Grosvenor Prints

[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

[Cicero.] De Mamore Pomfret, apud Oxons.
Drawn & Engrav'd by J.K. Sherwin Engraver to His Majesty & His Royal Highness the Prince of Wales.
[London: Richard Bentley, 1866.]
Engraving, with large margins. Plate 323 x 260mm. 12¾ x 10¼". Slight crease on left.
A statue of Cicero (106BC-43BC), the Roman orator who was made consul in 63 BC. Standing here holding a scroll in his left hand at waist level and another object is his right. Published in John Timbs's "Club Life of London; with anecdotes of the clubs, coffee houses, and taverns of the metropolis, during thr 17th, 18th, and 19th centuries". One of the ancient Greek and Roman statues from the collection of the Countess of Pomfret in 1755. The statues formerly belonged to the Earl of Arundel before later being passed to the University of Oxford.
[Ref: 24749] £160.00 (£192.00 incl.VAT)

[Illustration to 'Pygmalion' by J.J. Rousseau] Pigmalion.
C. Eisen inv.
A Paris chez Basan
Engraving, platemark 150 x 95mm (6 x 3¾") large margins.
Probably one of a set of six illustrations to Rousseau's dramatization of the Pygmalion story after designs by Charles Eisen (1720-78), painter, draughtsman and illustrator. It was through his drawings, engraved to illustrate nearly 400 books, that Eisen's reputation was chiefly established. These also included editions of Lucretius, Ovid, Tacitus, Virgil, Boccaccio, Ariosto, and Erasmus. Although unsigned, this engraving is probably by Emmanuel de Ghendt.

[Ref: 46498] £140.00 (£168.00 incl.VAT)

Designs for Free Churches, Manses and Schools James Raeburn Architect, Edin.
Drawn and presented by Rob.t R. Raeburn. Fr. Schenck Lith. Edin.r [1845]
Lithograph, printed area approx. 250 x 390mm (9¾ x 15¼"). Creases.
Architectural designs promoting the work of Scottish architect James Raeburn (1787-1851) and drawn here by his son Robert Reid Raeburn (1819-88), also an architect. James was principal clerk at the Scottish Office of Works until its abolition in 1839, whereupon he retired to set up his own practice. The Dictionary of Scottish Architects suggests that James' 3 Warriston Place address at the time these designs were published indicates that his practice had not flourished, and this sheet of designs (including churches for Montreal and Banff in Canada) was presumably made in an attempt to generate more business. It also publically indicated the Raeburns' support of the Free Church of Scotland following the Disruption of 1843. Following James' death in 1851, Robert Reid continued his father's practice, living in Edinburgh for the remainder of his career.
[Ref: 43412] £260.00 (£312.00 incl.VAT)

Drawings from Original Pictures of Philip Reinagle, Esq. R.A. No. 2. Mrs Wrightson (subscriber's name in contemporary ink mss].
By an Amateur.
[n.d., c.1826.]
Imperial folio, original printed wrappers, four lithographic plates on india, stitched. Wear to edges.
Four untitled British landscape scenes presented in their original wrapper, apparently the complete second installment of what became a series of 16 plates after Reinagle. We have seen another wrapper with the subscriber's same in the same handwriting, suggesting it was written by the anonymous 'Amateur'.
See BM 1894,0417.546 for a bound set of 16 plates, also unattributed.
[Ref: 40879] £280.00 (£336.00 incl.VAT) view all images for this item

[Country cottage, with homecoming labourer carrying an axe]
[Anon. after J Renton, c.1820]
Pen lithograph, very scarce; verso in ink F.W. Half Penny July 25th, 1818; sheet 215 x 310mm (8½ x 12¼"). Glued to backing sheet; internal tears lower right. Slight hole where previously folded.
Copy of an 1809 lithograph by J. Renton (1799-1841, fl.). According to Michael Campbell, Renton is unknown as a printmaker apart from two early polyautographs, 'however, he was an active and successful painter of portraits, figurative subjects and landscapes'. Campbell also suggests the Lake District as a likely location for this image, given that he often exhibited views of the area.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36949] £220.00 (£264.00 incl.VAT)

