Grosvenor Prints

On the River Lodder. ''Sweet native Stream!'' _ Warton.
W. Delamotte del 1819. Lithography. Printed by F. Moser.
Lithograph, scarce. Sheet 280 x 385mm (11 x 15¼"). Paper toned.
A vew of a small river in a wood , a man sitting on the banks. The title contains a quote from Thomas Warton's 'To the River Loddon'.
[Ref: 44345] £140.00 (£168.00 incl.VAT)

Lodgings to Let.
London, Pub.d by J.L. Marks, 17, Artillery St.t Bishopsgate.
Coloured etching. 210 x 170mm (8¼ x 6¾"). Thread margins.
A corpulant and rosiate-complexioned man strokes a pretty woman under her chin, saying 'I hope you are to be let with the Lodgings!'. She replies 'No, Sir I am to be let alone'.
[Ref: 54356] £160.00 (£192.00 incl.VAT)

Pont de Lodi.
Litho: de C. Motte Rue des Marais.
[n.d. c.1826.]
Lithograph. Printed area 280 x 405mm (11 x 16"), with large margins. Mount stain.
The French army forcing the crossing of the bridge over the Adda, 10 May 1796, driving the Austrian army into retreat, after which Milan was occupied. Published in A.V. Arnault's 'Vie politique et militaire de Napoléon', Paris, 1822-1826.
[Ref: 55863] £160.00 (£192.00 incl.VAT)

[Lodona.]
[Maria Cosway Pinxt. F. Bartolozzi R.A. Sculpt.]
[London, Published March 20, 1792, by Thos. Macklin, Poets Gallery, Fleet Street.]
Stipple, proof before letters. Sheet 370 x 475mm (14½ x 18¾"). Trimmed, top right repaired tear.
A young woman in a wooded landscape leaning by a small waterfall by a river, weeping; her hair and dress begin to merge with the water. A scene from Alexander Pope's poem Windsor Forest (1713). Lodona, a nymph fond of hunting, is chased by Pan and implores Cynthia (an epithet of Diana the huntress goddess) to save her from her persecutor. No sooner had she spoken than she became ''a silver stream which ever keeps its virgin coolness''. She gives her name to The Lodden, an tributary of the Thames in Windsor Forest.
[Ref: 44046] £380.00

Lodona. In vain on Father Thames she calls for Aid...[etc., two stanzas from Pope either side of title.] Vide Pope's Windsor Forest.
Maria Cosway Pinxt. F. Bartolozzi R.A. Sculpt.
London, Published March 20, 1792, by Thos. Macklin, Poets Gallery, Fleet Street.
Fine stipple engraving printed in brown ink, closed letters (final state). 430 x 505mm (17 x 19¾"). Some slight creasing and soiling.
A young woman in a wooded landscape leaning by a small waterfall by a river, weeping; her hair and dress begin to merge with the water. A scene from Alexander Pope's poem Windsor Forest (1713). Lodona, a nymph fond of hunting, is chased by Pan and implores Cynthia (an epithet of Diana the huntress goddess) to save her from her persecutor. No sooner had she spoken than she became ''a silver stream which ever keeps its virgin coolness''. She gives her name to The Lodden, an tributary of the Thames in Windsor Forest. After Maria Cosway (1759 - 1838).
[Ref: 19237] £380.00

Vue de Suisse. Loëche les Baine. Intérieur de grand Bain. 236.
Desiné et lith. par Deroy. Imp. Frick fres. 17, r. de l’Estrapade, près le Panthéon, Paris.
Paris, Wild, edit. Place de la Bourse, 31. Charnaux, Place du Bel air, Mon. des 3 Rois, à Genève. [n.d. c.1860.]
Coloured lithograph. 350 x 264mm. Some creasing and spotting.
From a collection of 'Vue de Suisse 1854-1861'. A view of the interior of the 'Loëche les Baine', with people leisurely swimming whilst eating, drinking or playing games.
[Ref: 12534] £80.00 (£96.00 incl.VAT)

Lovenstein. [Battle of Loevenstein, 19th December 1570.] Es seind gewest drey man allein / So ingenommen Louenstein [...]
[Hogenburg.]
Anno Dmi M.D. LXXI
Engraving. Sheet: 215 x 305mm, (8½ x 12"). Lower left corner torn and reattached.
A battle scene showing the recapture of Loevenstein Castle by Habsburg troops on 19th December 1570 during the Eighty Years War. The castle had been taken from the Spanish ten days earlier by the dutch rebels led by Herman de Ruyter. The Dutch later recaptured the castle in 1572. The image shows the Spansh troops, flying the flag of the Seventeen Provinces advancing on the castle while the Dutch fight furiously, Herman de Ruyter (labelled in image) is shown defending a breach in the wall.
[Ref: 40311] £65.00 (£78.00 incl.VAT)

Lord Augustus Loftus.
Lock and Whitfield. Woodbury Process. [n.d., c.1880.]
Photograph set into printed frame, original presentation. Image 110 x 90mm. 4¼ x 3½". Left sheet edge tatty/chipped.
Lord Augustus William Frederick Spencer Loftus (1817 - 1904) diplomatist, appointed Governor of New South Wales in 1879. Offered with letterpress biography sheet.
[Ref: 10805] £35.00 (£42.00 incl.VAT)

