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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Taleyrand Perigord Prince of Benevuntum.
W. M. Craig del. Brown sculpt.
Published by T. Kinnersley Jany. 1 1815
Engraving with etching, sheet 285 x 225mm (11¼ x 8¾"). Small margins, trimmed to plate on one side. Small tear. Holes in left margin where previously bound.
Oval portrait of the French clergyman and diplomat Charles-Maurice de Talleyrand-Périgord (1754 –1838), below on a stone inscribed with the sitter's name and surrounded by flowers and oak leaves, a snake and book below and an owl flying against clouds above. Illustration from 'A New History of the Twenty Years War with France'. Tallyrand was one of Napoleon's chief diplomats and instrumental at obtaining peace with Austria through the 1801 Treaty of Luneville and with Britain in the 1802 Treaty of Amiens. Napoleon and Tallyrand's foreign policy differed; he sought a negotiated secure peace so as to perpetuate the gains of the French revolution, which led to accepting bribes from hostile powers.
[Ref: 55850] £65.00 (£78.00 incl.VAT)
W. M. Craig del. Brown sculpt.
Published by T. Kinnersley Jany. 1 1815
Engraving with etching, sheet 285 x 225mm (11¼ x 8¾"). Small margins, trimmed to plate on one side. Small tear. Holes in left margin where previously bound.
Oval portrait of the French clergyman and diplomat Charles-Maurice de Talleyrand-Périgord (1754 –1838), below on a stone inscribed with the sitter's name and surrounded by flowers and oak leaves, a snake and book below and an owl flying against clouds above. Illustration from 'A New History of the Twenty Years War with France'. Tallyrand was one of Napoleon's chief diplomats and instrumental at obtaining peace with Austria through the 1801 Treaty of Luneville and with Britain in the 1802 Treaty of Amiens. Napoleon and Tallyrand's foreign policy differed; he sought a negotiated secure peace so as to perpetuate the gains of the French revolution, which led to accepting bribes from hostile powers.
[Ref: 55850] £65.00 (£78.00 incl.VAT)
Tallow-chandler.
[n.d. c.1820.]
Hand-coloured engraving. 102 x 63mm. 4 x 2½". Cut and laid on album scrap.
The business of a Tallow-chandler consists in making candles of suet or fat, and in selling them after they are made. In the country the trade of a tallow-chandler and soap boiler are frequently combined, in London more rarely. The business of a Cabinet-maker, and that of an Upholsterer, is now so generally united together, that any observations on either of these branches may, with propriety, be comprehended under one general head. From "The Book of Trades or Library of Useful Arts".
[Ref: 25545] £45.00 (£54.00 incl.VAT)
[n.d. c.1820.]
Hand-coloured engraving. 102 x 63mm. 4 x 2½". Cut and laid on album scrap.
The business of a Tallow-chandler consists in making candles of suet or fat, and in selling them after they are made. In the country the trade of a tallow-chandler and soap boiler are frequently combined, in London more rarely. The business of a Cabinet-maker, and that of an Upholsterer, is now so generally united together, that any observations on either of these branches may, with propriety, be comprehended under one general head. From "The Book of Trades or Library of Useful Arts".
[Ref: 25545] £45.00 (£54.00 incl.VAT)
F. Champion on "Tally Ho". Huntsman to the Cheshire Hounds.
A.G. Haigh 1909 [in image.] Painted by Alfred G. Haigh. Engraved by E.M. Hester. [Pencil signature:] Alfred G. Haigh.
Published Sep 1.st 1909 by Mess.rs Fores, 41 Piccadilly, London W.
Coloured lithograph. Plate 540 x 430mm. 21¼ x 17". Very fine colour, with large margins.
A rider in hunting gear sits on his horse; four hour dogs sniff around in the grass.
[Ref: 24013] £330.00
A.G. Haigh 1909 [in image.] Painted by Alfred G. Haigh. Engraved by E.M. Hester. [Pencil signature:] Alfred G. Haigh.
Published Sep 1.st 1909 by Mess.rs Fores, 41 Piccadilly, London W.
Coloured lithograph. Plate 540 x 430mm. 21¼ x 17". Very fine colour, with large margins.
A rider in hunting gear sits on his horse; four hour dogs sniff around in the grass.
[Ref: 24013] £330.00
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![[Tally stick c.1229.]](jpegs/24717.jpg)
[Tally stick c.1229.] Thom Godesire det Toscy de Kant Jud xxx s. red / med ad festu sci mich Anno gre m. cc. vicef nono & med / ad festu sci martin px seqns p cursucur pl Andr de mikelgat. / & Ingeram Tallear.
[G. Vertue?]
[British, R. Rawlinson, c.1750s.]
Engraved facsimile of the Latin tally of one Thomas Godsire; transcription below, with large margins. 105 x 175mm, 4½ x 7". Several fold creases (one splitting in lower margin). A little soiled and stained.
Tally sticks served as records or receipts for financial transactions such as the payment of taxes, debts and fines. From the 12th century onward tally sticks were officially employed by the Exchequer of England to collect the King's taxes. In recording a debt, wooden sticks were often split horizontally into two parts: the lender receiving one part, the stock; and the debtor, the other part, the foil. Sticks dating from 1296 were found in the Chapel of the Pyx, Westminster Abbey in 1808. England abolished the use of tally sticks in 1826. This tally is from the collection of Richard Rawlinson (1690 - 1755), a clergyman and antiquarian who bequeathed a huge collection of books and manuscripts to the Bodleian Library, Oxford. In 1716 he was ordained, but as he was a nonjuror and Jacobite, the ceremony was performed by a nonjuring bishop, Jeremy Collier. In 1728 he became a bishop, but seems to have preferred to pass his time in collecting books and manuscripts, pictures and curiosities, rather than in discharging his episcopal functions. At his death Rawlinson left to the Library 5,205 manuscripts bound in volumes that include many rare broadsides and other printed ephemera, his curiosities, and some other property that endowed a professorship of Anglo-Saxon at Oxford. The Rawlinsonian Professor of Anglo-Saxon was first appointed in 1795. He was also a benefactor to St John's College, Oxford.
[Ref: 24717] £95.00 (£114.00 incl.VAT)
[G. Vertue?]
[British, R. Rawlinson, c.1750s.]
Engraved facsimile of the Latin tally of one Thomas Godsire; transcription below, with large margins. 105 x 175mm, 4½ x 7". Several fold creases (one splitting in lower margin). A little soiled and stained.
