Grosvenor Prints

Political Hits N.o 22. Illustratative Explanation of The Sliding Scale. For the Information Of The Public At Large. "Here we go up, up, up. & there they go down down downy.- Old Song.
H. B. Printed by W. Kohler, Denmark S.t.
London: W. Spooner, 377, Strand. [n.d. c.1850]
Rare lithograph, sheet 295 x 435mm (11¾ x 17¼").
Politicians sit on a see-saw with one end being pushed up by Queen Victoria, hosted by Prince Albert.
[Ref: 67317] £160.00 (£192.00 incl.VAT)

Political Hits N.o 26. Peel's Bullion Office. Established In 1842 For A Sovereign Remedy For National Distress.
H. B. Printed by W. Kohler, Denmark S.t.
London: W. Spooner, 377, Strand. [n.d. c.1850]
Rare lithograph, sheet 295 x 435mm (11¾ x 17¼").
Satire on the economic situation in the UK in 1842. Criticism of the Corn Laws, and 'Landed Interest'. In 1842, half farthings were declared legal tender in the United Kingdom.
[Ref: 67325] £160.00 (£192.00 incl.VAT)

Political Hits N.o 45. The New Regulation Infantry Hat; Or Prince Albert's Own.
Printed by W. Kohler, 22, Denmark S.t.
London: Published by W. Spooner, 377, Strand. [n.d. c.1844]
Rare lithograph, sheet 295 x 440mm (11½ x 17¼"), large margins.
Satire on the invention of the Albert Shako. Prince Albert (1819-61) stands with Queen Victoria (1819-1901) and the Duke of Wellington (1769-1852) showing off the his new hat design on the 11th Hussars. The infant Prince of Wales marches in front of the line of infantrymen.
[Ref: 66783] £160.00 (£192.00 incl.VAT)

The Political Mirror or an Exhibition of Ministers for April 1782.
Razo Rezio inv. Crunk Fogo sculp.
[April? 1782].
Rare etching. 165 x 240mm (6½ x 9½"); large margins. Folded for original binding.
A satire on a change of ministry, probably published as a frontispiece to a satirical periodical. The former ministers, including Sandwich, North, Rigby, Germain and Mansfield, fall into the abyss grasped by demons. The new ministers, including Fox, look on. Above is Bute, hitching a ride on a witch's broomstick, both dropping towards the pit. Neither the artist nor the engraver have been identified.
BM: 5982
[Ref: 40936] £160.00 (£192.00 incl.VAT)

The political mirror or an exhibition of ministers for April 1782.
Razo Rezio inv. Crunk Fogo sculp.
[1782.]
Etching. Sheet 160 x 230mm (6¼ x 9"). Trimmed to image on three sides, around title and inscriptions.
Members of North's Ministry (right) falling into a pit, clutched by demons, while supporters of Lord Shelburne's new Ministry (left) watch the spectacle. Britannia with her shield and spear sits in the foreground (left) saying "They would have ruined me if they had staid in power". In the air (right) Bute, in Highland dress, is about to fall from the back of a witch on whom he has been riding.
BM Satire 5982, with extensive description.
[Ref: 54379] £95.00 (£114.00 incl.VAT)

The Fight At St. Stephens Academy.
[Unidentified artist's monogram lower right of image.]
[n.d., c.1860.]
Pen and ink drawing, sheet 255 x 195mm (10 x 7¾"). Horizontal crease through centre, tearing at right.
A political satire, perhaps an original sketch for a periodical such as St Stephen's Review or Punch. The mss. caption below the title refers to 'Master Gladstone', and William Ewart Gladstone (1809 - 1898), future Prime Minister, appears to be the figure standing and putting on a jacket to left. His Tory adversary Benjamin Disraeli, Earl of Beaconsfield (1804 - 1881), Prime Minister and novelist, blows his nose to the right. Between them, with her back to the viewer, is a woman with a shawl and very large bonnet inscribed 'Standard'.
[Ref: 9612] £230.00 (£276.00 incl.VAT)

