A selection of stock we have recently added to our website.
A selection of stock we have recently added to our website.
VAT included (see terms) | Exclude VAT
![[Germany] Johann Gottfried Morell](jpegs/2791.jpg)
[Germany] Johann Gottfried Morell Fur: utr: Com: Pal: Cæs: Reipubl. Augustanæ Senator, Ædelis Curiæ Artificum Mercatorum et Opificum Præfectus, Scholarcha &c. natus Augustæ Vindelicorum die 16. Martii Ao. 1720.
Zeuger pinxit. D.H.Degmair fecit.
[n.d., c.1782.]
Mezzotint. Sheet 335 x 220mm. Narrow margins.
Architect, member of the city council of Augsburg, frobably the son of Johann Georg Morell, 1690-1763. He is holding a map of the river Lech: it seems he was involved in making it navigatable.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 2791] £240.00 (£288.00 incl.VAT)
Zeuger pinxit. D.H.Degmair fecit.
[n.d., c.1782.]
Mezzotint. Sheet 335 x 220mm. Narrow margins.
Architect, member of the city council of Augsburg, frobably the son of Johann Georg Morell, 1690-1763. He is holding a map of the river Lech: it seems he was involved in making it navigatable.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 2791] £240.00 (£288.00 incl.VAT)
Setters.
Painted by G. Morland. Engraved by S. Reynolds.
London Pub. by Morgan. [n.d., c.1800]
A very rare mezzotint. 330 x 380mm (13 x 15") Foxing in margins and title area; creasing.
Reverse copy, possibly French, of Samuel Reynolds' 1799 mezzotint (Whitman 405) published by Morgan.
Not in BM. Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 14865] £450.00
Painted by G. Morland. Engraved by S. Reynolds.
London Pub. by Morgan. [n.d., c.1800]
A very rare mezzotint. 330 x 380mm (13 x 15") Foxing in margins and title area; creasing.
Reverse copy, possibly French, of Samuel Reynolds' 1799 mezzotint (Whitman 405) published by Morgan.
Not in BM. Ex: the Collection of the Hon. C. Lennox-Boyd.
[Ref: 14865] £450.00
George Morland. This most excellent Painter died Oct.r 29 1804 In the 41. Year of his Age.
Painted & Engraved by J.R. Smith.
London Pub Jan 20 1805 by J.R. Smith 31 King Street Cov.t Garden & R. Ackermann 101 Strand.
Mezzotint with very large margins. 390 x 360mm (19¼ x 14¼"). Some spotting on margins.
A portrait of George Morland (1763-1804), shown painting a coastal scene, looking over his shoulder towards the viewer. The portrait was painted, engraved and published by John Raphael Smith (1752-1812) who published many of Morland's works, including 'The Angler's Repast' and the famous 'Slave Trade' and 'African Hospitality' pair.
CS: 115, as described, although a later second state has been recorded. Frankau: 249; O' Dench: 392. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 34328] £260.00 (£312.00 incl.VAT)
Painted & Engraved by J.R. Smith.
London Pub Jan 20 1805 by J.R. Smith 31 King Street Cov.t Garden & R. Ackermann 101 Strand.
Mezzotint with very large margins. 390 x 360mm (19¼ x 14¼"). Some spotting on margins.
A portrait of George Morland (1763-1804), shown painting a coastal scene, looking over his shoulder towards the viewer. The portrait was painted, engraved and published by John Raphael Smith (1752-1812) who published many of Morland's works, including 'The Angler's Repast' and the famous 'Slave Trade' and 'African Hospitality' pair.
CS: 115, as described, although a later second state has been recorded. Frankau: 249; O' Dench: 392. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 34328] £260.00 (£312.00 incl.VAT)
Morning. Cottagers going out Haymaking. Le Matin. Villageois sortant pour aller Faire les Foins.
Painted by F. Wheatley R.A. Engraved by J Yeatherd, late pupil to Mr.V. Green.
Published as the Act directs April 18, 1794, by J. Yeatherd.
Fine colour-printed mezzotint. 520 x 640mm (20½ x 24¼"). Ink mss 'No 79 John Street Tottenham Court Road London' in inscription area, small margins.
A couple and their two young children prepare for the day in the hayfields. A pair to 'Evening. The Return from the Fair'. The British Museum's few prints published by Yeatherd are dated 1794 to 1797.
BM: 2010,7081.3560. Their example of 'Evening' (2010,7081.3559) also has the address written in by hand, suggesting it was done by the publisher. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 43492] £360.00
Painted by F. Wheatley R.A. Engraved by J Yeatherd, late pupil to Mr.V. Green.
Published as the Act directs April 18, 1794, by J. Yeatherd.
Fine colour-printed mezzotint. 520 x 640mm (20½ x 24¼"). Ink mss 'No 79 John Street Tottenham Court Road London' in inscription area, small margins.
A couple and their two young children prepare for the day in the hayfields. A pair to 'Evening. The Return from the Fair'. The British Museum's few prints published by Yeatherd are dated 1794 to 1797.
BM: 2010,7081.3560. Their example of 'Evening' (2010,7081.3559) also has the address written in by hand, suggesting it was done by the publisher. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 43492] £360.00
The Mother's Favourite, playing his Tricks with the Candle.
Printed for Carington Bowles, No. 69 in St. Pauls Church Yard, London [Monday 5 October 1772].
Mezzotint with large margins. Platemark: 150 x 110mm (6 x 4¼"). Fine impression. Glued in corners to backing sheet. Publication date removed from print as normal.
A boy, shown half-length, smiling and looking down to left at a candle he shields with one hand.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32825] £180.00 (£216.00 incl.VAT)
Printed for Carington Bowles, No. 69 in St. Pauls Church Yard, London [Monday 5 October 1772].
Mezzotint with large margins. Platemark: 150 x 110mm (6 x 4¼"). Fine impression. Glued in corners to backing sheet. Publication date removed from print as normal.
A boy, shown half-length, smiling and looking down to left at a candle he shields with one hand.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32825] £180.00 (£216.00 incl.VAT)
Much-A-Do About Nothing. No 82
[After Antoine Watteau].
Printed for Carington Bowles, No.69 in St. Pauls Church Yard, London. [n.d., c.1780].
Hand coloured mezzotint with small margins. Platemark: 145 x 110mm (5¾ x 4¼").
A cat claws a parson in a wig as a woman jumps back in fear. A jester laughs at the right of the scene.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32843] £160.00 (£192.00 incl.VAT)
[After Antoine Watteau].
Printed for Carington Bowles, No.69 in St. Pauls Church Yard, London. [n.d., c.1780].
Hand coloured mezzotint with small margins. Platemark: 145 x 110mm (5¾ x 4¼").
A cat claws a parson in a wig as a woman jumps back in fear. A jester laughs at the right of the scene.
Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32843] £160.00 (£192.00 incl.VAT)
![[Germany] [Prof. Max Muller].](jpegs/36814.jpg)
[Germany] [Prof. Max Muller].
London Published July 22nd, 1884 by Henry Graves & co. the Proprietors Publishers to H.M. the Queen and T.R.H the Prince & Princess of Wales. 6 Pall Mall. Copyright Registered.
Mezzotint. 'Printsellers Assosiation' blind stamp in lower left corner. Proof before letters impression. Sheet size: 500 x 380mm (19¾ x 15"). Trimmed inside plate.
A portrait of Friedrich Max Müller (1823 -1900), seated, to the right, facing the viewer. Muller was a German born philologist and Orientalist, who lived and studied in Britain for most of his life. He wrote both scholarly and popular works on the subject of Indology and the 'Sacred Books of the East', a 50-volume set of English translations, was prepared under his direction. Contents
Ex collection of Christopher Lennox-Boyd.
[Ref: 36814] £250.00 (£300.00 incl.VAT)
London Published July 22nd, 1884 by Henry Graves & co. the Proprietors Publishers to H.M. the Queen and T.R.H the Prince & Princess of Wales. 6 Pall Mall. Copyright Registered.
Mezzotint. 'Printsellers Assosiation' blind stamp in lower left corner. Proof before letters impression. Sheet size: 500 x 380mm (19¾ x 15"). Trimmed inside plate.
A portrait of Friedrich Max Müller (1823 -1900), seated, to the right, facing the viewer. Muller was a German born philologist and Orientalist, who lived and studied in Britain for most of his life. He wrote both scholarly and popular works on the subject of Indology and the 'Sacred Books of the East', a 50-volume set of English translations, was prepared under his direction. Contents
Ex collection of Christopher Lennox-Boyd.
[Ref: 36814] £250.00 (£300.00 incl.VAT)
My Dear Girl!
430 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1800.
Coloured mezzotint with very large margins. 150 x 115mm (6 x 4½"). Pinhole in upper margin.
A doting father hugging his daughter.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32960] £120.00 (£144.00 incl.VAT)
430 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1800.
Coloured mezzotint with very large margins. 150 x 115mm (6 x 4½"). Pinhole in upper margin.
