Grosvenor Prints

[Two sheep]
H: Roos pinx: A: Bartsch sc:
[n.d., c.1800]
Etching, platemark 250 x 315mm (9¾ x 12¼") Small repaired hole to left side, large margins.
Etching, probably after Johann Heinrich Roos (1631-85), from whose works Bartsch produced several prints. Adam Bartsch (1757-1821) was a Viennese librarian and amateur etcher, but is know chiefly remembered for his academic work. His 21 volume work 'Le Peintre-Graveur' (Vienna, 1803) remains an indispensible reference work for old master prints.
[Ref: 23413] £95.00 (£114.00 incl.VAT)

Graphic Illustrations Of Animals, Shewing Their Utility To Man, In Their Services During Life And Uses After Death. The Sheep.
[London, Thomas Varty, n.d., c.1850.]
Hand coloured lithograph. Sheet 360 x 415mm (14¼ x 16¼"). Slight staining.
A central illustration of a ram, ewe and lamb is surrounded by ten vignette scenes depicting the commercial uses and relationship to man of the animal, in life and death (each captioned). From 'Graphic Illustrations Of Animals', illustrated by Benjamin Waterhouse Hawkins (1807 - ?1889), artist and sculptor of natural history subjects. In 1852 he was appointed director of the fossil department at the Crystal Palace, where he worked with Richard Owen on the famous models of dinosaurs and other extinct lifeforms.
[Ref: 48545] £240.00 (£288.00 incl.VAT)

A Monstrous Sheep.
[c.1839.]
Aquatint. Sheet 65 x 105mm (2½ x 4¼"), with letterpress description. Paper toned, rust marks.
A sheep with a huge horn protruding from its chest, hanging to the ground. When it died it was stuffed, the taxidermist finding an extra skull and internal organs attached to the horn, the result of polymelia, a twin degenerating and being absorbed by the survivor.
[Ref: 52792] £120.00 (£144.00 incl.VAT)

[Goat and sheep head studies.] No. 9.
London, Published by S and J. Fuller at their Sporting Gallery, 34, Rathbone Place.
Tinted lithograph. Printed area 310 x 240mm (11¾ x 9½").
Sketches of the heads of a goat and two sheep, with a vignette scene of a flock of sheep.
[Ref: 43474] £75.00 (£90.00 incl.VAT)

Ovis Orientalis caudam adiposam XL. et amplius librarum in postello trahens. Alia Species Ovium guibus cauda obesa sat gravis est, gualis intelligenda.
F. Roos Deli. Joh. Ph. Aubry fecit.
[Frankfurt: Johann David Zunner, 1691.]
Engraving. Printed area 330 x 330mm. (13 x 13"). Trimmed, false margin added, little foxing.
Illustrations of two mouflon, believed to be one of the ancestors of all modern sheep, from Hiob Ludolf's 'Historiam Aethiopicam Antehac Editam Commentarius'. One has its large tail resting on a trolley behind it, in order not to chafe it on the ground, a story dating back to Herodotus. Ludolf (1624-1704), a German orientalist, learned the Ethiopian language from Gregorius, a monk from the Ethiopian province of Amhara. He used this knowledge to research the country, even visiting England to promote a trade scheme, unsuccessfully. The modern scholar Edward Ullendorff called Ludolf 'the most illustrious name in Ethiopic scholarship'.
For a portrait of Ludolf see ref. 26060.
[Ref: 30159] £280.00 (£336.00 incl.VAT)

Graphic Illustrations Of Animals, Shewing Their Utility To Man, In Their Services During Life And Uses After Death. The Sheep.
[London, Thomas Varty, n.d., c.1850.]
Hand coloured lithograph, sheet 360 x 415mm. 14¼ x 16¼". Vertical centrefold as normal.
A central illustration of a ram, ewe and lamb is surrounded by ten vignette scenes depicting the commercial uses and relationship to man of the animal, in life and death (each captioned). From 'Graphic Illustrations Of Animals', illustrated by Benjamin Waterhouse Hawkins (1807 - ?1889), artist and sculptor of natural history subjects. In 1852 he was appointed director of the fossil department at the Crystal Palace, where he worked with Richard Owen on the famous models of dinosaurs and other extinct lifeforms.
[Ref: 10525] £160.00 (£192.00 incl.VAT)

