co. No.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
A fishwife, selling fish to two women at their doorstep. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28145] £320.00
Do you want any Matches? Marchande d'Allumettes, achetè mes bonnes allumettes. Cries of London Plate 4th.
Painted by F. Wheatly R.A. Engraved by A. Cardon.
London Pub as the Act Directs July 1794 by Colnaghi & Co, no. 132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate, repaired tear top left.
A young woman holding matches in her hand, with a small boy, who also carries matches, standing in the street; carriage in the background. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28144] £260.00 (£312.00 incl.VAT)
Painted by F. Wheatly R.A. Engraved by A. Cardon.
London Pub as the Act Directs July 1794 by Colnaghi & Co, no. 132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate, repaired tear top left.
A young woman holding matches in her hand, with a small boy, who also carries matches, standing in the street; carriage in the background. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28144] £260.00 (£312.00 incl.VAT)
Milk below Maids. Qui veut du lait il est tout chaud.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2. 1793 by Colnaghi & Co N.132 Pall Mall.
Stipple in brown ink, sheet 415 x 320mm. 16¼ x 12½". Trimmed to plate. A good impression. Scuffing in sky area.
A milkmaid standing by a doorway, with two pails by her feet. She hands a small pail of milk to two young children; street lamp, chimneys and horse-drawn carriage in the background. Plate 2 to the famous 'Cries of London' series after paintings by Francis Wheatley (1747 - 1801).
[Ref: 11820] £260.00 (£312.00 incl.VAT)
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2. 1793 by Colnaghi & Co N.132 Pall Mall.
Stipple in brown ink, sheet 415 x 320mm. 16¼ x 12½". Trimmed to plate. A good impression. Scuffing in sky area.
A milkmaid standing by a doorway, with two pails by her feet. She hands a small pail of milk to two young children; street lamp, chimneys and horse-drawn carriage in the background. Plate 2 to the famous 'Cries of London' series after paintings by Francis Wheatley (1747 - 1801).
[Ref: 11820] £260.00 (£312.00 incl.VAT)
Milk below Maids. Qui veut du lait il est tout chaud.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2. 1793 by Colnaghi & Co N.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
A milkmaid standing by a doorway, with two pails by her feet. She hands a small pail of milk to two young children. An early example: later states have 'Second plate of the Cries of London' added in English and French around the title. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28146] £220.00 (£264.00 incl.VAT)
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2. 1793 by Colnaghi & Co N.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
A milkmaid standing by a doorway, with two pails by her feet. She hands a small pail of milk to two young children. An early example: later states have 'Second plate of the Cries of London' added in English and French around the title. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28146] £220.00 (£264.00 incl.VAT)
Two bunches a penny primroses, two bunches a penny. A un sou mes deux poignees de primeroses, a un sou.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2 by Colnaghi and Co N.132 Pall Mall. 1793.
Stipple, printed in sepia, with large margins. 420 x 330mm (16½ x 13").
Flower sellers, a young woman and two small children, hold baskets and bunches of primroses on the street. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28149] £320.00
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 2 by Colnaghi and Co N.132 Pall Mall. 1793.
Stipple, printed in sepia, with large margins. 420 x 330mm (16½ x 13").
Flower sellers, a young woman and two small children, hold baskets and bunches of primroses on the street. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28149] £320.00
Strawberrys Scarlet Strawberrys. Fraises, fraises, mes belles fraises. Cries of London. Plate 9th.
Painted by F. Wheatley R.A. Engraved by Vendramini. Directed by L. Schiavonetti.
London Pub.d as the Act directs June 25th 1795 by Colnaghi & Co. No.132 Pall Mall.
Stipple printed in colours with colour added by hand. 418 x 322mm. 16½ x 12¾". Trimmed.
A strawberry seller, standing with a basket balanced on her head, in Covent Garden; behind her two horses and a cart, and two chairmen resting beside their sedan chair to right. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 19431] £450.00
Painted by F. Wheatley R.A. Engraved by Vendramini. Directed by L. Schiavonetti.
London Pub.d as the Act directs June 25th 1795 by Colnaghi & Co. No.132 Pall Mall.
Stipple printed in colours with colour added by hand. 418 x 322mm. 16½ x 12¾". Trimmed.
A strawberry seller, standing with a basket balanced on her head, in Covent Garden; behind her two horses and a cart, and two chairmen resting beside their sedan chair to right. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 19431] £450.00
Sweet China Oranges, sweet China. Oranges sucrees, Oranges fines. Cries of London Plate 3rd.
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 1794 by Colnaghi & Co No.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
Two fashionably dressed women buy oranges from a man with two full baskets. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28147] £260.00 (£312.00 incl.VAT)
Painted by F. Wheatley R.A. Engraved by L. Schiavonetti.
London Pub.d as the Act Directs July 1794 by Colnaghi & Co No.132 Pall Mall.
Stipple, printed in sepia. Sheet 410 x 320mm (16 x 12½"). Trimmed to plate.
Two fashionably dressed women buy oranges from a man with two full baskets. This is one of thirteen plates in Wheatley’s ‘Cries of London’, the most famous version of a popular theme in English printmaking. The shouts and songs of the street traders advertising their wares were a part of city life and inspired a number of artists of different styles, from these idealised scenes to the more raucous caricatures drawn by Rowlandson. Francis Wheatley (1747-1801) exhibited fourteen painted ‘Cries’ at the Royal Academy between 1792-5, with enough success for Colnaghi to commission some of the best engravers in England, including brothers Luigi and Niccolo Schiavonetti, Giovanni Vendramini & Thomas Gaugain to reproduce thirteen of the series in stipple. These were available as separate prints or as a set and were a great success (even abroad, as denoted by the French version of the titles), and have remained popular to this day.
