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A selection of stock we have recently added to our website.
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[Jonah an oratorio, Disposed for a voice and harpsicord: composed by Samuel Felsted, organist of St. Andrew's Jamaica.]
B. West inv. 1775. F. Bartolozzi Sculp.
[London, Printed for the Author, by Messrs,, Longman, Lukey & Broderip, No,, 26 , Cheapside, 1775.]
Etching with engraving. Sheet 195 x 155mm (7¾ x 6"). Trimmed, losing title and publication line, laid on album paper.
Jonah on the shore, the whale behind, used as the titlepage to Samuel Felsted' oratorio 'Jonah'. Felstead (1743-1802) was Jamaica's first documented composer, although only two works suvive: his 'Jonah' was the first complete oratorio written in the Americas.
De Vesme 1873.
[Ref: 61563] £240.00 (£288.00 incl.VAT)
B. West inv. 1775. F. Bartolozzi Sculp.
[London, Printed for the Author, by Messrs,, Longman, Lukey & Broderip, No,, 26 , Cheapside, 1775.]
Etching with engraving. Sheet 195 x 155mm (7¾ x 6"). Trimmed, losing title and publication line, laid on album paper.
Jonah on the shore, the whale behind, used as the titlepage to Samuel Felsted' oratorio 'Jonah'. Felstead (1743-1802) was Jamaica's first documented composer, although only two works suvive: his 'Jonah' was the first complete oratorio written in the Americas.
De Vesme 1873.
[Ref: 61563] £240.00 (£288.00 incl.VAT)
To the Committee of the Bristol and Clifton Zoological Society, This Portrait of their old Favorite Jupiter, is respectfully dedicated by the Publisher.
Drawn by J. West Giles. M. & H. Hanhard, Imp.t.
Clifton, Published by John Burbidge, 6, Regent Place, June 24th 1853.
Very scarce tinted lithograph. Sheet 330 x 450mm (13 x 17¾"). Foxing in lower margin.
A fine lithograph portrait of a lion.
[Ref: 53609] £320.00
Drawn by J. West Giles. M. & H. Hanhard, Imp.t.
Clifton, Published by John Burbidge, 6, Regent Place, June 24th 1853.
Very scarce tinted lithograph. Sheet 330 x 450mm (13 x 17¾"). Foxing in lower margin.
A fine lithograph portrait of a lion.
[Ref: 53609] £320.00
![[Retirement.]](jpegs/48237.jpg)
[Retirement.] And ah! let Pity turn her dewy eyes...
R.L. West pinxt. F. Bartolozzi R.A. sculps. 1801.
Rare engraving. Sheet: 120 x 140mm (4¾ x 5½''). Trimmed.
A scene showing a man lying on a bed with a bandage on his head. The poet Chatterton on his death bed. An illustration to 'Retirement' from 'Juvenilia, or a Collection of Poems' by James Henry Leigh Hunt published in 1801. The artist, Raphael Lamar West (1769-1850), son of Benjamin West, contributed to Boydell's Shakespeare Gallery.
[Ref: 48237] £160.00 (£192.00 incl.VAT)
R.L. West pinxt. F. Bartolozzi R.A. sculps. 1801.
Rare engraving. Sheet: 120 x 140mm (4¾ x 5½''). Trimmed.
A scene showing a man lying on a bed with a bandage on his head. The poet Chatterton on his death bed. An illustration to 'Retirement' from 'Juvenilia, or a Collection of Poems' by James Henry Leigh Hunt published in 1801. The artist, Raphael Lamar West (1769-1850), son of Benjamin West, contributed to Boydell's Shakespeare Gallery.
[Ref: 48237] £160.00 (£192.00 incl.VAT)
Keswick Lake, from Friar's Crag. Evening.
Drawn & Engraved by W. Westall, A.RA.
Published by Ackermann & Co. 96 Strand 1835. Price 3s 6d
Aquatint, platemark 215 x 485mm (8½ x 19"), with large margins. Repairs in margin on right.
A fine panorama from a set of Lake District views engraved by William Westall (1781-1850) from his own drawings. Westall was a versatile artist who embraced a variety of media and travelled widely: between 1801 and 1805 he was abroad, having signed up as landscape draughtsman on Flinders' voyage to New Holland (Australia) but also spending extended periods of time in China and India on his way back to England.
[Ref: 46750] £450.00
Drawn & Engraved by W. Westall, A.RA.
Published by Ackermann & Co. 96 Strand 1835. Price 3s 6d
Aquatint, platemark 215 x 485mm (8½ x 19"), with large margins. Repairs in margin on right.
A fine panorama from a set of Lake District views engraved by William Westall (1781-1850) from his own drawings. Westall was a versatile artist who embraced a variety of media and travelled widely: between 1801 and 1805 he was abroad, having signed up as landscape draughtsman on Flinders' voyage to New Holland (Australia) but also spending extended periods of time in China and India on his way back to England.
[Ref: 46750] £450.00
This Outline is a Key to the Portraiture &c. in the Print from Mr West's Picture of the Death of Lord Nelson.
[London, 1811.]
Engraved key plate. 430 x 650mm, 17 x 25½". Creased, edges soiled.
Keyplate of Benjamin West's Death of Lord Nelson, as engraved by James Heath, with a 68-point key and short description of West's intentions with the painting.
From the Reference Library of the Parker Gallery.
[Ref: 22803] £260.00 (£312.00 incl.VAT)
[London, 1811.]
Engraved key plate. 430 x 650mm, 17 x 25½". Creased, edges soiled.
Keyplate of Benjamin West's Death of Lord Nelson, as engraved by James Heath, with a 68-point key and short description of West's intentions with the painting.
From the Reference Library of the Parker Gallery.
[Ref: 22803] £260.00 (£312.00 incl.VAT)
Shakspeare, King Lear Act V Scene I.
Paind by B. West Esqr. R.A. Prest of the Royal Academy & Historical Painter to His Majesty. Engrad by R. Earlom.
Published Jany 1 1799 by B B Evans in the Poultry London.
Mezzotint, 483 x 582mm. Age toning, stain spots lower edge of image. Small tears to tatty margins. Faint crease through upper left corner of image.
The King sits up weakly on his bed, supported by a male figure (perhaps Kent or the Doctor), and with Cordelia sitting beside him, holding his hand and with tears in her eyes. Two further women and two soldiers stand at the left. The scene is in fact incorrectly identified in the title, as the action portrayed here is loosely based on act IV, scene VII. 'Shakspeare' in open letters, very rare.
BM: 1838,0714.92. Wessely: undescribed.
[Ref: 8082] £460.00
Paind by B. West Esqr. R.A. Prest of the Royal Academy & Historical Painter to His Majesty. Engrad by R. Earlom.
Published Jany 1 1799 by B B Evans in the Poultry London.
Mezzotint, 483 x 582mm. Age toning, stain spots lower edge of image. Small tears to tatty margins. Faint crease through upper left corner of image.
The King sits up weakly on his bed, supported by a male figure (perhaps Kent or the Doctor), and with Cordelia sitting beside him, holding his hand and with tears in her eyes. Two further women and two soldiers stand at the left. The scene is in fact incorrectly identified in the title, as the action portrayed here is loosely based on act IV, scene VII. 'Shakspeare' in open letters, very rare.
BM: 1838,0714.92. Wessely: undescribed.
[Ref: 8082] £460.00
![[Battle of La Hogue] To the Right Honourable the Lord Grosvenor, This Plate engraved from a Picture of The Battle of La Hogue](jpegs/54701.jpg)
[Battle of La Hogue] To the Right Honourable the Lord Grosvenor, This Plate engraved from a Picture of The Battle of La Hogue in his Lordship's Collection is dedicated By His Lordship's much obliged and most obedient humble Servants - Benjamin West and William Woollett.
Painted by B. West, Historical Painter to His Majesty. Engraved by W. Woollett, Engraver to His Majesty.
Published as the Act directs, 18 Oct.r 1781 by B. West, W. Woollett & J. Hall, London.
Etching, fine impression. 490 x 615mm (19¼ x 24¼"). Repaired tears in title area, margins with folds and chips.
The Battle of La Hogue, 3-4th June 1692, during the Nine Years' War, in which the remains of a French fleet transporting an invasion force to England was attacked by an Anglo-Dutch force in longboats. All twelve French ships were destroyed. This plate shows the bitter hand to hand fighting.
BM S,1.58, second published state, with the addition of 'Historical Painter to His Majesty'; Fagen 114.
[Ref: 54701] £420.00
Painted by B. West, Historical Painter to His Majesty. Engraved by W. Woollett, Engraver to His Majesty.
Published as the Act directs, 18 Oct.r 1781 by B. West, W. Woollett & J. Hall, London.
Etching, fine impression. 490 x 615mm (19¼ x 24¼"). Repaired tears in title area, margins with folds and chips.
The Battle of La Hogue, 3-4th June 1692, during the Nine Years' War, in which the remains of a French fleet transporting an invasion force to England was attacked by an Anglo-Dutch force in longboats. All twelve French ships were destroyed. This plate shows the bitter hand to hand fighting.
BM S,1.58, second published state, with the addition of 'Historical Painter to His Majesty'; Fagen 114.
[Ref: 54701] £420.00
![Una. [Mary Lawrence.]](jpegs/14770.jpg)
Una. [Mary Lawrence.] From Spencer's Fairy Queen Book 1st. Canto 3. Vers. 4 & 5.
Benjn. West pinxt. R Earlom Sculpt.
Publish'd August 10th. 1772. by J. Boydell Engraver in Cheapside London.
Mezzotint, 470 x 580mm. 18½ x 22¾". Scuff to mezzotint surface around sitter's face.