[The Joyless Winter Day]
Fred Slocombe After J. Farquharson. [Signed in pencil]
London Published Feb. 14. 1884 by the Fine Art Soceity. 148 New Bond Street, New York, M. Knoedler & Co.
Copperplate etching, plate 305 x 475mm (12 x 18¾"), with very large margins. Some discolouration. Repairs made leaving a bit of cockling within the image, however largely unnoticeable and textured effect in the margins.
A shepherd and his dogs watch over his sheep during a snowstorm. A copperplate etching by Frederick Slocombe (1847-1920) from an original painting by Joseph Farquharson (1846-1935). The picture has been signed by both men. Farquharson has captured the remarkably realistic effects of a snow storm by painting the original painting in the open air albeit from the relative comfort of the artist's specially constructed mobile painting hut, which contained a stove. The sheep, however, were false, fabricated in plaster by a local sculptor.
[Ref: 58782] £260.00 (£312.00 incl.VAT)

[Ram and Two Sheep.]
Beest-boekje door J.H. Roos. 2de deel
C. Danckerts Excu. [n.d. c.1680.]
Etching. Paper watermarked. 196 x 158mm. 7¾ x 6¼".
Ram and two sheep in front of a column placed on a base; title-page to the second part of a series of etchings of sheep and goats.
[Ref: 19376] £65.00 (£78.00 incl.VAT)

The Anxious Mother. 10.
R: Ansdell R.A.
[London, 1872.]
Etching. Plate 152 x 229mm. 6 x 9".
A ewe with her two lambs close by surveys the landscape the return of another child. Plate 10 from "Etchings for The Art-Union of London By The Etching Club, 1872".
[Ref: 19382] £90.00 (£108.00 incl.VAT)

The Sheep Shearer [parallel text in French]
Peint par H. Singleton. Gravé par Ruotte.
A Paris chez Pomel Jne et C.ie rue du Temple 43 [n.d., c.1810].
Stipple engraving, rare, sheet 485 x 355mm (19 x 14"). Trimmed inside platemark; nicks to edges.
Henry Singleton (1766-1839), London-born painter who began painting large and ambitious historical scenes such as 'Paul I Granting Liberty to Kosciuszko' (1797) and 'The Death of Captain Alexander Hood' but turned increasingly to book illustrations and genre scenes (often intended specifically for engraving) in his later years.
[Ref: 44199] £280.00 (£336.00 incl.VAT)

Sheep Shearing.
[n.d. c.1845.]
Hand-coloured lithograph. 115 x 134mm. 4½ x 5¼". Trimmed, laid on album sheet.
Farmers in the stable shearing their flock for the summer.
[Ref: 19384] £45.00 (£54.00 incl.VAT)

Sheep-Shearing.
Painted by W. Hamilton, R A. Engraved by F. Bartolozzi R. A. Engraver to his Majesty.
London Pub.d as the Act directs. Sep.r 5. 1798. by P. W. Tomkins. No. 49. New Bond Street.
Stipple and etching, chine-collé, title in open letters. 485 x 390mm (19 x 15¼"), with very large margins. Crease in unprinted area on left, slight foxing, margins bit messy.
A scene of a family shearing sheep outside a farmhouse. It was used as a chapter heading for James Thomson's ''The Seasons''. Another state has the title 'Summer'.
De Vesme 1799.
[Ref: 55225] £190.00 (£228.00 incl.VAT)

Sheep Shearing, &c.
Drawn & Etch'd by W.H. Pyne.
London, Pub.d Sep.r 1804 by Pyne & Nattes.
Aquatint. 290 x 225mm (11¼ x 8¾"), large margins.
Vignette scenes of sheep shearing, from Pyne's ‘Microcosm: or, a picturesque delineation of the arts, agriculture, manufacturers, &c. of Great Britain…'. William Henry Pyne was an English writer, painter and illustrator. He trained at a drawing academy in London. He 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.
[Ref: 62458] £140.00 (£168.00 incl.VAT)

Sheep Shearing a View in Surry.
Drawn by D. Cox. Engraved by R. Revee [Reeve].
London Publish'd Aug. 1st 1813, by S. & J. Fuller, Temple of Fancy, 34, Rathbone Place.
Coloured aquatint. 290 x 430mm (11½ x 17"). Small margins.
A flock of sheep in a paddock surrounded by trees. From David Cox's 'A Treatise on Landscape Painting and Effect in Water Colours'.
Abbey: 115 (mis-titled).
[Ref: 43477] £150.00 (£180.00 incl.VAT)