A doting father hugging his daughter.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32960] £120.00 (£144.00 incl.VAT)
![My Dear Girl! [&] My Charming Boy!](jpegs/32961.jpg)
My Dear Girl! [&] My Charming Boy!
431 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1795.
Pair of coloured mezzotints. Each sheet c.150 x 110mm (6 x 4¼"). Trimmed within plate, mounted on album paper together.
A doting father hugging his daughter and a besotted mother with her son.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32961] £220.00 (£264.00 incl.VAT)
431 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. Published 5th March 1795.
Pair of coloured mezzotints. Each sheet c.150 x 110mm (6 x 4¼"). Trimmed within plate, mounted on album paper together.
A doting father hugging his daughter and a besotted mother with her son.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32961] £220.00 (£264.00 incl.VAT)
Narcissus and the Nymph Echo. 341. Ye Fates what made me chance to stroll that way; _Where Young Narcissus self admiring lay.
London: Printed for & Sold by Carington Bowles, No. 69 in St. Pauls Church Yard. Publish'd as the Act directs, [date erased from this impression, but c.1782.]
Fine mezzotint with some etching, Collector's mark verso F.R.H. Plate 355 x 255mm (14 x 10"). Small margins.
The myth of Echo and Narcissus updated for the Georgian period: a young military officer in full regimentals wearing a gorget and fringed sash, with a toupet-wig, lies on the grass admiring his reflection in a pool. His hat and sword lie beside him. A young woman, fashionably dressed, wearing a hat over a large frilled cap, stands behind a low bank holding out her hands in despair.
Ex collection of Christopher Lennox-Boyd. BM Satires: 6157 (cf).
[Ref: 52769] £420.00
London: Printed for & Sold by Carington Bowles, No. 69 in St. Pauls Church Yard. Publish'd as the Act directs, [date erased from this impression, but c.1782.]
Fine mezzotint with some etching, Collector's mark verso F.R.H. Plate 355 x 255mm (14 x 10"). Small margins.
The myth of Echo and Narcissus updated for the Georgian period: a young military officer in full regimentals wearing a gorget and fringed sash, with a toupet-wig, lies on the grass admiring his reflection in a pool. His hat and sword lie beside him. A young woman, fashionably dressed, wearing a hat over a large frilled cap, stands behind a low bank holding out her hands in despair.
Ex collection of Christopher Lennox-Boyd. BM Satires: 6157 (cf).
[Ref: 52769] £420.00
Neck or Nothing! or Quite the Kick.
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Very large margins.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32962] £120.00 (£144.00 incl.VAT)
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Very large margins.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32962] £120.00 (£144.00 incl.VAT)
Neck or Nothing! or Quite the Kick.
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Trimmed into plate.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32963] £90.00 (£108.00 incl.VAT)
427 Dighton del.
London: Printed for Bowles & Carver, No 69 St Paul's Church Yard. [n.d., c.1790.]
Mezzotint. 150 x 110mm (6 x 4¼"). Trimmed into plate.
A dong-haired dandy, arms crossed, smiling complacently. 'The Kick' denotes the present fashion.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32963] £90.00 (£108.00 incl.VAT)
The Most Noble Lord Horation Nelson, Viscount and Baron Nelson of the Nile, and of Burnham Thorpe, in the County of Norfolk, Baron Nelson of the Nile, & of Hilborough in the said County; Knight of the Most Honourable Order of the Bath; Vice Admiral of the White Squadron of the Fleet; Commander in Chief of his Majesty's Ships and Vessels in the Mediterranean... After a series of Transcendent and heroic services this gallant Admiral fell gloriously in the moment of a brilliant and decisive Victory of the combined fleets of France and Spain off Cape Trafalgar on the 21st October 1805. Engraved from the Original Picture in the Common Council Chamber of the City of London and which was presented to the Corporation by the late M.r Alderman John Boydell.
Painted by S.r Will.m Beechey R.A. Engraved by Richard Earlom.
Pub. Jan 9th. 1806, by Boydell & C.o. 90, Cheapside, London.
Mezzotint. 515 x 360mm. Laid on board, some foxing.
Beechey painted this portrait in 1801.
CLB iv of iv. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 583] £480.00
Painted by S.r Will.m Beechey R.A. Engraved by Richard Earlom.
Pub. Jan 9th. 1806, by Boydell & C.o. 90, Cheapside, London.
Mezzotint. 515 x 360mm. Laid on board, some foxing.
Beechey painted this portrait in 1801.
CLB iv of iv. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 583] £480.00
Nelson. Nelson Bronte [Facsimile left hand.]
Painted by Sir Will.m Beechey Portrait Painter to the Queen. Engraved by Will.m Say.
[London, Published Jan.y 9th. 1806. by the Engraver, No.92 Norton Street, Marylebone.]
Scarce mezzotint. Sheet 495 x 355mm (19½ x 14"). Trimmed close to plate on three sides, into inscription area losing publisher's line and description of the facsimile signature. Small damage top left in borders.
A three-quarter length portrait Vice Admiral Horatio Nelson (1758-1805), hero of the Battle of Trafalgar, published posthumously. The head-and-shoulders portrait by Beechey used as a basis for this print was commissioned by the City of Norwich in 1800; it is regarded as the most faithful likeness of him, and is now in the National Portrait Gallery.
Ex collection of the Hon Christopher Lennox-Boyd.
[Ref: 34263] £350.00
Painted by Sir Will.m Beechey Portrait Painter to the Queen. Engraved by Will.m Say.
[London, Published Jan.y 9th. 1806. by the Engraver, No.92 Norton Street, Marylebone.]
Scarce mezzotint. Sheet 495 x 355mm (19½ x 14"). Trimmed close to plate on three sides, into inscription area losing publisher's line and description of the facsimile signature. Small damage top left in borders.
A three-quarter length portrait Vice Admiral Horatio Nelson (1758-1805), hero of the Battle of Trafalgar, published posthumously. The head-and-shoulders portrait by Beechey used as a basis for this print was commissioned by the City of Norwich in 1800; it is regarded as the most faithful likeness of him, and is now in the National Portrait Gallery.
Ex collection of the Hon Christopher Lennox-Boyd.
[Ref: 34263] £350.00
His Serene Highness Will.m Charles Henry Friso Prince of Orange & of Nassau &c. Stadholder, Admiral, & Captain General of the United Provinces.
Peint par P. V. Dyk
Printed for T. Bowles in St Pauls Church Yard, & J. Bowles at ye Black Horse in Cornhill
Mezzotint with large margins, very fine; platemark 355 x 255mm (14 x 10"). Glued to backing sheet at corners.
William IV, Prince of Orange-Nassau (1711-1751), the first hereditary Stadtholder of the Netherlands. After a portrait by Philip van Dijk (1680-1753), who painted William several times. This print appears to have been first published with verses in Dutch below, and the text subsequently replaced with one in English.
Ex: collection of the late Hon. C. Lennox-Boyd; CS Faber 270 ii/ii
[Ref: 34115] £320.00
Peint par P. V. Dyk
Printed for T. Bowles in St Pauls Church Yard, & J. Bowles at ye Black Horse in Cornhill
Mezzotint with large margins, very fine; platemark 355 x 255mm (14 x 10"). Glued to backing sheet at corners.
William IV, Prince of Orange-Nassau (1711-1751), the first hereditary Stadtholder of the Netherlands. After a portrait by Philip van Dijk (1680-1753), who painted William several times. This print appears to have been first published with verses in Dutch below, and the text subsequently replaced with one in English.
Ex: collection of the late Hon. C. Lennox-Boyd; CS Faber 270 ii/ii
[Ref: 34115] £320.00
![[The Newsmongers.]](jpegs/10565.jpg)
[The Newsmongers.]
J Donaldson delint. J Finlayson fect.
Publish'd May 1st. 1769.
Mezzotint, proof before title, 355 x 450mm. 14 x 17¾". Very scarce and fine.
Two smiths and a tailor gossiping, one leaning on his hammer, open-mouthed, the second pausing hammer in hand, agog to hear the news the tailor has rushed in to tell them. All three figures are caricatured. Illustrates Act 4 Scene 2 of The Life and Death of King John by William Shakespeare. After John Donaldson (1737 - 1801), a good impression with margins.
Chaloner Smith: undescribed. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 10565] £750.00
J Donaldson delint. J Finlayson fect.
Publish'd May 1st. 1769.
Mezzotint, proof before title, 355 x 450mm. 14 x 17¾". Very scarce and fine.
Two smiths and a tailor gossiping, one leaning on his hammer, open-mouthed, the second pausing hammer in hand, agog to hear the news the tailor has rushed in to tell them. All three figures are caricatured. Illustrates Act 4 Scene 2 of The Life and Death of King John by William Shakespeare. After John Donaldson (1737 - 1801), a good impression with margins.
Chaloner Smith: undescribed. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 10565] £750.00
Nice Apples. 233.
