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The Love Lesson.
The Love Lesson. Illustri, ac nobile Viro, Comiti de Cailus, &c, &c, &c,...
Vatteau [Antoine Watteau] pinxit. P.M. [Philippe Mercier] del et sculp.
Sold by B. Baron in Panton Square, Pickadi[lly.] [n.d., c.1750.]
Etching, 18th century watermark. Sheet 460 x 595mm (18 x 23½"). Trimmed within plate, a few small repairs, losing end of publication line.
A party in an ornamental garden, picking flowers, reading from a music book and listening to a man with a guitar. A naked woman with wet hair sits on a plinth above them. A fine 18th century image.
[Ref: 59341]   £350.00  
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England's Royal Pattern; or the History of King Charles ye first, from his Marriage to his Death.
England's Royal Pattern; or the History of King Charles ye first, from his Marriage to his Death. The Marriage of the King 1625.
L. Cheron Pinx.
[n.d., c.1750.]
Engraving, 18th century watermark. 405 x 460mm (16 x 18") very large margins. Small split in centre fold margin.
The marriage by proxy of Charles I and Henrietta Maria, after Louis Chéron (1660 - 1725). A copy of the print engraved by Nicholas Gabriel Depuis for the series 'The Most Remarkable Transactions of the Reign of Charles I', commissioned by Thomas Bowles in 1728.
[Ref: 59340]   £290.00   (£348.00 incl.VAT)
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Adam Naming the Creation.
Adam Naming the Creation. Whatsoever Adam called every living Creature that was the Name thereof. Genesis II. XIX.
London Published Jan.y 1. 1825, by Thomas Kelly, 17, Paternoster Row.
Etching. 270 x 425mm (10¾ x 16¾"). Repaired tears in small margins.
Adam stand in the Garden of Eden, lit by a sunbeam, surrounded by a large assortment of animals and birds, including crocodiles, guinea pigs, porcupines and armadillos. A kangaroo is based on the portrait by George Stubbs.
[Ref: 59167]   £320.00  

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Alto-relievo by Niccola Pisano, over the door of the Cathedral Church at Lucca.
Alto-relievo by Niccola Pisano, over the door of the Cathedral Church at Lucca.
Wy.O. [monogram of William Young Ottley] del.t. Ja.s Godby Sc.t.
Pub.d March 16th 1809 by W.Y Ottley. London.
Stipple, half circle. Image area (at most) 150 x 265mm (6 x 10½), set in letterpress.
A relief of Christ being taken down from the Cross, a chapter heading for William Young Ottley's 'The Italian School of Design: Being a Series of Fac-Similes of Original Drawings by the Most Eminent Painters and Sculptors of Italy'.
[Ref: 59177]   £180.00   (£216.00 incl.VAT)
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[Cupid] Qu’il est malin! Qu’il a d’appas! Ah! Que n’inspire t-‘il des flames éternelles! Les Roses naissent-sous ses pas; Quel dommage qu’il ait des aîles. Pesselier.
[Cupid] Qu’il est malin! Qu’il a d’appas! Ah! Que n’inspire t-‘il des flames éternelles! Les Roses naissent-sous ses pas; Quel dommage qu’il ait des aîles. Pesselier. Dedié à Mr. Descamps Professeur de l’Academie de Dessein, et Associé à celle des Sciences, Belles-Lettres et Arts de Rouen; Par son très humble Serviteur Robert Strange.
Carolus Vanloo Eques pinx.t Robertus Strange sculp.
Gravé d’après le Tableau de Carle Vanloo Ecuier, tire du Cabinet de Mr. Le Noir [n.d. c.1750].
Engraving. 385 x 270mm (15¼ x 10¾"), with large margins.
Cupid standing and leaning back against a rocky seat, his left hand on his bow, his quiver at his feet, smiling towards with viewer, with a cloak over his arm. A rose-bush on the right; rock face behind and a view of a trees and a valley in the background to left. This is believed to be Robert Strange's first engraving.
[Ref: 59162]   £280.00   (£336.00 incl.VAT)
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L'Isle de Cithere.