The Celebrated Logan Rock near the Land's End in Cornwall.
J. Tonkin delin: J.P. Vibert. Lithog:
Penzance. Published by Vibert & Tonkin Sep: 27. 1824.
Lithograph, sheet 345 x 470mm. 13½ x 18½". Horizontal crease.
The Logan Rock is an eighty ton granite boulder perched on the edge of a headland overlooking the Atlantic ocean one mile south of the Cornish village of Treen. It an example of a logan or rocking stone, being finely balanced due to the actions of weathering. The first plate from a set of six illustrating the events of 1824: in April Lieutenant Hugh Goldsmith (nephew of the famous poet Oliver Goldsmith) and ten or twelve of his crew of the cutter HMS Nimble rocked the huge granite boulder armed with bars and levers until it fell from its cliff-top perch. Goldsmith was apparently motivated to disprove the claim of Dr. Borlase, who wrote in 'Antiquities of Cornwall' in 1754 that "...the extremities of [the Rock's] base are at such a distance from each other, and so well secured by their nearness to the stone which it stretches itself upon, that it is morally impossible that any lever, or indeed force, however applied in a mechanical way, can remove it from its present situation". The displacement of the rock upset the local residents considerably, since Logan Rock had been used to draw tourists to the area. The Lords of the Admiralty were persuaded to lend Lieutenant Goldsmith the required apparatus for replacing it. The Admiralty sent thirteen capstans with blocks and chains from the dock yard at Plymouth, and contributed £25 towards expenses. After months of effort, at 4.20pm on Tuesday, the 2nd of November, 1824, in front of thousands of spectators and with the help of more than sixty men and block and tackle, the Logan Rock was finally repositioned and returned to "rocking condition". However, it apparently no longer vibrates or "logs" as easily as it did before the incident.
Abbey Scenery: 106.
[Ref: 13518] £130.00 (£156.00 incl.VAT)

A View Of The Celebrated Logan Rock near the Land's End in Cornwall, taken after the Rock was displaced on the 8th of April, 1824.
J. Tonkin, delin. Vibert. lithog:
Penzance Pubs. by Vibert & Tonkin August 8th. 1824.
Lithograph, sheet 350 x 485mm. 13¾ x 19". Horizontal crease.
The Logan Rock is an eighty ton granite boulder perched on the edge of a headland overlooking the Atlantic ocean one mile south of the Cornish village of Treen. It an example of a logan or rocking stone, being finely balanced due to the actions of weathering. Plate 2 (numbered upper right) from a set of six illustrating the events of 1824: in April Lieutenant Hugh Goldsmith (nephew of the famous poet Oliver Goldsmith) and ten or twelve of his crew of the cutter HMS Nimble rocked the huge granite boulder armed with bars and levers until it fell from its cliff-top perch. Goldsmith was apparently motivated to disprove the claim of Dr. Borlase, who wrote in 'Antiquities of Cornwall' in 1754 that "...the extremities of [the Rock's] base are at such a distance from each other, and so well secured by their nearness to the stone which it stretches itself upon, that it is morally impossible that any lever, or indeed force, however applied in a mechanical way, can remove it from its present situation". The displacement of the rock upset the local residents considerably, since Logan Rock had been used to draw tourists to the area. The Lords of the Admiralty were persuaded to lend Lieutenant Goldsmith the required apparatus for replacing it. The Admiralty sent thirteen capstans with blocks and chains from the dock yard at Plymouth, and contributed £25 towards expenses. After months of effort, at 4.20pm on Tuesday, the 2nd of November, 1824, in front of thousands of spectators and with the help of more than sixty men and block and tackle, the Logan Rock was finally repositioned and returned to "rocking condition". However, it apparently no longer vibrates or "logs" as easily as it did before the incident.
Abbey Scenery: 106.
[Ref: 13519] £130.00 (£156.00 incl.VAT)

A View Of The Celebrated Logan Rock (near the Land's End) with the Machinery erected for the purpose of replacing it.
Tonkin. delin: Vibert, lithog:
Penzance. Published by Tonkin & Vibert. Novembr. 16 1824.
Lithograph, sheet 330 x 495mm. 13 x 19½". Two horizontal creases.
The Logan Rock is an eighty ton granite boulder perched on the edge of a headland overlooking the Atlantic ocean one mile south of the Cornish village of Treen. It an example of a logan or rocking stone, being finely balanced due to the actions of weathering. Plate 4 (numbered upper right) from a set of six illustrating the events of 1824: in April Lieutenant Hugh Goldsmith (nephew of the famous poet Oliver Goldsmith) and ten or twelve of his crew of the cutter HMS Nimble rocked the huge granite boulder armed with bars and levers until it fell from its cliff-top perch. Goldsmith was apparently motivated to disprove the claim of Dr. Borlase, who wrote in 'Antiquities of Cornwall' in 1754 that "...the extremities of [the Rock's] base are at such a distance from each other, and so well secured by their nearness to the stone which it stretches itself upon, that it is morally impossible that any lever, or indeed force, however applied in a mechanical way, can remove it from its present situation". The displacement of the rock upset the local residents considerably, since Logan Rock had been used to draw tourists to the area. The Lords of the Admiralty were persuaded to lend Lieutenant Goldsmith the required apparatus for replacing it. The Admiralty sent thirteen capstans with blocks and chains from the dock yard at Plymouth, and contributed £25 towards expenses. After months of effort, at 4.20pm on Tuesday, the 2nd of November, 1824, in front of thousands of spectators and with the help of more than sixty men and block and tackle, the Logan Rock was finally repositioned and returned to "rocking condition". However, it apparently no longer vibrates or "logs" as easily as it did before the incident.
Abbey Scenery: 106.
[Ref: 13520] £120.00 (£144.00 incl.VAT)