[Ref: 28147] £260.00 (£312.00 incl.VAT)
Mountains of Cright.
London, Published by Thomas McLean, Haymarket, 1822.
Hand coloured aquatint. Platemark: 160 x 228mm (6¼ x 8¾"). Fine hand colouring.
A fine view of the Mountains of Cright, Wales. This view is taken about a mile from Pont Aber Glass Llyn, on the upper road to Tan-y-Owlet and shows the mountains as a backdrop to the rural, wild landscape of north Wales. From 'A Picturesque Description of North Wales: Embelished with Twenty Select Views From Nature', published in 1823 by Howlett and Brimmer, 10 Frith Street, Soho.
Abbey: 525.
[Ref: 33336] £70.00 (£84.00 incl.VAT)
London, Published by Thomas McLean, Haymarket, 1822.
Hand coloured aquatint. Platemark: 160 x 228mm (6¼ x 8¾"). Fine hand colouring.
A fine view of the Mountains of Cright, Wales. This view is taken about a mile from Pont Aber Glass Llyn, on the upper road to Tan-y-Owlet and shows the mountains as a backdrop to the rural, wild landscape of north Wales. From 'A Picturesque Description of North Wales: Embelished with Twenty Select Views From Nature', published in 1823 by Howlett and Brimmer, 10 Frith Street, Soho.
Abbey: 525.
[Ref: 33336] £70.00 (£84.00 incl.VAT)
Nan. Holland & Tristram Savage Robbing Dr: Trotter in Moorfields. [Ann Holland, alias Andrews.. she died without the least seeming Remorse for her Wickedness.]
J: Nicholls delin. Parr Sculp.
[n.d. c.1780.]
Etching. Plate 310 x 210mm. 12¼ x 8¼". Some tearing in the margins.
A depiction of a daring robbery of one Dr. Trotter by two notorious female criminals, Ann Holland and Tristram Savage. According to the text, Holland was hanged at the Tyburn gallows in 1705 for several robberies of wealthy households. A human skeleton hangs in Dr. Trotter's library along with the preserved body of a crocodile. Satan appears at the scene of the crime lower right.
[Ref: 15640] £110.00 (£132.00 incl.VAT)
J: Nicholls delin. Parr Sculp.
[n.d. c.1780.]
Etching. Plate 310 x 210mm. 12¼ x 8¼". Some tearing in the margins.
A depiction of a daring robbery of one Dr. Trotter by two notorious female criminals, Ann Holland and Tristram Savage. According to the text, Holland was hanged at the Tyburn gallows in 1705 for several robberies of wealthy households. A human skeleton hangs in Dr. Trotter's library along with the preserved body of a crocodile. Satan appears at the scene of the crime lower right.
[Ref: 15640] £110.00 (£132.00 incl.VAT)
Le Crime Luny.
[n.d., c.1780.]
Rare etching. 430 x 265mm (17 x 10½") Small margins, wear to edges.
Three armoured angels, armed with swords and lightning bolts, drive a group of Catholic clergy into the pits of hell, where demons wait to drag them down. A satire on the corruption of the French church.
[Ref: 52986] £450.00
[n.d., c.1780.]
Rare etching. 430 x 265mm (17 x 10½") Small margins, wear to edges.
Three armoured angels, armed with swords and lightning bolts, drive a group of Catholic clergy into the pits of hell, where demons wait to drag them down. A satire on the corruption of the French church.
[Ref: 52986] £450.00
![[Female Dress.]](jpegs/31042.jpg)
[Female Dress.] Vol.2.Pl.22.
Geisler del.t Medland Sc.
[London: John Stockdale, n.d. c.1812.]
Hand-coloured engraving with large margins, offset; Stamp: Stamford Library. Plate 197 x 159mm (7¾ x 6¼").
Plate 22: a representation of dress prevalent amoung the females of Crim-Tartary. Two women in their best attire, such as is worn in domestic life, without an upper garment; the third figure is drawn with a white upper gown, and head is enveloped in a veil. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31042] £60.00 (£72.00 incl.VAT)
Geisler del.t Medland Sc.
[London: John Stockdale, n.d. c.1812.]
Hand-coloured engraving with large margins, offset; Stamp: Stamford Library. Plate 197 x 159mm (7¾ x 6¼").
