Autumn 2017 new stock release. Antique Prints. by Sanders of Oxford, Antique Prints & Maps

AUTUMN 2017

A CATALOGUE of RECENT ACQUISITIONS Sanders of Oxford Antique Prints & Maps

All items are guaranteed to be genuine. A full refund will be given for any item found not to be as described, provided it is returned undamaged within 14 days and any work returned must be sent by registered, prepaid, ďŹ rst class post (airmail overseas) and must be fully insured. All items are in good condition unless otherwise stated. Sizes are given in millimetres. Prices are nett and do not include postage. All orders will be sent by registered mail, by air to overseas customers unless instructed, at the customerâ&#x20AC;&#x2122;s expense. Any importation or customs charges will be the responsibility of the customer. Payment must be made in British Pounds Sterling, either in person or bank transfer (all banking administration and transaction fees to be paid by the customer). We also accept Visa, Mastercard, Switch, and American Express. The title of the goods does not pass to the purchaser until the amount has been paid in full. For full Terms & Conditions please visit: https://www.sandersofoxford.com/terms-conditions/

Autumn 2017 A Catalogue of Recent Cartographic Acquisitions From 5th October, 2017.

Sanders of Oxford is pleased to present a selection of one hundred 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.

01-27: Caricatures

28-40: Sports

41-53: Foreign Topography

54-62: Oxford & Cambridge

63-86: British Topography

87-100: General Interest: from Botanicals to Ballet

Biographies: Artists, Printmakers, & Publishers

CARICATURES

01. Recruiting Party. Now’s Your Time My Lads - Whigs & Tories - Christians, Jews & Turks - no distinction made Paul Pry [William Heath] Etching with original hand colouring Pub. June 20 1829 by T McLean 26 Haymarket, sole Publisher of P.Pry Caricatures - none are oritinal with T McLeans name Image 240 x 345 mm, Plate 258 x 360 mm, Sheet 300 x 432 mm A satirical military recruiting party, composed of the Duke of Wellington, Scarlett, Peel, and the Marchioness Conyngham, presenting themselves to King George IV. The King, depicted with his back to the viewer, stands heroically, with legs comedically far apart, wearing a jaunty forage cap, epaulets, sash, and oﬃcer’s trousers. Before him, Wellington stands to attention, saluting loosely with his left hand and smirking, handing a token labelled ‘Attorney’ to the scowling James Scarlett, 1st Baron Abinger, who, in addition to his barrister’s garb, dons a very large grenadiers bearskin decorated with ribbons of red, white, and blue.

Behind him, a cautious Sir Robert Peel plays a pipe, while the corpulent Marchioness Conyngham, the subject of the satire and mistress of the King, is shown at right, acting as the new regimental drummer, wearing a red coat and bearskin over her blue gown. Wellington, prime minister at the time of publication, presents her to the King, saying ‘Brought in a new Recruit your Honour.’ The King responds enthusiastically ‘He’s a ﬁne fellow, and I dare say will never disgrace the Scarlet, d-mne, he’ll be a General.’ The Marchioness, gormless, asks ‘Shall we play the Grenadier’s March?’ BM Satires 15812 Condition: Excellent clean impression with original hand colouring. Minor time toning and creasing to edges of sheet, not aﬀecting plate [43764] £220

02. Dandie’s [William Heath] Etching with original hand colouring Pub Jany. 20 1819 by T Tegg 111 Cheapside Image 215 x 310 mm, Sheet 258 x 360 mm A satirical comparison of two Dandies, one historic, one contemporary, facing each other oﬀ. The dandy on the left, from 1519, wears a comedically plumed hat, a forked beard and moustache, a slashed doublet, tights, and a pair of curled shoes, the toes of which are tethered with chains to his knees. At his waist, he wears a huge cross-hilted long-sword. His opposite number, from 1819, wears a rakish tophat, a high collar, a broad-collared corseted overcoat, loose trousers, and heeled boots with spurs. In his right hand he holds a rapier or sword cane. Caricatures of dandies were particularly popular in the 1810s and 1820s, with many satirists and printsellers publishing series featuring dandies. Condition: Colour slightly faded. Minor time toning and creasing to sheet. [43765] £180

03. A Rough Sketch of the Times as deleniated by Sir Francis Burdett Thomas Rowlandson Etching with hand colouring Pubd May 9th 1819 by Thomas Tegg no. 111 Cheapside Image 216 x 325 mm, Sheet 259 x 364 mm A young handsome man stands between a stout and healthy looking man ‘The Genius of Honour and Integrity’ and a an older, grotesque looking man to his right ‘The Monster of Corruption’. The young man is Francis Burdett and wears a sash with the inscription ‘Magna Carta, Bill of Rights’ referring to his political career and reformations. Sir Francis Burdett, 5th Bt (1770-1844) was a parliamentary reformer, aristocrat and an independent MP. He entered Parliament in 1796 to become the most inﬂuential radical politician. He championed free speech, personal liberty and radical state prisoners. In 1807, with the help of labour activist Francis Place, Burdett successfully stood for Westminster - a hotbed of radicalism. He was arrested and imprisoned for denouncing the House of Common’s decision to bar journalists from some debates. Burdett became a national celebrity as ‘Burdett and Liberty’ riots exploded onto London’s streets, marking a shift of popular sympathy towards electoral reform. BM Satires 11553 (re-issue) BM Satires 13230 Condition: Trimmed within plate mark at base. Light time-toning and creasing to sheet. [43529] £280

04. Bozzy and Madame Piozzi Thomas Rowlandson Etching 1786 Image 160 x 215 mm, Sheet 220 x 272 mm Frontispiece from Peter Pindar’s (Wolcot’s) ‘Bozzy and Piozzi’, 1786. M.Dorothy George’s ‘Catalogue of Political and Personal Satires in the British Museum’ describes the print as Mrs. Thrale (Piozzi) and Boswell in a heated argument: she (left) advances upon Boswell with her hands on her hips; he stamps violently and clenches his fists. An elderly man seated in an armchair looks at them in alarm, raising his hand in admonition. He is Sir John Hawkins: the ‘rival wits’ have agreed to let him ‘Declare the prop’rest pen to write Sam’s Life.’ Beside him a ‘cello leans against the wall, emblem perhaps of Sir John’s interest in music, perhaps of Mrs. Thrale’s marriage to Piozzi. Three shelves of books are above his head; the highest is filled with large volumes covered with a cobweb, one inscribed ‘History of Musi[c]’, illustrating the lines:’Whose Volume, tho’ it here and there offends, Boasts German merit - makes by bulk, amends, Superior, frowning o’er octavo wits, High plac’d the venerable quarto sits;’ Behind the two disputants is a draped sash-window. Beneath each part of the title a quotation from the verses is engraved: ‘Who, madning with an Anecdotic Itch, Hath said that Johnson call’d his Mother, B-tch?’ Boswell taunts Mrs. Thrale with her anecdote of Johnson’s answer to his mother when she called him a puppy. ‘Who, from Macdonald’s Rage, to save his snout, Cut twenty lines of defamation, out?’ She retorts with the slander which Boswell denied. BM Satires 7051 Condition: Time toning and foxing to sheet, light red ink stain to lower margin near text, binding holes to lower margin as issued. [43763] £400

05. A Sleepy Congregation Thomas Rowlandson Etching with hand colouring [Published by Thomas Tegg No 111 Cheapside. c. 1811] Image 306 x 225 mm, Sheet 349 x 247 mm Satirical print depicting a congregation sleeping during a parson’s speech. BM Satires 11794 Condition: Good impression. Trimmed within the plate. Both the title “Teggs Caricatures No 54” and publication line at bottom of print are missing. [43797] £220

06. Very Slippy-Weather James Gillray Etching with hand colouring London Published February 10th 1808 by Humphrey No. 27 St. James’s Street [c. 1830 impression] Image 236 x 180 mm, Plate 263 x 205 mm, Sheet 329 x 275 mm A man has slipped and fallen on the sidewalk of St. James’s Street in London, in front of the printing establishment Humphrey’s. The man’s wig and hat have flown of his head, a snuff box and coins have fallen from his pocket, but the man still manages to hold the thermometer in his left hand tightly and upright. Behind the man, four men and a boy are looking at the shop window, which is filled with Gillray prints, previously published by Humphrey. Inside the shop, two men are inspecting one of the Gillray prints.

Likely to be a mid-1820s impression published by John Miller, Bridge Street and W. Blackwood, Edinburgh or from Thomas McLean’s printing or Gillray’s works published in 1830. BM Satires 11100 Condition: Strong impression with ﬁne hand colouring. Light staining to margins, not aﬀecting image. Tear to right margin. [43785] £275

07. Push-Pin after James Gillray Etching with hand colouring [Published April 17th 1797 by H. Humpfrey, 27 St. James’s Street, London] Image 136 x 180 mm, Sheet 213 x 257 mm A satirical print depicting the Duke of Queensberry (identiﬁed through the crest of a heart between wings on his chair) playing the children’s game of ‘push-pin’ with a plump woman, while a younger woman watches with down-dropped eyes. The Duke leans over the table, peering through his double lorgnette and sees that he has won; he was known as a gambler and a man who preyed on younger women. The plump lady is identiﬁed as Mother Windsor, a known keeper of a brothel; the younger woman therefore is probably the Duke’s “prize” for winning the game.

08. The Tomb of Napoleon George Cruikshank Etching with hand colouring [Published in London by Charles Tilt, 1834] Image 188 x 277 mm Central vignette with a view of the island St. Helena where Napoleon was exiled to and died, surrounded by smaller vignettes depicting his coronation, scenes at the battleﬁeld, Egypt and French eagles. From the ﬁrst volume of Cruikshank’s ‘My Sketchbook’, published in 1834. Condition: Trimmed within plate mark. [43793] £50

A reduced copy of BM Satires 9082 Condition: Trimmed within plate mark. Overall time toning from a previous mount. [43796] £90

09. Diversions of Hatfield Isaac Cruikshank Etching with hand colouring Pub. July 24 1789 by S. W. Fores N3 Piccadilly. Image 215 x 665 mm, Sheet 275 x 694 mm Text below image reads: ‘Hatfield’s fair Hostess prompt by wit, To Arch’ry’s chosen few, Presents a mark for all to hit, That point their arrows true, Of texture fine a target fair, Still yielding to receive, A beauteaus thing of glossy hair, That gives back all you give, Tho’ famed for gifts and virtues rare, The like was never known, A Lady’s Target made of hair, T’was all my Lady’s own. M.Dorothy George’s ‘Catalogue of Political and Personal Satires in the British Museum’ describes the caricature as: Five men who appear to be servants are grouped on the left of the image, taking part in an archery contest. The target is placed on a tree in the form of a reclining nude female, branches being upraised arms. A negro in livery takes aim, saying, “now for de midle hole in de hair.”

On the right, passed the target, Lord Salisbury, in back view, recognisable from the stiﬀness of his legs, stands beside a seat on which sit two ladies. He says: “he’ll be in I think” whilst the lady next him says “he stands well”. A dashing military oﬃcer leans on the back of the seat and the lady standing beside him is watching through an eye-glass. In between both groups, nearer the archers, are three maids who say respectively, “black John is a good one”; “I know that”, and “so do I”. BM Satires 8269 Condition: Centre fold as issued, trimmed within plate mark on lower margin, creasing to the lower margin, repairs to tears on centre fold, light surface staining to areas of the sky and time toning. [43762] £875

10. A Sepulchral Enquiry into English History George Cruikshank Etching with original hand colouring Pubd. June 1st 1813 by W.N.Jones No.5 Newgate Strt. G. Cruikshank fect. Image 210 x 502 mm, Sheet 218 x 535 mm A satirical scene of Henry Halford’s exhumation of the body of King Charles I, which had been rediscovered in 1813, shortly before this caricature was published, during restoration of the Quire of St George’s Chapel at Windsor Castle. The scene is set in a darkened crypt, presumably beneath the quire. Light is provided by three large candles, carried by quivering pages dressed in pink frock-coats, which cast long shadows across the scene. To the very left, in a niche, an coffin stands upright, draped in a large black shroud and containing a headless corpse wound in burial sheets. The crown above the coffin and a relief carving of a beheading above the niche identifies the body as King Charles I. Before the coffin stands Sir Henry Halford, 1st Baronet, the Royal Physician and noted antiquary, holding aloft the head of the hapless King. His expression is one of curious detachment, considering his sensational actions, and he muses at length on the blood that drips from the severed head, stating that further researches will be necessary. At the centre of the scene, the Price Regent recoils in horror from the head of his royal forebear, though cannot look away from the scene, his eyes wide with fright, as he utters ‘Let the Tomb have its due, talk not to me of [Sover]eigns and & dec[apitati]ons, bury reflection with the dead - hide - hide from my eyes the fearful sight!