Portrait of Mary Lawrence (1749 - c.1830) as Una, reclining on the ground within a wood, a beam of light from upper left landing on her head. She wears classical dress, leaning on her right elbow and twisting her long hair with her right hand; a lion at right and donkey either side, landscape with hill and sea beyond. Lawrence was a flower painter and watercolourist, wife of Richard J Lawrence of Jamaica. She exhibited at the RA 1794 - 1830 (after 1813 as Mrs. Kearse). In Edmund Spenser's (1552? - 1599) epic poem 'The Faerie Queene', Una was the wife of Finnbheara, king of the Irish fairies. After Benjamin West (1738 - 1820).
Chaloner Smith: 19.: ii of ii Wessely: 32. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 14770] £580.00
Benjn. West pinxt. R Earlom Sculpt.
Publish'd August 10th. 1772. by J. Boydell Engraver in Cheapside London.
Mezzotint, 470 x 580mm. 18½ x 22¾". Scuff to mezzotint surface around sitter's face.
Portrait of Mary Lawrence (1749 - c.1830) as Una, reclining on the ground within a wood, a beam of light from upper left landing on her head. She wears classical dress, leaning on her right elbow and twisting her long hair with her right hand; a lion at right and donkey either side, landscape with hill and sea beyond. Lawrence was a flower painter and watercolourist, wife of Richard J Lawrence of Jamaica. She exhibited at the RA 1794 - 1830 (after 1813 as Mrs. Kearse). In Edmund Spenser's (1552? - 1599) epic poem 'The Faerie Queene', Una was the wife of Finnbheara, king of the Irish fairies. After Benjamin West (1738 - 1820).
Chaloner Smith: 19.: ii of ii Wessely: 32. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 14770] £580.00
Leonidas.
Painted by Benj.n West, Esqr. Engrav'd by C.H. Hodges.
Publish'd May 1st. 1789, by John & Josiah Boydell, No. 90, Cheapside, London.
Engraving with etching, rare. 495 x 600mm (19½ x 23½"),, with tissue cover as issued. Narrow margins top and bottom, as issued, damp stain on right.
Leonidas II, king of Sparta 254-235 BC, sitting in judgement on his son-in-law Cleombrutus, who had usurped his throne (ruling as Cleonbrutus II, 242-241 BC). Leonidas's daughter pleads for her husband's life, resulting in the pair's banishment. Benhamin West (1738-1820), the Pennsylvanian painter best known for his 'Death of Wolfe', took a story from Plutarch for this painting, which he showed at the second exhibition of the newly-formed Royal Academy, 1768. The painting now resides in the Tate Gallery.
Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36536] £520.00
Painted by Benj.n West, Esqr. Engrav'd by C.H. Hodges.
Publish'd May 1st. 1789, by John & Josiah Boydell, No. 90, Cheapside, London.
Engraving with etching, rare. 495 x 600mm (19½ x 23½"),, with tissue cover as issued. Narrow margins top and bottom, as issued, damp stain on right.
Leonidas II, king of Sparta 254-235 BC, sitting in judgement on his son-in-law Cleombrutus, who had usurped his throne (ruling as Cleonbrutus II, 242-241 BC). Leonidas's daughter pleads for her husband's life, resulting in the pair's banishment. Benhamin West (1738-1820), the Pennsylvanian painter best known for his 'Death of Wolfe', took a story from Plutarch for this painting, which he showed at the second exhibition of the newly-formed Royal Academy, 1768. The painting now resides in the Tate Gallery.
Ex: Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36536] £520.00
The little domestic.
Drawn by R. Westall R.A. Engraved by Hellyer & Gaugain.
Pub. May 1. 1802 by J. & J. Boydell, No. 90 Cheapside, & at the Shakespeare Gallery, Pall Mall, London.
Stipple engraving printed in colour. Image size 17 x 19¼". Unexamined out of frame.
A young woman in a interior holds a bellows, waiting while a saucepan heats on the fire. After Richard Westall RA (1765-1836). A versatile artist, Westall became a full RA in 1794, and in the 1790s worked for both Boydell's Shakespeare Gallery and Fuseli's Milton Gallery. He later illustrated the works of Milton, Byron, Walter Scott and many other leading writers. The high point of Westall's career came in 1814 when he exhibited 312 of his pictures in a successful exhibition in Pall Mall, but from 1815 his fortunes declined and he died in penury.
Richard J. Westall, 'Richard Westall' in the Oxford Dictionary of National Biography.
[Ref: 14458] £150.00 (£180.00 incl.VAT)
Drawn by R. Westall R.A. Engraved by Hellyer & Gaugain.
Pub. May 1. 1802 by J. & J. Boydell, No. 90 Cheapside, & at the Shakespeare Gallery, Pall Mall, London.
Stipple engraving printed in colour. Image size 17 x 19¼". Unexamined out of frame.
A young woman in a interior holds a bellows, waiting while a saucepan heats on the fire. After Richard Westall RA (1765-1836). A versatile artist, Westall became a full RA in 1794, and in the 1790s worked for both Boydell's Shakespeare Gallery and Fuseli's Milton Gallery. He later illustrated the works of Milton, Byron, Walter Scott and many other leading writers. The high point of Westall's career came in 1814 when he exhibited 312 of his pictures in a successful exhibition in Pall Mall, but from 1815 his fortunes declined and he died in penury.
Richard J. Westall, 'Richard Westall' in the Oxford Dictionary of National Biography.
[Ref: 14458] £150.00 (£180.00 incl.VAT)
The Little Domestic.
Drawn by R. Westall R.A. Engraved by Hellyer & Gaugain.
[Pub. May 1. 1802 by J. & J. Boydell, No. 90 Cheapside, & at the Shakespeare Gallery, Pall Mall, London.]
Stipple. 297 x 375mm. 11¾ x 14¾". Cut to platemark.
A young woman in a interior holds a bellows, waiting while a saucepan heats on the fire. After Richard Westall RA (1765-1836). A versatile artist, Westall became a full RA in 1794, and in the 1790s worked for both Boydell's Shakespeare Gallery and Fuseli's Milton Gallery. He later illustrated the works of Milton, Byron, Walter Scott and many other leading writers. The high point of Westall's career came in 1814 when he exhibited 312 of his pictures in a successful exhibition in Pall Mall, but from 1815 his fortunes declined and he died in penury.
See Ref: 14458 for printed in colour.
[Ref: 26586] £120.00 (£144.00 incl.VAT)
Drawn by R. Westall R.A. Engraved by Hellyer & Gaugain.
[Pub. May 1. 1802 by J. & J. Boydell, No. 90 Cheapside, & at the Shakespeare Gallery, Pall Mall, London.]
Stipple. 297 x 375mm. 11¾ x 14¾". Cut to platemark.
A young woman in a interior holds a bellows, waiting while a saucepan heats on the fire. After Richard Westall RA (1765-1836). A versatile artist, Westall became a full RA in 1794, and in the 1790s worked for both Boydell's Shakespeare Gallery and Fuseli's Milton Gallery. He later illustrated the works of Milton, Byron, Walter Scott and many other leading writers. The high point of Westall's career came in 1814 when he exhibited 312 of his pictures in a successful exhibition in Pall Mall, but from 1815 his fortunes declined and he died in penury.
See Ref: 14458 for printed in colour.
[Ref: 26586] £120.00 (£144.00 incl.VAT)
The Rose Bud. [Four verses below.]
Drawn by R. Westall. Engraved by Nutter.
Published by Diemar No. 114 Strand, Janry. 2d. 1796.
Stipple engraving with etching, sheet 435 x 440mm. Trimmed to plate, some soiling and light marginal staining.
An illustration of Matthew Prior's poem 'A Lover's Anger'. A beau complains about being kept waiting but, when Cloe shows the mark caused by a rosebud falling on her bosom, he forgets his anger.
[Ref: 8037] £220.00 (£264.00 incl.VAT)
Drawn by R. Westall. Engraved by Nutter.
Published by Diemar No. 114 Strand, Janry. 2d. 1796.
Stipple engraving with etching, sheet 435 x 440mm. Trimmed to plate, some soiling and light marginal staining.
An illustration of Matthew Prior's poem 'A Lover's Anger'. A beau complains about being kept waiting but, when Cloe shows the mark caused by a rosebud falling on her bosom, he forgets his anger.
[Ref: 8037] £220.00 (£264.00 incl.VAT)
Approach to the Bore Ghaut. Drawn by W.m West, A.R.A. from a Painting by L.t Col.l Johnson, C.B.
Engraved by T. Fielding. Colored by J.B. Hogarth.
Published by R. Ackermann, Strand, & W.m Sams, St James's Street, 1826.
Aquatint printed in colours and hand-finished. Sheet: 300 x 370mm (11¾ x 14½"). Trimmed within plate.
The Bhor (or Bhore) Ghat, the main pass over the Western Ghats and the primary means of communication between the coast and the Deccan, in the north of Maharashtra. From Robert Grindlay's (1786-1877) 'Scenery, costumes and architecture, chiefly on the western side of India,' 1826-30. Grindlay, founder of the ANZ Grindlays Bank, came to India in 1803, aged only 17, and worked with the East India Company, serving with the Seventh Bombay Native Infantry from 1804-1820. William Westall (1781-1850) had travelled to Australia as artist for the Flinders expedition. Westall found the Australian landscape boring, and so, when the expedition broke up after the lead ship, the 'Investigator', was condemned, Westall travelled to India. This was without the permission of his employers, the Admiralty, who sacked him, although they still paid him to complete nine full oil paintings of his sketches of Australia.
Abbey Travel 442.
[Ref: 41318] £240.00 (£288.00 incl.VAT)
Engraved by T. Fielding. Colored by J.B. Hogarth.
Published by R. Ackermann, Strand, & W.m Sams, St James's Street, 1826.
Aquatint printed in colours and hand-finished. Sheet: 300 x 370mm (11¾ x 14½"). Trimmed within plate.