Caput hoc, ex aere inauratum, antiquo opere summoque artificio conflatum, Urbis inter rudera multis jam seculis excisae sepultum, Aquis Solis in agro Somersetensi XVI tandem sub solo ped. effossum A.D. MDCCXXVII.
A. Gordon del. G. Vertue Sculp. 1730.
Aeternitati consecravit Soc. Antiquar. Londinensis.
Engraving and etching. Plate 405 x 286mm. 16 x 11¼". Slight damage to title area.
Head and neck of a Roman sculpture found at Bath, in profile to left, with long hair; top of head missing.
Alexander: 612.
[Ref: 23334] £160.00 (£192.00 incl.VAT)

[Ruins of Rome.] The Temple of Hercules. Sibylls Temple. The Arches of an Antient Rome Aqueduct. Temple of Fortuna Viritis. The Antique Vase at the Villa Borgese.
Gio: Paolo Pannini Pinx.t. J.S. Muller Sc.
Publish'd according to Act of Parliament 1st Feb.ry 1753. London Printed for T. Bowles, John Bowles & Son, Rob.t Sayer in Fleet Street.
Etching. Sheet 340 x 475mm (13¼ x 18¾"). Trimmed within plate, repaired tears to edges.
A caprice composite of ruins from the Roman age set in a landscape. The aqueduct resembles the Pont du Gard in southern France.
See BM 1949,1008.192 for example with additional publisher Henry Overton.
[Ref: 44048] £140.00 (£168.00 incl.VAT)

Sapho.
Peint par Barrias. Lith par Emile Lassalle.
New-York._Pubd. by Goupil, Vibert & Co. 289. Broadway_Entered according to act of Congress. Paris_Goupil, Vibert Co. 15 Boulev.t Montmartre et 10 Rue d'Enghien. London_Pub.d by E. Gambert & Co. 25 Berners St. Oxford St. [n.d. c.1847.]
Fine lithograph. 605 x 850mm. 23¾ x 33½".1
A depiction of Sappho, the ancient Greek poet, lying in a suggestive manner with her lyre behind.
[Ref: 23071] £490.00

[A sculpture studio. Christian Rauch]
Nach d Natur gez. v. L. Pietsch. Farbendruck v. Storch u. Kramer in Berlin.
Verlag und Eigenthum von Alexander Duncker Hofbuchhändler S.r Majestät d'Königs v. Prussen.
Chromolithograph, signed on right. Printed area 320 x 365mm (12½ x 14½") large margins.
The interior of a sculptor's Christian Rauch studio, an apprentice working on a bust as his master looks on. He was the pre eminent sculpture of his day 1777-1857.
[Ref: 45022] £420.00

[The Search for Beauty.]
[Painted by Edwin Long R.A. Engraved by J. Cother Webb.]
London, August 7th, 1888, Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered. Entered according to Act of Congress in the Year 1888 by Frank Hunter Potter, in the Office of the Librarian of Congress at Washington U.S.A.
Fine mezzotint on india paper with both artist's and engraver's signatures in pencil. 585 x 857mm. 23 x 33¾". Uncut. Mint.
Zeuxis choosing the ideal of beauty to represent Helen of Troy, companion to The Chosen Five ref: 14092.
[Ref: 14093] £420.00

[Two men holding a conversation in sign language] [From a sketch in the possession of C Warde Esqr]
JGS [for John Grove Spurgeon]
[n.d., c.1780]
Etching, sheet 110 x 105mm (4¼ x 4"). Glued to album sheet; border drawn on in ink; staining on right.
Apparently an imitation of an etching by John Grove Spurgeon (1747-1829), himself an amateur printmaker.
For Spurgeon's print see BM 1902,0514.1097
[Ref: 33076] £50.00 (£60.00 incl.VAT)