A View Of The Celebrated Logan Rock near the Land's End with the Machinery erected for the purpose of replacing it.
Tonkin. delin: Vibert, lithog:
Penzance. Published by Tonkin & Vibert. Novembr. 16 1824.
Original hand coloured lithograph, sheet 425 x 555mm. 16¾ x 21¾". Two horizontal creases.
The Logan Rock is an eighty ton granite boulder perched on the edge of a headland overlooking the Atlantic ocean one mile south of the Cornish village of Treen. It an example of a logan or rocking stone, being finely balanced due to the actions of weathering. Plate 4 (numbered upper right) from a set of six illustrating the events of 1824: in April Lieutenant Hugh Goldsmith (nephew of the famous poet Oliver Goldsmith) and ten or twelve of his crew of the cutter HMS Nimble rocked the huge granite boulder armed with bars and levers until it fell from its cliff-top perch. Goldsmith was apparently motivated to disprove the claim of Dr. Borlase, who wrote in 'Antiquities of Cornwall' in 1754 that "...the extremities of [the Rock's] base are at such a distance from each other, and so well secured by their nearness to the stone which it stretches itself upon, that it is morally impossible that any lever, or indeed force, however applied in a mechanical way, can remove it from its present situation". The displacement of the rock upset the local residents considerably, since Logan Rock had been used to draw tourists to the area. The Lords of the Admiralty were persuaded to lend Lieutenant Goldsmith the required apparatus for replacing it. The Admiralty sent thirteen capstans with blocks and chains from the dock yard at Plymouth, and contributed £25 towards expenses. After months of effort, at 4.20pm on Tuesday, the 2nd of November, 1824, in front of thousands of spectators and with the help of more than sixty men and block and tackle, the Logan Rock was finally repositioned and returned to "rocking condition". However, it apparently no longer vibrates or "logs" as easily as it did before the incident.
Abbey Scenery: 106.
[Ref: 13521] £260.00 (£312.00 incl.VAT)

A View Of The Southern Part Of Castle Treryn, with the Machinery erected for the purpose of replacing the Logan Rock.
Tonkin, Delin: Vibert, Lithog:
Penzance, Published by Vibert & Tonkin November 16, 1824.
Lithograph, sheet 435 x 590mm. 17 x 23¼".
The Logan Rock is an eighty ton granite boulder perched on the edge of a headland overlooking the Atlantic ocean one mile south of the Cornish village of Treen. It an example of a logan or rocking stone, being finely balanced due to the actions of weathering. Plate 5 (numbered upper right) from a set of six illustrating the events of 1824: in April Lieutenant Hugh Goldsmith (nephew of the famous poet Oliver Goldsmith) and ten or twelve of his crew of the cutter HMS Nimble rocked the huge granite boulder armed with bars and levers until it fell from its cliff-top perch. Goldsmith was apparently motivated to disprove the claim of Dr. Borlase, who wrote in 'Antiquities of Cornwall' in 1754 that "...the extremities of [the Rock's] base are at such a distance from each other, and so well secured by their nearness to the stone which it stretches itself upon, that it is morally impossible that any lever, or indeed force, however applied in a mechanical way, can remove it from its present situation". The displacement of the rock upset the local residents considerably, since Logan Rock had been used to draw tourists to the area. The Lords of the Admiralty were persuaded to lend Lieutenant Goldsmith the required apparatus for replacing it. The Admiralty sent thirteen capstans with blocks and chains from the dock yard at Plymouth, and contributed £25 towards expenses. After months of effort, at 4.20pm on Tuesday, the 2nd of November, 1824, in front of thousands of spectators and with the help of more than sixty men and block and tackle, the Logan Rock was finally repositioned and returned to "rocking condition". However, it apparently no longer vibrates or "logs" as easily as it did before the incident. On J. Whatman watermarked paper 1824.
Abbey Scenery: 106.
[Ref: 13522] £220.00 (£264.00 incl.VAT)