The Bhor (or Bhore) Ghat, the main pass over the Western Ghats and the primary means of communication between the coast and the Deccan, in the north of Maharashtra. From Robert Grindlay's (1786-1877) 'Scenery, costumes and architecture, chiefly on the western side of India,' 1826-30. Grindlay, founder of the ANZ Grindlays Bank, came to India in 1803, aged only 17, and worked with the East India Company, serving with the Seventh Bombay Native Infantry from 1804-1820. William Westall (1781-1850) had travelled to Australia as artist for the Flinders expedition. Westall found the Australian landscape boring, and so, when the expedition broke up after the lead ship, the 'Investigator', was condemned, Westall travelled to India. This was without the permission of his employers, the Admiralty, who sacked him, although they still paid him to complete nine full oil paintings of his sketches of Australia.
Abbey Travel 442.
[Ref: 41318] £240.00 (£288.00 incl.VAT)
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Maidenhead Bridge.
W.Westall. A.R.A. del.t. J.Bailey sculp.t.
Published 1828, by R.Ackermanm, 96 Strand, London.
Coloured aquatint. 220 x 280mm.
ABBEY: Scenery 435.
[Ref: 6537] £160.00 (£192.00 incl.VAT)
W.Westall. A.R.A. del.t. J.Bailey sculp.t.
Published 1828, by R.Ackermanm, 96 Strand, London.
Coloured aquatint. 220 x 280mm.
ABBEY: Scenery 435.
[Ref: 6537] £160.00 (£192.00 incl.VAT)
View of Malay Road, from Pobassoo's Island.
Painted by W. Westall A.R.A. F.L.S. Engraved by S. Middiman.
Pub.d by G & W. Nicol, Pall Mall. Feb.y 12 1814.
Engraving. 255 x 323mm. (10 x 12¾").
A view in Australia; a man holding a spear looking out into the bay. The figure is a romaticised portrait of Pobassoo (the English version of Bapapasu), a Malay fishing captain commanding a fleet of praus (seen in the bay) harvesting terang (sea-cucumbers) to dry and sell to China. A plate to 'Views of Australian scenery painted by W. Westall...', a separate issue of the 9 plates by Westall from Matthew Flinders' 'A voyage to Terra Australis'. William Westall (1781 - 1850) was the official artist aboard HMS Investigator, the first ship to circumnavigate Australia, under the command of Matthew Flinders, 1802-3.
[Ref: 20350] £130.00 (£156.00 incl.VAT)
Painted by W. Westall A.R.A. F.L.S. Engraved by S. Middiman.
Pub.d by G & W. Nicol, Pall Mall. Feb.y 12 1814.
Engraving. 255 x 323mm. (10 x 12¾").
A view in Australia; a man holding a spear looking out into the bay. The figure is a romaticised portrait of Pobassoo (the English version of Bapapasu), a Malay fishing captain commanding a fleet of praus (seen in the bay) harvesting terang (sea-cucumbers) to dry and sell to China. A plate to 'Views of Australian scenery painted by W. Westall...', a separate issue of the 9 plates by Westall from Matthew Flinders' 'A voyage to Terra Australis'. William Westall (1781 - 1850) was the official artist aboard HMS Investigator, the first ship to circumnavigate Australia, under the command of Matthew Flinders, 1802-3.
[Ref: 20350] £130.00 (£156.00 incl.VAT)
![[Departure of Mary Queen of Scot's to France, when a Child.] [&] [Mary, Queen of Scots Leaving Scotland]](jpegs/56632.jpg)
[Departure of Mary Queen of Scot's to France, when a Child.] [&] [Mary, Queen of Scots Leaving Scotland]
Painted by R. Westall. R.A. Engraved by F. Bartolozzi. R.A.
London. Publish'd, August 2. 1794, by W Dickinson.
Pair of stipple proofs, plate 375 x 470mm (14¾ x 18½"). Repaired creases and tears mainly in margins. Small margins.
Pair of stipples depicting Mary Stuart (1542–1587) leaving for France when she was five and fleeing to England after she was forced to abdicate in favour of her one-year-old son on 24th July 1567.
[Ref: 56632] £380.00 view all images for this item
Painted by R. Westall. R.A. Engraved by F. Bartolozzi. R.A.
London. Publish'd, August 2. 1794, by W Dickinson.
Pair of stipple proofs, plate 375 x 470mm (14¾ x 18½"). Repaired creases and tears mainly in margins. Small margins.
Pair of stipples depicting Mary Stuart (1542–1587) leaving for France when she was five and fleeing to England after she was forced to abdicate in favour of her one-year-old son on 24th July 1567.
[Ref: 56632] £380.00 view all images for this item
A Ghost. L'Apparition. From the Original Picture in the possession of his Grace the Duke of Marlborough.
Sir Joshua Reynolds pinxit. A. Zaffonato sculp.t.
Publish'd November 30th.1792 by A. Suntach.
Rare stipple. 228 x 254mm (9 x 10").
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. This is a close copy in reverse of a plate engraved by Niccolo Schiavonetti after Richard Westall, showing the children of the Duke of Marlborough. The pair, 'The Mask', was by Reynolds.
[Ref: 17023] £320.00
Sir Joshua Reynolds pinxit. A. Zaffonato sculp.t.
Publish'd November 30th.1792 by A. Suntach.
Rare stipple. 228 x 254mm (9 x 10").
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. This is a close copy in reverse of a plate engraved by Niccolo Schiavonetti after Richard Westall, showing the children of the Duke of Marlborough. The pair, 'The Mask', was by Reynolds.
[Ref: 17023] £320.00
A Ghost. L'Apparition.
Painted by R. Westall. Engrav'd by Schiavonetti.
London, Pub.d March 1. 1791, by T Simpson St. Paul's Church Yard.
Stipple, printed in colours. Framed, sight size 230 x 255mm (9 x 10". Unexamined out of frame.
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. As the pair, 'The Mask' after Joshua Reynolds, depicted two of the daughters of George Spencer, 4th Duke of Marlborough (who owned the painting), it is likely these are also his children.
See also reference 60316.
[Ref: 60369] £280.00 (£336.00 incl.VAT)
Painted by R. Westall. Engrav'd by Schiavonetti.
London, Pub.d March 1. 1791, by T Simpson St. Paul's Church Yard.
Stipple, printed in colours. Framed, sight size 230 x 255mm (9 x 10". Unexamined out of frame.
Two girls huddle, one points, in fear of a "ghost", which is in fact a young boy playing around with a sheet over his head. As the pair, 'The Mask' after Joshua Reynolds, depicted two of the daughters of George Spencer, 4th Duke of Marlborough (who owned the painting), it is likely these are also his children.
See also reference 60316.
[Ref: 60369] £280.00 (£336.00 incl.VAT)
Maternal Affection. From a Bas Relief in Hurst Church.
R. Westmacott R.A. sculpr. Drawn on Stone by H. Corbould.
[London: F. Moser, 1820.]
Lithograph on india paper, india 305 x 275mm. 12 x 10¾". India paper creased and bubbled.
Classical design in a roundel; a young woman kneeling in profile to right holding a child in her lap which looks up at her while two other children lean against her back. From an edition of four lithographs of which there is a complete set in original wrappers in the BM. The wrapper is lettered: 'The Art of Design of the English School, in a Series of Drawings on Stone: from original works in Painting & Sculpture'. Sir Richard Westmacott (1775 - 1856) is the sculptor. A Royal Academician and Professor of Sculpture at the Royal Academy, Westmacott was responsible for the design of 'The Progress of Civilization', the sculpture for the British Museum pediment. He received commissions for monuments in all parts of the country, as well as in India and the colonies.
BM 1893,0803.84.
[Ref: 22157] £130.00 (£156.00 incl.VAT)
R. Westmacott R.A. sculpr. Drawn on Stone by H. Corbould.
[London: F. Moser, 1820.]
Lithograph on india paper, india 305 x 275mm. 12 x 10¾". India paper creased and bubbled.
Classical design in a roundel; a young woman kneeling in profile to right holding a child in her lap which looks up at her while two other children lean against her back. From an edition of four lithographs of which there is a complete set in original wrappers in the BM. The wrapper is lettered: 'The Art of Design of the English School, in a Series of Drawings on Stone: from original works in Painting & Sculpture'. Sir Richard Westmacott (1775 - 1856) is the sculptor. A Royal Academician and Professor of Sculpture at the Royal Academy, Westmacott was responsible for the design of 'The Progress of Civilization', the sculpture for the British Museum pediment. He received commissions for monuments in all parts of the country, as well as in India and the colonies.
BM 1893,0803.84.
[Ref: 22157] £130.00 (£156.00 incl.VAT)
![[Meditation]](jpegs/35890.jpg)
[Meditation]
[by Charles West Cope, c.1844]
Etching on india with large margins, platemark 150 x 110mm (6 x 4¼").
A woman sitting at a desk with open bible, with painting of the Virgin and Child on the wall. Etching by history painter Charles West Cope (1811-90). From 'Etched Thoughts of the Etching Club', of which Cope was a founding member, and illustrative of a poem by Joseph Hall, Bishop of Norwich. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker.
[Ref: 35890] £130.00 (£156.00 incl.VAT)
[by Charles West Cope, c.1844]
Etching on india with large margins, platemark 150 x 110mm (6 x 4¼").
A woman sitting at a desk with open bible, with painting of the Virgin and Child on the wall. Etching by history painter Charles West Cope (1811-90). From 'Etched Thoughts of the Etching Club', of which Cope was a founding member, and illustrative of a poem by Joseph Hall, Bishop of Norwich. Cope is primarily remembered for his frescoes in the House of Lords and the peers' corridor, but in addition to his academic renderings of historical and literary subjects, he was a talented printmaker.
[Ref: 35890] £130.00 (£156.00 incl.VAT)
[Meditation.
Engraved by S. Phillips, from a Drawing by R. Westall R.A.
London Pub.d April 7 1802 by R. Ackermann, Repository of Arts 101 Strand.]
Stipple. proof before all letters. Sheet 305 x 230mm (12 x 9"). Trimmed within platemark, paper patched in inscription area bottom right.
A seated woman in profile; with long dark hair, looking upward to the left, wearing a loose gown with a sash. The British Museum has the original pencil and watercolour with touches of white. In the description the sitter is supposed to be either Emma Hamilton or Mrs Siddons.