Behind him, the skinny and diminutive ﬁgure of his private secretary, Sir John McMahon, encourages his attention to the other side of the crypt, where Lord Yarmouth, the future 3rd Marquess of Hertford, enthusiastically takes a crowbar to the wooden coﬃn of King Henry VIII, commenting with gusto on the King’s red beard and hair, features he shares with Henry. McMahon holds a tome entitled ‘The History of England,’ open to the chapter about Henry VIII, and exhorts the Prince to look upon him ‘who never spared man in his hate or woman in his lust.’ The body of Henry, with bulging eyes staring at Lord Yarmouth as he goes about his task, bears a resemblance to the face of the Prince Regent himself. BM Satires 12056 Condition: Laid to album page. Vertical folds as issued. Minor time toning and surface dirt to sheet, particularly to folds. [43773] £250

11. Six Diverting Subjects, relieved by a Variety of Rural Landscapes, by Robert Dighton Robert Dighton Etching Printer for & Sold by Carington Bowles, No. 69 in St Pauls Church Yard, London. Publish’d as the Act directs, 22 Sepr. 1785. Images in oval vignettes, all approx. 190 x 145 mm A rare and complete decorative set of six ‘diverting subjects’ by Robert Dighton, published as a ‘Drawing Book’ by Carington Bowles, and listed as Book 11 in his 1790 New and Enlarged Catalogue. All six scenes are enclosed in ovals, and feature the titles below, as follows: The Sportsmen refreshing: A group of three gentlemen rest after a hunt, passing between them a bottle of port. Their rifles rest nearby, and a small spaniel drinks from a puddle at their feet. Behind them, a building with covered porch, shuttered windows, and a hanging oval sign is probably a tavern, and in the distance, beyond a wicket gate, the spire of a county church can be seen. A Morning excursion: Two well-attired young ladies walk down the street of a town, arm in arm, the woman on the left holding a bouquet of flowers. To their left, a young urchin offers them a handful of hat-pins, his cap in his left hand. Behind, a coach with two attendants rolls past a market square. The Blundering Hair-Dresser: A forlorn looking hairdresser in French habit attempts to solicit the business of an irate gentleman in a magistrates wig. As the gentleman raises his cane to fend off the unwanted advance, the hair-dresser recoils and backs into a corpulent marketseller, whose basket of goods falls from her head. The hair-dressers brushes, combs, and a pair of scissors are scattered in the street.

The Contrast: Two gentlemen, one short and fat, one tall and thin, walk together down a country road, engaged in friendly conversation. Both wear tricorn hats, wigs, cravats, and frock coats, and carry walking canes. The Host and his Guests: A corpulent host, his buttons straining, his wig falling back from his bald pate, and his nose rosy from drink, demonstrates the joys of his larder to two guests, one an extremely po-faced dandy with cane and gloves, the other an elderly antiquarian quizzically examining a hanging game-bird with his monocle. In the background, a thin servant carries a lantern and taper up a flight of stairs, while a maid can be seen in a window working in the kitchens. The Farewell Glass: A young sailor enjoys his final drink before putting to sea, seated at a table in a tavern with a ragged older man in overcoat and tricorn. Behind, the downcast publican changes linens. At the door, the ship’s boy summons the sailor, who responds by throwing up his hand in dismissal. A cat eats scraps off a plate in the foreground, while the masts of a ship can be seen past the boy through the open doorway. BM Satires (undescribed), Carington Bowles (1790) p150. Condition: Strong, clean impressions. First plate trimmed to plate-mark without loss to image or plate, light stain. [42812] £1,500

12. The Mistake a Satyrical Print on a late Battle near M-D-N in G-R-M-Y [Anonymous] Copper engraving with hand colouring [c. 1759] Image 224 x 334 mm, Plate 249 x 350 mm, Sheet 250 x 355mm A satire on Lord George Sackville’s decision to disobey orders at the Battle of Minden in Germany during the Seven Years’ War in 1759 for which he was subsequently dismissed. On the right Ferdinand of Brunswick sends orders for Sackville to engage the enemy, one oﬃcer tells him that Sackville “dare not stir” while another points out that “the young Marquis” of Granby is eager to ﬁght.

With eight lines of text below: Whilst Marshal C[on]t[ade]s & ye Gallant gay B[rog}lio / With their Armes advanced in Order so Droll -o / ... / But my L[or]d more polite thought it very uncivil. / To send such Gay Monsieurs so fast to ye Devil; / So he let those escape whom he should have destroy’d / Out of pure Christian Love or - to save his own Hyde’ and ‘Tis a Christian Duty to shew Mercy to his Enemies’.

Further away, on the left, Sackville notes that the French “are so much superior they’ll kill ev’ry Man of us” and Granby oﬀers to command in his place; a French prisoner thanks Sackville for saving him from ruin. In the background the battle continues. (BM)

BM Satires 3684 Condition: Trimmed just outside of the plate mark, without loss. Laid to an album page, some light overall dirt. [43474] £100

13. British Resentment or the French fairly Coopt at Louisbourg John June after Louis Philippe Boitard Copper engraving with hand colouring L. Boitard Invt. et Delin. J. June Sculp. Publish’d according to Act of Parliament 25 Sepbr. 1755. Printed for J. Bowles in St. Paul’s Church Yard & Tho. Bowles & Son, in Cornhil. [1828 impression] Image 245 x 330 mm, Plate 250 x 345 mm, Sheet 305 x 485 mm A satire of the eclipsing of French power in the American colonies by the British, with a large descriptive key below outlining the various elements of the image. To the left of the scene, the personiﬁcation of Britannia sits enthroned below a canopy emblazoned with the Scottish motto Nemo me impune lacesset, ‘None provoke me with impunity.’ Beside her, the Roman gods Mars and Neptune, representing Britain’s dominance of land and sea, shake hands in accord, while Neptune raises the Union Jack. Before Britannia’s throne, a pair of native Americans, wearing feathered headresses, arm-bands, and skirts, come to the Queen of Nations for supplication, and protection from the injuries of the French. The British Lion stands nearby, upon an unrolled map, his paws protecting the British territories of Ohio, Virginia, and Nova Scotia, while the French territory of Quebec remains out of reach. Above the scene, the British crest physically eclipses the French ﬂeur-de-lis.

At the centre of the scene, an Englishman with sword drawn points out the eclipse to a wailing French dandy, while another dandy, his features downcast, sees the French lily droop while the English rose ﬂourishes in the American soil. In the bottom right corner, a pair of British soldiers ring the neck of the French rooster, forcing it to disgorge the territories of Niagara, Beausejour, and Crown Point among others. Beside them, a canon emblazoned with ‘Cromwell’s Device’ features two lines from Psalm 119 ‘Open thou my Mouth and my Voice shall sound thy Praise...’ Behind the soldiers, a rowdy group of British sailors jeer at the imprisoned and starving French of Louisbourg, which was put under siege as part of the Seven Year’s War. At the very back of the scene, the famous falls of Niagara are depicted as a literal fall, with a Frenchman tumbling from his rowboat in the face of British military might. BM Satires 3332 Condition: Strong clean impression with wide margins. Creases, and time toning to edges of sheet, not aﬀecting plate or image. Paper watermarked 1828. [43766] £300

14. The Driver and his Dog or Sherry brought into Port Piercy Roberts Etching with hand colouring Pubd by Roberts 28 Middle Row Holborn [c. 1804] Image 228 x 324 mm, Sheet 270 x 378 mm Inscription in speech bubble above a representation of Sheridan-esque ﬁgure being held in the jaws of a dog reads: ‘My Dear Fellow since you have been so good as to keep my head above Water - pray take care of my Glass Slippers - and set me down in a snug place at the receiving house over the way’. A satire on the popularity of Sheridan’s play ‘The Caravan’ at Drury Lane, due to the dog acting in it, whose name was Carlos. M.Dorothy George’s ‘Catalogue of Political and Personal Satires in the British Museum’, VIII, 1947, notes “The success of ‘The Caravan’ at Drury Lane (due to the acting of the dog) brought Sheridan a much-needed windfall. His occasional appearance on the Treasury Bench, the great publicity given to the patriotic speech of Rolla, and the active part which he took in patronizing the volunteers, suggested hopes of oﬃce. The Driver of the caravan and owner of the dog was Blabbo, played by Bannister.” BM Satires 10225. Condition: Good impression. Trimmed within plate mark at base. [43528] £280

15. Vinum non facies bonum bibendo after Arthur Pond Etching [London, c. 1740] Image 268 x 182 mm Satire on Martial’s verse “Vinum tu facies bonum bibendo”, which means as much as, “you make wine good by drinking it”, saying that the quality of conversation and atmosphere is more important than the quality of the wine when entertaining friends. (indicated on the print as Martialus volume V, epigraph 79, but from the 78th epigraph). The inscription on this print reads “Vinum non facies bonum bibendo” which contrary to the original means “You do not make the wine good by drinking it”. A man is depicted, dressed as a waiter and oﬀering a glass of wine to an unseen person. The waiter was identiﬁed as John Thorpe, The Keeper of Le Beck’s Head Tavern by Henry Hake in ‘Catalogue of Engraved British Portraits’ (Vol. VI, Supplement, p. 408). Condition: Trimmed close to plate mark. Light time toning and dirt build-up. [43786] £200

16. The City Rout Matthew Darly Etching with hand colouring Published according to Act by M Darly, 39 Strand, May 20 1776 Image 216 x 338 mm, Sheet 248 x 353 mm A satire depicting a gathering of men and women of standing, such as government oﬃcials. In the foreground stand two common looking women wearing the fashionable elaborate dress; one of them holds cards, the other a fan. Behind them several men are in discussion, and to their right a footman carries food and drink on a tray. In the background a picture shows a common man whose hands are being devoured by lions, and the letters “S.P.Q.L.” above him. This abbreviation refers to S.P.Q.R. or Senatus Populusque Romanus (The Senate and People of Rome) and possibly points to the high society of London, which is depicted here. BM Satires 5372 Condition: Trimmed within plate mark. Repaired tear to lower centre left, into image, and a minor tear to top centre, the last one not aﬀecting image. Pressed vertical and two horizontal folds. [43791] £150

17. The Old Maids Morning Visit or the Calash Lady’s Matthew Darly Etching Published M Darly 39 Strand March 11, 1777 Image 228 x 314 mm A satire depicting two ladies, one of which is very slender, the other rather plump. Both ladies are wearing hooped hoods, also known as calashes or caleches for their resemblance of folding hoods atop carriages. The slender lady’s hood is very angular, much like her posture; the plump lady however is sitting back in an armchair and wears a very round hood. Their hats are lying on the ﬂoor next to them, a cat with her kittens is playing around the hat of the plump lady, a dog next to the hat of the slender lady. BM Satires 5434 Condition: Trimmed within plate mark. [43792] £150

19. The March of Interlect or a Sweep & Family John Lewis Marks Etching with hand colouring [London Published by J. L. Marks 17, Artillery Stt. Bishopsgate, c. 1824] Image 141 x 188 mm, Sheet 161 x 205 mm 18. None but the Brave deserve the Fair [Anonymous] Etching with hand colouring [London, c. 1820] Image 199 x 160 mm Satirical print depicting a soldier in uniform alongside a bulky lady. BM Satires undescribed. Condition: Trimmed to margins. [43794] £60

A chimney sweep sits in front of a ﬁreplace, smoking a cigar. His wife who is talking to him to the left, is dressed up and holds a lap-dog in her arms; she is telling her husband that she will take care of their daughter’s education, who stands between them, if he concerns himself with the upbringing of their two sons. Their sons are walking away to the right, they are dirty from their work as climbing boys and are smoking as well. Their father warns them not to go and waste their time at caricature shops. Part of Marks’s series ‘The March of Interlect’. BM Satires undescribed. Condition: Strong impression. Trimmed to margins. [43795] £65

20. The Frenchmen in Bilinsgate William Davison Copper engraving Printed and Published by W. Davison, Alnwick. [c. 1812] Image 133 x 220 mm, Sheet 185 x 261 mm A satirical print showing a man and woman in a ﬁghting pose in the street. Another man stands on the left watching and recoiling in surprise, whilst a woman in the foreground sits by a table showing crayﬁsh. Condition: Creasing to bottom left margin, trimmed within platemark on upper margin, rust dot to right margin, general time toning to sheet. [43799] £100

21. “On Board the Great Eastern.” No. 4. Sem Lithograph with hand colouring W.H. J. Carter, Printseller, Bookseller, &c. 12 Regent Street, Pall Mall, London. [n.d. c. 1860] Image 258 x 196 mm, Sheet 322 x 220 mm On of series of satirical prints relating to problems faced by passengers on Isambard Kingdom Brunel’s steamship The Great Eastern which also ridicule women’s fashions of the day. In this print a woman in a wide crinoline attempts to climb into an upper berth. With the inscription: “My birth is the uppermost one, and I have to climb up to it, putting one foot on the lower one, and the other away out, which is a great stretch, makes it very straining _ then I lift one knee on the birth, and roll in sideways. This is very inconvenient to a woman. Last night I put my foot on Mrs. Brown’s face, as she laid asleep close to the edge of the lower one, and nearly put out her eye.” Interestingly, on the verso of this print there is advertisement listing crinoline prints available from the publisher W.H.J. Carter. [43473] £175

A collection of plates from Daniel Thomas Egerton’s ‘The Necessary Qualiﬁcations of a Man of Fashion,’ published in 1823 by Thomas McLean. Daniel Thomas Egerton (1797–1842) was a British artist, who was mostly known for his landscape paintings and satirical prints. He was one of the founding members of the Society of British Artists, and exhibited with them in 1824, 1829, 1838 and 1840. He travelled to Mexico several times and gained more fame towards the end of his life from his Views of Mexico, a set of hand coloured lithographs published c. 1840. A year later he would leave his family of a wife and two sons, to move to Mexico with nineteen year old Alice Edwards, the daughter of a befriended British artist. Egerton and Alice were found murdered in the streets of Tacubaya (Mexico City) in April of 1842. The murder was never resolved, as the couple was carrying cash and wearing expensive jewellery, which were strangely left untouched, and Alice was eight months pregnant at the time.