Publish'd 20th Jan.y 1794 by Rob.t Sayer, Fleet Street, London.
Mezzotint. 155 x 110mm (6¼ x 4¼"). Very large margins.
A child sitting on a stool, working her way through a basket of apples.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32964] £90.00 (£108.00 incl.VAT)
Publish'd 20th Jan.y 1794 by Rob.t Sayer, Fleet Street, London.
Mezzotint. 155 x 110mm (6¼ x 4¼"). Very large margins.
A child sitting on a stool, working her way through a basket of apples.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32964] £90.00 (£108.00 incl.VAT)
![[Night.]](jpegs/37727.jpg)
[Night.]
[Engraved by Charles Spooner after Richard Wilson & Richard Houston.]
[n.d., c.1780.]
Fine mezzotint, proof before letters. 155 x 115mm (6 x 4½"). Small margins.
'Night' from a set of Times of Day. A young woman with a gauzy veil draped over her cap and falling down her left side, glancing sleepily through it at the viewer, her hands folded in her lap, books on the table beside her. A version of the mezzotint by Richard Houston after Richard Wilson, lacking the background detail.
See BM: 2010,7081.446 for the Houston version. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37727] £240.00 (£288.00 incl.VAT)
[Engraved by Charles Spooner after Richard Wilson & Richard Houston.]
[n.d., c.1780.]
Fine mezzotint, proof before letters. 155 x 115mm (6 x 4½"). Small margins.
'Night' from a set of Times of Day. A young woman with a gauzy veil draped over her cap and falling down her left side, glancing sleepily through it at the viewer, her hands folded in her lap, books on the table beside her. A version of the mezzotint by Richard Houston after Richard Wilson, lacking the background detail.
See BM: 2010,7081.446 for the Houston version. Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 37727] £240.00 (£288.00 incl.VAT)
The Right Honorable Frederick Lord North, First Lord Commissioner of his Majesty's Treasury, Chancellor & Under Treasurer of the Exchequer, Chancellor of the University of Oxford, One of his Majesty's most honorable Privy Council, Knight of the most Noble Order of the Garter &c. &c. &c.
N. Dance faciem pinx.t. T. Burke fecit.
Publish'd Sep.t 20th 1775 by W.m Wynne Ryland Engraver to his Majesty NO 159 near Somerset House Strand London.
Mezzotint, fine impression. 505 x 355mm (19¾ x 14"). Adhered to backing paper at corners and left & right, cut almost to plate.
Frederick North (1732-92), Lord North and later 2nd Earl of Guilford. He was Prime Minister from 1770 until he became the first P.M. to be forced from office by a vote of no confidence, brought on by the defeat at Yorktown in 1781 during the American War of Independence. He resigned on 20th March 1782.
CS 6 i of ii. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 53623] £320.00
N. Dance faciem pinx.t. T. Burke fecit.
Publish'd Sep.t 20th 1775 by W.m Wynne Ryland Engraver to his Majesty NO 159 near Somerset House Strand London.
Mezzotint, fine impression. 505 x 355mm (19¾ x 14"). Adhered to backing paper at corners and left & right, cut almost to plate.
Frederick North (1732-92), Lord North and later 2nd Earl of Guilford. He was Prime Minister from 1770 until he became the first P.M. to be forced from office by a vote of no confidence, brought on by the defeat at Yorktown in 1781 during the American War of Independence. He resigned on 20th March 1782.
CS 6 i of ii. Ex collection of the Hon. Christopher Lennox-Boyd.
[Ref: 53623] £320.00
Old Gripus plunder'd by his Young Wife.
London, Published as the Act directs 11th October 1779 by Robert Wilkinson, at No.58 in Cornhill.
Mezzotint with large margins. 155 x 110mm (6¼ x 4¼").
A pretty young woman raids the purse of her elderly, snaggle-toothed husband. A reduction of the plate engraved by Dawes for John Bowles, whose business Wilkinson took over the year of publication of this print.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32966] £160.00 (£192.00 incl.VAT)
London, Published as the Act directs 11th October 1779 by Robert Wilkinson, at No.58 in Cornhill.
Mezzotint with large margins. 155 x 110mm (6¼ x 4¼").
A pretty young woman raids the purse of her elderly, snaggle-toothed husband. A reduction of the plate engraved by Dawes for John Bowles, whose business Wilkinson took over the year of publication of this print.
Ex Collection of the Hon. Christopher Lennox-Boyd.
[Ref: 32966] £160.00 (£192.00 incl.VAT)
The Owl Face. In dull Solemnity there winks the Owl [...]
J. Molin Pinx.t. W. Bockman Fecit
Printed for John Bowles & Son, at the Black Horse in Cornhil [c.1760]
Mezzotint, platemark 350 x 250mm (13¾ x 9¾"). Trimmed inside platemark; 'CL-B' collector's stamp verso.
Satire with a man mocking the owl he holds, while the woman next to him identifies him as 'the grinning fool' as the text below explains.
Ex: collection of the Late Hon. C. Lennox-Boyd. In reverse of 36212.
[Ref: 36213] £380.00
J. Molin Pinx.t. W. Bockman Fecit
Printed for John Bowles & Son, at the Black Horse in Cornhil [c.1760]
Mezzotint, platemark 350 x 250mm (13¾ x 9¾"). Trimmed inside platemark; 'CL-B' collector's stamp verso.
Satire with a man mocking the owl he holds, while the woman next to him identifies him as 'the grinning fool' as the text below explains.
Ex: collection of the Late Hon. C. Lennox-Boyd. In reverse of 36212.
[Ref: 36213] £380.00
The Owl Face. In dull Solemnity there winks the Owl [...] 264
J. Molin Pinx.t
London, Printed for Rob.t Sayer No.53 in Fleet Street [c.1770]
Mezzotint, platemark 350 x 250mm (13¾ x 9¾"). Trimmed inside platemark lower edge; 'CL-B' collector's stamp verso.
Satire with a man mocking the owl he holds, while the woman next to him identifies him as 'the grinning fool' as the text below explains. Copy in reverse of an earlier print by Gerhard Bockman.
Ex: collection of the Late Hon. C. Lennox-Boyd. In reverse of 36213.
[Ref: 36212] £380.00
J. Molin Pinx.t
London, Printed for Rob.t Sayer No.53 in Fleet Street [c.1770]
Mezzotint, platemark 350 x 250mm (13¾ x 9¾"). Trimmed inside platemark lower edge; 'CL-B' collector's stamp verso.
Satire with a man mocking the owl he holds, while the woman next to him identifies him as 'the grinning fool' as the text below explains. Copy in reverse of an earlier print by Gerhard Bockman.
Ex: collection of the Late Hon. C. Lennox-Boyd. In reverse of 36213.
[Ref: 36212] £380.00
Pætus and Arria. To Her Highness the Princess Daschkau, This Plate is, by Permission, Dedicated, by her Highness's most Dutiful & Obliged, humble Servant, Valentine Green.
Painted by B. West Historical Painter to his Majesty. Engrav'd by V. Green, Mezzotinto Engraver to his Majesty, & the Elector Palatine.
Published [****] No 24 Percy Street Bedford [****].
Mezzotint. Sheet 655 x 405mm (25¾ x 16"). Trimmed within plate, small area of creasing, dedication badly inked, publication line partially erased.
A scene from the letters of Pliny the Younger: Caecina Paetus, having received an order to commit suicide for his part in a rebellion against Emperor Claudius, cannot bring himself to do it. His wife, Arria, stabs herelf and tries to hand her husband the dagger, telling him that it didn't hurt. Pliny heard the story from Arria's granddaughter, Fannia. The scene was engraved by Valentine Green after American painter Benjamin West (1738-1820), and dedicated to Yekaterina Vorontsova-Dashkova (1743-1810), a close friend of Catherine the Great, who was created a Director of the Imperial Academy of Arts and Sciences on her return to Russia in 1782. Originally published by Green in 1781, this is a later state unrecored by Whitman.
Whitman: 224. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 48454] £240.00 (£288.00 incl.VAT)
Painted by B. West Historical Painter to his Majesty. Engrav'd by V. Green, Mezzotinto Engraver to his Majesty, & the Elector Palatine.
Published [****] No 24 Percy Street Bedford [****].
Mezzotint. Sheet 655 x 405mm (25¾ x 16"). Trimmed within plate, small area of creasing, dedication badly inked, publication line partially erased.
A scene from the letters of Pliny the Younger: Caecina Paetus, having received an order to commit suicide for his part in a rebellion against Emperor Claudius, cannot bring himself to do it. His wife, Arria, stabs herelf and tries to hand her husband the dagger, telling him that it didn't hurt. Pliny heard the story from Arria's granddaughter, Fannia. The scene was engraved by Valentine Green after American painter Benjamin West (1738-1820), and dedicated to Yekaterina Vorontsova-Dashkova (1743-1810), a close friend of Catherine the Great, who was created a Director of the Imperial Academy of Arts and Sciences on her return to Russia in 1782. Originally published by Green in 1781, this is a later state unrecored by Whitman.
