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A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
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![[The inside of the Pantheon in Oxford Road.]](jpegs/12142.jpg)
[The inside of the Pantheon in Oxford Road.]
Brandoin Invnt. R. Earlom sculpst.
R Sayer, Excd., Publish'd Augst, 15, 1772.
Mezzotint, scratched letter proof before title. 470 x 560mm. (18½ x 22"). Trimmed to plate. Diagonal crease through centre of image. Some scuffs and scrapes to the mezzotint surface.
A group of men and women stand conversing amongst tall marble pillars, inside a richly decorated hall. In the background are more open rooms and several figures, with statues set within niches along the walls. A slightly satirical take on fashionable 18th century London society. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Originally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. After Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, a Swiss painter, watercolourist, draughtsman, and caricaturist working in London.
Wessely: 100, I. Chaloner Smith: 45. BM Satires: 5091.
[Ref: 12142] £750.00
Brandoin Invnt. R. Earlom sculpst.
R Sayer, Excd., Publish'd Augst, 15, 1772.
Mezzotint, scratched letter proof before title. 470 x 560mm. (18½ x 22"). Trimmed to plate. Diagonal crease through centre of image. Some scuffs and scrapes to the mezzotint surface.
A group of men and women stand conversing amongst tall marble pillars, inside a richly decorated hall. In the background are more open rooms and several figures, with statues set within niches along the walls. A slightly satirical take on fashionable 18th century London society. The Pantheon was a place of public entertainment on the south side of Oxford Street, designed by James Wyatt. It opened in 1772, when the main rotunda was one of the largest rooms in England. Originally built as a set of winter assembly rooms, it was later briefly converted into a theatre. Before being demolished in 1937, it was a bazaar and a wine merchant's show room for over a hundred years. After Michel Vincent Brandoin (1733 - 1790), known as Charles Brandoin, a Swiss painter, watercolourist, draughtsman, and caricaturist working in London.
Wessely: 100, I. Chaloner Smith: 45. BM Satires: 5091.
[Ref: 12142] £750.00
Book 1, Line 192. Proof. [Satan on the Burning Lake.]
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & co.
Published by Septimus Prowett, 62 Paternoster Row. 1825.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins.
Satan on the Burning Lake; a fantastic image depicting Satan, with a helmet and spear, supporting himself on his shield, rolling on the fiery waves of a burning lake flowing among the rocks in a dark cavern, looking towards Beelzebub who flounders beside him. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 27
[Ref: 36905] £1,500.00
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & co.
Published by Septimus Prowett, 62 Paternoster Row. 1825.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins.
Satan on the Burning Lake; a fantastic image depicting Satan, with a helmet and spear, supporting himself on his shield, rolling on the fiery waves of a burning lake flowing among the rocks in a dark cavern, looking towards Beelzebub who flounders beside him. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 27
[Ref: 36905] £1,500.00
Book 1, Line 314. Proof. [Satan arousing the fallen Angels.]
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Coleman.
London Published by Septimus Prowett, 23 Old Bond Street. [1825.]
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins,
Satan arousing the fallen Angels; Satan on the right, is seen holding his spear with his arms raised, standing on a cliff overhanging the burning lake in a cavern of hell, rousing the fallen angels below, one of Martin's finest mezzotints. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 28
[Ref: 36907] £1,500.00
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Coleman.
London Published by Septimus Prowett, 23 Old Bond Street. [1825.]
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins,
Satan arousing the fallen Angels; Satan on the right, is seen holding his spear with his arms raised, standing on a cliff overhanging the burning lake in a cavern of hell, rousing the fallen angels below, one of Martin's finest mezzotints. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 28
[Ref: 36907] £1,500.00
Book 1, Line 314. [Satan arousing the fallen Angels.]
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Coleman.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint. 270 x 195mm (10¾ x 7¾") with very large margins. Margins chipped and stained.
Satan stands on a cliff overhanging the burning lake in a cavern of hell, holding up his spear to rouse the fallen angels below. One of a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 52.
[Ref: 59352] £160.00 (£192.00 incl.VAT)
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Coleman.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint. 270 x 195mm (10¾ x 7¾") with very large margins. Margins chipped and stained.
Satan stands on a cliff overhanging the burning lake in a cavern of hell, holding up his spear to rouse the fallen angels below. One of a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 52.
[Ref: 59352] £160.00 (£192.00 incl.VAT)
Book 2 Line 1. [Satan presiding at the Infernal Council]
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. J. Martin. 1824 [inscribed in plate].
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint with etching. 200 x 270mm (8 x 10½"), with very large margins. Margins chipped and soiled. Staining top right margin.
Satan presiding at the Infernal Council; Satan, with his right arm raised, sitting on a throne set on a sphere, raised in the centre of a building crowded with rebel angels on tiered seats, lit by rings of light. One of Martin's finest mezzotints. One of a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 54.
[Ref: 59355] £160.00 (£192.00 incl.VAT)
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. J. Martin. 1824 [inscribed in plate].
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint with etching. 200 x 270mm (8 x 10½"), with very large margins. Margins chipped and soiled. Staining top right margin.
Satan presiding at the Infernal Council; Satan, with his right arm raised, sitting on a throne set on a sphere, raised in the centre of a building crowded with rebel angels on tiered seats, lit by rings of light. One of Martin's finest mezzotints. One of a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 54.
[Ref: 59355] £160.00 (£192.00 incl.VAT)
Book 3. Line 301. [Satan viewing the ascent to Heaven]
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint. 270 x 195mm (10¾ x 7¾") with very large margins. Tear in margin taped, crease crossing corner of plate mark, nicks and soiling to edges.
Satan crouches looking over his shoulder at a broad staircase rising towards the shining gates of Heaven, where angels ascend. A plate commissioned by American publisher Septimus Prowett to illustrate an edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 57.
[Ref: 59351] £160.00 (£192.00 incl.VAT)
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint. 270 x 195mm (10¾ x 7¾") with very large margins. Tear in margin taped, crease crossing corner of plate mark, nicks and soiling to edges.
Satan crouches looking over his shoulder at a broad staircase rising towards the shining gates of Heaven, where angels ascend. A plate commissioned by American publisher Septimus Prowett to illustrate an edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 57.
[Ref: 59351] £160.00 (£192.00 incl.VAT)
Book 3, Line 365. Proof. [The Courts of God]
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Small rust spot in lower right corner.
The Courts of God; A city, seen above an open court surrounded by colonnades, full of angels, with several in the foreground. Two are facing each other, playing harps. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 32
[Ref: 36912] £1,500.00
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Small rust spot in lower right corner.
The Courts of God; A city, seen above an open court surrounded by colonnades, full of angels, with several in the foreground. Two are facing each other, playing harps. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 32
[Ref: 36912] £1,500.00
Book 4, Line 453. Proof. [Eve at the Fountain]
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
A fine proof impression mezzotint, 255 x 350mm (10 x 13¾") sheet size: 318 x 426mm (12½ x 16 ¾"), with wide margins.
Eve at the Fountain, dipping one toe in the water, raising her hand to her head, surprised as she discovers her reflection. In a landscape with banks of wild, overhanging trees. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 34.
[Ref: 36913] £850.00
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
A fine proof impression mezzotint, 255 x 350mm (10 x 13¾") sheet size: 318 x 426mm (12½ x 16 ¾"), with wide margins.
Eve at the Fountain, dipping one toe in the water, raising her hand to her head, surprised as she discovers her reflection. In a landscape with banks of wild, overhanging trees. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 34.
[Ref: 36913] £850.00
Book 4, Line 502. Proof. [Satan contemplating Adam and Eve in Paradise]
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Fine proof impression mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Foxing.
Satan contemplating Adam and Eve in Paradise; Adam and Eve sitting together on the left, watched by Satan who hides behind a tall tree in the right foreground, in a landscape with banks of trees on either side and a valley in the centre. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 35
[Ref: 36914] £750.00
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Fine proof impression mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Foxing.
Satan contemplating Adam and Eve in Paradise; Adam and Eve sitting together on the left, watched by Satan who hides behind a tall tree in the right foreground, in a landscape with banks of trees on either side and a valley in the centre. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 35
[Ref: 36914] £750.00
Book 4, Line 866. Proof. [The Angels guarding Paradise at night.]
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
Fine proof impression mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Light foxing in margins.