L'Isle de Cithere. Pelerins allant à Cithere / Sont escortez par mill Amours. / Ont ils goûtez de l'Amoureux mistere / Ils marchent seuls à leur retours.
Vatteau [Antoine Watteau] pinxit. P.M. [Philippe Mercier] del et sculp.
[n.d., engraved c.1720, bit later, watermarked 'Edmeads & Pine 1791'.]
Fine and scarce etching. Sheet 465 x 545mm (18¼ x 21½"). Trimmed within plate, a few small repairs, central crease.
Pilgrims in seach of love, land on the island of Cythera, watched by Cupid and other cherubs. The original oil is in Frankfurt's Stadelsches Kunstinstitut.
[Ref: 59334]   £480.00  
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[Angle in the vault of the Sistine Chapel] Pio Septimo Pont. Opt. Max.
[Angle in the vault of the Sistine Chapel] Pio Septimo Pont. Opt. Max. Eleazar Mathan Michael Angelus Bonarotius pinxit in Sixtino Vaticano Sacello [in design] .
Ang. di Angelis del. Aloys. Cunego sculp. Romae.
Venit Romae apud Montagnani - Mirabili ad Forum Pasquini [Rome, n.d., c.1800].
Engraving, laid on original album sheet, 405 x 585mm. 16 x 23", large margins. Some creasing.
Two figures from the Hebrew Bible: Eleazar (Elazar) was the second Kohen Gadol (High Priest), succeeding his father Aaron. He was a nephew of Moses. Nathan (fl. c.1000 BC) was a court prophet who lived in the time of King David and Queen Bathsheba. Dedication to Pope Pius VII to lower margin. From a series of plates reproducing the famous frescos by Italian Renaissance painter Michelangelo (1475 - 1564) in the Sistine Chapel, Vatican City, Rome.
[Ref: 22902]   £230.00   (£276.00 incl.VAT)
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Het St. Nicolaas Feest. La Fete de St. Nicolas.
Het St. Nicolaas Feest. La Fete de St. Nicolas.
C. Troost inv. J. Houbrakken sculpsit.
[n.d., c.1760.]
Engraving. Plate: 440 x 385mm (17¼ x 15"). Scoring, small tears and foxing in margins.
A domestic scene showing a family celebrate the Feast of St Nicholas, three children happily play with their toys while one little boy cries because he only has a bunch of sticks in his shoe. A plate from a series of 31 engravings published between 1754-1764 after paintings, drawings and pastels by Cornelius Troost made between (1738-1748).
[Ref: 42657]   £420.00  
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Filial Piety.
Filial Piety. Cimon, condemned to famish in Prison is privately suckled by his Daughter Pero. The Judges, in order to transmit to Posterity their approbation of so rare an example of filial piety, pardon'd the Father for the Daughters Virtue.
Put:r Jordaens Pinx.t. Geo.e Keating Sculp.t.
London, Published 26th March, 1790, by Geo:Keating, No 18 Warwick Street, Golden Square,
Mezzotint. 440 x 540mm (17¼ x 21¼") very large margins
A story told by Roman historian Valerius Maximus (c.AD 50): Cimon, sentenced to stave to death in prison, is suckled by his daughter Pero.
[Ref: 11599]   £480.00  
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[Death of George I] Op den 22 Iuny 1727. is George Lodewyk Koning van Groot Britt [...] [parallel text in Latin]
[Death of George I] Op den 22 Iuny 1727. is George Lodewyk Koning van Groot Britt [...] [parallel text in Latin]
Pet:Schenk exc Amst: cum Pr. [n.d. c.1730.]
Engraving, sheet 155 x 180mm (6 x 7"). Trimmed to plate,
A scene showing the death of King George I (1660-1727). He was the first British monarch of the House of Hanover.
[Ref: 59239]   £70.00   (£84.00 incl.VAT)
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Shakspeare.  Macbeth.  Act I. Scene 3.
Shakspeare. Macbeth. Act I. Scene 3. A. Heath _ Macbeth, Banquo, & three Witches.
Painted by H. Fuseli R.A. Engraved by Ja.s Caldwall.
Pub. April 23 1798, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No. 90. Cheapside.