Tally sticks served as records or receipts for financial transactions such as the payment of taxes, debts and fines. From the 12th century onward tally sticks were officially employed by the Exchequer of England to collect the King's taxes. In recording a debt, wooden sticks were often split horizontally into two parts: the lender receiving one part, the stock; and the debtor, the other part, the foil. Sticks dating from 1296 were found in the Chapel of the Pyx, Westminster Abbey in 1808. England abolished the use of tally sticks in 1826. This tally is from the collection of Richard Rawlinson (1690 - 1755), a clergyman and antiquarian who bequeathed a huge collection of books and manuscripts to the Bodleian Library, Oxford. In 1716 he was ordained, but as he was a nonjuror and Jacobite, the ceremony was performed by a nonjuring bishop, Jeremy Collier. In 1728 he became a bishop, but seems to have preferred to pass his time in collecting books and manuscripts, pictures and curiosities, rather than in discharging his episcopal functions. At his death Rawlinson left to the Library 5,205 manuscripts bound in volumes that include many rare broadsides and other printed ephemera, his curiosities, and some other property that endowed a professorship of Anglo-Saxon at Oxford. The Rawlinsonian Professor of Anglo-Saxon was first appointed in 1795. He was also a benefactor to St John's College, Oxford.
[Ref: 24717] £95.00 (£114.00 incl.VAT)
![[Two medieval tally sticks.]](jpegs/24718.jpg)
[Two medieval tally sticks.] Thom Godesire det Toscy de Kant Jud xxx s. red / med ad festu sci mich Anno gre m. cc. vicef nono & med / ad festu sci martin px seqns p cursucur pl Andr de mikelgat. / & Ingeram Tallear (1229). [&] Ego Thomas Brian de Badick debeo d d Lombard. viij Marcas...1232.
[G. Vertue?]
[Under both inscriptions]...Ric: Rawlinson LLD... 1753.
Two engraved facsimiles to a single sheet, of the Latin tallies of Thomas Godsire and Thomas Brian de Badick; with transcriptions below each. Sheet 275 x 155mm, 10¾ x 6". Trimmed within plate. Fold creases, some surface punctures and damage. A little soiled and stained. Trace of pen annotations to verso.
Tally sticks served as records or receipts for financial transactions such as the payment of taxes, debts and fines. From the 12th century onward tally sticks were officially employed by the Exchequer of England to collect the King's taxes. In recording a debt, wooden sticks were often split horizontally into two parts: the lender receiving one part, the stock; and the debtor, the other part, the foil. Sticks dating from 1296 were found in the Chapel of the Pyx, Westminster Abbey in 1808. England abolished the use of tally sticks in 1826. These are from the collection of Richard Rawlinson (1690 - 1755), a clergyman and antiquarian who bequeathed a huge collection of books and manuscripts to the Bodleian Library, Oxford. In 1716 he was ordained, but as he was a nonjuror and Jacobite, the ceremony was performed by a nonjuring bishop, Jeremy Collier. In 1728 he became a bishop, but seems to have preferred to pass his time in collecting books and manuscripts, pictures and curiosities, rather than in discharging his episcopal functions. At his death Rawlinson left to the Library 5,205 manuscripts bound in volumes that include many rare broadsides and other printed ephemera, his curiosities, and some other property that endowed a professorship of Anglo-Saxon at Oxford. The Rawlinsonian Professor of Anglo-Saxon was first appointed in 1795. He was also a benefactor to St John's College, Oxford.
[Ref: 24718] £80.00 (£96.00 incl.VAT)
[G. Vertue?]
[Under both inscriptions]...Ric: Rawlinson LLD... 1753.
Two engraved facsimiles to a single sheet, of the Latin tallies of Thomas Godsire and Thomas Brian de Badick; with transcriptions below each. Sheet 275 x 155mm, 10¾ x 6". Trimmed within plate. Fold creases, some surface punctures and damage. A little soiled and stained. Trace of pen annotations to verso.
Tally sticks served as records or receipts for financial transactions such as the payment of taxes, debts and fines. From the 12th century onward tally sticks were officially employed by the Exchequer of England to collect the King's taxes. In recording a debt, wooden sticks were often split horizontally into two parts: the lender receiving one part, the stock; and the debtor, the other part, the foil. Sticks dating from 1296 were found in the Chapel of the Pyx, Westminster Abbey in 1808. England abolished the use of tally sticks in 1826. These are from the collection of Richard Rawlinson (1690 - 1755), a clergyman and antiquarian who bequeathed a huge collection of books and manuscripts to the Bodleian Library, Oxford. In 1716 he was ordained, but as he was a nonjuror and Jacobite, the ceremony was performed by a nonjuring bishop, Jeremy Collier. In 1728 he became a bishop, but seems to have preferred to pass his time in collecting books and manuscripts, pictures and curiosities, rather than in discharging his episcopal functions. At his death Rawlinson left to the Library 5,205 manuscripts bound in volumes that include many rare broadsides and other printed ephemera, his curiosities, and some other property that endowed a professorship of Anglo-Saxon at Oxford. The Rawlinsonian Professor of Anglo-Saxon was first appointed in 1795. He was also a benefactor to St John's College, Oxford.
[Ref: 24718] £80.00 (£96.00 incl.VAT)
Talma.
J.P. Davies del.t. Mrs. D. [Turner] aqua fort.
[n.d., c.1820.]
Etching. Plate: 200 x 145mm (8 x 5¾''), with large margins.
A portrait of French actor Francois Joseph Talma (1763-1828).
[Ref: 49956] £50.00 (£60.00 incl.VAT)
J.P. Davies del.t. Mrs. D. [Turner] aqua fort.
[n.d., c.1820.]
Etching. Plate: 200 x 145mm (8 x 5¾''), with large margins.
A portrait of French actor Francois Joseph Talma (1763-1828).
[Ref: 49956] £50.00 (£60.00 incl.VAT)
Omer Talon, Avocat General au Parlement de Paris. d'apres Champagne tire des Estampes du Cabinet du Roi.
Touze d. P. Duflos S.
A Paris chez Cuflos le Jeune. [n.d. c.1780]
Engraving with strong contemporary colour and a gold leaf line border. 274 x 160mm.
From 'Recueil d'estampes représentant les grades, les rangs et les dignités suivant le costume de toutes les nations existantes' by Pierre Duflos, published 1779-84. The original colour is particularly fine, with gold leaf highlights.
[Ref: 2144] £50.00 (£60.00 incl.VAT)
Touze d. P. Duflos S.
A Paris chez Cuflos le Jeune. [n.d. c.1780]
Engraving with strong contemporary colour and a gold leaf line border. 274 x 160mm.
From 'Recueil d'estampes représentant les grades, les rangs et les dignités suivant le costume de toutes les nations existantes' by Pierre Duflos, published 1779-84. The original colour is particularly fine, with gold leaf highlights.
[Ref: 2144] £50.00 (£60.00 incl.VAT)
![[Denis Talon.]](jpegs/57483.jpg)
[Denis Talon.]
Nanteuil faciebat ad vivum.
[n.d. c.1654-6.]
Fine engraving, 17th century watermark; 365 x 285mm (14¼ x 11¼"). Fine. Trimmed.
A bust length portrait of French magistrate Denis Talon (1628-1698) in magistrates robes, in a frame of oak leaves decorated with entwined initials and a coat of arms.
PW 211.
[Ref: 57483] £260.00 (£312.00 incl.VAT)
Nanteuil faciebat ad vivum.
[n.d. c.1654-6.]
Fine engraving, 17th century watermark; 365 x 285mm (14¼ x 11¼"). Fine. Trimmed.