The Angels guarding Paradise at night; an angel with a helmet and spear standing on a clifftop, shining with light in the darkness, with several smaller spirits around it, keeping watch, with Paradise below, the moon and stars above and a small patch of light among the trees where other angels keep watch on land, to the lower left. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 37.
[Ref: 36916] £750.00
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
Fine proof impression mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Light foxing in margins.
The Angels guarding Paradise at night; an angel with a helmet and spear standing on a clifftop, shining with light in the darkness, with several smaller spirits around it, keeping watch, with Paradise below, the moon and stars above and a small patch of light among the trees where other angels keep watch on land, to the lower left. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 37.
[Ref: 36916] £750.00
Book 5, Line 136. Proof. [Paradise - Adam and Eve - The Morning Hymn]
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
Published 1825 by Septimus Prowett, 23 Old Bond Street.
Mezzotint. Proof impression. Fine impression; T. Dupuy watermark. Platemark: 255 x 350mm (10 x 13¾"); sheet size: 318 x 426mm (12½ x 16 ¾"). Large margins. Light foxing.
Paradise - Adam and Eve - The Morning Hymn; a view of Paradise, with a lake in the centre, trees on the opposite bank, surrounded by woods behind. Swans are seen on the water, preparing to fly, with Adam and Eve to the left, bowing in prayer, as sunlight breaks across the horizon. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 38
[Ref: 36917] £900.00
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
Published 1825 by Septimus Prowett, 23 Old Bond Street.
Mezzotint. Proof impression. Fine impression; T. Dupuy watermark. Platemark: 255 x 350mm (10 x 13¾"); sheet size: 318 x 426mm (12½ x 16 ¾"). Large margins. Light foxing.
Paradise - Adam and Eve - The Morning Hymn; a view of Paradise, with a lake in the centre, trees on the opposite bank, surrounded by woods behind. Swans are seen on the water, preparing to fly, with Adam and Eve to the left, bowing in prayer, as sunlight breaks across the horizon. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 38
[Ref: 36917] £900.00
Book 5, Line 308. Proof. [Paradise - with the Approach of the Archangel Raphael]
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
Published 1825 by Septimus Prowett, 23 Old Bond Street.
Fine proof impression mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Light foxing in margins.
Paradise - with the Approach of the Archangel Raphael; a scene in the Garden of Eden, with Adam and Eve pointing towards the Archangel visible amongst the trees in the distance. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 39.
[Ref: 36918] £750.00
Designed & Engraved by J. Martin Esq.r. Printed by J. Lahee.
Published 1825 by Septimus Prowett, 23 Old Bond Street.
Fine proof impression mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Light foxing in margins.
Paradise - with the Approach of the Archangel Raphael; a scene in the Garden of Eden, with Adam and Eve pointing towards the Archangel visible amongst the trees in the distance. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 39.
[Ref: 36918] £750.00
Book 5, Line 519. Proof. [Raphael conversing with Adam and Eve]
Designed & Engraved by J. Martin Esq.r.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Very slight cockling in centre.
Raphael conversing with Adam and Eve; the Archangel Raphael sitting with Adam and Eve, gesturing as he talks to them, at the mouth of a mossy cave in lower left, with tall trees on the higher ground above. It appears that no 'formal' lettered proofs were issued of this mezzotint and only a very few impressions with the scratched 'proof', such as this example, seem to have been pulled. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 40
[Ref: 36921] £1,500.00
Designed & Engraved by J. Martin Esq.r.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Very slight cockling in centre.
Raphael conversing with Adam and Eve; the Archangel Raphael sitting with Adam and Eve, gesturing as he talks to them, at the mouth of a mossy cave in lower left, with tall trees on the higher ground above. It appears that no 'formal' lettered proofs were issued of this mezzotint and only a very few impressions with the scratched 'proof', such as this example, seem to have been pulled. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 40
[Ref: 36921] £1,500.00
Book 7, Line 339. Proof. [Creation of Light]
Designed & Engraved by J. Martin Esq.r. Printed by Charfield & Coleman.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Foxing.
The Creation of Light; a dramatic image of God dividing night and day, his image seen in the sky above the sea. Martin exhibited a large oil painting of this subject entitled 'The Creation' at the Society of Britsh Artists in 1825. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 41.
[Ref: 36919] £1,500.00
Designed & Engraved by J. Martin Esq.r. Printed by Charfield & Coleman.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Foxing.
The Creation of Light; a dramatic image of God dividing night and day, his image seen in the sky above the sea. Martin exhibited a large oil painting of this subject entitled 'The Creation' at the Society of Britsh Artists in 1825. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 41.
[Ref: 36919] £1,500.00
Book 9, Line 780. Proof. [Satan tempting Eve]
Designed & Engraved by J. Martin Esq.r.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Remainder of Printer's name in right of title area very faint.
Satan tempting Eve; Eve standing under a tree at the edge of a pool, reaching up with one hand to hold a bough, around which Satan, disguised as a serpent, is entwined, holding an apple in the other, listening to the snake. An early proof impressions such as this example, is considered amongst the most beautiful and atmospheric of Martin's 'Paradise Lost' mezzotints. It appears that no 'formal' lettered proofs were issued of this mezzotint and only a very few impressions with the scratched 'proof', such as this example, seem to have been pulled. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 42.
[Ref: 36920] £1,500.00
Designed & Engraved by J. Martin Esq.r.
London Published by Septimus Prowett, 23 Old Bond Street. 1826.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with wide margins. Remainder of Printer's name in right of title area very faint.
Satan tempting Eve; Eve standing under a tree at the edge of a pool, reaching up with one hand to hold a bough, around which Satan, disguised as a serpent, is entwined, holding an apple in the other, listening to the snake. An early proof impressions such as this example, is considered amongst the most beautiful and atmospheric of Martin's 'Paradise Lost' mezzotints. It appears that no 'formal' lettered proofs were issued of this mezzotint and only a very few impressions with the scratched 'proof', such as this example, seem to have been pulled. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 42.
[Ref: 36920] £1,500.00
Book 10, Line 312 & 347. Proof. [Bridge over Chaos]
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & co.
Published by Septimus Prowett, 62 Paternoster Row. 1826.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Light foxing in margins.
Bridge over Chaos; a powerful and mysterious image depicting the underworld, considered Martin's finest mezzotint. A bridge is suspended over the bottomless abyss of Chaos, with the figures of Satan, Sin and Death looking in awe of this new creation. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 45
[Ref: 36902] £1,500.00
Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & co.
Published by Septimus Prowett, 62 Paternoster Row. 1826.
Rare proof mezzotint. 255 x 350mm (10 x 13¾"), with large margins. Light foxing in margins.
Bridge over Chaos; a powerful and mysterious image depicting the underworld, considered Martin's finest mezzotint. A bridge is suspended over the bottomless abyss of Chaos, with the figures of Satan, Sin and Death looking in awe of this new creation. Fully lettered proof impression. From a series of prints illustrating John Milton's (1608-1674) 'Paradise Lost', first published in 1667, consisting of ten books with over ten thousand lines of verse. The poem concerns the Biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Begun by early 1824, this series of engravings was the result of a comission from a little known American publisher Septimus Prowett, who approached Martin to produce mezzotint illustrations to accompany an issue of Milton's text. Prowett's publication was released in four different proof forms; this print is from the 'Imperial Folio Edition' but not bound up at publication time.
Balston 94. (a) 4. CW: 45
[Ref: 36902] £1,500.00
![[Richard Parker, mutineer.]](jpegs/62108.jpg)
[Richard Parker, mutineer.]
[after Samuel Drummond.]
[n.d., c.1840.]
Mixed method engraving, proof before letters, printed on chine collé. 230 x 150mm (9 x 6") Small margins.
Richard Parker (1767-97), a sailor executed for his role as president of the so-called 'Floating Republic', during the Spithead and Nore mutinies of May June 1797. He was hanged from the yardarm of HMS Sandwich, his ship. After a portrait by Samuel Drummond, engraved by William Bromley in 1797.
[Ref: 62108] £130.00 (£156.00 incl.VAT)
[after Samuel Drummond.]
[n.d., c.1840.]
Mixed method engraving, proof before letters, printed on chine collé. 230 x 150mm (9 x 6") Small margins.
