A selection of stock we have recently added to our website.
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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Alexander Pope, Poeta Anglus, Ob: A.o 1744 Aetat: 57. Hanc Imaginem ex ipso Archetypo, a Vanlo picto 1742 expressam viro Honorabili Guilmo Murray Solicatori Generali apud quem Deponitur. Humillime D.D.D. Johannes Faber.
[Engraved by John Faber Jnr after Joseph Van Loo.]
Price 2 Shill Sold by J. Faber at the Golden Head in Bloomsbury Square [n.d. c.1750].
Fine mezzotint. 360 x 255mm (14¼ x 10"), with large margins.
Three-quarter portrait of poet and writer Alexander Pope (1688-1744), looking towards the right, with paper in his right hand and his left hand slightly pushing his wig back from his head.
CS 294. ii of ii. Russell ii of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 67532] £380.00
[Engraved by John Faber Jnr after Joseph Van Loo.]
Price 2 Shill Sold by J. Faber at the Golden Head in Bloomsbury Square [n.d. c.1750].
Fine mezzotint. 360 x 255mm (14¼ x 10"), with large margins.
Three-quarter portrait of poet and writer Alexander Pope (1688-1744), looking towards the right, with paper in his right hand and his left hand slightly pushing his wig back from his head.
CS 294. ii of ii. Russell ii of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 67532] £380.00
Alexander Pope, Poeta Anglus, Ob: A.o 1744 Aetat: 57. Hanc Imaginem ex ipso Archetypo, a Vanlo picto 1742 expressam viro Honorabili Guilmo Murray Solicatori Generali apud quem Deponitur. Humillime D.D.D. Johannes Faber.
[Engraved by John Faber Jnr after Joseph Van Loo.]
Price 2 Shill Sold by J. Faber at the Golden Head in Bloomsbury Square [n.d. c.1750].
Mezzotint. Sheet 355 x 250mm (14 x 9¾"). Trimmed into image on three sides, into plate at bottom, paper toned, laid on card.
Three-quarter portrait of poet and writer Alexander Pope (1688-1744), looking towards the right, with paper in his right hand and his left hand slightly pushing his wig back from his head.
CS 294. ii of ii. Russell ii of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 67528] £130.00 (£156.00 incl.VAT)
[Engraved by John Faber Jnr after Joseph Van Loo.]
Price 2 Shill Sold by J. Faber at the Golden Head in Bloomsbury Square [n.d. c.1750].
Mezzotint. Sheet 355 x 250mm (14 x 9¾"). Trimmed into image on three sides, into plate at bottom, paper toned, laid on card.
Three-quarter portrait of poet and writer Alexander Pope (1688-1744), looking towards the right, with paper in his right hand and his left hand slightly pushing his wig back from his head.
CS 294. ii of ii. Russell ii of iii. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 67528] £130.00 (£156.00 incl.VAT)
Alexander Pope Esq. In the Possession of Mr. Arthur Pond.
A. Pond pinxit. J. Houbraken sculps. Amst. 1747.
Impensis J. & P. Knapton Londini.
Engraving. Plate: 215 x 350mm (8½ x 13¾"). Some foxing in very small margins, tipped into album sheet.
A half-length portrait of English poet Alexander Pope (1688-1744), famous for his translation of Homer and for his satirical verse.
[Ref: 41963] £90.00 (£108.00 incl.VAT)
A. Pond pinxit. J. Houbraken sculps. Amst. 1747.
Impensis J. & P. Knapton Londini.
Engraving. Plate: 215 x 350mm (8½ x 13¾"). Some foxing in very small margins, tipped into album sheet.
A half-length portrait of English poet Alexander Pope (1688-1744), famous for his translation of Homer and for his satirical verse.
[Ref: 41963] £90.00 (£108.00 incl.VAT)
Alexandre Pope.
des Rais del. Le Coeur Sculp.t 1787.
Aquatint. 255 x 190mm. 10 x 7½". Crease to lower left corner.
Unusual portrait of Alexander Pope (1688-1744) holding his 1834 poem 'An Essay on Man' (with title in French), framed by a medallion. Pope, the 18th century English poet, was best known for his satirical verse and for his translation of Homer. The son of a linen-draper, Pope was first noticed by Jacob Tonson who published his 'Pastorals' in 1709. With 'The Rape of the Lock' (1712), and his translations of Homer, Pope became the most formidable literary figure of his day, with a large circle of both friends and enemies. Primarily a satirical poet and of unsurpassed metrical skill, he wrote 'what oft was thought, but ne'er so well expressed'. A friend of Swift and Lady Mary Wortley Montagu, part of Lord Burlington's circle, and famous in the history of landscape gardening for the grounds of his villa at Twickenham (particularly his 'grotto'), he was revered as one of the great personalities of the age.
for another print from the same series, see ref. 15297
[Ref: 27263] £140.00 (£168.00 incl.VAT)
des Rais del. Le Coeur Sculp.t 1787.
Aquatint. 255 x 190mm. 10 x 7½". Crease to lower left corner.
Unusual portrait of Alexander Pope (1688-1744) holding his 1834 poem 'An Essay on Man' (with title in French), framed by a medallion. Pope, the 18th century English poet, was best known for his satirical verse and for his translation of Homer. The son of a linen-draper, Pope was first noticed by Jacob Tonson who published his 'Pastorals' in 1709. With 'The Rape of the Lock' (1712), and his translations of Homer, Pope became the most formidable literary figure of his day, with a large circle of both friends and enemies. Primarily a satirical poet and of unsurpassed metrical skill, he wrote 'what oft was thought, but ne'er so well expressed'. A friend of Swift and Lady Mary Wortley Montagu, part of Lord Burlington's circle, and famous in the history of landscape gardening for the grounds of his villa at Twickenham (particularly his 'grotto'), he was revered as one of the great personalities of the age.
for another print from the same series, see ref. 15297
[Ref: 27263] £140.00 (£168.00 incl.VAT)
Alex.r Pope Esq.r
Aveline sculp.
[n.d. c.1750.]
Engraving and etching. 127 x 76mm. 5 x 3". Trimmed and laid on card.
Alexander Pope seated at his desk, bust sculpture behind him. Pope, the 18th century English poet, was best known for his satirical verse and for his translation of Homer. The son of a linen-draper, Pope was first noticed by Jacob Tonson who published his 'Pastorals' in 1709. With 'The Rape of the Lock' (1712), and his translations of Homer, Pope became the most formidable literary figure of his day, with a large circle of both friends and enemies. Primarily a satirical poet and of unsurpassed metrical skill, he wrote 'what oft was thought, but ne'er so well expressed'. A friend of Swift and Lady Mary Wortley Montagu, part of Lord Burlington's circle, and famous in the history of landscape gardening for the grounds of his villa at Twickenham (particularly his 'grotto'), he was revered as one of the great personalities of the age.