Engraving with etching, fine impression, J. Whatman 1794 watermark, open letter proof before quote from play. 500 x 630mm (190¾ x 24¾"), with large margins.. Repaired tear in right edge.
Macbeth's first encounter with the three Weird Sisters upon the blasted heath. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
Weinglass: 120, state VII of VIII.
[Ref: 59328]   £420.00  
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Mary Magdalen Washing Christ's Feet.
Mary Magdalen Washing Christ's Feet. In the Salon at Houghton.
Rubens Pinxit. G Farington delin.t. Rich.d Earlom sculpsit.
John Boydell excudit 1777. Published Aug.st 1st 1777 by John Boydell Engraver in Cheapside London.
Mezzotint. 470 x 580mm (18½ x 22¾"). Trimmed within plate at bottom, thread margins elsewhere chipped. Crease top right.
Peter Paul Ruben's 'Feast in the House of Simon the Pharisee', painted in Flanders circa 1618-20, representing the conflict between the material values and religious dogmatism of the Pharisees world and the Christian doctrine of sympathy, charity and goodness. Here the repentant sinner washing Christ's feet with her tears is named as Mary Magdalene; however the Gospel of Luke leaves her nameless. At the time of this engraving the painting was part of the art collection of Sir Horace Walpole (1676-1745) at Houghton, Norfolk. Following his death part of the collection was sold to pay off debts, and by the 1770s it was inevitable the rest would suffer the same fate. Before it could be dispersed John Boydell commissioned a vast series of mezzotints of the collection, which was fortuitous: despite John Wilkes attempt to persuade Parliament to buy the collection for the nation 206 paintings were sold to Catherine the Great for £40,550 in 1779. 127 works from Houghton, including this one, are now in the Hermitage Museum, St Petersburg.
[Ref: 35458]   £230.00   (£276.00 incl.VAT)
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Le Matin.  [The Morning.]
Le Matin. [The Morning.] Dedie a Messire Pierre Charles de Villette Chevalier Seigneur du Plessis Villette...[etc.] Tire de son Cabinet et grave de la meme grandeur de l'Original. Par son tres-humble Serviteur Aliamet.
J. Vernet Pinxit. Aliamet Sculp.
a Paris chez l'Auteur rue des Mathurins vis a vis celle des Masons [n.d., c.1775].
Etching and engraving, 355 x 455mm (14 x 18, with wide margins.
A scene on a river with fishermen in the foreground, water mill at right, and a bridge and buildings in the distance. After Joseph Vernet (1714 - 1789), the famous marine painter. Vernet studied and worked in Rome (1734-53) until recalled to Paris where he was commissioned to paint a set representing French harbours (the 'Ports de France'). He was the father of Carle Vernet, and grandfather of Horace.
[Ref: 10290]   £360.00  
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Shakespeare. Merry Wives of Windsor. Act V. Scene V.
Shakespeare. Merry Wives of Windsor. Act V. Scene V.
Painted by Rob.t Smirke R.A. Engraved by Is.c Taylor Jun.
Published Jany. 1. 1795 by John & Josiah Boydell, at his Shakspeare Gallery, Pall Mall _ & at No. 90 Cheapside, London
Engraving with etching, fine impression, open letter proof before quote from play, J. Whatman 1794 watermark. 495 x 625mm (19½ x 24½"), with large margins. Crease top margin.
Falstaff as Herne the Hunter, with stag's horns on head, lies prostrate in front of 'Herne's Oak', taunted by local children pretending to be fairies. Mistresses Page and Ford enjoy the spectacle on the left. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59325]   £420.00  
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[Shakspeare. Othello. Act V. Scene II.]
[Shakspeare. Othello. Act V. Scene II.]
[Painted by J. Graham. Engraved by W. Leney.]
[Pub. Sept.r 29 1799 by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall. & No 90 Cheapside London.]
Stipple, extremely rare proof before letters. 565 x 415mm (22¼ x 16¼"). Trimmed to plate, some creasing.
Othello standing over the bed of Desdemona as she sleeps, a candle and dagger in his hands. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59332 for Open lettered impression.