BM for the published state, 2009,7006.1 for the original.
[Ref: 48923] £190.00 (£228.00 incl.VAT)
Engraved by S. Phillips, from a Drawing by R. Westall R.A.
London Pub.d April 7 1802 by R. Ackermann, Repository of Arts 101 Strand.]
Stipple. proof before all letters. Sheet 305 x 230mm (12 x 9"). Trimmed within platemark, paper patched in inscription area bottom right.
A seated woman in profile; with long dark hair, looking upward to the left, wearing a loose gown with a sash. The British Museum has the original pencil and watercolour with touches of white. In the description the sitter is supposed to be either Emma Hamilton or Mrs Siddons.
BM for the published state, 2009,7006.1 for the original.
[Ref: 48923] £190.00 (£228.00 incl.VAT)
A boy Mending his Net.
Drawn by R. Westall R.A. Engraved by Hellyer & Gaugain.
Pub. May 1. 1802 by J. & J. Boydell, No. 90 Cheapside, & at the Shakespeare Gallery, Pall Mall, London.
Stipple engraving printed in colour. Image size 17 x 19¼".
A boy sits on a rock mending a net. In the background are three more fishermen, one of whom carries a net. After Richard Westall RA (1765-1836). A versatile artist, Westall became a full RA in 1794, and in the 1790s worked for both Boydell's Shakespeare Gallery and Fuseli's Milton Gallery. He later illustrated the works of Milton, Byron, Walter Scott and many other leading writers. The high point of Westall's career came in 1814 when he exhibited 312 of his pictures in a successful exhibition in Pall Mall, but from 1815 his fortunes declined and he died in penury.
Richard J. Westall, 'Richard Westall' in the Oxford Dictionary of National Biography.
[Ref: 14452] £280.00 (£336.00 incl.VAT)
Drawn by R. Westall R.A. Engraved by Hellyer & Gaugain.
Pub. May 1. 1802 by J. & J. Boydell, No. 90 Cheapside, & at the Shakespeare Gallery, Pall Mall, London.
Stipple engraving printed in colour. Image size 17 x 19¼".
A boy sits on a rock mending a net. In the background are three more fishermen, one of whom carries a net. After Richard Westall RA (1765-1836). A versatile artist, Westall became a full RA in 1794, and in the 1790s worked for both Boydell's Shakespeare Gallery and Fuseli's Milton Gallery. He later illustrated the works of Milton, Byron, Walter Scott and many other leading writers. The high point of Westall's career came in 1814 when he exhibited 312 of his pictures in a successful exhibition in Pall Mall, but from 1815 his fortunes declined and he died in penury.
Richard J. Westall, 'Richard Westall' in the Oxford Dictionary of National Biography.
[Ref: 14452] £280.00 (£336.00 incl.VAT)
![[Il Latte.] Unsway'd by Fashion's dull unseemly jest [... ]](jpegs/62303.jpg)
[Il Latte.] Unsway'd by Fashion's dull unseemly jest [... ] Vide Jerningham's Poem, Il Latte.
R. Westall R.A. inv. T. Cheesman, sculp. late Pupil to F. Bartolozzi R.A.
Published March 20, 1794, by J.F. Tomkins, New Bond Street, London.
Rare stipple. 385 x 290mm (15¼ x 11½"), with very large margins. Spotting and staining.
A very decorative oval scene of a mother breastfeeding.
[Ref: 62303] £320.00
R. Westall R.A. inv. T. Cheesman, sculp. late Pupil to F. Bartolozzi R.A.
Published March 20, 1794, by J.F. Tomkins, New Bond Street, London.
Rare stipple. 385 x 290mm (15¼ x 11½"), with very large margins. Spotting and staining.
A very decorative oval scene of a mother breastfeeding.
[Ref: 62303] £320.00
Mortlake.
Drawn from Nature & on Stone by W. Westall A.R.A. Printed by C. Hullmandel.
London Pub: by Rodwell & Martin: New Bond St. Dec.r 1823.
Hand coloured lithograph. Sheet size: 275 x 400mm (10¾ x 15¾"). Large margins.
A view of the river Thames at Mortlake, with a number of figures, including a fish-seller, on the bank to the left, and three boats on the water. William Westall (1781 - 1850) was a British topographical draughtsman and engraver. He became an Associate Member of the Royal Academy in 1812. He was the younger brother of the painter and illustrator Richard Westall. A plate from 'Thirty five Views on the Thames, at Richmond, Eton, Windsor and Oxford', published December 1823.
[Ref: 38067] £220.00 (£264.00 incl.VAT)
Drawn from Nature & on Stone by W. Westall A.R.A. Printed by C. Hullmandel.
London Pub: by Rodwell & Martin: New Bond St. Dec.r 1823.
Hand coloured lithograph. Sheet size: 275 x 400mm (10¾ x 15¾"). Large margins.
A view of the river Thames at Mortlake, with a number of figures, including a fish-seller, on the bank to the left, and three boats on the water. William Westall (1781 - 1850) was a British topographical draughtsman and engraver. He became an Associate Member of the Royal Academy in 1812. He was the younger brother of the painter and illustrator Richard Westall. A plate from 'Thirty five Views on the Thames, at Richmond, Eton, Windsor and Oxford', published December 1823.
[Ref: 38067] £220.00 (£264.00 incl.VAT)
![[A mother suckling a child.]](jpegs/17741.jpg)
[A mother suckling a child.] Unsway'd by Fashion's dull unseemly jest, Still to the Bosom let your infance cling, There banquet oft, and ever welcome guest, Unblam'd inebriate at that Healthful Spring. Vide. Jerningham's Poem, II Latte.
R. Westall R.A. inv. T. Cheesman, sculp. Late Pupil to F. Bartolozzi R.A.
[Published March 20, 1794, by J.F. Tomkins, New Bond Street, London.]
A very fine coloured stipple with etching, framed. Plate 380 x 286mm. 15 x 11¼". Publication line covered by mount.
A mother suckling a child, with a vine visible outside the window to the right, the colour suggesting an Autumnal setting.
[Ref: 17741] £650.00
R. Westall R.A. inv. T. Cheesman, sculp. Late Pupil to F. Bartolozzi R.A.
[Published March 20, 1794, by J.F. Tomkins, New Bond Street, London.]
A very fine coloured stipple with etching, framed. Plate 380 x 286mm. 15 x 11¼". Publication line covered by mount.
A mother suckling a child, with a vine visible outside the window to the right, the colour suggesting an Autumnal setting.
[Ref: 17741] £650.00
![[An manuscript promissory note with the autograph of Lindley Murray, Quaker grammarian]](jpegs/55319.jpg)
[An manuscript promissory note with the autograph of Lindley Murray, Quaker grammarian] Exch. £45 - Holdgate near York, 4th of 7th month, 1825. At sight, please pay to Wilson, Tweedy & Co., or their order, Forty five pounds, due to me from [old paper patch obscuring text] Lindley Murray.
Ink mss. promissory note. Sheet 85 x 190mm (3¼ x 7½"). Slightly trimmed, laid on album paper, old clipping pasted over edge, mounted on album paper with steel-engraved portrait with matching facsimile signature.
Lindley Murray (1745-1826), a Pennsylvania-born Quaker who, after a success law career, retired to Holdgate (near York, England) for the sake of his health (1784). There, noticing a lack of suitable lesson-books for a Friends' school for girls, he wrote 'English Grammar Adapted to the Different Classes of Learners' (1795). Published both in England and America, running through nearly 50 editions and becoming the predominant grammar schoolbook. His 'English Reader' (1799) was described by Abraham Lincoln as 'the best schoolbook ever put in the hands of an American youth'. Wilson, Tweedy & Co. were country bankers of High Ousegate, York.
[Ref: 55319] £190.00 (£228.00 incl.VAT)
Ink mss. promissory note. Sheet 85 x 190mm (3¼ x 7½"). Slightly trimmed, laid on album paper, old clipping pasted over edge, mounted on album paper with steel-engraved portrait with matching facsimile signature.
Lindley Murray (1745-1826), a Pennsylvania-born Quaker who, after a success law career, retired to Holdgate (near York, England) for the sake of his health (1784). There, noticing a lack of suitable lesson-books for a Friends' school for girls, he wrote 'English Grammar Adapted to the Different Classes of Learners' (1795). Published both in England and America, running through nearly 50 editions and becoming the predominant grammar schoolbook. His 'English Reader' (1799) was described by Abraham Lincoln as 'the best schoolbook ever put in the hands of an American youth'. Wilson, Tweedy & Co. were country bankers of High Ousegate, York.
[Ref: 55319] £190.00 (£228.00 incl.VAT)
Road From Emu Plains, Over The Blue Mountains. The First Stone Bridge built in New South Wales
Drawn from Nature by Captn. Westmacott, On Stone by W. Spreat.
Printed at W. Spreats Establishment Exeter. [n.d., c.1858.]
Lithograph, image 130 x 200mm. 5 x 7¾". Trimmed to image. Title cut and added on.
Plate 8 to Part 2 of 'Sketches in Australia / from drawings by R.M. Westmacott' issued in 3 parts with separately numbered wrappers. After Robert Marsh Westmacott (1801 - 1870). Very rare.
National Library of Australia: 661042.
[Ref: 10768] £130.00 (£156.00 incl.VAT)
Drawn from Nature by Captn. Westmacott, On Stone by W. Spreat.
Printed at W. Spreats Establishment Exeter. [n.d., c.1858.]
Lithograph, image 130 x 200mm. 5 x 7¾". Trimmed to image. Title cut and added on.
Plate 8 to Part 2 of 'Sketches in Australia / from drawings by R.M. Westmacott' issued in 3 parts with separately numbered wrappers. After Robert Marsh Westmacott (1801 - 1870). Very rare.
National Library of Australia: 661042.