Logic
Engraved by Welby Sherman, from an Original Drawing by C.H. Esq,,r [Charles Heath?].
London, Republished Feb.y 15, 1853, by Thomas Boys, (of the Late Firm of Moon, Boys & Graves,) Printseller to the Royal Family, 467, Oxford Street. _ Paris, E. Gambart & Co. 15, Rue Charlot, Deposé. Originally Published Nov: 1836.
Fine and rare mezzotint on chine collé. 250 x 355mm (9¾ x 14"), very large margins. Publication line printed over the edge of the chine collé.
Syllogistic disputants arguing over whether or not the Parisians are birds? It is a pun on Gallus a cock or a Frenchman? Two scholars in caps and gowns, leaning out dangerously from opposing lecturns, arguing angrily and gesturing to emphasise their points, their companions holding their collars to prevent them from falling out. Both companions hold bottles, one swigging from theirs. Welby Sherman (fl.1827-36) was one of the more obscure members of the Ancients, a group of artists who formed around the visionary artist and poet William Blake. He was a cousin and pupil of Samuel Palmer, another Ancient, living with him in Shoreham; this did not stop him swindling Palmer's brother William out of £500 in wagers on games of billiards and fleeing abroad in 1836. London literary Gazette and Journal of Belles Lettres etc. vol 20, page 811 advert.
BM 2010,7081.6989, suggesting Heath as the artist. Ex Collection of Hon C. Lennox-Boyd.
[Ref: 59132] £580.00

2. Dialectica.
[n.d., c.1600.]
Etching. Sheet 160 x 85mm (6¼ x 3½"). Trimmed to printed border.
A female allegorical figure representing Dialectics or Logic, one of a series of the Seven Liberal Arts. She stands on a plinth, a scroll in one hand and the scales with which she weighs arguments in the other.
[Ref: 49774] £140.00 (£168.00 incl.VAT)

The Logicians.
Suweyns pinxit. Lambert del.t. Printed by Engelmann G. C. & Co.
London: Published by R. Ackermann, 96, Strand, May 1828.
Lithograph. Sheet 245 x 370mm (9¾ x 14½"). Tear in title area taped, some spotting.
A singerie scene, with three monkeys in Dutch dress, drinking and smoking in an inn. By Antoine Suweyns (Flemish, 1720-89).
[Ref: 58359] £260.00 (£312.00 incl.VAT)

[John Bernhard Logier.] Presented to J.B. Logier Esq.r by the Professors who have adopted his System of Musical Education in testimony of their personal esteem and high sense of the advantages he has conferred on the Art. Proof.
Painted by J. Lonsdale. Engraved by C. Turner.
London, Published July 20. 1819, by J. Green, 33 Soho Square.
Very rare mezzotint. 510 x 355mm (20 x 14"), with very large margins. Horizontal crease at top.
Three-quarter length portrait of German music teacher John Bernhard Logier (1777-1846), seated in an armchair, wearing a dark double-breasted coat, white neckerchief, and seals on fob. Logier invented the Chiroplast, a pedagogical device that guides the hands and fingers while playing the piano. He also developed his own teaching method, now called the 'Logier method', which he published in 'System der Musikwissenschaft' (1827), where pupils were taught with technical instruction done together with instruction in principles of harmony.
Whitman: 320. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 64914] £320.00

[J.B. Logier.] Presented to J.B. Logier Esq.r by the Professors who have adopted his System of Musical Education in testimony of their personal esteem and high sense of the advantages he has conferred on the Art.
Painted by J. Lonsdale. Engraved by C. Turner.
London, Published July 20. 1819, by J. Green, 33 Soho Square.
Very rare mezzotint with very large margins. Plate 509 x 354mm. 20 x 14". Laid on sheet, otherwise good condition.
Portrait, three-quarter length; seated in an armchair to front, facing left; wearing a dark double-breasted coat, white neckerchief, and seals on fob; his right arm resting on sheet music on a table, next to inkstand, inkwells and pen, holding a paper in his hand; curtain above on right, fluted pillar behind. John Bernhard Logier (1777-1846) the German music teacher. He invented the Chiroplast, a pedagogical device that guides the hands and fingers while playing the piano. He also developed his own teaching method, now called the 'Logier method', which he published in 'System der Musikwissenschaft' (1827), where pupils were taught with technical instruction done together with instruction in principles of harmony.
Whitman: 320. NPG: D7896.
[Ref: 28047] £320.00

John Logotheti Senator of the Executive Body of the Greek Government. [Greek facsimile signature].
Bouvier Lithog.
This Print forms one of the Series of Greek Portaits (4.th Part) now in course of publication in London, by A. Friedel & Sold by the principal Book & Printsellers in Town & Country. June 1826.
Coloured lithograph. Sheet 486 x 350mm.
Portrait of Ionnis Logothetis, who represented Eastern Mainland Greece at the First National Assembly of 1821 during the Greek War of Independence. Provenance: Bracebridge Archive. Selina Bracebridge, maiden-name Mills, was a pupil of Samuel Prout. Her husband was the Bracebridge celebrated in Washington Irving’s Bracebridge Hall. From the mid-1830s, they settled for some years in Athens. He owned large properties in Karea and Euboca, the latter of which he sold to the Noel family; and they both lived in a large house on Adrianou Street. 1850, saw the publication of Mr. Bracebridge’s 'Letter on the Affairs of Greece'. Bracebridge was Florence Nightingale’s uncle. Their time spent in Athens and the Levant is not clear; however it seems likely that they were settled in Athens from about 1835 to 1839, with frequent trips to England. Similarly, it is most likely that on their return back to the UK, they continued to own property in Greece. A painting by Selina is in the possession of the Birmingham Museum and Art Gallery.
[Ref: 2581] £260.00 (£312.00 incl.VAT)

