Grosvenor Prints

Archery.
Sketched Etched & Published by George Cruikshank. [n.d., c.1835.]
Etching on india laid paper, 190 x 280mm. 7½ x 11".
Eight vignettes, featuring female hairstyles, the largest showing putti in an archery tournament. A satirical print from 'My Sketch Book' 1834 by George Cruikshank (1792 - 1878).
[Ref: 12017] £65.00 (£78.00 incl.VAT)

La Baronne du Bel-Air Revenant du Palais Royal.
[French, c.1775.]
Etching with very large margins, 290 x 190mm (11½ x 7½" ) with four lines of text in French underneath. Paper lightly toned, stained, folds in margins.
A woman wearing a bonnet like a scallop shell, taking to a man with a small dog on a lead. 'La Baronne du Bel-Air' was a one-act opera.
Ex Collection of the Hon Christopher Lennox-Boyd.
[Ref: 31746] £260.00 (£312.00 incl.VAT)

Sketches of Fashion. Plate 1st. Showing the Difference between Beasts & Babies.
[Monogram of Paul Prey, psudonym of William Heath] Esq.r s.
Pub June 4th 1829 by T. McLean 26 Haymarket sole Publisher of P-Pry original Caricatures.
Etching with fine hand colour. 345 x 245mm (13½ x 9¾"), watermarked 'J Whatman 1828', large margins. Tears entering plate on right taped, slight soiling.
A group of dandies dressing to impress, some clean-shaven, others with bushy beards.
BM Satires: 15962.
[Ref: 63786] £290.00 (£348.00 incl.VAT)

The Beau Monde. Our modern Ladies heads are fill'd with Bows.
William Heath. del.
Pub July 6 1829 by T. McLean 26 Haymarket - Sole publisher of - Mr Heath's Etchings.
Engraving with very fine hand colour. 365 x 250mm (14¼ x 9¾"), large margins. Tears margins taped.
A young woman with a broad-brimmed hat, on which are perched a dozen miniature suitors.
Not in BM Satires.
[Ref: 63785] £420.00

Whims of the Moment or the Bedford Level!!
Woodward del. [Etched by Isaac Cruikshank]
[London Pub No 20 1795 by S W Fores No 50 Piccadilly NB Folios of Caracatures lent out for the Evening]
Coloured etching, E & P watermark. Sheet 230 x 350mm (9 x 13¾"). Trimmed within plate, losing publication line at top.
Two panels: on the left a well-dressed man staggers back in horror as he regards his queue of hair which has been roughly cropped from the back of the neck; on the right a farmer smiles as he shows off his neck, shaved at the back of his head. Francis Russell (1765-1802), 5th Duke of Bedford, protested against the imposition of a tax on hair powder in 1795 by cutting his hair short, a style that became known as the 'Bedford Level', after the area of the Fens reclaimed by his family.
BM Satires 8763.
[Ref: 54563] £140.00 (£168.00 incl.VAT)

Bloomerism in the Ascendent, or Men no longer Lords of the Creation.
London. - Published by G. Purkess, Compton Street, Soho [n.d., c.1851].
Scarce wood engraving & letterpress. Sheet 350 x 500mm (13¾ x 19¾"). Trimmed at bottom affecting publication line, wear at edges, creases.
A rare satire of the introduction of 'bloomers', loose Turkish-style trousers for women. More comfortable than the stiff pettycoats and long skirts of the period, they came to be seen as symbols of feminist reform. In the six scenes on this sheet, the adherents of bloomerism take on the characteristrics of men as they smoke, race horses, brawl, skate, etc. An early feminist image.
[Ref: 63484] £280.00 (£336.00 incl.VAT)

A Bloomer - one that will ''go ahead''.
[n.d., c.1851].
Writing sheets, 4pp. with a coloured lithographic front cover. Cover 240 x 195mm (9½ x 7¾"). Some creasing, small tear.
A woman woman wearing bloomers races her cart down a street, with her male passenger losing his top hat. A rare satire of the introduction of 'bloomers', loose Turkish-style trousers for women. More comfortable than the stiff pettycoats and long skirts of the period, they came to be seen as symbols of feminist reform. Driving past shop front "The transatlantic express". An early feminist image.
[Ref: 64181] £160.00 (£192.00 incl.VAT)