22. Intemperance Daniel Thomas Egerton Etching with hand colouring London, Published by Thomas McLean, Repository of Wit & Humour, 26 Haymarket, 1823 Image 137 x 196 mm, Plate 194 x 232 mm, Sheet 256 x 363 mm

23. Indiﬀerence Daniel Thomas Egerton Etching with hand colouring London, Published by Thomas McLean, Repository of Wit & Humour, 26 Haymarket, 1823 Image 135 x 196 mm, Plate 194 x 232 mm, Sheet 257 x 363 mm

Inscription underneath image: ‘You must put yourself into good sharp training, in order to become a Four bottle man; as soon as you are able to support the Title with credit [...] and you may turn out, a walking wine cellar.’

Inscription underneath image: ‘Lose your money with an affected Sang Froid; to denote you have plenty more: You will find great difficulty in supressing your chagrin while under the operation being cleaned out, and must take the first opportunity on teaching home of removing the mask and giving your passion vent.’

Condition: Strong impression with full margins. Binding holes to left side of the sheet, not aﬀecting image. [43778] £150

Condition: Strong impression with full margins. Binding holes to left side of the sheet, not aﬀecting image. [43779] £175

24. Forgetfulness Daniel Thomas Egerton Etching with hand colouring London, Published by Thomas McLean, Repository of Wit & Humour, 26 Haymarket, 1823 Image 136 x 198 mm, Plate 193 x 233 mm, Sheet 256 x 365 mm

25. Selﬁshness Daniel Thomas Egerton Etching with hand colouring London, Published by Thomas McLean, Repository of Wit & Humour, 26 Haymarket, 1823 Image 136 x 197 mm, Plate 193 x 233 mm, Sheet 256 x 366 mm

Inscription underneath image: ‘Absence of mind portends deep Thought and profound knowledge [..] that you may palm on the credulity of your Friends; and pass for an Absent and Learned man.’

Inscription underneath image: ‘In a Coﬀee Room, always stand with your back to the ﬁre (& damn the Waiter) it is a species of monopoly which is very grateful to the feelings, more particulary in Cold weather, and not only excludes others from a participation in the enjoyment: but renders you, pre-eminently, an object of Envy.’

Condition: Strong impression with full margins. Binding holes to left side of the sheet, not aﬀecting image. [43781] £120

Condition: Strong impression with full margins. Binding holes to left side of the sheet, not aﬀecting image. [43782] £120

26. Intrigue Daniel Thomas Egerton Etching with hand colouring London, Published by Thomas McLean, Repository of Wit & Humour, 26 Haymarket, 1823 Image 135 x 197 mm, Plate 187 x 237 mm, Sheet 257 x 364 mm

27. Eccentricity Daniel Thomas Egerton Etching with hand colouring London, Published by Thomas McLean, Repository of Wit & Humour, 26 Haymarket, 1823 Image 134 x 194 mm, Plate 190 x 233 mm, Sheet 257 x 365 mm

Inscription underneath image: ‘So indispensable is this qualiﬁcation, that you can never reach the pinnacle of Fashion without it [...] let her not “Waste her sweetness on the desart air”. A conviction for Crim: Con. will raise your reputation, and always insure an Inamorata.’

Inscription underneath image: ‘To appear anything but what you really are is one of the characteristics of Fashion; you must occasionally alter the style of your dress from he Exquisite, to the Newmarket, the Town Flash or the Pedant [...] profess to be a great admirer of the Fancy & throw out a few hints of your own prowess in that way.’

Condition: Strong impression with full margins. Binding holes to left side of the sheet, not aﬀecting image. [43783] £120

Condition: Strong impression with full margins. Binding holes to left side of the sheet, not aﬀecting image. [43784] £150

SPORTS

28. Lawn Tennis Match [Anonymous] Lithograph with hand colouring William Mackenzie, Londen, Edinburgh and Glasgow [published c. 1880] Image 148 x 220 mm, Sheet 241 x 307 mm From Henry Downes Miles’ ‘British Field Sports; A Valuable Work of Reference for The Gentleman, the Sportsman, the Farmer, the Members of the Volunteer Riﬂe Corps, and every one interested in Athletic Sports and Recreations’ published by William Mackenzie in London, Edinburgh, Dublin and Glasgow c. 1880. [42587] £220

29. Paulmier [Tennis Racket and balls] Robert Bénard Copper engraving [Paris; Liege: Panckoucke; Plomteux, 1785] Image 212 x 140 mm, Plate 226 x 154 mm, Sheet 247 x 190 mm A sheet showing the diﬀerent parts of a real tennis racket and several tennis balls, from Denis Diderot & Jean Le Rond d’Alembert’s Paumier, supplement to Encyclopedie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers. Recueil de Planches, sur les Sciences, les Arts Libéraux, et les Art. This sheet was part of a series of plates depicting the creation of implements and play of [real] tennis and billiards in the late 18th century. Condition: Excellent, clean impression. Slight time toning to outer margins, not aﬀecting image. [43545] £175

30. Lord’s Cricket Ground [Anonymous] Lithograph with hand colouring William MacKenzie, London, Edinburgh & Glasgow, [c. 1880] Image 153 x 228 mm, Sheet 241 x 308 mm A view from the bowler’s wicket of a match at Lord’s, the ‘home’ of cricket, looking back towards the Pavilion. This print was originally prepared to accompany Henry Downes Miles’ ‘British Field Sports’, described by the publisher, William MacKenzie, as ‘A valuable work of reference for the Gentleman, the Sportsman, the Farmer, the Members of the Volunteer Riﬂe Corps, and Every One interested in athletic sports and recreation.’ [42589] £270

31. Famous English Cricketers - 1880. [Anonymous] Chromolithograph Williat & Grover, Lithos Nottingham. The “Boy’s Own Paper”. 56 Paternoster Row, London. [c.1882] Image 242 x 380 mm, Sheet 285 x 425 mm A group of 21 famous late-Victorian English cricketers, with W. Gilbert Grace at centre, from the ‘Boy’s Own Paper.’ Below the image, the names of each of the men are recorded according to their positions in the group. Condition: Vertical folds as issued. Minor creasing to folds. [42811] £220

32. A Visit to the Fives Court [A Boxing Match] Isaac Robert Cruikshank Etching and aquatint with hand colouring Published by Sherwood Neely & Jones August 1st 1822 Image 167 x 222 mm, Sheet 210 x 266 mm A crowd of gentlemen are watching an exhibition sparring match held in Fives Court, in London’s Little St. Martin’s Street, a tennis and fives court hired for such events. The participants, unlike a regular bare- knuckle bout, are fitted with gloves. This print was engraved for the ‘Annals of Sporting & Fancy Gazette’ and is likely to be a reduced version of the important aquatint ‘The Interior of the Fives Court, with the Randall and Turner Sparring.’ The contestants shown were Ned Turner, “The Out-andOuter”, who had killed a man in the ring, serving time for manslaughter, and Jack Randall, “The Prime Irish Lad”, unbeaten throughout 12 years of ring activity. The two had fought an epic fight in 1818, which Randall won to become the Lightweight champion

33. Pedestrian Hobbyhorse [Anonymous] Aquatint with hand colouring No. 38 of R. Ackermann’s Repository of Arts &c.Pub.d Feb.y 1. 1819 Image 120 x 178 mm, Sheet 144 x 231 mm A man riding a primitive bicycle by pushing forward on the ground. Baron Karl Drais was the ﬁrst to patent this ‘dandy horse’ in 1818 but this is probably a ‘pedestrain curricle’ of which Denis Johnson made around three hundred when velocipedes were popular in 1819. From “Respository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics”, an inﬂuential illustrated periodical published from in London from 1809-1829 by Rudolph Ackermann. Condition: Binding holes at bottom. Letters from a verso are visible on recto. [42881] £200

Condition: Pressed vertical folds as issued. Staining to bottom margin from previous mount, covered by existing mount. [42747] £120 29

34. “The Spurt”: A Sketch at an Oxford and Cambridge Boat Race Sydney Hall Woodcut Supplement to The Graphic, April 13, 1878 [London] Image 328 x 1085 mm Issued as a supplement to The Graphic of May 13, 1878, with no text on verso. A busy image of activity at the Oxford and Cambridge University boat race, with crowds and racing crews.

Condition: Excellent, crisp impression. Several pressed vertical folds as issued. [43302] £600

35. British Sports and Pastimes. Rowing Henry Heath Etching with hand colouring London J. Fairburn 110. Minories [c. 1840] Image 126 x 189 mm, Sheet 176 x 238 mm Satirical print depicting several groups of people rowing on a river. Condition: Trimmed within plate. Repair to top left corner of the sheet. [43798] £100

36. Dead Heat. - University Boat Race, 1877. Saturday, March 24th Andrew Maclure (Mackure & Macdonald) after Charles Robinson Lithograph with tint stone Published by The National Events Art-Illustration Society. 10, Milford Labde - Thomas Fox, Publisher. [1877] Image 358 x 615 mm, Sheet 430 x 650 mm A scarce print depicting the 1877 Oxford and Cambridge Boat Race. The race in 1877 was declared a dead heat. Legend in Oxford has it that the judge, “Honest John” Phelps, was asleep under a bush as the crews came by leading him to announce the result as a “dead heat to Oxford by four feet”, but this is not borne out by contemporary reports. The Times of London said: “Oxford, partially disabled, were making effort after effort to hold their rapidly waning lead, while Cambridge, who, curiously enough, had settled together again, and were rowing almost as one man, were putting on a magnificent spurt at 40 strokes to the minute, with a view of catching their opponents before reaching the winning-post.

Thus struggling over the remaining portion of the course, the two eights raced past the flag alongside one another, and the gun fired amid a scene of excitement rarely equalled and never exceeded. Cheers for one crew were succeeded by counter-cheers for the other, and it was impossible to tell what the result was until the Press boat backed down to the Judge and inquired the issue. John Phelps, the waterman, who officiated, replied that the noses of the boats passed the post strictly level, and that the result was a dead heat.” [43824] £950

37. “Crumbo” Spy [Sir Leslie Ward] Chromolithograph Vincent Brooks day & Son, Lith. March 19, 1896 Image 310 x 190 mm, Sheet 392 x 267 mm

38. Wingﬁeld Sculls [Mr Guy Nickalls] Spy [Sir Leslie Ward] Chromolithograph Vincent Brooks, Day & Son, Lith. July 20 1889. Image 328 x 186 mm, Sheet 403 x 270 mm

A full length portrait of Sir Walter Erskine Crum, stading head turned left, wearing cream shortsm cream and blue jumper, blue cravat, blue blazar, holding a Oxford University Boat Club cap in his right hand.

A full length portrait of Guy Nickalls in proﬁle to left, with moustache wearing a cream top and shorts, and black footwear.

Sir Walter Erskine Crum (1874-1944) was an oarsman for Oxford and Presidnet of the Oxford University Boat Club. [43039] £140

Guy Nickalls (1866 – 1935) was a British rower who competed in the 1908 Summer Olympics as a member of the British eight that won gold, won 22 events at Henley Royal Regatta and won the Wingﬁeld Sculls three times. Condition: Light crease lower right across corner of image. [43040] £80

39. “Ethel.” Spy [Sir Leslie Ward] Chromolithograph March 5, 1908 Image 330 x 200 mm, Sheet 384 x 249 mm A full length portrait of Etherington-Smith from the Vanity Fair Supplement. Bottom right hand corner inscription reads: ‘(Mr. Etherington-Smit, Captain, Leander Eight)’ Raymond Broadley Etherington-Smith (11 April 1877 – 19 April 1913) was an English doctor and rower who competed for Great Britain in the 1908 Summer Olympics. He rowed for Cambridge in 1898 and later became the Cambridge University Boat Club president. At Henley Royal Regatta, he won the Grand Challenge Cup three times and the Stewards’ Challenge Cup twice. He was runner-up in the Silver Goblets partnering William Dudley Ward in 1900 and runner-up in the Diamond Challenge Sculls against F.S. Kelly in 1902.[3] He was captain of Leander Club four times in 1903, 1905, 1906 and 1908.

