Autumn 2018, A Catalogue of Recent Acquisitions by Sanders of Oxford, Antique Prints & Maps

AUTUMN 2018

A CATALOGUE of RECENT ACQUISITIONS Sanders of Oxford

Antique Prints & Maps

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Autumn 2018 A Catalogue of Recent Acquisitions From Friday 14th September 2018.

Sanders of Oxford is pleased to present a selection of our most interesting recent acquisitions. Over the past few months we have been busy cataloguing a collection of ďŹ ne and decorative prints spanning a diverse range of subjects, engravers, and prices. All works are available to purchase and will be on display in the gallery.

Sanders of Oxford. Antique Prints & Maps Salutation House 104 High Street Oxford OX1 4BW www.sandersofoxford.com - 01865 242590 - info@sandersofoxford.com Monday - Saturday 10am - 6pm. Sundays 11am - 5pm.

Contents

Pg.

01-15: Fine Prints & Mezzotints

16-22: Caricatures & Satires

23-39: Portraits

40-53: Topography

54-66: General Interest

67-75: Curiosities & Ephemera

Biographies: Artists, Printmakers, & Publishers

FINE PRINTS & MEZZOTINTS

01. A Tigress Robert Laurie after George Stubbs Mezzotint Painted by Geoe. Stubbs. Engraved by Robt. Laurie. Republished 12th Novr. 1800 by Robt. Laurie & Jas. Whittle, No. 53 Fleet Street London (Successors to the late Mr. Robert Sayer). Image 463 x 582 mm, Plate 493 x 582 mm Framed A superb dark and velvety impression of Laurie’s celebrated mezzotint of Stubbs’ reclining tigress in her bower, the original painting formerly in the collection at Blenheim. Laurie’s plate was intended as a republication of the earlier mezzotint by Dixon, widely regarded at the time as the ‘finest mezzotinto that was ever engraved.’ Unfortunately, Dixon’s earlier plate had been destroyed in a fire. Laurie’s plate differs in its treatment of the background details of the Tigress’ lair, as well as showing a lesser reliance on etching in the tiger’s stripes than Dixon’s original.

Inscribed below title: ‘From a Capital Picture, by Geoe. Stubbs in the Possession of his Grace the Duke of Marlborough.’ Lennox-Boyd 139 iii/iii Condition: Printers crease to top centre of plate. Minor cracking to plate mark, professionally strengthened on verso. Narrow margins, some creasing, folding, and repaired tears to edges of sheet, not aﬀecting plate or image. Otherwise, an excellent clean dark impression. [45874] £10,000 7

02. The Death of General Wolfe William Woollett after Benjamin West Copper engraving Painted by B. West, Historical Painter to His Majesty. Engraved by Wm. Woollett, Engraver to His Majesty. Published as the Act directs, January 1st. 1776 by Messrs. Woollett. Boydell, & Ryland, London. Image 425 x 590 mm, Plate 480 x 615 mm Mounted Full title below image reads: To the King’s most excellent Majesty, This plate, the Death of General Wolfe, is with His gracious Permission humbly dedicated by his Majesty’s most dutiful Subject & Servant, William Woollett. From the original Picture in the Collection of Lord Grosvenor. Woollett’s large-scale separately published engraving after Benjamin West’s famous painting depicting the death of General Wolfe at the Battle of Quebec in 1759. The original is now in the collection of the National Gallery of Canada after being presented to the nation in 1921, though four others were also completed by West, one of which, still in the Royal Collection, was commissioned by George III in 1771. Woollett’s plate purports to derive from an example in the collection of Lord Grosvenor. Artistically, West’s treatment marked a turning point for historical painting. Ignoring the received wisdom of the day, including a recommendation from Sir Joshua Reynolds, West eschewed classical dress and a dramatic setting in favour of a more realistic treatment featuring contemporary military dress and a romanticised scene of the battleﬁeld itself. 8

The scene shows the aftermath of the Battle of Quebec, in which the British, led by Wolfe, triumphed over the French, making it the most important conflict of the Seven Years War and a watershed moment in the colonial history of Canada. Although Wolfe died during the Battle, West has chosen to depict him surrounded by his men on the victorious field. The general, wounded, cuts a Christ-like figure across the centre of the scene, supported by the surgeon, Dr Thomas Hinde. The most enigmatic figure is a Native American, posed in an attitude of melancholy across from the dying general. In the centre, the Union Jack is furled, while to the left, a figure carrying the Fleurde-Lis banner brings news of the French defeat to the assembled leaders. Condition: Minor scratches and surface abrasion to sheet, particularly to upper right corner. Trimmed to just outside plate mark, with some chips and tears to edges of sheet. Minor creasing and staining to inscription space. Otherwise a clean dark impression. [45990] £780

03. A Youth Rescued from a Shark Valentine Green after John Singleton Copley Mezzotint Published July 1st, 1797, by V. & R. Green No. 14 Percy Street, Bedford Square, London. Image 464 x 606, Sheet 455 x 600 Unmounted Inscription reads: ‘This Representation is founded on the following Fact: a Youth bathing in the Harbour of the Havannah was twice seized by a Shark from which, (though with the Loss of the Flesh & Foot, torn from the Right Leg,) He disentangled himself, & was by the assistance of a Boat’s Crew, sav’d from the Jaws of the voracious Animal: for in the Moment it was attempting to seize its Prey, (a third Time), a Sailor with a Boat Hook, drove it from its Pursuit.’ A boat with eight men rescuing a young man from a shark, with ships and buildings visible in the background. Title and inscription in English and French. A rare proof state with scratched title and letters from John Chaloner Smith’s collection.

Chaloner Smith 152 i/iii, Whitman - V. Green 209ii/iii, Lennox-Boyd i/v. Ex. Col.: Hon Christopher Lennox-Boyd accession number on verso. Originally from John Chaloner Smith with JSmith/4-366 in ink on upper left corner on verso. Condition: Foxing and time toning to sheet, surface staining, thread margins, silverﬁsh damage in inscription space, some paper loss lower left corner, rubbing to image, creasing to edges. [45600] £800

04. An Alchymist William Pether after Joseph Wright of Derby Mezzotint Josh. Wright Pinxt. Wm. Pether Fecit. Published Sept. 1t. 1775 & Sold by W. Pether in Broad St, St James. Image 560 x 455 mm, Plate 580 x 455 mm Framed A fine, early proof, mezzotint after one of Wright’s most enigmatic paintings, The Alchymist, in Search of the Philosopher’s Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. The scene, making ample use of Wright of Derby’s flair for chiaroscuro, depicts an Alchemist in his laboratory, sinking upon his knees in devotional wonder before a glowing alembic, a beam of light escaping from the a valve in the long-necked glass vessel standing in a tripod before him. The central figure has traditionally been identified with the Hamburg alchemist Henning Brand, who discovered phosphorous in 1669 while attempting to produce the fabled ‘philosopher’s stone,’ a chemical creation supposed to change base metals to gold and create an elixir of restorative and life-giving qualities. Wright’s Alchemist is a mystic romantic figure, dressed in a long robe reminiscent of a saint’s attire.

His lair, whilst cluttered with various and curious objects such as a globe, a clock, vessels of clay, stone and glass, and tomes magical and chemical, is undoubtedly a far cry from the likely realities of a seventeenth century alchemical lab. Indeed, Hennig Brand’s own experiments with phosphorous involved a long process of boiling and reﬁning large quantities of urine. Wright’s use of light, like his other great works depicting forges and blacksmiths’ shops, gives the scene a decidedly religious air, the alchemist in a posture more commonly expected from a saint in the ecstasy of revelation. Despite the great appeal of the work to a modern HarryPotter reading public, Wright’s contemporaries evidently found it confronting, with the painting only selling four years after his death. It now resides in Wright’s home town in the collection of the Derby Museums. Chaloner Smith 44, Clayton iii/v Condition: Proof before title, with scratched letter publication line and artists details. Surface abrasion and rubbing to top of plate, particularly in the vaulting above the central characters. Trimmed close to plate mark. Framed in an antique style black and gold frame. [46198] £7,000

Plates from John Martin’s Illustrations of the Bible John Martin’s Illustrations of the Bible were the most ambitious project of his career. He set out to produce a folio of forty illustrations depicting both the Old and New Testaments. The work was ﬁrst issued in 1831, in parts containing two mezzotints as well as supporting Biblical passages. After laudatory reviews for the ﬁrst seven instalments, parts VIII to X were published simultaneously, and somewhat paradoxically, went almost unnoticed by critics. As a result of this, the venture was a commercial failure, and Martin sold the plates to the publisher Charles Tilt in 1838, who republished the series. Tilt’s successor, David Bogue, continued selling these works until 1853.

05. Fall of the Walls of Jericho John Martin Mezzotint [London, Charles Tilt, Fleet Street. c. 1838] Image 189 x 288 mm, Sheet 217 x 298 mm Unmounted This plate relates to The Battle of Jericho, an incident in the Biblical Book of Joshua, and the ﬁrst battle of the Israelites during their conquest of Canaan. According to the narrative, the walls of Jericho fell after Joshua’s Israelite army marched around the city sounding their trumpets. Joshua stands in the foreground holding aloft a spear in one hand, and a shield in the other. Priests appear on the right, clad in white and blowing trumpets while the city walls crumble behind them. CW 105; Campbell, Visionary Printmaker, p. 144. Condition: Repaired tear to top right corner, worm hole to right centre of image. Trimmed within platemark, with loss of publication line. [46026] £200

06. Destruction of Pharaoh’s Host John Martin Mezzotint [London, Charles Tilt, Fleet Street. c. 1838] Image 188 x 283 mm, Sheet 215 x 292 mm Unmounted

07. Seventh Plague John Martin Mezzotint [London, Charles Tilt, Fleet Street. c. 1838] Image 192 x 282 mm, Sheet 210 x 286 mm Unmounted

A depiction of the Biblical story (Exodus 14) of Moses releasing the waters of the Red Sea, after they had miraculously parted to allow the ﬂeeing Israelites to cross, thereby drowning the pursuing Egyptian army.

Martin’s portrayal of The Seventh Plague of Egypt shows a violent storm over a port. Viewed from a terrace and staircase in the foreground, Moses stands, aiming his staﬀ in the direction of the tumult, ‘and the Lord sent thunder and hail, and ﬁre rained down onto the earth.’

CW 103; Campbell, Visionary Printmaker, p. 142-3. Condition: Worm hole to sea area of image, trimmed within plate mark, with loss of publication line. [46028] £200

CW 102; Campbell, Visionary Printmaker, p. 140. Condition: Trimmed to image on top and sides, and below title at base. Crease to bottom left corner of sheet. [46030] £200 08. Moses Breaketh the Tables John Martin Mezzotint [London, Charles Tilt, Fleet Street. c. 1838] Image 187 x 287 mm, Sheet 210 x 295 mm Mounted Martin’s engraving illustrates part of the story of the Ten Commandments. Moses has descended from the heights of Mount Sinai carrying the tables of stone upon which God had inscribed the Ten Commandments. In the valley below him are the Israelites whom he has returned to ﬁnd worshipping a golden idol of a calf. In his rage at discovering the pagan worship, Moses hurls the tables down the mountainside, breaking them to pieces. CW 104; Campbell, Visionary Printmaker, p. 141. Condition: Trimmed within plate mark, with loss of publication line. Very small worm hole to right centre. [46031] £200 13

09. The Destruction of the Cities of the Plain James G. S. Lucas Mezzotint and etching [London, Published by J. Mc.Cormick, 62, Gracechurch Street. London. c. 1830] Image 204 x 284 mm, Sheet 220 x 292 mm Unmounted James G. S. Lucas’ depiction of the destruction of the cities of Sodom and Gomorrah with Lot and his daughters ﬂeeing for safety in the left foreground. The dramatic landscape is blanketed under a viscous storm, with rain and lightning slanting down from upper left, the cities ablaze in the middle distance, with a lake, river and tree-covered plains towards the foreground. Condition: Trimmed within plate mark, with loss of title and publication line, wormhole to horizon area of image. [46033] £250

10. Samson carrying oﬀ the Gates of Gaza James G. S. Lucas Mezzotint and etching [London, Published by J. Mc.Cormick, 62, Gracechurch Street. London. c. 1830] Image 204 x 284 mm, Sheet 220 x 292 mm Unmounted James G. S. Lucas’ depiction of Samson bearing the gates of Gaza on the hill. Samson’s enemies wait at the gates of the city to ambush him but Samson tears the gates from their hinges and frame and carries them to the hill in front of Hebron. Condition: Trimmed within plate mark, with loss of title and publication line. Repaired tear to left margin, crease to top right corner, foxing to sheet, wormhole to horizon area of image. [46034] £200

11. The Sporting Lady [Anonymous] Mezzotint London, Printed for R. Sayer & J.Bennett, No.53 Fleet Street, as the Act directs 1 Octr. 1776. Image 320 x 250 mm, Plate 350 x 250 mm, Sheet 355 x 270 mm Unmounted A satire of a female hunter with a gun over her shoulder and dead birds held at her waist and an elaborate coiﬀure walking across a ﬁeld with her dog. A man on a horse in the background and a gentleman in the foreground wearing a tricorn hat points and laughs.