[Ref: 27264] £50.00 (£60.00 incl.VAT)
Aveline sculp.
[n.d. c.1750.]
Engraving and etching. 127 x 76mm. 5 x 3". Trimmed and laid on card.
Alexander Pope seated at his desk, bust sculpture behind him. Pope, the 18th century English poet, was best known for his satirical verse and for his translation of Homer. The son of a linen-draper, Pope was first noticed by Jacob Tonson who published his 'Pastorals' in 1709. With 'The Rape of the Lock' (1712), and his translations of Homer, Pope became the most formidable literary figure of his day, with a large circle of both friends and enemies. Primarily a satirical poet and of unsurpassed metrical skill, he wrote 'what oft was thought, but ne'er so well expressed'. A friend of Swift and Lady Mary Wortley Montagu, part of Lord Burlington's circle, and famous in the history of landscape gardening for the grounds of his villa at Twickenham (particularly his 'grotto'), he was revered as one of the great personalities of the age.
[Ref: 27264] £50.00 (£60.00 incl.VAT)
Alex.e Pope.
Peint en 1722 par Kneller, gravé par Will en 1745.
[n.d. c.1745.]
Engraving and etching. 75 x 127mm. 3 x 5". Trimmed to image, false margins added.
Alexander Pope, the 18th century English poet, was best known for his satirical verse and for his translation of Homer. The son of a linen-draper, Pope was first noticed by Jacob Tonson who published his 'Pastorals' in 1709. With 'The Rape of the Lock' (1712), and his translations of Homer, Pope became the most formidable literary figure of his day, with a large circle of both friends and enemies. Primarily a satirical poet and of unsurpassed metrical skill, he wrote 'what oft was thought, but ne'er so well expressed'. A friend of Swift and Lady Mary Wortley Montagu, part of Lord Burlington's circle, and famous in the history of landscape gardening for the grounds of his villa at Twickenham (particularly his 'grotto'), he was revered as one of the great personalities of the age.
[Ref: 27265] £65.00 (£78.00 incl.VAT)
Peint en 1722 par Kneller, gravé par Will en 1745.
[n.d. c.1745.]
Engraving and etching. 75 x 127mm. 3 x 5". Trimmed to image, false margins added.
Alexander Pope, the 18th century English poet, was best known for his satirical verse and for his translation of Homer. The son of a linen-draper, Pope was first noticed by Jacob Tonson who published his 'Pastorals' in 1709. With 'The Rape of the Lock' (1712), and his translations of Homer, Pope became the most formidable literary figure of his day, with a large circle of both friends and enemies. Primarily a satirical poet and of unsurpassed metrical skill, he wrote 'what oft was thought, but ne'er so well expressed'. A friend of Swift and Lady Mary Wortley Montagu, part of Lord Burlington's circle, and famous in the history of landscape gardening for the grounds of his villa at Twickenham (particularly his 'grotto'), he was revered as one of the great personalities of the age.
[Ref: 27265] £65.00 (£78.00 incl.VAT)
Alex. Pope.
A. Pond pinx. J. Stow sculp.
Published by R. Bowyer, Historic Gallery, May 12 1794.
Engraving. Sheet: 230 x 330mm (9 x 13"). Trimmed nearly to image.
Alexander Pope (1688 - 1744), poet, resting on his left arm on a table, looking to left, wearing open jacket and neckerchief. Rectangular frame, cameo of the god Apollo below. After Arthur Pond (1701 - 1758).
NPG D19672. See 39806
[Ref: 39800] £85.00 (£102.00 incl.VAT)
A. Pond pinx. J. Stow sculp.
Published by R. Bowyer, Historic Gallery, May 12 1794.
Engraving. Sheet: 230 x 330mm (9 x 13"). Trimmed nearly to image.
Alexander Pope (1688 - 1744), poet, resting on his left arm on a table, looking to left, wearing open jacket and neckerchief. Rectangular frame, cameo of the god Apollo below. After Arthur Pond (1701 - 1758).
NPG D19672. See 39806
[Ref: 39800] £85.00 (£102.00 incl.VAT)
A. Pope.
Drawn by E.F. Burney. Engraved by L.s Schiavonetti.
[n.d. c.1790.]
Engraving. 202 x 145mm. 8 x 5¾".
Alexander Pope (1688-1744) was an 18th-century English poet, best known for his satirical verse for his translation of Homer. His is famous for his use of the heroic couplet.
[Ref: 23713] £60.00 (£72.00 incl.VAT)
Drawn by E.F. Burney. Engraved by L.s Schiavonetti.
[n.d. c.1790.]
Engraving. 202 x 145mm. 8 x 5¾".
Alexander Pope (1688-1744) was an 18th-century English poet, best known for his satirical verse for his translation of Homer. His is famous for his use of the heroic couplet.
[Ref: 23713] £60.00 (£72.00 incl.VAT)
Alex. Pope.
A. Pond pinx. J. Stow sculp.
Published by R. Bowyer, Historic Gallery, May 12 1794.
Engraving. Sheet: 310 x 410mm (12¼ x 16"). Trimmed to platemark.
Alexander Pope (1688 - 1744), poet, resting on his left arm on a table, looking to left, wearing open jacket and neckerchief. Rectangular frame, cameo of the god Apollo below. After Arthur Pond (1701 - 1758).
NPG D19672. See: 39800
[Ref: 39806] £170.00 (£204.00 incl.VAT)
A. Pond pinx. J. Stow sculp.
Published by R. Bowyer, Historic Gallery, May 12 1794.
Engraving. Sheet: 310 x 410mm (12¼ x 16"). Trimmed to platemark.
Alexander Pope (1688 - 1744), poet, resting on his left arm on a table, looking to left, wearing open jacket and neckerchief. Rectangular frame, cameo of the god Apollo below. After Arthur Pond (1701 - 1758).
NPG D19672. See: 39800
[Ref: 39806] £170.00 (£204.00 incl.VAT)
![[The Muses Crowning the Bust of Pope.]](jpegs/39844.jpg)
[The Muses Crowning the Bust of Pope.]
E. Maculer Sculp.t [after Angelica Kauffman]
[c.1785]
Stipple printed in sepia, sheet 145 x 190mm (5¾ x 7½"). Trimmed inside platemark; hole lower right outside image.
Three female figures in a park, one of whom holds a crown of laurels to be placed on a bust of the Augustan poet Alexander Pope (1688-1744). Copy in reverse of an engraving by P.W. Tomkins (after Angelica Kauffman) by the Paris-based engraver Maucler, who regularly pirated British prints for the continental market.