Soft-Woolled Sheep of Wales. Ewe, of the soft-woolled breed, from the slaty mountains of South Wales. _ Old Radnor Ewe and Lamb.
Drawn by Mr Nicholson, R.S.A. from a Painting by Mr Shiels, R.S.A. Drawn on Stone and Printed by Fairland.
Published April, 1840 by Longman, Orme, Brown, Green & Longmans, Paternoster Row, London.
Hand-coloured lithograph. Printed area 340 x 260mm, 13¼ x 10¼".
From 'The Breeds of the Domestic Animals of the British Islands' by Professor David Low (1786-1859), professor of agriculture at the University of Edinburgh. Unlike most C19th animal portraits, which accentuate the 'useable portions of the beast' to glorify the breeder, Low's purpose was educational and so he insisted on accuracy.
[Ref: 23351] £230.00 (£276.00 incl.VAT)

The South Down Breed. Ewe and Lamb, bred by Thomas Ellison, Esq.r, Beddington, from a Ewe bred by the late Mr Ellman, of Glynde. Professor Low's Illustrations of the Breeds of the Domestic Animals.
Drawn by Mr Nicholson, R.S.A. from a Painting by Mr Shiels, R.S.A. Drawn on Stone and Printed by Fairland, 45, St John's Square.
Published June, 1841 by Longman, Orme, Brown, Green & Longmans, Paternoster Row, London.
Hand-coloured lithograph. Printed area 260 x 310mm, 10¼ x 10¼". Faint mount-burn around image.
From 'The Breeds of the Domestic Animals of the British Islands' by Professor David Low (1786-1859), professor of agriculture at the University of Edinburgh. Unlike most C19th animal portraits, which accentuate the 'useable portions of the beast' to glorify the breeder, Low's purpose was educational and so he insisted on accuracy, here even noting the breeder. The Southdown breed was originally bred by John Ellman of Glynde, near Lewes, East Sussex about 200 years ago.
[Ref: 23353] £220.00 (£264.00 incl.VAT)

Sheep Washing. Engraved from the original Picture in the Collection of Sir Thomas Baring Bart. To whom this print is by permission, Most respectfully dedicated by his obliged Servants, E.& W. Finden.
Painted by Sir David Wilkie R.A. Engraved by Finden. Printed by McQueen.
London, Published 1847, by J. Hogarth, 5. Haymarket.
Engraving. Plate 362 x 508mm. 14¼ x 20".
Men leading sheep into a mill-pond and then letting them make their way back into a pen on the bank to right, the thatched water-mill to left, a cart and horse in the yard behind the pens, in front of a coppice and a young boy with a dog and a few sheep, standing on the near bank to right under a small group of trees, leaning on his stick and looking across the water.
Ex Norman Blackburn Collection.
[Ref: 18774] £160.00 (£192.00 incl.VAT)

Lavage des moutns au moyen de l'appareil de Bigg, en usage sur la ferme de Meudon, appartenant à J. A. P. M.gr. Le Prince Napoléon.
O. de Penne Pinx.t. Imp. Zanote, rue des Boulangers, 13 Paris.
Journal d'Agriculture pratique publié sous la directions de M.r. Barral.
Chromolithograph. Sheet: 260 x 195mm (10¼ x 7¾").
A view in a French farmyard in which the farmhands use a new machine for cleaning sheep by dipping the sheep, held in a cage, into a tub of water.
[Ref: 40330] £60.00 (£72.00 incl.VAT)

Breed of the Wicklow Mountains. Ewe, 3 Years old, from the higher range of the heathy mountains. Ram, 3 Years old, from the Vale of Glenmalure.
Drawn by Mr Nicholson, R.S.A. from a Painting by Mr Shiels, R.S.A. Drawn on Stone and Printed by Fairland.
Published April 1840 by Longman, Orme, Brown, Green & Longmans, Paternoster Row, London.
Hand-coloured lithograph. Printed area 340 x 260mm, 13¼ x 10¼". Faint mount-burn around image.
From 'The Breeds of the Domestic Animals of the British Islands' by Professor David Low (1786-1859), professor of agriculture at the University of Edinburgh. Unlike most C19th animal portraits, which accentuate the 'useable portions of the beast' to glorify the breeder, Low's purpose was educational and so he insisted on accuracy.
[Ref: 23355] £160.00 (£192.00 incl.VAT)

Old Dog Tray. No.83.
Pub. by A. Park, 41, Leonard St. London. [n.d. c.1860.]
Hand-coloured lithograph. 285 x 368mm. 11¼ x 14½".
A dog by a stream with a shepherd's staff in his mouth.
[Ref: 20647] £120.00 (£144.00 incl.VAT)