A bust length portrait of French magistrate Denis Talon (1628-1698) in magistrates robes, in a frame of oak leaves decorated with entwined initials and a coat of arms.
PW 211.
[Ref: 57483] £260.00 (£312.00 incl.VAT)
Tam O' Shanter.
Painted by Abraham Cooper. Engraved by Henry Meyer.
[London: S. Knight, 1814.]
A rare mezzotint. Sheet 515 x 585mm (20½ x 23"). Trimmed within plate on three sides, into title at bottom, losing publication line and half of crest.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 47702] £360.00
Painted by Abraham Cooper. Engraved by Henry Meyer.
[London: S. Knight, 1814.]
A rare mezzotint. Sheet 515 x 585mm (20½ x 23"). Trimmed within plate on three sides, into title at bottom, losing publication line and half of crest.
Illustration to the narrative poem 'Tam O' Shanter' written by Robert Burns in 1790, which describes a disturbing vision experienced by Tam on his way home from an inn: riding his horse Meg, he stumbles across some witches and demons in Alloway Kirk (seen burning in the background), who give chase. He escapes across a bridge over the River Doon (witches will not cross running water) but not before one catches Meg's tail and pulls it off.
Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 47702] £360.00
I'm thine at ane-and-twenty, Tam. They snool me sair & hand me down...I'm thine at ane-and-twenty, Tam. Burns' Song.
Bouvier del. Printed by W. Kohler, 22, Denmark St. Soho.
London, Published by William Spooner, 377, Strand. [1800.]
Lithograph with hand-colour and added gum arabic. 361 x 260mm. 14¼ x 10¼".
It was in 1790 that Robert Burns (1759-1796) wrote his poem "Tam o' Shanter", which tells the story of a man who stayed too long at a public house and witnessed a disturbing vision on his way home. This song suggests happiness, a future of marriage and love; it appeared a year later in 1791.
[Ref: 16286] £130.00 (£156.00 incl.VAT)
Bouvier del. Printed by W. Kohler, 22, Denmark St. Soho.
London, Published by William Spooner, 377, Strand. [1800.]
Lithograph with hand-colour and added gum arabic. 361 x 260mm. 14¼ x 10¼".
It was in 1790 that Robert Burns (1759-1796) wrote his poem "Tam o' Shanter", which tells the story of a man who stayed too long at a public house and witnessed a disturbing vision on his way home. This song suggests happiness, a future of marriage and love; it appeared a year later in 1791.
[Ref: 16286] £130.00 (£156.00 incl.VAT)
![[Battle of Tamandaré] Admiral Lichthart with 4 ships a Frigate & a Bark attacks the Portuguese Fleet of 17 Sail.](jpegs/61334.jpg)
[Battle of Tamandaré] Admiral Lichthart with 4 ships a Frigate & a Bark attacks the Portuguese Fleet of 17 Sail.
[Dublin: James Williams, 1750.]
Scarce engraving. Sheet 140 x 85mm (5½ x 3¼"). Stain in margin.
The Battle of Tamandaré, off the coast of Brazil, September 9th 1645, during the occupation of Brazil by the Dutch (1630-54), when a squadron commanded by Jan Cornelisz Lichthart (died 1646) destroyed a Portuguese squadron under the command of Jerônimo Serrão de Paiva. From 'The World Displayed: Or, A Curious Collection of Voyages and Travels'.
[Ref: 61334] £140.00 (£168.00 incl.VAT)
[Dublin: James Williams, 1750.]
Scarce engraving. Sheet 140 x 85mm (5½ x 3¼"). Stain in margin.
The Battle of Tamandaré, off the coast of Brazil, September 9th 1645, during the occupation of Brazil by the Dutch (1630-54), when a squadron commanded by Jan Cornelisz Lichthart (died 1646) destroyed a Portuguese squadron under the command of Jerônimo Serrão de Paiva. From 'The World Displayed: Or, A Curious Collection of Voyages and Travels'.
[Ref: 61334] £140.00 (£168.00 incl.VAT)
Judith: &: Tamar:
L: Castro. pinxit.
J. Smith: excudit [n.d., c.1690].
Fine mezzotint. 180 x 200mm (7 x 7¾"), large margins.
A scene from Genesis: Judah, not recognising his daughter-in-law, presents Tamar with his staff as part-payment for sexual services. Later, hearing that his son's widow is pregnant, Judah condemns her to death by burning, but she saves herself by showing him his staff.
[Ref: 59588] £280.00 (£336.00 incl.VAT)
L: Castro. pinxit.
J. Smith: excudit [n.d., c.1690].
Fine mezzotint. 180 x 200mm (7 x 7¾"), large margins.
A scene from Genesis: Judah, not recognising his daughter-in-law, presents Tamar with his staff as part-payment for sexual services. Later, hearing that his son's widow is pregnant, Judah condemns her to death by burning, but she saves herself by showing him his staff.
[Ref: 59588] £280.00 (£336.00 incl.VAT)
![[Tamar Brought to Execution by Judah.] Vincta Venit Flammis Iam Iam Tradenda Paratis Huius Ait Natos Peperi Qui His Utitur Armis.](jpegs/49703.jpg)
[Tamar Brought to Execution by Judah.] Vincta Venit Flammis Iam Iam Tradenda Paratis Huius Ait Natos Peperi Qui His Utitur Armis.
ML fc. Mheemskerck In.
[n.d., c.1585.]
Engraving. Plate: 210 x 250mm (8¼ x 9¾''). Thread margins. Slight stain top right.
A biblical scene from Genesis showing Judah taking Tamar to the pyre for her execution, Tamar presents the staff to prove her innocence. Engraved by Harman Jansz Muller (1539-1617) after Maarten van Heemskerck (1498-1574).
[Ref: 49703] £140.00 (£168.00 incl.VAT)
ML fc. Mheemskerck In.
[n.d., c.1585.]
Engraving. Plate: 210 x 250mm (8¼ x 9¾''). Thread margins. Slight stain top right.
A biblical scene from Genesis showing Judah taking Tamar to the pyre for her execution, Tamar presents the staff to prove her innocence. Engraved by Harman Jansz Muller (1539-1617) after Maarten van Heemskerck (1498-1574).
[Ref: 49703] £140.00 (£168.00 incl.VAT)
![[Judah and Tamar.] Iudas et Thamar Coevnt Promittitur Hoedus Annulus, Armillæ, Atquæ Pedum Pro Pognore Dantur.](jpegs/49725.jpg)
[Judah and Tamar.] Iudas et Thamar Coevnt Promittitur Hoedus Annulus, Armillæ, Atquæ Pedum Pro Pognore Dantur.
Mheemskerck In. ML fe.
I. Boel exc. [n.d., c.1585.]
Engraving, 16th century watermark. Plate: 210 x 250mm (8¼ x 9¾'').
A biblical scene from Genesis showing Judah and Tamar in conversation beneath a tree. Engraved by Harman Jansz Muller (1539-1617) after Maarten van Heemskerck (1498-1574).
[Ref: 49725] £140.00 (£168.00 incl.VAT)
Mheemskerck In. ML fe.