[Ref: 59333]   £450.00  
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Shakspeare. Othello
Shakspeare. Othello Act V. Scene II.
Painted by J. Graham. Engraved by W. Leney.
Pub. Sept.r 29 1799 by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall. & No 90 Cheapside London.
Stipple, fine impression, open letter proof, without quote from play. 565 x 415mm (22¼ x 16¼"), with large margins. Repairs to margins and edge of plate. Slight repair in between feet.
Othello standing over the bed of Desdemona as she sleeps, a candle and dagger in his hands. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59333 for Proof before Letters.
[Ref: 59332]   £320.00  
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[Shakspeare. Othello Act II. Scene I. A Platform. _ Desdemona, Othello, Jago, Cassio, Roderigo, Emilia, &c.]
[Shakspeare. Othello Act II. Scene I. A Platform. _ Desdemona, Othello, Jago, Cassio, Roderigo, Emilia, &c.]
[Painted by Tho.s Stothard R.A. Engraved by Tho.s Ryder.
Pub.d Sept.r 1799, by J.&J. Boydell, at the Shakspeare Gallery, Pall Mall; & No. 90 Cheapside, London.
Stipple, extremely rare proof before letters. 485 x 620mm (19 x 24½"). Trimmed just within plate, repaired tears, some creasing.
Desdemona meets Othello on his return from sea, with Emilia curtseying and Iago glowering from one side.
[Ref: 59336]   £450.00  
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Book 1, Line 314.
Book 1, Line 314. [Satan arousing the fallen Angels.]
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Coleman.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint. 270 x 195mm (10¾ x 7¾") with very large margins. Margins chipped and stained.
Satan stands on a cliff overhanging the burning lake in a cavern of hell, holding up his spear to rouse the fallen angels below. One of a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 52.
[Ref: 59352]   £160.00   (£192.00 incl.VAT)
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Book 2 Line 1.
Book 2 Line 1. [Satan presiding at the Infernal Council]
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. J. Martin. 1824 [inscribed in plate].
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint with etching. 200 x 270mm (8 x 10½"), with very large margins. Margins chipped and soiled. Staining top right margin.
Satan presiding at the Infernal Council; Satan, with his right arm raised, sitting on a throne set on a sphere, raised in the centre of a building crowded with rebel angels on tiered seats, lit by rings of light. One of Martin's finest mezzotints. One of a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 54.
[Ref: 59355]   £160.00   (£192.00 incl.VAT)
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Book 2. Line 727.
Book 2. Line 727. [The Conflict between Satan and Death.]
Designed & Engraved by J. Martin Esq.r.
London, Published by Septimus Prowett. 23, Old Bond Street, 1825.
Mezzotint with etching. 200 x 270mm (8 x 10½"), with very large margins. Crease in image on right, soiling in margins.
Satan at the gates of Hell, raising his spear to strike Death, a dark monstrous figure of whom only the crown, eyes, claw and spear are visible, while Sin, a woman whose snaky tail is hidden in her garment and the darkness, rushes between them with her arms outstretched, to stop Satan attacking his son. One of a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 55.
[Ref: 59354]   £160.00   (£192.00 incl.VAT)
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Book 3. Line 301.
Book 3. Line 301. [Satan viewing the ascent to Heaven]
J. Martin 1824. Designed & Engraved by J. Martin Esq.r. Printed by Chatfield & Co.
London Published by Septimus Prowett, 23 Old Bond Street. 1825.
Mezzotint. 270 x 195mm (10¾ x 7¾") with very large margins. Tear in margin taped, crease crossing corner of plate mark, nicks and soiling to edges.
Satan crouches looking over his shoulder at a broad staircase rising towards the shining gates of Heaven, where angels ascend. A plate commissioned by American publisher Septimus Prowett to illustrate an edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 57.
[Ref: 59351]   £160.00   (£192.00 incl.VAT)
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Book 4 line 813.
Book 4 line 813. [Eve's Dream - Satan Aroused.]
Designed & Engraved by J. Martin Esq.r Printed by Chatfield & Co.
London, Published by Septimus Prowett. 23, Old Bond Street, 1825.