[Ref: 39844] £50.00 (£60.00 incl.VAT)
E. Maculer Sculp.t [after Angelica Kauffman]
[c.1785]
Stipple printed in sepia, sheet 145 x 190mm (5¾ x 7½"). Trimmed inside platemark; hole lower right outside image.
Three female figures in a park, one of whom holds a crown of laurels to be placed on a bust of the Augustan poet Alexander Pope (1688-1744). Copy in reverse of an engraving by P.W. Tomkins (after Angelica Kauffman) by the Paris-based engraver Maucler, who regularly pirated British prints for the continental market.
[Ref: 39844] £50.00 (£60.00 incl.VAT)
A. Pope Esq. A la Demande de me Chere Mademoiselle Rayment, avec ma sincere pré - avec respect humblement [...].
[n.d., c.1810.]
Etching. Very rare. Sheet size: 90 x 75mm (3½ x 3"). Laid on album sheet.
A portrait of poet Alexander Pope (1688 - 1744), half length, seated by a table, resting his head in his right hand, looking towards the right; wearing wig. Pope is best known for his satirical verse, as well as for his translation of Homer.
[Ref: 37162] £120.00 (£144.00 incl.VAT)
[n.d., c.1810.]
Etching. Very rare. Sheet size: 90 x 75mm (3½ x 3"). Laid on album sheet.
A portrait of poet Alexander Pope (1688 - 1744), half length, seated by a table, resting his head in his right hand, looking towards the right; wearing wig. Pope is best known for his satirical verse, as well as for his translation of Homer.
[Ref: 37162] £120.00 (£144.00 incl.VAT)
Mrs. Pope. Daughter of Samuel Cooper, Painter; & Mother of Alexander Pope, from an Original Drawing of J. Richardson Senr. now in the Collection of the Honble. Horace Walpole, at Strawberry Hill.
J. Richardson delin 1731. C. Carter fecit Aqua forti 1774.
[British, c.1774.]
Very rare etching, printed in brown ink, 205 x 155mm. 8 x 6".
Portrait study of Edith Pope (née Cooper) (1642 - 1733), mother of the poet Alexander Pope. Head and shoulders to right, wearing a plain veil and simple gown. After Jonathan Richardson (1667 - 1745).
See NPG D5543.
[Ref: 22455] £220.00 (£264.00 incl.VAT)
J. Richardson delin 1731. C. Carter fecit Aqua forti 1774.
[British, c.1774.]
Very rare etching, printed in brown ink, 205 x 155mm. 8 x 6".
Portrait study of Edith Pope (née Cooper) (1642 - 1733), mother of the poet Alexander Pope. Head and shoulders to right, wearing a plain veil and simple gown. After Jonathan Richardson (1667 - 1745).
See NPG D5543.
[Ref: 22455] £220.00 (£264.00 incl.VAT)
Miss Younge.
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), good impression, uncut. Glued to backing sheet along left corners.
Elizabeth Pope (née Younge) (1739x45-1979), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while acting in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
[Ref: 36683] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), good impression, uncut. Glued to backing sheet along left corners.
Elizabeth Pope (née Younge) (1739x45-1979), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while acting in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii.
[Ref: 36683] £260.00 (£312.00 incl.VAT)
![[Miss Younge]](jpegs/36682.jpg)
[Miss Younge]
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with very large margins. Slight mount paper tone.
Elizabeth Pope (née Younge) (1742-1818), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while performing in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii.
[Ref: 36682] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with very large margins. Slight mount paper tone.
Elizabeth Pope (née Younge) (1742-1818), actress. She joined David Garrick's company at Drury Lane, where she made her debut in 1768 and spent most of her career (except for brief spells in Dublin, Bristol and the rival Covent Garden theatre as the result of pay disputes). She continued to act in provincial cities during the summers, however, and met her husband, the Irish artist and actor Alexander Pope (1763-1835) while performing in Ireland. While not among the greats of either tragedy or comedy, Pope was a versatile performer and Garrick seemed to have much affection for her. She died in 1797 shortly after withdrawing from a new theatrical role due to illness. From a set of small mezzotint portraits of actresses and singers, published by the printseller William Richardson in 1780, apparently to follow up a similar set of actor portraits published the previous year. Engraved by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 ii/iii.
[Ref: 36682] £260.00 (£312.00 incl.VAT)
Miss Pope.
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with large margins.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36680] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), with large margins.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36680] £260.00 (£312.00 incl.VAT)
Miss Pope
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint, good impression. 155 x 115mm (6 x 4½"), with very large margins. Uncut.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36681] £260.00 (£312.00 incl.VAT)
W. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs March 1st 1780 by W. Richardson No. 68 High Holborn
Mezzotint, good impression. 155 x 115mm (6 x 4½"), with very large margins. Uncut.
Jane Pope (1744-1818), actress. Pope's father William was barber and wigmaker for the Theatre Royal, Drury Lane in Covent Garden, near to which his shop was located. Pope made her adult debut alongside Kitty Clive as part of Garrick's company at Drury Lane, and inherited many of Clive's roles after the elder actress retired. Pope was a reliable comic actress, a talented dancer (until a rapid weight gain led her to abandon dancing) celebrated for the clarity of her speaking voice. Pope retired in 1808, and had amassed sufficient wealth to bequeath significant money and property to her sister Susanna at her death. Engraved after Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836) as part of a series of mezzotints of actresses and singers. Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. For Kitty Clive see ref. 23120
[Ref: 36681] £260.00 (£312.00 incl.VAT)
Thomas Pope Miles Trinitatis Fund:r A. D. 1555 Hanc Effigiem Rev:do Viro Guil: Dobson S.T.P. et istius Coll: Praesidi Dignissimo. a Tabula in Suis AEdibus Asserv.ta factam.
Summa cum Humil & Observanntia D.D.D. J.Faber 1712.
[n.d., c.1730.] Printed and Sold by Tho.s Bakewell next door to the Horn Tavern in Fleetstreet London.
Mezzotint. 260 x 200mm (10¼ x 8"). Trimmed and backed onto album paper at corners. Crease going across left of image.
Portrait of Sir Thomas Pope (c. 1507 - 1559), prominent public servant in mid-16th-century England, a Member of Parliament, a wealthy landowner, and the founder of Trinity College, Oxford.
CS 34 III of IV. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65031] £150.00 (£180.00 incl.VAT)
Summa cum Humil & Observanntia D.D.D. J.Faber 1712.
[n.d., c.1730.] Printed and Sold by Tho.s Bakewell next door to the Horn Tavern in Fleetstreet London.
Mezzotint. 260 x 200mm (10¼ x 8"). Trimmed and backed onto album paper at corners. Crease going across left of image.