The Loisettian School of Physiological Memory; or, The Instantaneous Art of Never Forgetting. 37, New Oxford Street, London. [2nd June] 188[6]. Dear [Sir] I beg to acknowledge with thanks receipt by [P.P.O.] of [£1/1/-] in full for complete course of Lessons in my System of Memory by Post [...]
[1886.]
2pp. letterpress form, filled in with old ink mms and signed by Loisette, addressed to Mr. D. Cudmase. Sheet 210 x 135mm (8¼ x 5¼"). Creases, spike hole in centre.
A receipt for tuition from Professor Alphonse Loisette, who protected his memory system by forcing a gagging contract on prospective pupils. Those who signed up, including Mark Twain, found it was not only plagerised but also largely ineffective. An exposé was published reporting that Loisette's real name was Marcus Dwight Larrowe and he had no academic degree.
[Ref: 58756] £95.00 (£114.00 incl.VAT)

Pavie. Facade de la Chartreause. [/] Pavia. Facciata della Certosa.
Desineé d'ap. nat. et lith. par Ph. Benoist.
Imp Lemercier. Paris. Paris, Bulla Editeur, Rue Tiquetonne, 18. [n.d., c.1850].
Tinted lithograph. Sheet size: 290 x 380mm (11½ x15").
A highly detailed view of the Certosa di Pavia, a monastery and complex in Lombardy, northern Italy, situated near a small town of the same name in the Province of Pavia. Certosa is the Italian name for a house of the cloistered monastic order of Carthusians founded by St. Bruno in 1044 at Grande Chartreuse. Though the Carthusians in their early centuries were known for their seclusion and asceticism and the plainness of their architecture, the Certosa is renowned for the exuberance of its architecture, in both the Gothic and Renaissance styles, and for its collection of artworks which are particularly representative of the region. After Philipe Benoist (1813-1880), with titles in French and Italian.
[Ref: 33323] £220.00 (£264.00 incl.VAT)

Vue aux Environs de Narni en Lombardie Dediée a son altesse serenissime Monseigneur le Prince d'Orange & de Nassau, Stadhouder héréditaire, Capitaine general et Amiral des Provinces unies des Pais-bas, &a &a &a. et tirée de son Cabinet par ses très-humbles et très-obéissans Serviteurs Pierre Yver & Pierre Fouquet le Jeune.
Peint par Vernet. Gravé par S. Fokke.
A Amsterdam chez Pierre Yver et Pierre Fouquet le Jeune.
Etching, 290 x 330mm. 11½ x 13". Trimmed to plate.
Dramatic view of Narni, Italy. Etched by the Amsterdam printmaker Simon Fokke (1712-84) after Joseph Vernet.
[Ref: 16275] £220.00 (£264.00 incl.VAT)

[Henri Auguste de Loménie, Count of Brienne]
R. Nanteuil ad vivum faciebat. 1660.
Engraving in mount. 365 x 275mm (14¼ x 10¾"). Trimmed. Attached to top & bottom on left.
A bust length portrait of Henri Auguste de Loménie (1594-1666) in an oval frame of oak leaves atop a pedastel decorated with a coat of arms. Loménie was a successful French diplomat responsible for many delicate maneouvres including the marriage of Henrietta Maria of France and Charles I.
PW39. i.
[Ref: 57468] £260.00 (£312.00 incl.VAT)

Ben Lomond, from Luss. [pencil.] ''Ben Lomond'' (From Luss). Original Etching by J. Chalmers Park. Edition Strictly Limited to 100 Signed Artist's Proofs.
J Chalmers Park [signed in pencil.]
[n.d., c.1930.]
Drypoint etching, signed by the artist. 115 x 225mm (6 x 8ï¿½") very large margins. In original mount with gallery label with title. Glue stains in outer margin.
James Chalmers Park (1858-1938) of Yorkshire.
[Ref: 49232] £65.00 (£78.00 incl.VAT)

''Winter - Ben Lomond.'' Aquatint printed in Colour in one printing by Robert Houston. Edition limited, Plate to be destroyed. Each impression stamped by the Fine Art Trade Guild.
Robert Houston [pencil].
[n.d., c.1930.]
Aquatint, printed in colours, signed by the artist, Fine Art Trade Guild blind stamps. 225 x 125mm (8¾ x 5") very large margins. In original mount with printed title label of Alfred Bell & Co. Mint.
A rowing boat on the loch near Luss below Ben Lomond.
[Ref: 49245] £75.00 (£90.00 incl.VAT)