BM Satires 4624, Chaloner Smith undescribed Condition: Repaired corners, creases to left side of sheet, water stain to top half of image, time toning and surface dirt. [46176] £350

12. Starting of Game [Anonymous] Mezzotint London, Printed for Robert Sayer, Map, Chart & Printseller, No.53 Fleet Street as the Act directs, 21 Sep. 1786. Image and Plate 350 x 250 mm, Sheet 380 x 280 mm Unmounted A satirical print depicting a man carrying a gun to the left, who has come across to ladies in a forest. The ladies are the other side of the fence, one of them is seated with a fan and her head resting in her hand, the other is standing and greeting the sportsmanâ&#x20AC;&#x2122;s dog.

Chaloner Smith undescribed, BM Satires undescribed Condition: Repaired tear to top of sheet and image. Time toning and foxing to sheet, water stain to lower right side of image, pressed horizontal crease. [46177] ÂŁ350

13. [Proﬁle of a Bearded Man] Daniel Somerville Etching 1797 Image and Plate 30 x 32 mm, Sheet 162 x 138 mm Unmounted A scarce Sommerville circle-shaped miniature portrait of a bearded man. Inscription in black ink, written by Bindon Blood: “Etched on metal by Daniel Somerville 1797. This is what W: Lezars calls his Alto Relievo of 1819”. Inscription on verso in pencil, possibly also Bindon Blood: “Watson 1838”. Ex. Col,: Bindon Blood (1775-1855), collection sold at Sotheby’s in 1856. Ex, Col.: Hon. Christopher LennoxBoyd. Condition: Small circle-shaped print. Excellent, strong impression. Overall time toning to paper. [46048] £100

14. [St Peter] Daniel Somerville Etching Dalkeith, 1797 Image 108 x 79 mm, Sheet 114 x 85 mm Unmounted A rare portrait in profile of a man turned to the left. He is identified as St Peter because of his features, beard and halo. Inscription on verso in pencil, possibly by Bindon Blood: “Watson 1838”. Daniel Somerville (fl. 1797-1825) was a Scottish painter and printmaker, active in Edinburg. He had a workshop on 5 St James Square, and specialised in landscapes, views, but also produced several portraits. Ex. Col,: Bindon Blood (1775-1855), collection sold at Sotheby’s in 1856. Ex, Col.: Hon. Christopher LennoxBoyd. Condition: Strong impression from a slightly worn plate. Slight overall time toning. [46049] £100

15. [Man Reading with a Magnifying Glass] Johann Gottfried Haid after Giovanni Battista Piazzetta Etching [c. 1740] Image 129 x 90 mm, Plate 140 x 98 mm, Sheet 64 x 120 mm Unmounted A bust-length portrait of a man reading, while holding a magnifying glass over the pages. He is wearing a cap and a fur.

Inscription beneath image: “Ioh. Bapt. Piazzetta Venet. del. I.G. Haid Sculp.”; To bottom of margin: “40”; “Cum privilegio Sacræ Cæsareæ Majestatis”; “Iohann Claristum Leopold excudit Augustæ Vindelicoru” Condition: Slight overall time toning and foxing. [46003] £80

CARICATURES & SATIRES

16. Boney Stark Mad or More Ships Colonies & Commerce. Isaac Cruikshank Etching Pubd. Janry 1 1808 by S W Fores 50 Picadilly Image 217 x 340, Sheet 244 x 353 mm Unmounted Napoleon stands on the shore of the Tagus, his left leg raised to kick out Talleyrand, whom he has also grabbed by the back of his wig. The alarmed Talleyrand, his grotesque face in a state of distress, attempts to limp away on his club foot. The departing Portuguese ﬂeet can be seen in the estuary. On the nearest boat to shore stands Sir Sidney Smith, who shouts through his speaker-trumpet at Napoleon; ‘Bon Jour Monsieur, if you would like a trip to the Brazils I’ll conduct you there with a great deal of Pleasure, perhaps you would like a taste of Madeira by the way.’

Two of his accompanying sailors shout: ‘Brazils a hoa’, and ‘here Bully rock her’es Some Lisbon Diet Drink for you alias Sidney Broth.’ Napoleon shouts furiously at Talleyrand: ‘Stop them stop them - Murder, ﬁre Bougre why did you not make more haste, you hopping rascal - !! now all my hopes are blasted my revenge disappointed, and ------ I’ll glut it on you, Monster, Vagabond, Villian.!!!’ BM Satires 10960 Condition: Trimmed within the plate. [45751] £275

17. A Monument Dedicated to Posterity in commemoration of ye incredible Folly Bernard Baron after Bernard Picart Etching Printed and sold by Tho: Bowles next ye Chap house in St. Pauls Churchyard London. c. 1720 Image 245 x 341, Plate 249 x 345, Sheet 252 x 351 mm Unmounted A satire on the South Sea Bubble. The composition shows the cart of Fortune, led by Folly who is dressed as a joker. Fortune has been depicted as a nude female, scattering papers to the crowds below. Her cart is pulled by the various companies (South Sea, Mississippi, West India, East India) and the Bank. The spokes of the wheel visible are inscribed with the names of several popular schemes, referring to the York Buildings Company (designed to supply water in London), Mining, Silk Manufacture and others. The Devil is sat on a cloud above her, blowing bubbles. Next to him rays emanate from a cloud, naming the consequences of economic speculation: ‘Extream Joy’, ‘Madness’, ‘Prison’, ‘Beggery’ etc. Bethlehem hospital and the ‘Hos. of Beggers’ can be seen in the background. 22

On the left is Jonathan’s Coﬀee House, famous as a scene of early share trading (including the South Sea Bubble). In the title area are Janus heads (representing happiness and grief ), with a Latin quotation on a scroll. The image is explained in the bottom margin. This print is a copy, in reverse, of Bernard Picart’s ‘Monument consacré à la Posterité’ (BM Satires 1627 published in the same year, with all inscriptions altered from those in Picart’s print. BM Satires 1629 Condition: Trimmed just outside platemark. Loss to inscription in right hand corner, paper ﬁlled. Repair to right margin. Light creases to sheet. [45602] £400

18. The Battle of the Clubs or the Game of Beat Knave out of Doors- NB. This Game should be play’d with all the knaves of the pack James Sayers Etching and aquatint Pubd. by Thos Cornell Bruton Street 21st Decr 1792 Image 180 x 235, Plate 204 x 241, Sheet 227 x 268 mm Unmounted In a large classically inspired room, a medley of cards has been depicted. The suit of Clubs is headed by the king and queen. The king kicks out the knave (Fox) to the lower right, his toe protruding from the border of the playing card. The alarmed Fox has been given the speech bubble ‘now I must associated.’ The queen holds a shield decorated with the arms of the City of London. A banner emerging from the cards is inscribed: ‘Associations for preserving Liberty & Property against Republicans & Levellers’. Above the door (right) is a picture: ‘Plan of a new Constitution’; a house of cards is being demolished by a blast inscribed ‘Loyalty’ which issues from a head in the upper left corner; the topmost (but dislodged) card is the knave of clubs. 24

On the extreme left are two rats: one holds up a card, a ten of (mixed) clubs, diamonds, hearts, and spades; he says, ‘Association of the Dissenters’. The other rat watches him, saying, ‘As the Cards are against us we had better join the Clubs’. In the ‘Catalogue of Political and Personal Satires in the British Museum’, VI, 1938, M.Dorothy George comments: ‘At the end of 1792 there were many associations in support of the constitution and in opposition to the radical clubs, the leading one being the ‘Association for protecting Liberty and Property ...’, known as the Crown and Anchor Association. Fox held aloof from the radical societies, including the Society of the Friends of the People, but was left by the greater part of the whigs, who supported Pitt. According to a note on an impression in the Royal Collection at Windsor this print was not published.’ BM Satires 8144 Condition: Surface dirt and time toning. Scuﬀed edges. Pencil inscription to verso. [45752] £175

19. Into the Church the Sheriﬀ introduces The D__r who laments its Foes Abuses [Anonymous] Copper engraving [1711] Image 87 x 58 mm, Sheet 92 x 63 mm Unmounted A four of hearts playing card from a deck illustrating the life and career of Dr Henry Sacheverell. Here Sacheverell leads a man, here described as the “sheriﬀ” to church. Henry Sacheverell (c.1674-1724) was an English preacher and fellow of Magdalen College in Oxford. When Queen Anne started her reign, Sacheverell started issuing pamphlets against the Whigs and Nonconformists. Godolphin, a Whig minister that Sacheverell had attacked in his campaign, took Sacheverell to court and tried him for crimes against the state.

This led to riots in London, and even though Sacheverell was eventually convicted, the Tories used his popular name while they were campaigning, and granted Sacherevell grounds when they won the parliamentary elections. BM Satires 1546 Condition: Strong impression. Overall slight time toning. Cut from a sheet with a complete suit of hearts and diamonds, or 26 cards. Pressed centre fold as issued. [46061] £75 25

20. Tegg’s Caricatures No 53 : College Pranks, or Crabbed Fellows Taught to Caper on the Slack Rope. Thomas Rowlandson Etching with hand colouring Pubd Jan. 28 1811 by Thos. Tegg No. 111 Cheapside Sheet 256 x 350 mm Unmounted Two elderly fat academics fall over a rope held by two groups of undergraduates in an aisle of a Gothic church. A young woman is pulling the rope with the group on the right. Two students brandish whips, one is firing a water squirt and another lets off a squib. On the floor is a stone or brass with a mitre and crosier inscribed ‘Here Lies the Body of Bishop Blear eyes’. BM Satires 11781 Condition: Excellent impression with strong hand colouring. Trimmed within the platemark top and sides, very occasional foxing to sheet. [46056] £450

21. The Paris Doctor proceeding to attend a Patient with his Apothecary [Anonymous] Copper engraving [c. 1770] Image 115 x 184, Plate 138 x 198, Sheet 205 x 237 mm Unmounted A satirical image showing two men struggling to wheel a carriage containing a doctor, he sniďŹ&#x20AC;s a bottle of something, on his way to attend a patient. Ironically, this pair look well in need of their own doctor. A large middle-aged men in a wig walks behind the carriage with his small dog. BM Satires 4831 Condition: Time toning, surface marking, creases and some light foxing. Vertical folds. [45618] ÂŁ75

22. Intelligence on the Change of the Ministry. after Robert Dighton Mezzotint with original hand colouring Printed for Bowles & Carver, at their Map & Print Warehouse, No.69 in St Paul’s Church Yard, London. 1783 Image 330 x 250 mm, Plate 355 x 252 mm, Sheet 362 x 265 mm Unmounted A satire of the interest taken by mechanics and tradesmen in politics. It depicts a barber, his assistant, a tailor and a shoemaker intently discussing and reacting to the news of the announced coalition government appearing in the newspaper. The print shows the interior of a shabby barber’s shop. The barber is attempting to shave a customer who sits facing the window, he holds his razor carelessly, much to the customer’s alarm. His attention is drawn to the group of people behind him who are reading from the ‘Morning Chronicle’. The barber’s assistant, a small ragged boy, gawps at the gentleman reading whilst he straddles the stand of a barber’s block, upon which is a wig he is combing. Two other customers are present and listening intently to the news. On the ﬂoor are two wig-boxes inscribed ‘Mr Deputy Grizzle’ and ‘Mr Snipp’.