Richard Parker (1767-97), a sailor executed for his role as president of the so-called 'Floating Republic', during the Spithead and Nore mutinies of May June 1797. He was hanged from the yardarm of HMS Sandwich, his ship. After a portrait by Samuel Drummond, engraved by William Bromley in 1797.
[Ref: 62108] £130.00 (£156.00 incl.VAT)
![[Lorie.]](jpegs/23014.jpg)
[Lorie.] Sketched at The Palace December 22nd 1837. E.L.
[Engraved by Charles Mottram, 1875.] [EL: artist's monogram.]
London Published Nov.r 8.th 1875 by Henry Graves & Co, the Proprietors Publishers to H.M. the Queen &, T.R.H. The Prince & Princess of Wales, 6 Pall Mall_Copyright Registered. [Published by Henry Graves & Co. Printsellers and Publishers to Her Majesty the Queen and T.R.H. The Prince and Princess of Wales, Pall Mall, London. Sold by D. Woodcock & Co., 17, Farringdon Street, London.]
Mixed method engraving, proof before letters on india. Printseller's Association Stamp. Artist Proof Edition, Limited to One Hundred Copies, of which this is No.38. Plate 559 x 432mm. 22 x 17". Uncut, few small spots.
Lorie; a parrot, given to the Princess Victoria by the Hereditary Prince and Prince Albert of Saxe-Coburg and Gotha, which afterwards belonged to the Duchess of Kent. The original picture was sketched at the Palace, December 22nd 1837, and was left to the Queen by the Duchess of Kent; it now hangs at Osborne. From "Her Majesty's Pets being a Collection of Twenty Steel-Place Engravings from Paintings by Sir Edwin Landseer, R.A. By Special Permission of, and Dedicated to Her Most Gracious Majesty the Queen".
Ex Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 23014] £490.00
[Engraved by Charles Mottram, 1875.] [EL: artist's monogram.]
London Published Nov.r 8.th 1875 by Henry Graves & Co, the Proprietors Publishers to H.M. the Queen &, T.R.H. The Prince & Princess of Wales, 6 Pall Mall_Copyright Registered. [Published by Henry Graves & Co. Printsellers and Publishers to Her Majesty the Queen and T.R.H. The Prince and Princess of Wales, Pall Mall, London. Sold by D. Woodcock & Co., 17, Farringdon Street, London.]
Mixed method engraving, proof before letters on india. Printseller's Association Stamp. Artist Proof Edition, Limited to One Hundred Copies, of which this is No.38. Plate 559 x 432mm. 22 x 17". Uncut, few small spots.
Lorie; a parrot, given to the Princess Victoria by the Hereditary Prince and Prince Albert of Saxe-Coburg and Gotha, which afterwards belonged to the Duchess of Kent. The original picture was sketched at the Palace, December 22nd 1837, and was left to the Queen by the Duchess of Kent; it now hangs at Osborne. From "Her Majesty's Pets being a Collection of Twenty Steel-Place Engravings from Paintings by Sir Edwin Landseer, R.A. By Special Permission of, and Dedicated to Her Most Gracious Majesty the Queen".
Ex Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 23014] £490.00
![[William Paulet First Marquis of Winchester. From the ancient Painting in the College of Arms.]](jpegs/24829.jpg)
[William Paulet First Marquis of Winchester. From the ancient Painting in the College of Arms.]
[Etched M. Tyson]
[n.d. c.1710.]
Very rare etching, proof before all letters. 216 x 133mm. 8½ x 5¼".
William Paulet (c.1485-1572) was an English Secretary of State and statesman who attained several peerages throughout his lifetime: Baron St John, Earl of Wiltshire and Marquess of Winchester.
[Ref: 24829] £120.00 (£144.00 incl.VAT)
[Etched M. Tyson]
[n.d. c.1710.]
Very rare etching, proof before all letters. 216 x 133mm. 8½ x 5¼".
William Paulet (c.1485-1572) was an English Secretary of State and statesman who attained several peerages throughout his lifetime: Baron St John, Earl of Wiltshire and Marquess of Winchester.
[Ref: 24829] £120.00 (£144.00 incl.VAT)
![[The Right Honourable Edward Pellew.]](jpegs/24755.jpg)
[The Right Honourable Edward Pellew.]
[Painted by Thos. Lawrence Esqr. R.A. Engraved by C. Turner.]
[London, Published Octr.12, 1815 by Messrs. Colnaghi & Co. Cockspure Street, Haymarket.]
Mezzotint, proof before letters. Collector's mark on verso. 350 x 252mm. 13¾ x 10". Cut, damaged lower right.
Admiral Edward Pellew, 1st Viscount Exmouth (1757-1833) was a British naval officer who fought during the American War of Independence, the French Revolutionary, and the Napoleonic Wars. In 1804 he was promoted to Rear Admiral and Commander-in-Chief of the East Indies Station, and in 1809 when he returned from the East he was appointed to the position of Commander-in-Chief, Mediterranean Fleet from 1811 to 1814 and again from 1815 to 1816. On returning to England he became Commander-in-Chief, Plymouth from 1817 to 1821, when he effectively retired from active service. In 1814 he was made Baron Exmouth and led an Anglo-Dutch fleet against the Barbary states was victor of the Bombardment of Algiers in 1816, which secured the release of the 1,200 Christian slaves in the city. For this action he was created 1st Viscount Exmount on 10 December 1816. In 1832 he was appointed Vice-Admiral of the United Kingdom.
Lugt: 1425: Revd. J. Burleigh James (19th Century), English Protestant Minister. See NPG: D1893. Whitman: 190 [proof, undescribed state].
[Ref: 24755] £160.00 (£192.00 incl.VAT)
[Painted by Thos. Lawrence Esqr. R.A. Engraved by C. Turner.]
[London, Published Octr.12, 1815 by Messrs. Colnaghi & Co. Cockspure Street, Haymarket.]
Mezzotint, proof before letters. Collector's mark on verso. 350 x 252mm. 13¾ x 10". Cut, damaged lower right.
Admiral Edward Pellew, 1st Viscount Exmouth (1757-1833) was a British naval officer who fought during the American War of Independence, the French Revolutionary, and the Napoleonic Wars. In 1804 he was promoted to Rear Admiral and Commander-in-Chief of the East Indies Station, and in 1809 when he returned from the East he was appointed to the position of Commander-in-Chief, Mediterranean Fleet from 1811 to 1814 and again from 1815 to 1816. On returning to England he became Commander-in-Chief, Plymouth from 1817 to 1821, when he effectively retired from active service. In 1814 he was made Baron Exmouth and led an Anglo-Dutch fleet against the Barbary states was victor of the Bombardment of Algiers in 1816, which secured the release of the 1,200 Christian slaves in the city. For this action he was created 1st Viscount Exmount on 10 December 1816. In 1832 he was appointed Vice-Admiral of the United Kingdom.
Lugt: 1425: Revd. J. Burleigh James (19th Century), English Protestant Minister. See NPG: D1893. Whitman: 190 [proof, undescribed state].
[Ref: 24755] £160.00 (£192.00 incl.VAT)
The Right Hon.ble William Pitt, Chancellor of the Exchequer 1789.
[Engraved by J. Jones.]
Pub.d as the Act directs [May ye 20th 1789 by J. Jones N. 75 Great Portland] Street.
Mezzotint, scratched-letter proof. 505 x 355mm (19¾ x 14"). Thread margins, title area (only) rubbed, most of engraver's and publisher's inscription illegible.
A portrait of William Pitt the Younger (1759-1806) dressed in his Chancellor's robes, after George Romney. Pitt served as Chancellor three times (1782-83, 1783-1801 & 1804-06), the last two terms while he was also Prime Minister.
CS 63, i of ii.
[Ref: 43445] £280.00 (£336.00 incl.VAT)
[Engraved by J. Jones.]
Pub.d as the Act directs [May ye 20th 1789 by J. Jones N. 75 Great Portland] Street.
Mezzotint, scratched-letter proof. 505 x 355mm (19¾ x 14"). Thread margins, title area (only) rubbed, most of engraver's and publisher's inscription illegible.
A portrait of William Pitt the Younger (1759-1806) dressed in his Chancellor's robes, after George Romney. Pitt served as Chancellor three times (1782-83, 1783-1801 & 1804-06), the last two terms while he was also Prime Minister.
CS 63, i of ii.