Portrait of Sir Thomas Pope (c. 1507 - 1559), prominent public servant in mid-16th-century England, a Member of Parliament, a wealthy landowner, and the founder of Trinity College, Oxford.
CS 34 III of IV. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65031] £150.00 (£180.00 incl.VAT)
Thomas Pope Miles Fundr. A.D. 1555 Hanc Effigiem Revdo: Viro Geo.Huddesford, S.T.P. et istius Coll: Prasidi Dignissimo. a Tabula in Suis Aedibus Asserta. factam.
Summa cum Humil & Observanntia D.D.D. H.Parker.
[n.d., c.1740.] Printed for H.Parker in Cornhill, London.
Mezzotint. Sheet 260 x 200mm (10¼ x 8"). Trimmed into plate and backed onto album paper at sides.
Portrait of Sir Thomas Pope (c. 1507 - 1559), prominent public servant in mid-16th-century England, a Member of Parliament, a wealthy landowner, and the founder of Trinity College, Oxford.
CS 34 IV of IV. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65034] £80.00 (£96.00 incl.VAT)
Summa cum Humil & Observanntia D.D.D. H.Parker.
[n.d., c.1740.] Printed for H.Parker in Cornhill, London.
Mezzotint. Sheet 260 x 200mm (10¼ x 8"). Trimmed into plate and backed onto album paper at sides.
Portrait of Sir Thomas Pope (c. 1507 - 1559), prominent public servant in mid-16th-century England, a Member of Parliament, a wealthy landowner, and the founder of Trinity College, Oxford.
CS 34 IV of IV. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 65034] £80.00 (£96.00 incl.VAT)
![[Frontispiece to Onofrio Panvinio's 'XXVII Pontificum Maximorum']](jpegs/32538.jpg)
[Frontispiece to Onofrio Panvinio's 'XXVII Pontificum Maximorum']
[Rome, published 1568 by Antoine Lafrery]
Etching, sheet 280 x 195mm (11 x 7¾"). Small tear at bottom.
Frontispiece to Panvinio's book of the likenesses and portraits of popes from Urban VI to Pius V, described as the 'first portrait book' (Bronwen Wilson, 'The World in Venice). The title page includes shields, a female personification of the church holding a cross, and the Holy Dove.
[Ref: 32538] £160.00 (£192.00 incl.VAT)
[Rome, published 1568 by Antoine Lafrery]
Etching, sheet 280 x 195mm (11 x 7¾"). Small tear at bottom.
Frontispiece to Panvinio's book of the likenesses and portraits of popes from Urban VI to Pius V, described as the 'first portrait book' (Bronwen Wilson, 'The World in Venice). The title page includes shields, a female personification of the church holding a cross, and the Holy Dove.
[Ref: 32538] £160.00 (£192.00 incl.VAT)
Col Edwd. Popham. Vice Clarendon. History of England.
[n.d. c.1800.]
Stipple with engraving. Plate 159 x 140mm. 6¼ x 5½".
Colonel Edward Popham (1610-1651) was a General-at-Sea during the English Civil War. He supported parliament in the English Civil Wars and was elected M.P. for Minehead, 1644. He was appointed a commissioner for the immediate ordering of the navy in 1648 and commanded in the Downs and North Sea during 1649. He later joined Blake at Lisbon in 1650 in blockading Prince Rupert.
NMM: PAD2501.
[Ref: 15073] £70.00 (£84.00 incl.VAT)
[n.d. c.1800.]
Stipple with engraving. Plate 159 x 140mm. 6¼ x 5½".
Colonel Edward Popham (1610-1651) was a General-at-Sea during the English Civil War. He supported parliament in the English Civil Wars and was elected M.P. for Minehead, 1644. He was appointed a commissioner for the immediate ordering of the navy in 1648 and commanded in the Downs and North Sea during 1649. He later joined Blake at Lisbon in 1650 in blockading Prince Rupert.
NMM: PAD2501.
[Ref: 15073] £70.00 (£84.00 incl.VAT)
Sir Home Popham, R.M. & F.R.S.
Painted by Mather Brown. Engraved by Anthy. Cardon.
London: Published 1807, by Anthy. Cardon, 37 London Street, Fitzroy Square.
A rare and fine stipple engraving. 455 x 365mm (18 x 14¼"), with large margins. Margins messy.
Sir Home Riggs Popham (1762-1820), who served in the Royal Navy at the Battle of Copenhagen, Trafalgar and the British invasion of the Río de la Plata in 1806. He wrote the signal flag code the Navy adopted in 1803, most famously used by Nelson to send the signal "England expects that every man will do his duty". He retired with the rank of Rear-Admiral.
[Ref: 52682] £260.00 (£312.00 incl.VAT)
Painted by Mather Brown. Engraved by Anthy. Cardon.
London: Published 1807, by Anthy. Cardon, 37 London Street, Fitzroy Square.
A rare and fine stipple engraving. 455 x 365mm (18 x 14¼"), with large margins. Margins messy.
Sir Home Riggs Popham (1762-1820), who served in the Royal Navy at the Battle of Copenhagen, Trafalgar and the British invasion of the Río de la Plata in 1806. He wrote the signal flag code the Navy adopted in 1803, most famously used by Nelson to send the signal "England expects that every man will do his duty". He retired with the rank of Rear-Admiral.
[Ref: 52682] £260.00 (£312.00 incl.VAT)
![[Poplar]](jpegs/44415.jpg)
[Poplar]
[Francis Dodd.]
[n.d., c.1927]
Drypoint etching. Proof. Plate: 230 x 285mm (9 x 11¼"), with large margins.
A view of the London suburb of Poplar with ships on the Thames in the distance by the artist Francis Dodd
[Ref: 44415] £230.00 (£276.00 incl.VAT)
[Francis Dodd.]
[n.d., c.1927]
Drypoint etching. Proof. Plate: 230 x 285mm (9 x 11¼"), with large margins.
A view of the London suburb of Poplar with ships on the Thames in the distance by the artist Francis Dodd
[Ref: 44415] £230.00 (£276.00 incl.VAT)
Buds And Blossoms. Poppies.
Printed by F. Alvey, Brandon's Row Newington.
Published by T. Pewtress 67 Newington Causeway. [n.d. c.1840].
Very fine & scarce hand-coloured lithograph, with added gum arabic, sheet 325 x 250mm (12¾ x 9¾"). Very light foxing and surface dirt.
Mother and child sit in a field of wheat amongst the poppies. Lithographer Frederick Alvey (1817-1847) had a very short career before being admitted to the workhouse as insane on 6th Feb 1847 and dying about two weeks later.
See [Ref: 24195] for another in the series.
[Ref: 68737] £80.00 (£96.00 incl.VAT)
Printed by F. Alvey, Brandon's Row Newington.