[Sheepdog and sheep in a landscape; shepherd in background. Numbered 'No.5' lower left.]
J. Parin. [Signed by artist in plate.] Lith. de Villain.
Paris, Bance et Schroth, 5 rue de Mail. [n.d., c.1840.]
Sepia tinted lithograph heightened in white, sheet 340 x 460mm. 13½ x 18".
With publisher's blindstamp. From a series.
Ex Collection Norman Blackburn.
[Ref: 18533] £130.00 (£156.00 incl.VAT)

Chiens de Berger. Pl. 15.
à paris chez A. Bis et F. Dubreuil, imp. édit. rue Git-le-Coeur, 11.
Lithograph. Sheet: 310 x 450mm (12 x 17¾"), with large margins Staining in bottom left margin.
A scene with three sheepdogs, two standing and one lying down by a stone wall.
[Ref: 47717] £60.00 (£72.00 incl.VAT)

Hirtenhund. Chein de berger. Nyàjel.
[n.d., c.1835.]
Lithograph. Sheet: 240 x 395mm (9½ x 15½"), with large margins
A portrait of a large sheep dog standing next to a pen of sheep. Title in three languages.
[Ref: 47718] £60.00 (£72.00 incl.VAT)

Chien de Berger (Anglais) Auct. Race domestique.
Millot.
A. T. de Rochbrune. Iconographie de Règne animal. [n.d., c.1850.]
Chromolithograph. Sheet: 120 x 180mm (4¾ x 7").
A portrait of an English Sheepdog. Description in French printed on verso.
[Ref: 47720] £35.00 (£42.00 incl.VAT)

Le Chien de Berger Ecossais (Colley). Pl. 8. 4ème Année. L'Acclimation Illustrée Journal spécial des éléveurs, 116, rue Verte, Bruxelles.
[n.d., c. 1860.]
Chromolithograph. Sheet: 220 x 295mm (8¾ x 11¾"). Central vertical crease as normal, tear in crease at top.
A portrait of a Scotch Collie from a Belgium husbandry magazine.
[Ref: 47721] £60.00 (£72.00 incl.VAT)

The Revd. Richard Sheepshanks, M.A. F.R.S. F.R.A.S. &c. Yours very truly R. Sheepshanks [facsimile signature.]
L. Stocks A.R.A. Sct.
[n.d. c.1855.]
Line engraving. 250 x 174mm. Some spotting.
Richard Sheepshanks (1794-1855), astronomer. Educated at Richmond school and Trinity College, Cambridge. He was called to the bar in 1825, took orders in the church of England in 1828, but practised neither profession, inheriting enough money to follow instead his scientific vocation. He joined the Astronomical Society 1825 and became secretary in 1829. In 1831 he was appointed a commissioner for revising borough boundaries under the Reform Act.
DNB: A.M.C. 1897. Institute of Astronomy Library: PE/50. Not in Wellcome.
[Ref: 12543] £95.00 (£114.00 incl.VAT)

[Sheerness Dockyard.]
R. Paton pinxt. 1778. C Canot aqua fortis. W. Watts sculp.
London Published 1 March 1803 by B. B. Evans in the Poultry.
Etching and engraving, scratched letter proof before title, 510 x 690mm. 20 x 27¼". Laid on card; two vertical creases through centre.
Sheerness, beside the mouth of the River Medway on the northwest corner of the Isle of Sheppey in north Kent. Sheerness began as a fort built in the 16th century to protect the River Medway from naval invasion. In 1665, plans were first laid by the Navy Board for a Royal Navy dockyard where warships might be provisioned and repaired, a site favored by Samuel Pepys, then Clerk of the Acts of the navy, for shipbuilding over Chatham. After the raid on the Medway in 1667, the older fortification was strengthened; in 1669 the Royal Navy dockyard was established, where warships were stocked and repaired until its closure in 1960. An impressive scene after Richard Paton (1717 - 1791), painter of marine subjects. With an etched crest below image.
[Ref: 9085] £480.00