[Ref: 43445] £280.00 (£336.00 incl.VAT)
![[Edward Prince of Wales presenting the Captive King John of France & his Son to his Father Edward the 3rd.]](jpegs/25922.jpg)
[Edward Prince of Wales presenting the Captive King John of France & his Son to his Father Edward the 3rd.]
J.F. Rigaud R.A. pinxt. F. Bartolozzi R.A. Sculpt.
London, Published Feby. 14 1788 by W. Palmer No. 103 Strand.
Stipple and etching, scratched-letter proof before title printed in brown ink, 340 x 405mm. 13½ x 16". One vertical crease and some light spotting. Good margins.
The Battle of Poitiers was fought between England and France on 19 September 1356 near Poitiers, central France, resulting in the second of the three great English victories of the Hundred Years' War: Crécy, Poitiers, and Agincourt. Here Edward of Woodstock, Prince of Wales ('The Black Prince', 1330 - 1376), kneeling in armour, presents his Prisoner of War John II of France (1319 - 1364), to his father, King Edward III of England, enthroned at centre. After John Francis Rigaud (1742 - 1810).
De Vesme 520, IV of V.
[Ref: 25922] £180.00 (£216.00 incl.VAT)
J.F. Rigaud R.A. pinxt. F. Bartolozzi R.A. Sculpt.
London, Published Feby. 14 1788 by W. Palmer No. 103 Strand.
Stipple and etching, scratched-letter proof before title printed in brown ink, 340 x 405mm. 13½ x 16". One vertical crease and some light spotting. Good margins.
The Battle of Poitiers was fought between England and France on 19 September 1356 near Poitiers, central France, resulting in the second of the three great English victories of the Hundred Years' War: Crécy, Poitiers, and Agincourt. Here Edward of Woodstock, Prince of Wales ('The Black Prince', 1330 - 1376), kneeling in armour, presents his Prisoner of War John II of France (1319 - 1364), to his father, King Edward III of England, enthroned at centre. After John Francis Rigaud (1742 - 1810).
De Vesme 520, IV of V.
[Ref: 25922] £180.00 (£216.00 incl.VAT)
![[Bear of the North.]](jpegs/54661.jpg)
[Bear of the North.]
HD. Herbert Dicksee [pencil signature.]
[n.d., c.1915.]
Etching with drypoint, limited edition 100, one state only, signed by the artist. 205 x 330mm (8 x 13"), with large margins. Mint.
A reclining polar bear, on a rocky outcrop at night. Herbert Thomas Dicksee (1862-1942) was an English painter who specialised in paintings of dogs and animals. He studied at the Slade School of Art and his first painting was exhibited in 1881. His paintings were usually done from life; he kept numerous dogs as pets and frequented London Zoo. His daughter, Dorothy was the executor of his will, which directed her to destroy most of the plates for his etchings.
From the celebrated collection of Bryan & Valerie Steele.
[Ref: 54661] £1,350.00
HD. Herbert Dicksee [pencil signature.]
[n.d., c.1915.]
Etching with drypoint, limited edition 100, one state only, signed by the artist. 205 x 330mm (8 x 13"), with large margins. Mint.
A reclining polar bear, on a rocky outcrop at night. Herbert Thomas Dicksee (1862-1942) was an English painter who specialised in paintings of dogs and animals. He studied at the Slade School of Art and his first painting was exhibited in 1881. His paintings were usually done from life; he kept numerous dogs as pets and frequented London Zoo. His daughter, Dorothy was the executor of his will, which directed her to destroy most of the plates for his etchings.
From the celebrated collection of Bryan & Valerie Steele.
[Ref: 54661] £1,350.00
![[A Polar Bear.]](jpegs/25915.jpg)
[A Polar Bear.]
[n.d. c.1900.]
Etching, signed artist's proof, limited to 150 impressions; framed. Plate 215 x 279mm (8½ x 11"). Paper lightly toned.
Polar bear facing up rocky slope taking scent. The only recorded state; the plate was then destroyed.
[Ref: 25915] £590.00
[n.d. c.1900.]
Etching, signed artist's proof, limited to 150 impressions; framed. Plate 215 x 279mm (8½ x 11"). Paper lightly toned.
Polar bear facing up rocky slope taking scent. The only recorded state; the plate was then destroyed.
[Ref: 25915] £590.00
![[Polar Bear.]](jpegs/35762.jpg)
[Polar Bear.]
HD. 1912. Herbert Dicksee [pencil signature.]
Copyright 1912 by Frost & Reed Ltd. (of Bristol, England) in the United States of America.
Proof etching, limited edition signed by the artist (plate destroyed). 455 x 700mm (18 x 27½"). Framed. Light foxing. Unexamined out of frame.
A fine detailed image of a polar bear, facing to the left, within an icy landscape.
[Ref: 35762] £1,250.00
HD. 1912. Herbert Dicksee [pencil signature.]
Copyright 1912 by Frost & Reed Ltd. (of Bristol, England) in the United States of America.
Proof etching, limited edition signed by the artist (plate destroyed). 455 x 700mm (18 x 27½"). Framed. Light foxing. Unexamined out of frame.
A fine detailed image of a polar bear, facing to the left, within an icy landscape.
[Ref: 35762] £1,250.00
From a Sketch taken at Portsmouth by W. H. Bunbury Esq.r.
London Publish'd [illegible] 1780 by J R Smith No 83 Oxford Street.
Rare stipple, proof with stippled title and publication line. 430 x 380mm (17 x 15"). Narrow margins, some creasing and surface abrasion, publication very faint. Laid down.
A group of sailors at rest on the shoreline at Portsmouth, three with 'Edgar' on their caps. One leans against a boat at left with a tankard in his hand; another is locked in an embrace with a woman. HMS Edgar fought at the battles of St Vincent (1780) and St Spartel (1782) before becoming a guardship in Portsmouth in 1783. The first published state is 1785.
See BM 1906,0419.117 for the first published state.
[Ref: 54588] £260.00 (£312.00 incl.VAT)
London Publish'd [illegible] 1780 by J R Smith No 83 Oxford Street.
Rare stipple, proof with stippled title and publication line. 430 x 380mm (17 x 15"). Narrow margins, some creasing and surface abrasion, publication very faint. Laid down.
A group of sailors at rest on the shoreline at Portsmouth, three with 'Edgar' on their caps. One leans against a boat at left with a tankard in his hand; another is locked in an embrace with a woman. HMS Edgar fought at the battles of St Vincent (1780) and St Spartel (1782) before becoming a guardship in Portsmouth in 1783. The first published state is 1785.
See BM 1906,0419.117 for the first published state.
[Ref: 54588] £260.00 (£312.00 incl.VAT)
![[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
The Reform Bill receiving The King's Assent by Royal Commission. Proof.
Engraved by Will.m Walker & Sam.l W. Reynolds from a picture taken on the spot by the late S.am.l W. Reynolds Esq.re when the Assent was declared. _ The Portraits from Original and Authentic Sketches.
William Walker Excudit, June 1836, No 64 Margaret Street, Cavandish Square London, & 22, London Street, Edinburgh.
Mezzotint on india, proof. 850 x 605mm (33½ x 24½"). Laid on board. India slightly trimmed at bottom, losing part of secondary publication line.
The House of Lords on 7th June 1832, during the passing of The Great Reform Act, with distinct portraits of the notable characters. In the inscription area are the facsimile signatures of William IV (although he was not present), Grey, Holland, Durham, Brougham, Landsdowne and Wellesley.
[Ref: 27837] £520.00
Engraved by Will.m Walker & Sam.l W. Reynolds from a picture taken on the spot by the late S.am.l W. Reynolds Esq.re when the Assent was declared. _ The Portraits from Original and Authentic Sketches.
William Walker Excudit, June 1836, No 64 Margaret Street, Cavandish Square London, & 22, London Street, Edinburgh.
Mezzotint on india, proof. 850 x 605mm (33½ x 24½"). Laid on board. India slightly trimmed at bottom, losing part of secondary publication line.
The House of Lords on 7th June 1832, during the passing of The Great Reform Act, with distinct portraits of the notable characters. In the inscription area are the facsimile signatures of William IV (although he was not present), Grey, Holland, Durham, Brougham, Landsdowne and Wellesley.
[Ref: 27837] £520.00
![[Designed for a transparency exhibited at No. 14 Catherine Street, Strand, On Occasion of the General Illuminations to Celebrate the Passing of the Reform Bill,-1832.]](jpegs/42053.jpg)
[Designed for a transparency exhibited at No. 14 Catherine Street, Strand, On Occasion of the General Illuminations to Celebrate the Passing of the Reform Bill,-1832.]