Published by T. Pewtress 67 Newington Causeway. [n.d. c.1840].
Very fine & scarce hand-coloured lithograph, with added gum arabic, sheet 325 x 250mm (12¾ x 9¾"). Very light foxing and surface dirt.
Mother and child sit in a field of wheat amongst the poppies. Lithographer Frederick Alvey (1817-1847) had a very short career before being admitted to the workhouse as insane on 6th Feb 1847 and dying about two weeks later.
See [Ref: 24195] for another in the series.
[Ref: 68737] £80.00 (£96.00 incl.VAT)
Popping the Question. - My Ducky, shall We go to Sleep or How? / - Vy Pilly I tink Ve had petter How first and go to Shleep aftervards.
CJG [in image lower left]
Published by E. King Chancery Lane London June 1832
Lithograph, printed area 255 x 355mm (10 x 14"). Large margins. Creases.
A couple in bed together discussing their priorities. By Charles Jameson Grant (1830-52, fl.), printmaker in various media. Much of Grant's satire was political, such as the 131 numbers of 'The Political Drama' he produced between 1833 and 1835. From 1836 the majority of Grant's work appeared in radical, pro-Chartist periodicals.
[Ref: 37018] £260.00 (£312.00 incl.VAT)
CJG [in image lower left]
Published by E. King Chancery Lane London June 1832
Lithograph, printed area 255 x 355mm (10 x 14"). Large margins. Creases.
A couple in bed together discussing their priorities. By Charles Jameson Grant (1830-52, fl.), printmaker in various media. Much of Grant's satire was political, such as the 131 numbers of 'The Political Drama' he produced between 1833 and 1835. From 1836 the majority of Grant's work appeared in radical, pro-Chartist periodicals.
[Ref: 37018] £260.00 (£312.00 incl.VAT)
Commence Ye Darkies All. The New and Popular Negro Ballad. Negro Musical Bouquet Songs.
London: Musical Bouquet Office, 192, High Holborn: & J. Allen, 20, Warwick Lane, Paternoster Row.
Frontis and music sheet. Sheet: 335 x 250mm (13¼ x 9¾").
A music sheet from a series of music sheets by the Negro Musical Bouquet Songs.
[Ref: 46062] £140.00 (£168.00 incl.VAT)
London: Musical Bouquet Office, 192, High Holborn: & J. Allen, 20, Warwick Lane, Paternoster Row.
Frontis and music sheet. Sheet: 335 x 250mm (13¼ x 9¾").
A music sheet from a series of music sheets by the Negro Musical Bouquet Songs.
[Ref: 46062] £140.00 (£168.00 incl.VAT)
Over Population.
George Cruikshank.
[n.d., c.1851.]
Etching. Sheet 155 x 95mm (6 x 3¾"). Trimmed and backed onto album paper.
A satirical scene depicting overpopulated streets in London. Masses of people can be seen crowded, sitting on rooftops and on streets which float along the river on top of boats with street names such as 'Boat Street'. On top of the bridge named 'New Bridge Street, are streets and buildings. Above the bridge are 'Balloon Buildings' and below are 'Suspended Villas', demonstrating the mass overpopulation.
[Ref: 66860] £160.00 (£192.00 incl.VAT)
George Cruikshank.
[n.d., c.1851.]
Etching. Sheet 155 x 95mm (6 x 3¾"). Trimmed and backed onto album paper.
A satirical scene depicting overpopulated streets in London. Masses of people can be seen crowded, sitting on rooftops and on streets which float along the river on top of boats with street names such as 'Boat Street'. On top of the bridge named 'New Bridge Street, are streets and buildings. Above the bridge are 'Balloon Buildings' and below are 'Suspended Villas', demonstrating the mass overpopulation.
[Ref: 66860] £160.00 (£192.00 incl.VAT)
The Population of the British Empire according to the last census.
Adlard, Henry
[n.d., c.1840.]
Engraved dial chart with portrait of King Frederick William IV of Prussia at centre, portrait with stippling and etching. Sheet 115 x 100mm, 4½ x 4".
A population chart with figures for Great Britain and Ireland, the English counties separately divided on the outer edge. Also 'India and other Foreign Possessions upwards of 103 Millions' inscribed around outer edge. King Frederick William IV of Prussia (1795 - 1861), the eldest son and successor of Frederick William III of Prussia, reigned as King of Prussia from 1840 to 1861.
See Ref: 60236, 9523 & 9548
[Ref: 9524] £45.00 (£54.00 incl.VAT)
Adlard, Henry
[n.d., c.1840.]
Engraved dial chart with portrait of King Frederick William IV of Prussia at centre, portrait with stippling and etching. Sheet 115 x 100mm, 4½ x 4".
A population chart with figures for Great Britain and Ireland, the English counties separately divided on the outer edge. Also 'India and other Foreign Possessions upwards of 103 Millions' inscribed around outer edge. King Frederick William IV of Prussia (1795 - 1861), the eldest son and successor of Frederick William III of Prussia, reigned as King of Prussia from 1840 to 1861.
See Ref: 60236, 9523 & 9548
[Ref: 9524] £45.00 (£54.00 incl.VAT)
The Population of the British Empire, 1821.
H. Adlard sc.
[1821.]
Engraved dial chart with portrait of Frederick Robinson at centre, portrait with stippling and etching. Sheet 160 x c.125mm, 6¼ x 5". Vertical crease. Torn into plate at right.
A population chart with figures for Great Britain and Ireland, the English counties separately divided on the outer edge. Also 'India and other Foreign Possessions upwards of 82 Millions' inscribed around outer edge. Portrait of Frederick John Robinson, Viscount Goderich, afterwards first Earl of Ripon (1782 - 1859), statesman.
See Ref: 60236, 9523 & 9524
[Ref: 9548] £40.00 (£48.00 incl.VAT)
H. Adlard sc.
[1821.]
Engraved dial chart with portrait of Frederick Robinson at centre, portrait with stippling and etching. Sheet 160 x c.125mm, 6¼ x 5". Vertical crease. Torn into plate at right.
A population chart with figures for Great Britain and Ireland, the English counties separately divided on the outer edge. Also 'India and other Foreign Possessions upwards of 82 Millions' inscribed around outer edge. Portrait of Frederick John Robinson, Viscount Goderich, afterwards first Earl of Ripon (1782 - 1859), statesman.
See Ref: 60236, 9523 & 9524
[Ref: 9548] £40.00 (£48.00 incl.VAT)
The Population of the British Empire according to the last census.
Adlard, Henry
[n.d., c.1830.]
Engraved dial chart with portrait of William IV at centre, portrait with stippling and etching. Sheet 115 x 100mm, 4½ x 4". Trimmed within plate. Ink stains. Vertical centre crease.