I. Boel exc. [n.d., c.1585.]
Engraving, 16th century watermark. Plate: 210 x 250mm (8¼ x 9¾'').
A biblical scene from Genesis showing Judah and Tamar in conversation beneath a tree. Engraved by Harman Jansz Muller (1539-1617) after Maarten van Heemskerck (1498-1574).
[Ref: 49725] £140.00 (£168.00 incl.VAT)
Commencement of Capt.n Schomberg's Action off Madagascar, May 26th. 1811. From a Drawing by Mr. Beechey.
Painted by T. Whitcombe. Engraved by T. Sutherland.
[n.d. c.1811.]
Aquatint. 159 x 241mm. 6¼ x 9½". Some spotting.
The beginning of what became known as the Battle of Tamatave, Madagascar, between British and French frigate squadrons during the Napoleonic Wars. The British side was led by Sir Charles Marsh Schomberg.
[Ref: 25148] £70.00 (£84.00 incl.VAT)
Painted by T. Whitcombe. Engraved by T. Sutherland.
[n.d. c.1811.]
Aquatint. 159 x 241mm. 6¼ x 9½". Some spotting.
The beginning of what became known as the Battle of Tamatave, Madagascar, between British and French frigate squadrons during the Napoleonic Wars. The British side was led by Sir Charles Marsh Schomberg.
[Ref: 25148] £70.00 (£84.00 incl.VAT)
![[Enrico Tamberlik.]](jpegs/68246.jpg)
[Enrico Tamberlik.]
JBrandard.
[n.d., c.1850.]
Coloured lithograph. Framed, sight size 270 x 210mm (10½ x 8¼"). Unexamined out of frame.
A full-length portrait of the Italian tenor Enrico Tamberlik (1820-89) as Manrico in Giuseppe Verdi's opera 'Il trovatore', holding a lute.
[Ref: 68246] £180.00 (£216.00 incl.VAT)
JBrandard.
[n.d., c.1850.]
Coloured lithograph. Framed, sight size 270 x 210mm (10½ x 8¼"). Unexamined out of frame.
A full-length portrait of the Italian tenor Enrico Tamberlik (1820-89) as Manrico in Giuseppe Verdi's opera 'Il trovatore', holding a lute.
[Ref: 68246] £180.00 (£216.00 incl.VAT)
Tamberlik as Peter the Great. [Valse Hollandaise from Jullien's Grand Opera Pietro il Grande.]
JBrandard.
[n.d., c.1850.]
Coloured lithograph. Framed, sight size 270 x 210mm (10½ x 8¼"). Unexamined out of frame. Mounted over text, likely trimmed.
A full-length portrait of the Italian tenor Enrico Tamberlik (1820-89) in a fur-trimmed robe.
[Ref: 68248] £140.00 (£168.00 incl.VAT)
JBrandard.
[n.d., c.1850.]
Coloured lithograph. Framed, sight size 270 x 210mm (10½ x 8¼"). Unexamined out of frame. Mounted over text, likely trimmed.
A full-length portrait of the Italian tenor Enrico Tamberlik (1820-89) in a fur-trimmed robe.
[Ref: 68248] £140.00 (£168.00 incl.VAT)
Le Tambour de Basque.
C. Huet del. J. Guelard Sculpt. et ex. C.P.R.
[n.d. c.1840.]
Engraving. 170 x 228mm. 6¾ x 9". Fine.
A monkey playing a tambourine, also called a Basque drum.
[Ref: 15089] £130.00 (£156.00 incl.VAT)
C. Huet del. J. Guelard Sculpt. et ex. C.P.R.
[n.d. c.1840.]
Engraving. 170 x 228mm. 6¾ x 9". Fine.
A monkey playing a tambourine, also called a Basque drum.
[Ref: 15089] £130.00 (£156.00 incl.VAT)
A. Tamburini. Riccardo. "Io ardo_e il mio ardore [/] E amore, é furor!" [/] I Puritani Atto 1. Sc.3.
A.E. Chalon R.A. N.J. Lane A.R.A.
London, Published Jan.y 1.st 1836 by J.Mitchell, 33 Old Bond Street_á Paris chez Rittner and Goupil, Boulevard Montmatre. Printed by Graf & Soret.
Coloured lithograph. Framed, sight size 380 x 265mm (15 x 10½"). Slight mount burn, unexamined out of frame.
Full length portrait of the Italian dramatic Baritone opera singer Antonio Tamburini (1800-1876) in the role of Riccardo in Vincenzo Bellini's opera "I Puritani", from Alfred Edward Chalon's "Recollections of Italian Opera 1835". Tamburini was one of four international singers who, along with Guilia Grisi, Giovanni Battista Rubini and Luigi Lablache, was known as one of the "Puritani Quartet". The group acquired the name on account of the large quantity of performances the group performed together which included a private performance for Crown Princess Victoria on her 15th birthday.
Harvard Vol IV: P.130-10.
[Ref: 68227] £280.00 (£336.00 incl.VAT)
A.E. Chalon R.A. N.J. Lane A.R.A.
London, Published Jan.y 1.st 1836 by J.Mitchell, 33 Old Bond Street_á Paris chez Rittner and Goupil, Boulevard Montmatre. Printed by Graf & Soret.
Coloured lithograph. Framed, sight size 380 x 265mm (15 x 10½"). Slight mount burn, unexamined out of frame.
Full length portrait of the Italian dramatic Baritone opera singer Antonio Tamburini (1800-1876) in the role of Riccardo in Vincenzo Bellini's opera "I Puritani", from Alfred Edward Chalon's "Recollections of Italian Opera 1835". Tamburini was one of four international singers who, along with Guilia Grisi, Giovanni Battista Rubini and Luigi Lablache, was known as one of the "Puritani Quartet". The group acquired the name on account of the large quantity of performances the group performed together which included a private performance for Crown Princess Victoria on her 15th birthday.
Harvard Vol IV: P.130-10.
[Ref: 68227] £280.00 (£336.00 incl.VAT)
A. Tamburini. Riccardo. "Io ardo_e il mio ardore [/] E amore, é furor!" [/] I Puritani Atto 1. Sc.3.
A.E.Chalon R.A. N.J.Lane A.R.A.
London, Published Jan.y 1.st 1836 by J.Mitchell, 33 Old Bond Street_á Paris chez Rittner and Goupil, Boulevard Montmatre. Printed by Graf & Soret.
Lithograph. Sheet: 380 x 550mm (15 x 21¾"), with wide margins. Slight mount burn.
Full length portrait of the Italian dramatic Baritone opera singer Antonio Tamburini (1800-1876) in the role of Riccardo in Vincenzo Bellini's opera "I Puritani". Tamburini was one of four international singers who, along with Guilia Grisi, Giovanni Battista Rubini and Luigi Lablache, was known as one of the "Puritani Quartet". The group acquired the name on account of the large quantity of performances the group performed together which included a private performance for Crown Princess Victoria on her 15th birthday. From A.E.Chalon's "Recollections of Italian Opera 1835".