Progress of Bloomerism; or a Complete Change. Punch's Pocket book for 1852.
John Leech [in image]
[London: Bradbury, Evans & Co., 1852]
Coloured etching, sheet 125 x 315mm (5 x 12½"). Folded as issued. Some time stains. Small holes in fold where bound.
A rare satire of the introduction of 'bloomers', loose Turkish-style trousers for women. More comfortable than the stiff pettycoats and long skirts of the period, they came to be seen as symbols of feminist reform. The adherents of bloomerism take on the characteristrics of men as they talk, smoke and ride a rocking horse not side sadle. Illustration for Follies of the Year by John Leech, a series of coloured etchings from Punch's Pocket Books, 1844–1864, published by Bradbury Evans & Co. John Leech (1817 - 1864), draughtsman on wood, comic illustrator, lithographer, etcher and painter; born at London. He contributed to 'Punch' between 1841-64, and also practised book illustration, including Dicken's 'Christmas Carol.'
[Ref: 63857] £90.00 (£108.00 incl.VAT)

Costumes Anglais. Le Bon Genre, N.º 69.
[Pierre La Mesangere] [n.d. c.1814.]
Coloured etching with fine colour. Fine decorative interior design frame, sight size 220 x 270mm (8¾ x 10½"). Spotting. Unexamined out of frame.
A satire of British fashion, three women, a man wearing a cylindrical hat and an army officer with tight trousers emphasising his buttocks. 'Le Bon Genre', a series of semi-satirical costume plates, was published separately between plate 1 in 1800 & plate 104 in 1817, when Pierre La Mésangère republished the complete set with text. He issued eleven new plates (105-115), between 1818 and 1822, when another full set with text was issued. A final issue was published in 1827.
BM Satire 12381. See BM 1868,0822.7243 for 'Le Bon Genre'.
[Ref: 69568] £260.00 (£312.00 incl.VAT)

Les Modes Anglaises a Paris. Le Supreme Bon Ton, No. 22.
AG [monogram of Adrien Godefroy].
A Paris, chez Martinet, Libraire, Rue du Coq. [n.d., c.1814.]
Hand coloured etching. Fine decorative interior design frame, sight size 210 x 300mm (8¼ x 11¾"). Unexamined out of frame.
A young officer (right) walks, right to left, with a lady on each arm. He wears cocked hat and top-boots; his sword-belt is worn over his coat, and he supports his heavy sabre in his left hand. One lady uses a tall parasol as a walking-stick, and is plainly dressed, wearing an odd straw bonnet, a frill encircling her neck and shoulders. The other has a more elaborate and longer gown, with a festooned flounce. Her hat is a small fluted plateau with ribbon or lace tied under the chin. Walking towards them (from left) are a civilian with a lady whose small bonnet is covered with a long lace scarf falling well below the waist. She wears a tunic dress, the edge vandyked, over a plain skirt. Her companion wears long gaiters. The centre figure is a very tall young man who drifts along (right to left) with his arms folded behind him. He wears trousers strapped under his boots. Both civilians wear the usual flowerpot hat, and coat with long tails. In the background is a lake. From a series of 30 plates satirizing fashions observed in Paris by Aaron Martinet (1762 - 1841).
BM Satires 12358.
[Ref: 69571] £260.00 (£312.00 incl.VAT)

The Camblet Macaroni.
Pub. accord. to Act. Decr. 2. 1772. by MDarly 39 Strand.
Etching, 175 x 125mm. 7 x 5".
Full-face portrait of a young man standing with hands on hips, legs astride. He is not dressed in the macaroni manner, but wears a round cap of camblet, beneath which his own hair appears; he wears a plain coat and neck cloth, with a striped waistcoat. Camblet or Camlet was a rich woven fabric of Asiatic origin believed to have been made of camel's hair or angora wool. From 'Caricatures, Macaronies & Characters, published by MDarly', in an album of caricatures published by Mary Darly dated January 1776. It seems that her husband Matthew made the plates. Numbered 'V5' upper left and '3' upper right.
BM Satires: 5040.
[Ref: 14316] £160.00 (£192.00 incl.VAT)

Chancery Lane Characters! I'm an Hofficer!!! Don't you know me?
H. Heath.
I.B Brookes 9 New Bond St. [London, n.d., c. 1830.]
Hand coloured lithograph, sheet 210 x 170mm. 8¼ x 6¾". A little trimmed; good early colour.
An overdressed cockney couple; a social satire on the pretensions of London 'types'. Presumably from a series of popular caricatures. I.(or J.)B. Brookes (1830 - 1837; fl.) published his own lithographic satires.
BM Satires undescribed.
[Ref: 27933] £95.00 (£114.00 incl.VAT)

The Chelsea Macaroni.
Published according to Act, Octr. 10, 1772. by MDarly, 39, Strand.
Etching, 175 x 125mm. 7 x 5".
A man in profile with hat, sword, and walking stick. From 'Caricatures, Macaronies & Characters, published by MDarly', in an album of caricatures published by Mary Darly dated January 1776. It seems that her husband Matthew made the plates. Numbered 'V5' upper left and '1' upper right.
BM Satires: 4658.
[Ref: 14290] £160.00 (£192.00 incl.VAT)