The Fox-North coalition was a government that held oﬃce during 1783. Fox was a Whig by background and North came from the nominal Tory Party, however both had fallen out with the government of Lord Shelburne. They combined their forces in the House of Commons to throw out the Shelburne ministry and then formed a government of their own. BM Satires 6348 Condition: Some minor surface dirt to margins, good clear impression. [46156] £475

PORTRAITS

23. Bonaparte’s Monkey Hamilton after Stephen Taylor Lithograph with original colouring Published Feby. 18. by W Soffe. 388. Strand Corner of Southampton St. c. 1830 Image 267 x 203 mm, Sheet 355 x 235 mm Unmounted An uncommon lithograph of a Capuchin monkey sat upon a dressing table looking into a mirror held in its hands. The inscription below image reads: ‘The above is a faithful portrait of a monkey belonging to Bonaparte during his residence at Longwood House, St. Helena. After Bonaparte’s death it was purchase by Captain Thompson, of the Abundance, and given by him, on his return to Spithead, to Mr Stephen Taylor, the artist, then residing at Winchester. The monkey was very mischievous, and upon one occasion, made his way into a dressing closet, broke a glass, opened the dressing case, and was viewing himself in the looking glass, when discovered by Mr. Taylor, who made a sketch at the time, from which he afterwards painted a fine picture, and from which this print is taken.- The monkey died after being in Mr. Taylor’s possession two years, and was buried in his garden at Winchester.’ Although there is little evidence to support the inscription printed below the image it seems quite elaborate not to be true. The only historical reference to a monkey during the Napoleonic period we can find is the legend that during the Napoleonic Wars a shipwrecked monkey was hanged by the people of Hartlepool, believing him to be a French spy! It is possible that this print depicts a capuchin monkey, studied by the biologist and relative of Napoleon, Charles Lucien Jules Laurent Bonaparte (1803-1857), or it was produced purely for satirical purposes. Very scarce, we can only trace one institutional copy of this print in the The Princeton University Library, British Prints Collection, and one other impression offered for sale since 2008. [46036] £400

24. Philip Affleck, Esqr. John Young after Edward Penny Mezzotint Cockspur Street, London, 1792. Image 462 x 350 mm, Sheet 498 x 350 mm Unmounted Inscription below image: ‘Painted by Edd. Penny R.A. Rear Admiral of the White, Commander in Chief of His Majesty’s Ships at Jamaica & the Bahama Islands.’ A full length portrait of Philip Affleck, admiral in the British Navy. Affleck is depicted seated, leaning on a small side table. The table is covered with navigational equipment such as a small globe, a ledger and his right hand is resting on what appears to be a map. Affleck is wearing full naval uniform, a powdered wig and a sword attached to his side. 32

Philip Aﬄeck (1726-1799) was an admiral in the British Navy. Born in Suﬀolk, he held various positions throughout his career but most notably was commander in chief of the ships at Jamaica and the Bahama Islands. Chaloner Smith 1883 1 Condition: Trimmed to image, pressed vertical fold to right side of image, repaired tear to right sheet edge. [46191] £220

25. His Excellency Sir James Brooke, K.C.B.D.C.L George Raphael Ward after Sir Francis Grant Mezzotint London, Published by G. Raphael Ward. St Fitzroy Square Also by P&D Colnaghi & Co for the Proprietor, 13 & 14 Pall Mall East, April 20th 1849 Image 415 x 325 mm, Plate 515 x 385 mm, Sheet 535 x 405 mm Unmounted A three quarter length portrait of Sir James Brooke, Rajah of Sarawak. Brooke is depicted standing, leaning on a ledge, with his left hand at his hip. His gaze is drawn oﬀ to the right of the viewer and his right knee is slightly bent. In the background is a tropical landscape, with small hut-like houses in the distance. This backdrop is most likely the Kingdom of Sarawak in Borneo, where he ruled as the ﬁrst white Rajah from 1841-1868.

Sir James Brooke (1803-1868) was a British soldier and adventurer who founded the Kingdom of Sarawak in Borneo. He was the ﬁrst white Rajah of Sarawak and ruled from 1841 until his death in 1868. Born and raised in India, he served in the Bengal Army but resigned his commission after an injury. He went on to purchase a ship and sail to South East Asia. Whilst in Borneo he helped to crush a rebellion where he helped to restore the Sultan of Brunei to his throne, for which the sultan made Brooke the Rajah of Sarawak. He put in harsh anti-piracy measures in the region whilst ruling, something he was heavily criticised for. Brooke returned brieﬂy to England in 1847 where he was made British consul-general for Borneo and was Knighted. O’Donoghue 25 1 Condition: Title below rubbed, minor creasing to sheet edges, some minor foxing to lower margin, repaired tear to right margin. [46195] £275 33

26. [Portrait of an Ottoman Officer, Humbaraci Ahmed Osman Pasha] Johann Jakob Schalch Etching [c. 1733-1789] Image 326 x 265 mm, Sheet 344 x 282 mm Unmounted A half-length portrait of a Turkish officer, often identified as Claude Alexandre Bonneval (1675-1747). The count of Bonneval joined the French Navy at thirteen and was able to climb the ranks, but was asked to leave when his affair with an officer’s wife was discovered. He then joined the French Royal Guard, but got into trouble with his higher ups and left the country.

He converted to Islam and became a dedicated oﬃcer in the Ottoman army. His new name Humbaraci Ahmed Osman Pasha, included the title of “pasha”, which means he had a high ranking within the Turkish army. The bearded oﬃcer is depicted here wearing a luxurious fur-lined cloak above a doublet, together with a necklace and a turban, decorated with jewels and a feather. The globe and telescope refer to the man being an adventurer. Condition: Good impression. Slight overall time toning. Trimmed within the plate mark. [46023] £300

A couple of years later he found employment in the Austrian army, where he once again found lots of glory for his gallantry on the battlefield, but got into serious trouble due to his ungallant behaviour on the sideline. He fled to Venice, but was eventually captured and imprisoned in Sarajevo, yet managed to escape prosecution by the Austrian army through fleeing to Constantinople.

27. Sultan Mahomet the 4th the Present Emperor of the Turkes Frederick Hendrik van Hove Copper engraving [Printed by J. M. for John Starkey at the Mitre in Fleet Street near Temple Bar, 1680] Image 177 x 145, Plate 241 x 156, Sheet 294 x 187 mm Unmounted

28. Sultan Morat or Amurat the 4th Emperour of ye Turkes Frederick Hendrik van Hove Copper engraving [Printed by J. M. for John Starkey at the Mitre in Fleet Street near Temple Bar, 1680] Image 176 x 144, Plate 241 x 153, Sheet 292 x 193 mm Unmounted

A portrait of the Turkish Emperor Sultan Mahomet IV (ruled 1642-1693), wearing an ornate feathered turban and carrying a sceptre. From Paul Rycaut’s ‘The History of the Turkish Empire from the Year 1640. to the Year 1677’, ﬁrst published in 1679.

A portrait of the Turkish Emperor Sultan Murad IV (ruled 1623-1640), a young boy wearing an ornate feathered turban and cape. From Paul Rycaut’s ‘The History of the Turkish Empire from the Year 1640. to the Year 1677’, ﬁrst published in 1679.

Condition: Time toned. Glue stains to right margin together with small losses. Paper wear, surface dirt and some foxing. [45638] £120

Condition: Time toned. Tear to lower right corner. Surface dirt. [45639] £120

29. Sultan Ibrahim Emperour of the Turkes Anno Dom 1640 Frederick Hendrik van Hove Copper engraving [Printed by J. M. for John Starkey at the Mitre in Fleet Street near Temple Bar, MDCLXXIX] Image 182 x 153, Plate 242 x 157, Sheet 294 x 190 mm Unmounted A portrait of the Turkish Emperor Sultan Ibrahim (ruled 1640-1648), depicted in grand headwear and a fur lined cape. From Paul Rycaut’s ‘The History of the Turkish Empire from the Year 1640. To the Year 1677’, ﬁrst published in 1679. Condition: Time toned. Surface dirt. [45640] £120

30. Maria D.G. Anglia, Scotia, Francia et Hibernia Regina etc after Jan van der Vaart Mezzotint Nicolaes Visscher II c.1700 Image 317 x 253 mm, Plate 335 x 257 mm, Sheet 345 x 264 mm Unmounted A half-length portrait of Queen Mary II. Mary is depicted turned slightly to the left, her gaze drawn out of scene to the left. She is wearing an elaborate, tall lace head dress with the lace material draping down over her shoulders. Her dress is beautifully patterned, with bows and jewel details. Her gloves are edged with more lace and she delicately cradles a fan in her left hand.

Queen Mary II (1662-1694), Reigned with William III 1689-94. The eldest daughter of James, Duke of York, later James II, and Anne Hyde, Mary married Prince William of Orange in 1677. In the dilemma of the 1688 Revolution she supported her husband and Protestantism rather than her Catholic father, and she was invited to return to England in 1689 to share the monarchy with William. She proved a wise and eﬀective ruler, especially during William’s absences at war, and her many charitable schemes included the William and Mary Missionary College, Williamsburg, Virginia. Condition: Attached to album page along left margin, verso, creases to left side of image, small tear to area left of head dress. [46189] £200

31. Iosephus Primus; Hungaria Rex, Austria Archidux. after Pieter Schenck Mezzotint c. 1700 Image 225 x 180 mm, Plate 247 x 180 mm, Sheet 268 x 197 mm Unmounted A half portrait of Joseph I, Holy Roman Emperor and King of Germany, King of Bohemia, Archduke of Austria and King of Croatia and Hungary. Joseph is depicted facing forward, with his title inscribed below, ‘Iosephus Primus; Hungaria Rex, Austria Archidux. Equalis mihi Pyrrhus erat, cum Pergama solus verteret.’ (Joseph the ﬁrst; King of Hungary, Austria Archduke. Pyrrhus was my equal in age, when alone he overthrew Troy.) Joseph is wearing a waist length wig and full decorative armour, with a fur lined cloak draped over his left shoulder.

Joseph I (1678-1711) was Holy Roman Emperor and King of Germany, King of Bohemia, Archduke of Austria and King of Croatia and Hungary. Born in Vienna, he was of the House Habsburg and reigned as Holy Roman Emperor from 1705 until his death from smallpox in 1711. Condition: Time toning to sheet, stain to forehead, repaired vertical tear to left and bottom margins, minor creasing to lower margin. [46180] £175

32. [Portrait of Epictetus] Michael Burghers after Sonnern Copper engraving [Oxford, Sheldonian Theatre, 1715] Image 167 x 98 mm, Plate 172 x 100 mm, Sheet 189 x 110 mm Unmounted A full-length portrait of Epictetus, writing at his desk, his walking stick clutched to his side. Frontispiece to Edward Ivie’s “Epicteti Enchiridon Latinis versibus adumbeatum”, a Latin translation of Epictetus’ “Enchiridon”. Greek inscription to lower margin, which translates to: “I was Epictetus the slave, and not sound in all my limbs, and poor as Irus, and beloved by the gods.” This verse derives from the “Anthologia Palatina”, a collection of Greek poems, written from the 6th century BC to 10 century AD, most likely compiled by Macedonian scholars in the 10th century. Epictetus (c. 55-135) was born a slave in Hierapolis in a wealthy household and became crippled at a young age. His master allowed him to study philosophy with the Stoic Musonius Rufus. Epictetus gained his freedom around AD 68 and started teaching philosophy in Rome. He taught there for 25 years, until the Stoic philosophers were expelled by the emperor Domitian. Epictetus then moved to Nicopolis and founded a philosophy school himself. No writings are known from Epictetus. Instead, his teachings have survived through Arrian, his most famous student, who compiled it in two works: the “Discourses” and the “Enchiridion” or “Manual”. From these we known that he was a Stoic, inﬂuenced by Socrates and Diogenes, who was mainly interested in developing models for an ethical life. Condition: Strong impression. Slight overall time toning. Light creasing to the edges. Oﬀset of title on verso. [46071] £50

33. Effigies Michaelis Drayton Armigeri, Poetæ Clariss. Ætat. Svæ CHR. CIC. DC. XIII after William Hole Etching and engraving [Pub by WRichardson Sepr. 1 1796 York House 31 Strand, London] Image 152 x 118 mm, Sheet 193 x 127 mm Unmounted A half-length portrait of Michael Drayton in an oval shaped decorative border. He is wearing a laurel crown with ribbons, and a lace collar under a doublet which is embroidered along the buttons. A copy after Hole’s 1619 frontispiece to Drayton’s ‘Poems’, 1796. Inscription: “Lux Hareshulla tibi ... resonant Arma Viri Veneres” meaning: “Harsull, small town, where first your breath you drew, Till by your birth renowned, was known to few: Albion, Arms, Legend, Love, with fame you crowned; Albion, Arms, Legends, Love, your Fame resound”, verses written by an unknown poet about Drayton’s birthplace. Michael Drayton (1563-1631) was an English poet who composed the Poly-Olbion. This was illustrated with one of the most unusual series of county maps ever published. The Poly-Olbion was a series of poems, or songs, extolling the beauties of the English and Welsh countryside, and was first published in 1612. William Hole, who also engraved maps for Camden’s Britannia, was commissioned to provide the maps to illustrate these songs. Drayton states that each map is “lively delineating ... every mountaine, forest, river and valley; expressing in their sundry pastures; their loves, delights and naturall situations”. Thus, it was clearly the intention to produce allegorical maps showing the natural topographical features of the county. As such very few towns or cities are shown on the maps. Each feature is accompanied by an allegorical figure - hills are shown with shepherds, rivers with water nymphs, islands with goddesses, towns with female figures wearing mural crowns, or crowns alone are used to denote London and royal palaces. O’Donoghue 1 Condition: Good impression. Minor overall time toning. Trimmed within plate mark. [46041] £45

Blaise Pascal (19 June 1623 - 19 August 1662) was a French writer, physicist, mathematician, inventor and theologian. Born in Rouen, Pascal was a child prodigy who was educated solely by his father, who worked as tax collector. Throughout his life Pascal contributed greatly to the fields of mathematics and physical sciences as well as religious and philosophical conversations at the time. Pascal made important contributions to the study of fluids, clarifying the concepts behind vacuums and pressure, inventing the hydraulic press and the syringe. He proved that hydrostatic pressure depends not on the weight of the fluid but on the elevation difference. Pascal wrote his Traité du triangle arithmétique (“Treatise on the Arithmetical Triangle”) in 1653 in which he described a convenient tabular presentation for binomial coefficients, now known as Pascal’s triangle. The triangle demonstrates many mathematical properties and demonstrates that each number is the sum of the two directly above it.