Plate 22: a representation of dress prevalent amoung the females of Crim-Tartary. Two women in their best attire, such as is worn in domestic life, without an upper garment; the third figure is drawn with a white upper gown, and head is enveloped in a veil. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31042] £60.00 (£72.00 incl.VAT)
![[Fort Arabat.]](jpegs/17047.jpg)
[Fort Arabat.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
The Arabat Spit between Sivash and the Sea of Azov is a long narrow strip of land with this 17th sentury Turkish fort dominating the landscape. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17047] £160.00 (£192.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
The Arabat Spit between Sivash and the Sea of Azov is a long narrow strip of land with this 17th sentury Turkish fort dominating the landscape. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17047] £160.00 (£192.00 incl.VAT)
![[Interior of a Tartar House.]](jpegs/17048.jpg)
[Interior of a Tartar House.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17048] £80.00 (£96.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17048] £80.00 (£96.00 incl.VAT)
![[General View of Kara-su-Bazar.]](jpegs/17049.jpg)
[General View of Kara-su-Bazar.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of Bilohirsk, placed on the high road between Simferopol and Kerch, and in the midst of a country rich in cereal land, vineyards and gardens, Karasubazar used to be a chief seat of commercial activity in Crimea. Also the largest traditional settlement for Krymchaks, known by the name Crimean Jews. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17049] £220.00 (£264.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of Bilohirsk, placed on the high road between Simferopol and Kerch, and in the midst of a country rich in cereal land, vineyards and gardens, Karasubazar used to be a chief seat of commercial activity in Crimea. Also the largest traditional settlement for Krymchaks, known by the name Crimean Jews. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17049] £220.00 (£264.00 incl.VAT)
![[Simferopol.]](jpegs/17052.jpg)
[Simferopol.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour, slightly foxed.
Simferopol, now the capital of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17052] £220.00 (£264.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour, slightly foxed.
Simferopol, now the capital of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17052] £220.00 (£264.00 incl.VAT)
![[Alushta.]](jpegs/17053.jpg)
[Alushta.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Faint spotting.
Alushta viewed from Simferopol, depicting its Byzantine and Genoese defensive towers. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17053] £160.00 (£192.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Faint spotting.
Alushta viewed from Simferopol, depicting its Byzantine and Genoese defensive towers. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17053] £160.00 (£192.00 incl.VAT)
![[A Tartar House in the Village of Alupka.]](jpegs/17055.jpg)
[A Tartar House in the Village of Alupka.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A chalet-like Tartar house of the seaside village of Alupka near Yalta. Alupka was the chosen location of The Vorontsovsky Palace designed by Englishman Edward Clore and built between 1830-1848. It was to be used as a summer residence of the governor-general of the Novorossiysky Krai, Prince Mikhail Semyonovich Vorontsov. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17055] £120.00 (£144.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A chalet-like Tartar house of the seaside village of Alupka near Yalta. Alupka was the chosen location of The Vorontsovsky Palace designed by Englishman Edward Clore and built between 1830-1848. It was to be used as a summer residence of the governor-general of the Novorossiysky Krai, Prince Mikhail Semyonovich Vorontsov. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17055] £120.00 (£144.00 incl.VAT)
![[The River Katcha.]](jpegs/17058.jpg)
[The River Katcha.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A river north of Sevastopol surrounded by rock escarpments and peaks that make up the Crimean ranges. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17058] £140.00 (£168.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A river north of Sevastopol surrounded by rock escarpments and peaks that make up the Crimean ranges. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. The title, as above, is on a separate label on the reverse, probably cut from the List of Plates. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17058] £140.00 (£168.00 incl.VAT)
![[Tomb of Mithridates, near the Lazaretto Kertch.]](jpegs/17063.jpg)
[Tomb of Mithridates, near the Lazaretto Kertch.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
Tourists viewing the interior of a famous 'kurgan' or burial mound of the ancient King Mithridates foe to the Romans at the end of the Republic. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17063] £160.00 (£192.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
Tourists viewing the interior of a famous 'kurgan' or burial mound of the ancient King Mithridates foe to the Romans at the end of the Republic. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17063] £160.00 (£192.00 incl.VAT)
![[Remains of a large Genoese Fortress at Sudak.]](jpegs/17065.jpg)
[Remains of a large Genoese Fortress at Sudak.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Small tear.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Sudak on the Black Sea east of Simferopol. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17065] £160.00 (£192.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Small tear.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Sudak on the Black Sea east of Simferopol. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17065] £160.00 (£192.00 incl.VAT)
![[Mount Tchatyr Dagh.]](jpegs/17067.jpg)
[Mount Tchatyr Dagh.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Tinted lithograph, mounted on card and hand coloured, as issued in the Subscription edition. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Mountainous plateau of Caves and alpine meadows near Alushta. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17067] £140.00 (£168.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Tinted lithograph, mounted on card and hand coloured, as issued in the Subscription edition. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Mountainous plateau of Caves and alpine meadows near Alushta. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17067] £140.00 (£168.00 incl.VAT)
![[The Valley of Termerd-Ji.]](jpegs/17068.jpg)
[The Valley of Termerd-Ji.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17068] £160.00 (£192.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17068] £160.00 (£192.00 incl.VAT)
![[A General View of the Coast, extending from Cape Fiolente to Sebastopol.]](jpegs/17070.jpg)
[A General View of the Coast, extending from Cape Fiolente to Sebastopol.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of the south coast of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17070] £140.00 (£168.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of the south coast of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17070] £140.00 (£168.00 incl.VAT)
![[Entrance to the Harbour Of Balaklava.]](jpegs/17071.jpg)
[Entrance to the Harbour Of Balaklava.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of the south coast of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17071] £180.00 (£216.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
A view of the south coast of the Crimea. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17071] £180.00 (£216.00 incl.VAT)
![[The Peaks of Mount St Peter.]](jpegs/17072.jpg)
[The Peaks of Mount St Peter.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
Ai-Petri, near Yatla, greek meaning `sacred Peter' or `sacred rock', and derives from the christian monastery which stood on the plateau behind the peak until it was destroyed in the middle ages. Precipitous crags swathed in cloud, a sparkling white limestone peak. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17072] £140.00 (£168.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour.