Harvard Vol IV: P.130-10
[Ref: 35343] £280.00 (£336.00 incl.VAT)
A.E.Chalon R.A. N.J.Lane A.R.A.
London, Published Jan.y 1.st 1836 by J.Mitchell, 33 Old Bond Street_á Paris chez Rittner and Goupil, Boulevard Montmatre. Printed by Graf & Soret.
Lithograph. Sheet: 380 x 550mm (15 x 21¾"), with wide margins. Slight mount burn.
Full length portrait of the Italian dramatic Baritone opera singer Antonio Tamburini (1800-1876) in the role of Riccardo in Vincenzo Bellini's opera "I Puritani". Tamburini was one of four international singers who, along with Guilia Grisi, Giovanni Battista Rubini and Luigi Lablache, was known as one of the "Puritani Quartet". The group acquired the name on account of the large quantity of performances the group performed together which included a private performance for Crown Princess Victoria on her 15th birthday. From A.E.Chalon's "Recollections of Italian Opera 1835".
Harvard Vol IV: P.130-10
[Ref: 35343] £280.00 (£336.00 incl.VAT)
Der grosse Tamerlan.
[n.d. c.1700.]
Engraving, paper watermarked. Plate 177 x 133mm (7 x 5¼"). Some toning around the edges.
Timur (1336-1405), known as Tamerlane, the Turkic ruler. He conquered West, South and Central Asia and founded the Timurid dynasty. His armies were feared throughout Asia, Africa and Europe, sizable parts of which were laid to ruin by his campaigns. He is recognised as a great patron of art and architecture.
In the Royal Collection Trust.
[Ref: 29816] £140.00 (£168.00 incl.VAT)
[n.d. c.1700.]
Engraving, paper watermarked. Plate 177 x 133mm (7 x 5¼"). Some toning around the edges.
Timur (1336-1405), known as Tamerlane, the Turkic ruler. He conquered West, South and Central Asia and founded the Timurid dynasty. His armies were feared throughout Asia, Africa and Europe, sizable parts of which were laid to ruin by his campaigns. He is recognised as a great patron of art and architecture.
In the Royal Collection Trust.
[Ref: 29816] £140.00 (£168.00 incl.VAT)
Timur-Bek ou le grand Tamerlan, Empereur du mogol. Tire de l'Histoire des Voyages.
A.D.P.R. A Paris chez Duflos rue St. Victor. [n.d. c.1780]
Engraving with strong contemporary colour and a gold leaf line border. 276 x 164mm.
Timur or Tamerlane (died 1405), the last of the great nomadic conquerors of the Eurasian Steppe. From 'Recueil d'estampes représentant les grades, les rangs et les dignités suivant le costume de toutes les nations existantes' by Pierre Duflos, published 1779-84. The original colour is particularly fine, with gold leaf highlights.
[Ref: 2145] £90.00 (£108.00 incl.VAT)
A.D.P.R. A Paris chez Duflos rue St. Victor. [n.d. c.1780]
Engraving with strong contemporary colour and a gold leaf line border. 276 x 164mm.
Timur or Tamerlane (died 1405), the last of the great nomadic conquerors of the Eurasian Steppe. From 'Recueil d'estampes représentant les grades, les rangs et les dignités suivant le costume de toutes les nations existantes' by Pierre Duflos, published 1779-84. The original colour is particularly fine, with gold leaf highlights.
[Ref: 2145] £90.00 (£108.00 incl.VAT)
![[James Tamesz Grieve] [John Tamesz Esq.r of Mosco.]](jpegs/66375.jpg)
[James Tamesz Grieve] [John Tamesz Esq.r of Mosco.]
[Grose Pinxit. James Watson Sculpsit.]
[Published June 1st,, 1781.]
Rare mezzotint, without separate title plate. 380 x 280mm (15 x 11). Trimmed to plate on three sides, decorative border pasted over edge of plate in places. Old ink mss. in inscription area.
Half-length portrait of merhcant John Tamesz Grieve (1724-87, baptised James), born in St Petersburg while his father, Dr James Grieve (1703-63), was Physician to Empress Elizabeth. He died in Petersham, Surrey, and a memorial was erected in Bath Abbey, near one for his mother, Elizabeta Tamesz (1724-1758).
CS 140. Goodwin 126. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 66375] £260.00 (£312.00 incl.VAT)
[Grose Pinxit. James Watson Sculpsit.]
[Published June 1st,, 1781.]
Rare mezzotint, without separate title plate. 380 x 280mm (15 x 11). Trimmed to plate on three sides, decorative border pasted over edge of plate in places. Old ink mss. in inscription area.
Half-length portrait of merhcant John Tamesz Grieve (1724-87, baptised James), born in St Petersburg while his father, Dr James Grieve (1703-63), was Physician to Empress Elizabeth. He died in Petersham, Surrey, and a memorial was erected in Bath Abbey, near one for his mother, Elizabeta Tamesz (1724-1758).
CS 140. Goodwin 126. Ex: collection of The Hon. Christopher Lennox-Boyd.
[Ref: 66375] £260.00 (£312.00 incl.VAT)
Taming of the Shrew. Act III. Scene 3. I am Lucentio disguised thus to get your love.
J.K. Sherwin Inv.t et sculp.
Publishe'd according to Act of Parliament Nov.r 8.d 1774 by J. Bell in the Strand.
Etching, very fine impression, 200 x 120mm (8 x 4¾"). With old ink mss. ''No 13. 1774. Prize of 20 Gs. from y Society of Arts'. Large margins on 3 sides.
Romantic scene in library and musical instrument. Published for 'Bell's edition of Shakespeare's plays, as they are now performed at the Theatres Royal in London'.
[Ref: 57852] £65.00 (£78.00 incl.VAT)
J.K. Sherwin Inv.t et sculp.
Publishe'd according to Act of Parliament Nov.r 8.d 1774 by J. Bell in the Strand.
Etching, very fine impression, 200 x 120mm (8 x 4¾"). With old ink mss. ''No 13. 1774. Prize of 20 Gs. from y Society of Arts'. Large margins on 3 sides.
Romantic scene in library and musical instrument. Published for 'Bell's edition of Shakespeare's plays, as they are now performed at the Theatres Royal in London'.
[Ref: 57852] £65.00 (£78.00 incl.VAT)
Tammeamea. König der Sandwichinseln. Naba – Leba. König von Solor.
[Brodtmann.]
[Zurich, c.1827.]
Lithograph. 235 x 330mm (9¼ x 13"), with wide margins.
Two Kings, one of Hawaii and the other Timor. From Heinrich Rudolf Schinz's "Naturgeschichte und Abbildungen des Menschen".
[Ref: 29511] £180.00 (£216.00 incl.VAT)
[Brodtmann.]
[Zurich, c.1827.]
Lithograph. 235 x 330mm (9¼ x 13"), with wide margins.
Two Kings, one of Hawaii and the other Timor. From Heinrich Rudolf Schinz's "Naturgeschichte und Abbildungen des Menschen".
[Ref: 29511] £180.00 (£216.00 incl.VAT)
The Prospect of Tamworth from Colshill Roade on the North thereof.