40. “C.U.B.C.” Spy [Sir Leslie Ward] Chromolithograph Vanity Fair, Vincent Brooks, Day & Son Ltd. Lith. March 29th, 1900 Image 342 x 194 mm, Sheet 375 x 234 mm A full length portrait of William Dudley Ward standing proﬁle to right, wearing cream coloured shorts and a cream top with light blue edging, hands in his pockets. William Dudley Ward PC (1877 - 1946), was a British sportsman and Liberal politician. Educated at Eton and Trinity College, Cambridge, Dudley Ward rowed for Cambridge in the 1897 Boat Race, which Oxford won. As President of CUBC he rowed in the winning Cambridge crews in the 1899 and 1900 Boat Races. [43042] £100

[43041] £185 33

FOREIGN TOPOGRAPHY

41. Library of the Pantheon in Paris La Gardette Copper engraving with hand colouring Published 20th April 1826 by R.H. Laurie, No. 53 Fleet Street Image 257 x 417 mm, Plate 295 x 450 mm, Sheet 327 x 483 mm A Vue d’optique of the interior of the Library Sainte Genevieve, attached to the Pantheon in Paris, prior to the redesign by Henri Labrouste which started in 1838 and was ﬁnished in 1850. This example has been embellished with moulded metallic details and hand coloured for use with a zograscope. Vue d’optiques are hand-colored etchings and engravings intended to be viewed through a convex lens. The devices, known variously as zograscopes, optiques, optical machines and peepshows, were an optical entertainment of the late 18th and early 19th centuries. Like the one shown here, vues d’optiques were rendered in high-key colour and dramatic linear perspective, which enhanced the illusion of three-dimensionality when viewed through the lens.

According to the Getty Research Institute, which owns other such views, street performers would set up viewing boxes with a series of prints giving a pictorial tour of famous landmarks, dramatic events and foreign lands. Some vues d’optique also had parts of the scenes cut out and the openings backed with translucent papers so that when the print was backlit, it appeared as an illuminated night scene. Vue d’optiques were often separately issued for sale in various countries. Condition: Laid to board, glue residue from previous mount to margins, not aﬀecting print . [42887] £175

David Roberts’ views of Egypt and the Holy Land. David Roberts RA (24 October 1796 – 25 November 1864) David Roberts’ monumental works on the Middle East, The Holy Land and Egypt & Nubia, are considered the greatest lithographically illustrated works issued in the 19th century. Roberts’ masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof, and coloured and mounted on card. The prints were masterfully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlabored, with a masterly vigor and boldness which none but a painter like him could have transferred to stone’. Abbey regarded the work as one of the most important and elaborate ventures of nineteenth-century publishing, and the apotheosis of the tinted lithograph. In 1838, Roberts made plans for his journey to the Near East, inspired by a love of artistic adventure. Departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and ﬁnally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £3,000 for the copyright of the sketches, and for his labour in supervising Louis Haghe’s lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and conﬁrmed his reputation as an architectural and landscape artist of the highest order. 36

42. Medinet Abou, Thebes. Louis Haghe after David Roberts Lithograph with tint stone London, Published by F.G. Moon, 20 Threadneedle St. May 1st, 1847 Image 325 x 488 mm, Sheet 424 x 608 mm

43. Medinet Abou, Thebes. Louis Haghe after David Roberts Lithograph with tint stone and hand colour London, Published by F.G. Moon, 20 Threadneedle St., May 1st, 1847. Image 329 x 489 mm, Sheet 450 x 637 mm

A view of the interior courtyard of the Mortuary Temple of Ramesses III at Medinet Habu, on the West Bank of the Nile at Luxor, Egypt. The temple, very similar in size, scale, style, and location to the Mortuary Temple of Ramesses II, is famous for its well-preserved wall reliefs, particularly those commemorating the King’s defeat of the enigmatic ‘Sea Peoples,’ variously identiﬁed as diﬀerent sea-faring groups of Mediterranean origin, and often conjectured to have been Greeks, Lycians, and Phoenicians. In the Christian era, the central courtyard of the temple was converted into a Coptic church, with many of its wall reliefs removed or recarved to suit, though this church has since been removed.

A general view of the Mortuary Temple of Ramesses III at Medinet Habu, on the West Bank of the Nile at Luxor, Egypt.

Roberts’ view shows this central courtyard, a lone man resting against a fallen column and covering himself with a blanket. Although the inner colonnade is partially ruinous, the outer perimeter wall is still complete, with its numerous wall reliefs shown in a very good state of repair. The pillars and columns of the inner colonnade are similarly decorated with relief carvings. The smaller columns of the Coptic church have collapsed and now litter the courtyard.

Roberts’ view provides a view of the whole structure of the Mortuary Temple. At centre is the massive First Pylon, with the Migdol Tower to the left. On either side of the temple, Arab mud-brick houses have encroached on the precinct, particularly around the monumental enclosure wall. Two teams of camels use the road in front of the site, and the cliﬀs Abbey Travel 272, 63. Yesterday and Today: Egypt, 76. Condition: Dirt build-up to edges of sheet, some light foxing in margins, not aﬀecting the image. Two dark stains and a small crease in upper right of image. [42707] £600

Abbey Travel 272, 61. Yesterday and Today: Egypt, 67. Condition: Light toning to sheet. [42680] £700

44. Temple of Edfou. Ancient Appolinopolis. Upper Egypt Louis Haghe after David Roberts Lithograph with tint stone and hand colouring London, Published by F. G. Moon, 20 Threadneedle St, March 1st, 1847 Image 335 x 500 mm, Sheet 420 x 616 mm.

45. Lybian Chain of Mountains, from the Temple of Luxor. Louis Haghe after David Roberts Lithograph with tint stone and later hand colour London Published by F. G. Moon 20 Threadneedle Street March 1st 1847 Image 344 x 497 mm, Sheet 430 x 604 mm

A general view of the monumental gateway pylons, courtyard, and portico of the Temple of Horus at Edfu, on the west bank of the Nile. The temple complex was constructed during the Ptolemaic era to serve the important Greco-Roman cult city of Apollonopolis Magna. A combination of disuse and annual ﬂooding by the Nile meant that by the 18th century, the temple was buried in 12 metres of sand and river silt, with only the tops of the ornate columns showing.

A view of the cliﬀs bordering the Libyan desert, seen from a colonnade in the archaeological site of Luxor, Egypt. The Arabic town of Luxor stands on the site of the pharaonic New Kingdom capital of Thebes. The city of Thebes included numerous cult shrines and temples, most notably the massive temple complex of the chief god of Thebes, Amun. Despite falling into ruin during the period of Persian control of Egypt, the city experienced a renaissance after the conquest of Alexander the Great. Despite the administration of Egypt being shifted to Alexandria, Thebes remained a critical cultural and religious hub in the Greek and Roman periods.

The temple was excavated in the 1860s. Its columned facade and its flax-plant decoration inspired the architect of the Temple Works in Leeds, itself a flax mill. Robert’s view depicts the temple complex in full, drawing attention to the massive scale of the entrance gateway and its reliefs of pharaonic figures smiting the enemies of Egypt. In the foreground, a small group of soldiers armed with long spears is gathered on a dune near the temple. Abbey Travel 272, 34. Yesterday and Today: Egypt, 49. Condition: Good clean impression, light stain from previous mount in margins, not affecting image. [42681] £800

Roberts’ view shows the ridges of the Libyan chain, with the ruins of ancient Thebes at their foot. In the middle ground from left to right are the the temple of Rameses III at Medinet Habu, The Colossi of Memnon, and the Ramesseum and temple of Seti I with the Valley of the Kings in the distance. In the middle-distance, numerous boats sail up and down the Nile. On the banks of the river is a large tented campsite, and a long line of travellers and camels wind their way up from the river. In the foreground, the capitals of the colonnade of the Temple of Amenhotep III can be seen, a group of four men climbing up onto the lintels to appreciate the view. Abbey Travel 272, 30. Yesterday and Today: Egypt, 67. [42704] £650

46. Karnak [from a distance] Louis Haghe after David Roberts Lithograph with tint stone and later hand colour London, Published by F.G. Moon, 20 Threadneedle Street, May 1st, 1847 Image 325 x 490 mm, Sheet 422 x 608 mm A general view of the Temple Precinct of Amun Ra, in the city of Karnak, Egypt. The Karnak temple complex is one of the largest ancient religious sites in the world, comprising the Precincts of the gods Amun-Ra, Montu, and Mut, as well as a now dismantled temple of Amenhotep IV, better known as Akhenaten. The most substantial of these precincts is the Temple Complex of Amun-Ra, the state god of Egypt, and the principle deity of the Theban Triad. The complex is also one of the longest continually used religious sites in Egyptian history, having been founded during the Middle Kingdom, but added to and expanded continuously into the Roman era. The Hypostyle Hall was built during the reign of Seti I, and embellished by his son and successor, Ramesses II. When complete, the hall consisted of 134 massive columns and covered an area of 5000 square metres.

Roberts’ general view of the ruins of the Temple Complex show the Hypostyle Hall, the Obelisk of Hatshepsut, the massive walls of the First Pylon, and the colonnades of the temple courtyards. In the distance are the cliﬀs of the ‘Wadi al-Muluk,’ the famous Valley of the Kings in the heart of the Theban necropolis, the main burial site for the pharaohs of the New Kingdom. On the wide avenue leading to the site, two teams of camels move. To the left of this avenue, sporadic copses of palms are scattered around a small lake. Abbey Travel 272, 75. Yesterday and Today: Egypt, 55. Condition: Light toning to paper, old tape reside on top of verso not aﬀecting the recto or image. [42703] £750 39

47. View on the Nile_Ferry to Gizeh Louis Haghe after David Roberts Lithograph with tint stone and hand colouring London, Published by F.G. Moon, 20 Threadneedle Street, August 1st, 1849 Image 355 x 500 mm, Sheet 444 x 624 mm

48. Pyramids of Geezeh. Louis Haghe after David Roberts Lithograph with tint stone and later hand colour London, Published by F.G. Moon 20 Threadneedle St., June 1st, 1848 Image 338 x 535 mm, Sheet 448 x 626 mm

A view of the Nile near the city of Cairo, Egypt. In the foreground, groups of travellers wait to board the Giza ferry moored to the bank nearby. Across the river is the Island of Rhoda, with the minaret of its mosque rising above the other buildings. A number of feluccas are moored on the island’s banks. Further down river, the outlines of the Giza pyramids can be seen on the horizon.

A view of the Pyramids of Giza, Egypt, from the Giza plateau from David Roberts’ Egypt & Nubia: from drawings made on the spot. The Giza plateau was used as a necropolis from at least as early as the 4th Dynasty, and continued to be used for burials intermittently throughout Egyptian history. The most famous burial monuments are the pyramids of the three pharaohs, Khufu, Khafre, and Menkaure. The Great Pyramid of Khufu was named as a wonder of the ancient world by the Hellenistic author Antipater in the second century BC, and has been a focal point of tourism to Egypt ever since.

Abbey Travel 272, 116. Yesterday and Today: Egypt, 5. Conditon: Several short tears lower margin well away from the title and image [42679] £800

In Roberts’ view, the smaller pyramid of Menkaure is not shown, with the full attention being given to the much larger pyramids of Khufu and Khafre. The remains of the smaller pyramids of the Queens can be seen at the foot of the Great Pyramid of Khufu. In the foreground, the head of the sphinx can be seen, its body still buried in the sands, near a group of mastaba tombs. A large group of Arab tribesmen armed with spears are gathered on a rocky outcrop in the foreground. Abbey Travel 272, 67. Yesterday and Today: Egypt, 108. [42706] £1,450

49. The Theatre. Louis Haghe after David Roberts Lithograph with tint stone and later hand colour London, Published by F.G. Moon, 20 Threadneedle St., Octr. 1st.1842. Image 520 x 340 mm, Sheet 625 x 447 mm A dramatic view of the theatre in the ancient city of Petra, in modern day Jordan. The theatre, most likely constructed during the reign of the Philhellenic ruler Aratas III, was cut into the rock at the foot of en-Nejr, a red-sandstone mountain. The positioning of the theatre gives it an excellent view of the Petra valley and most of the rock-cut tombs, some of which were likely subsumed by its construction. In this view, a group of Arab tribesmen armed with spears and long riﬂes, sit on an outcrop overlooking the theatre, and the valley below.