Ai-Petri, near Yatla, greek meaning `sacred Peter' or `sacred rock', and derives from the christian monastery which stood on the plateau behind the peak until it was destroyed in the middle ages. Precipitous crags swathed in cloud, a sparkling white limestone peak. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17072] £140.00 (£168.00 incl.VAT)
![[The Island of Serpents.]](jpegs/17073.jpg)
[The Island of Serpents.]
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Repaired hole.
Ships in a gale off Ostriv Zmiinyi or Snake Island, a tiny Ukranian possession in the Black Sea near the Danube Delta. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17073] £160.00 (£192.00 incl.VAT)
[Lithographed by Day & Son from a painting by Carlo Bossoli.]
[London: Day & Son, 1856.]
Subscription edition tinted lithograph, mounted on card and hand coloured. Image 185 x 280mm, 7¼ x 11". Fine colour. Repaired hole.
Ships in a gale off Ostriv Zmiinyi or Snake Island, a tiny Ukranian possession in the Black Sea near the Danube Delta. From the subscription edition of Bossoli's "Beautiful Scenery and Chief Places of Interest throughout the Crimea", a work with considerable ethnographic and geographic interest, especially in their depictions of Tartar life. Carlo Bossoli (1815-84) visited the Crimea several times between 1828 and 1843, most extensively from 1840 to 1842. When the Crimean War started Bossoli moved to London to capitalise on the heightened interest in his work, even selling paintings to Queen Victoria.
Abbey Travel 239.
[Ref: 17073] £160.00 (£192.00 incl.VAT)
Panoramic View of the Southern Coast of the Crimea From Cape Maganom to Kaffa.
Capt.n W.H. Parker Del.t.
Lithographed and Published by Dickinson Bro.s New Bond S.t.
Chromolithograph on four sheets, conjoined. Printed area 230 x 1915mm, 9 x 75½". Some spotting.
A monumental prospect of the south-east coast of the Crimea near Koktebel & Feodosiya, with a key naming the prominent landmarks, including Mount Chernai, the St Elias Monastery, with a smattering of ships.
NMM: PAH2659.
[Ref: 16980] £520.00 view all images for this item
Capt.n W.H. Parker Del.t.
Lithographed and Published by Dickinson Bro.s New Bond S.t.
Chromolithograph on four sheets, conjoined. Printed area 230 x 1915mm, 9 x 75½". Some spotting.
A monumental prospect of the south-east coast of the Crimea near Koktebel & Feodosiya, with a key naming the prominent landmarks, including Mount Chernai, the St Elias Monastery, with a smattering of ships.
NMM: PAH2659.
[Ref: 16980] £520.00 view all images for this item
Head Quarters of Second Battalion Brigade of Royal Marines - The Orderley Hut - The Leiu.t Colonel's Hut and the Adjutant's Hut. Above are the mud huts of the men.
H. Bradley Roberts, Lieu.t R.M.A. Dickinson, lith.
[n.d., c.1855.]
Rare tinted lithograph. Sheet 330 x 450mm (13 x 17¾"), with large margins.
A view of the rudimentary lodgings of the Royal Marines in the Crimea. Having served with distinction in the Royal Marines Artillery in the Crimea, Roberts was promoted to colonel and appointed Inspector of Fortifications at the Royal Naval College, Portsmouth, 1862-73. He died in 1891. We have been unable to trace the publication this print appeared in.
[Ref: 49794] £260.00 (£312.00 incl.VAT)
H. Bradley Roberts, Lieu.t R.M.A. Dickinson, lith.
[n.d., c.1855.]
Rare tinted lithograph. Sheet 330 x 450mm (13 x 17¾"), with large margins.
A view of the rudimentary lodgings of the Royal Marines in the Crimea. Having served with distinction in the Royal Marines Artillery in the Crimea, Roberts was promoted to colonel and appointed Inspector of Fortifications at the Royal Naval College, Portsmouth, 1862-73. He died in 1891. We have been unable to trace the publication this print appeared in.
[Ref: 49794] £260.00 (£312.00 incl.VAT)
![[Sheep.]](jpegs/31034.jpg)
[Sheep.] Vol.2.Pl.26
Geisler del.t Medland Sculp.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving, offset. Plate 159 x 196mm (6¼ x 7¾").
Plate 26: A lamb of the Crimean Sheep breed, having curled wool of a silver-grey tint. In the background is a Tartar village. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31034] £60.00 (£72.00 incl.VAT)
Geisler del.t Medland Sculp.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving, offset. Plate 159 x 196mm (6¼ x 7¾").
Plate 26: A lamb of the Crimean Sheep breed, having curled wool of a silver-grey tint. In the background is a Tartar village. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31034] £60.00 (£72.00 incl.VAT)
![[Fortress of Soldaya.]](jpegs/31040.jpg)
[Fortress of Soldaya.] Vol.2.Pl.16.
Geisler del.t Medland Sculp.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving; Stamp: Stamford Library. Plate 197 x 336mm (7¾ x 13¼"). Trimmed along right edge; folds as normal.
Plate 16: view of the ancient Genoese Fortress of Soldaya or Sudagh, drawn from the eastern side of the vale; as well as the Kush-kaya, which lies behind; and being composed of the marmoraceous limestone rock, may afford some ideas of this species of mountains in Taurida. The ascent to the tower is via a wall which is provided with several turrets. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31040] £120.00 (£144.00 incl.VAT)
Geisler del.t Medland Sculp.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving; Stamp: Stamford Library. Plate 197 x 336mm (7¾ x 13¼"). Trimmed along right edge; folds as normal.