[Wenceslaus Hollar.]
[n.d., c.1730.]
Etching. Sheet 65 x 185mm (2½ x 7¼"), with letterpress on reverse. Trimmed to image, laid on album paper.
A view of the town behind trees, with the church and castle. From Dugdale's 'Antiquities of Warwickshire', first published 1656. Pennington lists two editions with letterpress on verso, 1730 & 1765.
Pennington 1065.
[Ref: 60813] £160.00 (£192.00 incl.VAT)
[Wenceslaus Hollar.]
[n.d., c.1730.]
Etching. Sheet 65 x 185mm (2½ x 7¼"), with letterpress on reverse. Trimmed to image, laid on album paper.
A view of the town behind trees, with the church and castle. From Dugdale's 'Antiquities of Warwickshire', first published 1656. Pennington lists two editions with letterpress on verso, 1730 & 1765.
Pennington 1065.
[Ref: 60813] £160.00 (£192.00 incl.VAT)
The Queen's Visit to Tamworth, November 26th, 1843. Ye ancient towers of Tamworth, say Has Brighter morning been...Type of that building which shall be From spot, defect, and blemish free, When tiem shall be no more.
Thompson, Typ. Tamworth.
Letterpress and engraving. Two sheets double-side. 216 x 171mm. 8½ x 6¾".
St. Editha's Church stands as Queen over Tamworth, dating back to the early Saxon days. It was ransacked, as was the town, and destroyed after the Danish raids of 874 and 943. A Norman church was built in its place, of which parts still stand, but that was later destroyed by a fire in 1345. Parts of the church are made up of various parts of every rebuild, so can date back to the 12th century, and every century thereafter. Drayton Manor was built for the first Robert Peel around 1790, father of Robert Peel the Prime Minister who is commemorated with a statue in the centre of Tamworth. The most important visit to Tamworth and this manor was in 1843 when Queen Victoria and Prince Albert stopped by during their tour of the Midlands. This poem encapsulates this visits and Tamworth's history.
[Ref: 16299] £95.00 (£114.00 incl.VAT)
Thompson, Typ. Tamworth.
Letterpress and engraving. Two sheets double-side. 216 x 171mm. 8½ x 6¾".
St. Editha's Church stands as Queen over Tamworth, dating back to the early Saxon days. It was ransacked, as was the town, and destroyed after the Danish raids of 874 and 943. A Norman church was built in its place, of which parts still stand, but that was later destroyed by a fire in 1345. Parts of the church are made up of various parts of every rebuild, so can date back to the 12th century, and every century thereafter. Drayton Manor was built for the first Robert Peel around 1790, father of Robert Peel the Prime Minister who is commemorated with a statue in the centre of Tamworth. The most important visit to Tamworth and this manor was in 1843 when Queen Victoria and Prince Albert stopped by during their tour of the Midlands. This poem encapsulates this visits and Tamworth's history.
[Ref: 16299] £95.00 (£114.00 incl.VAT)
Lovely Tamworth. Lovely Tamworth! Town respected! Let me hail thy matchless worth...But the hearts that glow within thee - Where their Equals shall we view? These lasting honors win thee, - Noble Hearts to Friendship true!
[n.d. c.1850]
Pen and ink drawing, watercolour and music stave. 223 x 180mm (8¾ x 7").
Tamworth Castle, located next to the River Tame, Staffordshire. An air written with poetry.
[Ref: 16300] £140.00 (£168.00 incl.VAT)
[n.d. c.1850]
Pen and ink drawing, watercolour and music stave. 223 x 180mm (8¾ x 7").
Tamworth Castle, located next to the River Tame, Staffordshire. An air written with poetry.
[Ref: 16300] £140.00 (£168.00 incl.VAT)
Tan.
Derby 1844.
Scarce etching. 45 x 50mm (1¾ x 2") very large margins. Spotted.
A portrait of a terrier, with a sleeping cat behind. Engraving by my cousin A E Madeley.
[Ref: 63453] £90.00 (£108.00 incl.VAT)
Derby 1844.
Scarce etching. 45 x 50mm (1¾ x 2") very large margins. Spotted.
A portrait of a terrier, with a sleeping cat behind. Engraving by my cousin A E Madeley.
[Ref: 63453] £90.00 (£108.00 incl.VAT)
Habit of Tancred, in the Tragedy of Tancred and Sigismunda. Tancréde, dans la Tragédie de meme nom, et Sigismonde.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slight staining bottom left.
The character of 'Tancred', holding a large spear in his right hand. Plate 233 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34885] £85.00 (£102.00 incl.VAT)
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slight staining bottom left.
The character of 'Tancred', holding a large spear in his right hand. Plate 233 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34885] £85.00 (£102.00 incl.VAT)
![[Erminia saving Tancred]](jpegs/35237.jpg)
[Erminia saving Tancred] Tancred Secouru par Herminie [...]
L.J. Fr. Lagren?e pinx. Beauvarlet Sculp.
A Paris chez l'Auteur rue St. Jacques vis-à-vis celle des Mathurins [c.1761]
Engraving with very large margins, platemark 340 x 435mm (13½ x 17"). Staining lower left. Creasing.
Tancred, wounded in combat, is saved by Princess Erminia. A subject from Torquato Tasso's 'Jerusalem Delivered', a common source of inspiration for European painters. This engraving is taken from a 1761 painting by Louis Jean Francois Lagrenée (now in the Tretyakov Gallery, Moscow). Lagrenée was Director of the St Petersburg Academy during this time.
[Ref: 35237] £190.00 (£228.00 incl.VAT)
L.J. Fr. Lagren?e pinx. Beauvarlet Sculp.
A Paris chez l'Auteur rue St. Jacques vis-à-vis celle des Mathurins [c.1761]
Engraving with very large margins, platemark 340 x 435mm (13½ x 17"). Staining lower left. Creasing.
Tancred, wounded in combat, is saved by Princess Erminia. A subject from Torquato Tasso's 'Jerusalem Delivered', a common source of inspiration for European painters. This engraving is taken from a 1761 painting by Louis Jean Francois Lagrenée (now in the Tretyakov Gallery, Moscow). Lagrenée was Director of the St Petersburg Academy during this time.
[Ref: 35237] £190.00 (£228.00 incl.VAT)
![[Tancred and Erminia]](jpegs/43147.jpg)
[Tancred and Erminia] [Then views the hero's wounds... Dedicate to James Tamesz Grieve Esq.r by W. Palmer]
G.B. Cipriani inv.t F. Bartolozzi sculp.
[London, Pub. Dec.r 1st 1784 by W. Palmer]
Stipple printed in sepia, Proof before all letters; platemark 300 x 390mm (11¾ x 15¼"). Small margins. Few foxing marks.
The injured Tancred supported by Vafrin, while Erminia, kneeling on the ground, holds his hand. Scene from 'Jerusalem Delivered' by Torquato Tasso (1544 - 1595).Stipple by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 1367 ii/iv; for another scene from 'Jerusalem Delivered' by Bartolozzi see ref. 25067.