50. Modern mansion, showing the Arabesque Architecture of Cairo. Louis Haghe after David Roberts Lithograph with tint stone and later hand colour London, Published by F.G Moon, 20 Threadneedle St. Aug 1st. 1849. Image 500 mm x 350 mm, Sheet 603 x 422 mm A group of men seated right smoking with two others standing looking on and another man seated in the back ground all in front of an entranceway to a modern Egyptian mansion. Abbey 272, 118. Yesterday and Today: Egypt, 114. [42705] £500

Abbey Travel 385, 98. Yesterday and Today: The Holy Land, 22. [42708] £800

Three Eighteenth Century Views of Palmyra The city of Palmyra in Syria had become, by the third century AD, one of the most prosperous and important cities in the Greco-Roman East. Famous for its monumental ruins, principally the remains of the temple sanctuary of the Syriac god Bel and the famous Great Collonade. Following a period of stagnation under the Byzantines, the city was integrated into the Arab Homs Province, and became once again a principal node in East-West trade for the Umayyad Caliphate. The classical city gradually fell into disuse in favour of the neighbouring Arab town of Tadmur, and by the Ottoman period was almost completely ruinous. Because of restrictions on foreign travel within the Ottoman Empire, western views of the city tended to rely upon hearsay rather than direct observation, and, while presenting relatively recognizable depictions of the cityâ&#x20AC;&#x2122;s key ruins, are often erroneous, and sometimes almost completely fantastical. The three views presented here were engraved by James Hulett for John Barrowâ&#x20AC;&#x2122;s New Geographical Dictionary. They are almost certainly based on the copper engraved views of the city by De Bruyn, rather than the more recent, and much more accurate, views completed by Robert Wood in his 1753 Ruins of Palmyra, Alias Tadmor.

51. A General View of the Ruins of the Ancient City of Palmira James Hulett Copper engraving Engraved for the New Geographical Dictionary [London, J. Coote, c. 1760] Image 159 x 254 mm, Plate 185 x 265 mm, Sheet 214 x 330 mm Condition: Strong, crisp impression with full margins. Slightly worn plate to top corners. Minor time toning to edges of the sheet, not aﬀecting image. [43562] £75

52. A General Prospect of Palmira from the North West James Hulett Copper engraving Engraved for the New Geographical Dictionary [London, J. Coote, c. 1760] Image 158 x 248 mm, Plate 183 x 260 mm, Sheet 223 x 360 mm Condition: Excellent, crisp impression with full margins. Minor time toning to edges of the sheet, not aﬀecting image. [43564] £75

53. A West View of the Ruins of the Great Temple in Palmira James Hulett Copper engraving Engraved for the New Geographical Dictionary [London, J. Coote, c. 1760] Image 165 x 263 mm, Plate 187 x 278 mm, Sheet 223 x 360 mm Condition: Excellent, crisp impression with full margins. Minor time toning to edges of the sheet, not aﬀecting image. [43566] £75

OXFORD & CAMBRIDGE

55. En Route to Cremation [Anonymous] Pen & Ink drawing c. 1870 Image 387 x 563 mm A scarce, large-scale, original caricature entitled En Route to Cremation, possibly designed for photographic reproduction and publication by the likes of Shrimptons or Rymans. The satirical drawing illustrates a man in academic dress riding through Oxford on horseback. He is holding a sign that reads ‘En Route to cremation’ which might refer to him going to a debate he is going to lose or being ﬁred from a position. 54. The Undergraduate’s Dream (After a little party) John Jewell Penstone Pen and ink drawing [c.1850] Image 455 x 305 mm, Sheet 540 x 394 mm A very scarce original drawing by John Penstone entitled: ‘The Undergraduate’s Dream (After a little party) not by Thos Campell’. A student resting in a chair after a party, his drink still half-full and his pipe still smoking next to him. The dream visions of the man are depicted above him and to his left; including a party with fantastical creatures and a coronation. Underneath the image are twenty comical verses, split up in ﬁve blocks of four lines.

A crowd of onlookers has gathered in the High Street, and the heads of post holders of several colleges are attached to their respective colleges; the ﬁgures shown are Reverend Jackson, Provost of Queens College to the right, behind him Reverend Dr Leighton, the Warden of All Souls College, as well as Reverend Dr Bradley, Master of University College to the left. The stern faces of the onlookers suggests that the man on horseback, who might be identiﬁed as a former vicar of Cowley (pencil inscription on verso), is going through an embarrassing experience. Ex. Col.: Sir. John Betjeman Condition: Creases and tears to edges of sheet. [42556] £200

Signed with monogram in reverse at the lower left. Condition: Pen and black ink on thin card. Light foxing to sheet. [42888] £750

56. To his Grace the Duke of Wellington. Chancellor The Revd. Vice Chancellor and Members of the University of Oxford. This bird’s-eye View of the University and City of Oxford is most gratefully inscribed by their obedient humble Servant James Ryman Nathaniel Whittock Aquatint and etching with hand colouring Published as the Act directs by James Ryman, High St. Oxford. [c. 1848] Image 290 x 504 mm, Plate 355 x 555 mm, Sheet 365 x 562 mm A proof impression of one of the most detailed aerial plans of Oxford, taken from the improbable location above the Cherwell and Christ Church Meadow. Condition: Good impression with attractive hand colouring. Trimmed close to plate mark. Light crease to left of inscription space. Blind stamp below image to the right, inscribed ‘proof ’ in bottom right corner of sheet. [43524] £1,500

57. High Street Oxford, from Queen’s College to Saint Mary’s Church Thomas Way after Edmund Hort New Photolithograph Published by Edmund Hort New, at 17 Worchester Place, Oxford, Oct.r. 15th 1912 Image 370 x 457 mm, Image 485 x 575 mm A very scarce twentieth century view of the High Street featuring Queen’s and University Colleges and the spire of Saint Mary’s Church. Condition: Strong impression. Slight overall dirt buildup. Tearing to bottom of sheet, not aﬀecting image. [43378] £600

58. [Bridge of Sighs, Oxford] Fred Millar Etching printed in colours [1921] Image 224 x 187 mm, Plate 228 x 192 mm, Sheet 343 x 317 mm A rare view of New College Lane from below the Bridge of Sighs. Signed in pencil. Condition: Fine Art Trade Guild blindstamp lower left. Good impression with full margins. [43511] £300

59. Pot Fair. Cambridge. James Bretherton after Henry William Bunbury Etching Publish’d 25th June 1777 [James Bretherton No. 134 New Bond Street] Image 385 x 482 mm A scarce, large-scale, caricature depicting merchants, craftswomen, and academics at a trade fair in Cambridge. The Cambridge fair was ﬁrst held in 1211 around the feast of St. Etheldreda, with the revenues going to the Priory of Barnwell.

During the eighteenth century it would become known as the Pot Fair because there were mainly large quantities of china for sale. The fair still exist today as the Cambridge Midsummer Fair, which is held from 22nd to the 25th of June (since the Cambridge Act in 1850). BM Satires 4729 Condition: Trimmed within the plate mark. Slight water damage, mainly to top of sheet. Several small tears and creases to the sheet. [43631] £800

60. Queens College in the University of Cambridge T. Cartwright after Richard Bankes Harraden Etching and aquatint Published June 16th 1798 by R. Harraden Propieter of the Views of Cambridge No. 16 Little Newport Street London & Great St. Marys Lane Cambridge. Image 357 x 540 mm, Plate 438 x 600 mm, Sheet 470 x 633 mm An uncommon large, eighteenth century, view of Queen’s College Cambridge. Abbey Scenery 75 Condition: Small tear right margin, not aﬀecting the plate or image; some light creasing right margin not aﬀecting image or plate. [43823] £650

61. Costumes of the various orders in the University of Cambridge R.A.R Etching and stipple with hand colouring 1824 Image 97 x 182 mm, Sheet 244 x 267 mm Three sheets with members of the University of Cambridge in their academic dress from ‘Gradus ad Cantabrigiam; or New University Guide to the Academical Customs, and Colloquial or Cant Terms Peculiar to the University of Cambridge’, London: John Hearne, 1824. 1. Fellow Commoners: Six men separated in different roles, and wearing their traditional academic dress. From left to right; ‘Married, St. Johns, Emmanuel, Trinity, Downing’ 2. Seven separated in different roles, and wearing their traditional academic dress. From left to right; ‘Doctor of Divinty in Surplice, Esquire Bedel, Doctor of Music, Doctor of Divinity in Congregational Robe, Nobleman in State Robe, Doctor Divinity in Scarlet Robe, Doctor of Law, Medical Doctor’ 3. Six men separated in different roles, and wearing their traditional academic dress. The man in the middle is accompanied by a servant. From left to right: ‘Master of Arts, Nobleman, Proctor and his Man, Doctor of Divinity, Doctor of Law, Master of Arts’ The different members’ titles are abbreviated on the prints and listed here; D.D. (Doctor of Divinity), Mus. D. (Doctor of Music), M.D. (Medical Doctor), L.L.D. (Doctor of Law), M.A. (Master of Arts). Fellow Commoners were rich undergraduates who dined at the High Table with the Fellows, today the term refers to people with a college membership and an Esquire Bedell is a university ceremonial officer. An inscription on the first print refers to ‘R.A.R.’ as the original designer of the prints. The works are similar to ‘Costumes of the University of Cambridge’ by Richard Bankes Harraden with engravings by Robert William Smart c. 1815-1830. Condition: Three prints laid to album page (all measure about 97 x 182 mm). Strong impressions. Light glue stains. Two prints pasted on verso. [42595] £150

62. The Academical habits of the several Degrees and Oﬃces in the University of Cambridge 1748. after David Loggan Copper engraving Printed according to Act of Parliament for the Universal Magazine, & Sold by J. Hinton at ye King’s Arms in St. Paul’s Church Yard London [c. 1748] Image 186 x 228 mm, Sheet 204 x 259 mm

Panorama of twenty-six ﬁgures on three rows each within an arch of an arcade formed by ornate Corinthian, Ionic and Doric pillars with a curved label above giving the degree or oﬃce. Condition: Vertical folds as issued. Trimmed within plate mark, with loss of top of title text. Overall time toning and slight staining. [43514] £65

BRITISH TOPOGRAPHY

London and the South East

63. A North View of London. Vue Septentrionale de la Ville de Londres. John Stevens after Giovanni Antonio Canaletto Copper engraving London Printed for & Sold by Robert Sayer at the Golden Buck opposite Fetter Lane, Fleet Street_& Henry Overton at the White Horse without Newgate. Publish’d according to Act of Parliament 1753 Image 224 x 382 mm, Plate 260 x 400 mm, Sheet 350 x 512 mm A fascinating eighteenth-century view of London from high ground in Islington, after Canaletto’s drawing. The entire city can be seen, with the dome of St. Paul’s dominating the centre skyline and the River Thames beyond. The Foundling Hospital with its walled forecourt appears in the middle ground on the right hand edge of the sheet. These landmarks stand out from the mass of smaller buildings punctuated by the spires of dozens of parish churches.

64. A Plan Shewing the Progress of the Thames Tunnel W. Warrington after J. Pinchback Steel engraving with hand colouring [c. 18341] Image 93 x 228 mm, Plate 120 x 262 mm, Sheet 128 x 300 mm Plan depicting the progress of the underwater tunnel connecting Rotherhithe and Wapping in 1838. The tunnel was built beneath the River Thames between 1825 and 1843, and was the ﬁrst underwater tunnel in the world. Completed as a foot tunnel in 1843, it was converted to a railway tunnel for the East London Railway in the 1860s. Condition: Light dirt build-up. Water damage to the top of the sheet, slightly aﬀecting image. [43789] £50

When Canaletto returned to London from Venice in the middle of 1751, Robert Sayer commissioned him to produce a series of drawings of the capital, to be published as a set of London views. John Stevens made this copper engraving from one of the resulting drawings. The print remained popular until the end of the century, featuring in the Laurie and Whittle (Sayer’s successor) catalogue of 1794. Condition: Good impression with full margins. Binding holes to the left side, not aﬀecting image. Overall time toning. [43633] £400

65. A View of Westminster Bridge Thomas Boydell Copper engraving Published According to Act of parliament by John Boydell engraver at the Unicorn the corner of Queen Street Cheapside London 1753. Image 232 x 413 mm, Plate 260 x 422 mm, Sheet 320 x 550 mm

66. View of Hackney [Anonymous] Copper engraving with hand colour [London, c. 1794] Image 149 x 263 mm, Plate 178 x 277 mm, Sheet 206 x 350 mm

View of the city of London looking down the River Thames over Westminster bridge, with several boats on the water and St. Paul’s Cathedral in the background to the right. Five lines of descriptive French text below the image to the right, and in English to the left.