Political Sketches by HH_ (New Series)_ N.o 1_ Royal Trip to Scotland. A Scotch Polka On Board The Royal Yacht!
HH. L'Enfant Lith. 12 Rathbon Place.
London: W. Soffe 78, S.t Martins Lane. [n.d c.1850]
Rare lithograph, sheet 300 x 440mm (11¾ x 17¼"). Chip in left edge of paper.
Queen Victoria, Prince Albert, Edward Prince of Wales and Victoria Princess Royal dance aboard the Royal Yacht on one of their many trips to Scotland.
[Ref: 67332] £160.00 (£192.00 incl.VAT)

Political Sketches by HH_ (New Series)_ N.o 2_ Royal Trip to Scotland. Trout Fishing on Loch Laggan_ Royalty In Danger!
HH. L'Enfant Lith. 12 Rathbon Place.
London: W. Soffe 78, S.t Martins Lane. [n.d c.1850]
Rare lithograph, sheet 300 x 440mm (11¾ x 17¼"), large margins.
Queen Victoria, Prince Albert, Edward Prince of Wales and Victoria Princess Royal fish on a lake. A strong pull on Queen Victoria's Rod causes her to poke a man in the eye with the end of it and another to fall overboard, flashing his buttocks in his kilt.
[Ref: 67334] £160.00 (£192.00 incl.VAT)

Political Sketches by HH_ (New Series)_ N.o 4_ Royal Trip to Scotland. Royalty Going To The Moors!
HH. L'Enfant Lith. 12 Rathbon Place.
London: W. Soffe 78, S.t Martins Lane. [n.d c.1850]
Rare lithograph, sheet 300 x 440mm (11¾ x 17¼").
Queen Victoria, Prince Albert, Edward Prince of Wales and Victoria Princess Royal ride horses in the moors. Accompanied by a troop of Scotsmen.
[Ref: 67335] £160.00 (£192.00 incl.VAT)

The Political Drama. No. 24. Political Sportsmen; or Practising Against the Next Session.
[C.J. Grant.]
Printed and Published by G. Drake, 12, Houghton Street, Clare Market. [n.d., c.1830.]
Wood-engraving. Sheet: 440 x 290mm (17½ x 11½") very large margins. Central vertical crease as normal. Staining and tears in edges.
A political satire showing various politicians, including Wellington, shooting at game.
[Ref: 44907] £110.00 (£132.00 incl.VAT)

Political Squibs, N.o 1. The Quack Doctor Superseding The Faculty.
Printed at the General Lith.c Estab.t 70, S.t Martins L.e. [n.d. c.1840]
Rare lithograph, sheet 305 x 440mm (12 x 17¼"). Repaired tears to edges of paper.
John Bull, depicted as an invalid, is offered the remedy of ‘Expediency’ by a politician (most likey Sir Robert Peel (1788–1850)), while four others, in indignation, depart to the right presenting their own alternative cures.
[Ref: 67360] £140.00 (£168.00 incl.VAT)

Political Union Extinguishers
F.C. [c.1830]
Price One Penny Plain, & Three Pence colored
Lithograph with hand-colouring, sheet 225 x 315mm (8¾ x 12½"). Damaged; glued to backing sheet.
Rare satire, apparently on the disintegration of Wellington's ministry in 1830: Wellington and Peel on the right look on as Winchilsea and others in the ultra-tory rebellion which led to the downfall of the Wellington government consider how to extinguish the flame of political union.
[Ref: 41628] £65.00 (£78.00 incl.VAT)

Great Meeting of the Political Unions, on New-Hall Hill, Birmingham, May 1832.
Green Del.t. Garnier sc.t.
London, Thomas Kelly [n.d., c.1835].
Engraving. Sheet: 215 x 285mm (8½ x 11¼"), with very large margins. Creasing. slight repair outer top margin.
In 1831 Grey's reform bill passed in the house and it was sent to the Lords. In May the Birmingham Political Unions gathered at Newhall Hill to put pressure on the Lords to pass the bill but it was rejected and large scale rioting took place throughout the country.
[Ref: 47508] £75.00 (£90.00 incl.VAT)