[Ref: 43147] £240.00 (£288.00 incl.VAT)
G.B. Cipriani inv.t F. Bartolozzi sculp.
[London, Pub. Dec.r 1st 1784 by W. Palmer]
Stipple printed in sepia, Proof before all letters; platemark 300 x 390mm (11¾ x 15¼"). Small margins. Few foxing marks.
The injured Tancred supported by Vafrin, while Erminia, kneeling on the ground, holds his hand. Scene from 'Jerusalem Delivered' by Torquato Tasso (1544 - 1595).Stipple by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 1367 ii/iv; for another scene from 'Jerusalem Delivered' by Bartolozzi see ref. 25067.
[Ref: 43147] £240.00 (£288.00 incl.VAT)
James Napper Tandy Esqr.
Engraved by J. Heath from a Drawing by J. Petrie in the possession of Sir Jonah Barrington.
Published March 1st. 1815, by G. Robinson, Paternoster Row, London.
Engraving. 210 x 250mm.
United Irishman [1740 - 1803]. Plate to Sir J. Barrington's 'Historic Memoirs'.
[Ref: 4621] £70.00 (£84.00 incl.VAT)
Engraved by J. Heath from a Drawing by J. Petrie in the possession of Sir Jonah Barrington.
Published March 1st. 1815, by G. Robinson, Paternoster Row, London.
Engraving. 210 x 250mm.
United Irishman [1740 - 1803]. Plate to Sir J. Barrington's 'Historic Memoirs'.
[Ref: 4621] £70.00 (£84.00 incl.VAT)
![A Gateway, Tangier. [In pencil below image.]](jpegs/42522.jpg)
A Gateway, Tangier. [In pencil below image.]
R. Herdman-Smith. [signed in pencil.]
Etching with hand colour. Limited edition 57/75; original Publishers' label attached. Plate: 215 x 150mm (8½ x 6").
A view of Tangier in Morocco, in which a figure with a lamp approaches through a large gate. Robert Herdman-Smith (1879-1945) was born in Liverpool and exhibited at the Royal Academy and Paris Salon. He taught at the Wellington Technical School, New Zealand, from 1902, later returning to England.
[Ref: 42522] £130.00 (£156.00 incl.VAT)
R. Herdman-Smith. [signed in pencil.]
Etching with hand colour. Limited edition 57/75; original Publishers' label attached. Plate: 215 x 150mm (8½ x 6").
A view of Tangier in Morocco, in which a figure with a lamp approaches through a large gate. Robert Herdman-Smith (1879-1945) was born in Liverpool and exhibited at the Royal Academy and Paris Salon. He taught at the Wellington Technical School, New Zealand, from 1902, later returning to England.
[Ref: 42522] £130.00 (£156.00 incl.VAT)
Divers Prospects in and about Tangier. Prospect of y.e North side of Tangier regarding the mayne Sea from the hill as you come from Whitby or the West, toward the Towne.
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, corners damaged, laid on album sheet.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42672] £120.00 (£144.00 incl.VAT)
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, corners damaged, laid on album sheet.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42672] £120.00 (£144.00 incl.VAT)
Divers Prospects in and about Tangier. Prospect of y.e North side of Tangier regarding the mayne Sea from the hill as you come from Whitby or the West, toward the Towne.
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, mounted in album paper.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42281] £260.00 (£312.00 incl.VAT)
Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 155 x 210mm (6¼ x 8¼"). Trimmed to printed border, mounted in album paper.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii. See 41635
[Ref: 42281] £260.00 (£312.00 incl.VAT)
Divers Prospects in and about Tangier Exactly delineated by W: Hollar his May.ties designer, Ao1669, and by him afterwards to satisfie the curious, etchd in Copper.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 135 x 220mm (5¼ x 8½"). Very slight repaired damage on left. Trimmed.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii
[Ref: 68290] £260.00 (£312.00 incl.VAT)
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, sheet 135 x 220mm (5¼ x 8½"). Very slight repaired damage on left. Trimmed.
Title plate to a series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1187 i/ii
[Ref: 68290] £260.00 (£312.00 incl.VAT)
Divers Prospects in and about Tangier Exactly delineated by W: Hollar his May.ties designer, A.o 1669, and by him afterwards to satisfie the curious, etchd in Copper. Prospect of ye North side of Tangier regarding the mayne Sea from the hill as you come from Whitby or the West, toward the Towne.
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, 17th century watermark, sheet 130 x 215mm (5 x 8½"). Trimmed to image on three sides, small hole in text at bottom.
The title plate to a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1187, state i of ii
[Ref: 55520] £380.00
And are to be Sold by John Overton at the White Horse without Newgate, London 1673.
Etching, 17th century watermark, sheet 130 x 215mm (5 x 8½"). Trimmed to image on three sides, small hole in text at bottom.
The title plate to a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1187, state i of ii
[Ref: 55520] £380.00
Prospect of ye Bowling green at Whitehall, by Tangier.
W Hollar delin 1669.
[Published by John Overton, 1673]
Etching, sheet 125 x 215mm (5 x 8½"). Glued to backing sheet.
Bowls being played on a bowling green in British-administered Tangier. One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1198 ii/ii
[Ref: 42209] £190.00 (£228.00 incl.VAT)
W Hollar delin 1669.
[Published by John Overton, 1673]
Etching, sheet 125 x 215mm (5 x 8½"). Glued to backing sheet.
Bowls being played on a bowling green in British-administered Tangier. One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1198 ii/ii
[Ref: 42209] £190.00 (£228.00 incl.VAT)
Tangier.
D Donald.
[British, c.1923.]
Etching, printed in colours, signed artist's proof on vellum. 230 x 325mm (9 x 12¾"), with Fine Art Trade Guild blindstamps.
Boats in the harbour at Tangier, northern Morocco, North Africa; buildings beyond.
Guichard: Appendix 1, p.71.
[Ref: 53257] £120.00 (£144.00 incl.VAT)
D Donald.
[British, c.1923.]
Etching, printed in colours, signed artist's proof on vellum. 230 x 325mm (9 x 12¾"), with Fine Art Trade Guild blindstamps.
Boats in the harbour at Tangier, northern Morocco, North Africa; buildings beyond.
Guichard: Appendix 1, p.71.
[Ref: 53257] £120.00 (£144.00 incl.VAT)
Prospect of the grounds about Henrietta Fort.
W. Hollar delin.
[Published by John Overton, 1673]
Etching, sheet 125 x 220mm (5 x 8½").
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1197
[Ref: 42207] £190.00 (£228.00 incl.VAT)
W. Hollar delin.
[Published by John Overton, 1673]
Etching, sheet 125 x 220mm (5 x 8½").
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1197
[Ref: 42207] £190.00 (£228.00 incl.VAT)
Prospect of ye Inner part of Tangier with the upper Castle from South-East.
W. Hollar delineavit et scul.
[Published by John Overton, 1673.]
Etching, 17th century watermark, Sheet 125 x 210mm (5 x 8¼"). Trimmed to printed border, tape on reverse.
A view looking up to the citadel of Tangier, one of a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Frontis to "Moores baffled being a discourse concerning Tangier". Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1192, state i/ii.