A Geometrical Plan, & West Elevation Of His Majesty's Dock-Yard, and Garrison at Sheerness, with the Ordanance , Warfe, &. C. To the Honourable Lewis Monson Watson Knight of the Shire for the County of Kent, and Auditor of the Imprest, This plate is humbly inscribed by his most Obedient Servt. Thos. Milton.
Thos. Milton Surv:etdelin: Shipping by T.Cleveley P.C.Canot Sculpt.
Publsih'd according to Act of Parliament Thos. Milton. 14 April 1755.
Engraving 495 x 660mm. Trimmed to plate, centre fold, minor nicks and scratches
Explanation and Key to plan and elevation left and right. Sheerness was the focus of an attack by the Dutch navy in June 1667, when 72 hostile ships during the Raid on the Medway compelled the little 'sandspit fort', to surrender and landed a force which for a short while occupied the town. Impressed by the civil behaviour of the Dutch marines - they paid for their dinner - the town reinvited the Dutch Marine Corps for the third centennial of the raid. Pepys at Gravesend remarked in his diary 'we do plainly at this time hear the guns play' and in fear departed to Brampton in Huntingdonshire. Sheerness was also the site of a Royal Dockyard which, although not as large as those at Chatham and Deptford was still of some importance in Tudor and Stuart England. During the Victorian age a warship was built which still exists - HMS Gannet (an 'Osprey' class Sloop) which was launched on 31 August 1878.
[Ref: 4258] £650.00

The North-West Prospect of Sheerness, in the County of Kent.
Sam.l and Nath.l Buck delin. et Sculp.t.
Publish'd according to Act of Parliament. March 26th 1739 Carden Co. No 1 Middle Temple London.
Engraving. Plate: 310 x 790mm (12¼ x 31"). Central fold as normal, slight offsetting in title and trimmed to plate on top edge
A view of the port at Sheerness, with a descriptive text below and a key to the right, indicating various landmarks and buildings. From the series 'Buck's Perspective Views of Cities and Chief Towns in England and Wales', before the addition of a plate number top right.
[Ref: 43063] £480.00

A View of Sheerness. Vue de Sheerness. 9.
F. Swaine Delin. Parr Sc.
London Printed for and Sold by C. Dicey & Co. in Aldermary Church Yard. [n.d. c.1760.]
Engraving with large margins, paper watermarked. Plate 171 x 274mm (6¾ x 10¾").
A view of Sheerness from the sea with boats in the foreground.
See RMG: PAD0997. Collage: k1250006.
[Ref: 30891] £120.00 (£144.00 incl.VAT)

Plan of Sheffield, Engraved for the History & Directory of Yorkshire.
Alfred Smith Land Surveyor, Little Preston, near Leeds.
Published by Edward Baines, Leeds, 1822.
Engraved map. Printed area 310 x 260mm (12¼ x 10¼"), watermarked 1822. Trimmed close to printed border lower left by binder, creases and spotting.
Detailed plan of Sheffield, with a vignette view of the General Infirmary.
[Ref: 56098] £160.00

Sheffield, from the Reservoir Crooks Moor. To His Grace the Duke of Norfolk, &c. &c. &c. By Permission This Place is most respectfully Dedicated by his Grace's obliged and Obedient Servant, T.C. Hofland.
Painted by T.C. Holfland. Engraved by F.C. Lewis. Printed by McQueen. Proof.
London, Published by T.C. Hofland, 25, Newman Street, 1826.
Scarce & fine aquatint, proof on chine collé. 365 x 500mmm (14¼ x 19¾"), with large margins. A little surface wear.
A view of Sheffield from the Crookesmoor Reservoir, now the Crookes Valley Park.
[Ref: 60803] £480.00

[Sheffield.]
[n.d., c.1860.]
Chromolithograph. Visible image 360 x 540mm, 14 x 21¼". Mounted over image, laid on board, some damage.
A fine colour lithograph of Sheffield from a quarry to the north of the city.
[Ref: 24387] £220.00 (£264.00 incl.VAT)

Fire Works. Chevalier Southby, Principal Artist to the Royal Gardens, Vauxhall, London, King's Patent and Minor Theatres respectfully announces to the Public of Sheffield and its Vicinity, that he proposed exhibiting Two Discharges of Fiew Works, upon the Cricket Ground at Hyde Park, on Wednesday, July 25, 1827 [...]
H.A. Bacon, Printer, Sheffield.
[1827].
Scarce letterpress handbill. Sheet 510 x 195mm (20 x 7¾"). Tears, staining, laid on card.
A hand bill for a fireworks display in Sheffield, with an Order of Firing. Pyrotechnist J. Southby (d.1865), a self-created ‘Chevalier’, created the firework display for the coronation of Queen Victoria in Hyde Park in 1838.
[Ref: 57187] £260.00 (£312.00 incl.VAT)