The Political Wedding..`
[1769.]
Engraving. Plate: 120 x 170mm (4¾ x 6¾"). Slight loss in title.
A satirical print commenting on the marriage of Augustus Henry, 3rd Duke of Grafton to Elizabeth Wrottesley. The bride and groom are shown holding hands before a clergyman. Grafton had divorced his previous wife on account of her adultery and he had taken a new mistress Nancy Parsons who appears in the scene crying.
BM Satire 4292.
[Ref: 45476] £85.00 (£102.00 incl.VAT)

The Political Wedding..`
[1769.]
Engraving. Plate: 120 x 170mm (4¾ x 6¾"). Tears at bottom. Large margins on 3 sides.
A satirical print engraved for the Oxford Magazine commenting on the marriage of Augustus Henry, 3rd Duke of Grafton to Elizabeth Wrottesley. The bride and groom are shown holding hands before a clergyman. Grafton had divorced his previous wife on account of her adultery and he had taken a new mistress Nancy Parsons who appears in the scene crying.
BM Satire 4292.
[Ref: 48421] £65.00 (£78.00 incl.VAT)

The Politician.
Printed and Published by W. Davison Alnwick [n.d., c.1815].
Etching, sheet 170 x 240mm (6¾ x 9½"). Small tears repaired with acid free tape. Creasing top left corner, outside image.
A politician sits at his desk, reading by candlelight; wall maps of France, Spain and Germany, and North and South America hang from the walls. Etching published by William Davison, publisher of popular prints and satires, and pharmacist, usually referred to as Davison of Alnwick after the Northumberland town where he lived. In the period between 1812 and 1817, Davison produced a number of caricatures often based on better known prints.
[Ref: 62865] £120.00 (£144.00 incl.VAT)

The Politician. Etch'd from an Original Sketch of Wm: Hogarth's, in the Possession of Mr: Forrest.
Willm Hogarth Inv.t: Etch'd by J:K:Sherwin.
Pubd: as the Act directs by Jane Hogarth, 1775. [Added in pen:] '31 October'.
Paper discolouration, trimmed close to plate. Some tearing around the edges.
Satire with a man reading a newspaper, oblivious of the candle that he holds burning a hole in his hat. John Keyse Sherwin [1751- 1790] trained under Bartolozzi.
BM Satires: 1978. Not in Paulson.
[Ref: 17018] £230.00 (£276.00 incl.VAT)

The Politician.
Printed and Published by W. Davison Alnwick [n.d., c.1815].
Etching, sheet 180 x 265mm (7 x 10½"). Crease lower right.
A politician sits at his desk, reading by candlelight; maps of France, Spain and Germany, and North and South America. Etching published by William Davison, publisher of popular prints and satires, and pharmacist, usually referred to as Davison of Alnwick after the Northumberland town where he lived. In the period between 1812 and 1817, Davison produced a number of caricatures often based on better known prints.
[Ref: 45887] £120.00 (£144.00 incl.VAT)

The Politician.
Done from the Original Drawing by S. H. Grimm.
Printed for S. Sledge Printseller, in Henrietta Street, Covent Garden. Publish'd as the Act Directs 2d May 1771.
Engraving 360 x 260mm (14 x 10¼"). Trimmed inside the platemark.
A French barber appears to be whispering in the ear of his grotesque customer, Prime Minister Lord North, who recoils in horror. Behind them a dog and cat fight on a map of the Falkland Islands. On June 10 1770 the Spanish commander Don Juan Ignacio de Madariaga landed on the Falkland Islands with five ships and 1400 soldiers forcing the British to leave Port Egmont. This action sparked a crisis when Britain and Spain almost went to war over the islands. When Louis XV of France refused to support Spain the islands were returned.
BM:4857.
[Ref: 2850] £160.00 (£192.00 incl.VAT)

The Politicians.
[n.d., c.1780.]
Engraving. 175 x 110mm (7 x 4¼"). Trimmed into plate on left.
Five men in a drawing room.
[Ref: 45055] £75.00 (£90.00 incl.VAT)