Plate 16: view of the ancient Genoese Fortress of Soldaya or Sudagh, drawn from the eastern side of the vale; as well as the Kush-kaya, which lies behind; and being composed of the marmoraceous limestone rock, may afford some ideas of this species of mountains in Taurida. The ascent to the tower is via a wall which is provided with several turrets. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31040] £120.00 (£144.00 incl.VAT)
![[St George Monastery.]](jpegs/31055.jpg)
[St George Monastery.] Vig.5. Journey Through The South-Western Quarter.
Geisler del. Medland sc.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving with letterpress printed page; stamp: Stamford Library. Sheet 266 x 203mm (10½ x 8").
Vignette 5: a more accurate view of the Greek Monastery of St George. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
See Ref: 31041 for a prospect view of the Monastery.
[Ref: 31055] £65.00 (£78.00 incl.VAT)
Geisler del. Medland sc.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving with letterpress printed page; stamp: Stamford Library. Sheet 266 x 203mm (10½ x 8").
Vignette 5: a more accurate view of the Greek Monastery of St George. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
See Ref: 31041 for a prospect view of the Monastery.
[Ref: 31055] £65.00 (£78.00 incl.VAT)
The Graves in the Fort on Cathcart Hill, of the Officers 4th Division who fell at Inkermann, Plate XLV. Colnaghi's Authentic Series.
W. Simpson, del. _ C. Haghe, lith. Day & Son, Lith.rs to the Queen.
Published March 1st 1854, by Paul & Dominic Colnaghi & Co. 13 & 14, Pall Mall East. _Publishers to Her Majesty. Deposé Paris _ Goupil & Cie.
Tinted lithograph. Printed area 240 x 350mm (9½ x 13¾), with large margins. Some spotting.
A graveyard on a hill overlooking Sevastapol, named after one of the officers buried there, General The Honourable Sir George Cathcart. By William Simpson (1823-99) for his 'The Seat of War in the East'.
Abbey Travel 237.
[Ref: 53113] £45.00 (£54.00 incl.VAT)
W. Simpson, del. _ C. Haghe, lith. Day & Son, Lith.rs to the Queen.
Published March 1st 1854, by Paul & Dominic Colnaghi & Co. 13 & 14, Pall Mall East. _Publishers to Her Majesty. Deposé Paris _ Goupil & Cie.
Tinted lithograph. Printed area 240 x 350mm (9½ x 13¾), with large margins. Some spotting.
A graveyard on a hill overlooking Sevastapol, named after one of the officers buried there, General The Honourable Sir George Cathcart. By William Simpson (1823-99) for his 'The Seat of War in the East'.
Abbey Travel 237.
[Ref: 53113] £45.00 (£54.00 incl.VAT)
![[Crimean War] Congres de Paris.](jpegs/57603.jpg)
[Crimean War] Congres de Paris. La Paix a été signée, aujourn'hui, à l'heure, à l'hôtel des Affaires Etrangères. Le Plénipotentairies de la France, de l'Austriche, de la Grande-Bretagne, de la Prusse, de la Russie, de la Sardaigne et de la Turquie, on aposé leurs signatures au traité qui met fin à la guerre actuelle, et qui, en réglant la question d'Orient, asseoit le repos de l'Europe sur des bases solides et durables.
[n.d., 30th March, 1856.]
Scarce letterpress broadside with woodcut armorial. Sheet 370 x 210mm (14½ x 8¼"). Some creasing, laid on album paper.
A broadside announcing the signing of the peace treaty to end the Crimean War, with the arms of Napoleon III. On the reverse are news clipping relating to the war, including an account of Inkermann.
[Ref: 57603] £160.00 (£192.00 incl.VAT)
[n.d., 30th March, 1856.]
Scarce letterpress broadside with woodcut armorial. Sheet 370 x 210mm (14½ x 8¼"). Some creasing, laid on album paper.
A broadside announcing the signing of the peace treaty to end the Crimean War, with the arms of Napoleon III. On the reverse are news clipping relating to the war, including an account of Inkermann.
[Ref: 57603] £160.00 (£192.00 incl.VAT)
![[Akhtiar.]](jpegs/31054.jpg)
[Akhtiar.] Vol.2.Pl.4.
Geisler del.t Medland sculp.
[London: John Stockdale, n.d. c.1812.]
Hand-coloured engraving; slight offsetting; stamp: Stamford Library. Plate 197 x 615mm (3¾ x 13¾"). Folds; trimmed to side edges.
Plate 4: view of the port and town of Akhtiar, formerly called Sevastopol; drawn from the Severnaya-Koffa. To the far right can be seen the ruins of the ancient Chersonsus. On the shore in front are the barracks and entrance to a small harbour; a flotilla on the water. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31054] £220.00 (£264.00 incl.VAT)
Geisler del.t Medland sculp.
[London: John Stockdale, n.d. c.1812.]
Hand-coloured engraving; slight offsetting; stamp: Stamford Library. Plate 197 x 615mm (3¾ x 13¾"). Folds; trimmed to side edges.
Plate 4: view of the port and town of Akhtiar, formerly called Sevastopol; drawn from the Severnaya-Koffa. To the far right can be seen the ruins of the ancient Chersonsus. On the shore in front are the barracks and entrance to a small harbour; a flotilla on the water. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31054] £220.00 (£264.00 incl.VAT)
View of Eski Crim, The Ancient Capital of Crim Tartary, with the Sea of Azof.