34. Blaise Pascal Jean Charles François after Anonymous Soft ground etching Paris: Brunet, 1760-1767 Image and Plate 125 x 78 mm, Sheet 305 x 230 mm Unmounted Inscription below portrait: Blaise Pascal né en 1623 mort en 1662. An unusual sanguine inked, crayon-manner, half-length portrait of Blaise Pascal. Pascal is depicted turned to the right, looking straight on, he is wearing a heavy cloak with a broad white collar. An illustration from Alexandre Savérien’s Histoire des Philosophes Modernes (Paris 1760-1767) after the anonymous 17th century portrait formerly attributed to Philippe de Champaigne.

Whilst still a teenager, he started pioneering work on calculating machines and after three years of effort and 50 prototypes, he built 20 finished machines called Pascal’s calculators and later Pascalines. It established him as one of the first two inventors of the mechanical calculator. Pascal introduced a primitive form of roulette and the roulette wheel in his search for a perpetual motion machine. Pascal suffered with frail health throughout his life, especially through adulthood and died shortly after his 39th birthday. Condition: Wormhole to the right of the plate mark, light water stain to cloak area of image, foxing and surface dirt to sheet, creasing to sheet edges. [46055] £95

35. Dominus Nicolaus Vander Borcht Cornelis Vermeulen after Anthony van Dyck Copper engraving [Antwerp], 1703 Image 495 x 350 mm, Plate and Sheet 520 x 358 mm Unmounted A full-length portrait of Nicolaes van der Borcht, after Anthony van Dyck’s painting from c. 1625-1633 (Rijksmuseum, Amsterdam, inv. n. SK-A-101).

Numbered “7” to bottom right corner in the margin. Hollstein, Van Dyck, V, p. 25, n. 378. Hollstein, Vermeulen, n. 89.

The wealthy Antwerp merchant is dressed in all black, wearing a fine doublet with a ruff, cloak-bag breeches with ribbons at the knee, stockings and leather shoes, and he has a cloak draped over one shoulder. He stands on a balcony, and points towards the view outside, often identified as Dunkirk.

Condition: Good impression. Slight overall time toning and foxing, light creases and spotting to margins. Trimmed to plate mark, tipped to album page. [46019] £180

36. Le Cèlèbre Graman Quacy Pierre Alexandre Tardieu after William Blake Copper engraving c.1796 Image 182 x 132 mm, Plate >260 x 202 mm Unmounted A full length portrait of the healer, botanist, slave and later freedman Graman Quassi. He is pictured in a ﬁne gold lace brocade coat, waistcoat, cane and hat, the outﬁt being a gift from the Prince of Orange during Quassi’s visit to the Hague. The backdrop is a coastal landscape perhaps of Suriname’s capital Paramaribo where Quassi lived and died. Graman Quassi (also spelled Quacy, Kwasi and Quasi) (1692 – 12 March 1787) was a Ghanaian born, Surinamese healer, botanist, slave and later freedman, who is also known for having given his name to the plant species Quassia. As a child Quassi was enslaved and taken to the New World, Suriname in South America, which was a previously British, Dutch Colony. Under the West India Company it was developed as a plantation slave society and became a primary destination for the Dutch slave trade. During his time as a slave, Quassi participated in the wars against the Saramaka maroons as a scout and negotiator for the Dutch, and even lost his right ear during the skirmishes. Quassi developed a reputation as a healer of some renown, one of his remedies being a bitter tea that he used to treat intestinal problems, brewed from the root of the Quassia amara plant which botanist Carl Linnaeus named after him.

Quassi used his skills as a witch doctor to accumulate enough money to buy his freedom and travelled to the Netherlands. At an audience with the Prince of Orange at The Hague he was rewarded for services to the Suriname community with a gold-laced coat, a feathered hat, a gold medal and a gold-headed cane, which he would wear on all possible occasions when in Suriname, exploiting his Royal connection. He is said to have worked on securing the freedom for slaves brought to Holland and through his work was described in contemporary accounts as one of the most extraordinary black men in Suriname. Condition: Trimmed within plate, well outside image. Water stain to top margin. Wormholes to right margin and sky area to the left of the ﬁgure, time toning to sheet. [46157] £150

37. The Rev. William Whiston MA. George Vertue Copper engraving 1720 Image 350 x 248 mm, Sheet 358 x 255 mm Unmounted A half-length portrait of the mathematician, theologian, historian and religious writer William Whiston. Whiston appears enclosed in an architectural frame. He is facing front, turned slightly to the right and appears to be smiling. He holds a book in his left hand and is pointing to a page with his right. Below the portrait is an inscription in English ‘The Rev. William Whiston MA. Sometime Professor of the Mathematicks in ye. University of Cambridge.’ followed by a text in Greek which translates as ‘Wherein we declare unto you, that there is only one God Almighty, besides whom there is no other, and that you must worship and adore Him alone, through Jesus Christ our Lord, in the most holy Spirit’. The text is from the XIV passage from Book IV of the Apostolic Constitutions. William Whiston (1667-1752) was an English mathematician, theologian, historian and religious writer. Born in Leicestershire, Whiston was a leading ﬁgure in popularising the ideas of Sir Issac Newton, who was his mentor and teacher. Whiston was a professor of mathematics at the University of Cambridge but was expelled from his position in 1710 due to his unorthodox religious beliefs and views. Whiston was a believer of Arianism, the idea that Christ is subordinate to God, the concept of Christ is based on the belief that the Son of God did not always exist but was begotten by God the Father. He also rejected the notion of eternal torment in hellﬁre. What especially placed him against church authorities, was he viewed the Trinity as a lie after extensive personal research convinced him the origin of the Trinity teaching to be pagan. Whiston wrote ‘A New Theory of the Earth’, published in 1696, in which he presented a description of the divine creation of the Earth, postulating that the earth originated from the atmosphere of a comet. Condition: Grangerized to album sheet. Time toning to left margin, glue stains on verso showing through on upper right corner and top centre. [46188] £120

38. Martin Luther Jean Crépy Etching à Paris chez Crépy ruë St. Iacques, au Lion d’Ar [c. 1720] Image 150 x 98 mm, Plate 155 x 104 mm, Sheet 214 x 143 mm Unmounted

39. Jean Calvin Jean Crépy Etching à Paris chez Crépy ruë St. Iacques, au Lion d’Argent [c. 1720] Image 152 x 97 mm, Plate 160 x 108 mm, Sheet 215 x 142 mm Unmounted

A half-length portrait of Martin Luther, turned slightly to the left, wearing a fur-lined cloak, over a black doublet with small white collar.

A half-length portrait of Jean Calvin, turned slightly to the right, wearing a fur-lined cloak, skull-cap and baret, and sporting a long pointy beard. Inscription to lower margin: “ne a Noyon le 10 Iuillet 1509, mort a Geneve le 27 may 1564 age de 55 ans”

Inscription to lower margin: “ne en haute Saxe le 10 novem. 1483. mort le 28 Fevrier 1546 age de 63 ans” Martin Luther (1483-1546) was a German theologian priest, who played an important part in the Protestant Reformation. His ideas, expressed in “Disputation on the Power and Eﬃcacy of Indulgences”, commonly known as “The 95 Theses”, led to his excommunication from the catholic Church in 1521. Condition: Good impression with wide margins. Overall time toning. [46087] £50

Jean or John Calvin (1509-1564) was a French theologian who was one of the most important ﬁgures in the second Protestant Reformation. He was active as a pastor and statesman in Strasbourg and Geneva, but his “Institutio Christianae religiones”, published in 1536, inﬂuenced Protestantism throughout Europe and North America. Condition: Good impression with wide margins. Minor overall time toning. [46086] £50 47

TOPOGRAPHY

40. Oxford [Anonymous] Woodcut Published Supplement to The Illustrated London News, 18th June 1870 Image 450 x 930 mm Mounted A very large birds-eye panorama of Oxford, from the London Illustrated News. Dated June 18, 1870, it shows the Universityâ&#x20AC;&#x2122;s colleges, halls & libraries, and rowing regatta on the River Isis in the foreground. Condition: Vertical folds as issued. Repaired vertical tears to lower margin. Time toning and surface dirt to margins. [46011] ÂŁ750

41. London from the South Side of the Thames Robert Loudan after Thomas Sulman Woodcut Printed by Joseph Clayton, 17, Bouverie Street, London. Supplement to the London Illustrated News. February 9, 1861 Image 425 x 1320 mm, Sheet 590 x 1470 mm Mounted A very large birds-eye panorama of London, from the London Illustrated News. The Thames runs horizontally across the centre of the scene, with the view sweeping across the city, from Westminster Abbey at left. All major monuments, spires, bridges, and industrial structures are depicted, with St Paulâ&#x20AC;&#x2122;s particularly prominent at centre, providing a fascinating snapshot of the city at the height of the Second Industrial Revolution.

The scene, one of a number of large-scale panoramas of British and international cities produced by the London Illustrated News, was originally surveyed from a hot-air balloon, a technique mastered by the artist and draughtsman Thomas Sulman. Condition: Pressed vertical folds as issued. Minor timetoning to folds. Some surface dirt to margins. [43055] ÂŁ1,375

42. London Speed, John Copper engraving [c. 1611] Image 67 x 144 mm, Sheet 78 x 164 mm Mounted A view of London from the South Bank, before the Great Fire of 1666. Featuring Southwark Cathedral, St Paul’s and the London Bridge.

Fragment from John Speeds’ map “The Kingdom of Great Britaine and Ireland” from his “The Theatre of the Empire of Great Britaine”, ﬁrst published in 1611, this is one of the earliest printed panoramas of the capital. Condition: Vignette, fragment of a larger map. Laid to album page. [46144] £150

43. View of the Houses of Lords and Commons, Destroyed by Fire on the 16th Octr 1834 (taken from the corner of Abingdon St.) George Edward Madeley Lithograph with original hand colouring Pub. by W. Soffe 380 Strand Image 208 x 164, Sheet 378 x 276 mm Unmounted A dramatic vista of the burning Houses of Parliament. The fire began on the night of the 16th of October 1834, when the Clerk of Works decided to burn two cart-loads of wooden tally sticks. He decided to use the two underfloor stoves in the basement of the House of Lords to do so. A mistake, as when everyone had left for the night, the stoves heated to such an extent they set the wooden floorboards alight, and a huge and destructive fire quickly spread across the buildings. Condition: Some surface rubbing in lower right margin not affecting the image. [45829] £75 51

44. Pavilion, Brighton George Hunt after Edward Fox Aquatint and etching with original hand colouring Published by C & R Sickelmore, Stationers, 26, King’s Road, Brighton [c. 1827] Image 139 x 275, Plate 202 x 298. Sheet 271 x 363 mm Unmounted A view of the Brighton’s fantastic Royal Pavilion, with ﬁgures walking in its grounds. The elaborate pavilion was originally built as a seaside pleasure palace for George IV. This print published in C. & R. Sickelmore’s ‘Select Views of Brighton’. Condition: Some time toning and surface marks but overall in very good condition. [45617] £150

45. Bristol John Cooke Bourne Lithograph Printed by C. F. Cheﬃns [1843] Image 258 x 390, Sheet 357 x 490 mm Unmounted

46. [Snowdon] Samuel William Reynolds after Thomas Girtin Mezzotint Published by S. W. Reynolds, Bayswater, May 7, 1824. Image 125 x 200, Plate 163 x 228, Sheet 346 x 507 mm Unmounted

Woodsmen working in the ﬁelds outside Bristol. In the distance, smoking plumes from the city’s factories can be seen. Print nicely alludes to the juxtaposition between Industrialisation and the age-old ways of the countryside. A railway bridge is apparent in the far right distance. From Bourne’s ‘History and Description of the Great Western Railway’ (1846).

A view across a lake in Snowdonia, with clouds spilling over the mountains. Two ﬁgures can be seen in silhouette in the far distance. Samuel William Reynolds (1773-1835) was a British mezzotinter and occasional painter. He taught David Lucas and Samuel Cousins.