Mezzotint with etching. 200 x 270mm (8 x 10½"), with very large margins. Crease on left through image, margins worn and stained.
Satan springing up with his shield raised behind his head, grasping his spear, starting back to right, driven from his disguise as a toad at the touch of a spear by Ithuriel who stands on the left with Zephon, whilst Adam and Eve sleep in the background. From a series of plates commissioned by American publisher Septimus Prowett to illustrate at edition of 'Paradise Lost' by John Milton (1608-74).
Balston 4 D. CW 60.
[Ref: 59356]   £90.00   (£108.00 incl.VAT)
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Le Naufrage de Virginie.
Le Naufrage de Virginie. Paul alloit s’élancer à la mer, lorsque je le saisais par le bras: mon fils, lui dis-je, voulez vous périr? Que j aille à son secours s’écria-l’il, ou que je meurt!__Paul et Virginie.
Peint par Lambert. Gravé para Felix Mizelle.
Se Vend à Paris à la Manufacture de papiers peints, chez Arthur et Comp.e sur le Boulevard. [n.d. c.1800.]
Aquatint and etching, 414 x 565mm (16¼ x 22¼").
The shipwreck. Paul watches on in horror from the shore as a ship is hurled by a huge wave towards rocks on the tropical island of Mauritius; he is restrainted by one white and two black companions. Virginia and a black slave stand on the deck of the doomed ship. The most famous ship name in the history of Mauritius is the slaveship St. Géran which, whilst bringing colonists, was shipwrecked in 1744 on fringing reef of island's northeast coast. Only nine survived the wreck and it inspired the novel Paul et Virginie by Bernadin de St. Pierre. In the novel Virginie, out of modesty, refuses to remove her clothes so that the sailor can carry her to shore and is consequently drowned. On shore grief stricken Paul dies soon afterwards. The novel was written on the eve of the French Revolution by Jacques-Henri Bernardin de Saint-Pierre, and it records the fate of a child of nature corrupted by the false, artificial sentimentality that prevailed at the time among the upper classes of France.
See Ref: 18009 for a rare coloured version of the scene.
[Ref: 28894]   £450.00  
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[Paul et Virginie] L'Enfance de Paul et Virginie. [&] L'Adolescence de Paul et Virginie.
[Paul et Virginie] L'Enfance de Paul et Virginie. [&] L'Adolescence de Paul et Virginie. [&] Le Triomphe de la Vertu. [&] Virginie au Tombeau.
Peint par Schall. Gravé par Augustin le Grand.
A Paris chez Augustin le Grand Rue St. Julien-le-Pauvre No 3 [illegible] [n.d. c.1800.]
Four stipples printed in colours, sheet 390 x 450mm (15¼ x 17¾"). Trimmed to platemark on two sides; pinhole in centre. Small tear in margin that just touches plate.
Four scenes from the novel 'Paul et Virginie', by Jacques-Henri Bernardin de Saint-Pierre. Set on Mauritius, it is a parable of the social divisions in French society on the eve of the Revolution.
[Ref: 38688]   £1,600.00   view all images for this item
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[Peace of Utrecht] Den 29 Ianuary, is tot Uytrecht op het Stadhuys het Congres geopent [...] [parallel text in Latin]
[Peace of Utrecht] Den 29 Ianuary, is tot Uytrecht op het Stadhuys het Congres geopent [...] [parallel text in Latin]
P. Schenk exc: Amst: C.Pr. [n.d. c.1730.]
Engraving, sheet 160 x 190mm (6¼ x 7½"). Trimmed to plate, some spots, small tear on bottom edge.
A scene showing the opening of the Congress of Utrecht on 29 January 1712, the peace conference called to end the hostilities of the War of the Spanish Succession (1701-1714). Representatives of Great Britain, France, Savoy and the Dutch Republic sit around the table, while representatives of the Holy Roman Empire appear to be late on the right, as they only joined the congress on 10 February 1712.