[London: Published by Septimus Prowett, 23, Old Bond-Street. W. Nicol, Shakespeare Press, Cleveland-Row. 1824.]
Engraving on india. Plate 254 x 324mm. 10 x 12¾".
A view of Eski Crim, the ancient capital of Taurica, with the Sea of Azof in the distance; Crimea. From "Museum Worsleyanum; or a Collection of Antique Basso-Relievos, Bustos, Statues, and Gems' with Views of Places in the Levant. Taken on the Spot in the Years MDCCLXXXXV. VI. and VII." This from Volume II.
[Ref: 23615] £130.00 (£156.00 incl.VAT)
[London: Published by Septimus Prowett, 23, Old Bond-Street. W. Nicol, Shakespeare Press, Cleveland-Row. 1824.]
Engraving on india. Plate 254 x 324mm. 10 x 12¾".
A view of Eski Crim, the ancient capital of Taurica, with the Sea of Azof in the distance; Crimea. From "Museum Worsleyanum; or a Collection of Antique Basso-Relievos, Bustos, Statues, and Gems' with Views of Places in the Levant. Taken on the Spot in the Years MDCCLXXXXV. VI. and VII." This from Volume II.
[Ref: 23615] £130.00 (£156.00 incl.VAT)
Scenes and Incidents in the Russian War. No. 2. Humour, 'While some Zouaves were making preparations for the breakfast a Shell burst near them and a large portion of it fell on the table 'hallo' exclaimed our turbaned friend here comes an extra saucer.' 'Letter from the Crimea.'
[Painted by Tho.s Barker?]
London _ Published 2nd January 1855 by E. Gambart & Co., 25 Berniers Street.
Coloured lithograph with very large margins. Printed area 290 x 340mm (11½ x 13½"). Slightly foxed.
Turkish troops having their meal interrupted. An illustration probably inspired by William Henry Stowe's column from 'The Times', 'Letter from the Crimea'.
[Ref: 32171] £230.00 (£276.00 incl.VAT)
[Painted by Tho.s Barker?]
London _ Published 2nd January 1855 by E. Gambart & Co., 25 Berniers Street.
Coloured lithograph with very large margins. Printed area 290 x 340mm (11½ x 13½"). Slightly foxed.
Turkish troops having their meal interrupted. An illustration probably inspired by William Henry Stowe's column from 'The Times', 'Letter from the Crimea'.
[Ref: 32171] £230.00 (£276.00 incl.VAT)
![[Pair of Prospectuses] Gratis! Gratis!! Gratis!!! The Siege of Sebastopol. A Large and Splendid Engraving,](jpegs/37387.jpg)
[Pair of Prospectuses] Gratis! Gratis!! Gratis!!! The Siege of Sebastopol. A Large and Splendid Engraving, Representing this Great Military Event, with be presented - Gratis - to every Subscriber to the undermentioned Work on its completion... The History of England... [&] Premium Plate - Gratis!! On the Completion of the undermentioned Work, every Subscriber will be presented with A Large and Splendid Engraving, exhibiting the Siege Operations of the Allied Armies before Sebastopol... The History of the Present War with Russia... by Henry Tyrell...
Printed and Published by the London Printing and Publishing Company, 97 & 100, St John Street, 1 & 2. Bluecoat Buildings, Christ's Hospital, London; and 55, Dey Street, New York.
Pair letterpress adverts, printed on blue paper. Sheets 285 x 185mm (11¼ x 7¼") & 285 x 180mm (11¼ x 7"), with steel engravings of Florence Nightingale and the Battle of Inkermann on the reverse. Laid on album paper, worm holes.
[Ref: 37387] £140.00 (£168.00 incl.VAT) view all images for this item
Printed and Published by the London Printing and Publishing Company, 97 & 100, St John Street, 1 & 2. Bluecoat Buildings, Christ's Hospital, London; and 55, Dey Street, New York.
Pair letterpress adverts, printed on blue paper. Sheets 285 x 185mm (11¼ x 7¼") & 285 x 180mm (11¼ x 7"), with steel engravings of Florence Nightingale and the Battle of Inkermann on the reverse. Laid on album paper, worm holes.
[Ref: 37387] £140.00 (£168.00 incl.VAT) view all images for this item
Stanford's Bird's-Eye View of the Seat of War in the Crimea.
Projected and Lithd. by A. Maclure. Maclure, Macdonald, & Macgregor Lith. to the Queen, London.
London,_ Edward Stanford, 6, Charing Cross [c.1854].
Hand-coloured lithograph, large and impressive folding battle plan, with key below. Sheet 525 x 760mm. 20¾ x 30". Very scarce, slight discolouration.
The Crimean peninsula on the northern coast of the Black Sea, as seen from the air, during the Crimean War (October 1853 - February 1856). Showing the positions of troops, gun batteries, fortifications and relevant topographical features. With 'Ackermann & Co' printseller's blindstamp to lower margin.
See NM PAH6343.
[Ref: 26456] £280.00 (£336.00 incl.VAT)
Projected and Lithd. by A. Maclure. Maclure, Macdonald, & Macgregor Lith. to the Queen, London.
London,_ Edward Stanford, 6, Charing Cross [c.1854].