[Eng.d Printed and Publ.d for the Proprietor by E. Jones 126 Long Acre London.]
Engraving. Proof before letters. Extremely rare unfinished plate before aquating. Plate: 320 x 500mm (12½ x 19¾"), with large margins. Repaired tears andcreases.
An allegorical scene featuring the major political figures involved with the passing of the Reform Bill. The image is split into two halves with King William IV seated in the centre holding a scroll which on the completed print reads 'Reform Bill passed June 7th'. Supporters of the bill are shown on the left under the eye of knowledge on the far left is Lord Cleveland, then Bougham in a wig and gown, Lord Cleveland, Russell, Whig Prime Minster Charles Grey and Althorp. On the right are the opposers, stood under a large skeleton Wellington in his uniform is shown on the left pointing a breaking sword at the king, then Lyndhurst and Bishop Philpotts whose mitre is falling off. The Reform bill changed the criterea for having the vote, it also enfanchised the ever growing industrial cities of Leeds and Manchester and got rid of rotten boroughs. M. Dorothy George notes that no general illumination was held and that the ratepayer at 14 Catherine Street at the time was a billiard table maker.
BM Satire 17182.
[Ref: 42053] £480.00
[Eng.d Printed and Publ.d for the Proprietor by E. Jones 126 Long Acre London.]
Engraving. Proof before letters. Extremely rare unfinished plate before aquating. Plate: 320 x 500mm (12½ x 19¾"), with large margins. Repaired tears andcreases.
An allegorical scene featuring the major political figures involved with the passing of the Reform Bill. The image is split into two halves with King William IV seated in the centre holding a scroll which on the completed print reads 'Reform Bill passed June 7th'. Supporters of the bill are shown on the left under the eye of knowledge on the far left is Lord Cleveland, then Bougham in a wig and gown, Lord Cleveland, Russell, Whig Prime Minster Charles Grey and Althorp. On the right are the opposers, stood under a large skeleton Wellington in his uniform is shown on the left pointing a breaking sword at the king, then Lyndhurst and Bishop Philpotts whose mitre is falling off. The Reform bill changed the criterea for having the vote, it also enfanchised the ever growing industrial cities of Leeds and Manchester and got rid of rotten boroughs. M. Dorothy George notes that no general illumination was held and that the ratepayer at 14 Catherine Street at the time was a billiard table maker.
BM Satire 17182.
[Ref: 42053] £480.00
![[Rembrandt's Head.]](jpegs/32916.jpg)
[Rembrandt's Head.]
[Thomas Worlidge, 1758]
Etching, platemark 80 x 65mm (3 x 2½"). Unfinished proof; good impression; large margins.
Portrait study by Thomas Worlidge Senior (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. In her catalogue of Worlidge prints, his widow Mary listed this plate as 'Rembrandt's head'.
State i/iv; W111; D189.
[Ref: 32916] £320.00
[Thomas Worlidge, 1758]
Etching, platemark 80 x 65mm (3 x 2½"). Unfinished proof; good impression; large margins.
Portrait study by Thomas Worlidge Senior (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. In her catalogue of Worlidge prints, his widow Mary listed this plate as 'Rembrandt's head'.
State i/iv; W111; D189.
[Ref: 32916] £320.00
![[Portrait of a Man.]](jpegs/30873.jpg)
[Portrait of a Man.]
[Rembrandt Van Ryn, Pinx.t 1632.] [Peter van Bleek 1747.]
[n.d. c.1747.]
A very scare mezzotint, proof before all letters. Plate 311 x 254mm (12¼ x 10"). Spotting.
Portrait of a man after Rembrandt; this was formerly identified as a self-portrait of Rembrandt. After a painting attributed to Circle of Rembrandt in the Museu de Arte de Sao Paolo Assis Chateaubriand, Sao Paolo.
CS: 9. Russell: 9; Charrington: 32
[Ref: 30873] £580.00
[Rembrandt Van Ryn, Pinx.t 1632.] [Peter van Bleek 1747.]
[n.d. c.1747.]
A very scare mezzotint, proof before all letters. Plate 311 x 254mm (12¼ x 10"). Spotting.
Portrait of a man after Rembrandt; this was formerly identified as a self-portrait of Rembrandt. After a painting attributed to Circle of Rembrandt in the Museu de Arte de Sao Paolo Assis Chateaubriand, Sao Paolo.
CS: 9. Russell: 9; Charrington: 32
[Ref: 30873] £580.00
![[Richard II.]](jpegs/24856.jpg)
[Richard II.]
[James Bretherton?]
[n.d. c.1780.]
Drypoint etching, very rare, proof. Plate 108 x 82mm. 4¼ x 3¼".
Richard II (1367-c.1400) was King of England, and as a member of the House of Plantagenet.
[Ref: 24856] £180.00 (£216.00 incl.VAT)
[James Bretherton?]
[n.d. c.1780.]
Drypoint etching, very rare, proof. Plate 108 x 82mm. 4¼ x 3¼".
Richard II (1367-c.1400) was King of England, and as a member of the House of Plantagenet.
[Ref: 24856] £180.00 (£216.00 incl.VAT)
![[Richmond, From Twickenham Park.]](jpegs/9456.jpg)
[Richmond, From Twickenham Park.]
[Painted by Thomas Hofland. Engraved by Charles Heath.]
[n.d., c.1822.]
Etching and engraving on india laid paper, unfinished proof before all letters. Image 350 x 530mm (13¾ x 20¾"). Trimmed to india. Water stain to image lower right.
An attractive landscape view across parkland towards Richmond Bridge on the River Thames. Several vessels including pleasure barges are on the water and figures sit, sketch and promenade in the foreground. A guitar lies on the grass to left. After Thomas Christopher Hofland (1777-1843).
[Ref: 9456] £420.00
[Painted by Thomas Hofland. Engraved by Charles Heath.]
[n.d., c.1822.]
Etching and engraving on india laid paper, unfinished proof before all letters. Image 350 x 530mm (13¾ x 20¾"). Trimmed to india. Water stain to image lower right.
An attractive landscape view across parkland towards Richmond Bridge on the River Thames. Several vessels including pleasure barges are on the water and figures sit, sketch and promenade in the foreground. A guitar lies on the grass to left. After Thomas Christopher Hofland (1777-1843).
[Ref: 9456] £420.00
![View 1st. Of the Memorable Victory of the Nile, Gained in August 1798 over the French by the British Fleet in Aboukir Bay. [View 2d - 3d - 4th.]](jpegs/56104.jpg)
View 1st. Of the Memorable Victory of the Nile, Gained in August 1798 over the French by the British Fleet in Aboukir Bay. [View 2d - 3d - 4th.]
Finished from a Drawing in the possession of His Majesty, by F.Chesham, the Aquatinta by W.Ellis. _ Painted by W.Anderson.
Published by Alex.r Riley, 82 Pall Mall London Dec.1.1800.
Rare set of four proof aquatints. Each. c. 350 x 450mm (13¾ x 17¾"). 2nd View slight loss in left border. Trimmed to borders.
Four views of the Battle of the Nile, each with a descriptive text and with each ship named.
[Ref: 56104] £1,250.00 view all images for this item
Finished from a Drawing in the possession of His Majesty, by F.Chesham, the Aquatinta by W.Ellis. _ Painted by W.Anderson.
Published by Alex.r Riley, 82 Pall Mall London Dec.1.1800.
Rare set of four proof aquatints. Each. c. 350 x 450mm (13¾ x 17¾"). 2nd View slight loss in left border. Trimmed to borders.
Four views of the Battle of the Nile, each with a descriptive text and with each ship named.
[Ref: 56104] £1,250.00 view all images for this item
![[The Right Hon.ble Lord Rodney K.B. Vice Adm.l of Great Britain & Adm.l of the White &c &c &c]](jpegs/36624.jpg)
[The Right Hon.ble Lord Rodney K.B. Vice Adm.l of Great Britain & Adm.l of the White &c &c &c]
[Painted by Thomas Gainsborough R.A. Engraved by G. Dupont]
[Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.]
Mezzotint, a very fine proof before letters. 610 x 390mm (24 x 15¼"), with large margins. Slight paper tone.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
Horne 57 ii; CS 9 (undescribed state); Russell 9 i.