[Ref: 59233]   £85.00   (£102.00 incl.VAT)
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[Peace of Utrecht] Vredehandel tusschen den Koning van Vrankryk, en de Algemeene Staten [...] [parallel text in Latin]
[Peace of Utrecht] Vredehandel tusschen den Koning van Vrankryk, en de Algemeene Staten [...] [parallel text in Latin]
P. Schenk exc: Amst: Cum Priv. [n.d. c.1730.]
Engraving, sheet 160 x 190mm (6¼ x 7½"). Trimmed to plate, some spots.
A scene showing the public proclamation of the Peace of Utrecht, signed on 11 April 1713. The peace ended the War of the Spanish Succession (1701-1714).
[Ref: 59301]   £70.00   (£84.00 incl.VAT)
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[Birth of Princess Mary] Het kraambed van de Princes van Walles, bevallen zynde vam een Princes [...] [parallel text in Latin]
[Birth of Princess Mary] Het kraambed van de Princes van Walles, bevallen zynde vam een Princes [...] [parallel text in Latin]
Pet:Schenk exc: Amst: cum Priv. [n.d. c.1730.]
Engraving, sheet 160 x 190mm (6¼ x 7½"). Trimmed to plate, slightly foxed, stain on image, one spot on top edge.
A scene showing the birth of Princess Mary of Great Britain (1723-1772), the fourth daughter of King George II.
[Ref: 59272]   £75.00   (£90.00 incl.VAT)
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Le Repos.
Le Repos.
Le Prince 1771.
Se vend à Paris chéz l'auteur, Cour du Vieux Louvre.
Aquatint with etching, printed in sepia. 450 x 350mm (17¾ x 13¾"), with small margins. Damp stains in left margin.
A young girl sleeps in makeshift bed in a barn, leaving a basket of eggs to fall over and break. Her aged peasant parents look on in disgust.
[Ref: 52972]   £280.00   (£336.00 incl.VAT)
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[Robinson Crusoe's Island.]
[Robinson Crusoe's Island.]
Clark & Pine Sc. 1719.
[n.d., c.1908.]
Photo-etching. 230 x 350mm (9 x 13½"), watermarked 'Michallet'.
A pictorial map of Crusoe's island, also known as the 'Island of Despair', showing various incidents from Daniel Defoe's novel. A copy of the plate originally published in the third edition of Defoe's series titled, 'Serious Reflections during the Life and Surprising Adventures of Robinson Crusoe', London printed by W. Taylor.
[Ref: 59235]   £85.00   (£102.00 incl.VAT)
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De overgaave van het Eyland Sicilien in de Middellandse Zee, door den Spaanse Generaal de Marquis de Leede [...] [parallel text in Latin]
De overgaave van het Eyland Sicilien in de Middellandse Zee, door den Spaanse Generaal de Marquis de Leede [...] [parallel text in Latin]
Pet:Schenk Exc: Amst: C.Pr. [n.d. c.1730.]
Engraving, sheet 160 x 190mm (6¼ x 7½"). Trimmed to plate, slightly stained on bottom left corner.
A scene showing the formal handover of power over Sicily from Spain to Austria on May 1720. The handover was a consequence of The War of the Quadruple Alliance (1718–1720) and the Treaty of The Hague (February 1720), in which Spain agreed to renounce the claims to their former Italian possessions.
[Ref: 59287]   £85.00   (£102.00 incl.VAT)
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A Maæata and Caledonian.
A Maæata and Caledonian.
C.H.S.[Charles Hamilton Smith] del.t. Aquatinted by R.Havell.
Published June 1st, 1815 by R.Havell, 3 Chapel Street, London.
Fine coloured aquatint. 245 x 340mm. Trimmed into plate top and bottom.
Two tribesmen of ancient Scotland showing off their tattoos, standing before a monument of standing stones and a lintel. In the title area is a vignette of an archaeological artifact. The Maeatae lived around the Firth of Forth and were regularly paid off by the Romans to keep the peace. The Caledonians lived further north, around Loch Ness. Published in the 'Costume of the Original Inhabitants of the British Islands', the first attempt to to use archaeological evidence to help create visual images of an imagined prehistoric past.
Abbey Life 427.
[Ref: 59202]   £130.00   (£156.00 incl.VAT)
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British Fishing, and Husbandry.
British Fishing, and Husbandry.
C.H.S.[Charles Hamilton Smith] del.t. Aquatinted by R.Havell.