Hand-coloured lithograph, large and impressive folding battle plan, with key below. Sheet 525 x 760mm. 20¾ x 30". Very scarce, slight discolouration.
The Crimean peninsula on the northern coast of the Black Sea, as seen from the air, during the Crimean War (October 1853 - February 1856). Showing the positions of troops, gun batteries, fortifications and relevant topographical features. With 'Ackermann & Co' printseller's blindstamp to lower margin.
See NM PAH6343.
[Ref: 26456] £280.00 (£336.00 incl.VAT)
![[Birds-eye view of the island of Kronstadt, Russia, with harbours and fortifications.]](jpegs/26458.jpg)
[Birds-eye view of the island of Kronstadt, Russia, with harbours and fortifications.] Vue Prise a Vol d'Oiseaux. De L'iIe de Cronstadt avec ses Ports et ses Fortificatons...
Depose [French, n.d., c.1855.]
Large folding tinted lithograph, with key below, with very large margins. Sheet 545 x 740mm, 21½ x 29". creases in middle, as normal.
Kronstadt, on the Baltic island of Kotlin, was fortified by Peter the Great to protect the approaches to his new city of St Petersburg. This impressive prospect was published during the Crimean War, when an Anglo-French fleet opened a second front in the Baltic, with very little success.
[Ref: 26458] £380.00
Depose [French, n.d., c.1855.]
Large folding tinted lithograph, with key below, with very large margins. Sheet 545 x 740mm, 21½ x 29". creases in middle, as normal.
Kronstadt, on the Baltic island of Kotlin, was fortified by Peter the Great to protect the approaches to his new city of St Petersburg. This impressive prospect was published during the Crimean War, when an Anglo-French fleet opened a second front in the Baltic, with very little success.
[Ref: 26458] £380.00
![[Crimean Sheep.]](jpegs/31038.jpg)
[Crimean Sheep.] Vol.2.Pl.25.
Geisler del.t Medland Sculp.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving, offset with large margins; Stamp: Stamford Library. Plate 160 x 196mm (6¼ x 7¾").
Plate 25: a full-grown grey Crimean Sheep belonging to a breed with diminutive fat tails; and which affords the valuable lambskins, by pasturing on the Takhanskoi-Kut. At a distance there is a prospect of the sea; upon which sails a ship. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31038] £60.00 (£72.00 incl.VAT)
Geisler del.t Medland Sculp.
[John Stockdale.] [n.d. c.1812.]
Hand-coloured engraving, offset with large margins; Stamp: Stamford Library. Plate 160 x 196mm (6¼ x 7¾").
Plate 25: a full-grown grey Crimean Sheep belonging to a breed with diminutive fat tails; and which affords the valuable lambskins, by pasturing on the Takhanskoi-Kut. At a distance there is a prospect of the sea; upon which sails a ship. From Volume 2 of "Travels Through the Southern Provinces of the Russian Empire, in the Years 1793 and 1794".
[Ref: 31038] £60.00 (£72.00 incl.VAT)
Kaart van het Toonell des Oorlogs in Turkijë.
Steendr. v. J. Vietheim.
te Rotterdam, bÿ H.V. von Gogh 1853.
Wood-engraved map. Printed area 240 x 230mm, 9½ x 9". Folds.
Map of the countries bordering the western coasts of the Black Sea, including Romania and Bulgaria down to Constantinople. It shows the Danube Campaign, at the beginning of the Crimean War (1853-56), when Russia occupied parts of Moldavia and Wallchia, threatening to seize control of the strategically-vital mouth of the Danube.
[Ref: 26312] £85.00
Steendr. v. J. Vietheim.
te Rotterdam, bÿ H.V. von Gogh 1853.
Wood-engraved map. Printed area 240 x 230mm, 9½ x 9". Folds.
Map of the countries bordering the western coasts of the Black Sea, including Romania and Bulgaria down to Constantinople. It shows the Danube Campaign, at the beginning of the Crimean War (1853-56), when Russia occupied parts of Moldavia and Wallchia, threatening to seize control of the strategically-vital mouth of the Danube.
[Ref: 26312] £85.00
![[Crimean War] An Episode at the Battle of the Alma, 20 Sep.r 1854.](jpegs/63276.jpg)
[Crimean War] An Episode at the Battle of the Alma, 20 Sep.r 1854. Lieutenants Lindsay and Thistlethwaite of the Scots Fusileer Guards, Having with their Sergeants become separated from their Battalion, bravely defended their Colours from an attack by a body of Russians, But being ably assisted by Captain Drummond, whose horse was at that moment shot under him, the gallant bearers of the Standards succeeded in planting their Colours on the Heights of Alma.
Painted by A.F. De Prades Esq. Lithographed by A. Laby Esq.
London, Jan.y 23.rd 1855 Published by J.S. Welsh 24, S.t James's Street.
Tinted lithograph with fine hand colour. Sheet 410 x 575mm (16 x 22¾"). Repaired tear.
Fighting between allied expeditionary forces and Russian forces defending the Crimean Peninsula on 20th September 1854.
[Ref: 63276] £280.00 (£336.00 incl.VAT)
Painted by A.F. De Prades Esq. Lithographed by A. Laby Esq.
London, Jan.y 23.rd 1855 Published by J.S. Welsh 24, S.t James's Street.
Tinted lithograph with fine hand colour. Sheet 410 x 575mm (16 x 22¾"). Repaired tear.
Fighting between allied expeditionary forces and Russian forces defending the Crimean Peninsula on 20th September 1854.