Manners and Customs of the Chinese. An English Officer Has His Hair Dressed by a Chinese Barber.
Smith, Del et Lith.
London, Published at 26, Haymarket, 3 May 1858.
Rare tinted lithograph. Trimmed. Creasing in title.
A comic scene showing the shock of an English officer once he realises that his Chinese barber has styled his hair in the Chinese fashion.
[Ref: 48763] £190.00 (£228.00 incl.VAT)

A Wedding Present Of Crinoline Service.
Lithographed by C.J. Culliford.
London, W. H. J. Carter, printseller, Bookseller, &c. 12, Regent Street, Pall Mall. [n.d. c.1850]
Very scarce lithograph, sheet 300 x 230mm (11¾ x 9"). Repaired tears.
A highly decorative satire on crinoline fashion, featuring 8 women in absolutely enormous skirts surrounded by an oval leaf border. W.H.J. Carter made a number of satires on crinoline publishing them annually.
See also references 15161, 15159, 15153, 15154, 13109, 15160, 15165, 36835, 36836, 15352, 15353, 15354, 16831 & 42021.
[Ref: 61509] £180.00 (£216.00 incl.VAT)

The Diddiculty only Partly Overcome. Alas! Poor Crinoline!
[n.d., c.1840.]
Lithograph with hand colour. Sheet 125 x 130mm (5 x 5¼"). Stain in title.
A woman escaping a bull catches her skirt. Her toy dog looks petrified.
[Ref: 51827] £65.00 (£78.00 incl.VAT)

"Fire." The Horrors of Crinoline & the Destruction on Human Life.
L'Enfant, Imp, 18, Rathbone Pl.
Published the 14th. April. 1859 by, F.W. Farbrother, 5, Milton St. Euston Square, London.
Fine original hand coloured lithograph, sheet 375 x 275mm. 14¾ x 10¾".
A satire on mid 19th century female fashion; a young lady's dress has caught fire in an interior. Her terrier flees the scene with its tail on fire, an anxious servant with a bucket of water appears at a door in the background. Crinoline was originally a stiff fabric with a weft of horse-hair and a wrap of cotton or linen thread. The fabric first appeared around 1830, but by 1850 the word had come to mean a stiffened petticoat or rigid skirt-shaped structure of steel designed to support the skirts of a woman’s dress in the required shape. The crinoline was the subject of much ridicule and satire, particularly in Punch magazine. Dress reformers did not like it either — they seized upon the cage aspect of the crinoline and claimed that it effectively imprisoned women. Given that the crinoline did eventually have a maximum diameter of up to 180 centimetres (six feet), it is easy to imagine difficulties in getting through doors, in and out of carriages, and the general problems of moving in such a large structure. The second problem was the potential impropriety of the crinoline. Its lightness was a curse as well as a blessing, as a gust of wind or a knock could set it swinging and reveal the wearer's legs. Even worse, if a woman tripped or was knocked over, the crinoline would hold her skirts up.
[Ref: 13108] £130.00 (£156.00 incl.VAT)

It's no use Tiney, we must go to the gate.
Lithographed by C.J. Culliford, 22, Southampton S.t Strand.
Published Nov.r 11.th by Mess.rs Fielding & C.o. 5, Melton Street, Euston Squ.e. London. [n.d. c.1858.]
Coloured lithograph, 380 x 285mm (15 x 11¼").
A satire on the mid 19th century fashion for crinolines. A woman walking her small dog is blocked by her crinoline dress going through a small passage in a fence.
[Ref: 60113] £140.00 (£168.00 incl.VAT)

'Fashion Gains Custom.'
London W.H.J. Carter, Printseller, Bookseller &c. 12, Regent Street, Pall Mall.
Lithograph, sheet 380 x 285mm. 15 x 11¼". Facsimile mss. publisher's price list to verso, for '...Prints, Illustrative of Crinoline...beautifully coloured'.
A satire on the mid 19th century fashion for crinolines, from an annual series on that theme by the same publisher. A discussion in a shoe emporium between a fashionable young lady and the female shop assistant reveals a newly instigated policy that male assistants should not serve female customers, 'Since crinoline has been in fashion'. Crinoline was originally a stiff fabric with a weft of horse-hair and a warp of cotton or linen thread. The fabric first appeared around 1830, but by 1850 the word had come to mean a stiffened petticoat or rigid skirt-shaped structure of steel designed to support the skirts of a woman’s dress in the required shape. The crinoline was the subject of much ridicule and satire, particularly in Punch magazine. Dress reformers did not like it either — they seized upon the cage aspect of the crinoline and claimed that it effectively imprisoned women. Given that the crinoline did eventually have a maximum diameter of up to 180 centimetres (six feet), it is easy to imagine difficulties in getting through doors, in and out of carriages, and the general problems of moving in such a large structure. The second problem was the potential impropriety of the crinoline. Its lightness was a curse as well as a blessing, as a gust of wind or a knock could set it swinging and reveal the wearer's legs. Even worse, if a woman tripped or was knocked over, the crinoline would hold her skirts up.
[Ref: 15161] £180.00 (£216.00 incl.VAT)