Amusement for John Bull & his cousin Paddy, or, the Gambols of the American Buffalo in St James's Street.
Published 1st May 1783, by J. Fielding, Paster-noster Row.
Etching. 115 x 185mm (4½ x 7¼"), with a page of accompanying letterpress.
A satire on the political fall-out of the defeat in the American Revolution. The 'American Buffalo' has overturned the baskets of a fish-wife and baker and ministers and would-be ministers (including Portland, North, Cavendish and Fox, scramble to take advantage.
[Ref: 45054] £260.00 (£312.00 incl.VAT)

The Politicians Engraved for the Carlton House Magazine.
[Anon.]
Published by W. & J. Stratfords, No. 112 Holborn Hill, Dec. 1 1792
Engraving, sheet 165 x 100mm (6¾ x 4"). Trimmed and glued to backing sheet. Rare.
Two politicians disputing, probably in a coffee-house. Newspapers on the table (the 'Oracle' and 'Argus'); tattered and highly inaccurate map of Europe hung from the wall, alongside portrait of a man. Illustration to the 'Carlton House Magazine'.
[Ref: 34831] £70.00 (£84.00 incl.VAT)

A Wary Politician / A Discarded Polician Well Sweated. Those that are in, will Grin / A Hard Case. Those that are out, will Pout.
Publish'd July 16, 1803, by Laurie & Whittle, 53 Fleet Street, London.
Etching, platemark 200 x 240mm (8 x 9½").
Satire on the ups and downs of life in politics- on the left a plump John Bull-like figure celebrates his success with a glass of wine. He holds a bag of money and sits before a picture of the Bank of England. On the right is a thin and depressed-looking figure sat in front of the King's Bench prison in Southwark.
[Ref: 37533] £120.00 (£144.00 incl.VAT)

Politics.
1791. [After Catherine Maria Fanshawe] R. Pollard, Sculpt. direct. & Perfecit. Aqua.t by J. Wells.
London: Publish'd April 6th 1791, by M. Ryland, No.107, New Bond Street.
Aquatint. 465 x 770mm (18¼ x 30¼"). Repaired tear, not entering image, central crease, wear to edges.
A group of men discuss politics around a salon fireplace, while the women gossip, yawn or sleep. Catherine Maria Fanshawe (1765-1834) was best known for her poetry, including the 'Riddle on the Letter H', which was originally mistakenly ascribed to Lord Byron.
[Ref: 53995] £850.00

The Celebrated Polka Dances.
Endicott's Lith.y N.Y.
New York, Published by Firth & Hall 4 Franklin Sq and Firth, Hall & Pond 239, Broadway. Entered according to Act of Congress in the year 1844, by S.C. Jollee in the Clerks Office of the District Court of the Southern District of N. York.
Lithograph and 3pp. sheet music, each sheet 330 x 260mm (13 x 10¼").
Music for 'The Celebrated Redowa Polka' composed by Camille Schubert, with note explaining that of the various versions danced, that of Fanny Cerrito and Arthur St Leon was generally considered the best. The image of two dancers on the front cover probably depicts Cerrito and St Leon performing the dance.
[Ref: 43322] £160.00 (£192.00 incl.VAT)

The Real Polka. As Dance by Signor Jacko-na-ni and Mad.lle Puss-i-a-ni.
London William Follit City Repository of Arts 63 Fleet Street. Printed by W. Köhler. [n.d., c.1830.]
Hand-coloured lithograph. Sheet: 300 x 235mm (11¾ x 9¼''). Trimmed, shows remains of album sheet.
A scene showing a cat and monkey in Russian costume.
[Ref: 51086] £280.00 (£336.00 incl.VAT)