[Ref: 36624] £950.00
[Painted by Thomas Gainsborough R.A. Engraved by G. Dupont]
[Published 12th. April, 1788. by B. Beale Evans in the Poultry, London.]
Mezzotint, a very fine proof before letters. 610 x 390mm (24 x 15¼"), with large margins. Slight paper tone.
A full-length portrait of George Bridges Rodney (1719 - 1792), first Baron Rodney, naval officer and politician, famous for his victories against the Spanish off Cape St. Vincent in 1780, relieving Gibraltar, and against the French at the Battle of the Saintes in the Caribbean in 1782. The Hon. Thomas Harley commissioned Gainsborough to paint this portrait (now Earl of Rosebery collection, Dalmeny) to commemmorate the Battle of the Saintes. It was engraved by the artist's nephew Gainsborough Dupont.
Horne 57 ii; CS 9 (undescribed state); Russell 9 i.
[Ref: 36624] £950.00
![[Rocius]](jpegs/32861.jpg)
[Rocius]
Thos. Worlidge Fecit 1753.
Etching, sheet 180 x 145mm (7 x 5¾"). Trimmed inside platemark; glued to backing sheet at top; good impression.
Male bust by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. In Mary Worlidge's posthumous sale of Worlidge's prints this plate was listed as 'Rocius' (possibly a mispelling of 'Roscius', the ancient Roman actor often referenced in Georgian Britain). Lifetime impression.
State ii/iii; W57; D198.
[Ref: 32861] £95.00 (£114.00 incl.VAT)
Thos. Worlidge Fecit 1753.
Etching, sheet 180 x 145mm (7 x 5¾"). Trimmed inside platemark; glued to backing sheet at top; good impression.
Male bust by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. In Mary Worlidge's posthumous sale of Worlidge's prints this plate was listed as 'Rocius' (possibly a mispelling of 'Roscius', the ancient Roman actor often referenced in Georgian Britain). Lifetime impression.
State ii/iii; W57; D198.
[Ref: 32861] £95.00 (£114.00 incl.VAT)
![[Rebeccas Rushout] [A Lady and her Children.]](jpegs/59437.jpg)
[Rebeccas Rushout] [A Lady and her Children.]
Painted by D. Gardiner. Engraved by Tho.s Watson.
Publish'd Jan.y 1st 1778. for T. Watson no.142 New Bond Street, & W. Dickinson, Henrietta Street, Covent Garden, London.
Mezzotint, proof before title. 485 x 525mm (19 x 20¾"). Framed. Unexamined out of frame.
A superb impression of this group portrait of Lady Rebecca Rushout and her three eldest children by John Rushout, 1st Baron Northwick: Anne, Harriet, and John. Anne, Harriet and a third sister, Elizabeth, were dubbed 'The Charming Sisters' by the artist Andrew Plimer (1763-1837).
CS: 31. Goodwin 32, state ii of iv.
[Ref: 59437] £1,250.00
Painted by D. Gardiner. Engraved by Tho.s Watson.
Publish'd Jan.y 1st 1778. for T. Watson no.142 New Bond Street, & W. Dickinson, Henrietta Street, Covent Garden, London.
Mezzotint, proof before title. 485 x 525mm (19 x 20¾"). Framed. Unexamined out of frame.
A superb impression of this group portrait of Lady Rebecca Rushout and her three eldest children by John Rushout, 1st Baron Northwick: Anne, Harriet, and John. Anne, Harriet and a third sister, Elizabeth, were dubbed 'The Charming Sisters' by the artist Andrew Plimer (1763-1837).
CS: 31. Goodwin 32, state ii of iv.
[Ref: 59437] £1,250.00
![[Lionel Cranfield Sackville Duke of Dorset.]](jpegs/36465.jpg)
[Lionel Cranfield Sackville Duke of Dorset.]
[Engraved by George Vertue after Sir Godfrey Kneller.]
[London: Vertue, c.1740.]
Etching and engraving, unfinished proof before letters. 430 x 295mm (17 x 11½"), with wide margins. Printseller's ink stamp on reverse.
Lionel Cranfield Sackville (1688-1765), 1st Duke of Dorset, Lord Lieutenant of Ireland 1731-7 and 1751-5. He informed George I of his accession to the throne and carried the sceptre at his coronation; at the coronation of George II he was Lord High Steward and carried St Edward's Crown. The finished plate has an extra border around the image, also filling the inscription area, in the centre of which is a coat-of-arms.
See BM: 1849,1031.19 for proof before letters but with engraved borders. Alexander 825. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 36465] £280.00 (£336.00 incl.VAT)
[Engraved by George Vertue after Sir Godfrey Kneller.]
[London: Vertue, c.1740.]
Etching and engraving, unfinished proof before letters. 430 x 295mm (17 x 11½"), with wide margins. Printseller's ink stamp on reverse.
Lionel Cranfield Sackville (1688-1765), 1st Duke of Dorset, Lord Lieutenant of Ireland 1731-7 and 1751-5. He informed George I of his accession to the throne and carried the sceptre at his coronation; at the coronation of George II he was Lord High Steward and carried St Edward's Crown. The finished plate has an extra border around the image, also filling the inscription area, in the centre of which is a coat-of-arms.
See BM: 1849,1031.19 for proof before letters but with engraved borders. Alexander 825. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 36465] £280.00 (£336.00 incl.VAT)
![[For the Benefit of Mr Salpietro.]](jpegs/53404.jpg)
[For the Benefit of Mr Salpietro.]
[F. Bartolozzi inv: et sculp. 1773]
Very fine stipple with etching, proof before letters, printed in brown. 140 x 180mm (5½ x 7"), with very large margins.
Three putti on clouds decorated with laurel branches, holding music scores. The design was first used as a billhead for the benefit of the Italian violinist Giovanni Salpietro, who came to London with his wife (a singer) c.1779. He was portrayed in 'A Sunday Concert at Dr Burney's', engraved by Bretherton after C.L. Smith. Later it was used as the trade card of William Humphrey, brother of Hannah Humphrey, James Gillray's publisher and partner.
De Vesme 1939, state i of iv.
[Ref: 53404] £520.00
[F. Bartolozzi inv: et sculp. 1773]
Very fine stipple with etching, proof before letters, printed in brown. 140 x 180mm (5½ x 7"), with very large margins.
Three putti on clouds decorated with laurel branches, holding music scores. The design was first used as a billhead for the benefit of the Italian violinist Giovanni Salpietro, who came to London with his wife (a singer) c.1779. He was portrayed in 'A Sunday Concert at Dr Burney's', engraved by Bretherton after C.L. Smith. Later it was used as the trade card of William Humphrey, brother of Hannah Humphrey, James Gillray's publisher and partner.
De Vesme 1939, state i of iv.
[Ref: 53404] £520.00
[Saul. The Beauty of Israel is Slain on the High Places. How are the Mighty fallen.]
I. Varley Pinx. I Linnell Sculp 1831 [on slab in plate].
Mezzotint, proof before letters. Sheet 480 x 630mm (19 x 24¾"). Trimmed to plate, slight surface scuffing, laid on board.
A funeral procession, with a shrouded body being carried into a walled city, with Saul's crown preceding him. This very rare mezzotint was engraved by John Linnell after John Varley's oil of twelve years earlier, on which Linnell painting the figures. Linnell, a close friend of William Blake (as was Varley), started etching in 1813, but turned to mezzotint, with this plate being one of his first in that medium and one of the rarest.
[Ref: 6295] £1,350.00
I. Varley Pinx. I Linnell Sculp 1831 [on slab in plate].
Mezzotint, proof before letters. Sheet 480 x 630mm (19 x 24¾"). Trimmed to plate, slight surface scuffing, laid on board.
A funeral procession, with a shrouded body being carried into a walled city, with Saul's crown preceding him. This very rare mezzotint was engraved by John Linnell after John Varley's oil of twelve years earlier, on which Linnell painting the figures. Linnell, a close friend of William Blake (as was Varley), started etching in 1813, but turned to mezzotint, with this plate being one of his first in that medium and one of the rarest.
[Ref: 6295] £1,350.00
![[Footsteps.]](jpegs/50010.jpg)
[Footsteps.]
HD 1925. Herbert Dicksee [signed in pencil].