John Bull Running Down Crinoline.
London W.H.J. Carter, Printseller, Bookseller &c. 12, Regent Street Pall Mall.
Lithograph, sheet 380 x 285mm. 15 x 11¼". Tatty extremities, some spotting.
A satire on the mid 19th century fashion for crinolines, from an annual series on that theme by the same publisher. A lady and her toy spaniel (attempt to) run from a charging bull, her parasol falling from her hands. Crinoline was originally a stiff fabric with a weft of horse-hair and a warp of cotton or linen thread. The fabric first appeared around 1830, but by 1850 the word had come to mean a stiffened petticoat or rigid skirt-shaped structure of steel designed to support the skirts of a woman’s dress in the required shape. The crinoline was the subject of much ridicule and satire, particularly in Punch magazine. Dress reformers did not like it either — they seized upon the cage aspect of the crinoline and claimed that it effectively imprisoned women. Given that the crinoline did eventually have a maximum diameter of up to 180 centimetres (six feet), it is easy to imagine difficulties in getting through doors, in and out of carriages, and the general problems of moving in such a large structure. The second problem was the potential impropriety of the crinoline. Its lightness was a curse as well as a blessing, as a gust of wind or a knock could set it swinging and reveal the wearer's legs. Even worse, if a woman tripped or was knocked over, the crinoline would hold her skirts up.
[Ref: 15159] £160.00 (£192.00 incl.VAT)

It is to be done Tiney; I hope no one is looking, You must bark loud Ty, If you see a Gentleman coming. Crinoline 1862.
London_W.H.J. Carter, Bookseller, Printseller, &c., 12, Regent St. Pall Mall.
Lithograph, sheet 380 x 280mm. 15 x 11".
A satire on the mid 19th century fashion for crinolines, from an annual series on that theme by the same publisher. A gust of wind lifts up the skirt of a young lady, revealing her underwear, to the evident delight of a gentleman on the path behind her. The lady's dog looks disgruntled, tethered to a fence. Crinoline was originally a stiff fabric with a weft of horse-hair and a warp of cotton or linen thread. The fabric first appeared around 1830, but by 1850 the word had come to mean a stiffened petticoat or rigid skirt-shaped structure of steel designed to support the skirts of a woman’s dress in the required shape. The crinoline was the subject of much ridicule and satire, particularly in Punch magazine. Dress reformers did not like it either — they seized upon the cage aspect of the crinoline and claimed that it effectively imprisoned women. Given that the crinoline did eventually have a maximum diameter of up to 180 centimetres (six feet), it is easy to imagine difficulties in getting through doors, in and out of carriages, and the general problems of moving in such a large structure. The second problem was the potential impropriety of the crinoline. Its lightness was a curse as well as a blessing, as a gust of wind or a knock could set it swinging and reveal the wearer's legs. Even worse, if a woman tripped or was knocked over, the crinoline would hold her skirts up.
[Ref: 15153] £140.00 (£168.00 incl.VAT)

Crinoline 1861. Clearing the Barrier.
London W.H.J. Carter, Printseller, Bookseller, &c. 12, Regent St. Pall Mall. Printed at 22, Southampton St. Strand.
Lithograph, sheet 380 x 285mm. 15 x 11¼". Facsimile mss. publisher's price list to verso, for '...Prints, Illustrative of Crinoline...beautifully coloured'. Tatty extremities, creases through upper corners.
A satire on the mid 19th century fashion for crinolines, from an annual series on that theme by the same publisher. A lady is helped over turnstiles by a gentleman, a bridge, maybe Hammersmith Bridge, in the background. Crinoline was originally a stiff fabric with a weft of horse-hair and a warp of cotton or linen thread. The fabric first appeared around 1830, but by 1850 the word had come to mean a stiffened petticoat or rigid skirt-shaped structure of steel designed to support the skirts of a woman’s dress in the required shape. The crinoline was the subject of much ridicule and satire, particularly in Punch magazine. Dress reformers did not like it either — they seized upon the cage aspect of the crinoline and claimed that it effectively imprisoned women. Given that the crinoline did eventually have a maximum diameter of up to 180 centimetres (six feet), it is easy to imagine difficulties in getting through doors, in and out of carriages, and the general problems of moving in such a large structure. The second problem was the potential impropriety of the crinoline. Its lightness was a curse as well as a blessing, as a gust of wind or a knock could set it swinging and reveal the wearer's legs. Even worse, if a woman tripped or was knocked over, the crinoline would hold her skirts up.
[Ref: 15154] £180.00 (£216.00 incl.VAT)