Condition: Time toning and wear around margins. [45630] £250

Whitman- S.W. Reynolds, 382 Condition: Some light foxing in the margins, not aﬀecting image. [45619] £120

47. [View of Venice] Marco Sebastiano Giampiccoli after Canaletto Copper engraving Extat Venetiis apud ipsum [c. 1760] Image 193 x 321, Sheet 247 x 322 mm Unmounted

48. Monreale Sicily Wenzel after Harriette Oates Lithograph [c. 1839] Image 182 x 252, Sheet 229 x 287 mm Unmounted

A view of the Venice lagoon. Gondolas and sailboats are busy on the water, depicted under a large sky. Palazzi line the water’s edge to the left. Numerous ﬁgures walk past. Beneath the engraving is an inscription featuring a coat of arms ﬂanked by two mermaids.

A view of Monreale (Murriali in Sicilian), in the province of Palermo on the island of Sicily. The town can be seen in the distance, dominated by its domeroofed basilica. Two ﬁgures can be seen amongst the ruins in the foreground.

Condition: Paper wear and time toning. [45608] £150

Condition: Some foxing, mainly aﬀecting margins. [45656] £50

49. Palermo from the Parco Road A. Ledoux after Harriette Oates Lithograph [c. 1839] Image 179 x 251, Sheet 228 x 292 mm Unmounted A view across the rocky outcrops to the city of Palermo. Ruins are dotted in amongst the trees and the ocean can be seen in the distance. Condition: Some foxing, mainly aﬀecting margins. [45657] £50

50. View of the Eruption of Mount Vesuvius, Augt. 8, 1779, from Pausilips. [Anonymous] Copper engraving Published 1st. Octor. 1780 by Fielding & Walker, in Paternoster Row Image 93 x 160 mm, Plate 112 x 177 mm, Sheet 120 x 188 mm Unmounted Dramatic view of the eruption of Vesuvius on August the 8th 1779 from Pausilips, now known as Posillipo, the residential hillside overlooking the bay of Naples. In the foreground a couple with their dog can be seen gesturing in horror at the natural event. Condition: Some creases to the top and bottom right corners, some time toning to sheet. [46053] £50

51. Oost-Indische voyagie, Eerste Boeck [Cape of Good Hope] Coenraet Decker Copper engraving Amsterdam, Jacob Meurs, op de Keysers-Graft; Johannes van Someren, in de Kalverstract, 1676 Image and Plate 108 x 142 mm, Sheet 214 x 169 mm Unmounted A view of Cape of Good Hope from Wouter Schoutens ‘Oost-Indische Voyagie Eerste Boeck vervattende veel voorname voorvallen’ (East Indian Voyages, First Book, encompassing many major incidents) The print shows a group of Dutch explorers interacting with a group of natives. The accompanying text describes their visit to the cape, with details of their exploration of ‘Lion’ and ‘Table’ mountains and the wildlife found there. The Dutch colonists who already reside there are discussed, with details of their farming and cultivating of the land explained. The Cape of Good Hope is one of the most signiﬁcant and famous navigational points in the history of seafaring. Although traditionally believed to be the southernmost point of the continent of Africa, and thus the meeting point of the Atlantic and Indian Oceans, the cape is actually on the southern Atlantic coast of modern-day South Africa. 56

The discovery and navigation of the Cape is usually attested to the Portuguese navigator Bartolomeu Dias, who christened it the ‘Cape of Storms’ on the 12th of March 1488. In fact, the Cape may have been known apocryphally in the classical era, in connection with the Ptolemaic navigator Eudoxus of Cyzicus, who, after being blown oﬀ course down the eastern coast of Africa, met the wreck of a ship from Gades coming North. His belief that the ship had completed a circumnavigation of the continent led to his own attempt, which likely resulted in his death. Regardless of its original discoverer, following Dias, the Cape became a vital supply point for ships travelling to the East Indies, and by the 17th century, was a favourite refuelling point for the ‘Pirate Round.’ Condition: Light creasing to lower left corner, time toning to sheet, small ink stain to bottom of text. [46170] £180

52. Ancient City of Jerusalem, and Places adjacent Pine, John Copper engraved J. Pine Sculp [London, c.1750] 272 x 370 mm Unmounted

53. Victoria Peak, Hong Kong William Henry Prior after G. F. Vane Copper engraving [The Pictorial Times, London, c. 1843] Image 83 x 125 mm, Sheet 111 x 176 mm Mounted

A birds-eye view of Jerusalem, centred on the temple, engraved by John Pine and almost certainly published for inclusion in an extra-illustrated bible or similar. This is one of a number of very similar maps of ancient Jerusalem all published by English engravers in the mideighteenth century. The best known and probably most common of these was produced by Thomas Bowen.

A view of the Victoria Peak mountain, in West Hong Kong, China. Condition: Good impression. Minor overall time toning. Foxing to top. [46141] £95

The map shows the ancient city, enclosed by the old fortiﬁcations. The city is divided into four sections: the Temple, the New City, the Lower City, and the Upper City. Principal buildings, including the House of Pilate, the Pool of Bethesda, the Palaces of David and Herod, and the massive Temple itself are shown pictorially. To the left of the plate, Calvary is topped by a trio of crosses, while to the right, an angel appears in the Garden of Gethsemane before a kneeling Christ. The title is enclosed in a decorative cartouche at top right, and at bottom right, an inset shows a ﬂoorplan of a ‘great house.’ Condition: Vertical and horizontal folds, as issued Minor creasing to sheet. Small tear to central fold. [45613] £90

GENERAL INTEREST

54. The Tree of Life [Anonymous] Copper engraving and etching with original hand colouring [c. 1770] Image 328 x 247 mm, Plate 355 x 260 mm, Sheet 368 x 270 mm Unmounted Very rare, separately published, eighteenth century allegorical and moral engraving. Inscription underneath the image: ‘The Tree of Life which bear twelve manner of fruits and yielded her Fruit every Month and the Leaves of the Tree were for the healing of the Nations. Rev. Ch. XXII. ver, 2./ Likewise a View of the New Jerusalem & this present Evil World with the Industry of Gospel Ministers in endeavouring to pluck Sinners from the Wrath to come.’ Christ is cruciﬁed on a tree, the roots of which read ‘Omnipresent’, ‘Almighty’, ‘Wise’, ‘Just’, ‘Holy’, ‘Gracious’ and ‘Glorious’. It bears twelve enormous pieces of fruit such as ‘Everlasting Love’, ‘Perseverance’, ‘Refuge’ and ‘Election’ which are growing in-between leaves inscribed with negative as well as positive qualities such as ‘Temptation’, ‘Poverty’, ‘Obedience’ and ‘Victory’. Above the tree, the three aspects of the Holy Trinity - ’Word’, ‘Father’, ‘Spirit’ - are symbolised in three overlapping triangles with ‘God’ in the middle, surrounded by a halo and rays of light. Below Christ cruciﬁed on the tree, several preachers are trying to warn a crowd of people of the consequences of their sins and direct them away from ‘The Broad Way’ which leads to the gates of hell indicated as a ‘Bottomless Pit’ and is guarded by three demons and ‘Babylon the mother of harlots’. Instead they should go to the gated wall enclosing Jesus on the tree and ‘New Jerusalem’ behind him. ‘New Jerusalem’ refers to Ezekiel’s prophecy in the Old Testament in which he describes a city built around a new Holy Temple in Jerusalem, where God’s people can live eternally in their spirit form. BM Satires 4570 Condition: Time toning and foxing, several pin holes to sheet, trimmed to image. Tissue margins added. [46174] £650

55. Hieroglyphicks of the Natural Man Carington Bowles after I. Bakewell Copper engraving and etching with original hand colouring c. 1771 Image 325 x 240 mm, Plate 355 x 240 mm, Sheet 365 x 260 mm Unmounted Extremely scarce eighteenth century allegorical and moral engraving. A tree rooted in ‘Unbelief’ is standing at the centre, along the bark and branches it reads ‘Pride’, ‘Selfwill’, ‘Lust of the Flesh’, ‘Pride of Life’ and ‘Lust of the Eye’. The tree is being watered by the devil to the left and therefore bears a lot of ‘bad’ fruit such as ‘Adultering’, ‘Gluttony’ and ‘Murder’. A snake is resting amongst the branches of the tree and several other snakes as well as some scorpions are scurrying underneath the tree, while a white dove and an angel are seen flying away from the tree. A skeleton is ready to cut down the tree with his axe, the tree stump his right suggests that he has already cut down a similar one. The tree is being struck by lightning symbolising God’s ‘Wrath’ while in the background chaos has erupted, with people caught in a fire to the left, broken down ships at sea and several trees cut down or ripped from the ground. This scene allegorises The Parable of the Fig Tree in Luke’s gospel (Luke 13:6-9) were Jesus preaches “unless you repent, you will likewise perish”, telling them about a vineyard owner who did not find any fruit on a fig tree growing in his garden and telling his gardener to cut it down, the gardener then argued to keep the tree alive for a little longer while he fertilised it. If the tree did not bear fruit after another year, they could cut down the tree. The vineyard owner in this parable refers to God judging his people and Jesus as the gardener, asking his father to spare the sinners a little longer while he spread God’s word. Condition: Time toning and foxing, repaired tear to right side of sheet, trimmed to image, blue crayon writing on verso. Tissue margins added. [46175] £650

56. Poetry. Painting. Astronomy. Architecture. Sculpture. Music. [Anonymous] Copper engraving with original hand colouring London, Printed for Robt. Sayer Map & Printseller, at the Golden Buck near Serjeants Inn Fleet Street. c.1775 Each image 230 x 335 mm Framed A set of six decorative allegorical prints representing the arts. The six scenes are set within idealised classical ruins with figures partaking in each of the six arts. ‘Poetry’ is represented by six figures either reading or writing. A figure of a young man in the foreground is writing in a ledger, with copies of Virgil, Homer and Paradise Lost surrounding him. ‘Painting’ is presented by six figures in a classical setting. A woman in the centre of the image is painting the portrait of another woman who is sitting on a seat with a small dog curled at her feet. ‘Astronomy’ is represented by eight figures with various astronomical equipment such as armillary spheres, celestial spheres and telescopes.

‘Sculpture’ is represented by five figures in a sculptural workshop setting, with two of the figures working on a pair of large classical style sculptures, whilst a third man as at a stone wheel, sharpening tools. ‘Music’ is represented by seven figures relaxing in a garden setting. One of the men is playing a flute whilst two couples sit on the ground loving looking at each other. Condition: Time toning to sheets, some creasing, minor tear and hole repairs, repaired top margin to ‘Painting’ ‘Architecture’ and ‘Music’ sheets. [46178] £3,000

‘Architecture’ is represented by six figures in a more elaborate classical architectural setting. The building in the background is still under construction, with it partially under scaffolding. Two of the figures are handling a ladder and are in the process of construction. Two other men are more finely dressed and are appraising the architectural plans.

57. Calm and Storm James Roberts after Jean Baptist Chatelain Copper engraving Printed & Sold by Henry Roberts Engraver & Printseller, near Hand Alley facing Great-Turn-Stile Holborn London. c. 1750 Images 180 x 240 mm, Plates 200 x 260 mm, Sheets 245 x 305 mm Unmounted A scarce pair of 18th century landscapes each depicting a calm and a storm scene. Condition: Binding holes to left margins, creases to sheet edges, time toning to sheets, minor ink stain to ‘Storm’ plate to top margin. [46038] £250

58. The Indian Zodiac John Chapman Stipple and copper engraving London, Published as the act directs, Mayy 11. 1809. by J. Wilkes. Image 195 x 180 mm, Plate 240 x 185 mm, Sheet 275 x 210 mm Unmounted An informative, decorative print showing the signs of the zodiac, dwelling places of the gods and the planets, taken from various Sanskrit texts. [46155] £50

59. Joseph Guy of Nottingham John C. Anderson Lithograph with original hand colouring London Published by John Corbet Anderson, $0, Church Road De Beauvoir Square Kingsland. 2nd April, 1853, and by F. Lillywhite, 10, princes Terrace Caledonian Rd. Islington Image 289 x 206, Sheet 417 x 300 mm Unmounted From Sketches at Lords, No. 11. Joseph (“Joe”) Guy (30th July 1813 - 15th April 1873) was an English professional cricketer who played first-class cricket from 1837 to 1854. A right-handed batsman and occasional wicket-keeper who was mainly associated with Nottinghamshire, he made 149 known appearances in first-class matches. He represented the Players in the Gentlemen v Players series and was an original member of William Clarke’s All-England Eleven. He also played for Hampshire. Siltzer 341 Condition: Some areas of light foxing. One indentation to top left not affecting image. [45831] £300