[Ref: 55505] £360.00
W. Hollar delineavit et scul.
[Published by John Overton, 1673.]
Etching, 17th century watermark, Sheet 125 x 210mm (5 x 8¼"). Trimmed to printed border, tape on reverse.
A view looking up to the citadel of Tangier, one of a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Frontis to "Moores baffled being a discourse concerning Tangier". Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1192, state i/ii.
[Ref: 55505] £360.00
Prospect of ye Inner part of Tangier with the upper Castle from South-East.
W. Hollar delineavit et scul.
[Published by John Overton, 1673]
Etching, sheet 125 x 210mm (5 x 8¼"). Trimmed to printed border, laid on paper, some peeled, and mounted in another album sheet.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1192 ii/ii. See 41636.
[Ref: 42282] £160.00 (£192.00 incl.VAT)
W. Hollar delineavit et scul.
[Published by John Overton, 1673]
Etching, sheet 125 x 210mm (5 x 8¼"). Trimmed to printed border, laid on paper, some peeled, and mounted in another album sheet.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1192 ii/ii. See 41636.
[Ref: 42282] £160.00 (£192.00 incl.VAT)
Prospect of ye Inner part of Tangier with the upper Castle from South-East.
W. Hollar delineavit et scul.
[Published by John Overton, 1673] [But later]
Etching, sheet 125 x 220mm (5 x 8½"). Trimmed.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1192 ii/ii.
[Ref: 68288] £190.00 (£228.00 incl.VAT)
W. Hollar delineavit et scul.
[Published by John Overton, 1673] [But later]
Etching, sheet 125 x 220mm (5 x 8½"). Trimmed.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1192 ii/ii.
[Ref: 68288] £190.00 (£228.00 incl.VAT)
Prospect of ye Inner part of Tangier with the upper Castle from South-East.
W. Hollar delineavit et scul.
[Published by John Overton, 1673]
Etching, sheet 125 x 215mm (5 x 8½"). Trimmed to printed border, laid on album sheet.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1192 ii/ii. See 41636.
[Ref: 42676] £190.00 (£228.00 incl.VAT)
W. Hollar delineavit et scul.
[Published by John Overton, 1673]
Etching, sheet 125 x 215mm (5 x 8½"). Trimmed to printed border, laid on album sheet.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1192 ii/ii. See 41636.
[Ref: 42676] £190.00 (£228.00 incl.VAT)
Prospect of ye lower part of Tangier from the hill West of White-hall.
W. Hollar delin.
[Published by John Overton, 1673.]
Etching. 120 x 210mm (4¾ x 8¼"). Trimmed, laid on album sheet.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1190 ii/ii.
[Ref: 42673] £360.00
W. Hollar delin.
[Published by John Overton, 1673.]
Etching. 120 x 210mm (4¾ x 8¼"). Trimmed, laid on album sheet.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1190 ii/ii.
[Ref: 42673] £360.00
A Prospect of ye lower part of Tangier from the hill West of White Hall
John Oliver Fecit.
John Sellers Excudit [1680]
Etching, 140 x 215mm. 5½ x 8½".
View of Tangier, from a series of six Tangiers views after Wenceslaus Hollar engraved by John Oliver and published by John Seller in his 'A Book of Sea Stories and Prospects' (1680). Seller (fl. 1660- d.1697) was also an important instrument maker, map and chart seller, and hydrographer to the king.
[Ref: 15898] £140.00 (£168.00 incl.VAT)
John Oliver Fecit.
John Sellers Excudit [1680]
Etching, 140 x 215mm. 5½ x 8½".
View of Tangier, from a series of six Tangiers views after Wenceslaus Hollar engraved by John Oliver and published by John Seller in his 'A Book of Sea Stories and Prospects' (1680). Seller (fl. 1660- d.1697) was also an important instrument maker, map and chart seller, and hydrographer to the king.
[Ref: 15898] £140.00 (£168.00 incl.VAT)
Prospect of ye lower part of Tangier from the hill West of White-hall.
W. Hollar delin.
[Published by John Overton, 1673.]
Etching, sheet 125 x 215mm (5 x 8½"). On 17th century watermarked paper. Collector's stamp of G.A. Cardew, 'G.A.C.' Trimmed to platemark.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1190 i/ii. Lugt: L.1134.
[Ref: 68287] £360.00
W. Hollar delin.
[Published by John Overton, 1673.]
Etching, sheet 125 x 215mm (5 x 8½"). On 17th century watermarked paper. Collector's stamp of G.A. Cardew, 'G.A.C.' Trimmed to platemark.
One of series of views in Tangier (modern Morocco) by Wenceslaus Hollar (1607-77). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made some sketches of the fortifications, published in 1673. The fortifications shown were demolished in 1684 when the English government abandoned Tangier. Some of Hollar's drawings of Tangier are in the British Museum.
Pennington 1190 i/ii. Lugt: L.1134.
[Ref: 68287] £360.00
Prospect of ye lower part of Tangier from the hill West of White-hall.
W. Hollar delin.
[Published by John Overton, 1673.]
Etching, 17th century watermark. Sheet 125 x 215mm (5 x 8½"). Some spotting and creasing
A view looking over Tangier towards the bay with the city walls, one of a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1190, state i of ii.
[Ref: 55507] £230.00 (£276.00 incl.VAT)
W. Hollar delin.
[Published by John Overton, 1673.]
Etching, 17th century watermark. Sheet 125 x 215mm (5 x 8½"). Some spotting and creasing
A view looking over Tangier towards the bay with the city walls, one of a series of views by Wenceslaus Hollar (1607-77) showing the city when it was an English possession (1671-84). Tangier came into English possession as part of Catherine of Braganza's dowry when she married Charles II in 1662, although attempts to develop it strategically and commercially were unsuccessful. In 1688 Hollar, in his capacity of 'Scenographus Regus', went there as part of a mission sent to deal with problems with hostile natives. Hollar made many sketches of the city (some now in the British Museum), depicting the fortifications that were demolished in 1684 when the English abandoned Tangier.
Pennington 1190, state i of ii.
[Ref: 55507] £230.00 (£276.00 incl.VAT)
![[Tangiers Market]](jpegs/36777.jpg)
[Tangiers Market]
H Macbeth Raeburn Sct [pencil signature lower right]
Etching, platemark 260 x 165mm (10¼ x 6½").
Market scene in Tangiers, Morocco, by Henry Macbeth Raeburn (1860-1947), portrait painter and printmaker active in London, who exhibited at the RA 1881-1904. 'A good etcher' (Guichard).
Limited to 50 impressions. Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36777] £160.00 (£192.00 incl.VAT)
H Macbeth Raeburn Sct [pencil signature lower right]
Etching, platemark 260 x 165mm (10¼ x 6½").
Market scene in Tangiers, Morocco, by Henry Macbeth Raeburn (1860-1947), portrait painter and printmaker active in London, who exhibited at the RA 1881-1904. 'A good etcher' (Guichard).
Limited to 50 impressions. Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 36777] £160.00 (£192.00 incl.VAT)