"On Board the Great Eastern" No. 2. You aint much better off on deck, for when the ship pitches or rolls, you are apt to lose your stool...
SEM-
London W.H.J. Carter, Printseller, Bookseller &c. 12, Regent Street, Pall Mall. [n.d., c.1860.]
Lithograph. Printed area 310 x 200mm (12¼ x 8"). Publication line indistinct.
A satire on crinolines on luxury passenger ships, with a woman keeling over, to the amusement of the watching men. With a catalogue of crinoline satires available from Carter on the reverse. Brunel's Great Eastern was launched in 1858, but was damaged by an explosion on her maiden voyage. After only a half-dozen years as a passenger ship she was converted to a cable-laying ship, laying the first lasting transatlantic telegraph cable in 1866.
[Ref: 64197] £160.00 (£192.00 incl.VAT)

"On Board the Great Eastern" No. 3. But that aint the worst of it; the doors are all painted so beautiful, and look so romantic, that they didn't like to number them...
SEM-
London W.H.J. Carter, Printseller, Bookseller &c. 12, Regent Street, Pall Mall. [n.d., c.1860.]
Lithograph. Printed area 310 x 200mm (12¼ x 8"). Some wear and soiling.
[Ref: 15354] £180.00 (£216.00 incl.VAT)

"On Board the Great Eastern" No. 2. You aint much better off on deck, for when the ship pitches or rolls, you are apt to lose your stool...
SEM-
London W.H.J. Carter, Printseller, Bookseller &c. 12, Regent Street, Pall Mall. [n.d., c.1860.]
Lithograph. Printed area 310 x 200mm (12¼ x 8"). Some wear and soiling.
A satire on crinolines on luxury passenger ships, with a woman keeling over, to the amusement of the watching men. With a catalogue of crinoline satires available from Carter on the reverse. Brunel's Great Eastern was launched in 1858, but was damaged by an explosion on her maiden voyage. After only a half-dozen years as a passenger ship she was converted to a cable-laying ship, laying the first lasting transatlantic telegraph cable in 1866.
[Ref: 15353] £180.00 (£216.00 incl.VAT)

[Seven vignette satires of bonnets on one sheet.]
Drawn Etched & Published by George Cruikshank ~
May 20th 1829.
Etching with hand colour. Sheet 255 x 365mm (10 x 14½"). Spotting.
Seven satires on ladies' hats, including: 'Bonnet Building', featuring four milliners, two on tall step-ladders, trimming a hat far larger than themselves with giant bows of ribbon; and 'Section of the Bonnet Carriage', depicting a carriage shaped accomodate her hat and her bustle. From the series 'Scraps and Sketches'.
[Ref: 57292] £260.00 (£312.00 incl.VAT)

A Custom House Non Pareil on a Journey to Isleworth.
Pub by MDarly 39 - Strand June 3 1774.
Etching with very large margins, 18th century watermarked paper; 245 x 175mm. 9¾ x 7".
A man walking in profile with his cane tucked under his arm; he appears to be holding a coin out in front of him. From an album of caricatures published by Mary Darly dated January 1776. It seems that her husband Matthew made the plates.
BM Satires: undescribed.
[Ref: 32474] £220.00 (£264.00 incl.VAT)

The Cut Infernal. ''The Second_is the Cut Infernal._This Consists in Casting...'
Drawn by M.E. Aquatinted by H. Pyall.
[London. Pub.d by Tho.s McLean, 26, Haymarket. 1827.]
Hand-coloured aquatint. Sheet: 305 x 195mm (12 x 7¾''). Trimmed.
A satirical scene showing a well-dressed dandy walking along the street avoiding puddles. In the background a carriage labelled 'Clapham to London' drives by and a man on the carriage yells towards the dandy. One of a set of three, the other two are: 'The cut celestial', and 'The cut direct!'
BM Satire 15484.
[Ref: 49314] £120.00 (£144.00 incl.VAT)

A Dandy.
C.W. Etched.
Pub.d 1818 by S.W.Fores, Nº50 Piccadilly.
Etching on 18th Century watermarked paper. Sheet 320 x 225mm (12½ x 8¾"). Trimmed close to plate and rippling to paper. Slightly time stained.
An English dandy in Paris (Moore’s Bob Fudge, mistaken by the artist for his father, Phil) gets dressed for the evening, gazing at his reflection in a table mirror, on the right, with open side-flaps and a sunken basin, while putting on one of his rings.
[Ref: 66516] £180.00 (£216.00 incl.VAT)