A view of Hackney engraved for The Modern Universal British Traveller. A Complete, and Accurate Tour through England, Wales, Scotland and the Neighbouring Islands. Comprising of key landmarks ranging from cities, market towns and villages across Great Britain, written by Charles Burlington and David Lewellyn Rees. Published by J.Cooke.

Condition: Strong impression with full margins. Very small puncture to lower left corner. Overall time toning. [43632] £350

[43405] £80

67. A View of Guildford in Surry after Samuel and Nathaniel Buck Copper engraving with hand colouring [London, c. 1794] Image 163 x 267 mm, Plate 188 x 300 mm, Sheet 206 x 350 mm A view of Guildford based on the 1738 panorama by Samuel and Nathaniel Buck from The Modern Universal British Traveller. A Complete, and Accurate Tour through England, Wales, Scotland and the Neighbouring Islands. Comprising of key landmarks ranging from cities, market towns and villages across Great Britain, written by Charles Burlington and David Lewellyn Rees. Published by J.Cooke.

Condition: Horizontal crease. [43401] £65

68. [Abingdon] attributed to Francis Jukes Aquatint with original hand coloruing [n.d. c. 1810] Image 375 x 550 A rare, unrecorded view of Abingdon from the south with the steeples of St. Helenâ&#x20AC;&#x2122;s on the left and St. Nicholas, next to the town hall, clearly visible along with the jail, cows and sheep in the foreground.

This print is attributed to Francis Jukes and is possibly after Joseph Farington. The two worked together on views of other cities and Farington had prepared drawings of areas around Oxford and Abingdon for A History of the River Thames published by John and Joshia Boydell in 1793-1796. This print is framed in a beautiful rosewood frame with gilt slip. [42799] ÂŁ850

The South West and Channel Isles

69. [View of Stonehenge] Jansson, Jan Copper engraving with original hand colouring c. 1650 Image 190 x 240 mm, Plate 195 x 245 mm, Sheet 205 x 275 mm A seventeenth century view of Stonehenge, originally printed on the verso of Jansson’s map of the county of Wiltshire. Condition: Trimmed close to plate mark. Overall time toning and oxidisation of hand colouring, causing a split to the left side of the image. [43718] £60

70. A South View of Stone-Henge,on Salisbury Plain, in the County of Wilts. Copper engraving and etching with hand colouring [London, c. 1794] Image 160 x 283 mm, Plate 195 x 313 mm A view of Stonehenge engraved for the Engraved for The Modern Universal British Traveller. A Complete, and Accurate Tour through England, Wales, Scotland and the Neighbouring Islands. Comprising of key landmarks ranging from cities, market towns and villages across Great Britain, written by Charles Burlington and David Lewellyn Rees. Published by J.Cooke. [43400] £65

71. Bath. Milsom Street &c. Frederick Christian Lewis after John Claude Nattes Aquatint and etching with original hand colouring London, Publish’d April 1st, 1805; by W. Miller, Abermarle Street. Image 246 x 340 mm, Plate 292 x 365 mm, Sheet 315 x 415 mm A ﬁne view of Milsom Street in Bath, from a series of views after the drawings of J.C. Nattes Condition: Light fading to colouring, some browning on verso and masking tape residue to edges of verso, neither aﬀecting the image or plate. [43826] £350 56

72. A View of St. Vincent’s Rocks, and the Hot-Wells, &c. near Bristol. Antoine Benoist of Thomas Smith of Derby Copper engraving Publish’d pursuant to an Act of Parliment Augt. 1756, by Tho. Smith Image 350 x 517 mm, Plate 390 x 545 mm A large and uncommon view of the River Avon with men standing on the banks in the fore ground, ship in the river, a group of buildings in the background and smoke emanating from the shore on the right. [43827] £500 73. A View from Durdham-Down near Bristol, Looking down the Avon to Kings-Road, & the Welch Mountains. Jean Baptist Chatelain and Francis Vivares after Thomas Smith of Derby Copper engraving Printed pursuant to an Act of Parliament, Sepr. 12th, 1756, Thos. Smith. Image 348 x 524 mm, Plate 393 x 543 mm A view from Durdham Down looking over the River Avon. People and goats in the foreground, ships in the river and a tower in the background. Condition: Centrefold crease, diagonal crease to the right of the centrefold crease, some light overall creasing, one inch tear lower left margin not aﬀecting the plate or image. [43828] £500 74. View of the City of Bristol Louis Haghe after Leeson Rowbotham Lithograph Published by Davey and Muskett, Booksellers Broad Street Bristol, and sold by Charles Tilt, Fleet Street London, and all other Booksellers. [c. 1831] Image 350 x 482 mm, Sheet 445 x 575 mm A large-scale view of Bristol from Pile Hill, the city is shown on ﬁre during the riots of the 30th of October 1831. Condition: Rubbed inscription below the image to the right, which used to read: “Drawn on Stone by L. Haghe”. Repaired tears to right and bottom margins. Time toning and staining to margins. [43385] £400

75. Perspective View of the City of Bristol, in the Counties of Somerset & Gloucester. after Samuel and Nathaniel Buck Copper engraving with hand colouring [London, c. 1794] Image 158 x 274 mm, Plate 189 x 300 mm, Sheet 207 x 350 mm

76. Perspective View of the Cathedral, and City of Exeter, in the County of Devon after Samuel and Nathaniel Buck Copper engraving with hand colouring [London, c. 1794] Image 168 x 287 mm, Plate 192 x 310 mm, Sheet 208 x 350 mm

A view of Bristol based on the 1734 panorama by Samuel and Nathaniel Buck and engraved for The Modern Universal British Traveller. A Complete, and Accurate Tour through England, Wales, Scotland and the Neighbouring Islands. Comprising of key landmarks ranging from cities, market towns and villages across Great Britain, written by Charles Burlington and David Lewellyn Rees. Published by J.Cooke.

A view of Exeter based on the 1734 panorama by Samuel and Nathaniel Buck and engraved for The Modern Universal British Traveller. A Complete, and Accurate Tour through England, Wales, Scotland and the Neighbouring Islands. Comprising of key landmarks ranging from cities, market towns and villages across Great Britain, written by Charles Burlington and David Lewellyn Rees. Published by J.Cooke.

[43402] £80

[43404] £65 77.East View of Birmingham in Warwickshire after Samuel and Nathaniel Buck Copper engraving with hand colouring [London, c. 1794] Image 161 x 272 mm, Plate 194 x 298 mm, Sheet 207 x 350 mm A view of Birmingham based on the 1731 panorama by Samuel and Nathaniel Buck and engraved for The Modern Universal British Traveller. A Complete, and Accurate Tour through England, Wales, Scotland and the Neighbouring Islands. Comprising of key landmarks ranging from cities, market towns and villages across Great Britain, written by Charles Burlington and David Lewellyn Rees. Published by J.Cooke. Condition: Three short tears in upper margin not aﬀecting the image or plate. [43403] £65

78. Illumination of the town of St. Helier, on the Night of Her Majesty’s Arrival, September 2nd 1846 H. Walter after Philip John Ouless Aquatint [St. Helier, c. 1885] Image 196 x 325 mm, Sheet 255 x 393 mm A view of the town from the sea with people in two rowboats on the foreground and Fort Regent, a bonﬁre and ﬁreworks in the background. This print was made after the 1885 painting by Ouless ‘The illumination of the town of St Helier, on the evening of 2nd September 1846’ commemorating a visit from Queen Victoria to St. Helier, Jersey.

The visit by Queen Victoria and Prince Albert was the first ever official visit to the island of Jersey and therefore highly anticipated by the locals. The visit was documented by local artists Philip Ouless and John Le Capelain and later published into the Royal Jersey Album. Condition: Light dirt build up and creasing to margins, not affecting image. [43457] £150

The Lakes and the North

79. View on Kirkstone, between Ambleside and Patterdale William Frederick Wells after Reverend Joseph Wilkinson Soft-ground etching with original hand colouring Published, May 1, 1810. R. Ackermann, 101, Strand, London [1825 impression]. Image 259 x 30 mm, Sheet 317 x 470 mm A view of Kirkstone, in Cumbria from Rev. Joseph Wilkinson’s Select Views in Cumberland, Westmoreland, and Lancashire. Condition: Library blind stamp in right margin not aﬀecting the image. [43045] £100

80. A View of the Head of Ulswater toward Patterdale Jean Baptiste Chatelain and James Mason after William Bellers Copper engraving Publish’d according to Act of Parliament April the 18th 1754 [William Bellers] Image 368 x 518 mm, Plate 400 x 535 mm, Sheet 515 x 660 mm An early printing of William Beller’s view of Ulswater surrounded by mountains. Men lay ﬁshing nets in the foreground left, while others stand around a boat on the right, men ﬁshing in the background. Lettered below the image with the title, a dedication around arms from the painter to Charles Howard Esqr. of Grenstock in Cumberland. This print is one of a series of eight William Bellers made depicting the Lake District. Condition: Excellent impression with full margins, some light staining through centre on the sheet. [43829] £650

81. A View of Derwent-Water Towards Borrodale, A Lake near Keswick in Cumberland Jean Baptiste Chatelain and Simon Francois Ravenet I after William Bellers Copper engraving Publish’d according to Act of Parliment October the 10th 1752. [William Bellers] Image 369 x 515 mm, Plate 405 x 540 mm, Sheet 515 x 665 mm A view of Derwent-water with people at leisure in the foreground, the lake with an island with a cottage on it in the mid ground with the mountains in the background. Inscribed “To Edward Stephenson Esqr of Cumberland, This Plate is inscribed by his most Obliged humble Servant William Bellers.” This print is one of a series of eight William Bellers made depicting the Lake District. Condition: Excellent impression with full margins, some creasing to outer edge of upper right margin not aﬀecting the image or plate, crease near centre of image. [43830] £650

82. A View of Bywell Bay in Northumberland Pierre Charles Canot amd James Mason after William Bellers Copper engraving Publish’d according to Act Parliment Februarythe 14th 1754. Image 370 x 325 mm, Plate 400 x 540 mm, Sheet 515 x 660 mm An early print of William Beller’s view Bywell Bay in Northumberland. People walk along the river in the foreground, a man fishes, men in a row boat laying fishing nets in the river, a fortified tower on the right and the town along the river bank in background. The print is dedicated to William Fenwick of Bywell. This print is one of a series of eight William Bellers made depicting the Lake District. Condition: Excellent impression with full margins, some very light overall foxing. [43831] £600

Gainsborough Landscapes

83. [Wooded Landscape with a lake and a horse rider] William Frederick Wells after Thomas Gainsborough Soft-ground etching Published Jan 1, 1803 by W.F. Wells & J. Laporte Image 190 x 262 mm, Plate 240 x 310 mm, Sheet 292 x 420 mm From Wells’ and Laporte’s ‘A Collection of Prints Illustrative of English Scenery From the Drawings and Sketches of Thos. Gainsborough, R.A. in the various collections of The Baroness Lucas; Viscount Palmerston; George Herbert, Esq.’ ﬁrst published in London c. 1802. Inscription underneath the image: ‘From the original collection of the Rt. Hon. Baroness Lucas’ Condition: Toning and stains to margins and into image top right. Tears to sheet edges, not aﬀecting image. [42608] £120

84. [Farmhouses] William Frederick Wells after Thomas Gainsborough Soft-ground etching Published March 1, 1803 by W.F. Wells & J. Laporte Image 187 x 260 mm, Plate 244 x 315 mm From Wells’ and Laporte’s ‘A Collection of Prints Illustrative of English Scenery From the Drawings and Sketches of Thos. Gainsborough, R.A. in the various collections of The Baroness Lucas; Viscount Palmerston; George Herbert, Esq.’ ﬁrst published in London c. 1802. Inscription underneath the image: ‘From the original collection of Geo. Hibbert Esq.’ Condition: Toning and stains to margins. Tears to sheet edges, not aﬀecting image. [42609] £100

85. [Two travellers in a Rocky Landscape] John Laporte after Thomas Gainsborough Soft-ground etching Published September 1, 1803 by J. Laporte & W.F. Wells Image 181 x 257 mm, Plate 240 x 312 mm, Sheet 290 x 400 mm

86. [Rocky Landscape with a shepherd, his son, and their ﬂock] John Laporte after Thomas Gainsborough Soft-ground etching Published March 1, 1804 by J. Laporte & W.F. Wells Image 182 x 252 mm, Plate 235 x 316 mm, Sheet 293 x 420 mm

From Wells’ and Laporte’s ‘A Collection of Prints Illustrative of English Scenery From the Drawings and Sketches of Thos. Gainsborough, R.A. in the various collections of The Baroness Lucas; Viscount Palmerston; George Herbert, Esq.’ ﬁrst published in London c. 1802. Inscription underneath the image: ‘From the original collection of Dr. Monro’

Condition: Toning and stains to margins. Tears to sheet edges, not aﬀecting image. [42610] £100