[Catone Lonati]
[A.E. Chalon, R.A. R.J. Lane A.R.A.]
[London, Published Feb,y 1837, by J. Mitchell, Library 33, Old Bond St. deposé a Paris, chez Rittner & Goupil, Boulevard Montmarte]
Lithograph. Framed, sight size 305 x 220mm (12 x 8¾"). Unexamined out of frame.
A full-length portrait of Italian tenor Catone Lonati as Nemorino in Gaetano Donizetti's opera, ''L'Elisir d'Amore''.
[Ref: 68238] £140.00 (£168.00 incl.VAT)

Ernestus Guilielmus Londicerus. Nob. Ordin. per Esthoniam Equestris Pictor.
P. Schenck fe: et exc: Amstelo: cum Privilegio [n.d., c.1675-1719]
Mezzotint. 255 x 185mm (10 x 7¼").
A three-quarter portrait of Estonian painter Ernst Wilhelm Londicer (1655-97) in lavish wig and clothes.
[Ref: 60211] £230.00 (£276.00 incl.VAT)

Londres.
[after Pierre Aveline.]
AParis chez Chiquet [n.d., c.1700].
Scarce engraving, some amateur colour. Sheet 150 x 215mm (6 x 8½"). Trimmed into image on three sides, into plate at bottom, affecting key, chips and surface abrasions. Loss on left especially at top corner.
A naive prospect of London before the Great Fire of 1666, taken from Southwark, with a 12-point key. In the centre is the Norman St Paul's Cathedral, depicted very much as an artist's impression, with London Bridge with houses and the heads of criminals on the gatehouse.
[Ref: 61724] £140.00 (£168.00 incl.VAT)

Prospects of the most remarkable places in and about the Citty of London, Neatly Engraved.
[London: Henry Overton, c.1724.]
Engraving. Plate: 165 x 245mm (6½ x 9¾"), with large margins. Marking in margins.
The title page to 'Prospects of the most remarkable places in and about the Citty of London, Neatly Engraved' published by Henry Overton with title in French and English.
[Ref: 45355] £280.00 (£336.00 incl.VAT)

Londra Capitale dell'Inghilterra. Tom XII. A. Il fiume Tamigi. B. Il Ponte. C. La Torre. D. Il Palazzo di Whitehall. E. Il Borgo di Southwark.
[Fran. Sesone.]
[n.d. c.1740.]
Engraving. Plate 177 x 342mm (7 x 13½"). Trimmed along upper plate edge, folds as normal.
A pre-fire prospect of London, engraved by Sesone and probably copied from Schenck's view of London (for which see ref. 28514).
[Ref: 48570] £280.00 (£336.00 incl.VAT)

London from Somerset House, looking East.
Drawn by T. Allom. Engraved by T.A. Prior.
Published by J. & W. Robins, 57 Tooley Street, London [n.d., 1842].
Engraving on steel. 230 x 415mm (9 x 16¼"). Trimmed.
A pre-Embankment view of Somerset House, looking toward Blackfriars Bridge and St Paul's Cathedral.
[Ref: 56563] £230.00 (£276.00 incl.VAT)

The City of London as in Q. Elizabeth's Time.
[n.d., 1720.]
Etched map. 185 x 465mm (7¼ x 18¼"). Binding folds, a little staining.
A map of Tudor London, published in 'Stow's Survey of London'. It is based on the so-called 'Agas' woodcut map, it shows St James's Park east to Whitechapel.
[Ref: 57268] £380.00

A View of London about the Year 1560. Reduced to this Size from a Large Print in the Collection of S.r Hans Sloane Bar.t anno 1738.
Etched map. Sheet 310 x 470mm (12¼ x 18½"). Trimmed within plate, binding folds as normal, stains.
A map of Tudor London, based on the so-called 'Agas' woodcut map, showing St James's Park east to Whitechapel, with a 47-point key.
[Ref: 57269] £280.00

A Plan of Hyde Park and Part of the City of London, shewing A Position for A Royal Palace, with a Proposed Street, leading directly from thence to S.t Paul's, as suggested by Colonel Tremch. The design for the Palace and the Street, by Phil.p Wyatt, Arch.t.
G. & J. Cary, sculp, 86 S.t James's Street.
[n.d., c.1827.]
Engraved map with hand colour. 185 x 695mm (7¼ x 27½"), with 'J. Whatman 1824' watermark. Folds, laid on album paper with a lithograph.
A plan for a new Royal Palace in Hyde Park with a new road carved in a straight line through London's West End to St Paul's Cathedral. It also shows Sir Frederick William Trench's plan for a Thames Embankment. Despite George IV's enthusiasm neither palace nor road was built. The additional etching is 'Design for laternal instead of the present frontal Pavillion's for the New Palace St James Park intended to groupe with the marble arch of Georgius Quartus', 'Designd and etched by William Bardwell'. It is an elevation of a massive neo-classical facade.
[Ref: 64132] £360.00