The Little Deans Yard Macaroni. V.4. 2. Sanguineos oculos volvit, virgamque requirit.
Pub by MDarly Strand July 30th. 1772 accor to Act.
Etching. Plate 172 x 120mm. 6¾ x 4¾". Mount burn, paper toning.
Dr Samuel Smith, Headmaster of Westminster School, seated in a chair. He looks in profile to the right and points with his left hand, the other hangs over the arm of the chair holding a glove. He wears a flat three-cornered hat, a short tightly curled wig, a pair of bands, and a voluminous gown. 'Sanguineos oculos volvit, virgamque requirit' inscribed above title. From 'Macaronies, Characters, Caricatures &c by MDarly', in an album of caricatures published by Mary Darly dated January 1776. It seems that her husband Matthew made the plates. Numbered 'V.4' upper left and '2' upper right.
BM Satires: 5021.
[Ref: 21228] £180.00 (£216.00 incl.VAT)

A desert - imitation of modern fashion!
[Monogram of Paul Pry, pseudonym of William Heath]
Pub by T. McLean 26 Haymarket London [n.d., c.1825].
Fine coloured etching. Sheet 355 x 240mm (14 x 9½"). Trimmed into printed border.
An upturned wine glass represents a woman, with the rim the brim of a hat with grapes as decoration, the bowl her bustle.
BM Satires 15611.
[Ref: 58276] £260.00 (£312.00 incl.VAT)

Diamond Cut Diamond. Oh Wigsby my boy, did you ever shave a Monkey. [/] No Sir, but if you'll just walk in I'll try.
W. Summers, Del. Cha.s Hunt, Sc.
London, Pub by Harrison Isaacs, Charles St. Soho. [n.d., c.1830.]
Hand coloured aquatint with etching. Sheet size: 235 x 270mm (9¼ x 10½"), watermarked paper, 'J. Whatman. 1830'. Trimmed inside plate and to image at top edge.
A scene outside 'Sharpwig, Hairdresser & Shaver', as an elaborately dressed figure inspects the shop through his monicle. The hairdresser stands in the doorway, holding shaving equipment, laughing, as does the customer inside. An advertising sign outside the shop reads, 'Theatre Royal Covent Garden [...] Barber of Seville [...] The Monkey that has seen the World'. The shop window displays various wigs and, to the left, two chimneys sweeps look on, with one saying, 'My eyes Jem theres a swell cove', the other replies, 'Ah! What a lark it would be to send him up a Gas Pipe'.
Hickman p.139.
[Ref: 36664] £230.00 (£276.00 incl.VAT)

Docking the Maccaroni__of the Butcher's Revenge. A Spruce Maccaroni who Hair and whose Cloaths, Were the envy of Fops, and the Patterns of Beaus...Now Now cry'd the Butcher the People may stare, At a Skull without Brains, & a Head without Hair.
Printed for & Sold by Carington Bowles, at his Map & Print Warehouse, No.69 in St. Pauls Church Yard, London. 91. Published
Engraving, framed. 521 x 368mm. 20½ x 14½". Some paper damage in the title area.
Satire on fashion, with a butcher cutting off the back of a Macaroni's club.
BM Satires: 4527. ex Blackburn Collection.
[Ref: 17743] £650.00

L'Eclipse. Dediée aux Astronomes, et aux Philosophes du dixhuitieme Steele par VA.
Etch'd by J. Barlow.
Publish'd as the Act directs, Feb.y 20, 1787, by H. Humphrey No 51, New Bond Street.
Rare etching with fine hand colour. 300 x 215mm (12 x 8½"). Mounted in album paper.
A woman's head, topped with a conical hat trimmed with a monstrous arrangement of feathers, peers over a huge fur muff. Eclipses were in the news in 1787 because there were seven full eclipses of the sun and moon, the maximum number possible, which usually happens once every 130 years. A note on the British Museum's example of this print (from the Banks Collection) ascribes it to a Miss V. Aynscombe.
BM Satires 7248. The three examples in the BM are all uncoloured.
[Ref: 43889] £480.00

The Elected Cobler.
Publish'd according to Act Augt. 27. 1772 by MDarly, 39 Strand.
Etching, 170 x 125mm. 6¾ x 5".
A man in a long coat standing on a three-legged stool ranting, one foot raised and one arm in the air. From 'Macaronies, Characters, Caricatures &c by MDarly', in an album of caricatures published by Mary Darly dated January 1776. It seems that her husband Matthew made the plates. Numbered 'V.4' upper left and '10' upper right.
BM Satires: 4709.
[Ref: 14243] £160.00 (£192.00 incl.VAT)