Whitman: 224. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 48454] £240.00 (£288.00 incl.VAT)
Veue du Palais Royal.
Dessigné et gravé par le Boissiere en 1679.
1679.
Engraving. Platemark: 385 x 520mm (15¼ x 20½"). Central vertical crease as normal where folded. Glued to backing sheet at edges.
An ariel view of the Palais-Royal in Paris, originally called the Palais-Cardinal, depicting the large inner court yard and gardens behind. A decorative cartouche featuring angels and cherubs is in both upper corners. By French engraver and achitect Gilles Jodelet de La Boissière.
Ex collection of Hon. Christopher Lennox-Boyd.
[Ref: 39019] £450.00
Dessigné et gravé par le Boissiere en 1679.
1679.
Engraving. Platemark: 385 x 520mm (15¼ x 20½"). Central vertical crease as normal where folded. Glued to backing sheet at edges.
An ariel view of the Palais-Royal in Paris, originally called the Palais-Cardinal, depicting the large inner court yard and gardens behind. A decorative cartouche featuring angels and cherubs is in both upper corners. By French engraver and achitect Gilles Jodelet de La Boissière.
Ex collection of Hon. Christopher Lennox-Boyd.
[Ref: 39019] £450.00
The Dutchess of Cleaveland.
G Kneller pinx:
I. S[mith ex.] [n.d., c.1685.]
Mezzotint. 340 x 250mm. Trimmed within plate, tipped into album page. Some foxing.
Barbara Palmer (née Villiers) (1640 - 1709), mistress of Charles II during the 1660s, created Duchess of Cleveland in 1670. 'Barbara' added in ink mss. above title. Published by the famous early mezzotinter and re-publisher of older plates John Smith (1652 - 1743), after Sir Godfrey Kneller (1646 - 1723).
Chaloner Smith: 22, II.
[Ref: 11591] £130.00 (£156.00 incl.VAT)
G Kneller pinx:
I. S[mith ex.] [n.d., c.1685.]
Mezzotint. 340 x 250mm. Trimmed within plate, tipped into album page. Some foxing.
Barbara Palmer (née Villiers) (1640 - 1709), mistress of Charles II during the 1660s, created Duchess of Cleveland in 1670. 'Barbara' added in ink mss. above title. Published by the famous early mezzotinter and re-publisher of older plates John Smith (1652 - 1743), after Sir Godfrey Kneller (1646 - 1723).
Chaloner Smith: 22, II.
[Ref: 11591] £130.00 (£156.00 incl.VAT)
![[Barbara Parmer] The Dutchess of Cleaveland.](jpegs/54650.jpg)
[Barbara Parmer] The Dutchess of Cleaveland.
P Lely pinx: E Lutterell fec:
I.Beckett ex: [n.d., c.1670.]
Fine & rare mezzotint. 335 x 250mm (13¼ x 9¾"). Trimmed to plate, tipped onto album sheet at corners.
Seated portrait of Barbara Palmer (née Villiers) (1640-1709), mistress of Charles II during the 1660s. In 1670 Charles made her Duchess of Cleveland, giving her Henry VIII's Nonsuch Palace. In 1683 she had the palace pulled down to sell the building materials to pay her gambling debts.
CS 5, ii of ii. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 54650] £320.00
P Lely pinx: E Lutterell fec:
I.Beckett ex: [n.d., c.1670.]
Fine & rare mezzotint. 335 x 250mm (13¼ x 9¾"). Trimmed to plate, tipped onto album sheet at corners.
Seated portrait of Barbara Palmer (née Villiers) (1640-1709), mistress of Charles II during the 1660s. In 1670 Charles made her Duchess of Cleveland, giving her Henry VIII's Nonsuch Palace. In 1683 she had the palace pulled down to sell the building materials to pay her gambling debts.
CS 5, ii of ii. Ex: Collection of The Hon. Christopher Lennox-Boyd.
[Ref: 54650] £320.00
Mr. Palmer
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs July 10. 1779 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet top left corner.
John Palmer (1744-98), actor, also known as 'Plausible Jack'. A popular and versatile actor, Palmer was believed to have performed over 375 different parts in his career. Palmer's remarkable career took him to many parts of the British Isles, including spells in Scotland and Ireland. After establishing himself as an actor, Palmer opened a new theatre, the Royalty, on Wellclose Square in East London. The theatre was open for less than two years however, and failed to offer the alternative to the West End which Palmer hoped to provide. His later career involved producing spectacles at the Royal Circus, but he was an actor to the last. Palmer had been beset by accidents throughout his career, including a near-fatal accident when a stage trap was released too quickly, and a stabbing when a spring in a dagger failed to work. He continued to work strenuously right up to his death, when taking on a lead role in Benjamin Thompson's 'The Stranger' at short notice. Clearly struggling, Palmer collapsed on stage and died during the fourth act. From a set of small mezzotint portraits of actors published by the printseller William Richardson in 1779. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; O'D 7; for the Royal Circus see ref. 8120. Ex: Oettingen-Wallerstein Collection.
[Ref: 36673] £220.00 (£264.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Pub.d as the Act Directs July 10. 1779 by W. Richardson No. 68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet top left corner.
John Palmer (1744-98), actor, also known as 'Plausible Jack'. A popular and versatile actor, Palmer was believed to have performed over 375 different parts in his career. Palmer's remarkable career took him to many parts of the British Isles, including spells in Scotland and Ireland. After establishing himself as an actor, Palmer opened a new theatre, the Royalty, on Wellclose Square in East London. The theatre was open for less than two years however, and failed to offer the alternative to the West End which Palmer hoped to provide. His later career involved producing spectacles at the Royal Circus, but he was an actor to the last. Palmer had been beset by accidents throughout his career, including a near-fatal accident when a stage trap was released too quickly, and a stabbing when a spring in a dagger failed to work. He continued to work strenuously right up to his death, when taking on a lead role in Benjamin Thompson's 'The Stranger' at short notice. Clearly struggling, Palmer collapsed on stage and died during the fourth act. From a set of small mezzotint portraits of actors published by the printseller William Richardson in 1779. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii; O'D 7; for the Royal Circus see ref. 8120. Ex: Oettingen-Wallerstein Collection.
[Ref: 36673] £220.00 (£264.00 incl.VAT)
Miss Pandoe.
The Original by J. Lilley.
[n.d., c.1850.]
Mezzotint. Open letter state. Sheet size: 245 x 170mm (9½ x 6¾"). Large margins. Light foxing. Damage along rightedge of sheet where previously bound. Trimmed inside platemark.
A portrait of Julia Pardoe (1806 - 1862), half-length, seated facing front and looking away to the left, with an alcove and climbing plants behind. Pardoe was an English poet, novelist, historian and traveller, perhaps best known for her books on travels in Turkey, which are some of the earliest works by a woman on this area. In 1836 she travelled to Constantinople with her father, Major Thomas Pardoe. She later collaborated with the artist William Henry Bartlett to produce 'The Beauties of the Bosphorus' (1839), an illustrated account of Constantinople.
Ex collection of Chrostopher Lennox-Boyd.
[Ref: 37168] £75.00 (£90.00 incl.VAT)
The Original by J. Lilley.
[n.d., c.1850.]
Mezzotint. Open letter state. Sheet size: 245 x 170mm (9½ x 6¾"). Large margins. Light foxing. Damage along rightedge of sheet where previously bound. Trimmed inside platemark.
A portrait of Julia Pardoe (1806 - 1862), half-length, seated facing front and looking away to the left, with an alcove and climbing plants behind. Pardoe was an English poet, novelist, historian and traveller, perhaps best known for her books on travels in Turkey, which are some of the earliest works by a woman on this area. In 1836 she travelled to Constantinople with her father, Major Thomas Pardoe. She later collaborated with the artist William Henry Bartlett to produce 'The Beauties of the Bosphorus' (1839), an illustrated account of Constantinople.
Ex collection of Chrostopher Lennox-Boyd.
[Ref: 37168] £75.00 (£90.00 incl.VAT)
Paris & Helen, directing Cupid to Inflame each others Heart w.th Love
[after Angelica Kauffman]
Published 12th May 1794 by Laurie & Whittle, No 53 Fleet Street, London
Mezzotint with small margins, platemark 350 x 250mm (13¾ x 9¾"). 'CL-B' collector's stamp verso.
Interesting example of fine art repurposed as a popular humorous print. Valentine Green's mezzotint of Angelica Kauffman's painting of Paris and Helen was an example of one of the finest printmakers in the country treating reproducing mythological subject matter by one of the most esteemed painters in the country. Here the composition becomes light-hearted and domestic. Originally a pair with 'Renaldo arresting the Arm of Armida', apparently also after Kauffman.