Published June 1st, 1815 by R.Havell, 3 Chapel Street, London.
Fine coloured aquatint. 245 x 340mm (9¾ x 13½"). Trimmed into plate top and bottom.
Ancient Britons fishing from coracles and ploughing using ox. In the title area is a vignette of a plough, based on an archaeological artifact. Published in the 'Costume of the Original Inhabitants of the British Islands', the first attempt to to use archaeological evidence to help create visual images of an imagined prehistoric past.
Abbey Life 427.
[Ref: 59201]   £95.00   (£114.00 incl.VAT)
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[The Death of Solinzeb.]
[The Death of Solinzeb.]
J. Northcote delin. T. Gaugain fecit.
Publish'd March 1786, by T. Gaugain No.4 Little Compton Street, Soho, London.
Fine stipple in brown ink with very large margins. Plate 394 x 346mm (15½ x 13½"). Proof before title; laid on album sheet.
In a roundel, a man in oriental dress lays on a leopard skin and expires in the arms of his daughter, after being wounded in the chest. On the right, a European officer attends the wounded man, while a battle rages in the background. In the final state lines from the French author Jean Francois Marmontel (1723-1799) are added below the image to represent the last words of the wounded man: he does not fear death, welcomed as a gentle sleep, but he fears for his daughter's future.
From the Northcote Albums, Christie's South Kensington.
[Ref: 28380]   £350.00  
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Shakspeare. Tempest. Act IV. Scene I.
Shakspeare. Tempest. Act IV. Scene I. Prospero's cell . _ Propsero, Miranda, &c. &c.
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, J. Whatman 1794 watermark. 510 x 640mm (20 x 25¼"), very large margins. Some restoration.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59330]   £220.00   (£264.00 incl.VAT)
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Shakspeare. Tempest. Act IV. Scene I.
Shakspeare. Tempest. Act IV. Scene I. Prospero's cell . _ Propsero, Miranda, &c. &c.
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, 18th century watermark, open letter proof before quote from play. 510 x 640mm (20 x 25¼"), with large margins. Tears in bottom margin repaired, faint damp stains on left.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59329 for normal state.
[Ref: 59327]   £320.00  
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Shakspeare. Tempest. Act IV. Scene I.
Shakspeare. Tempest. Act IV. Scene I. Prospero's cell . _ Propsero, Miranda, &c. &c.
Painted by Joseph Wright. Engraved by Robert Thew.
Pub. June 4. 1800, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No 90 Cheapside, London.
Engraving with etching, very fine impression, 1794 watermark. 510 x 640mm (20 x 25¼"). Repairs to margins and edges of plate. Small margins.
Ferdinand and Miranda watch amazed as Prospero controlls a circle of female spirits above their heads. Outside the cave Caliban stans on the sea shore. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
See Ref: 59327 for Open letter Proof.
[Ref: 59329]   £320.00  
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[Treaty of Nystad] Vreede tekening tusschen de Plenipotentiarisen van den Kyser van Groot Rusland [...] [parallel text in Latin]
[Treaty of Nystad] Vreede tekening tusschen de Plenipotentiarisen van den Kyser van Groot Rusland [...] [parallel text in Latin]
Pet:Schenk Exc Amst: C.Priv. [n.d. c.1730.]
Engraving, sheet 155 x 185mm (6 x 7¼"). Trimmed to plate, folding creases, tear on bottom edge, some spots. Central crease as normal.
A scene showing the signing of the Treaty of Nystad between Russia and Sweden on 20 August 1721, which ended the Great Northern War (1700-1721).
[Ref: 59267]   £85.00   (£102.00 incl.VAT)
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[Treaty of Passarowitz] De vreede tekening tussen den Roomsen Kyser, de Repub: van Venetie en de Turkse Kyser, [...] [parallel text in Latin]
[Treaty of Passarowitz] De vreede tekening tussen den Roomsen Kyser, de Repub: van Venetie en de Turkse Kyser, [...] [parallel text in Latin]
Pet:Schenk Exc: Amst: Cum Priv. [n.d. c.1730]
Engraving, sheet 155 x 185mm (6¼ x 7¼"). Trimmed to plate, folding creases in the middle, some foxing.