[Ref: 10768] £130.00 (£156.00 incl.VAT)
![[Orlando Furioso] Angelica and Medoro.](jpegs/48178.jpg)
[Orlando Furioso] Angelica and Medoro.
Painted by B. West Historical Painter to his Majesty. Engraved from the Original Picture for Facius.
Publish'd Jan.y 1.st 1778 by John Boydell Engraver in Cheapside London.
Stipple. Sheet: 355 x 265mm (14 x 10½''). Trimmed.
A portrait of lovers Angelica and Medoro, characters in Ludovico Ariosto's 'Orlando Furioso'.
[Ref: 48178] £160.00 (£192.00 incl.VAT)
Painted by B. West Historical Painter to his Majesty. Engraved from the Original Picture for Facius.
Publish'd Jan.y 1.st 1778 by John Boydell Engraver in Cheapside London.
Stipple. Sheet: 355 x 265mm (14 x 10½''). Trimmed.
A portrait of lovers Angelica and Medoro, characters in Ludovico Ariosto's 'Orlando Furioso'.
[Ref: 48178] £160.00 (£192.00 incl.VAT)
Oxford. From the South West.
Drawn by W. Westall ARA. Printed by C. Hullmandel.
London. Published by Rodwell and Martin: 40 Argyll Street, & 46 New Bond St. Mar 20, 1822.
Lithograph with hand colour. Printed area: 210 x 315mm (8¼ x 12½") Creased, scratch in image.
A view of Oxford from the Thames, from William Westall's 'Views on the Thames', published in 1823.
[Ref: 50005] £220.00 (£264.00 incl.VAT)
Drawn by W. Westall ARA. Printed by C. Hullmandel.
London. Published by Rodwell and Martin: 40 Argyll Street, & 46 New Bond St. Mar 20, 1822.
Lithograph with hand colour. Printed area: 210 x 315mm (8¼ x 12½") Creased, scratch in image.
A view of Oxford from the Thames, from William Westall's 'Views on the Thames', published in 1823.
[Ref: 50005] £220.00 (£264.00 incl.VAT)
Oxford. From Godstow Lock.
Drawn by W. Westall ARA. Printed by C. Hullmandel.
London. Published by Rodwell and Martin: 40 Argyll Street, & 46 New Bond St. Mar 20, 1822.
Lithograph with fine hand colour, printed on chine collé. 210 x 315mm (8¼ x 12½") very large margins. Some spotting.
A view of Oxford from the Thames, from William Westall's 'Views on the Thames', published in 1823.
[Ref: 61226] £320.00
Drawn by W. Westall ARA. Printed by C. Hullmandel.
London. Published by Rodwell and Martin: 40 Argyll Street, & 46 New Bond St. Mar 20, 1822.
Lithograph with fine hand colour, printed on chine collé. 210 x 315mm (8¼ x 12½") very large margins. Some spotting.
A view of Oxford from the Thames, from William Westall's 'Views on the Thames', published in 1823.
[Ref: 61226] £320.00
Corpus Christi College And Christ Church Cathedral.
W. Westall delt. J.C. Stadler sculpt.
London Pub. May 1. 1814 at 101 Strand for R. Ackermann's History of Oxford.
Fine hand coloured aquatint, 250 x 300mm. 9¾ x 11¾".
Figures in academic dress to foreground. From 'A History of the University of Oxford, its colleges, halls, and public buildings. [By William Combe.]'
[Ref: 15063] £180.00 (£216.00 incl.VAT)
W. Westall delt. J.C. Stadler sculpt.
London Pub. May 1. 1814 at 101 Strand for R. Ackermann's History of Oxford.
Fine hand coloured aquatint, 250 x 300mm. 9¾ x 11¾".
Figures in academic dress to foreground. From 'A History of the University of Oxford, its colleges, halls, and public buildings. [By William Combe.]'
[Ref: 15063] £180.00 (£216.00 incl.VAT)
Pætus and Arria. To Her Highness the Princess Daschkau, This Plate is, by Permission, Dedicated, by her Highness's most Dutiful & Obliged, humble Servant, Valentine Green.
Painted by B. West Historical Painter to his Majesty. Engrav'd by V. Green, Mezzotinto Engraver to his Majesty, & the Elector Palatine.
Published [****] No 24 Percy Street Bedford [****].
Mezzotint. Sheet 655 x 405mm (25¾ x 16"). Trimmed within plate, small area of creasing, dedication badly inked, publication line partially erased.
A scene from the letters of Pliny the Younger: Caecina Paetus, having received an order to commit suicide for his part in a rebellion against Emperor Claudius, cannot bring himself to do it. His wife, Arria, stabs herelf and tries to hand her husband the dagger, telling him that it didn't hurt. Pliny heard the story from Arria's granddaughter, Fannia. The scene was engraved by Valentine Green after American painter Benjamin West (1738-1820), and dedicated to Yekaterina Vorontsova-Dashkova (1743-1810), a close friend of Catherine the Great, who was created a Director of the Imperial Academy of Arts and Sciences on her return to Russia in 1782. Originally published by Green in 1781, this is a later state unrecored by Whitman.
Whitman: 224. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 48454] £240.00 (£288.00 incl.VAT)
Painted by B. West Historical Painter to his Majesty. Engrav'd by V. Green, Mezzotinto Engraver to his Majesty, & the Elector Palatine.
Published [****] No 24 Percy Street Bedford [****].
Mezzotint. Sheet 655 x 405mm (25¾ x 16"). Trimmed within plate, small area of creasing, dedication badly inked, publication line partially erased.
A scene from the letters of Pliny the Younger: Caecina Paetus, having received an order to commit suicide for his part in a rebellion against Emperor Claudius, cannot bring himself to do it. His wife, Arria, stabs herelf and tries to hand her husband the dagger, telling him that it didn't hurt. Pliny heard the story from Arria's granddaughter, Fannia. The scene was engraved by Valentine Green after American painter Benjamin West (1738-1820), and dedicated to Yekaterina Vorontsova-Dashkova (1743-1810), a close friend of Catherine the Great, who was created a Director of the Imperial Academy of Arts and Sciences on her return to Russia in 1782. Originally published by Green in 1781, this is a later state unrecored by Whitman.
Whitman: 224. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 48454] £240.00 (£288.00 incl.VAT)
![[Satan Alarmed.]](jpegs/55518.jpg)
[Satan Alarmed.]
R. Westall R.A. F. Graves. Printed by J Yates.
Printed 1835 James [sic, recte John] Macrone, 3 St, James Square & E Graves King William Street West Strand.
Engraving and etching, scratched-letter state, proof before title, printed on chine collé. 210 x 150mm (8¼ x 6"). Trimmed to plate, some spotting.
Satan standing on the top of the globe, holding shield and spear, illustrating Book IV Line 986 of 'Paradise Lost'. 'On the other side, Satan alarm'd, Collecting all his might, dilated stood, Like Teneriffe, or Atlas, unremoved: His stature reach'd the sky, and on his crest Sat horrour plumed; nor wanted in his grasp, What seem'd both spear and shield.' Published as a frontispiece to ''The Poetical Works of John Milton'.
[Ref: 55518] £90.00 (£108.00 incl.VAT)
R. Westall R.A. F. Graves. Printed by J Yates.
Printed 1835 James [sic, recte John] Macrone, 3 St, James Square & E Graves King William Street West Strand.
Engraving and etching, scratched-letter state, proof before title, printed on chine collé. 210 x 150mm (8¼ x 6"). Trimmed to plate, some spotting.
Satan standing on the top of the globe, holding shield and spear, illustrating Book IV Line 986 of 'Paradise Lost'. 'On the other side, Satan alarm'd, Collecting all his might, dilated stood, Like Teneriffe, or Atlas, unremoved: His stature reach'd the sky, and on his crest Sat horrour plumed; nor wanted in his grasp, What seem'd both spear and shield.' Published as a frontispiece to ''The Poetical Works of John Milton'.
[Ref: 55518] £90.00 (£108.00 incl.VAT)
Paradise Lost. B.5 L.2
R. Westall R.A. del. / Rich. Earlom Sculp.
Publish'd June 4. 1795, by J. & J. Boydell, & G. Nicol, Shakespeare Gallery, Pall Mall, & No. 90, Cheapside.
Stipple, sheet 325 x 230mm (12¾ x 9"). Trimmed inside platemark.
Adam and Eve in the Garden of Eden. One of a series of illustrations to Milton's epic poem 'Paradise Lost'.
Ex Collection of Christopher Lennox-Boyd.
[Ref: 36527] £85.00 (£102.00 incl.VAT)
R. Westall R.A. del. / Rich. Earlom Sculp.
Publish'd June 4. 1795, by J. & J. Boydell, & G. Nicol, Shakespeare Gallery, Pall Mall, & No. 90, Cheapside.
Stipple, sheet 325 x 230mm (12¾ x 9"). Trimmed inside platemark.
Adam and Eve in the Garden of Eden. One of a series of illustrations to Milton's epic poem 'Paradise Lost'.
Ex Collection of Christopher Lennox-Boyd.
[Ref: 36527] £85.00 (£102.00 incl.VAT)
Paradise Lost. B.7 L.535
R. Westall R.A. del. / Tho.s Kirk Sculp.t
Publish'd June 4. 1795, by J. & J. Boydell, & G. Nicol, Shakespeare Gallery, Pall Mall, & No. 90, Cheapside.
Stipple, sheet 380 x 280mm (15 x 11"). Trimmed inside platemark.
'Wherever thus created, for no place / Is yet distinct by name, thence, as thou know'st / He brought thee into this delicious grove'. The angel Raphael telling Adam and Eve, in the garden of Eden, how the world was created. One of a series of illustrations to Milton's epic poem 'Paradise Lost'.
[Ref: 38515] £140.00 (£168.00 incl.VAT)
R. Westall R.A. del. / Tho.s Kirk Sculp.t
Publish'd June 4. 1795, by J. & J. Boydell, & G. Nicol, Shakespeare Gallery, Pall Mall, & No. 90, Cheapside.