Ex: collection of the Late Hon. C. Lennox-Boyd; for Green's mezzotint from which this derives, see ref. 14873.
[Ref: 36228] £280.00 (£336.00 incl.VAT)
[after Angelica Kauffman]
Published 12th May 1794 by Laurie & Whittle, No 53 Fleet Street, London
Mezzotint with small margins, platemark 350 x 250mm (13¾ x 9¾"). 'CL-B' collector's stamp verso.
Interesting example of fine art repurposed as a popular humorous print. Valentine Green's mezzotint of Angelica Kauffman's painting of Paris and Helen was an example of one of the finest printmakers in the country treating reproducing mythological subject matter by one of the most esteemed painters in the country. Here the composition becomes light-hearted and domestic. Originally a pair with 'Renaldo arresting the Arm of Armida', apparently also after Kauffman.
Ex: collection of the Late Hon. C. Lennox-Boyd; for Green's mezzotint from which this derives, see ref. 14873.
[Ref: 36228] £280.00 (£336.00 incl.VAT)
The Sepulchral Chapel & Sarcophagus. / Of Abelard & Eloise.
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Trimmed on left. Paper watermarked J. Whatman 1824.
The tomb of Peter Abelard (1079-1142) and Héloïse d'Argenteuil (1092?-1164) in Père Lachaise Cemetery, Paris. Amongst the most celebrated lovers in history, Abelard and Héloïse were separated by circumstance but continued a passionate correspondence, and the survival of their letters provided the basis for their posthumous celebrity. In the 18th century works by Alexander Pope and Jean-Jacques Rousseau celebrated their love. The remains of the couple were moved in 1817 to the Gothic tomb shown here, which drew many visitors to the cemetery. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.8
[Ref: 36764] £140.00 (£168.00 incl.VAT)
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Trimmed on left. Paper watermarked J. Whatman 1824.
The tomb of Peter Abelard (1079-1142) and Héloïse d'Argenteuil (1092?-1164) in Père Lachaise Cemetery, Paris. Amongst the most celebrated lovers in history, Abelard and Héloïse were separated by circumstance but continued a passionate correspondence, and the survival of their letters provided the basis for their posthumous celebrity. In the 18th century works by Alexander Pope and Jean-Jacques Rousseau celebrated their love. The remains of the couple were moved in 1817 to the Gothic tomb shown here, which drew many visitors to the cemetery. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.8
[Ref: 36764] £140.00 (£168.00 incl.VAT)
![[Monument to Abelard and Héloïse]](jpegs/36770.jpg)
[Monument to Abelard and Héloïse]
J.T. Serres fec.t [in image]
Lithograph with fine hand-colouring, very scarce; Paper watermarked J. Whatman 1824; sheet 420 x 265mm (16½ x 10½").
The tomb of Peter Abelard (1079-1142) and Héloïse d'Argenteuil (1092?-1164) in Père Lachaise Cemetery, Paris. Amongst the most celebrated lovers in history, Abelard and Héloïse were separated by circumstance but continued a passionate correspondence, and the survival of their letters provided the basis for their posthumous celebrity. In the 18th century works by Alexander Pope and Jean-Jacques Rousseau celebrated their love. The remains of the couple were moved in 1817 to the Gothic tomb shown here, which drew many visitors to the cemetery. Three such visitors can be seen here contemplating the monument. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.9
[Ref: 36770] £160.00 (£192.00 incl.VAT)
J.T. Serres fec.t [in image]
Lithograph with fine hand-colouring, very scarce; Paper watermarked J. Whatman 1824; sheet 420 x 265mm (16½ x 10½").
The tomb of Peter Abelard (1079-1142) and Héloïse d'Argenteuil (1092?-1164) in Père Lachaise Cemetery, Paris. Amongst the most celebrated lovers in history, Abelard and Héloïse were separated by circumstance but continued a passionate correspondence, and the survival of their letters provided the basis for their posthumous celebrity. In the 18th century works by Alexander Pope and Jean-Jacques Rousseau celebrated their love. The remains of the couple were moved in 1817 to the Gothic tomb shown here, which drew many visitors to the cemetery. Three such visitors can be seen here contemplating the monument. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.9
[Ref: 36770] £160.00 (£192.00 incl.VAT)
The Chapel
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight staining lower right off image.
The chapel of Père Lachaise Cemetery in the suburbs of Paris, with funerary procession. Completed in 1823, the chapel was designed by the neo-classical architect Étienne-Hippolyte Godde (1781-1869), who was also responsible for the entrance to the cemetery. The immense mausoleum of politician and historian Adolphe Thiers (1797-1877) was later built next to it. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.1
[Ref: 36772] £120.00 (£144.00 incl.VAT)
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight staining lower right off image.
The chapel of Père Lachaise Cemetery in the suburbs of Paris, with funerary procession. Completed in 1823, the chapel was designed by the neo-classical architect Étienne-Hippolyte Godde (1781-1869), who was also responsible for the entrance to the cemetery. The immense mausoleum of politician and historian Adolphe Thiers (1797-1877) was later built next to it. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.1
[Ref: 36772] £120.00 (£144.00 incl.VAT)
![[Tombs of La Fontaine, Molière and Jacques DeLille.]](jpegs/36765.jpg)
[Tombs of La Fontaine, Molière and Jacques DeLille.]
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight marks lower right off subject.
The tombs of the fabulist Jean de La Fontaine (1621-95), playwright Molière (1622-73) and poet Jacques Delille (1738-1813) at Père Lachaise Cemetery in the suburbs of Paris. When the cemetery opened in 1804 it was located far from the centre of the city and attracted few funerals. The transfer of the remains of La Fontaine and Molière were part of a strategy to raise the profile of the cemetery. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.5/6/7
[Ref: 36765] £180.00 (£216.00 incl.VAT)
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight marks lower right off subject.
The tombs of the fabulist Jean de La Fontaine (1621-95), playwright Molière (1622-73) and poet Jacques Delille (1738-1813) at Père Lachaise Cemetery in the suburbs of Paris. When the cemetery opened in 1804 it was located far from the centre of the city and attracted few funerals. The transfer of the remains of La Fontaine and Molière were part of a strategy to raise the profile of the cemetery. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.5/6/7
[Ref: 36765] £180.00 (£216.00 incl.VAT)
Miscellaneous Tombs.
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½").
Tombs in Père Lachaise Cemetery in the suburbs of Paris. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.3/4
[Ref: 36768] £120.00 (£144.00 incl.VAT)
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½").
Tombs in Père Lachaise Cemetery in the suburbs of Paris. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.3/4
[Ref: 36768] £120.00 (£144.00 incl.VAT)
Miscellaneous Tombs
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight staining lower right off image.
Tombs in Père Lachaise Cemetery in the suburbs of Paris. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.3/4
[Ref: 36773] £140.00 (£168.00 incl.VAT)
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight staining lower right off image.
Tombs in Père Lachaise Cemetery in the suburbs of Paris. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.3/4
[Ref: 36773] £140.00 (£168.00 incl.VAT)
The Porter's Lodge.
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight staining lower left.
Porter's lodge at the entrance to Père Lachaise Cemetery in the suburbs of Paris, with mourning visitors and view towards the city in the distance. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.2
[Ref: 36769] £120.00 (£144.00 incl.VAT)
J.T. Serres [in image]
Lithograph with fine hand-colouring, very scarce; sheet 420 x 265mm (16½ x 10½"). Slight staining lower left.
Porter's lodge at the entrance to Père Lachaise Cemetery in the suburbs of Paris, with mourning visitors and view towards the city in the distance. Plate from 'Picturesque Views of the Principal Monuments in the Cemetery of Père La Chaise, near Paris', which comprised of ten coloured lithographs by John Thomas Serres (1759-1825). Serres, who like his father Dominic specialized in marine painting, was also a skilled printmaker although his later years were dogged by financial difficulties. Serres died in the same year that this volume was published.
Ex: collection of the Late Hon. C. Lennox-Boyd; Abbey 115.2
[Ref: 36769] £120.00 (£144.00 incl.VAT)
Mademoiselle Parisot.
Painted by A.W.Devis. Engraved by I.R.Smith Mezzotinto Engraver to his Royal Highness the Prince of Wales.
London Published as the Act directs March 11 1797 by A.W.Devis.
Mezzotint, open letters. 610 x 380mm. Trimmed to platemark at bottom.
Rose Parisot (c.1775-1837), French opera singer and ballerina, 'celebrated for the scantiness of her draperies' (Frankau). Parisot made her debut in Paris in 1789, and moved to London in 1796 (this print was published the following year). Her sheer costumes, which often exposed one breast, caused scandal, as recorded in many satirical prints of the 1790s. The Bishop of Durham denounced Parisot's costumes as 'indecent', and after an address to the House of Lords in 1798 certain adjustments were made. Her celebrated career ended in 1807, after which she married a Soho florist. Engraved by the celebrated mezzotint engraver John Raphael Smith and published by the portrait painter Arthur William Devis (1762-1822), from whose portrait the engraving is made. After a decade working in India, Devis struggled to establish himself in London in the late 1790s, but by 1800 he was in dire financial straits, and was finally imprisoned in 1804.