A population chart with figures for Great Britain and Ireland, the English counties separately divided on the outer edge. Also 'India and other Foreign Possessions upwards of 82 Millions' inscribed around outer edge. William IV (1765 – 1837) was King of the United Kingdom of Great Britain and Ireland and of Hanover from 26 June 1830 until his death.
See Ref: 60236, 9524 & 9548
[Ref: 9523] £45.00 (£54.00 incl.VAT)
Adlard, Henry
[n.d., c.1830.]
Engraved dial chart with portrait of William IV at centre, portrait with stippling and etching. Sheet 115 x 100mm, 4½ x 4". Trimmed within plate. Ink stains. Vertical centre crease.
A population chart with figures for Great Britain and Ireland, the English counties separately divided on the outer edge. Also 'India and other Foreign Possessions upwards of 82 Millions' inscribed around outer edge. William IV (1765 – 1837) was King of the United Kingdom of Great Britain and Ireland and of Hanover from 26 June 1830 until his death.
See Ref: 60236, 9524 & 9548
[Ref: 9523] £45.00 (£54.00 incl.VAT)
A Correct Population of the Principal Cities & Towns in Great Britain. Agreeable to the Returns to Government in 1811. [On recto] A Correct Population of the Principal Cities & Towns in France.
Engraving on two sides. 135 x 100mm.
Probably published by William Snow.
[Ref: 330] £280.00 (£336.00 incl.VAT)
Engraving on two sides. 135 x 100mm.
Probably published by William Snow.
[Ref: 330] £280.00 (£336.00 incl.VAT)
Der Porcellan und Gläser-Narr.
[engraved by Johann Christoph Weigel.]
[Würzburg, 1698-1711.]
Engraving. Sheet 185 x 145mm (7¼ x 5¾"). Large hole in unprinted area, paper toned. Damaged.
'The Porcelain and Glasses Fool". A man raises his arms in horror as a boy pulls a cloth from under a display of china and glass. Under the image is a six-line verse in gothic-script German. From ''Etwas für Alle, das ist: Eine kurtze Beschreibung allerley Stands- Ambts- Und Gewerbspersonen'' bu Abraham à Sancta Clara.
[Ref: 60780] £95.00 (£114.00 incl.VAT)
[engraved by Johann Christoph Weigel.]
[Würzburg, 1698-1711.]
Engraving. Sheet 185 x 145mm (7¼ x 5¾"). Large hole in unprinted area, paper toned. Damaged.
'The Porcelain and Glasses Fool". A man raises his arms in horror as a boy pulls a cloth from under a display of china and glass. Under the image is a six-line verse in gothic-script German. From ''Etwas für Alle, das ist: Eine kurtze Beschreibung allerley Stands- Ambts- Und Gewerbspersonen'' bu Abraham à Sancta Clara.
[Ref: 60780] £95.00 (£114.00 incl.VAT)
![[Porcelain Room] Die andere Seite des Cabinets.](jpegs/58771.jpg)
[Porcelain Room] Die andere Seite des Cabinets. Dieses Cabinet kan von lauter Spiegel um die wände herum und von Porcellan auch goldenen leisten oder allerhand färbigen [...]
P. Decker Archit inv: et del. Heinrich Jonas Ostertag Sculpsit.
Cum GratL et Priv: S.C. Maj. Jeremias Wolff excudit Aug. Vind. [Augsburg, n.d., 1711.]
Etching. 355 x 255mm (14 x 10"), with large margins.
A baroque design for a room ornament, with a fountain, mirrors and porcelain. It was published in the architect Paul Decker’s 'Fürstlicher Baumeister Oder: Architectura civilis' (The Princely Architect or: Civil Architecture), a guide to creating the perfect nobleman’s’ palace.
[Ref: 58771] £95.00 (£114.00 incl.VAT)
P. Decker Archit inv: et del. Heinrich Jonas Ostertag Sculpsit.
Cum GratL et Priv: S.C. Maj. Jeremias Wolff excudit Aug. Vind. [Augsburg, n.d., 1711.]
Etching. 355 x 255mm (14 x 10"), with large margins.
A baroque design for a room ornament, with a fountain, mirrors and porcelain. It was published in the architect Paul Decker’s 'Fürstlicher Baumeister Oder: Architectura civilis' (The Princely Architect or: Civil Architecture), a guide to creating the perfect nobleman’s’ palace.
[Ref: 58771] £95.00 (£114.00 incl.VAT)
![[Portchester Castle.]](jpegs/67935.jpg)
[Portchester Castle.]
[From an Original Transparent Drawing by W. Orme.]
[Orme, Conduit Street, Excu.t. Sold & Published May, 1, 1799, by Ed.wd Orme, corner of George Street and Conduit Street, London, the first Inventor of Transparent Prints. Where may be had a great Variety, and every requisite for Drawing them.]
Oval mezzotint. Sheet trimmed as oval, at most 270 x 230mm (10½ x 9") Trimmed around image, losing all incriptions, album paper on verso obscuring transparent effect.
A night scene of a small castle with a square tower lit by a full moon, with a guard standing at a guardpost at the top of stairs. An old man and a child walk past, carrying a lantern.
[Ref: 67935] £220.00 (£264.00 incl.VAT)
[From an Original Transparent Drawing by W. Orme.]
[Orme, Conduit Street, Excu.t. Sold & Published May, 1, 1799, by Ed.wd Orme, corner of George Street and Conduit Street, London, the first Inventor of Transparent Prints. Where may be had a great Variety, and every requisite for Drawing them.]
Oval mezzotint. Sheet trimmed as oval, at most 270 x 230mm (10½ x 9") Trimmed around image, losing all incriptions, album paper on verso obscuring transparent effect.
A night scene of a small castle with a square tower lit by a full moon, with a guard standing at a guardpost at the top of stairs. An old man and a child walk past, carrying a lantern.
[Ref: 67935] £220.00 (£264.00 incl.VAT)
![[The Porcupine and two Spanish ships, July 22nd, 1780.]](jpegs/15905.jpg)
[The Porcupine and two Spanish ships, July 22nd, 1780.]
[Engraved by W.Ellis? after Nicholas Pocock.]
[n.d., c.1800.]
Aquatint, proof before letters. Sheet 145 x 235mm, 5¾ x 9¼". Laid on album sheet.
Sir Charles Henry Knowles, 2nd Baronet GCB (1754-1831), was appinted captain of Porcupine in 1780, operating in the Mediterranean. He was accused of piracy and murder in 1782 but cleared his name and returned to the Porcupine.
Parker: 82.
[Ref: 15905] £70.00 (£84.00 incl.VAT)
[Engraved by W.Ellis? after Nicholas Pocock.]