The Polka. Grotesque and Elegant. 5. At top cross to each others' places, and advance separately, performing figures en avant & en tournant, (forward & turning,) then dos à dos and vis à vis alternately up the centre. 6. Valse round the room, doing the back step, turning your partner the contrary way to the usual Valse.
[n.d. c.1840.]
Tinted lithograph with hand colour. Sheet 375 x 275mm (14¾ x 10¾"). Some staining.
The art of Polka seen as a contrast between the grotesque and elegant, trashy and sophisticated, with notes describing the correct moves required. From a set of four?]
See Ref 24140 for Set of 3.
[Ref: 57563] £130.00 (£156.00 incl.VAT)

The Polka. Grotesque and Elegant. 1. Lead your lady to the circle, place her vis à vis to you, take her left hand in your right and then do the introductory steps, four times, together you then advance balancant, first to the right & then to the left, alternately placing yourselves vis à vis & dos à dos, proceeding thus around the circle once, & with the glissade the second time. 2. With your right arm circling your partner's waist, and in your left hand holding her right, place your lady exactly fronting you, and retreat round the room, your partner pursuing you, as it were, the reverse the figure, she retreating, you pursuing, your lady doing the back step now, as you have just done, and you doing the forward step as she has just done. [&] 3. Advance together down centre of the ball room doing figure one step and then do the gallop step round to the commencing point. 4. With the heel and toe step Valse up and down passing your lady over from your left arm to your right & from your right to your left alternately. [&] 5. At top cross to each others' places, and advance separately, performing figures en avant & en tournant, (forward & turning,) then dos à dos and vis à vis alternately up the centre. 6. Valse round the room, doing the back step, turning your partner the contrary way to the usual Valse.
For Steps See Music.
[n.d. c.1840.]
Three sheets; rare & fine tited lithographs with hand colour. 368 x 260mm (14½ x 10¼").
The art of Polka seen as a contrast between the grotesque and elegant, trashy and sophisticated, with notes describing the correct moves required.
[Ref: 24140] £450.00 view all images for this item

Polkerris, Cornwall.
Drawn & Engraved by Will.m Daniell.
Published by W. Daniell, Russell Place, Fitzroy Square, London May 20. 1825.
Aquatint with fine original hand colour. 230 x 300mm (9 x 12"). Large margins.
A view of the fishing village of Polkerris. From William Daniell's 'A Voyage Round Great Britain', a series of 308 aquatints published in eight volumes between 1814-1825, described by R.V. Tooley as 'the most important colour plate book on British Topography'.
Abbey: Scenery, 16; Tooley: Books with Coloured Plates 177.
[Ref: 47136] £230.00 (£276.00 incl.VAT)

The Last of the Coaches.
[after James Pollard, c.1845]
Lithograph with fine hand-colouring. Sheet 215 x 275mm (8½ x 10¾"). Trimmed to image as normal.
Lithograph after James Pollard's 1845 painting 'The Louth-London Royal Mail Travelling by Train from Peterborough East, Northamptonshire' (New Haven, Yale Center for British Art).
[Ref: 56997] £160.00 (£192.00 incl.VAT)

Pollock's Scenes in Whittington and his Cat. No.12 Trick Scene
London, Published by B. Pollock, 73 Hoxton Street, Hoxton [n.d., c.1870]
Wood engraving with hand-colouring, scarce; sheet 175 x 220mm (7 x 8¾").
Toy theatre scene from the story of Dick Whittington, published by Benjamin Pollock. This unusually interesting backdrop of a London street shows the shop of an 'Oil and Colourman' and and emigration office advertising 'The Gold Fields of Australia'. The stock of slides and plates which remained after Pollock's death in 1937 formed the basis of a museum in London.
[Ref: 32286] £260.00 (£312.00 incl.VAT)

Fred. Pollock [facsimile signature].
[London: Thomas & William Boone, 480 Strand. 1823.]
Coloured engraving. Printed area 100 x 80mm, 4 x 3¼".
A portrait of Sir Jonathan Frederick Pollock (1783-1870), 1st Bt., MP. He was Attorney General in Sir Robert Peel’s first and second administrations, then Lord Chief Baron of the Exchequer from 1844, a post he held for almost a quarter of a century. Published in "Portraits of the Worthies of Westminster-Hall, with their Autographs; being Fac-Similies of Original Sketches, Found in the Note-Book of a Briefless Barrister". Only Part I of this work was published: an attempt to fund Part II by subscription failed.
[Ref: 16663] £65.00 (£78.00 incl.VAT)