Ex: collection of the late Hon C. Lennox-Boyd; D'Oench 335 (only state); Frankau ii/iii; CS 131 ii
[Ref: 36612] £1,250.00
Painted by A.W.Devis. Engraved by I.R.Smith Mezzotinto Engraver to his Royal Highness the Prince of Wales.
London Published as the Act directs March 11 1797 by A.W.Devis.
Mezzotint, open letters. 610 x 380mm. Trimmed to platemark at bottom.
Rose Parisot (c.1775-1837), French opera singer and ballerina, 'celebrated for the scantiness of her draperies' (Frankau). Parisot made her debut in Paris in 1789, and moved to London in 1796 (this print was published the following year). Her sheer costumes, which often exposed one breast, caused scandal, as recorded in many satirical prints of the 1790s. The Bishop of Durham denounced Parisot's costumes as 'indecent', and after an address to the House of Lords in 1798 certain adjustments were made. Her celebrated career ended in 1807, after which she married a Soho florist. Engraved by the celebrated mezzotint engraver John Raphael Smith and published by the portrait painter Arthur William Devis (1762-1822), from whose portrait the engraving is made. After a decade working in India, Devis struggled to establish himself in London in the late 1790s, but by 1800 he was in dire financial straits, and was finally imprisoned in 1804.
Ex: collection of the late Hon C. Lennox-Boyd; D'Oench 335 (only state); Frankau ii/iii; CS 131 ii
[Ref: 36612] £1,250.00
Mademoiselle Parisot.
Painted by A.W.Devis. Engraved by I.R.Smith Mezzotinto Engraver to his Royal Highness the Prince of Wales.
London Published as the Act directs March 11 1797 by A.W.Devis.
Mezzotint printed in colour, fine with open letters; platemark 610 x 380mm. Wormholes lower right. Few minor repairs.
Rose Parisot (c.1775-1837), French opera singer and ballerina, 'celebrated for the scantiness of her draperies' (Frankau). Parisot made her debut in Paris in 1789, and moved to London in 1796 (this print was published the following year). Her sheer costumes, which often exposed one breast, caused scandal, as recorded in many satirical prints of the 1790s. The Bishop of Durham denounced Parisot's costumes as 'indecent', and after an address to the House of Lords in 1798 certain adjustments were made. Her celebrated career ended in 1807, after which she married a Soho florist. Engraved by the celebrated mezzotint engraver John Raphael Smith and published by the portrait painter Arthur William Devis (1762-1822), from whose portrait the engraving is made. After a decade working in India, Devis struggled to establish himself in London in the late 1790s, but by 1800 he was in dire financial straits, and was finally imprisoned in 1804.
Ex: collection of the late Hon C. Lennox-Boyd; D'Oench 335 (only state); Frankau ii/iii; for uncoloured impressions see refs 5612 and 36612.
[Ref: 36613] £1,200.00
Painted by A.W.Devis. Engraved by I.R.Smith Mezzotinto Engraver to his Royal Highness the Prince of Wales.
London Published as the Act directs March 11 1797 by A.W.Devis.
Mezzotint printed in colour, fine with open letters; platemark 610 x 380mm. Wormholes lower right. Few minor repairs.
Rose Parisot (c.1775-1837), French opera singer and ballerina, 'celebrated for the scantiness of her draperies' (Frankau). Parisot made her debut in Paris in 1789, and moved to London in 1796 (this print was published the following year). Her sheer costumes, which often exposed one breast, caused scandal, as recorded in many satirical prints of the 1790s. The Bishop of Durham denounced Parisot's costumes as 'indecent', and after an address to the House of Lords in 1798 certain adjustments were made. Her celebrated career ended in 1807, after which she married a Soho florist. Engraved by the celebrated mezzotint engraver John Raphael Smith and published by the portrait painter Arthur William Devis (1762-1822), from whose portrait the engraving is made. After a decade working in India, Devis struggled to establish himself in London in the late 1790s, but by 1800 he was in dire financial straits, and was finally imprisoned in 1804.
Ex: collection of the late Hon C. Lennox-Boyd; D'Oench 335 (only state); Frankau ii/iii; for uncoloured impressions see refs 5612 and 36612.
[Ref: 36613] £1,200.00
Mr. Parsons.
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, sheet 155 x 115mm (6 x 4½"). Trimmed to plate.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36678] £140.00 (£168.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint, sheet 155 x 115mm (6 x 4½"). Trimmed to plate.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36678] £140.00 (£168.00 incl.VAT)
Mr. Parsons.
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet along left edge.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36679] £230.00 (£276.00 incl.VAT)
R. Dighton Pinx.t. R. Laurie Sculp.
Published as the act Directs July 10th 1779 by W.m Richardson No.68 High Holborn
Mezzotint. 155 x 115mm (6 x 4½"), a good impression, uncut. Glued to backing sheet along left edge.
William Parsons (1736-95), actor. Beginning his career in York and Edinburgh, he was brought to London by the great David Garrick and eventually joined the company at the Haymarket Theatre. A popular and versatile actor, Parsons was also a keen painter of landscapes influenced by those of Richard Wilson. Engraved after a painting by draughtsman and singer Robert Dighton (1751-1814) by the mezzotint engraver and printseller Robert Laurie (1755?-1836). Music, instruments and mask (representing theatre) in title area.
Ex: Oettingen-Wallenstein collection and collection of the late Hon. C. Lennox-Boyd; CS 1 iii/iii. O'D 8
[Ref: 36679] £230.00 (£276.00 incl.VAT)
Margaret Patten. Born in the Parish of Loghnugh near Pairsley in Scotland now Living in the Work House of St Marg.ts Westminster Aged 136. Anno 1737.
J.Cooper ad vivum Pinx:t et fecit.
[n.d., c.1740.]
Mezzotint. 325 x 230mm.
Margaret Patten (née Gibson) (1596-1739), centenarian.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 1374] £320.00
J.Cooper ad vivum Pinx:t et fecit.
[n.d., c.1740.]
Mezzotint. 325 x 230mm.
Margaret Patten (née Gibson) (1596-1739), centenarian.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 1374] £320.00
Thomas Pellet M.D. Praeses Coll: Reg: Medicorum Londinens, Anno 1739.
MDahl pinx.t. J. Faber fecit
Sold by J. Faber at the Golden Head in Bloomsbury Square.
Mezzotint, sheet 360 x 260mm (14¼ x 10¼"). Thread margins.
Thomas Pellett (c.1671-1744), physician. A resident of Covent Garden (he was buried in the churchyard of St Paul's, Covent Garden), Pellett was a fellow of the Royal Society and Royal College of Physicians. This engraving is done from a 1737 portrait by Swedish painter Michael Dahl in the Royal College of Physicians. The engraving shows various changes from the oil painting, most notably on the right where a classical bust has been inserted. Pellett was also painted by Hogarth.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 280 (only state). Wellcome Ref: 7748i.
[Ref: 34101] £230.00 (£276.00 incl.VAT)
MDahl pinx.t. J. Faber fecit
Sold by J. Faber at the Golden Head in Bloomsbury Square.
Mezzotint, sheet 360 x 260mm (14¼ x 10¼"). Thread margins.
Thomas Pellett (c.1671-1744), physician. A resident of Covent Garden (he was buried in the churchyard of St Paul's, Covent Garden), Pellett was a fellow of the Royal Society and Royal College of Physicians. This engraving is done from a 1737 portrait by Swedish painter Michael Dahl in the Royal College of Physicians. The engraving shows various changes from the oil painting, most notably on the right where a classical bust has been inserted. Pellett was also painted by Hogarth.
Ex: collection of the late Hon. C. Lennox-Boyd; CS 280 (only state). Wellcome Ref: 7748i.
[Ref: 34101] £230.00 (£276.00 incl.VAT)
William Penn. From the Original Picture painted for the Society for commemorating the landing of William Penn on the shores of the Delaware, October 1682.
Painted by H.Inman. [***] by J.Sartain.
[Publication line erased. n.d., c. 1860 ]
Colour mezzotint, later printing of Sartain's very rare engraving. 660 x 500mm. Some damage to edges, well outside image.