Statue d’une Nymphe tenant une couronne de chesne, haute de sept pieds. Dans le Jardins de Versaillles. Par Phillipes de Buyster d'Anvers.
le Potre Sculps. 1672.
Engraving. Sheet 405 x 285mm, 16 x 11¼". Trimmed and laid on album paper.
A statue of a nymph by Philippe de Buyster (1595-1688), set in a classical landscape. The statue was commissioned as part of the "Petite Commande" of 1664, the first series of garden ornaments for the new palace of Versailles, featuring mythological creatures suitable for the rustic setting of the original palace. The statuary was replaced during the later, grander developments, so this series, engraved by Jean le Pautre (1618-82), is one of the only records of the original scheme.
[Ref: 13918] £400.00

Statue d’un Satyre, haulte de sept pieds. Dans le Jardins de Versaillles. Par Phillipes de Buyster d'Anvers.
le Potre Sculps. 1675.
Engraving. Sheet 405 x 285mm, 16 x 11¼". Trimmed and laid on album paper.
A statue of a satyr holding a horn, by Philippe de Buyster (1595-1688), set in a landscape. The statue was commissioned as part of the "Petite Commande" of 1664, the first series of garden ornaments for the new palace of Versailles, featuring mythological creatures suitable for the rustic setting of the original palace. The statuary was replaced during the later, grander developments, so this series, engraved by Jean le Pautre (1618-82), is one of the only records of the original scheme.
[Ref: 13919] £400.00

Statue d’un Satyre, accompagne d'un petit Satyre, haulte de sept pieds. Dans le Jardins de Versaillles. Par Phillipes de Buyster d'Anvers.
le Potre Sculps. 1675.
Engraving. Sheet 405 x 285mm, 16 x 11¼". Trimmed and laid on album paper.
A statue of an adult and a juvenile satyr, by Philippe de Buyster (1595-1688), set in a landscape. The statue was commissioned as part of the "Petite Commande" of 1664, the first series of garden ornaments for the new palace of Versailles, featuring mythological creatures suitable for the rustic setting of the original palace. The statuary was replaced during the later, grander developments, so this series, engraved by Jean le Pautre (1618-82), is one of the only records of the original scheme.
[Ref: 13920] £400.00

Statue d’un Satyre, tenant une grappe de raisin, haulte de sept pieds. Dans le Jardins de Versaillles. Par Phillipes de Buyster d'Anvers.
le Potre Sculps. 1672.
Engraving. Sheet 405 x 285mm, 16 x 11¼". Trimmed and laid on album paper. One spot.
A statue of a satyr holding a set of pipes and a bunch of grapes, by Philippe de Buyster (1595-1688), set in a landscape. The statue was commissioned as part of the "Petite Commande" of 1664, the first series of garden ornaments for the new palace of Versailles, featuring mythological creatures suitable for the rustic setting of the original palace. The statuary was replaced during the later, grander developments, so this series, engraved by Jean le Pautre (1618-82), is one of the only records of the original scheme.
[Ref: 13921] £400.00

Statue d’un Faune, haulte de sept pieds. Dans le Jardins de Versaillles. Par Loüis Lerambert de Paris.
le Potre Sculps. 1672.
Engraving. Sheet 405 x 285mm, 16 x 11¼". Trimmed and laid on album paper.
A statue of a faun by Louis Lerambert (1620-70), set in a landscape. The statue was commissioned as part of the "Petite Commande" of 1664, the first series of garden ornaments for the new palace of Versailles, featuring mythological creatures suitable for the rustic setting of the original palace. The statuary was replaced during the later, grander developments, so this series, engraved by Jean le Pautre (1618-82), is one of the only records of the original scheme.
[Ref: 13922] £400.00

Latone, entre des deux enfants Apollon et Diane, demandant vengeance a Jupiter de l'insolence des paisans de Lycie, qui sont changes em grenouilles. Grouppe de marbre blanc dans le Jardins de Versaillles. Par Balthazar Marsy de Cambray.
J.Edelinck Sculps. 1672.
Engraving. Sheet 405 x 285mm, 16 x 11¼". Trimmed and laid on album paper.
A statue of Latone and her two children by Jupiter, Apollo and Diana. When the peasants of Lycia refused to give her water to drink she got Jupiter to turn them into frogs. The statue was by Balthazar Marsy (1628-74), commissioned as part of the "Petite Commande" of 1664, the first series of garden ornaments for the new palace of Versailles, featuring mythological creatures suitable for the rustic setting of the original palace. The statuary was replaced during the later, grander developments, so this series is one of the only records of the original scheme.
[Ref: 13923] £450.00