Stipple, sheet 380 x 280mm (15 x 11"). Trimmed inside platemark.
'Wherever thus created, for no place / Is yet distinct by name, thence, as thou know'st / He brought thee into this delicious grove'. The angel Raphael telling Adam and Eve, in the garden of Eden, how the world was created. One of a series of illustrations to Milton's epic poem 'Paradise Lost'.
[Ref: 38515] £140.00 (£168.00 incl.VAT)
![Paradise Lost. B. 11. L 652. [The Archangel Michael sets before Adam a vision.]](jpegs/24655.jpg)
Paradise Lost. B. 11. L 652. [The Archangel Michael sets before Adam a vision.]
R. Westall R.A. del. J. Ogborne sculp.
Publish'd June 4 1795, by J.&J. Boydell & G. Nicol Shakspeare Gallery, Pall Mall, & No 90, Cheapside.
Stipple, with very large margins, sheet 415 x 315mm. 16¼ x 12½". Slightly tatty and chipped extremities.
Adam looks down in horror upon a raging battle from a cliff top; the angel gesturing towards the bloody scene while he wrings his hands. Illustration of the eleventh book of John Milton's great epic poem 'Paradise Lost'. From 'The Poetical Works of John Milton' published by John and Josiah Boydell in three volumes between 1794 and 1797. It contained four engraved portraits and 28 plates after Richard Westall (1765 - 1836) by among others R. Earlom, T. Kirk, J. Ogborne, B. Smith, as well as J.P. Simon. Westall was an accomplished artist in watercolour who illustrated a number of books, including Boydells' 'Shakespeare', and contributed 5 large scale paintings for the 'Shakespeare Gallery'.
[Ref: 24655] £120.00 (£144.00 incl.VAT)
R. Westall R.A. del. J. Ogborne sculp.
Publish'd June 4 1795, by J.&J. Boydell & G. Nicol Shakspeare Gallery, Pall Mall, & No 90, Cheapside.
Stipple, with very large margins, sheet 415 x 315mm. 16¼ x 12½". Slightly tatty and chipped extremities.
Adam looks down in horror upon a raging battle from a cliff top; the angel gesturing towards the bloody scene while he wrings his hands. Illustration of the eleventh book of John Milton's great epic poem 'Paradise Lost'. From 'The Poetical Works of John Milton' published by John and Josiah Boydell in three volumes between 1794 and 1797. It contained four engraved portraits and 28 plates after Richard Westall (1765 - 1836) by among others R. Earlom, T. Kirk, J. Ogborne, B. Smith, as well as J.P. Simon. Westall was an accomplished artist in watercolour who illustrated a number of books, including Boydells' 'Shakespeare', and contributed 5 large scale paintings for the 'Shakespeare Gallery'.
[Ref: 24655] £120.00 (£144.00 incl.VAT)
Pax Artium Nutrix.
B. West inv. 1787 R.A. Etched by F. Bartolozzi 1787.
Publish'd in the Act Jany. 28 1787 by Greenwood.
Colour-printed stipple. Sheet: 285 x 230mm (11¼ x 9''). Trimmed within plate, repaired tears, publication line faint.
A woman seated on a rock, wearing the emblems of the three arts on her belt, in front of her are six putti, writing, carrying books and sheets of paper inscribed 'Italy'. On the left, the lion of Britannia and on the right, a bust of King George III, and the shield of Brtiannia; in the background are ships at sea. Frontispiece to "A Catalogue of that superb and well known Cabinet of Drawings of John Barnard Esq., which will be sold by auction by Mr. Greenwood on Friday, Feb. 16. 1787".
De Vesme: 553 II.
[Ref: 48990] £140.00 (£168.00 incl.VAT)
B. West inv. 1787 R.A. Etched by F. Bartolozzi 1787.
Publish'd in the Act Jany. 28 1787 by Greenwood.
Colour-printed stipple. Sheet: 285 x 230mm (11¼ x 9''). Trimmed within plate, repaired tears, publication line faint.
A woman seated on a rock, wearing the emblems of the three arts on her belt, in front of her are six putti, writing, carrying books and sheets of paper inscribed 'Italy'. On the left, the lion of Britannia and on the right, a bust of King George III, and the shield of Brtiannia; in the background are ships at sea. Frontispiece to "A Catalogue of that superb and well known Cabinet of Drawings of John Barnard Esq., which will be sold by auction by Mr. Greenwood on Friday, Feb. 16. 1787".
De Vesme: 553 II.
[Ref: 48990] £140.00 (£168.00 incl.VAT)
Guillaume Penn Traite avec les Indiens Etablissant la Province de Pensilvanie dans l'Amerique Septentrionale en 1681.
Benj: West Pinxit. D* sculp
[n.d., c.1780]
Engraving, rich impression; sheet 480 x 330mm (18¾ x 13"). Trimmed inside platemark; vertical crease through middle; small tears to edges; hole in centre; laid on conservation tissue.
William Penn's (1644 - 1718) 'Great Treaty' reputedly signed with Delaware Indian leaders in 1682 under an ancient elm tree at the village of Shackamaxon, located in what are now the borders of the city of Philadelphia, Pennsylvania. The event was painted by the Pennsylvania-born artist Benjamin West, a picture which was engraved in 1775. This French copy, probably made from that engraving, reverses and crops the picture to focus upon the centre of West's composition.
Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 31858] £360.00
Benj: West Pinxit. D* sculp
[n.d., c.1780]
Engraving, rich impression; sheet 480 x 330mm (18¾ x 13"). Trimmed inside platemark; vertical crease through middle; small tears to edges; hole in centre; laid on conservation tissue.
William Penn's (1644 - 1718) 'Great Treaty' reputedly signed with Delaware Indian leaders in 1682 under an ancient elm tree at the village of Shackamaxon, located in what are now the borders of the city of Philadelphia, Pennsylvania. The event was painted by the Pennsylvania-born artist Benjamin West, a picture which was engraved in 1775. This French copy, probably made from that engraving, reverses and crops the picture to focus upon the centre of West's composition.
Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 31858] £360.00
William Penn's Treaty with the Indians, when he founded the Province of Pensylvania in North America 1681. To the Proprietaries of the Province of Pensylvania, &c. &c. This Print, Engraved from the Original Painting belonging to the late Thomas Penn Esquire, Is respectfully Inscribed by Their obedient humble Servant John Boydell.
Benj: West pinxit. John Hall sculpsit.
Published, June 12th. 1775 by John Boydell Engraver in Cheapside London.
Engraving. 485 x 615mm (19 x 24¼"). Repairs to edges.
William Penn's (1644 - 1718) 'Great Treaty' was reputedly signed with Delaware Indian leaders in 1682 under an ancient elm tree at the village of Shackamaxon, located in what are now the borders of the city of Philadelphia, Pennsylvania. This highly detailed depiction of the event, shows Penn in the centre left, with his arms open, his entourage beside him, two of his men kneeling, offering gifts to the Indians who are assembled at the right. Buildings in construction can be seen behind at the left, with boats on the sea at right. The painting by Benjamin West (1738 - 1820), who was born in Pennsylvania, is now in the Pennsylvania Academy of the Fine Arts. West was the first American-born artist to receive international recognition and remains one of the most important eighteenth-century painters of historical scenes. He enjoyed a career that endured more than half a century that included serving as president of the Royal Academy. William Penn, quaker leader and founder of Pennsylvania, was the first great hero of American liberty. During the late seventeenth century, Penn established an American sanctuary which protected freedom of conscience. Almost everywhere else, colonists stole land from the Indians, but Penn travelled unarmed among the Indians and negotiated peaceful purchases. He insisted that women deserved equal rights with men. He gave Pennsylvania a written constitution which limited the power of government, provided a humane penal code, and guaranteed many fundamental liberties. For the first time in modern history, a large society offered equal rights to people of different races and religions. Penn's dramatic example caused quite a stir in Europe. The French philosopher Voltaire, a champion of religious toleration, offered lavish praise. 'William Penn might, with reason, boast of having brought down upon earth the Golden Age, which in all probability, never had any real existence but in his dominions'.
[Ref: 54272] £690.00
Benj: West pinxit. John Hall sculpsit.
Published, June 12th. 1775 by John Boydell Engraver in Cheapside London.
Engraving. 485 x 615mm (19 x 24¼"). Repairs to edges.
William Penn's (1644 - 1718) 'Great Treaty' was reputedly signed with Delaware Indian leaders in 1682 under an ancient elm tree at the village of Shackamaxon, located in what are now the borders of the city of Philadelphia, Pennsylvania. This highly detailed depiction of the event, shows Penn in the centre left, with his arms open, his entourage beside him, two of his men kneeling, offering gifts to the Indians who are assembled at the right. Buildings in construction can be seen behind at the left, with boats on the sea at right. The painting by Benjamin West (1738 - 1820), who was born in Pennsylvania, is now in the Pennsylvania Academy of the Fine Arts. West was the first American-born artist to receive international recognition and remains one of the most important eighteenth-century painters of historical scenes. He enjoyed a career that endured more than half a century that included serving as president of the Royal Academy. William Penn, quaker leader and founder of Pennsylvania, was the first great hero of American liberty. During the late seventeenth century, Penn established an American sanctuary which protected freedom of conscience. Almost everywhere else, colonists stole land from the Indians, but Penn travelled unarmed among the Indians and negotiated peaceful purchases. He insisted that women deserved equal rights with men. He gave Pennsylvania a written constitution which limited the power of government, provided a humane penal code, and guaranteed many fundamental liberties. For the first time in modern history, a large society offered equal rights to people of different races and religions. Penn's dramatic example caused quite a stir in Europe. The French philosopher Voltaire, a champion of religious toleration, offered lavish praise. 'William Penn might, with reason, boast of having brought down upon earth the Golden Age, which in all probability, never had any real existence but in his dominions'.
[Ref: 54272] £690.00
William Penn's Treaty with the Indians, when he founded the Province of Pensylvania in North America.