William Penn (1644-1718), Quaker and founder of Pennsylvania. Henry Inman (1801-46), American portrait painter. John Sartain (1808-1897), American engraver. Penn was born October 14, 1644 to Anglican parents, Admiral Sir William Penn and Margaret Jasper. For much of his young life he knocked about, getting expelled from Oxford, learning law at Lincoln's Inn, studying in the Huguenot Academy at Saumer, and managing his father's estates in Ireland. Soon after hearing the famous apostle Thomas Loe, he converted to Quakerism. Then in his mid twenties, he quickly involved himself in the Quaker cause, landing in prison several times for his 'radical' preaching for personal, property, and religious rights. In 1672 he married Gulielma Maria Springett, and five years later traveled in the company of George Fox to Holland. Penn, though wealthy and though a Quaker, lived beyond his means. In order to raise some funds he called in a debt owed his father by Charles II. On March 4, 1681 he obtained the charter for Pennsylvania, [and in August 1682 he gained the rights to Delaware from his friend James, the Duke of York.] Penn planned to make money by selling tracts of land, and although he was able to attract a good number of investors he never realized the profit he imagined. However, he saw this venture as more than a money-making exercise; it was, in his famous words to his friend and land agent for Pennsylvania, James Harrison, a "holy experiment." This experiment would become, as he confidently predicted, "the seed of a nation.". Penn imagined a "free. .sober and industrious people" living by their own laws. In 1682 he sought to delineate these laws in the First Frame of government; and though somewhat less liberal than his New Jersey bill, it provided many of the same rights. Penn first arrived at his new colony in the fall of 1682 and stayed only until August of 1684. It was at this time that he supposedly signed his famous treaty with the Delaware (Leni Lenape) at Shackamaxon. And though no copy of such an agreement exists, we do have a wampum belt allegedly given to Penn by the Indians. The first treaty document in existence is one dated July 15, 1682 in which Penn obtains land from Idquahon and several other Leni Lenape leaders. In the next year Penn would broker at least eight other land transactions with the Delaware. He was busy with man other tasks as well. During his first stay, Penn began building his mansion and attending to numerous details of colony building, including a border dispute with Lord Baltimore, who controlled the territory south of Pennsylvania. He returned to England to continue his dispute with Baltimore, not to return to Pennsylvania until 1699. The England in the 1690s was a tumultuous place, especially for an outspoken, liberal Quaker. Penn never shirked from the political fray, as did many of his fellow Quakers, though his forthrightness proved dangerous. He supported James II, though in the Glorious Revolution of 1688 William and Mary bested James. Later, under suspicion of treason, Penn briefly lost control of his colony from 1692 to 1694. He received another setback when his wife died in 1694, though he rebounded by remarrying a year and a half later to Hannah Callowhill. Back in Pennsylvania, political squabbling had set in and various leadership changes took place. In 1691 George Keith led a religious schism, and Pennsylvania and Delaware separated into two provinces. And in 1696, William Markham's (Penn's secretary and then governor of Delaware) charter replaced the earlier 'Frame', though when Penn returned in 1701 he would again revise this version. By the time he left for good in November of that year, the colony's Assembly was elected yearly and enjoyed a more powerful position than the governor, who despite his veto power, was secondary to the legislative body. Though Penn planned to stay in the New World, settling at his manor Pennsbury, (up the Delaware from Philadelphia) but further political troubles in England forced his return, and in 1712 suffered an attack of apoplexy which disabled him. His wife Hannah managed his affairs until Penn died in 1718, and after her death ion 1727 the proprietorship of Pennsylvania passed to their sons, John, Thomas, and Richard.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 3400] £240.00 (£288.00 incl.VAT)
Painted by H.Inman. [***] by J.Sartain.
[Publication line erased. n.d., c. 1860 ]
Colour mezzotint, later printing of Sartain's very rare engraving. 660 x 500mm. Some damage to edges, well outside image.
William Penn (1644-1718), Quaker and founder of Pennsylvania. Henry Inman (1801-46), American portrait painter. John Sartain (1808-1897), American engraver. Penn was born October 14, 1644 to Anglican parents, Admiral Sir William Penn and Margaret Jasper. For much of his young life he knocked about, getting expelled from Oxford, learning law at Lincoln's Inn, studying in the Huguenot Academy at Saumer, and managing his father's estates in Ireland. Soon after hearing the famous apostle Thomas Loe, he converted to Quakerism. Then in his mid twenties, he quickly involved himself in the Quaker cause, landing in prison several times for his 'radical' preaching for personal, property, and religious rights. In 1672 he married Gulielma Maria Springett, and five years later traveled in the company of George Fox to Holland. Penn, though wealthy and though a Quaker, lived beyond his means. In order to raise some funds he called in a debt owed his father by Charles II. On March 4, 1681 he obtained the charter for Pennsylvania, [and in August 1682 he gained the rights to Delaware from his friend James, the Duke of York.] Penn planned to make money by selling tracts of land, and although he was able to attract a good number of investors he never realized the profit he imagined. However, he saw this venture as more than a money-making exercise; it was, in his famous words to his friend and land agent for Pennsylvania, James Harrison, a "holy experiment." This experiment would become, as he confidently predicted, "the seed of a nation.". Penn imagined a "free. .sober and industrious people" living by their own laws. In 1682 he sought to delineate these laws in the First Frame of government; and though somewhat less liberal than his New Jersey bill, it provided many of the same rights. Penn first arrived at his new colony in the fall of 1682 and stayed only until August of 1684. It was at this time that he supposedly signed his famous treaty with the Delaware (Leni Lenape) at Shackamaxon. And though no copy of such an agreement exists, we do have a wampum belt allegedly given to Penn by the Indians. The first treaty document in existence is one dated July 15, 1682 in which Penn obtains land from Idquahon and several other Leni Lenape leaders. In the next year Penn would broker at least eight other land transactions with the Delaware. He was busy with man other tasks as well. During his first stay, Penn began building his mansion and attending to numerous details of colony building, including a border dispute with Lord Baltimore, who controlled the territory south of Pennsylvania. He returned to England to continue his dispute with Baltimore, not to return to Pennsylvania until 1699. The England in the 1690s was a tumultuous place, especially for an outspoken, liberal Quaker. Penn never shirked from the political fray, as did many of his fellow Quakers, though his forthrightness proved dangerous. He supported James II, though in the Glorious Revolution of 1688 William and Mary bested James. Later, under suspicion of treason, Penn briefly lost control of his colony from 1692 to 1694. He received another setback when his wife died in 1694, though he rebounded by remarrying a year and a half later to Hannah Callowhill. Back in Pennsylvania, political squabbling had set in and various leadership changes took place. In 1691 George Keith led a religious schism, and Pennsylvania and Delaware separated into two provinces. And in 1696, William Markham's (Penn's secretary and then governor of Delaware) charter replaced the earlier 'Frame', though when Penn returned in 1701 he would again revise this version. By the time he left for good in November of that year, the colony's Assembly was elected yearly and enjoyed a more powerful position than the governor, who despite his veto power, was secondary to the legislative body. Though Penn planned to stay in the New World, settling at his manor Pennsbury, (up the Delaware from Philadelphia) but further political troubles in England forced his return, and in 1712 suffered an attack of apoplexy which disabled him. His wife Hannah managed his affairs until Penn died in 1718, and after her death ion 1727 the proprietorship of Pennsylvania passed to their sons, John, Thomas, and Richard.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 3400] £240.00 (£288.00 incl.VAT)
![[Ireland] The Right Honourable John Earl of Egmont.](jpegs/37705.jpg)
[Ireland] The Right Honourable John Earl of Egmont. Visccount Percival of Canturk Baron Percival of Burton & one of his Majesty's most Hon.ble Privy Councel in ye Kingdom of Ireland.
H. Hysing Pinx.t. J. Faber fecit. 1734.
Sold by J. Faber, at ye Golden head ye South side of Bloomsbury Square.
Mezzotint. Platemark: 350 x 250mm (13¾ x 9¾"). Small margins. Right vertical crease along left edge of sheet.
A portrait of Anglo-Irish politician. John Perceval, 1st Earl of Egmont, (1683 - 1748), known as Sir John Perceval from 1691 to 1715, as The Lord Perceval from 1715 to 1722 and as The Viscount Perceval from 1722 to 1733. In 1728 he became a member of the committee of Parliament investigating prison conditions. He soon became a close associate of James Oglethorpe, who chaired the committee. In 1730, the two men were among those who formed an association that later became the Trustees for the Establishment of the Colony of Georgia in America. George II approved a charter for the colony in 1732, making Egmont president of the Georgia Trustees.
Ex collection of the Hon. Christopher Lennox-Boyd. Chaloner Smith: 122. I/II.
[Ref: 37705] £650.00
H. Hysing Pinx.t. J. Faber fecit. 1734.
Sold by J. Faber, at ye Golden head ye South side of Bloomsbury Square.
Mezzotint. Platemark: 350 x 250mm (13¾ x 9¾"). Small margins. Right vertical crease along left edge of sheet.
A portrait of Anglo-Irish politician. John Perceval, 1st Earl of Egmont, (1683 - 1748), known as Sir John Perceval from 1691 to 1715, as The Lord Perceval from 1715 to 1722 and as The Viscount Perceval from 1722 to 1733. In 1728 he became a member of the committee of Parliament investigating prison conditions. He soon became a close associate of James Oglethorpe, who chaired the committee. In 1730, the two men were among those who formed an association that later became the Trustees for the Establishment of the Colony of Georgia in America. George II approved a charter for the colony in 1732, making Egmont president of the Georgia Trustees.