[n.d., c.1800.]
Aquatint, proof before letters. Sheet 145 x 235mm, 5¾ x 9¼". Laid on album sheet.
Sir Charles Henry Knowles, 2nd Baronet GCB (1754-1831), was appinted captain of Porcupine in 1780, operating in the Mediterranean. He was accused of piracy and murder in 1782 but cleared his name and returned to the Porcupine.
Parker: 82.
[Ref: 15905] £70.00 (£84.00 incl.VAT)
![[Porcupine] Das Stachelschwein aüs der Meerenge von Hüdson. Hystrix Canadensis. Le Porc-epic de la Baye de Hudson.](jpegs/68121.jpg)
[Porcupine] Das Stachelschwein aüs der Meerenge von Hüdson. Hystrix Canadensis. Le Porc-epic de la Baye de Hudson.
G. Eduard ad viv. del. J.M. Seligman sculps et excudit.
[n.d., c.1760.]
Fine coloured engraving, 200 x 260mm (8 x 10¼") large margins.
An early illustation of a porcupine, copied from the plate by George Edwards. Canadian interest. Johann Michael Seligmann (1720-1762), a German artist and engraver primarily known for his ornithological artwork in "Sammlung verschiedener ausländischer und seltener Vögel" (1749-64), which contained translations of George Edwards's 'A Natural History of Birds' and 'Gleanings of Natural History'.
[Ref: 68121] £260.00 (£312.00 incl.VAT)
G. Eduard ad viv. del. J.M. Seligman sculps et excudit.
[n.d., c.1760.]
Fine coloured engraving, 200 x 260mm (8 x 10¼") large margins.
An early illustation of a porcupine, copied from the plate by George Edwards. Canadian interest. Johann Michael Seligmann (1720-1762), a German artist and engraver primarily known for his ornithological artwork in "Sammlung verschiedener ausländischer und seltener Vögel" (1749-64), which contained translations of George Edwards's 'A Natural History of Birds' and 'Gleanings of Natural History'.
[Ref: 68121] £260.00 (£312.00 incl.VAT)
A Porcupine & Dogs. To Job Hart Price Clarke Esq.r of Sutton Hall, in the County of Derby, this Plate is most respectfully Inscribed by his much obliged & devoted Servant, John Murphy.
Snyders Pinxit. Murphy Sculpsit.
London. Published by J. Murphy, Sept.r 10 1798. North side Paddington Green.
Mezzotint with large margins, platemark 485 x 610mm (19 x 24"). Repaired tear through title area into image; margins folded back; C L-B's collector's stamp verso.
Extraordinary print of a large porcupine surrounded by three dogs, one of which howls in pain due to a porcupine needle stuck in his side. Engraved by the Irish mezzotinter John Murphy (c.1778-c.1817, fl.). 'Among his most striking pieces were large mezzotints of animals after Northcote, Snyders and Stubbs' (DNB). The Flemish painter Frans Snyders (1579-1657) specialised in paintings of animals.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 32431] £520.00
Snyders Pinxit. Murphy Sculpsit.
London. Published by J. Murphy, Sept.r 10 1798. North side Paddington Green.
Mezzotint with large margins, platemark 485 x 610mm (19 x 24"). Repaired tear through title area into image; margins folded back; C L-B's collector's stamp verso.
Extraordinary print of a large porcupine surrounded by three dogs, one of which howls in pain due to a porcupine needle stuck in his side. Engraved by the Irish mezzotinter John Murphy (c.1778-c.1817, fl.). 'Among his most striking pieces were large mezzotints of animals after Northcote, Snyders and Stubbs' (DNB). The Flemish painter Frans Snyders (1579-1657) specialised in paintings of animals.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 32431] £520.00
E'ffigies Johannis Pordage. Philosophi Medici Theologi. Authoris bujus Figurae hierogliphiae.
[William Faithorne.]
Pub.d by W. Richardson Castle Street Leicester Square. [n.d. c.1795.]
Engraving, with large margins. Plate 204 x 159mm. 8 x 6¼".
John Pordage (1607-1681) was an Anglican priest, astrologer, alchemist and Christian mystic. He founded the English Behmenist group, which later became known as the Philadelphian Society.
NPG: D28905. W: 2361.
[Ref: 24609] £65.00 (£78.00 incl.VAT)
[William Faithorne.]
Pub.d by W. Richardson Castle Street Leicester Square. [n.d. c.1795.]
Engraving, with large margins. Plate 204 x 159mm. 8 x 6¼".
John Pordage (1607-1681) was an Anglican priest, astrologer, alchemist and Christian mystic. He founded the English Behmenist group, which later became known as the Philadelphian Society.
NPG: D28905. W: 2361.
[Ref: 24609] £65.00 (£78.00 incl.VAT)
![[An old man showing a woman an erotic image.]](jpegs/65599.jpg)
[An old man showing a woman an erotic image.]
A. V. Houbrake In. N: Verkolje fec.
[n.d., c.1700.]
Mezzotint, 18th century. 195 x 165mm (7¾ x 6½"), large margins.
An old man in a hat holds up an erotic picture, lit by candle. The bare-breasted woman he shows it to turns away in disgust.
[Ref: 65599] £480.00
A. V. Houbrake In. N: Verkolje fec.
[n.d., c.1700.]
Mezzotint, 18th century. 195 x 165mm (7¾ x 6½"), large margins.
An old man in a hat holds up an erotic picture, lit by candle. The bare-breasted woman he shows it to turns away in disgust.
[Ref: 65599] £480.00
Hariet ravish'd in the Summer House. Woman of Pleasure.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet. Light staining to sheet.
An illustration supposedly of John Cleland's 'Fanny Hill: Memoirs of a Woman of Pleasure'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37404] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet. Light staining to sheet.
An illustration supposedly of John Cleland's 'Fanny Hill: Memoirs of a Woman of Pleasure'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37404] £450.00
Fanny Hill & Pheobe. Women of Pleasure.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Cut to image on all sides. Tipped into backing sheet.
An illustration supposedly of John Cleland's 'Fanny Hill: Memoirs of a Woman of Pleasure'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37406] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Cut to image on all sides. Tipped into backing sheet.
An illustration supposedly of John Cleland's 'Fanny Hill: Memoirs of a Woman of Pleasure'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37406] £450.00
Fanny Hill, Louisa, and the Nosegay Boy. Woman of Pleasure.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet. Light staining.
An illustration supposedly of John Cleland's 'Fanny Hill: Memoirs of a Woman of Pleasure'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37408] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet. Light staining.