An. Election. Ball.
[Paul Pry] Esq. Del.
London Published by McLean, 26 Haymarket. [n.d., c.1829].
Hand-coloured etching. Sheet size: 245 x 355mm (9¾x 14"). Trimmed.
An interior view in which a well dressed dandy bows and takes the hand of the plain daughter of a grotesquely fat mother, to the shock and confusion of the guests behind. The ballroom can be seen through an open facade in the background. By William Heath (1794/5-1840) ex-Captain of Dragoons, illustrator of colour-plate books, and prolific caricaturist. He published regularly with Thomas McLean.
Not in BM Satires.
[Ref: 32033] £260.00 (£312.00 incl.VAT)

The Great and Glorious days of Queen Bess.
Agnes T_n. [Townshend?]
Pub.d 30th June 1781 by H.Humphrey, No 18 New Bond Street.
Engraving. Sheet 180 x 255mm (7 x 10"). Trimmed to platemark.
A satire on Elizabethan dress, probably a companion print to one satirising the fashion of 1781. It has been suggested that the artist was Agnes Townshend, a noted courtesan.
BM: 5937 (and see 5936).
[Ref: 54354] £260.00 (£312.00 incl.VAT)

The Great and Glorious days of Queen Bess.
Agnes T_n. [Townshend?]
Pub.d 30th June 1781 by H.Humphrey, No 18 New Bond Street.
Engraving. 185 x 270mm (7¼ x 6¾") Creased, some soiling.
A satire on Elizabethan dress, probably a companion print to one satirising the fashion of 1781. It has been suggested that the artist was Agnes Townshend, a noted courtesan.
BM: 5937 (and see 5936).
[Ref: 6849] £75.00 (£90.00 incl.VAT)

Voila les Anglais!
London, Pub.d March 14, 1817, by the Proprietor [George Humprey?].
Very fine coloured aquatint. 285 x 200mm (11¼ x 8"). Narrow margins.
A young and handsome English couple walk arm-in-arm on a Paris street, their understated clothing attracting the attention of four ugly, over-dressed Parisiennes, who point and jeer. This satire was first published by Hannah Humphrey in 1817 (two years after the death of James Gillray, her long-time partner and collaborator), at the end of the Napoleonic era, which allowed the English to tour abroad for the first time in a decade. It is likely the 'Proprietor' is her nephew George Humphrey, who took over the business at her death in 1818.
BM Satires 14891.
[Ref: 69134] £90.00 (£108.00 incl.VAT)

L'Angloise à Paris.
[n.d., c.1770.]
Engraving. Sheet: 270 x 405mm (10½ x 16"). Trimmed. Small margins, cut to plate at bottom. Some restoration.
A plain looking woman sits trying on wigs in a 'Marchande de Modes' behind a bespectacled woman looks on aghast. French copy of an English print!
[Ref: 44264] £260.00 (£312.00 incl.VAT)

Englishman at Paris. 1767.
Mr. Bunbury del. J.s Bretherton f.
Publish'd 23d Feb.y 1782.
Etching, with partial hand colour. 330 x 410mm (13 x 16"). Trimmed to plate top and bottom, tear entering image at top.
A satire contrasting English and French styles of dress. A stout middle-aged Englishman wears a heavy coat and three-cornered hat and carrying a stick, amusing the passers-by with his lack of elegance. These include: a hairdresser wearing his hair in a large queue, carring a parasol'; a grinning fat monk; and an elegant man driving a cabriolet, with his footman dressed in furs.
BM Satires 4185.
[Ref: 54323] £260.00 (£312.00 incl.VAT)

The Equestrian Macaroni.
Pubd by MDarly (39) Strand Feby 13 1773.
Etching, 175 x 125mm. 7 x 5".
A man in riding costume in profile, holding a bridle, a crop under his left arm. He wears a small looped club, a low hat, plain coat, striped waistcoat, and spurred riding boots. Racing interest. From 'Characters, Macaronies & Caricatures, by MDarly', in an album of caricatures published by Mary Darly dated January 1776. It seems that her husband Matthew made the plates. Numbered 'V.6' upper left and '3' upper right.
BM Satires: 5150.
[Ref: 14493] £170.00 (£204.00 incl.VAT)

''We have the exhibition to examine"
[William Heath.]
Pub. by T. McLean 26 Haymarket London.
Hand-coloured etching. Sheet 255 x 355mm (10 x 14''). Cut to borders. Some repaired nicks to edges.
A scene in an exhibition salon in which specatators struggle to see the paintings through the large crowd and enormous hats. One disgruntled man wipes his head in exasperation after his daughter tries to disuade him from leaving.
[Ref: 56453] £320.00