Ex collection of the Hon. Christopher Lennox-Boyd. Chaloner Smith: 122. I/II.
[Ref: 37705] £650.00
To His Grace Hugh Duke of Northumberland, K.G. This portrait of his late noble father is most respectfully dedicated by his Grace's obedient & humble servant, Thomas F. Ranson.
Engraved by Thomas Ranson from a Painting by Thomas Phillips R.A.
Printed by Dixon. London, Published by T.F. Ranson. No. 31 Judd Place West, New Road. 1820.
Engraving. Proof fine impression. Laid, on India paper. Sheet: 585 x 440mm (23 x 17¼"). Trimmed inside platemark. Some light foxing to backing sheet.
A portrait of Lieutenant-General Hugh Percy, 2nd Duke of Northumberland (1742 - 1817), dressed in robes, seated to the left, holding a paper in his left hand inscribed, 'Magna Charta'. Percy was an officer in the British army and later a British peer. He participated in the Battle of Lexington and Concord and the Battle of Long Island during the American Revolutionary War, but resigned his command in 1777 due to disagreements with his superior, General Howe. Born Hugh Smithson, he assumed the surname of Percy by Act of Parliament along with his father in 1750 and was styled Lord Warkworth from 1750 until 1766. He was styled Earl Percy from 1766, when his father was created Duke of Northumberland.
Ex Collection: The Honourable Christopher Lennox-Boyd.
[Ref: 35139] £320.00
Engraved by Thomas Ranson from a Painting by Thomas Phillips R.A.
Printed by Dixon. London, Published by T.F. Ranson. No. 31 Judd Place West, New Road. 1820.
Engraving. Proof fine impression. Laid, on India paper. Sheet: 585 x 440mm (23 x 17¼"). Trimmed inside platemark. Some light foxing to backing sheet.
A portrait of Lieutenant-General Hugh Percy, 2nd Duke of Northumberland (1742 - 1817), dressed in robes, seated to the left, holding a paper in his left hand inscribed, 'Magna Charta'. Percy was an officer in the British army and later a British peer. He participated in the Battle of Lexington and Concord and the Battle of Long Island during the American Revolutionary War, but resigned his command in 1777 due to disagreements with his superior, General Howe. Born Hugh Smithson, he assumed the surname of Percy by Act of Parliament along with his father in 1750 and was styled Lord Warkworth from 1750 until 1766. He was styled Earl Percy from 1766, when his father was created Duke of Northumberland.
Ex Collection: The Honourable Christopher Lennox-Boyd.
[Ref: 35139] £320.00
Pheasant Shooting. La Chasse au Faisand. 216.
T. Buford fecit.
London Published May 1st 1787 by Rob.t Sayer 53 Fleet Street.
Mezzotint, 250 x 350mm (9¾ x 13¾"). Repaired tears, one affecting engraver's signature. Small margins. Title messy.
A man shoots at a pheasant while three dogs chase it. A second hunter watches. Since the plate was originally published by Burford in 1770 it has been reworked, with the addition of the second hunter.
Ex collection of the Hon. Christopher Lennox Boyd.
[Ref: 55418] £160.00 (£192.00 incl.VAT)
T. Buford fecit.
London Published May 1st 1787 by Rob.t Sayer 53 Fleet Street.
Mezzotint, 250 x 350mm (9¾ x 13¾"). Repaired tears, one affecting engraver's signature. Small margins. Title messy.
A man shoots at a pheasant while three dogs chase it. A second hunter watches. Since the plate was originally published by Burford in 1770 it has been reworked, with the addition of the second hunter.
Ex collection of the Hon. Christopher Lennox Boyd.
[Ref: 55418] £160.00 (£192.00 incl.VAT)
T.Pingo Engraver.
I. Carwitham fec. 1741.
Mezzotint. 205 x 155mm. Some restoration
Italian medallist (d. 1776) who came to England, appointed engraver to the Royal Mint at the beginning of George II's reign.
CS: 3. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 1180] £260.00 (£312.00 incl.VAT)
I. Carwitham fec. 1741.
Mezzotint. 205 x 155mm. Some restoration
Italian medallist (d. 1776) who came to England, appointed engraver to the Royal Mint at the beginning of George II's reign.
CS: 3. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 1180] £260.00 (£312.00 incl.VAT)
The Pledge of Love. The Lovely Fair with Rapture views, This Token of their love: Then all her promises renews, And hopes he'll constant prove.
Painted by G.Morland Engrav'd by W.Ward.
London Pub.d June 1st 1788 by W.Dickinson, Engraver & Printseller No 158 New Bond Street.
Mezzotint. 380 x 275mm. Very fine.
Ref: F 222. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 4305] £450.00
Painted by G.Morland Engrav'd by W.Ward.
London Pub.d June 1st 1788 by W.Dickinson, Engraver & Printseller No 158 New Bond Street.
Mezzotint. 380 x 275mm. Very fine.
Ref: F 222. Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 4305] £450.00
Sir Charles Morice Pole, Bar.t K.G.C.B. Admiral of the Red.
Painted by Sir. Will.m Beechey R.A. Portrait Painter to Her late Majesty and their Royal Highnesses the Duke andDuchess of Gloucester. Engraved by Will.m Say. Engraver to their Royal Highness the Duke & Duchess of Gloucester.
92 Norton Street, Fitzroy Square, 1820.
Mezzotint with very large margins. Platemark: 395 x 285mm (15½ x 11¼"). Fine impression. Very light spotting in margins.
A portrait of Admiral of the Fleet Sir Charles Morice Pole, 1st Baronet (1757 - 1830), half-length, standing, in naval uniform, directed to the left, facing and looking to the left. Pole entered the Royal Academy in 1770 and served in the East Indies. He had also participated in the siege of Pondicherry and at the occupation of Toulon in 1793. Pole was promoted rear-admiral in 1795 and served in the West Indies. He was promoted Admiral of the Fleet in 1830. Pole was appointed governor of Newfoundland on 3 June 1800. His term ended in 1801.
Ex collection of Christopher Lennox-Boyd.
[Ref: 36552] £280.00 (£336.00 incl.VAT)
Painted by Sir. Will.m Beechey R.A. Portrait Painter to Her late Majesty and their Royal Highnesses the Duke andDuchess of Gloucester. Engraved by Will.m Say. Engraver to their Royal Highness the Duke & Duchess of Gloucester.
92 Norton Street, Fitzroy Square, 1820.
Mezzotint with very large margins. Platemark: 395 x 285mm (15½ x 11¼"). Fine impression. Very light spotting in margins.
A portrait of Admiral of the Fleet Sir Charles Morice Pole, 1st Baronet (1757 - 1830), half-length, standing, in naval uniform, directed to the left, facing and looking to the left. Pole entered the Royal Academy in 1770 and served in the East Indies. He had also participated in the siege of Pondicherry and at the occupation of Toulon in 1793. Pole was promoted rear-admiral in 1795 and served in the West Indies. He was promoted Admiral of the Fleet in 1830. Pole was appointed governor of Newfoundland on 3 June 1800. His term ended in 1801.
Ex collection of Christopher Lennox-Boyd.
[Ref: 36552] £280.00 (£336.00 incl.VAT)
![[Apollo as a winged warrior.]](jpegs/36934.jpg)
[Apollo as a winged warrior.]
C Heath del.
Pen lithograph, rare & trimmed; sheet 320 x 235mm (12½ x 9¼"). Vertical crease; nicks to edges.
Early lithograph by Charles Heath (1785-1830), landscape and figure engraver. A precocious talent and part of a family of printmakers, Heath was early to experiment with new techniques. He exhibited lithographs such as this at Somerset House from 1802 to 1806, and this print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography' (first edition published by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36934] £260.00 (£312.00 incl.VAT)
C Heath del.
Pen lithograph, rare & trimmed; sheet 320 x 235mm (12½ x 9¼"). Vertical crease; nicks to edges.
Early lithograph by Charles Heath (1785-1830), landscape and figure engraver. A precocious talent and part of a family of printmakers, Heath was early to experiment with new techniques. He exhibited lithographs such as this at Somerset House from 1802 to 1806, and this print was included in the 1806 edition of the first portfolio of artists' lithographs, 'Specimens of Polyauthography' (first edition published by Philipp André in 1803). The new medium allowed artists to draw directly onto a prepared stone, allowing artists to make prints which arguably resembled drawings more than any earlier printmaking technique. Unlike many printmaking techniques, lithography required no special training as artists could work directly onto the plate and leave specialist printers to actually make the prints. For this reason many artists who were not trained printmakers (such as Géricault and Delacroix) often worked in lithography.
Ex: collection of the Late Hon. C. Lennox-Boyd
[Ref: 36934] £260.00 (£312.00 incl.VAT)