[General George Pollock.] Geo. Pollock [facsimile signature].
Painted by F. Grant R.A. Engraved by J.J. Chant.
London, Published by Henry Graves & Comp.y May 1.st 1857, Printsellers to the Queen_ 6 Pall Mall.
Mezzotint, proof before title. 550 x 420mm (21½ x 16½"), PSA blindstamp, large margins. Damps stains on left.
A three-quarter portrait of Sir George Pollock (1786-1872), in uniform. An officer of the Indian Army, he was a hero of the First Afghan War, relieving Sale at Jalalabad and capturing Kabul.
Ex: collection of The Hon. Christopher Lennox-Boyd. PSA Proof of 200.
[Ref: 66161] £360.00

[General George Pollock.]
[Painted by F. Grant R.A. Engraved by J.J. Chant.]
[London, Published by Henry Graves & Comp.y May 1.st 1857, Printsellers to the Queen_ 6 Pall Mall.]
Mezzotint, proof before letters, printed on chine collé. 550 x 420mm (21½ x 16½"), very large margins. Edges of backing sheet toned.
A three-quarter portrait of Sir George Pollock (1786-1872), in uniform. An officer of the Indian Army, he was a hero of the First Afghan War, relieving Sale at Jalalabad and capturing Kabul.
Ex: collection of The Hon. Christopher Lennox-Boyd. Printsellers' Association Proof of 200.
[Ref: 66104] £380.00

[General George Pollock.]
[Painted by F. Grant R.A. Engraved by J.J. Chant.]
[London, Published by Henry Graves & Comp.y May 1.st 1857, Printsellers to the Queen_ 6 Pall Mall.]
Mezzotint, proof before letters, printed on chine collé. 550 x 420mm (21½ x 16½"), PSA blindstamp, large margins. Backing sheet toned.
A three-quarter portrait of Sir George Pollock (1786-1872), in uniform. An officer of the Indian Army, he was a hero of the First Afghan War, relieving Sale at Jalalabad and capturing Kabul.
Ex: collection of The Hon. Christopher Lennox-Boyd. PSA Proof of 200.
[Ref: 66160] £380.00

Naar Stal Toe [on publisher's label on reverse].
René Vincent.
Uitgave: N.V. Uitgeversvennootschap v.h. Erven Martin G. Cohen 's-Gravenhage. [n.d. c.1925.]
Rare chromolithograph. Sheet 415 x 480mm (16¼ x 19") very large margins. Slight crease in image.
'To the Stables.' An Art Deco scene of a female groom leading a prancing polo pony ridden by another woman. Both women have china-doll faces. René Vincent (1879-1936) is famous for his Art Deco posters for Bugatti, Peugeot, Michelin and Shell Oil Company.
[Ref: 52108] £280.00 (£336.00 incl.VAT)

[Polo Match.]
Jeanniot 1911 [facsimile in bottom left-hand corner.]
[Imprimé pour M.Maurice Lonquety.]
Etching. 395 x 560mm (15½ x 22"), wide margins.
Pierre Georges Jeanniot (1848-1934) was a French painter, designer, watercolourist, and engraver; born in Geneva, Switzerland, and died in France.
Leipnik: A History of French Etching, pp. 184 & 185.
[Ref: 15941] £480.00

[Polo in India.]
[Photographed c.1880.]
Photograph. Sheet 185 x 235mm (7¼ x 9¼"). Small crease bottom right.
Four European polo players on horses posing with their mallets, probably in India.
[Ref: 67930] £130.00 (£156.00 incl.VAT)

[Polo Match.]
Jeanniot. 15/100.
[Printed by M.Maurice Lonquety, c.1911.]
Etching, signed in pencil. 395 x 560mm (15½ x 22") very large margins.
Pierre Georges Jeanniot (1848-1934) was a French painter, designer, watercolourist, and engraver; born in Geneva, Switzerland, and died in France.
Leipnik: A History of French Etching, pp. 184 & 185.
[Ref: 45013] £450.00