Condition: Toning and stains to margins. Tears to sheet edges, not aﬀecting image. [42611] £120

GENERAL INTEREST

87. I. Rosa Damascena flore pleno II. Trifolium Picetosum flori albo III. Trifolium Acetosum flori flavo [Damask Rose] Basilius Besler Copper engraving with hand colouring 1613-1713 Image and plate 485 x 400 mm, Sheet 425 x 522 mm A superb seventeenth century depiction of the Damask Rose, Plate 94 from Basil Besler’s Hortus Eystettensis. Inscription on verso: “Sextus Ordo Collectarum Plantarum Vernalium.” Condition: Excellent condition with beautiful later hand colouring. [43630] £2,000

88. The Night-Blooming Cereus Robert Dunkarton after Philip Reinagle and Abraham Pether Mezzotint printed in colour Published in London, May 20, 1800, by Robert Thornton Image 448 x 355 mm, Plate 490 x 360 mm, Sheet 535 x 415 mm A stunning impression of The Night-Blooming Cereus (Selenicereus grandiﬂorus), commonly referred to as the queen of the night, a ceroid cacti that blooms at night, from Robert Thornton’s famous ‘Temple of Flora’. Condition: Excellent impression, light toning to sheet. [42598] £2,500

89. Plate 7 1. Frittilla Aquitanica flo. luteo Virescente 2. Fritillaria Hispanica Umbillifera 3. Frittillaria Minima polyanthos non decr. 4. Frittillaria vulgaris purpureo Colore 5. Frittillaria Albflore 6. Fritillaria flore. [Fritillaries] Emmanuel Sweert and Jan Jansson Copper engraving with hand colouring Amsterdam, 1612-55 Image and plate 338 x 206 mm, Sheet 380 x 262 mm A plate from Emanuel Sweert’s Florilegium Amplissimum et Selectissimum depicting fritillaries. [43282] £600

90. Plate 44 Lilium persicum ﬂore purpurascents. Frittillaria maxima purpurei Colore. [Persian Fritillary, Fritillary] Emmanuel Sweert and Jan Jansson Copper engraving Amsterdam, 1612-55 Image and plate 342 x 212 mm, Sheet 418 x 262 mm A plate from Emanuel Sweert’s Florilegium Amplissimum et Selectissimum depicting fritillaries including a Persian fritillary. [43283] £500

Irises and Tulips Matthäus Merian’s Florilegium Four plates of bulbs, from Michael Bernhard Valentini’s 1719 publication Viridarium Reformatum, seu Regnum Vegetabile: Krauter Buch.

Valentini’s publication drew upon an earlier publication by Matthäus Merian; Florilegium renovatum et auctum: variorum maximeque rariorum germinum, forum ac plantarum. Merian’s Florilegium renovatum et auctum, ﬁrst published in 1641, was an enlarged version of Johann Theodor de Bry’s (1561 - 1623) Florilegium novum, hoc est: variorum maximeque rariorum ﬂorum ac plantarum singularium un cum suis radicibus & cepis.

91. TAB. CCIII. [Irises] Matthäus Merian Copper engraving with hand colouring [Frankfurt, 1719] Image and plate 286 x 177 mm, Sheet 399 x 240 mm

92. TAB. CC. [Irises, Crimean/ Lutescens] Matthäus Merian Copper engraving with hand colouring [Frankfurt, 1719] Image and plate 263 x 175 mm, Sheet 400 x 252 mm

Condition: Excellent impression with full margins. Watermark initials. [43643] £250

Condition: Excellent impression with full margins. Circular armourial watermark with the words “Libertate pro patria [...]”. [43652] £250

First published in 1611, with several issues being published over the following few years, de Bry’s version drew upon a variety of sources for the illustrations, including Pierre Vallet’s Le Jardin du Roy (Paris, 1608), Basilius Besler’s Hortus Eystettensis (Eichstatt and Nuremberg, 1613) and Crispian van de Pass’s Hortus ﬂoridus (Utrecht and Arnheim, 1614-1616). De Bry’s plates, however, were much more than simply copies.

Careful composition, confident lines and fine shading are vividly apparent in de Bry’s illustrations. 18 years after de Bry’s death, Merian produced Florilegium renovatum et auctum. Merian’s version contained nearly double the number of plates as de Bry’s, and depicted the exotic flowers and plants growing in the gardens in and around Frankfurt. A later edition of Florilegium renovatum et auctum was published in 1644.

93. TAB. CCXLVI. [Tulips] Matthäus Merian Copper engraving with hand colouring [Frankfurt, 1719] Image and plate 282 x 176 mm, Sheet 399 x 248 mm

94. TAB. CCLX. [Tulips] Matthäus Merian Copper engraving with hand colouring [Frankfurt, 1719] Image and plate 258 x 163 mm, Sheet 397 x 250 mm

Condition: Excellent impression with full margins. Watermark initials. [43644] £250

Condition: Excellent impression with full margins. Circular armourial watermark with the words “Libertate pro patria [...]”. [43657] £275

A superb allegorical representation of a school of design, engraved by Dorigny after an original drawing by Maratti for the seventeenth century connoisseur Gaspar Mendez de Haro, Marchese del Carpio, and now in the collection at Chatsworth. At centre, a bearded master, possibly representing Maratti himself, demonstrates to a young and eager student the essential elements of geometry on a large easel to the right of the scene. An older bearded man looks on. In front of this group, another student uses a compass to trace the intersects of a circle on a tablet. To the left, yet another looks over his shoulder while sketching, to gaze upon a full scale and heavily muscled anatomical model of the human male form. To the right of the model, Leonardo Da Vinci demonstrates elements of anatomy to another group of students, while others are locked in discussion close by. Behind the class, masterworks of classical sculpture, including the Farnese Hercules and a Venus of the Callipygian type, populate the niches and pedestals around the walls of the room. In the top corner, a trio of Muses watches the scene from a cloud.

95. A Giovani studiosi del Disegno Nicolas Dorigny after Carlo Maratti Copper engraving Eques Carolus Maratti inven. et delin. Cum privil. Summi Pont. et Regis Christ.mi Romae. Apud Iacobum Frey an 1728. N Dorigny Sculp. Image 397 x 310 mm, Plate 474 x 325 mm, Sheet 562 x 412 mm IFF 97 ii/iii Condition: Excellent clean impression with wide margins. Minor printing creases to centre right margin, not aﬀecting sheet. [43539] £400

The scene is essentially a demonstration of the importance of Geometry, Optics, and Perspective in the visual arts, and it would be tempting to see the three muses at top right as personiﬁcations of these three elements. Above them, an inscription reads ‘Senza di noi ogni fatica e vana’ - ‘without us, every eﬀort is in vain.’ To their left, a statue of Apollo holding a lyre and resting against a serpent column is described as Non malabastanza - ‘not in vain,’ that is, a perfect balance of these elements. In style, the statue closely resembles the example discovered in the Temple of Venus in Hadrian’s Villa at Tivoli. Completing the scene are three identical inscriptions ‘Tanto che Basti’ - ‘as much as is necessary’ - which appears beneath the anatomical study, the student’s compass and tablet, and the designs on Maratti’s easel.

96. The Decisive Charge of the Life Guards at the Battle of Waterloo William Bromley, A.RA. after Luke Clennell Copper engraving London: Published 1st. March 1821, under the direction of the Committee by John Britton, Britton Cottage, for the benefit of the Painter’s Family. Image 254 x 455 mm, Plate 395 x 528 mm A crowded battle scene showing the Life Guards charging from the left, soldiers being trampled and explosions in the background. Condition: Some light creasing, light overall surface dirt , crease in upper right not affecting the image, some short tears in the left margin, just into plate but not affecting the image. [43825] £300 71

97. The Studious Fair Charles Spooner after Mary Benwell Mezzotint London Printed for Heny. Parker opposite Birchin Lane in Cornhill, & Robt. Sayer near Serjeants Inn, Fleet Street. 1740 - 1767 Image 315 x 255 mm, Plate 354 x 255 mm, Sheet 440 x 297 mm

98. Gardener’s Girl T. Dickinson after Ellen Carter Stipple engraving printed in colours with additional hand colouring Published Oct 21, 1801 by Mrs Carter, Lincoln, & by Boydell, London. Image 540 x 410 mm

Chaloner Smith 38, Russell 38. ii. Condition: Good strong impression, light rubbing to top right of plate. Small loss to top margin not aﬀecting plate or image. [43800] £300

Text inscribed below image reads: ‘To Mrs. Sutton, Lady of the Hon, Colonel Manners Sutton, this plate of the Gardeners Girl, is inscribed as a mark of gratitude & respect, by her obliged humble servant, Ellen Carter.’ A rare stipple engraving of Ellen Carter’s The Gardener’s Girl. The print shows a rosy cheeked young woman, a basket of fruit in the crook of her arm and another basket of cabbages and greens balancing on her head. The backdrop consists of an idealised traditional British town setting featuring a large cathedral, with farmers herding cattle and other ﬁgures going about their daily business on the surrounding streets. The self published print from a design by Carter was intended as a companion to Thomas Barker’s The Woodboy from 1799. Although the print is referenced in Carter’s obituary in The Gentleman’s Magazine of July to December 1815, it is not held in any major collections.

Condition: Water stain to lower right corner. Spotting and staining to image and sheet. Staining from previous framing. [43517] £425

A young woman seated turned to left, right hand on her cheek, the elbow resting on a table beside her, reading from a small volume which she holds in left hand, wearing a gown with layers of lace fanning out from the sleeves at the elbow, a ribbon around her neck, cameo of a man at her wrist, and her hair dressed up with a ruﬄed band around it. This was once wrongly thought to be a portrait of Queen Charlotte.

99. La Gitana [Portrait of Marie Taglioni] Weld Taylor after Edwin Dalton Smith Lithograph with hand colouring London, Published June 12, 1840 by J. Watson, Vere Street, Oxford St./ M. &H. Hanhart, Lith. Printers. Image 285 x 215 mm, Sheet 495 x 383 mm A rare full-length portrait of Marie Taglioni (18041884) in her 1838 role of La Gitana, from the Romantic ballet with the same name. In this ballet a child is stolen from her aristocratic parents and raised a Gipsy before being restored to her family. Taglioni was an Italian ballet dancer who became famous for her fragile look, delicate dancing style and ethereal roles. She popularised dancing in ballet shoes with tips or pointes with her performance of the Sylph in her father’s ballet La Sylphide in 1832. Taglioni was portrayed in many prints by several artists. In this print she is depicted wearing a traditional ballet costume consisting of a low-cut and loose dress or blouse with skirt, and a bodice.

100. (Kings Theatre) Mons.r Le Blond, (Haymarket) Robert Cooper after Jean Frederic Maximilien de Waldeck Stipple and copper engraving with hand colouring Published by H. Berthoud Jun.r July 19th 1822 Image 194 x 144 mm, Plate 335 x 237 mm, Sheet 347 x 247 mm Full-length portrait of Etienne Leblond (1801-1848) dressed in a waistcoat and loose shirt, tucked in with breeches. He was a dancer for the Ballet de l’Opera de Paris and a student of Jean-Francois Coulon. Leblond married the daughter of ballet genius Jean-Pierre Aumer, Sophie-Julie Aumer in 1826. The couple lived and worked Brussels, Vienna and Paris. Condition: Strong impression with ﬁne hand colouring. Trimmed close to plate mark. [43790] £275

Condition: Light time toning and dirt build-up to margins, crease to lower left corner of sheet, not aﬀecting image. Facsimile signature of the sitter. [43787] £475 73

Artists, Printmakers, & Publishers

BIOGRAPHIES Rudolph Ackermann (1764 - 1834) was a lithographer and publisher born in Saxony. He moved to London in 1787 and later established a business as a coachmaker at 7 Little Russell Street, Covent Garden. In 1796, having already published the ﬁrst of many books of carriage designs, he moved to 96 Strand where he ran a drawing school for ten years. The following year, Ackermann moved to 101 Strand (known, from 1798, as The Repository of Arts) where he sold old master paintings and artists’ supplies as well as prints.

Robert Bénard (1734- after 1778) was a French engraver, best known for executing and overseeing the printing of over 1800 illustrative plates for Diderot’s seminal Encyclopédie, Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres. Following designs by Goussier, Benard engravings cover a vast array of topics, from scientiﬁc, mathematical, and biological, to heraldic, military, and maritime. The Encyclopédie was a French general encyclopaedia in 28 volumes published in Paris between 1751 and 1772.

In 1803, 220 Strand was given as his address in a print published that year. The Microcosm of London (1808-10) and the monthly Repository of Arts (1809-29) established his reputation for ﬁne colour plate books. From 1816, he began to publish lithographs. Ackermann always maintained links with his native Germany, and in the 1820s, he also opened outlets in Mexico, Guatemala, Colombia, Argentina, and Peru. In 1832, he handed the running of the business over to his second son George and his younger brothers, who traded as Ackermann & Co.at 106 The Strand until 1861. Ackermann also established a print business for his eldest son Rudolph at 191 Regent Street.