Statue d'une Danseuse, de Sept pieds de hat. Dans les Jardins de Versailles. Par Louis Lerambert de Paris. Statua Puellae saltantis, Septem pedes alta. In hortis Versalianis. Opus Ludovici Lerambert Parisini.
F. Chauveau Sculps. 1675.
Copper engraving. 398 x 280mm. 15¾ x 11". Cut and laid on separate sheet.
A statue of a dancer by Louis Lerambert (1620-70), set in a landscape with a satyr dancing. The statue was commissioned as part of the "Petite Commande" of 1664, the first series of garden ornaments for the new palace of Versailles, featuring mythological creatures suitable for the rustic setting of the original palace.
[Ref: 14403] £320.00

The Madonna, the Infant Christ and St. John, From an unfinished Basso relievo in Marble by Michelangelo Buonaroti. Done by him about the Year 1503 for Taddeo Taddei [...]
Michael Angelo [...] F. Bartolozzi R.A.
London Pub.d as the Act directs Jan. 1 1795 by A. Molteno Printseller to her Royal Highness the Duchess of York No. 76 St. James's Street
Soft-ground etching, rare, platemark 355 x 300mm (14 x 11¾"), with very large margins. Creases top right in margin.
Etching of Michelangelo's Taddei Tondo, which since 1830 was been in the collection of the Royal Academy of Arts, London. The text below the image claims that the print was made by the celebrated Italian printmaker (and founding member of the Royal Academy) Francesco Bartolozzi and published in 1795, but this cannot be true, as the tondo was not acquired by George Beaumont until 1822. After Beaumont died in 1827, the print was briefly in possession of Lady Beaumont (who is named as the owner of the tondo on this print) before it waas received by the RA in 1830. During this time an etching of the tondo after a drawing by William Young Ottley was made by F.C. Lewis and published in London by W.B. Tiffin in 1828. This print would appear to be an altered impression of that plate, with the publisher (potentially Molteno, who was active until 1845) backdating the print and attributing the print to Bartolozzi, dead by this time but one of the foremost eighteenth century engravers, in a bid to increase demand for the print. In a recent book about the tondo, Alison Cole described the source drawing by Ottley as follows: 'the drawing sensitively attempts to amend the 'unfinished' nature of the tondo, in much the same way as plaster casts of the period tend to do, focusing on making sense of the shadowy figure of St John and the 'dove' and further delineating the exquisite features of the Virgin. Ottley probably drew the tondo soon after the purchase was made [by George Beaumont] (c.1822)'.
Not in Calabi & De Vesme; see Alison Cole, 'Michelangelo Buonarroti: The Taddei Tondo', p.37.
[Ref: 47668] £240.00 (£288.00 incl.VAT)

[Three lithographs after bas-reliefs by Thorvaldsen for the Bethmann-Hollweg family tomb in Frankfurt] Bas-reliefs exécutés en marbre dans le caveau de la famille Bethmann, par le chevalier Thorwaldsen.
Trois planches, lithographiées par F. Leuchtweiss.
Francfort a/M. Publiés par Charles Jugel, Libraire. 1837.
Three lithographs in original wrappers, bottom right in pencil "Lord Ryland"; each sheet approx 320 x 260mm (12½ x 10¼").
Lithographs of the three relief panels executed by the Danish sculptor Bertel Thorvaldsen (1768/70-1844) for Johann Philipp Bethmann-Hollweg's funerary monument in the Bethmann-Hollweg family tomb in Frankfurt. In the left-hand panel Johann Philipp's mother and daughters express their grief; in the right-hand panel Florence (where Johann Philipp died) is referenced by the presence of a river god (the embodiment of the river Arno flowing through the city) and the city's emblem of a lion); in the central panel Johann Philipp is flanked by his younger brother and a youthful spirit extending poppy heads over his shoulder as a symbol of sleep. The three marble tablets are now in the Liebieghaus Skulpturen Sammlung, Frankfurt.
[Ref: 41712] £190.00 (£228.00 incl.VAT) view all images for this item