[after Benjamin West.]
[n.d., c.1840.]`
Lithograph, 13½ x 17".
Penn was born October 14, 1644 to Anglican parents, Admiral Sir William Penn and Margaret Jasper. For much of his young life he knocked about, getting expelled from Oxford, learning law at Lincoln's Inn, studying in the Huguenot Academy at Saumer, and managing his father's estates in Ireland. Soon after hearing the famous apostle Thomas Loe, he converted to Quakerism. Then in his mid twenties, he quickly involved himself in the Quaker cause, landing in prison several times for his 'radical' preaching for personal, property, and religious rights. In 1672 he married Gulielma Maria Springett, and five years later traveled in the company of George Fox to Holland. Penn, though wealthy and though a Quaker, lived beyond his means. In order to raise some funds he called in a debt owed his father by Charles II. On March 4, 1681 he obtained the charter for Pennsylvania, [and in August 1682 he gained the rights to Delaware from his friend James, the Duke of York.] Penn planned to make money by selling tracts of land, and although he was able to attract a good number of investors he never realized the profit he imagined. However, he saw this venture as more than a money-making exercise; it was, in his famous words to his friend and land agent for Pennsylvania, James Harrison, a "holy experiment." This experiment would become, as he confidently predicted, "the seed of a nation.". Penn imagined a "free. .sober and industrious people" living by their own laws. In 1682 he sought to delineate these laws in the First Frame of government; and though somewhat less liberal than his New Jersey bill, it provided many of the same rights. Penn first arrived at his new colony in the fall of 1682 and stayed only until August of 1684. It was at this time that he supposedly signed his famous treaty with the Delaware (Leni Lenape) at Shackamaxon. And though no copy of such an agreement exists, we do have a wampum belt allegedly given to Penn by the Indians. The first treaty document in existence is one dated July 15, 1682 in which Penn obtains land from Idquahon and several other Leni Lenape leaders. In the next year Penn would broker at least eight other land transactions with the Delaware. He was busy with man other tasks as well. During his first stay, Penn began building his mansion and attending to numerous details of colony building, including a border dispute with Lord Baltimore, who controlled the territory south of Pennsylvania. He returned to England to continue his dispute with Baltimore, not to return to Pennsylvania until 1699. The England in the 1690s was a tumultuous place, especially for an outspoken, liberal Quaker. Penn never shirked from the political fray, as did many of his fellow Quakers, though his forthrightness proved dangerous. He supported James II, though in the Glorious Revolution of 1688 William and Mary bested James. Later, under suspicion of treason, Penn briefly lost control of his colony from 1692 to 1694. He received another setback when his wife died in 1694, though he rebounded by remarrying a year and a half later to Hannah Callowhill. Back in Pennsylvania, political squabbling had set in and various leadership changes took place. In 1691 George Keith led a religious schism, and Pennsylvania and Delaware separated into two provinces. And in 1696, William Markham's (Penn's secretary and then governor of Delaware) charter replaced the earlier 'Frame', though when Penn returned in 1701 he would again revise this version. By the time he left for good in November of that year, the colony's Assembly was elected yearly and enjoyed a more powerful position than the governor, who despite his veto power, was secondary to the legislative body. Though Penn planned to stay in the New World, settling at his manor Pennsbury, (up the Delaware from Philadelphia) but further political troubles in England forced his return, and in 1712 suffered an attack of apoplexy which disabled him. His wife Hannah managed his affairs until Penn died in 1718, and after her death ion 1727 the proprietorship of Pennsylvania passed to their sons, John, Thomas, and Richard.
[Ref: 6523] £420.00
[after Benjamin West.]
[n.d., c.1840.]`
Lithograph, 13½ x 17".
Penn was born October 14, 1644 to Anglican parents, Admiral Sir William Penn and Margaret Jasper. For much of his young life he knocked about, getting expelled from Oxford, learning law at Lincoln's Inn, studying in the Huguenot Academy at Saumer, and managing his father's estates in Ireland. Soon after hearing the famous apostle Thomas Loe, he converted to Quakerism. Then in his mid twenties, he quickly involved himself in the Quaker cause, landing in prison several times for his 'radical' preaching for personal, property, and religious rights. In 1672 he married Gulielma Maria Springett, and five years later traveled in the company of George Fox to Holland. Penn, though wealthy and though a Quaker, lived beyond his means. In order to raise some funds he called in a debt owed his father by Charles II. On March 4, 1681 he obtained the charter for Pennsylvania, [and in August 1682 he gained the rights to Delaware from his friend James, the Duke of York.] Penn planned to make money by selling tracts of land, and although he was able to attract a good number of investors he never realized the profit he imagined. However, he saw this venture as more than a money-making exercise; it was, in his famous words to his friend and land agent for Pennsylvania, James Harrison, a "holy experiment." This experiment would become, as he confidently predicted, "the seed of a nation.". Penn imagined a "free. .sober and industrious people" living by their own laws. In 1682 he sought to delineate these laws in the First Frame of government; and though somewhat less liberal than his New Jersey bill, it provided many of the same rights. Penn first arrived at his new colony in the fall of 1682 and stayed only until August of 1684. It was at this time that he supposedly signed his famous treaty with the Delaware (Leni Lenape) at Shackamaxon. And though no copy of such an agreement exists, we do have a wampum belt allegedly given to Penn by the Indians. The first treaty document in existence is one dated July 15, 1682 in which Penn obtains land from Idquahon and several other Leni Lenape leaders. In the next year Penn would broker at least eight other land transactions with the Delaware. He was busy with man other tasks as well. During his first stay, Penn began building his mansion and attending to numerous details of colony building, including a border dispute with Lord Baltimore, who controlled the territory south of Pennsylvania. He returned to England to continue his dispute with Baltimore, not to return to Pennsylvania until 1699. The England in the 1690s was a tumultuous place, especially for an outspoken, liberal Quaker. Penn never shirked from the political fray, as did many of his fellow Quakers, though his forthrightness proved dangerous. He supported James II, though in the Glorious Revolution of 1688 William and Mary bested James. Later, under suspicion of treason, Penn briefly lost control of his colony from 1692 to 1694. He received another setback when his wife died in 1694, though he rebounded by remarrying a year and a half later to Hannah Callowhill. Back in Pennsylvania, political squabbling had set in and various leadership changes took place. In 1691 George Keith led a religious schism, and Pennsylvania and Delaware separated into two provinces. And in 1696, William Markham's (Penn's secretary and then governor of Delaware) charter replaced the earlier 'Frame', though when Penn returned in 1701 he would again revise this version. By the time he left for good in November of that year, the colony's Assembly was elected yearly and enjoyed a more powerful position than the governor, who despite his veto power, was secondary to the legislative body. Though Penn planned to stay in the New World, settling at his manor Pennsbury, (up the Delaware from Philadelphia) but further political troubles in England forced his return, and in 1712 suffered an attack of apoplexy which disabled him. His wife Hannah managed his affairs until Penn died in 1718, and after her death ion 1727 the proprietorship of Pennsylvania passed to their sons, John, Thomas, and Richard.
[Ref: 6523] £420.00
The Royal Saloon Piccadilly.
Engraved by R. Cruikshank [after 'Bernard Blackmantle', pseudonym of Charles Malloy Westmacott].
Pub.d by Sherwood Jones & C.º Sep. 1. 1824.
Coloured aquatint. Sheet 160 x 260mm (6¼ x 10¼"). Edges chipped, a few small stains.
An interior, with the floor and balcony lit by a large chandelier, with men and women eating and drinking. The Royal Saloon was 'an all-night' house, famed for the quality for its cuisine, cellar and women, who were restricted to those personally invited by the management. From Charles Molloy Westmacott's 'The English Spy: An Original Work, Characteristic, Satirical, and Humorous. Comprising Scenes and Sketches in Every Rank of Society, Being Portraits of the Illustrious, Eminent, Eccentric, and Notorious Drawn from the Life by Bernard Blackmantle'.
Abbey Life 325, ''described by Miss Prideaux as 'perhaps the most daring book ever published''', as many of the people described were easily identifyable.
[Ref: 62058] £70.00 (£84.00 incl.VAT)
Engraved by R. Cruikshank [after 'Bernard Blackmantle', pseudonym of Charles Malloy Westmacott].
Pub.d by Sherwood Jones & C.º Sep. 1. 1824.
Coloured aquatint. Sheet 160 x 260mm (6¼ x 10¼"). Edges chipped, a few small stains.
An interior, with the floor and balcony lit by a large chandelier, with men and women eating and drinking. The Royal Saloon was 'an all-night' house, famed for the quality for its cuisine, cellar and women, who were restricted to those personally invited by the management. From Charles Molloy Westmacott's 'The English Spy: An Original Work, Characteristic, Satirical, and Humorous. Comprising Scenes and Sketches in Every Rank of Society, Being Portraits of the Illustrious, Eminent, Eccentric, and Notorious Drawn from the Life by Bernard Blackmantle'.
Abbey Life 325, ''described by Miss Prideaux as 'perhaps the most daring book ever published''', as many of the people described were easily identifyable.
[Ref: 62058] £70.00 (£84.00 incl.VAT)
![[The Angel]](jpegs/36698.jpg)
[The Angel] [He is not here: for he is risen. &c.]
B. West 1801
[first published 1803]
Pen lithograph, sheet 315 x 225mm (12½ x 9"). Glued to backing sheet; trimmed, losing text below image. Unidentified collector's stamp verso.
Text from Matthew 28:6, in which the angel of the resurrection directs women looking for the crucified Jesus to 'see the place where He was lying'. A landmark in the history of lithograph, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was published as one of the twelve pen lithographs from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Ex: collection of the late Hon. C. Lennox-Boyd; Man, '150 Years of Artists' Lithographs', cat. 1.
[Ref: 36698] £2,200.00 view all images for this item
B. West 1801
[first published 1803]
Pen lithograph, sheet 315 x 225mm (12½ x 9"). Glued to backing sheet; trimmed, losing text below image. Unidentified collector's stamp verso.