Published 10 Clare Street Bristol by Frost & Reed Ltd of Bristol and of London. Copyright 1926 by Frost & Reed (Bristol, England) in the United States of America.
Proof etching on vellum, signed by the artist. 350 x 540mm (13¾ x 21¼"). Framed. Unexamined out of frame.
A Scottish terrier and a West Highland terrier waiting for their master.
[Ref: 50010] £1,250.00
HD 1925. Herbert Dicksee [signed in pencil].
Published 10 Clare Street Bristol by Frost & Reed Ltd of Bristol and of London. Copyright 1926 by Frost & Reed (Bristol, England) in the United States of America.
Proof etching on vellum, signed by the artist. 350 x 540mm (13¾ x 21¼"). Framed. Unexamined out of frame.
A Scottish terrier and a West Highland terrier waiting for their master.
[Ref: 50010] £1,250.00
![[Lake See Hoo and Temple of the Thundering Winds, from the Vale of Tombs.]](jpegs/26728.jpg)
[Lake See Hoo and Temple of the Thundering Winds, from the Vale of Tombs.]
[Drawn by Thomas Allom. Engraved by J.C.Bentley.]
[Fisher, Son & Co. London & Paris. n.d., c.1843.]
Proof engraving on india, very large margins, uncut. 210 x 280mm, 8 x 11". Some foxing.
From Thomas Allon's 'China Illustrated'.
[Ref: 26728] £90.00 (£108.00 incl.VAT)
[Drawn by Thomas Allom. Engraved by J.C.Bentley.]
[Fisher, Son & Co. London & Paris. n.d., c.1843.]
Proof engraving on india, very large margins, uncut. 210 x 280mm, 8 x 11". Some foxing.
From Thomas Allon's 'China Illustrated'.
[Ref: 26728] £90.00 (£108.00 incl.VAT)
![[Le Port de Cette en Languedoc, Vue du côte de la Mer derriere la jettee isolee...]](jpegs/53997.jpg)
[Le Port de Cette en Languedoc, Vue du côte de la Mer derriere la jettee isolee...]
[Peint par J. Vernet de l'Academie Royal de Peinteur et Sculpture., C. N. Cochin filius et J. Ph. Le Bas. 1762.]
[n.d., c.1767]
Etching with engraving, a very rare progress proof before letters, 18th century watermark. 535 x 735mm (21 x 29"), with very large margins. Repaired surface abrasions in sky.
A view of Sète from the sea, with boats struggling with rough weather. On the left is the lighthouse of Môle Saint-Louis. A xebec flies the Maltese flag. Plate 8 of the series 'Les Ports de France' after Joseph Vernet (1714 - 1789), a painter famous for his maritime scenes. The details of the ships on the horizon have yet to be completed. The original oil is in the 'Musée national de la Marine', a part of the Louvre until 1971.
[Ref: 53997] £950.00
[Peint par J. Vernet de l'Academie Royal de Peinteur et Sculpture., C. N. Cochin filius et J. Ph. Le Bas. 1762.]
[n.d., c.1767]
Etching with engraving, a very rare progress proof before letters, 18th century watermark. 535 x 735mm (21 x 29"), with very large margins. Repaired surface abrasions in sky.
A view of Sète from the sea, with boats struggling with rough weather. On the left is the lighthouse of Môle Saint-Louis. A xebec flies the Maltese flag. Plate 8 of the series 'Les Ports de France' after Joseph Vernet (1714 - 1789), a painter famous for his maritime scenes. The details of the ships on the horizon have yet to be completed. The original oil is in the 'Musée national de la Marine', a part of the Louvre until 1971.
[Ref: 53997] £950.00
![Shepherdess. [in pencil.]](jpegs/7568.jpg)
Shepherdess. [in pencil.]
Westall. Eng.d J. Grozier [in pencil.]
[n.d., c.1790.]
Mezzotint, Grozer's own unfinished proof, with his pencil writing. 380 x 280mm.
The sitter is noted as 'Miss Smith of Westminster'. Fine mezzotint from the collection of Fritz Reiss, who assembled 'a rich collection of mezzotints, one of the finest of its kind' (Lugt). Pencil annotations in the margin (possibly Reiss's) state 'Grozer's own proof with his writing'.
Ex: Collection of Fritz Reiss (L.2178). Daniell catalogue 1914.
[Ref: 7568] £480.00
Westall. Eng.d J. Grozier [in pencil.]
[n.d., c.1790.]
Mezzotint, Grozer's own unfinished proof, with his pencil writing. 380 x 280mm.
The sitter is noted as 'Miss Smith of Westminster'. Fine mezzotint from the collection of Fritz Reiss, who assembled 'a rich collection of mezzotints, one of the finest of its kind' (Lugt). Pencil annotations in the margin (possibly Reiss's) state 'Grozer's own proof with his writing'.
Ex: Collection of Fritz Reiss (L.2178). Daniell catalogue 1914.
[Ref: 7568] £480.00
![[Shooting. Plate IV. Engraved after an Original Picture in the Possession of Mr Bradford.]](jpegs/57482.jpg)
[Shooting. Plate IV. Engraved after an Original Picture in the Possession of Mr Bradford.]
[Geo. Stubbs pinx.t. W.m Woollett sculp.t.]
[Published by Tho.s Bradford, No.132 Fleet Street, London; as the Act directs, 25th Oct.r 1771.]
Very rare progress proof engraving. Sheet 390 x 530mm (15¼ x 20¾"). Trimmed close to image, part of image skimmed lower right, tip of bottom left corner lacking, vertical central fold, some surface wear, laid on album paper.
A very rare progress proof of the last plate in the famous set of 'Shooting' after George Stubbs, showing the sportsmen resting in a wood with their bag. At this stage in the engraving, the sky is blank, the faces and hands of the men have scratched details, and the trees and dog are half-finished.
Lennox-Boyd et al: George Stubbs 14, undescribed state between ii & iii.
[Ref: 57482] £490.00
[Geo. Stubbs pinx.t. W.m Woollett sculp.t.]
[Published by Tho.s Bradford, No.132 Fleet Street, London; as the Act directs, 25th Oct.r 1771.]
Very rare progress proof engraving. Sheet 390 x 530mm (15¼ x 20¾"). Trimmed close to image, part of image skimmed lower right, tip of bottom left corner lacking, vertical central fold, some surface wear, laid on album paper.
A very rare progress proof of the last plate in the famous set of 'Shooting' after George Stubbs, showing the sportsmen resting in a wood with their bag. At this stage in the engraving, the sky is blank, the faces and hands of the men have scratched details, and the trees and dog are half-finished.
Lennox-Boyd et al: George Stubbs 14, undescribed state between ii & iii.
[Ref: 57482] £490.00
["Shrewsbury_____General View of the New Buildings".]
[Pencil signatures:] F.P. Barraud William J Allingham. [Etched in the image:] F.P. Barraud.
London, Published Jan.y 3.rd 1893, by Mess.rs Dickinson & Foster, Publishers to The Queen. 114, New Bond Street, W. Copyright Registered.
Etching. Proof before title, signed in pencil. Printseller's Association stamp.Plate 445 x 584mm. 17½ x 23".
Shrewsbury School, located on the banks of the River Severn, Shropshire. It was one of the original nine 'Clarendon Schools' that were defined by the Public Schools Act 1868. The front of the new building after the school's relocation to here in 1882. After Francis Philip Barraud (1824-1900).
PSA: Vol.II. AP. 100.
[Ref: 22077] £360.00
[Pencil signatures:] F.P. Barraud William J Allingham. [Etched in the image:] F.P. Barraud.
London, Published Jan.y 3.rd 1893, by Mess.rs Dickinson & Foster, Publishers to The Queen. 114, New Bond Street, W. Copyright Registered.
Etching. Proof before title, signed in pencil. Printseller's Association stamp.Plate 445 x 584mm. 17½ x 23".
Shrewsbury School, located on the banks of the River Severn, Shropshire. It was one of the original nine 'Clarendon Schools' that were defined by the Public Schools Act 1868. The front of the new building after the school's relocation to here in 1882. After Francis Philip Barraud (1824-1900).
PSA: Vol.II. AP. 100.
[Ref: 22077] £360.00
![[Skye Terrier] [Dear Old Boz.]](jpegs/23037.jpg)
[Skye Terrier] [Dear Old Boz.]