[Sheffield Cuttler] Plate 39.
Geo. Walker Del.t. Engraved by R. Havell.
Publish'd by Robinson & Son, Leeds, June 1. 1814.
Hand coloured aquatint. 290 x 380mm (11½ x 15"), watermarked 'J Whatman 1811'.
Four men standing at benches, hammering cutlery into shape. From George Walker’s 'The costume of Yorkshire' published in 1814, containing forty-one coloured aquatint plates based upon the author’s original drawings of social and economic scenes in Yorkshire.
[Ref: 54264] £140.00 (£168.00 incl.VAT)

John Sheffield Earle of Mulgrave Ld Chamberlain of his Ma.ties Household Gentleman of his Bedchamber, Collonell of the Holland Regiment Gouvernour of Hull - Lord Lieutenant for the East Rideing of Yorkshire, Vice Admiral of Yorkshire, Northumberland and Bishoprick of Durham; Knight of the Most Noble Order of the Garter, and One of his Ma.ties most Hon.ble Privy Council. Created Marquess of Normandy 1694. Duke & MArquess of Buckingham-Shire 1703. Dyed Feb 24, 1721.
G. Kneller Eques pinx. J. Smith Fecit et excud. [c.1721]
Mezzotint. Sheet 335 x 245mm (13¼ x 9½"). Trimmed into image on three sides; laid on album sheet at edges.
A half-length portrait in oval of John Sheffield (1647-1721), first duke of Buckingham and Normandy, and third earl of Mulgrave, wearing long black wig, lace cravat, chain and George, and robes of office, holding a wand. Sheffield was stripped of his offices by Charles II after he suggested marriage to the duke of York's daughter Anne (later queen). The accession of James II brought him back into royal favour, and he was by the king's side until he fled London in 1688. Although he soon switched allegiance to William and Mary, he joined other Tory peers in refusing to sign a 1696 agreement to support William III as their "rightful and lawful king" against Jacobite attempts, again losing his offices. He became a favourite of Queen Anne, who gave his the title Duke of Buckingham and Normanby the year after her accession.
CS 186, iv of v.
[Ref: 68601] £240.00 (£288.00 incl.VAT)

John Earle of Mulgrave, Lord Chamberlain of his Ma.ties Household, L.d, Lieuten.t for the East Riding of Yorkshire,Northumberand, and Bishoprick of Durham, Knight of the most noble Order of the Garter, and One of his Ma.ties most hono.ble Privy Council.
G. Kneller pinx: I. Beckett fe: et ex:
Mezzotint. 350 x 250mm, 13¾ x 10". Mounted on album paper. Unidentified collector's mark on verso.
John Sheffield (1648 - 1721), 1st Duke of Buckingham and Normanby, when Earl of Mulgrave.
CS 76, state ii of v. See NPG 1779 for Kneller's original oil.
[Ref: 11795] £170.00 (£204.00 incl.VAT)

An Entertainment of a Supper given by a Sheck [sic] of the Arabs, to Lord Charlemount & the Party on that Voyage; the Guests are distinguished by striped Turbans.
R. Dalton delt. et fect.
[London, n.d., c.1780s.]
Engraving on laid paper, 325 x 435mm. 12¾ x 17".
A dinner provided for his European guests by an Arab sheikh (sheik). Title in English and French; numbered 'Pl XVIII' lower right. From a series of prints depicting the customs, manners, costume etc. of Turkey and Egypt, drawn and engraved by Richard Dalton (1715? - 1791). Dalton, who was trained as an artist, went to Rome to pursue his studies, and in 1749 travelled with Roger Kynaston and John Frederick to Naples and Sicily, where they joined a party consisting of James Caulfeild, Earl of Charlemont, Francis Pierpoint Burton, and others. From thence Dalton accompanied Lord Charlemont on his tour to Constantinople/Istanbul, Greece, and Egypt. Dalton managed to obtain the position of librarian to George III. He was subsequently appointed keeper of the pictures and antiquary to his majesty. He was one of the original members of the Incorporated Society of Artists in 1765, and became their treasurer. He was elected a fellow of the Society of Antiquaries in 1767. 'Antiquities and Views in Greece and Egypt, with the Manners and Customs of the Inhabitants, from Drawings made on the Spot.' was published in London in 1791 and is all three of Dalton's Tours in one volume.
[Ref: 21959] £290.00 (£348.00 incl.VAT)