[Ref: 63276] £280.00 (£336.00 incl.VAT)
Plan of the attacks and positions of the Allied Armies before Sebastapol in 1854-5. Plate III (To accompany the Report on the Siege of Sebastapol.)
Surveyed and Drawn by Capt.n Cooke, Lieut.s Brine, Fisher, Elphinstone, Cumberland, Anderson, James, C.G.Gordon, Scratchley & Donelly, of the Royal Engineers.. The Outline by F.Boyce, Writing by J.Hutchinson, Hills by G.de Garlieb.
Engraved at the Ordnance Survey Office Southampton in 1858, under the direction of L.t Col.l Cameron, R.E.
Engraved map. 660 x 940mm (26 x 37"). Wear and spotting to edges.
A detailed military map of the focus of the Allied effort in the Crimean War, with Sevastapol and Inkermann in the north and Balaklava in the south. It shows the outline of the town and its harbour, the position of the French military camps encircling the town to the south, the British headquarters further south of the city and the British camp, as well as a couple of Sardinian camps. It also marks the site of the Charge of the Light Brigade at the Battle of Balaclava on Oct. 25, 1854: the use of hachures for relief emphasises the bottleneck into which they rode.
[Ref: 10749] £260.00
Surveyed and Drawn by Capt.n Cooke, Lieut.s Brine, Fisher, Elphinstone, Cumberland, Anderson, James, C.G.Gordon, Scratchley & Donelly, of the Royal Engineers.. The Outline by F.Boyce, Writing by J.Hutchinson, Hills by G.de Garlieb.
Engraved at the Ordnance Survey Office Southampton in 1858, under the direction of L.t Col.l Cameron, R.E.
Engraved map. 660 x 940mm (26 x 37"). Wear and spotting to edges.
A detailed military map of the focus of the Allied effort in the Crimean War, with Sevastapol and Inkermann in the north and Balaklava in the south. It shows the outline of the town and its harbour, the position of the French military camps encircling the town to the south, the British headquarters further south of the city and the British camp, as well as a couple of Sardinian camps. It also marks the site of the Charge of the Light Brigade at the Battle of Balaclava on Oct. 25, 1854: the use of hachures for relief emphasises the bottleneck into which they rode.
[Ref: 10749] £260.00
![[Crimean War] Bataille d'Inkerman. 5 Novembre 1854.](jpegs/63275.jpg)
[Crimean War] Bataille d'Inkerman. 5 Novembre 1854. Guerre d'Orient.
Dessiné et lith. par Guerard, Imp. Lemercier, Paris.
[Goupil et C.ie Paris, Berlin, New York. Publié le 15 X.bre 1854.]
Tinted lithograph with fine hand colour. Sheet 405 x 570mm (16 x 22½"). Trimmed at bottom, losing publication line.
Hand to hand fighting between the British, French and Ottoman infantry and the Russians.
[Ref: 63275] £280.00 (£336.00 incl.VAT)
Dessiné et lith. par Guerard, Imp. Lemercier, Paris.
[Goupil et C.ie Paris, Berlin, New York. Publié le 15 X.bre 1854.]
Tinted lithograph with fine hand colour. Sheet 405 x 570mm (16 x 22½"). Trimmed at bottom, losing publication line.
Hand to hand fighting between the British, French and Ottoman infantry and the Russians.
[Ref: 63275] £280.00 (£336.00 incl.VAT)
Bay and Fort of Yalta, Crimea; from the Survey by Capt.n E. Manganari, of the Russian Imp.l Navy. 1836.
Engraved & Printed at the Topographical and Statistical Depôt, War Department, 17th Sept.r 1855.
Published by Authority of H.M. Principal Secretary for War and Sold by Mess.rs Williams & Norgate, 14 Henrietta S.t Covent Garden & 20 South Frederick St Edinburgh.
Engraving, with a publisher's blind stamp. Printed area 320 x 460mm, 12½ x 16". Laid on linen.
The Bay of Yalta on the Crimea, important to the Allies as a deep-water bay.
[Ref: 10761] £160.00
Engraved & Printed at the Topographical and Statistical Depôt, War Department, 17th Sept.r 1855.
Published by Authority of H.M. Principal Secretary for War and Sold by Mess.rs Williams & Norgate, 14 Henrietta S.t Covent Garden & 20 South Frederick St Edinburgh.
Engraving, with a publisher's blind stamp. Printed area 320 x 460mm, 12½ x 16". Laid on linen.
The Bay of Yalta on the Crimea, important to the Allies as a deep-water bay.
[Ref: 10761] £160.00
Bay of Alushta, Crimea, from the Survey by Capt.n E. Manganari of the Russian Imp.l Navy. 1836.
Engraved and Printed at the Depôt.
Topographical and Statistical Depôt, War Department, 10th Sept.r 1855.
Engraving printed in black and brown, with a publisher's blind stamp. Printed area 300 x 460mm, 12 x 16". Laid on linen.
The Bay of Yalta on the Crimea, important to the Allies as a deep-water bay.
[Ref: 10759] £160.00
Engraved and Printed at the Depôt.
Topographical and Statistical Depôt, War Department, 10th Sept.r 1855.
Engraving printed in black and brown, with a publisher's blind stamp. Printed area 300 x 460mm, 12 x 16". Laid on linen.
The Bay of Yalta on the Crimea, important to the Allies as a deep-water bay.
[Ref: 10759] £160.00