[Engraved by Charles Mottram, 1875.] [EL: artist's monogram.]
London Published Oct.r 28.th 1875 by Henry Graves & Co, the Proprietors Publishers to H.M. the Queen &, T.R.H. The Prince & Princess of Wales, 6 Pall Mall, Copyright Registered. [Published by Henry Graves & Co. Printsellers and Publishers to Her Majesty the Queen and T.R.H. The Prince and Princess of Wales, Pall Mall, London. Sold by D. Woodcock & Co., 17, Farringdon Street, London.]
Mixed method engraving, proof before letters on india. Printseller's Association Stamp. Artist Proof Edition, Limited to One Hundred Copies. 450 x 527mm (17¾ x 20¾"). Uncut, mint.
'Boz', Queen Victoria's skye terrier, with a rabbit. Boz was named after Charles Dickens' early pseudonym. He was purchased by Victoria a a present for her mother, the Duchess of Kent, in 1857, but joined the Royal houshold when the Duchess died in 1861. The original painting was exhibited at the British Institution in 1865 and now hangs at Osborne House, the Royal Residence on the Isle of Wight. From "Her Majesty's Pets being a Collection of Twenty Steel-Place Engravings from Paintings by Sir Edwin Landseer, R.A. By Special Permission of, and Dedicated to Her Most Gracious Majesty the Queen".
Ex. Collection of Hon Christopher Lennox-Boyd.
[Ref: 23037] £550.00
[Engraved by Charles Mottram, 1875.] [EL: artist's monogram.]
London Published Oct.r 28.th 1875 by Henry Graves & Co, the Proprietors Publishers to H.M. the Queen &, T.R.H. The Prince & Princess of Wales, 6 Pall Mall, Copyright Registered. [Published by Henry Graves & Co. Printsellers and Publishers to Her Majesty the Queen and T.R.H. The Prince and Princess of Wales, Pall Mall, London. Sold by D. Woodcock & Co., 17, Farringdon Street, London.]
Mixed method engraving, proof before letters on india. Printseller's Association Stamp. Artist Proof Edition, Limited to One Hundred Copies. 450 x 527mm (17¾ x 20¾"). Uncut, mint.
'Boz', Queen Victoria's skye terrier, with a rabbit. Boz was named after Charles Dickens' early pseudonym. He was purchased by Victoria a a present for her mother, the Duchess of Kent, in 1857, but joined the Royal houshold when the Duchess died in 1861. The original painting was exhibited at the British Institution in 1865 and now hangs at Osborne House, the Royal Residence on the Isle of Wight. From "Her Majesty's Pets being a Collection of Twenty Steel-Place Engravings from Paintings by Sir Edwin Landseer, R.A. By Special Permission of, and Dedicated to Her Most Gracious Majesty the Queen".
Ex. Collection of Hon Christopher Lennox-Boyd.
[Ref: 23037] £550.00
![[Der Tabackraucher (The Smoker).]](jpegs/26895.jpg)
[Der Tabackraucher (The Smoker).]
Simon von der Does pinx N: Strixner fecit.
[Munich, Germany, n.d., c.1820s.]
Rare lithograph, heightened in white, proof? before title. Image 220 x 175mm. 8¾ x 7". Printed border. A little age-toned; horizontal crease through upper and lower margin.
A bearded man seated at a table, smoking a pipe; despite the printed attribution to Simon van der Does, the painting is by Ariy de Vois. From a folio of fine prints after paintings and drawings by German masters, by Johann Nepomuk Strixner (1782 - 1855), lithographer in Munich.
See 'Curator's comments', BM 1973,U.1171.
[Ref: 26895] £160.00 (£192.00 incl.VAT)
Simon von der Does pinx N: Strixner fecit.
[Munich, Germany, n.d., c.1820s.]
Rare lithograph, heightened in white, proof? before title. Image 220 x 175mm. 8¾ x 7". Printed border. A little age-toned; horizontal crease through upper and lower margin.
A bearded man seated at a table, smoking a pipe; despite the printed attribution to Simon van der Does, the painting is by Ariy de Vois. From a folio of fine prints after paintings and drawings by German masters, by Johann Nepomuk Strixner (1782 - 1855), lithographer in Munich.
See 'Curator's comments', BM 1973,U.1171.
[Ref: 26895] £160.00 (£192.00 incl.VAT)
![[Lord Raglan.]](jpegs/27753.jpg)
[Lord Raglan.]
Painted by Andrew Morton. Engraved by W.O. Burgess.
Published at No.14 Pall Mall East, Aug.t 31.st 1841, by Paul & Dominic Colnaghi & Co. Printsellers to Her Majesty.
Mezzotint on chine colle, proof before title, with very large margins. Plate 546 x 405mm. 21½ x 16".
Lord Raglan, Fitzroy James Henry Somerset (1788-1855), Commander of British forces in the Crimean War who entered the army aged sixteen and lost his right arm at Waterloo. In 1854 he was appointed to command British troops against Russia in the Crimea and he secured victory at the Alma, however his lack of experience as a commander in the field was held to blame for later calamities.
NPG: D41826. From Broadlands the Palmerston family.
[Ref: 27753] £280.00 (£336.00 incl.VAT)
Painted by Andrew Morton. Engraved by W.O. Burgess.
Published at No.14 Pall Mall East, Aug.t 31.st 1841, by Paul & Dominic Colnaghi & Co. Printsellers to Her Majesty.
Mezzotint on chine colle, proof before title, with very large margins. Plate 546 x 405mm. 21½ x 16".
Lord Raglan, Fitzroy James Henry Somerset (1788-1855), Commander of British forces in the Crimean War who entered the army aged sixteen and lost his right arm at Waterloo. In 1854 he was appointed to command British troops against Russia in the Crimea and he secured victory at the Alma, however his lack of experience as a commander in the field was held to blame for later calamities.
NPG: D41826. From Broadlands the Palmerston family.
[Ref: 27753] £280.00 (£336.00 incl.VAT)
[Sophonisba accepting the Nuptial Present sent by her Husband Masinissa. From the Original Picture by Luca Giordano, in the Collection of his Grace the Duke of Devonshire, to Whom this Plate is most humnbly inscribed, By His Graces most Obliged and most devoted Servant. J.Boydell.]
Luca Giordano Pinxt. S.F. Ravenet Sculpt. J. Boydell Excudit
[Publish'd according to Act of Parliament, March 1st. 1764, by J. Boydell Engraver, in Cheapside, London.]
Engraving, proof before, platemark 425 x 535mm (16¾ x 21"), with very large, uncut margins. Proof impression; title in early ms in lower margin.
Sophonisba, daughter of Carthaginian general Hasdrubal Gisco (often confused with the brother of Hannibal), was captured after the Battle of the Great Plains at Bagradas Masinissa , king of Numidia and an ally of Rome, fell in love with her and married her. When Scipio Africanus refused to accept the situation Masinissa sent Sophonisba poison to prevent her being taken to Rome to be displayed in a triumphal parade. With great composure, she drank it. The original painting by Italian baroque artist Luca Giordano (1634-1705) was sketched by John Hamilton Mortimer to prepare this engraving, which was published in ' The Most Capital Paintings in England', a five-volume set that was a critical and financial success for the publisher John Boydell.
For lettered impression see ref. 14369
[Ref: 38580] £330.00
Luca Giordano Pinxt. S.F. Ravenet Sculpt. J. Boydell Excudit
[Publish'd according to Act of Parliament, March 1st. 1764, by J. Boydell Engraver, in Cheapside, London.]
Engraving, proof before, platemark 425 x 535mm (16¾ x 21"), with very large, uncut margins. Proof impression; title in early ms in lower margin.
Sophonisba, daughter of Carthaginian general Hasdrubal Gisco (often confused with the brother of Hannibal), was captured after the Battle of the Great Plains at Bagradas Masinissa , king of Numidia and an ally of Rome, fell in love with her and married her. When Scipio Africanus refused to accept the situation Masinissa sent Sophonisba poison to prevent her being taken to Rome to be displayed in a triumphal parade. With great composure, she drank it. The original painting by Italian baroque artist Luca Giordano (1634-1705) was sketched by John Hamilton Mortimer to prepare this engraving, which was published in ' The Most Capital Paintings in England', a five-volume set that was a critical and financial success for the publisher John Boydell.
For lettered impression see ref. 14369
[Ref: 38580] £330.00