Mosaic Found at Shellal, South Palestine on 23rd. April, 1917. The above is a reproduction of the floor or an Ancient Christian Church founded in the year 561 A.D. It was discovered by the Anzac Mounted Division after it having been greatly damaged by a Turkish Trench being dug through it. The design is allegorical and represents vine branches encircling various animals and birds. The inscription, which is broken, runs somewhat as follows:- "He provided diligently for the building of this Church here......He who was most saintly of us and the most beloved--God George. Founded in the year 622 after......(Gaza)." Roman Gaza dates from about the year 61 B.C., so that the date os the Church would be about 561 A.D.
Reproduced by the Survey of Egypt. 1917. (196).
A colour print, rare. 666 x 487mm. 26¼ x 19¼". Foxing and creasing where rolled.
A print depicting fragments of a mosaic found at Shellal, South Palestine.
In the State Library of New South Wales.
[Ref: 25055] £95.00 (£114.00 incl.VAT)

Percy Bysshe Shelley.
Miss Curran Del.t. C.W. Sharpe Sculp.t.
Published March 1st 1860 by J. Hogarth, Haymarket, London.
Stipple and engraving on steel. 385 x 325mm (15¼ x 12¾"), with large margins.
A portrait of Shelley after the oil by Amelia Curran (d.1847), once in the possession of Mary Shelley and now in the National Portrait Gallery. It was painted in Rome in 1819 when Curran was an art student, three years before his death. His widow begged Curran for the portrait, one of the few done in his lifetime, although it was not much liked by his friends.
See NPG: 1234 for the oil.
[Ref: 59135] £260.00 (£312.00 incl.VAT)

Percy B Shelley. [facsimile signature.] (From an original picture in the possession of Mrs. Shelley.)
Engraved by W. Finden.
London Published 1836, by J. Murray: & Sold by C. Tilt, 86, Fleet Street.
Steel engraving. 222 x 152mm (8¾ x 6").
Percy Bysshe Shelley (1792 - 1822), poet and novelist. Shelley was sent down from Oxford in 1811 for professing his atheism. Believing in individual liberty and the perfection of humanity, he was an uncompromising idealist throughout his short life. Queen Mab (1813), promoting radical social change, was Shelley's first major poem. Later forced to flee his creditors, he and his wife Mary Shelley escaped to Italy in 1818. It was there that he produced some of his best work, including Ode to the West Wind (1819) and Adonais, a pastoral elegy inspired by Keats's death in 1821. Returning from visiting Byron and Leigh Hunt in Pisa, he was drowned in a storm at sea. After the portrait in oil in the National Portrait Gallery by Amelia Curran (d.1847). It was painted in Rome by the art student. Though begged from her by Mary Shelley after her husband's death, it was not much liked by his friends.
NPG: 1234.
[Ref: 19463] £45.00 (£54.00 incl.VAT)

It was lucky I got shelter at all. __
[Monogram of William Heath - 'Paul Pry', a man holding an umbrella.]
Pub by T McLean 26 Haymarket where Political and other Caricatures are daily Pub.
Hand coloured etching, 375 x 260mm. 14¾ x 10¼". A very fine and scarce impression in good colour.
A (rather dim) traveller and his dog 'shelter' from angry skies, lightning and lashing rain beside a pathetic stump of a tree that has lost most of its branches (to lightning); Stonehenge on the horizon beyond, and a crow or raven on the tree above looking down. Irish interest. By William Heath (1794/5 - 1840), ex-Captain of Dragoons, illustrator of colour-plate books, and prolific caricaturist. From 1827-9 he used the pseudonym Paul Pry (from the name of a character in a comedy of 1825 by John Poole, that became a tag used for any very inquisitive person) with the emblem of a small man holding a walking stick in a lower corner of his plates. This figure was soon copied by other caricaturists (eg Sharpshooter), and so from 1828 Heath began to sign his plates with his full name. He published regularly with Thomas McLean.
[Ref: 16153] £320.00

Will.m Shenston Esq.r From an Original Picture in the possession of W.G. Waldron.
Clamp sculp.t
[n.d. c.1795.]
Stipple, laid on album sheet. 177 x 128mm (7 x 5"). Cut, some slight spotting.
William Shenstone (1714-1763), a seldom read poet from the Midlands. His first poems were published whilst he studied at Oxford, although he left without completing his degree. He retired at the farming estate of Leasowes and continued to write poetry in a pastoral vein. Shenstone coined the term 'landscape gardener', and created one of the earliest and most influential landscape gardens, his ferme ormee. He diverted streams to create waterfalls, and stage-managed the landscape to create views that unfolded from carefully chosen vantage points.
NPG: D19347.
[Ref: 34618] £45.00 (£54.00 incl.VAT)