An illustration supposedly of John Cleland's 'Fanny Hill: Memoirs of a Woman of Pleasure'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37408] £450.00
St. Preux and Eloisa. I feel - I feel you are a thousand times more dear to me than ever. O my charming Mistress! my Wife! my Sister! my Friend! By what name shall I express what I feel? Eloisa Vol 1. Page: 85.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Jean-Jacques Rousseau's 'Julie, or the New Heloise'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37405] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Jean-Jacques Rousseau's 'Julie, or the New Heloise'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37405] £450.00
Mrs. Homespun & Sedley. Pupil of Pleasure.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Samuel Jackson's Pupil of Pleasure. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37403] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Samuel Jackson's Pupil of Pleasure. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37403] £450.00
Lady Bellaston & Tom Jones after their return from the Masquerade. Tom Jones book 15 Chap.t 7.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Henry Fielding's Tom Jones. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
See: Ref 37407. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37402] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Henry Fielding's Tom Jones. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
See: Ref 37407. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37402] £450.00
Tom Jones and, Molly Seagrim in the Grove.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet. Light staining in title area.
An illustration supposedly of Henry Fielding's Tom Jones'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
See Ref: 37401, 37405, 37403. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37407] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet. Light staining in title area.
An illustration supposedly of Henry Fielding's Tom Jones'. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
See Ref: 37401, 37405, 37403. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37407] £450.00
Tom Jones, Molly Seagrim, and Square.
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Henry Fielding's Tom Jones. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
See Ref: 37402. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37401] £450.00
[W. Ward and J.R. Smith(?) after G. Morland.]
[n.d., c.1790.]
Mezzotint. Sheet size: 315 x 245mm (12¼ x 9½"). Trimmed to image on 3 sides. Tipped into backing sheet.
An illustration supposedly of Henry Fielding's Tom Jones. Radically different from George Morland's (1763-1804) more familiar rustic genre, landscapes and elegant portraits of decorous young ladies, this plate graphically depicts sexual intercourse. It is from a series of rude illustrations of popular novels almost certainly engraved by William Ward (1766-1826) and John Raphael Smith (1752-1812), with whom Morland enjoyed a fruitful business partnership. The plates are (naturally) unsigned. For a set of eleven from this series see item ref: 28133.
See Ref: 37402. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37401] £450.00
James Poro. Shewn in London in the Year 1714. (see Gent. Mag. Vol.XLVII. p 424.)
[n.d., c.1790.]
Etching, 180 x 120mm.
James Poro opens his shirt to expose a baby-sized conjoined twin, called Matthew, growing from his chest with long hair divided into plaits, which he rests on the table top. These subjects of a twin birth, joined at the navel, were exhibited in London in 1714.
[Ref: 7743] £45.00 (£54.00 incl.VAT)
[n.d., c.1790.]
Etching, 180 x 120mm.
James Poro opens his shirt to expose a baby-sized conjoined twin, called Matthew, growing from his chest with long hair divided into plaits, which he rests on the table top. These subjects of a twin birth, joined at the navel, were exhibited in London in 1714.
[Ref: 7743] £45.00 (£54.00 incl.VAT)
Ricardus Porson.
J. Hoppner R.A. pinx.t Will.m Sharp sculp
Published Nov.r 4 1810 by Will.m Sharp London
Engraving, fine, platemark 360 x 300mm (14 x 11¾") very large margins.
Richard Porson (1759-1808), classical scholar. Of all Porson's achievements, perhaps his most lasting legacy is his handwriting- Porson type, the most commonly printed font for classical Greek text in the English-speaking world, was copied directly from Porson's own manuscript. Engraving after the well-known portrait by John Hoppner, painted in 1796 and now in the Fitzwilliam Museum, Cambridge.
[Ref: 47298] £160.00 (£192.00 incl.VAT)
J. Hoppner R.A. pinx.t Will.m Sharp sculp
Published Nov.r 4 1810 by Will.m Sharp London
Engraving, fine, platemark 360 x 300mm (14 x 11¾") very large margins.
Richard Porson (1759-1808), classical scholar. Of all Porson's achievements, perhaps his most lasting legacy is his handwriting- Porson type, the most commonly printed font for classical Greek text in the English-speaking world, was copied directly from Porson's own manuscript. Engraving after the well-known portrait by John Hoppner, painted in 1796 and now in the Fitzwilliam Museum, Cambridge.
[Ref: 47298] £160.00 (£192.00 incl.VAT)
![[Vue d'un partie de la ville Dordrecht prise de le Moulin é Ciment de la Village de Zwyndrecht.]](jpegs/54797.jpg)
[Vue d'un partie de la ville Dordrecht prise de le Moulin é Ciment de la Village de Zwyndrecht.]
[n.d., c.1780.]
Engraving with original hand colour. Sheet 310 x 435mm (12¼ x 17"), prepared as a transparency. Trimmed, losing title, edges blacked, a little surface wear.
A view of the harbour of Dordrecht, prepared as a transparency, with pinholes with coloured tissue on the reverse so that when it is held up to a light the windows of the buildings are lit, and the sky has stars and a crescent moon.
[Ref: 54797] £260.00 (£312.00 incl.VAT)
[n.d., c.1780.]
Engraving with original hand colour. Sheet 310 x 435mm (12¼ x 17"), prepared as a transparency. Trimmed, losing title, edges blacked, a little surface wear.
A view of the harbour of Dordrecht, prepared as a transparency, with pinholes with coloured tissue on the reverse so that when it is held up to a light the windows of the buildings are lit, and the sky has stars and a crescent moon.
[Ref: 54797] £260.00 (£312.00 incl.VAT)
Port Eizabeth.
T. W. Bowler, del.t. W. L. Walton, lith./ M&N Hanhart, lith imp.
[n.d., c.1864].
Tinted lithograph with very large margins. Sheet: 370 x 275mm (14½ x 10¾"). Damage and repaired tears in bottom left edge and top right edge in margins.
View of the town of Fort Elizabeth in the Eastern Cape Province. Fort Elizabeth was founded in 1820 to strengthen the border region between the Cape Colony and the Xhosa. From Thomas William Bowler's 'The Kaffir Wars and British Settlers in South Africa'.
[Ref: 34492] £260.00 (£312.00 incl.VAT)
T. W. Bowler, del.t. W. L. Walton, lith./ M&N Hanhart, lith imp.
[n.d., c.1864].
Tinted lithograph with very large margins. Sheet: 370 x 275mm (14½ x 10¾"). Damage and repaired tears in bottom left edge and top right edge in margins.
View of the town of Fort Elizabeth in the Eastern Cape Province. Fort Elizabeth was founded in 1820 to strengthen the border region between the Cape Colony and the Xhosa. From Thomas William Bowler's 'The Kaffir Wars and British Settlers in South Africa'.
[Ref: 34492] £260.00 (£312.00 incl.VAT)