60. To the Worshipful to the Mayor & Corporation of the City of Bristol after E. M. Jones Aquatint ‘Drawn by E.M. Jones. Published April 29th, 1811, by E.M. Jones, No. 32 Little Newport Street Newport Market.’ Image 260 x 224, Sheet 370 x 224 mm Unmounted A print depicting the balloon flight of James Sadler and chemist William Clayfield. A hot air balloon just landed at sea. The balloon’s two occupants wave flags, possibly to catch the attention of the rowing boat coming towards them. Land in the far-left distance. Full title as follows; ‘To the Worshipful the Mayor & Corporation of the City of Bristol. This Print, (Of The Perilous Situation Of Messrs. Sadler & Clayfield, Who Ascended From Bristol On The 24th Of Septr. 1810, At 20 Minutes Past 1 O’Clock, And Descended In The BRISTOL CHANNEL, near WATERMOUTH, about 10 Minutes past 4 O’Clock, after passing over upwards of 80 Miles by Water, & 20 by Land in less than 3 Hours.) Is most respectfully dedicated by their devoted and very humble servant E. M. Jones.’ James Sadler (February 1753 - March 28, 1828) Oxford born balloonist, pastry chef and chemist who lived in 104 High Street the location of Sanders of Oxford. Sadler was the second person in England to make a hot air balloon ascent and whilst a celebrity in his own day, he has largely been forgotten. Condition: Foxed and slightly faded with minor time toning. Trimmed within the plate and inscription [45750] £160

61. Representation of Various Baloons, with the methods of constructing and ﬁlling them & the Implements necessary for accelerating or retarding their motion. Lee System of Aerostation John Lodge Copper engraving Published as the Act directs, by C. Cooke No. 17 Paternoster Row Feby 5th 1790 Image 323 x 195, Plate 350 x 213, Sheet 386 x 238 mm Unmounted A chart depicting hot air balloons and various items of ballooning equipment from the Royal Encyclopedia. The inclusion of Bellerophron riding the winged Pegasus adds some gravitas to the image. It cleverly links mankind’s exploration into ﬂight with the great achievements of the heroes of antiquity. Condition: Light foxing and time toning. [45612] £110

62. [Spectators in an arena viewing the ascension of Muzio Muzzi’s ‘Aereonave Rettiremiga’] Zannoli & Co after G. Meloni Lithograph Bologna: Lit. Zannoli e Co. [c. 1834] Image 285 x 320, Sheet 405 x 505 mm Unmounted Crowds watch the inaugural ﬂight of Muzio Muzzi’s ‘Aereonave Retirremiga’ airship. This spectacular invention was here built in model form, but granted a permit on the 12th of May 1844. It consisted of a hot-air balloon heated with a Davy lamp and attached to two large hand-operated propellors. As Muzzi came from Bologna, Meloni has shown its imaginary ascent in the arena outside the Porta San Vitale. Condition: Time toned with wear and creasing to margins. Central vertical fold. [45633] £400

63. Guerre de l’Invasion, 1870-1871 [Siege of Paris] Jean L. Bognard Lithograph Paris, Bognard Jeune 5 Rue de la Perle [c. 1871] Image 435 x 572, Sheet 473 x 600 mm Unmounted An illustrated sheet showing diﬀerent scenes from the Siege of Paris, including the use of hot air balloon. In twelve parts. Numbered ‘500’ in lower margin above title. Condition: Minor time toning. [45635] £300

64. Engagement between the British Fleet and the Spanish Armada oﬀ the Isle of Wight, 25th July 1588 J. Pass after Johann-Eberhard Ihle Copper engraving London Published as the Act directs 1st Jany 1797 Image 131 x 200, Sheet 165 x 214 mm Unmounted

65. The Indians astonished at the Eclipse of the Moon foretold by Columbus Charles Grignion Copper engraved Engrav’d for Drake’s Voyages [London, c. 1767] Image 180 x 246, Plate 185 x 253, Sheet 212 x 276 mm Unmounted

A dramatic depiction of the British ﬂeet confronting the Spanish Armada oﬀ the Isle of Wight in 1588, most likely from from John Wilkes’ Encyclopaedia Londinensis.

Native Americans stare in awe at an eclipse, standing under palm trees and surrounded by tropical plants. One of Columbus’ ﬂeet can be seen on the right hand shore. From Edward Cavendish Drake’s ‘A new universal collection of authentic and entertaining voyages and travels, from the earliest accounts to the present time’, ﬁrst published in 1767.

Condition: Time toning, tears to lower vertical folds. Surface dirt. [45643] £45

Condition: Time toned and some surface dirt but otherwise in very good condition. [45650] £55

66. His Majesty’s Ship the Victory, a First Rate, Carrying 116 Guns, and 960 Men, Sailing by Dover for the Downs. [Anonymous] Etching and engraving with original hand colour and gum arabic Printed for & Sold by Bowles & Carver, No. 69 in St. Paul’s Church Yard, London [c. 1779] Image 338 x 498, Image 358 x 503, Sheet 390 x 530 Mounted A depiction of HMS Victory a few years after her launch, sailing past the White Cliﬀs of Dover. Victory was launched in 1765, though only received her ﬁrst commission in 1778, when she took part in the Battle of Ushant against the French.

She was slightly damaged after the battle, and after repair her appearance changed signiﬁcantly. She ﬂies the Union Jack and is fully manned, with her guns ready for battle. Condition:Time toning and wear most noticeable around margins. Some foxing and a few pin holes. [45666] £550

CURIOSITIES & EPHEMERA

67. The Naval Mirror representing the attributes that surround and adorn the Marine Compass of the British Seaman. Samuel John Neele Copper engraving London, Published according to Act of Parliament by Albion Robt. Burt October 1808. [c. 1819 impression] Sheet 362 x 228 mm Unmounted Text below image: My Beloved Countrymen, Were it possible to acquire perfection, consistent with the frail System of Human Nature, The character of a British Seaman here delineated would bid fair to attain it; To whose aspiring Genius, and manly Enterprise, the very Globe itself, with it’s immense Ocean, and Starry Firmament above, are the sole irresistible barriers; the former, tracing boundaries to the activity of his person, the latter fixing limits to the extent of his mind. Hail Fair Britannia! May thy valiant Sons, by such a Compass, ever steer their undaunted Course, gloriously asserting thy Fame, and Triumphs, as far as Waters roll, or Winds can waft them. To the Gallant Officers, and Intrepid Mariners of the British Navy, To Circumnavigators, To the Illustrious Promoters, & Guardians of Navigation, Commerce, & Discovery, This token of affection to them, & to his Country. Is most respectfully inscribed; by their faithful & most obedient Servant, John Talbot Dillon Knt. & Baron of the Sac.Rom.Empire. West Square 1st June 1799 A scarce, separately published representation of a moral compass, with examples of what is expected from a British Naval Seaman. The compasses points are labelled with moral virtues and attitudes such as perseverance, valour, fortitude and generosity, with the main points labelled virtue, science, honor and discipline. The northern point is in the shape of a fleur-de-lis, pointing towards victory with south’s point merging into the form of an anchor. Surrounding the compass are decorative depictions and dates referencing British naval victories during the French Revolutionary Wars including 1st August 1798 (The Battle of the Nile) and 1st June 1794 (The Glorious First of June).

Names of notable British naval oﬃcers, including Lord Nelson and Lord Duncan are listed below the compass as well as miniature depictions of the solar system and geographical circles lie either side. John Talbot Dillon (1734–1806) was an Anglo-Irish naval oﬃcer, traveller and historian. Dillon was a believer in the moderation of the French Revolution, an advocate of religious liberty and an opponent of the emancipation of slaves. He is described as “baron of the Sacred Roman Empire” on the title-page of his Travels in Spain (1780), as well as in notes to John Bowle’s edition of Don Quixote (1781). Royal Museums Greenwich: AAB0521. Condition: Trimmed within plate mark, small stain to left margin, some surface abrasion to area above ‘Earl St. Vincent’ line of text. Printed on 1819 Whatman, Turkey Mills watermarked paper. [46158] £400

68. [Proof Masonic Certificate] Brother Hixon Copper engraving Drawn & Engraved by Brother Hixon No.13 Bridges Street, Covent Garden & sold by Griffin & Lay, No.117, Oxford Street London. Augt. 1. 1794. Sheet 495 x 372 mm Unmounted A proof design for a possible Masonic Certificate for a London lodge or house. The plate contains personifications of the three graces, Faith, on the right, depicted cradling a crucifix, Hope, on the left, depicted leaning on an anchor, and Charity, at the top of the plate, depicted comforting three small infant children. Between the figures of Faith and Hope lay a series of Masonic devices, such as the square and compasses and the Eye of Providence. Condition: Repaired top left corner, two large repaired tears to left sheet edge, repaired vertical tear to left side, creases and folds to left side of sheet. [46192] £250

69. [Confederate States of America $1000 bond] Archer & Daly Richmond V. A. Chromolithograph Printed by Evans & Cogswell, Columbia S. C. (1865) Image 655 x 386, Sheet 703 x 433 mm Unmounted A $1000 Confederate bond sheet dated 1894. 59 of the 60 redeemable tokens are remaining. Bond features a depiction of George Washington on horseback, the image of the Great Seal of the Confederacy (physically based in Richmond outside of the Capitol building). It is a fourth series bond numbered 563 to top left. Bonds were ﬁrst issued when the Civil War erupted in April 1861, they were used until 1894. American stamps to verso contemporary to the item. Condition: Paper wear, creasing, time toning and surface dirt. Loss to bottom thirty dollar note, stamps on verso. [45629] £120

70. A Fairy Oak or the Power of Britain [Anonymous] Lithograph London Published 1842 by T. Houlston 154 Strand and R.E. Sly 40 Upper Seymour Street, Euston Square. Image 215 x 265 mm, Sheet 242 x 280 mm Unmounted An interesting puzzle portrait depicting a large oak tree whose branches and leaves contain hidden depictions of important people of the day. Originally listed below the image but trimmed from this impression are the names of the portraits contained:

1. Lord Morpeth 2.Lord Melbourne 3. Marquis of Normanby 4. Duke of Wellington 5. Lord John Russell 6. Daniel Oâ&#x20AC;&#x2122;Connell 7. Prince Albert 8. Lord Brougham 9. Queen Victoria 10. Sir Robert Peel 11. The Speaker of the House of Commons 12. Earl Fitzwilliam 13. The Dowager Queen Adelaide. Condition: Trimmed with numbered key missing, vertical fold, time toning and foxing to sheet. [46167] ÂŁ150

71. Dr. Puﬀ is Devil Enough [Anonymous] Copper engraving c. 1800 Image and sheet 98 x 82 mm Unmounted A small, oval optical illusion, ‘Vexierbild’, depicting two faces in one, the face of a middle aged man in a tricorn hat and wig, and the face of a gnarled devil-like ﬁgure with twisted horn like appendages, small wizened eyes and pointy ears. Condition: Trimmed into oval shape within plate mark. [46183] £80

72. The Husband. The Lover. [Anonymous] Copper engraving c. 1800 Image and sheet 106 x 83 mm Unmounted

73. [Optical illusion of two women] [Anonymous] Etching c. 1800 Image and sheet 95 x 82 mm Unmounted

A small, oval optical illusion, ‘Vexierbild’, depicting two faces in one, the face of a cheerful stout middle aged gentleman in a curly wig and bicorne hat, ‘the husband’, and the face of an unhappy scorned woman who appears in a headscarf tied into a bow at the front, ‘the lover’.

A small, oval optical illusion, ‘Vexierbild’, depicting two faces in one, the face of a troubled looking younger woman wearing an elaborate, lace trimmed bonnet, and the face of a happier, older woman who has a rather large and pointy nose.