[Dmitry Dmitrievich Shepelev] [Cyrillic title] Lieutenant General Schepeleff.
Painted by order of the Emperor M. Alexander 1st by G. Dawe Esqr. Member of the Roy.l Ac.dy London, that of St. Petersburg &c: &c. Engraved by Hy Dawe London.
[Russian publisher in Cyrillic] & Messrs. Colnaghi & Co. London, Sep.t 1828.
Rare mezzotint. 340 x 250mm (13½ x 9¾"), with large margins Surface dirt, creasing.
Dmitry Dmitrievich Shepelev (1771-1841). Born into a noble family he enlisted as a sergeant in the Russian Life Guards in 1782. He served in Poland (1794), Persia (1796), Switzerland (1799, under Rimsky-Korsakov) and the Battle of Austerlitz (1805). In 1813 he led an advance guard of Wittgenstein's Corps that captured Koenigsberg. In 1815 he became commander of the 2nd Hussar Division, but had to retire due to ill-health the following year. George Dawe (1781 - 1829) spent from 1819 to 1828 in St Petersburg, invited by Tsar Alexander to paint the portraits of the superior officers who had fought in the Napoleonic Wars. Over 300 of these are in the Hermitage Museum.
[Ref: 59652] £140.00 (£168.00 incl.VAT)

Le Berger Recompensé. Dedié à Madame La Marechale Duchesse de Duras, Dame d'honneur de Mesdames de France. Par son tres humble et tres obeissant Serviteurt Gaillard.
F. Boucher Pixit. R. Gaillard Sculp.
APAris chés l'Auteur rue St Jacques au dessus des Jacobins, entre un Perruquier et une Lingere [n.d., c.1770].
Fine etching with engraving. 500 x 380mm (20 x 15"), with large margins. Uncut.
A shepherd, lying on the ground playing bagpipes, is given a garland by a peasant girl with a basket of produce. Francois Boucher (1703-70), found favour with the mistress of Louis XV, Madame du Pompadour, soon becoming the 'premier peintre' to the king, in which role he rejuvenated the 'pastoral tradition' in French art.
[Ref: 57885] £260.00 (£312.00 incl.VAT)

[Italian Shepherds.]
C.C. In.t et f. Roma 1850.
Etching, scarce. Sheet: 185 x 250mm (7¼ x 9¾"). Trimmed.
A countryside scene showing Italian farmers looking after sheep by a large hut .
[Ref: 47729] £75.00 (£90.00 incl.VAT)

The Shepherd.
T. Worlidge Del.t. J. Spilsbury fec.
Publish'd Dec. 29 1774 by W. Ryland London.
Stipple, printed in sanguine. Plate: 150 x 110mm (6 x 4¼'') very large margins.
A portrait of a shepherd after Thomas Worlidge.
[Ref: 48179] £140.00 (£168.00 incl.VAT)

[The Shepherd] 26
Henry J Townsend.
H J Townsend 1850 [within plate]
Etching on chine collé, plate 120 x 115mm (4¾ x 4½"), with very large margins. Some light foxing in margins.
A shepherd sits within a rocky landscape, staring into space as he tending his flock. Plate 26 from The Etching Club's 'Etchings for the Art-Union of London by the Etching Club.' Henry Townsend (1810-1890) was one of the founding members of the Etching Club and a painter of fairy pictures and historical subjects.
[Ref: 61181] £50.00 (£60.00 incl.VAT)

[A shepherd in the campagna.]
[Anon, c.1750]
Etching with large margins, 18th century watermark paper; platemark 160 x 205mm (6¼ x 8"). Few slight stains.
A shepherd resting in the Italian countryside.
[Ref: 32552] £80.00 (£96.00 incl.VAT)

The Good Shepherd. From the Original in the possession of T. Lister Parker Esq.r
J. Northcote pinx. S.W. Reynolds sculp.t
[c.1810]
Mezzotint with large margins, platemark 570 x 395mm (22½ x 15½"). Fine early impression; crease upper left; glue stain lower right.
The infant Christ as the Good Shepherd, after a painting by James Northcote (1746-1831), painter and author, in the collection of his patron Thomas Lister Parker of Brownsholme. Engraved by Samuel William Reynolds, this print is not in the standard reference book on Reynolds' work.
Ex Collection of the Late Hon. C. Lennox-Boyd; Not in Whitman.
[Ref: 36503] £420.00

Quick Search

Search by Ref. Number

Browse by Subject

Browse by Artist

Browse by Engraver

New - Catalogue 153

Catalogue 152

Catalogue 151

Advanced Search