Il Tevere col Cornucopia nella Sinistra, e con la Lupa Accanto che Allatta Romulo, e Remo. Lui: Lib: 1: Dionijs. Lib.1: VI.
Cl. Randon Sculp.
Nella Stamp.a di Dom.co de Rossi erede di Gio: Giac.o de Rossi in Roma, alla Pace con Privil. del Som. Pont. [n.d. c.1704.]
Engraving. Plate 203 x 330mm. 8 x 13".
A Roman depiction of the Tiber as a River-God with cornucopia at Campidoglio, Rome. To the right are Romulus and Remus, the mythical founders of Rome, who were saved from Tiber's waters, feeding from the she-wolf. From "Raccolta Di Statue Antiche E Moderne".
[Ref: 24901] £160.00 (£192.00 incl.VAT)

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[Travellers at the base of a Waterfall.] 23.
TB [monogram lower left: Thomas Barker of Bath.]
[Bath, D. Redman, 1814.]
Pen lithograph. 317 x 240mm. 12½ x 9½".
A waterfall rushes down the jutting-out rocks, with two travelles at the bottom, one resting. From "Thirty Two Lithographic Impression from Pen Drawings of Landscape Scenery", 1814. Views around Bath, Wales, the Lake District and elsewhere.
[Ref: 23859] £140.00 (£168.00 incl.VAT)

Venus. [From a Statue by Mr Bacon.]
Palmer delin. Bartolozzi sculp.
[n.d. c.1787.]
Engraving and etching. 204 x 127mm. 8 x 5". Trimmed all round.
A sculpture of Venus twirling her long hair around her raised left hand and holding a conch shell. Illustration to "Philosphical Transaction" by the Royal Society of Arts (1787).
De Vesme: 488; ii/ii.
[Ref: 20446] £95.00 (£114.00 incl.VAT)

Venus d'Arles. Antique.
[Engraved by B. Audran?]
[n.d., c.1719.]
Stipple & etching with small margins. 185 x 120mm (7¼ x 4¾").
A statue of Venus, apple in one hand, mirror in the other. Discovered in several pieces at the Roman theatre at Arles in 1651, the statue given to Louis XIV for Versailles in 1681, seized in the Revolution and housed in the Louvre since its inception.
[Ref: 34607] £90.00 (£108.00 incl.VAT)

[Untitled landscape with waterfall and wooden bridge, Wales]
Drawn by Robert Price Esq.r. Engraved by James Basire.
[n.d.. c.1760.]
Etching and aquatint in crayon manner, very large margins, scarce. 290 x 400mm (11½ x 15¾"). Margins creased and soiled, three worm holes top left.
A rare print, apparently from a sketchbook by amateur artist Robert Price (1717-1761) of Foxley, Herefordshire, who was taught to draw by Giovanni Battista Busiri while in Rome on his grand tour, which commenced in 1738. His son was Sir Uvedale Price, baronet, author of 'Essay on the Picturesque' (1794), parodied by Jane Austen in 'Northanger Abbey'. The engraver is James Basire the elder (1730-1802), Master of William Blake.
BM 1880,0807.18: 'probably taken from a drawing book'. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36409] £180.00 (£216.00 incl.VAT)

A View of Caynaut in the parish of Llanvrothen near Trath Mawr in Merionethshire.
Drawn by Robert Price Esq.r. Engraved by James Basire.
[n.d.. c.1760.]
Etching and aquatint in crayon manner, with large margins, scarce. 290 x 400mm (11½ x 15¾"). Margins chipped and soiled.
A rare print, apparently from a sketchbook by amateur artist Robert Price (1717-1761) of Foxley, Herefordshire, who was taught to draw by Giovanni Battista Busiri while in Rome on his grand tour, which commenced in 1738. His son was Sir Uvedale Price, baronet, author of 'Essay on the Picturesque' (1794), parodied by Jane Austen in 'Northanger Abbey'. The engraver is James Basire the elder (1730-1802), Master of William Blake.
The BM has a similar plate 'probably taken from a drawing book' (BM 1880,0807.18). Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36410] £180.00 (£216.00 incl.VAT)