Condition: Trimmed into an oval within plate mark. [46185] £75

Condition: Trimmed into an oval within plate mark. [46186] £70

74. Costume of Feb 1859. [Anonymous] Etching with hand colouring 1859 Image 155 x 120 mm, Sheet 203 x 130 mm Unmounted Inscription below image: To dress a’la’ mode now is every one’s aim, And although it appears each one’s taste’s not the same, Yet I think there are few who could ever deny, That you rank in the fashion remarkably high. Your visite’s perfection, your bonnet quite grand, And your dress with rich ﬂounces is charmingly planned, While your open worked petticoat gives us a glance, Of those useful appendages used in the dance. Moveable fashion costume plate from February 1859. The woman depicted’s upper half moves, revealing one of her slender legs beneath her skirt. The poem below makes reference to the fashions of the time and attitudes towards it. Condition: Separate moveable piece with paper handle attached with thread, ‘Costume of Feb 1859’ inscribed in ink below text. [46193] £60

75. Costume of 1859. [Anonymous] Etching with hand colouring 1859 Image 155 x 120 mm, Sheet 203 x 128 mm Unmounted Inscription below image: Sure such monstrosities as these appear, Can never last the fashion for a year, Such vast dimensions! Such a breadth of skirt! ‘Tis all ones work to keep it from the dirt, And scarlet petticoats are all the rage, With dress suspended by a ‘lady’s page’. While hoops and bones and such like things, Keep up the fabric working upon springs. Moveable fashion costume plate from 1859. The woman depicted’s lower half moves, revealing her scarlet coloured petticoat. The poem below makes reference to the fashions of the time and attitudes towards it. Condition: Separate moveable piece with paper handle attached with thread, ‘Costume of 1859’ inscribed in ink below text. [46194] £60

Artists, Printmakers, & Publishers

BIOGRAPHIES

John Corbet Anderson (1827 – 1907) is perhaps best known for his series of portraits of famous English cricketers, ‘Sketches at Lords’, between 1850 and 1860. Bernard Baron (c. 1696- 1762) was a French printmaker and publisher. He was trained in etching and engraving by his stepfather Nicolas Henri Tardieu. Later he was invited to London in the company of Nicholas Dauphin de Beauvais by Claude Dubosc to help with engravings after Louis Laguerre’s wall paintings of the Duke of Marlborough’s Battles in Marlborough House. Before 1720 he collaborated with other French engravers in a series of plates after Thornhill’s paintings in the dome of St. Paul’s Cathedral, and in 1720 assisted Dubosc and Sir Nicholas Dorigny with their engravings after the Raphael cartoons then at Hampton Court. He returned to Paris in 1729 and contributed to Pierre Crozat’s collection of prints after Italian old masters and Jean de Julienne’s collection of prints after Watteau. On his death in 1762, his plates were passed to his son upon whose death in 1770, they were bought by John Boydell. William Blake (1757 - 1827) was an English poet, painter, and printmaker. Blake trained and worked as a commercial engraver under the initial tutelage of James Basire. After his apprenticeship, Blake went on to become a student at the Royal Academy. In 1784, Blake set up in business as a print seller in partnership with James Parker. Later in 1788, at the age of 31, Blake began to experiment with relief etching, a method he would use to produce most of his books, paintings, pamphlets and poems. William Blake is regarded as one of the great geniuses in the history of art. He was largely ignored in his own lifetime, yet today is revered as a major reference point for British culture, appealing to a more universal audience than perhaps any other artist. Jean L. Bognard was a Parisian lithographer and publisher. He specialised in cartographical trade cards.

John Cooke Bourne (1814 - 1896) was a British draughtsman, painter and lithographer. He is best known for his lithographs recording the construction of Britain’s railways in the nineteenth century. Based in London, he published ‘Drawings of the London & Birmingham Railway’ in 1838, and ‘History and Description of the Great Western Railway’ in 1846, which contained images commissioned by Charles F. Cheﬃns (1777-1844). In 1848 he recorded the building of the Dnieper Bridge in Kiev, Russia. Michael Burghers (1653-1727) was a Dutch engraver and printmaker. Born in Amsterdam, Burghers immigrated to England soon after 1672. He worked in Oxford, initially as Loggan’s assistant from 1673, and was appointed University engraver after Loggan’s death in 1692. Giovanni Antonio Canal, known colloquially as Canaletto (18th October 1697 - 19th April 1768) was an Italian painter and printmaker. Canaletto is celebrated as the master of Venetian vedute, being one of the most popular artists for British aristocrats on the Grand Tour. Canaletto’s major inspiration were the Roman vedute and capricci of Giovanni Paolo Pannini. Although best known for his paintings, Canaletto also produced a number of etchings, including a series of 30 plates of Venice and its surrounds. The interest in Canaletto’s work in Britain was great, spurred by the collections of various British nobles, and especially by George III, who amassed a signiﬁcant number for the Royal Collection. As a result, prints of Canaletto’s vedute were in high demand. John Chapman (active 1792-1823) was a British engraver, and is often regarded as one of the most gifted stipple engravers of the late eighteenth century. Little is known of the life of John Chapman, but he is thought to have been mostly self-taught. During his career, Chapman engraved exceptional allegorical subjects after the designs of J. Smith and Corbould.

Jean Baptiste Chatelain (11 July 1710 - 1758) French printmaker, draughtsman of topographical subjects. Chatelain was of Hugenot parentage and worked in a lived in London until his death in 1758. Charles F. Cheffins was a British lithographer active between 1839 and the mid-1840s. He had premises at 9 Southampton Buildings, Holborn, London. John Singleton Copley (1738 - 1815) was an American portrait and history painter. He was born in Boston to Irish immigrants and was the step-son of the mezzotinter Peter Pelham. He became an Associate of the Royal Academy in 1776 and a Royal Academician in 1779. He also exhibited with the Society of Artists from Boston (1766 - 72). In 1774, during the Revolution in America, he left Boston for Europe, heading to Rome via London and Paris. In Rome, Copley studied under Gavin Hamilton’s guidance. He settled in London in 1775, and was the father of Baron Lyndhurst. ‘The Death of Major Pierson’ was first exhibited publicly in May 1784. Jean Crépy (c. 1660-1739) was a French printmaker and publisher, active in Paris at various addresses. He produced several portraits and small commercial prints. He retired after his wife’s death in 1730 and sold his business to his two sons. Isaac Robert Cruikshank (1764-1811), was a Scottish painter and caricaturist. Born in Edinburgh, he studied with a local artist, possibly John Kay, and travelled to London in 1783. He married Mary MacNaughton in 1788 and had five children, including the caricaturists Isaac Robert Cruikshank (1789-1856) and George Cruikshank (1792-1878). He produced work for various publications including ‘Edinburgh types’ (c.1784), ‘Witticisms and Jests of Dr Johnson’ (1791), and George Shaw’s ‘General Zoology’ (1800–26). Through his caricatures, Cruikshank and Gillray developed the figure of John Bull. He worked with the publishers John Roach, S. W. Fores and Johnny Fairburn. He also collaborated with his son George. Cruikshank died of alcohol poisoning as the result of a drinking contest. Coenraet Decker (1650-1685) was a Dutch Golden Age engraver. He was educated and was a pupil of Romeyn de Hooghe, who was an important and prolific Dutch Baroque artist and engraver.

Robert Dighton (1752 - 1814) was an English draughtsman and printmaker. He was the son of the art dealer John Dighton, and father of the artists Robert junior, Denis and Richard. Dighton was especially well known for his satirical prints, which he initially supplied to Carington Bowles and Haines. Later plates he etched, published and sold himself. Dighton infamously stole prints from the British Museum to stock his shop in Charing Cross. When this was discovered in 1806, Dighton escaped prosecution, but was forced to lie low in Oxford until the scandal died down. While there, he produced a series of satirical portraits of academics and country gentlemen. The series was continued in Bath and Cambridge. Anthony van Dyck (1599-1641) was one of the most prominent Flemish Baroque painters. Born in Antwerp, he was a pupil of Hendrik van Balen, but was soon noticed by Rubens with whom he would work closely during his early career. Van Dyck became a master of the St Luke Guild in 1618, went on to paint in Italy from 1621-1626, and then worked predominantly in England from 1632 onwards, where he was knighted by Charles I. Van Dyck was very prolific, he produced many portraits for members of the European aristocracy, as well as religious and mythological paintings and works on paper. Jean Charles François (1717 - 1769) was a French engraver. Born in Nancy, France, he was among the first engravers to introduce engravings representing crayon and chalk drawings. He was employed extensively by Louis XV and is noted for his portraiture particularly of Erasmus and John Locke. Marco Sebastiano Giampiccoli (1737 - 1809) was a Venetian engraver, printmaker, and publisher. The son of the engraver Giuliano Giampiccoli, and grandson of the painter Marco Ricci, Giampiccoli specialised in landscapes, particularly of Venice and the Veneto. Where his father had largely gained a reputation engraving views after the paintings of Marco Ricci, Giampiccoli not only drew on the work of other artists, but also prepared plates from his own drawings and designs. His most desirable works are a series of 20 views of Venice engraved after paintings by Canaletto. Despite his relative success as an engraver, the final years of Giampiccoli’s life were plagued by economic concerns, and he died in poverty, having sold the majority of his works and equipment to his father’s former partner, Remondini Bassano.

Thomas Girtin (1775-1802) was one of the most original of all English watercolourists. He was a friend, rival and later an inspiration to Turner, with whom he worked closely. Taking extensive tours around Britain, he developed a romantic style of watercolour painting notable for its breadth, its marvellous effects of light and dark, and its mysterious atmosphere. He died young at the age of twenty-seven, shortly after completing his most ambitious and spectacular work, the Eidometropolis, a 360-degree panorama of London measuring over 100ft. Sir Francis Grant (1803-1878) was a Scottish portrait painter and artist. Born in Perthshire, Scotland, Grant is most known for his portrait of Queen Victoria which he completed in 1843. He then went on to become the President of the Royal Academy in 1866 and was Knighted soon after. Charles Grignion (1717 - 1810), son of the clockmaker Daniel Grignion, was an engraver of French origin but worked and died in England. According to Saur he was born 1717, (older authorities give birthdate as 1721). Grignion was very active in the middle decades of the century. Valentine Green (1739-1813) was a British mezzotinter; Associate Royal Academician and publisher, often in association with his son Rupert. In 1773 he was appointed mezzotint engraver to the King George III and in 1774 he became a member of the Royal Academy. In 1775, he was appointed mezzotint engraver to Karl Theodor, Elector Palatine, and in 1789, he worked on the engraving and publishing of pictures in the Düsseldorf Gallery. Green was one of the first engravers to show how admirably mezzotint could be applied to the translation of pictorial compositions as well as portraits. His engravings are distinguished by exceptional richness, subtlety of tone, and a deft handling of light and shade. Johann Gottfried Haid (1714-1776) was German engraver and mezzotinter. He worked in London for John Boydell and Henry Parker in the first half of the 1760s. In 1766 he returned to Vienna to found a school of mezzotint in the Academy there. His position was succeeded by Johann Jacob. William Hole (active 1600-1624) was a skilled English engraver active in the seventeenth century. Best-known for producing maps for Camden’s ‘Britannia’, Hole also engraved portraits, music scores, frontispieces and topographical scenes. 82

Frederick Hendrick Van Hove (circa 1628-1698) was an engraver born in The Hague. He studied under F. Bouttats in Antwerp before moving back to work in his hometown as a draughtsman and engraver. He came to London in around 1692, where he worked for the last years of his life. George Hunt (fl. 1820 - 1845) was a printmaker and publisher. He was an aquatint specialist who worked for others as well as publishing himself or in partnership. Johann Eberhard Ihle (5th June 1727–17th January 1814) was a German painter whose style ranged from Rococo to Classicism. He was the son of portraitist Johann Jakob Ihle (1702–1774), from whom he first learned painting. In 1749 he settled in Nuremberg, where in 1751 he became a member of the Nürnberger Malerakademie. From 1771 to 1811 he served as director of the Academy. Robert Laurie (c.1755-1836) was a British engraver, mezzotint artist, and publisher. In 1776, he was awarded a prize by the Society of Arts for the invention of a method of producing colour-printed mezzotints. Laurie succeeded the publisher Robert Sayer after the latter’s death in 1794, and, in partnership with James Whittle, continued Sayer’s prolific and well-established business on the Fleet Street, issuing prints, maps, illustrated books, charts, and nautical works. Following Laurie’s retirement in 1812, Whittle continued in business with his former partner’s son, Richard Holmes Laurie, who gained sole ownership of the business in 1818 with the death of Whittle. John Lodge (fl. 1754-1796) was a British print and mapmaker, trained by Thomas Jefferys (..) and active in London. He worked almost exclusively on commissions, producing individual maps for a variety of historical and geographical books, travel accounts, as well as magazines and periodicals. His maps are clear and finely engraved, with subtle decorations. He is not to be confused with his son, John Lodge the younger, who would become a printmaker in his own right, after studying with his father in 1785. Robert Loudan (fl. 1855-1895) was a British wood engraver, best known for his work for the London Illustrated News and The Graphic.

James G. S. Lucas (1831-1834; fl.) was a British printmaker who specialised in the mixed method manner of mezzotinting. Lucas issued a series of mezzotint copies of Martin’s Illustrations of the Bible through Rittner and Goupil in Paris, as well as a similar series based on Martin’s plates for the French periodical L’Artiste. George Edward Madeley (1798-1858) was an engraver, lithographer and printer. From c.1824-1829 he was in partnership with Charles Ingrey as “Ingrey & Madeley” thereafter moving to the premises of Sotheby’s, the auctioneers, at 3 Wellington Street. John Martin (1789-1854) was an English painter, illustrator and mezzotint engraver. He achieved huge popular acclaim with his historical landscape paintings which featured melodramatic scenes of apocalyptic events taken from the Bible and other mythological sources. Influenced by the work of J.M.W. Turner (1775-1851) as well as Theodore Gericault (1791– 1824), Eugene Delacroix (1798–1863) and Paul Delaroche (1797–1856), his paintings are characterised by dramatic lighting and vast architectural settings. Most of his pictures were reproduced in the form of engravings, and book engravings, from which he derived his fortune. Despite his popularity, Martin’s work was spurned by the critics, notably John Ruskin, and he was not elected to the Royal Academy. His fame declined rapidly after his death, although three of his best known works of religious art toured Britain and America in the 1870s: The Great Day of his Wrath (1853, Tate, London), The Last Judgment (1853, Tate) and The Plains of Heaven (1851-3, Tate). A great contributor to English landscape painting, Martin was a key influence on Thomas Cole (1801-48), one of the founding members of the Hudson River School. Samuel John Neele (1758 1824) headed a family of engravers and publishers mainly working from 352 Strand, London. He worked on numerous publications throughout his lifetime trading with his younger brother George as “S. & G. Neele” from 1813 to 1814, and with his son, James as “Neele and Son” from 1816 to 1824. Harriette Oates [fl. 1839] was a topographical artist who made a series of views in Sicily and southern Italy in around 1839. Edward Penny, RA (1714-1791) was an English portrait and historical artist. He is most noted for his part in the establishment of the Royal Academy of Arts, in which he was the first professor of painting.