Text from Matthew 28:6, in which the angel of the resurrection directs women looking for the crucified Jesus to 'see the place where He was lying'. A landmark in the history of lithograph, this original print by Benjamin West has been described as 'the first lithograph of artistic merit ever done in any country' (Felix Man). It was published as one of the twelve pen lithographs from 'Specimens of Polyautography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many painters who were not trained printmakers (such as Géricault and Delacroix) produced lithographs. West (1738-1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and again from 1806 until his death.
Ex: collection of the late Hon. C. Lennox-Boyd; Man, '150 Years of Artists' Lithographs', cat. 1.
[Ref: 36698] £2,200.00 view all images for this item
Pope's Villa Twickenham.
W.Westall. A.R.A. delt. C.Bentley. sculp.
Published 1828, by R.Ackermanm, 96 Strand, London.
Coloured aquatint. 220 x 280mm.
ABBEY: Scenery 435.
[Ref: 6562] £230.00 (£276.00 incl.VAT)
W.Westall. A.R.A. delt. C.Bentley. sculp.
Published 1828, by R.Ackermanm, 96 Strand, London.
Coloured aquatint. 220 x 280mm.
ABBEY: Scenery 435.
[Ref: 6562] £230.00 (£276.00 incl.VAT)
The Death of General Wolfe at Quebec.
Painted by B. West. Engraved by de Launay.
London Published by Tessari & Co. [n.d., c.1790.]
Stipple and etching with small margins. Platemark: 325 x 400mm (12¾ x 15¾"). Repaired tear in lower margin. Light foxing in margins.
General James Wolfe (1727-59), killed at the moment of his famous victory over the French at Quebec, which delivered Canada into the hands of the British. Wolfe, supported by three grenadiers, succumbs to his fatal wounds, watched by nine other officers and a native American warrior to the left. After Pennsylvanian painter Benjamin West (1738 - 1820). West moved to London in 1763, where he remained, becoming President of the Royal Academy.
[Ref: 35771] £530.00
Painted by B. West. Engraved by de Launay.
London Published by Tessari & Co. [n.d., c.1790.]
Stipple and etching with small margins. Platemark: 325 x 400mm (12¾ x 15¾"). Repaired tear in lower margin. Light foxing in margins.
General James Wolfe (1727-59), killed at the moment of his famous victory over the French at Quebec, which delivered Canada into the hands of the British. Wolfe, supported by three grenadiers, succumbs to his fatal wounds, watched by nine other officers and a native American warrior to the left. After Pennsylvanian painter Benjamin West (1738 - 1820). West moved to London in 1763, where he remained, becoming President of the Royal Academy.
[Ref: 35771] £530.00
![[To the King's most excellent Majesty, This plate, The Death of General Wolfe.]](jpegs/39487.jpg)
[To the King's most excellent Majesty, This plate, The Death of General Wolfe.]
[Painted by B. West, Historical Painter to His Majesty. Engraved by Theod. Falkerysen.]
[n.d., c.1780.]
Engraving. Proof working impression. Sheet size: 430 x 585mm (17 x 23"). Trimmed to image. Glued to backing sheet with ink borders.
A working proof impression by Theodore Falkeysen of Benjamin West's most celebrated painting, 'The Death of General Wolfe', 1770 (Ottawa, National Gallery of Canada), which represents the death of the British General James Wolfe at the Battle of the Plains of Abraham outside Quebec in 1759 during the Seven Years' War. Despite Wolfe's death, the result of the battle was a decisive British victory. For a completed impression by Falkeysen, see item ref: 39485.
[Ref: 39487] £520.00
[Painted by B. West, Historical Painter to His Majesty. Engraved by Theod. Falkerysen.]
[n.d., c.1780.]
Engraving. Proof working impression. Sheet size: 430 x 585mm (17 x 23"). Trimmed to image. Glued to backing sheet with ink borders.
A working proof impression by Theodore Falkeysen of Benjamin West's most celebrated painting, 'The Death of General Wolfe', 1770 (Ottawa, National Gallery of Canada), which represents the death of the British General James Wolfe at the Battle of the Plains of Abraham outside Quebec in 1759 during the Seven Years' War. Despite Wolfe's death, the result of the battle was a decisive British victory. For a completed impression by Falkeysen, see item ref: 39485.
[Ref: 39487] £520.00
To the King's most excellent Majesty, This plate, The Death of General Wolfe, is with His gracious Permission humbly dedicated by his Majesty's most dutiful Subject, William Woollett. From the original Picture in the Collection of the Right honourable Lord Grosvenor.
Painted by B. West, Historical Painter to His Majesty. Engraved by W.m Woollett, Engraver to his Majesty.
Published as the Act directs January 1.st 1776. by Mess.rs Woollett, Boydell & Ryland, London.
Engraving. 490 x 620mm (19¼ x 24¼"), with narrow margins.
Large engraving of Benjamin West's famous painting of 1770 (Ottawa, National Gallery of Canada) representing the death of the British General James Wolfe at the Battle of the Plains of Abraham in 1759 during the Seven Years' War. Despite Wolfe's death, the result of the battle was a decisive British victory. West's composition deliberately evokes the Lamentation of Christ, a subject frequently depicted in religious painting.
Fagan XCIII x/x.
[Ref: 33190] £780.00
Painted by B. West, Historical Painter to His Majesty. Engraved by W.m Woollett, Engraver to his Majesty.
Published as the Act directs January 1.st 1776. by Mess.rs Woollett, Boydell & Ryland, London.
Engraving. 490 x 620mm (19¼ x 24¼"), with narrow margins.
Large engraving of Benjamin West's famous painting of 1770 (Ottawa, National Gallery of Canada) representing the death of the British General James Wolfe at the Battle of the Plains of Abraham in 1759 during the Seven Years' War. Despite Wolfe's death, the result of the battle was a decisive British victory. West's composition deliberately evokes the Lamentation of Christ, a subject frequently depicted in religious painting.
Fagan XCIII x/x.
[Ref: 33190] £780.00
Der General Wolf, Ober Befehlshaber des Englischen Kriegs-Heeres in Nord Amerika, ward in der Schlacht bei Guebeck den 13. September 1759. verwundet, und Starb in dem er Seinen Sieg erfuhr.
Gemacht von B. West Gegraben von Carl Guttenberg.
[...]berg bei D.A. Hauer; à Paris chez Guttenberg Rue St. Hiacinthe prè la Place St. Michel. [n.d., c.1772]
Copper engraving, 240 x 295mm. 9½ x 11½". Paper discoloration.
German engraving of Benjamin West's painting depicting the death of the British General James Wolfe in the Battle of Quebec, 1759. The painting is now in the National Gallery of Canada, Ottawa.
[Ref: 11244] £180.00 (£216.00 incl.VAT)
Gemacht von B. West Gegraben von Carl Guttenberg.
[...]berg bei D.A. Hauer; à Paris chez Guttenberg Rue St. Hiacinthe prè la Place St. Michel. [n.d., c.1772]
Copper engraving, 240 x 295mm. 9½ x 11½". Paper discoloration.
German engraving of Benjamin West's painting depicting the death of the British General James Wolfe in the Battle of Quebec, 1759. The painting is now in the National Gallery of Canada, Ottawa.
[Ref: 11244] £180.00 (£216.00 incl.VAT)
Arabesque Arch.
[Drawn by H. West.]
[E. Colyer Litho. 17, Fenchurch St. n.d., c.1830.]
Lithgraph, 125 x 215mm. 5 x 8½". Laid on separate sheet of paper. Small tear at bottom.
Railway interest. The arabesque arch at Edge Hill, on the Liverpool and Manchester railway.
[Ref: 8862] £85.00 (£102.00 incl.VAT)
[Drawn by H. West.]
[E. Colyer Litho. 17, Fenchurch St. n.d., c.1830.]
Lithgraph, 125 x 215mm. 5 x 8½". Laid on separate sheet of paper. Small tear at bottom.
Railway interest. The arabesque arch at Edge Hill, on the Liverpool and Manchester railway.
[Ref: 8862] £85.00 (£102.00 incl.VAT)
Richmond. Yorkshire.
Drawn on Stone by W. Westall ARA. Printed by C. Hullmandel.
London: Pub: by R.Ackermann, Strand, Dec.r 1825.
Lithograph on india paper. India 315 x 415mm. Tear in margin.
[Ref: 6563] £260.00 (£312.00 incl.VAT)
Drawn on Stone by W. Westall ARA. Printed by C. Hullmandel.
London: Pub: by R.Ackermann, Strand, Dec.r 1825.
Lithograph on india paper. India 315 x 415mm. Tear in margin.
[Ref: 6563] £260.00 (£312.00 incl.VAT)
Richmond. Looking towards Isleworth.
Drawn by W. Westall. A.R.A. Printed by C. Hullmandel.
London. Pub by Rodwell and Martin 40 Argyll St. & 46 New Bond St. Aug.t 1822.
Lithograph. Printed area 220 x 310mm (8¾ x 12¼"), with large margins. Small tears in edges, damp stain in bottom margin.
A view of the Thames, with cows grazing. A plate from 'Thirty five Views on the Thames, at Richmond, Eton, Windsor and Oxford', published December 1823.
Not in Gascoigne.
[Ref: 61655] £230.00 (£276.00 incl.VAT)
Drawn by W. Westall. A.R.A. Printed by C. Hullmandel.
London. Pub by Rodwell and Martin 40 Argyll St. & 46 New Bond St. Aug.t 1822.
Lithograph. Printed area 220 x 310mm (8¾ x 12¼"), with large margins. Small tears in edges, damp stain in bottom margin.
A view of the Thames, with cows grazing. A plate from 'Thirty five Views on the Thames, at Richmond, Eton, Windsor and Oxford', published December 1823.
Not in Gascoigne.
[Ref: 61655] £230.00 (£276.00 incl.VAT)