Les Oies du Frére Philippe.
à Paris, Chez Gautier, rue Poupée, No. 7. Depose a la Direction G.le de l'Imp. [n.d., c.1813.]
Coloured etching. 225 x 320mm (9 x 12½"). Creased in centre.
A scene from one of Jean de la Fontaine's fables: Philippe, who, in dedication to God, retired to a mountain cave where his son grew up free from temptation. When, at age twenty, the youth emerged, Philippe truthfully explained to him all that he saw until they came to a party of young women. 'What is that?' asked the youth. 'A party of geese', his father replied. 'Father, I beg you, let us take one with us.'
[Ref: 32696] £150.00 (£180.00 incl.VAT)

Nothing extenuate nor aught set down in malice ~
[Henry Heath.]
Pub 28th Aug 1827 by H Fores Panton St Haymarket.
Hand-coloured etching. Sheet 375 x 260mm (14¾ x 10½"). On paper watermarked 'J Whatman Turkey Mill.' Trimmed within plate left an right and trimmed to plate top and bottom. Publication line faint.
A portrait of a woman in a monstrous hat decorated with ribbon and a voluminous red dress. The title is a quotation from Othello, Act V, Scene 2.
[Ref: 62895] £280.00 (£336.00 incl.VAT)

The rage or shepherds I have lost my waist. Shepherds I have lost my waist! Have you seen my Body? Sacrificed to modern taste, I'm quite a Hoddy Doddy!...
IC
London Pub by SW Fores N.3 Piccadilly December 1 1794.
Scarce hand-coloured etching by Isaac Cruikshank; 370 x 280mm (14½ x 11"). On paper watermarked 'J Whatman.' Small margins. Tears repaired with acid free tape. Some cockling and light staining at top left.
With her right hand outstretched and left on her breast, the tall, attractive young lady bends to the right as though she is performing a passionate song. A shorter, stockier woman (possibly Lady Buckinghamshire, Albinia Hobart?) is seen looking up at her from the right. She is clutching a fan and is sporting a hat. Both have partially exposed breasts and short-waisted gowns, a look that suits one but not the other. The singer wears a large scarf around her neck, with the ends tucked in at the waist. Her hair has two upright ostrich feathers, and her ears are adorned with big rings. She is protesting with her right hand above a platter of tartlets and jellies that a footman is holding. His visage and outdated attire are horrifyingly parodied. A full-length portrait of a woman wearing broad, hooped petticoats, a lace apron, and a flat hat in the style of around 1740 hangs on the wall. Her right hand is in a small muff.
BM Satires 8570.
[Ref: 63063] £420.00

A Pair of Fashionables. Enough to Turn any one's Head.
[William Heath.]
Pub. Oct. 4 1827 by T. McLean Haymarket London.
Hand-coloured etching, 1822 watermark. Plate: 375 x 260mm (14¾ x 10¼''). Foxing at bottom.
An upside down print showing a man and a woman dressed in exaggerated fashions.
[Ref: 50800] £320.00

Bless me what perfect specimens to be sure!!!
I.B. Brooks, 9 New Bond St. H.Heath.
Printed by H.Lefebre & Kohler, 52 Newman St. [n.d., c.1840.]
Coloured lithograph. 230 x 170mm.
Women gathering around a monkey house.
Not in BM.
[Ref: 3125] £130.00 (£156.00 incl.VAT)

A French Petit Maitre and His Valet. Le Petit Gascon Partant pour la Comedie.
[after Charles Brandoin.]
[n.d., c. 1755.]
Very rare etching. 365 x 260mm (14¼ x 10¼"), with large margins. Stitch holes in left edge. Slightly time-stained.
A scene on Rue d'Enfer, a Parisian street, with a foppish Frenchman wearing a coat decorated with hearts, a large nosegay on his shoulder and ribbons on his sword. His valet, who has a comb in his curl-papers, holds out a paper inscribed ''Au petit Marquis''. A close copy of a plate by Charles Grignion, published by Robert Sayer and John Smith in 1771, with the French title added.
See BM Satires 4933 for the original.
[Ref: 60765] £360.00

Sergents de Ville. Inspecteurs nocturnes des boulevarts, surveillans des mauvais sujets, et des voleurs de coeur. Compatriotes. No.9.
Lith. de Delaporte.
chez Aubert Eeur du Jal. la caricature, galerie vero dodat [Paris, n.d., c.1835].
Hand coloured lithograph, sheet 360 x 280mm. 14¼ x 11".
Female officers of the law in smart uniforms, the main figure with sword drawn, an arrest of a suspected felon being carried out in the background. For a series of caricatures, apparently placing women in traditionally male roles.
[Ref: 19524] £85.00 (£102.00 incl.VAT)

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