Plan of the Cities of London and Westminster, with the Borough of Southwark, exhibiting all the New Buildings to the present Year MDCCCVI [1806].
Neele sculp. 350 Strand.
Pub.d by T. Hughes Stationers Court, April 21.st 1806.
Engraved map. Sheet 405 x 730mm (16 x 28¾"). Trimmed within plate, binding folds flattened with repairs, nicks in edges. Damaged.
An early 19th century map of London with 'An Alphabetical List of 340 Principal Streets' underneath. The extents of the map are Knightsbridge in the west, clockwise to Paddington, Islington, Hackney, Stratford-le-Bow, the East India Docks, Limehouse, Newington Butts, Chelsea Waterworks and Sloane Square.
[Ref: 64140] £320.00

The Stranger's Guide to London and Westminster, Exhibiting all the various Alterations and Improvements complete to the Present Time.
London, Published Jan.y 1.s. 1814 by Edward Mogg, N.º 14 Little Newport Street, Leicester Square.
Engraved map with hand colour. Dissected and laid on linen, as issued. Sheet 415 x 585mm (16¼ x 23"). Green oxidised, glue stains around edge, some wear at folds.
A detailed map of Georgian London, published the year before the Battle of Waterloo. It extends from Knightsbridge in the west, clockwise to Paddington, Pentonville, Hackney, Stepney, Walworth, Vauxhall Gardens, and the Royal Hospital at Chelsea. Regents Park is still Marylebone Park, with the Jew's Harp tea rooms and the original site of Lord's Cricket Ground.
[Ref: 64128] £280.00

View of London from Greenwich Park.
J. Farington R.A. del. J.C. Stadler sculp.
Pub. Jine 1, 1796, by J. & J. Boydell, Shakespeare Gallery, Pall Mall, and N,, 90, Cheapside.
Etching with aquatint sheet 460 x 585mm (16½ x 23"). Hinged into mount. Vertical folds as normal. Faint mount burn from a previous mount.
Panoramic view of London from the park, looking towards St Paul's with the river Thames and shipping to the right.
[Ref: 55032] £360.00

A Plan of London Westm.r and Southwark w.th ye Riv.r Thames, as they were Surveyd and publish't by Authority toward ye latter end of ye Raign of Queen Elizabeth; or about ye year of our Lord 1600. which being compared w.th ye New Map of London ~ The prodigious increase of Building and other alterations of ye names & Situation of Street &c. in this last centry will plainly apperar.
[engraved by Frans Hogenberg.]
[London: Edward Hatton, 1708.]
Engraved map. Sheet 330 x 480mm (13 x 19"). Trimmed close to printed border, laid on card.
The last state of the famed Braun & Hogenberg map of London, originally published in 1572, but showing London before the destruction of the spire of the Norman St Paul's Cathedral in 1561 (during the reign of Mary I). After passing through the hands of publisher Jan Jannson in Amsterdam (who removed the original title and engraved a new cartouche over the original costumes), the plate was bought by a London publisher and used in Hatton's ''A New View of London; or, an Ample Account of that City'', with an English title replacing the Latin. The original issue is the earliest printed map of London to survive.
Howgego: 2, state 4.
[Ref: 61721] £1,800.00

Londinum Feracis: Ang. Met. London oder Lunden die Haupestatt in Engellandt / am fluss Thamesis gelegen...
[Basle: Heinrich Petri, 1614.]
Woodcut map set in letterpress. Sheet 315 x 420mm (12½ x 16½). Printer's crease in letterpress.
A woodcut copy of the famed Braun & Hogenberg map of London of 1572, published in a German edition of Sebastian Münster’s Cosmography, the 'Cosmographey oder beschreibung aller Länder, Herrschafften, fürnemmsten Stetten, geschichten, gebreüchen, handtierungen &c.''.
Howgego: 6
[Ref: 61722] £1,800.00

Londen aen de Theems een seer vermaerde Koopstadt van de gantsche Werelt en des Konings Residenzie Plaats. Londinum ad Tamesin Emporium toto orbe famigeratis simum, Sedes Regia.
Pet Schenk exc: amst: cum privil:
[n.d. c.1702.]
Engraving. 210 x 260mm (8¼ x 10¼"). Mounted on album paper. Small margins.
A view of London before the Great Fire of 1666, taken from an imaginary hill south of the Thames. In the centre is the Norman St Paul's Cathedral; London Bridge is filled with houses; and the Tower of London appears on the right.
[Ref: 62053] £450.00

A North View of London. Vue Septentrionale de la Ville de Londres.
Canaleti Delin. Stevens Sculpt.
Publish'd according to Act of Parliament. [Published 12th May, 1794, by Laurie & Whittle, 53, Fleet Street, London.]
Engraving. Sheet 250 x 395mm (10 x 15½"). Trimmed within plate, losing publication line, mounted on card at edges.
A view of London from the bowling green at Islington, showing the New River Head waterworks and Sadler's Wells in the foreground. After Antonio Canaletto (1697-1768).
[Ref: 62018] £290.00 (£348.00 incl.VAT)

[London prospect] Multum in Parvo.
[n.d., c.1750.]
Engraving. Sheet: 70 x 105mm (2¾ x 4''). Trimmed. Slight loss on left.
The vignette from the title page of an edition of the London Magazine showing a prospect of London from Southwark, with London Bridge stil lcovered with buildings. The title below translates as 'a great deal in a small space'.
[Ref: 50283] £95.00 (£114.00 incl.VAT)