[Two mounted polo players in conversation.]
Andre Mare [signed in pencil lower right.]
Epreuve d'artiste 15/15 [in pencil lower left.] [n.d., c.1940s.]
Lithograph, signed artist's proof from an edition limited to 15. Image 290 x 340mm, 11½ x 13½". A fine proof impression with full margins.
By André Mare (1885 - 1932), French painter and printmaker.
[Ref: 11004] £480.00

[Le Polo (Spectateurs au Polo).]
Jeanniot. [Signed in pencil.]
[n.d., 1911.]
Etching, 330 x 430mm.
Leipnik: A History of French Etching, pp. 184 & 185.
[Ref: 3441] £420.00

[Le Polo (Spectateurs au Polo).]
[Jeanniot.]
[n.d., 1911.]
Trial proof. Etching. Plate 400 x 527mm. 15¾ x 20¾".
Leipnik: A History of French Etching, pp. 184 & 185.
[Ref: 14205] £420.00

[Landscape with large trees.]
Ric. Cooper del. 1802
Pen lithograph, rare; sheet 235 x 325mm (9¼ x 12¾"). Glued to backing sheet at corners; unidentified collector's stamp verso. Trimmed to image as usual.
One of the twelve pen lithographs from 'Specimens of Polyauthography', the first set of artist's lithographs ever published (by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Cooper (1740-1814) had studied in Paris with the famous engraver J.-P. Le Bas and earned the nickname 'the English Poussin' for his depictions of Rome and its surroundings. After succeeding Alexander Cozens as drawing master at Eton in 1768, in later life he became drawing master to Princess Charlotte (1796-1814).
For a print by Princess Charlotte, see ref. 23168; Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35463] £240.00 (£288.00 incl.VAT)

[Woman wearing gown and holding torch]
Mr Downman del. [1806]
Pen lithograph, sheet 320x 235mm (12½ x 9¼").
Early pen lithograph from the second issue of 'Specimens of Polyautography' (1807), the first (1803) issue of which was the first set of artist's lithographs ever published. 'Specimens' showcased the new medium of lithography, which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. By John Downman (1750-1824), portrait and subject painter. During the 1780s Downman gained a reputation as one of the most fashionable portrait painters in London, but his popularity declined in the 1790s. For much of his career Downman preferred to work in chalk rather than oil, with a large collection of his chalk portraits now in the British Museum. This may be the only print he ever made.
For a book on Downman's life and work, see ref. 10198.
[Ref: 35481] £290.00 (£348.00 incl.VAT)

[Thatched cottage in a landscape]
H Ker 1807 [top left]. 1807 [lower left]
Rare pen lithograph. printed area 225 x 310mm (8¾ x 12¼"). Slight creasing; on cream wove paper.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35466] £220.00 (£264.00 incl.VAT)

[Thatched cottage in a landscape]
H Ker 1807 [top left]. 1807 [lower left]
Pen lithograph with large margins, rare, printed area 225 x 310mm (8¾ x 12¼"). On white wove paper; watermarked 'C 1806'; crease lower right. Fine impression.
Early lithograph by Charles Henry Bellenden Ker (c.1785-1871), whose work was included in the second issue of 'Specimens of Polyautography' issued in 1807. The first part of 'Specimens' (1803) was the first set of artist's lithographs ever published, showcasing the new medium which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. Ker was a law reformer, particularly in the area of statue law, but he also had a lifelong interest in art and science, as this early print demonstrates. Ker's father was a prominent botanist and he inherited this interest, becoming one of the first private growers of orchids in Britain, and providing the sketches for an important book on chinese plants.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35467] £260.00 (£312.00 incl.VAT)