A scene showing the signing of the Treaty of Passarowitz between the Ottoman Empire, Austria of the Habsburg monarchy and the Republic of Venice on 21 July 1718, which ended the Seventh Ottoman-Venetian War (1714-1718).
[Ref: 59141]   £85.00   (£102.00 incl.VAT)
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Shakespeare. Troilus & Cressida. Act V. Scene II.
Shakespeare. Troilus & Cressida. Act V. Scene II.
Painted by Angelica Kauffman. Engraved by I. Schiavonetti.
Published Jan.y 1:st 1795, by John & Josiah Boydell at the Shakespeare Gallery, Pall Mall; & at No. 90, Cheapside, London.
Stipple, very fine impression, open letter proof before quote from play. 495 x 630mm (19¾ x 24¾"), with large margins.
Ulysses restrains Troilius, who watches from behind hangings in Calchas' tent, as Cressida sits holding Diomedes by the hand, agreeing finally to give him the sleeve Troilius gave her as a love token. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
Alexander: 297 [Kauffman].
[Ref: 59326]   £420.00  
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The Rev.d John Wesley, M.A., Preaching on his Father's Tomb-stone in Epworth Church-yard.
The Rev.d John Wesley, M.A., Preaching on his Father's Tomb-stone in Epworth Church-yard. Proof.
Painted by Alfred Hunt. Engraved by J.B. Hunt. Printed by J. Brooker.
London, William Tegg, 85, Queen Street, Cheapside. _ Darlington, Robert Swales, 8, High Row [n.d., c.1855].
Rare mixed-method engraving, proof printed on chine collé. 520 x 610mm (20½ x 24"), with large margins. Creases in india.
A young John Wesley preaching outside a church.
[Ref: 59284]   £380.00  
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The Rev.d John Wesley, Preaching in the Amphitheatre, near Gwennap, Cornwall.
The Rev.d John Wesley, Preaching in the Amphitheatre, near Gwennap, Cornwall. Proof.
Painted and Engraved by W.O. Geller, 4, Stanhope Place, Mornington Crescent. Printed by S.H. Hawkins.
London, Published Oct.r 1, 1845 by Thomas Riley, 3, Hind Court, Fleet Street.
Scarce etching with engraving on chine collé. 450 x 575mm (17¾ x 22¾"). Small margins. Repaired tears, some surface scuffing.
John Wesley preaching from a rock above Gwenap Pit, an amphitheatre created by early mining. Wesley first used the location in 1762 as a shelter from high winds and returned on several occasions until 1789, with an audience of 32,000 claimed in 1773 (although it is estimated only 2,000 could be seated comfortably).
[Ref: 59157]   £450.00  
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Shakspeare. Winter's Tale, Act III. Scene III.
Shakspeare. Winter's Tale, Act III. Scene III.
Painted by J.h Wright. Engrav'd by S. Middiman.
Publish'd June 4. 1794, by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside.
Engraving with etching. 500 x 630mm (19¾ x 24¾"), with large margins. Creasing where rolled.
Attempting to return to the baby, Perdita, whom he has just abandoned on the coast of land-locked Bohemia, Antigonus is chased away by a wild animal. This action creates Shakespeare's most famous stage direction: ''Exit Antigonus, pursued by a bear''. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59324]   £260.00   (£312.00 incl.VAT)
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Shakspeare. Winter's Tale, Act III. Scene III.
Shakspeare. Winter's Tale, Act III. Scene III.
Painted by J.h Wright. Engrav'd by S. Middiman.
Publish'd June 4. 1794, by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside.
Engraving with etching, J. Whatman 1794 watermark, 500 x 630mm (19¾ x 24¾"), with large margins. Small tear in edge taped.
Attempting to return to the baby, Perdita, whom he has just abandoned on the coast of land-locked Bohemia, Antigonus is chased away by a wild animal. This action creates Shakespeare's most famous stage direction: ''Exit Antigonus, pursued by a bear''. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious and the cost caused the firm to go bankrupt.
[Ref: 59331]   £320.00  
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