[Untitled landscape with waterfall and wooden bridge, Wales]
Drawn by Robert Price Esq.r. Engraved by James Basire.
[n.d.. c.1760.]
Etching and aquatint in crayon manner, printed in sepia, with large margins, scarce. 290 x 400mm (11½ x 15¾"). Tears and soiling in margins.
A rare print, apparently from a sketchbook by amateur artist Robert Price (1717-1761) of Foxley, Herefordshire, who was taught to draw by Giovanni Battista Busiri while in Rome on his grand tour, which commenced in 1738. His son was Sir Uvedale Price, baronet, author of 'Essay on the Picturesque' (1794), parodied by Jane Austen in 'Northanger Abbey'. The engraver is James Basire the elder (1730-1802), Master of William Blake.
BM 1880,0807.18: 'probably taken from a drawing book'. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 36411] £180.00 (£216.00 incl.VAT)

[Ruined church in a field with tree and seated figure]
Lithograph, very scarce; sheet 255 x 330mm (10 x 13"). Damaged, torn. Manuscript in ink verso: 'By Mrs Arnold Warrington [?] An early lithographic sketch supposed to be in 1806'.
Interesting early lithograph combining the Romantic landscape tropes of the solitary figure, ruined church and gnarled tree.
[Ref: 36809] £130.00 (£156.00 incl.VAT)

The Warwick Vase.
Drawn on stone by W. Rider. Printed by Rowney & Forster.
Published by John Merridew, Warwick. [n.d., c.1825.]
Lithograph, rare. Printed area 330 x 230mm (13 x 9")
The famous Warwick Vase, a Roman marble vase with Bacchic ornament, discovered in the silt of a marshy pond at Hadrian's Villa about 1771 by Gavin Hamilton. He sold the fragments to Sir William Hamilton who repaired it with Carrara marble and shipped it to his nephew George Greville, 2nd Earl of Warwick, who set it on a lawn at Warwick Castle before building a conservatory for it. As a famous piece, a mould was made of it and two full-size bronze replicas were cast, one now in Windsor Castle, the other in the Fitzwilliam Museum. At auction in 1978 the vase was purchased by the Metropolitan Museum of Art, but after it was declared an object of national importance an export licence was denied. It is now in the Burrell Collection near Glasgow in Scotland.
[Ref: 43348] £230.00 (£276.00 incl.VAT)

The Warwick Vase. This Grand Specimen of Grecian Art in White Marble exectuted 350 Years before Christ, was dug out of the Ruins of Adrian's Villa at Tivoli. It was sent to England in 1774 and placed in the beautiful Grounds of Warwick Castle.
London, Published Oct.r 1835 by W.B. Cooke, 27, Charlotte Street, Bloomsbury.
Etching. 150 x 205mm (6 x 8"). Small margins.
The Warwick Vase is a Roman marble vase with Bacchic ornament, discovered in the silt of a marshy pond at Hadrian's Villa about 1771 by Gavin Hamilton. He sold the fragments to Sir William Hamilton who repaired it with Carrara marble and shipped it to his nephew George Greville, 2nd Earl of Warwick, who set it on a lawn at Warwick Castle before building a conservatory for it. As a famous piece, a mould was made of it and two full-size bronze replicas were cast, one now Windsor Castle, the other in the Fitzwilliam Museum. At auction in 1978 the vase was purchased by the Metropolitan Museum of Art, but after it was declared an object of national importance an export licence was denied. It is now in the Burrell Collection near Glasgow in Scotland.
[Ref: 38836] £120.00 (£144.00 incl.VAT)