[Landscape with deer under tree.]
J Laporte.
[London printed from stone at the polyautographic office, No 9 Buckingham Place, Fitzroy Square.]
Pen lithograph, sheet 200 x 305mm (8 x 12"). Trimmed, losing publication line.
Early pen lithograph first published in 'Specimens of Polyautography' (1807), although probably a later impression. The first (1803) issue of 'Specimens' was the first set of artist's lithographs ever published. 'Specimens' showcased the new medium of lithography, which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. By John Peter Laporte (1761-1839), watercolour painter in the tradition of Paul Sandby. Laporte built up a considerable practice as a drawing master, and his methods can be seen in his 1812 lesson book 'The Progress of a Water-Coloured Drawing'.
Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35470] £120.00 (£144.00 incl.VAT)

[Knight on horseback in a rocky landscape]
E.V. Utterson 1806 [in image lower left]
London printed from stone at the polyautographic office, No 9 Buckingham Place, Fitzroy Square
Pen lithograph, very rare, sheet 320x 235mm (12½ x 9¼"). Glued at corners to original aquatint mount watermarked 'J[oseph] Ruse 1804' (platemark 425 x 330mm, 16¾ x 13"); slight creasing and glue residue at corners; slight foxing.
Early pen lithograph from the second issue of 'Specimens of Polyautography' (1807), the first (1803) issue of which was the first set of artist's lithographs ever published. 'Specimens' showcased the new medium of lithography, which allowed artists to make prints arguably resembling drawings more than any earlier technique. Unlike most printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography. One of only a handful of prints made by Edward Vernon Utterson (bap.1777, d.1856), antiquary and literary editor. Utterson reprinted or edited a large number of early works of English literature, most notably those of Samuel Rowlands. He was a founding member of the Roxburghe Club, 'the oldest society of bibliophiles in the world', in 1812, along with fellow collectors such as Sir Francis Freeling.
For Freeling, see ref. 21624; Ex: Collection of the Late Hon. C. Lennox-Boyd.
[Ref: 35474] £290.00 (£348.00 incl.VAT)

[Houses by a stream, with a bridge.]
W.H. Pyne 1806 [in image].
London, printed from stone at the polyautographic office, No. 9 Buckingham-Place, Fitzroy-Square.
Pen lithograph (polyautograph), rare, sheet 255 x 330mm. 10 x 13". Tape residue to upper corners; laid on conservation tissue.
This print appeared in the first published portfolio of drawings made by artists specifically for multiplication by lithography. Entitled 'Specimens of Polyautography', the collection was brought out by Philippe André in London in 1803 and consisted solely of pen lithographs. Contributors included Thomas Stothard R.A. and Richard Corbould. Six parts of six prints were planned but in the event only two parts appeared. The portfolio was re-issued in 1806 by G J Vollweiler, with additions. William Henry Pyne (1769-1843) was an English writer, painter and illustrator, who first exhibited at the Royal Academy in 1790. He specialized in picturesque settings including groups of people rendered in pen, ink and watercolour. Pyne was one of the founders of Royal Watercolour Society in 1804.
Not in Abbey. See V&A E.1136-1899.
[Ref: 26890] £85.00 (£102.00 incl.VAT)

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[Shepherd resting in a field.]
Boyne [by John Boyne, 1806]
Pen lithograph, sheet 225 x 310mm (8¾ x 12½"). Glued to original backing sheet at top corners with printed border. Foxing.
Early lithograph by John Boyne (1750s-1810), Irish watercolour painter and engraver who lived a colourful and varied life. After moving to England at 9 years old and serving an apprenticeship to engraver William Byrne, Boyne soon gave up printmaking to join a company of strolling actors in Essex. He later took to the pearl-setting trade and worked as a drawing-master. Nonetheless he exhibited regularly at the Royal Academy in his later years, with works including Shakespearean heads reminiscent of J.H. Mortimer, and busy Rowlandsonesque social scenes. This print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography', showing that even towards the end of his life Boyne was involved in new technical developments in printmaking. The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: The collection of the Hon. Christopher Lennox-Boyd.
[Ref: 39429] £450.00

Unfortunately this item is either sold or reserved. If you are interested in similar items and cannot find what you're looking for on our website, please consider filling in our interests form. If you register, we can also send you items that match your interests when the website is updated.

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