William Pether (c.1738 - 1821) was an English mezzotint engraver and portrait painter. Born in Carlisle, Pether became a pupil of the painter and mezzotint engraver Thomas Frye, with whom he entered into partnership in 1761. A fellow of the Incorporated Society of Artists, he contributed to its exhibitions paintings, miniatures, and engravings from 1764 to 1777. He was also an occasional exhibitor with the Free Society and the Royal Academy. His many pupils included the painters and mezzotint engravers Henry Edridge, and Edward Dayes. His last plate published in London is dated 1793, and he exhibited at the Royal Academy for the last time in 1794. J. Pass (fl. c. 1794-1829) was a British engraver. Giovanni Battista Piazzetta (1682-1754) was a Venetian painter and draughtsman, and is recognised as a leading figure of the 18th century Old Master painters. The Rococo painter focused primarily on religious subjects and genre scenes, and is well-known for his expressive drawn portraits. Bernard Picart (11 June 1673 – 8 May 1733), was a French engraver, the son of the engraver Etienne Picart. He was born in Paris and worked in France and the Netherlands. Following the death of his wife in 1708, he moved to Amsterdam in 1711 where he became a Protestant convert and married again. Most of his work was book-illustrations, including the Bible and Ovid. His most famous work is Cérémonies et coutumes religieuses de tous les peuples du monde. Jonathan I. Israel calls Cérémonies “an immense effort to record the religious rituals and beliefs of the world in all their diversity as objectively and authentically as possible”. Israel notes also that Picart left Paris with Prosper Marchand, and collaborated on the Cérémonies with Jean-Frédéric Bernard, with a commitment to religious toleration. Picart, Marchand and Charles Levier belonged to a “radical Huguenot coterie”. John Pine (1690-1756) was a British engraver, publisher, and map-maker, and a close personal friend of William Hogarth. With Hogarth and George Vertue, he successfully lobbied Parliament for the passing of ‘Hogarth’s Act,’ a precursor to modern copyright laws. Pine even appears in some of Hogarth’s works, most notably in the Gate of Calais, as a grasping and corpulent Franciscan. In addition to his work as an engraver, he also worked as a cartographic draughtsman, including on Rocque’s celebrated 1746 map of London.

William Henry Prior (1812-1882) was an English painter and printmaker, mainly producing landscapes and views of London. Samuel William Reynolds (1773-1835) was a British mezzotinter and occasional painter. He taught David Lucas and Samuel Cousins. William Richardson (fl. 1777-1814) was an English print dealer and publisher active in London. His father might also have been a print seller. He mainly produced caricatures and satires in his early career and later specialised in portrait prints. Thomas Rowlandson (1756 - 1827) was an English watercolourist and caricaturist. Born in London, the son of a weaver, Rowlandson studied at the Soho Academy from 1765. On leaving school in 1772, he became a student at the Royal Academy and made the first of many trips to Paris where he may have studied under Jean-Baptiste Pigalle. In 1775 he exhibited the drawing Dalilah Payeth Sampson a Visit while in Prison at Gaza at the Royal Academy and two years later received a silver medal for a bas-relief figure. As a printmaker Rowlandson was largely employed by the art publisher Rudolph Ackermann, who in 1809, issued in his Poetical Magazine The Schoolmaster’s Tour, a series of plates with illustrative verses by Dr. William Combe. Proving popular, the plates were engraved again in 1812 by Rowlandson himself, and issued under the title The Tour of Dr Syntax in Search of the Picturesque. By 1813 the series had attained a fifth edition, and was followed in 1820 by Dr Syntax in Search of Consolation, Third Tour of Dr Syntax in Search of a Wife in 1821 and also in the same year by The history of Johnny Quae Genus, the little foundling of the late Doctor Syntax. Rowlandson also illustrated work by Smollett, Goldsmith and Sterne, and for The Spirit of the Public Journals (1825), The English Spy (1825), and The Humorist (1831). Sir Paul Rycaut FRS (23 December 1629–16 November 1700) was a British diplomat and historian, and an authority on the Ottoman Empire. James Sayers (1748 - 1823) was a prolific Caricaturist. His plates are usually aquatint and are hardly ever coloured. His first notable works were on the Fox-North coalition published by Thomas Cornell, 1783-4. His later works were published by Hannah Humphrey.

Johann Jakob Schalch (1723-1789) was a Swiss painter and printmaker, specialising in landscapes and portraits. He travelled a lot throughout his life, to Germany, France, England and the Netherlands, but was based in Schaffhausen. The dating of this print is based on the time between Bonneval arriving in Constantinople and the death of the artist Schalch in 1789. Pieter Schenck (1660-1718 or 1719) was a Dutch engraver, mapmaker and publisher. Born in Elberfeld, Germany in 1660, Schenck moved to Amsterdam in 1683 where he became a pupil of Gerard Valck. He became a skilled exponent of mezzotint engraving, which he practised until 1695, at which point he focused on making and selling maps. Daniel Somerville (fl. 1797-1825) was a Scottish painter and printmaker, active in Edinburg. He had a workshop on 5 St James Square, and specialised in landscapes, views, but also produced several portraits. John Speed (1552-1629) is the most famous of all English cartographers primarily as a result of The Theatre of the Empire of Great Britaine, the first atlas of the British Isles. The maps from this atlas are the best known and most sought-after of all county maps. The maps were derived mainly from the earlier prototypes of Christopher Saxton and Robert Norden but with notable improvements including parish “Hundreds” and county boundaries, town plans and embellishments such as the coats of arms of local Earls, Dukes, and the Royal Household. The maps are famed for their borders consisting of local inhabitants in national costume and panoramic vignette views of major cities and towns. An added feature is that regular atlas copies have English text printed on the reverse, giving a charming description of life in the early seventeenth century of the region. The overall effect produced very decorative, attractive and informative maps. For the publication of this prestigious atlas Speed turned to the most successful London print-sellers of the day, John Sudbury and George Humble. William Camden introduced the leading Flemish engraver, Jodocus Hondius Sr. to John Speed in 1607 because first choice engraver William Rogers had died a few years earlier. Work commenced with the printed proofs being sent back and forth between London and Amsterdam for correction and was finally sent to London in 1611 for publication. The work was an immediate success and the maps themselves being printed for the next 150 years.

Speed was born in 1552 at Farndon, Cheshire. Like his father before him he was a tailor by trade, but around 1582 he moved to London. During his spare time Speed pursued his interests of history and cartography and in 1595 his first map of Canaan was published in the “Biblical Times”. This raised his profile and he soon came to the attention of poet and dramatist Sir Fulke Greville a prominent figure in the court of Queen Elizabeth. Greville as Treasurer of the Royal Navy gave Speed an appointment in the Customs Service giving him a steady income and time to pursue cartography. Through his work he became a member of such learned societies as the Society of Antiquaries and associated with the likes of William Camden Robert Cotton and William Lambarde. He died in 1629 at the age of seventy-seven. George Stubbs (1724-1806) was a painter and anatomist. A superb animal painter and a penetrating portraitist, Stubbs is best known for his Anatomy of a Horse, 1766, a series of magnificent engravings based on the dissections he carried out in a remote village in Lincolnshire. A friend of Josiah Wedgwood, Stubbs experimented with painting on alternative surfaces, including copper, porcelain and a Wedgwood plaque. Thomas Sulman (1834-1900) was a British architect, draughtsman, and engraver, most celebrated for his large scale birds-eye views of London, Oxford, and New York, all of which were drawn from hot-air balloons. In addition to his work for the London Illustrated News, Sulman was also one of a number of engravers working for the artist Dante Gabriel Rossetti, one of the founding members of the Pre-Raphaelite Brotherhood. Pierre Alexandre Tardieu (1756-1844) was a French artist and engraver. He was a member of the Institut de France, the Saint Petersburg Academy and the Academy of Milan. His students included Auguste Gaspard Louis Desnoyers and his nephew Ambroise Tardieu (1788 – 1841) who was an eminent French cartographer and engraver, and is celebrated for his version of John Arrowsmith’s 1806 map of the United States. Stephen Taylor was a British artist active between 18171849. He is most known for his portraiture, still life and paintings of dogs.

Thomas Tegg (1776-1845) was a British bookseller, printseller, and publisher, trading most notably from a printworks and shop in Cheapside. His best remembered series are Tegg’s Carricatures, the Caricature Magazine, the London Encyclopaedia, and the immensely popular Whole Life of Nelson. Jan van der Vaart (1647-1721) was a Dutch artist and engraver. He was most known for his paintings of landscapes, portraits and still life. He moved to England in 1674 where he was employed by Willem Wessing as a drapery and landscape painter before moving on to become an independent portrait artist. Many of Van der Vaart’s works were engraved in mezzotint, a technique that he was one of the earliest practitioners in England. Cornelis Martinus Vermeulen (c. 1644-c. 1709) was an Antwerp printmaker and publisher, who was apprenticed by Peter Clouwet and became a master in the Guild of St Luke in 1682. He often travelled to Paris, were he worked together with Gerard Edelinck and eventually even got his own address in Rue des Noyers across St Yves in 1693. George Vertue (1684-1756) was an antiquary and engraver. He was born in the parish of St. Martin-inthe-Fields, London. Vertue was apprenticed to a silver engraver and later to the Flemish engraver Michael Vandergucht. His early work includes plates after Kneller, whose academy he attended from 1711. Vertue had a deep interest in antiquarian research, and much of his work was devoted to this subject. He also served as the oﬃcial engraver to the Society of Antiquaries (1717-56). From 1713 onwards, Vertue dedicated his research to the details of the history of British art, which resulted in an extensive collection of notebooks now in the British Library. The contents of which were the basis of Horace Walpole’s 1762 ‘Anecdotes of Painting’. There are approximately ﬁve hundred portraits attributed to Vertue, and an equivalent number of published plates which were devoted to antiquarian subjects. George Raphael Ward (1799 - 1879) was an English portrait painter, miniaturist and printmaker. He was the son of the painter and engraver James Ward R.A. (17691859) and father of the genre painter Henrietta Mary Ada Ward (1832-1924). Ward worked from premises on 7 Newman Street, near Oxford Street, London and 3031 Fitzroy Square, London (1836-46).

Benjamin West (1738 - 1820) was an Anglo-American artist who specialised in the historical manner. West was born in Springﬁeld, Pennsylvania, the tenth child of an innkeeper. He was something of an autodidact, and became a notable painter without any formal training. In 1760, sponsored by Dr William Smith and William Allen, West travelled to Rome where he reproduced the works of Titian and Raphael. Three years later, West visited England, though he only intended it as a sojourn before his journey back to America. He did not, however, ever leave the United Kingdom. He socialised amongst the most notable artists and intelligentsia of the day, and played a role in the establishment of the Royal Academy in 1768. In 1772, King George appointed him historical painter to the court. Twenty years later, West was made president of the R.A, and served for two terms. His works, which often captured vainglorious scenes of contemporary military tales, were highly inﬂuential in the surge of neo-classicism. William Woollett (15 August 1735 – 23 May 1785) was an English engraver born to a Dutch family in Maidstone, Kent. He was the most famous British engraver of his day, and was the secretary of the Incorporated Society of Artists between 1766 and 1773. In 1775, he was appointed engraver in ordinary to George III.

Joseph Wright of Derby (1734 - 1797) was a portraitist and landscape painter, who would become one of the most distinguished artists of the eighteenth-century. Born in Derby, into a family of respected lawyers, Wright received his artistic training in London under the tutelage of Thomas Hudson. He regularly exhibited his paintings at the Royal Society of Arts in London, but it was in his native East-Midlands city where Wright lived and worked for the best part of his career, earning him the appelation ‘of Derby.’ Wright of Derby’s scientiﬁc and industrial paintings, full of dramatic chiaroscuro, distinguished him from his contemporaries. His provincial residence in Derby was tremendously unconventional given the wealth of artists that lived in the capital, but, paradoxically, it ensured his success. It was in the provinces that the Industrial Revolution was at its most visual, and through his depiction of blacksmith shops, glass and pottery cones, factories and ﬁres, Wright wrote his name into the canon of British art.

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