The Warwick Vase, as it appears in the Green House erected for it, at Warwick Castle.
Drawn from Nature & on Stone by J. Brandard.
[Leamington, Published by C. Elston, 12, Lower Union Parade. M&N Hanhart, Lith Printers.][n.d. c.1845.]
Lithograph. Sheet: 185 x 230mm (7¼ x 9''). Creasing
A view of a large antique vase, standing on an inscribed pedestal among trees planted in pots and in the ground, with figures of a man and woman standing at its side to the left, and a man on crutches pointing at the vase. The Warwick Vase is an ancient Roman marble vase that was discovered at Hadrian's Villa in Tivoli c.1771 by Gavin Hamiton. It was sold to the British envoy at the court of Naples, Sir William Hamilton, who shipped the vase to his elder nephew, George Greville, 2nd Earl of Warwick, who commissioned a special greenhouse for it to preserve it from the British Climate.
[Ref: 50280] £75.00 (£90.00 incl.VAT)

At Warwick Castle The Celebrated Warwick Vase in Marble, Height 4 fett 10 inches, exclusively of the Plinth._Greated diameter of the Lip 6 feet 3 inches.
Engraved by Henry Moses.
London Published by W.B. Cookes, 9 Soho Square, Oct.r 13.th 1827.
Engraving on porcelain card. Sheet: 155 x 200mm (6 x 8'').
The Warwick Vase is a Roman marble vase with Bacchic ornament, discovered in the silt of a marshy pond at Hadrian's Villa about 1771 by Gavin Hamilton. He sold the fragments to Sir William Hamilton who repaired it with Carrara marble and shipped it to his nephew George Greville, 2nd Earl of Warwick, who set it on a lawn at Warwick Castle before building a conservatory for it. As a famous piece, a mould was made of it and two full-size bronze replicas were cast, one now Windsor Castle, the other in the Fitzwilliam Museum. At auction in 1978 the vase was purchased by the Metropolitan Museum of Art, but after it was declared an object of national importance an export licence was denied. It is now in the Burrell Collection near Glasgow in Scotland.
[Ref: 50486] £140.00 (£168.00 incl.VAT)

[Wedded.]
Painted by Frederick Leighton P.R.A. Engraved by G. H.Every.
Published, London 25th March, 1900 by The Fine Art Society Ltd., 148 New Bond Street.
Mezzotint, signed by the engraver. Laid on India paper. Very large margins. Printsellers assosiation blind stamp in lower left margin. Platemark: 825 x 480mm (32½ x 18¾"). Margins slightly grubby with some light foxing.
A Greek bride and bridegroom standing together under an archway at the top of a stair, her head leaning back on his shoulder, as he lifts her hand to his lips. After British artist Frederick Leighton (1830 - 1896), associated with the Pre-Raphaelite movement.
Ex: Collection of Thomas Agnew.
[Ref: 33140] £280.00 (£336.00 incl.VAT)

[Figure next to a structure.]
[Probably by Mary Anne Theresa Whitby, c.1820s]
Rare lithograph. 95 x 135mm (3¾ x 5¼).
Scene, probably inspired by travels in Sardinia by Mary Anne Theresa Whitby (1784-1850). The printmaker, Mary Anne Theresa Whitby (1784-1850), was married to Captain John Whitby, flag captain for Admiral Sir William Cornwallis. They lived on the admiral's estate, Newlands: after John's death in 1806, Mary stayed on, spending much of her time with Cornwallis, who left his estate to her on his death in 1819. Being a keen amateur lithographer, Whitby established a private press at Newlands, but she is better remembered for the first successful sericulture (silk production) to England after three centuries of attempts, presenting twenty yards of damask to Queen Victoria in 1844. She performed genetic experiments on her silkworms for Charles Darwin, who published her results in his 'The Variation of Animals and Plants Under Domestication' (1868).
Ex: Collection of the late Hon. C. Lennox-Boyd; for a London view by Whitby, see ref. 19290.
[Ref: 35682] £65.00 (£78.00 incl.VAT)

The Garden at Wotton Rectory near Dorking, Surrey belonging to the Hon. and Rev. J. Evelyn Boscawen [***] to the celebrated John Evelyn.
C.B. 1841.
Scarce lithograph, titled in old ink mss. Sheet 325 x 450mm (12¾ x 17¾"). A small tear and toning on bottom edge.
An amateur lithograph of an ornamental garden.
[Ref: 51672] £130.00 (£156.00 incl.VAT)

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