The University of London constituting the most wonderful aggregation of institutions to be found anywhere in the World. To the Memory of the Founders and Benefactors of the noble Colleges and Schools of the University of London this plate is gratefully and respectfully dedicated.
Designed, Executed & Published by S. Gordon Wilson. Copyright and under the approval of the Vice-Chancellor.
[n.d., c.1923.]
Etching. Sheet 290 x 635mm (11½ x 25"). Repaired tear at top, some surface abrasions in margins.
22 vignette illustrations of the buildings and numerous crests of the University. Wilson published a book with a similar title in 1923.
[Ref: 50664] £320.00

Londres.
[after Alain Manesson Mallet.]
[Paris: Denys Thierry, 1683.]
Engraving. 150 x 105mm (6 x 4¼"), set in letterpress, very large margins.
A prospect of London based on Claes Janszoon Visscher's view of 1616, from Mallet's classic five-volume work 'Description de l'Univers'.
[Ref: 51158] £180.00 (£216.00 incl.VAT)

London. Die Westminsterabtei.
[Emil Wendt.][n.d.,c.,1850]
[Leipzig, Berlag von Dürffling und Frante.]
Engraving, platemark 270 x 315mm (10½ x 12½") very large margins.
A collection of vignettes of views of London arranged around a central view of Westminster Abbey, other views include 'Hyde-Park', 'Der Tower', 'Das Parlamentshaus'. A plate from Emil Wendt's 'Bilderatlas der Länderkunde...'
[Ref: 46031] £120.00 (£144.00 incl.VAT)

Londres. Les Capitales De L'Europe. Promenades Pittoresques. Londres. Paroisse de Ste. Mary-le-Bone.
Par M. Charles Malo.
Paris, Marcilly Fils Ainé, Rue S.-Jacques, No.21. Imprimerie de A. Firmin Didot, Rue Jacob, No.24. Relié chez Boullenger Md. Papetier-Relieur. Rue de la Paroisse. No.53 a Versailles. [n.d. c.1829.]
Small 12mo book, 36 pages, pink board cover embossed and with title printed in black; with hand-coloured aquatint. 152 x 95mm. 6 x 3¾". Some foxing.
Charles Malo (1790-1871) produced a series of books on the capital cities of Europe, in French, and recorded details of daily life in the cities, historical information and architectural details of churches and significant public buildings. The frontispiece is a view of the Parish of St. Marylebone.
[Ref: 17660] £260.00 view all images for this item

To S.r Hugh Smithson Bar.t, This View of the City of London Taken through one of the Centers of the Arches of the New Bridge at Westminster and Engrav'd from a Painting of Canaletti, is most hum.bly Dedicated by hus most Obliged Humble Servant. John Brindley.
Canaletti Pinx. S. Wale delin. R. Parr Sculp.
Publish'd according to Act of Parliament 1747.
Very Scarce engraving. 435 x 590mm (17 x 23¼"), with large margins. Slight centre fold.
Canaletto (Giovanni Antonio Canal, 1697-1768) lived in London from 1746 to 1756, the early part coinciding with the building of Westminster Bridge, which was only the second bridge to be built in the metropolis. This view of London was taken from under one of the arches of the bridge, with the wooden buttressing in place, three years before the bridge opened. The original oil is in the Duke of Northumberland's collection in Syon House. Canaletto also painted both Sion House and the Duke's London home, Northumberland House. A fine panorama of London from the River.
[Ref: 52903] £1,150.00

Londra Capitale dell'Inghilterra. Tom XII. A. Il fiume Tamigi. B. Il Ponte. C. La Torre. D. Il Palazzo di Whitehall. E. Il Borgo di Southwark.
Fran. Sesone sculp Nap.]
[Naples, n.d. c.1740.]
Engraving. Plate 177 x 342mm (7 x 13½"). Trimmed along upper plate edge, folds as normal.
A pre-fire prospect of London, engraved by Sesone and probably copied from Schenck's view of London (for which see ref. 28514). However the engraver, Francesco Sesone, has reversed the image, so London Bridge is to the west of St Paul's! This image was published before the error was spotted and corrected.
See Ref: 28516 for added hand colour and different publication.
[Ref: 56179] £360.00

Londres.
A Paris chez Crepy rue St. Jacques a St. Pierre [n.d., c.1700].
Etching, 180 x 230mm (7 x 9"). A fine impression, with very large margins.
London and Southwark, with London Bridge crossing the River Thames. With description and key below title. From a series of city prospects; probably engraver and publisher Louis Crépy (1680 - 1754 after), son of Jean.
[Ref: 27810] £550.00

Londres Ville Capital du Royaume d'Angleterre.
Fait par Avelin.
a Paris chez Crepy rue St. Jacques a St. Pierre [n.d., c.1700].
Engraving. 215 x 315mm (8½ x 12½"), with very large margins.
A pre-fire prospect of London and Southwark, with London Bridge crossing the River Thames, with the Norman St. Paul's Cathedral, a key below title. From a series of city prospects; the publisher is Jean or Louis Crépy.
[Ref: 27811] £580.00

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