The general editor of the series was Denis Diderot, the celebrated Enlightenment philosopher, author, and art critic. The broad and ambitious aim of the Encyclopédie was to gather together the collected knowledge of the world into a single work. As a result, some of greatest French minds of the age were contributors, including d’Alembert, Rousseau, and Voltaire. The Encyclopédie played an important role in the development of French intellectual fervour in the lead up to the Revolution. The 17 volumes of articles were accompanied by 11 volumes of illustrative plates, the majority of which were executed by Robert Bénard after drawings by LouisJacques Goussier.

John Barlow (ﬂ. 1735-1774) worked for the Royal Navy as a teacher until he retired in 1750. From then on he compiled books on navigation, mathematics and dictionaries. He’s best known works are ‘Navigatio Britannica’ and ‘Dictionary of National Biography’.

Antoine Benoist (c. 1721-1770) was a French drawing master and engraver born in Soissons but worked in London for his entire career.

William Bellers (ﬂ. 1749-1773) was a British, painter, draughtsman, printmaker, printer, and publisher who lived in London. He is known for his views of the Lake District, but also sold prints from his address. He may have been the son of William Bellers of Oxford, who sold Oxford and Cambridge prints, but he may have been William Bellers who matriculated at Oxford on April 9, 1734, who had a licence to paint in and around the University.

Mary Benwell (1739–after 1800), was an English artist, a miniaturist and pastellist. Benwell exhibited crayon portraits and miniatures at the Incorporated Society of Artists and the Royal Academy between the years 1761 and 1791. She worked also in oil colours and made a reputation in her profession, but she retired from it on her marriage in 1762.

Basilius Besler (1561 – 1629) was a respected Nuremberg apothecary and botanist, best known for his monumental Hortus Eystettensis. He was curator of the garden of Johann Konrad von Gemmingen, prince bishop of Eichstätt in Bavaria. The bishop commissioned Besler to compile a codex of the plants growing in his garden, a task which Besler took sixteen years to complete, Johann Konrad dying shortly before the work was published.

John Boydell (1719 - 1804) was an English engraver, and one of the most inﬂuential printsellers of the Georgian period. At the age of twenty one, Boydell was apprenticed to the engraver William Henry Toms, and enrolled himself in the St. Martin’s Lane Academy in order to study drawing. Given the funds raised by the sales of Boydell’s Collection of One Hundred Views in England and Wales, 1755, he turned to the importation of foreign prints.

Where as previous botanical art had placed an emphasis only on medical or culinary herbs, often crudely executed, Besler’s Hortus Eystettensis depicted 1084 species including garden flowers, herbs and vegetables and exotic plants such as castor-oil and arum lilies. These were modern in concept and produced near life size in great detail. The work generally reflected the four seasons, showing first the flowering and then the fruiting stages. “Winter” was sparsely represented with a mere 7 plates. “Spring” was a season of abundance with 134 plates illustrating 454 plants and “Summer” in full swing showed 505 plants on 184 plates. “Autumn” closed off the work with 42 plates and 98 species. This plate was featured in “Spring”.

Despite great success in this market his legacy is largely deﬁned by The Shakespeare Gallery; a project that he initiated in 1786. In addition to the gallery, which was located in Pall Mall, Boydell released folios which illustrated the works of the Bard of Avon and were comprised of engravings after artists such as Henry Fuseli, Richard Westall, John Opie and Sir Joshua Reynolds. He is credited with changing the course of English painting by creating a market for historical and literary works. In honour of this, and his long standing dedication to civil duties, Boydell became the Mayor of London in 1790.

First published in 1613, two versions were produced, cheap black and white for use as a reference book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. The work was published twice more in Nuremberg in 1640 and 1713. The plates were eventually destroyed by the Royal Mint of Munich in 1817. Louis Philippe Boitard (ﬂ.1733-1767) was a Frenchborn draughtsman and engraver of satirical prints, book illustrations, and political satires. He was the son of François Boitard, and was believed to have trained with his father in London between the years of 1709 and 1712. During the 1740’s, he worked alongside the young John Boydell as a journeyman in the studio of the engraver, William Henry Toms. Boitard supplied fortyone large plates for Joseph Spence’s ‘Polymetis’ in 1747, and engraved the illustrations to Robert Paltock’s ‘Peter Wilkins’ in 1750. He is also known to have produced a series of portraits illustrating ‘Remarkable Persons’, which included Thomas Brown, Elizabeth Canning, James Maclean and Hannah Snell amongst others. Boitard was a humourist, and a member of the Artist’s Club.

The Boy’s Own Paper was a long-running British periodical for boys, established in 1879 by the Religious Tract Society to encourage reading and instill Victorian Christian morality in the British youth. The paper’s contents were varied, but generally focussed on stories, articles, and competitions related to sports, adventure, natural history, and military life. Among its most famous and influential contributors were the British cricketer W.G. Grace, adventure and crime writers like Jules Verne and Conan Doyle, and Baden-Powell, the founder of the Scouts. The paper remained in intermittent publication until 1967. James Bretherton (fl.1750 - 1799) was an etcher, dealer and publisher in London. His brother was Charles Bretherton and is particularly associated with Henry William Bunbury, many of whose works he engraved and published. His stock of plates was auctioned in 1799. Samuel Buck (1696-1779) and Nathaniel Buck (fl. 1727-1774) were British engravers and publishers, best known for their famous series of English and Welsh views. In 1727, the brothers commenced sketching and engraving a series on the architectural remains of England and Wales. This series included 83 large prospects of the 70 principal towns in England and Wales. It took the Buck brothers 28 years to complete their venture and during this time changes to their style occurred. 75

The brothers began to use a less formal style in their later engravings by including figures in the foreground and using more subtle landscapes in the foreground. In 1774, Robert Sayer obtained the plates, added page numbers to them and published them as Buck’s Antiquities. Henry William Bunbury (1750 – 1811) was an English caricaturist. He was the second son of Sir William Bunbury, 5th Baronet, of Mildenhall, Suffolk. He was educated at Westminster School and St Catharine’s College, Cambridge, and soon showed a talent for drawing, especially for humorous subjects. His more serious efforts were no great success, but his caricatures are as famous as those of his contemporaries Thomas Rowlandson and James Gillray. His designs were usually etched by Darly and Bretherton, and (from 1780s) Dickinson. 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. Pierre Charles Canot (1710-1777) French printmaker and publisher who worked in London from around 1735. He specialised in marine subjects. Ellen Carter (1762 - 1815) was an English artist and book illustrator. Born in York, Carter was dedicated to artistic pursuits, and particularly excelled in drawing the human figure. She drew illustrations for the ‘Archæologia’, ‘The Gentleman’s Magazine’, and other similar works. Thomas Cartwright (fl. 1795 - 1815), little is known about this British printmaker, other than he specialised in aquatint, and produced a number of views of British castles and abbeys, alongside a collection of topographical views of the USA.

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. Luke Clennell (8 April 1781- 9 February 1840) British painter and engraver from Morpeth, Northumberland. He apprenticed in Newcastle-upon-Tyne with Thomas Bewick. After he finished his apprentiship he moved to London where he worked as an engraver. He later gave up printmaking for painting. His most notable work is The Decisive Charge of the Life Guards at the Battle of Waterloo. Robert Cooper (fl. 1795-1836) was a British painter, printmaker and publisher. He mainly produced portraits and illustrations for magazines. Isaac 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. George Cruikshank (27 September 1792–1 February 1878) was a British caricaturist and book illustrator, praised as the “modern Hogarth” during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience. His father Isaac, and brother Isaac Robert, were also successful and well known caricaturists. Matthew Darly (c.1720 - 1781 or later) was a British caricaturist, printseller, publisher, and ornamental engraver. He was married to Mary Darly (fl. 17561779), also a caricaturist and printseller, who wrote and illustrated the first book on caricature drawing, A Book of Caricaturas, 1762. The Darlys worked together, and by 1756, they had printshops in Fleet Street and the Strand. Many prints have a publication line that gives M.Darly, which is ambiguous between Matthew and Mary. It is likely that she acted as publisher and that he made the plates.

William Davison (1781 - 1858), born in Alnwick on 16 November was an apothecary, chemist, and druggist, and a copper-plate and letterpress printer in later life. During 1807 and 1808 he published a number of illustrated chapbooks and volumes of poetry under the title of Davison & Catnach with his partner and mentor James Catnach (18 Aug 1792 – 1 Feb 1841) . In 1814 he established a small foundry on his premises at Bondgate Street for the production of metal stereotypes. During his lifetime Davison is known to have produced forty two individual copperplate engraved caricatures. Theodorus de Bry (1528 – 27 March 1598) was an engraver, goldsmith, editor and publisher, famous for his depictions of early European expeditions to the Americas. Jean Frederic Maximilien de Waldeck (1766-1875) was a French painter and printmaker. He exhibited at the Parisian Salon from 1855 until 1870. Robert Dighton (1752 - 1814) was an English draughstman 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. Nicolas Dorigny (c.1652-1746) was a French artist and engraver. Although trained as a lawyer in his youth, he pursued a career in engraving as a result of deafness. In 1711, after many years in Italy, he was comissioned by Queen Anne to complete his most famous series, engravings of the Raphael cartoons in Hampton Court Palace. After gaining a knighthood from King George I, he returned to his native Paris, and became a member of the Académie royale de peinture et de sculpture. Henry Downes Miles (1806-1889) was the author several books about sport; namely ‘The book of ﬁeld sports, and library of veterinary knowledge’ c. 1864, ‘Pugilistica: being one hundred and forty-four years of the history of British boxing’ in 1880 and ‘British Field Sports; A Valuable Work of Reference’ c.1880.

After an apprenticeship with mezzotint engraver William Pether, Robert Dunkarton (c. 1744-c.1815) initially produced portraits in oils and crayons. He exhibited these at the Royal Academy and the Society of Artists from 1774 until 1779, after which he concentrated on printmaking. Dunkarton worked in a number of areas, including portraits, old master paintings, landscapes, and botanical subjects. Between 1770 and 1811, he produced some forty-five mezzotint portraits, many on a large scale. One of his last commissions was from J.M.W. Turner, for whom he provided the mezzotint ground for five of the plates for his Liber Studiorum, published in 1811-1812. Daniel Thomas Egerton (1797–1842) was a British artist, who was mostly known for his landscape paintings and satirical prints. He was one of the founding members of the Society of British Artists, and exhibited with them in 1824, 1829, 1838 and 1840. He travelled to Mexico several times and gained more fame towards the end of his life from his Views of Mexico, a set of hand coloured lithographs published c. 1840. A year later he would leave his family of a wife and two sons, to move to Mexico with nineteen year old Alice Edwards, the daughter of a befriended British artist. Egerton and Alice were found murdered in the streets of Tacubaya (Mexico City) in April of 1842. The murder was never resolved, as the couple was carrying cash and wearing expensive jewellery, which were strangely left untouched, and Alice was eight months pregnant at the time. Encyclopédie was a general encyclopaedia published in France between 1751 and 1772, with later supplements, revised editions, and translations. It had many writers, known as the Encyclopédistes. It was edited by Denis Diderot and, until 1759, co-edited by Jean le Rond d’Alembert. The Encyclopédie is most famous for representing the thought of the Enlightenment. According to Denis Diderot in the article “Encyclopédie”, the Encyclopédie’s aim was “to change the way people think”. He and the other contributors advocated for the secularisation of learning away from the Jesuits. Diderot wanted to incorporate all of the world’s knowledge into the Encyclopédie and hoped that the text could disseminate all this information to the public and future generations. It was also the first encyclopaedia to include contributions from many named contributors, and the first to describe the mechanical arts.

Joseph Farington (1747-1821) was a landscape painter and diarist. He studied in Manchester, and moved to London in 1763 to be taught in the studio of Richard Wilson. He became a member of the Society of Artists in 1765, and joined the Royal Academy at its inception in 1769, and became an academician 1785. He submitted work annually until 1801 and continued to exhibit at the academy until 1813. Thomas Gainsborough FRSA (christened 14 May 1727, died 2 August 1788) was an English portrait and landscape painter, draughtsman, and printmaker. He surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. He preferred landscapes to portraits, and is credited as the originator of the 18th century British landscape school. Gainsborough was a founding member of the Royal Academy. James Gillray (c.1756-1815), was a British caricaturist and printmaker famous for his etched political and social satires. Born in Chelsea, Gillray studied letterengraving, and was later admitted to the Royal Academy where he was influenced by the work of Hogarth. His caricature L’Assemblée Nationale (1804) gained huge notoriety when the Prince of Wales paid a large sum of money to have it suppressed and its plate destroyed. Gillray lived with his publisher and print-seller Miss (often called Mrs) Humphrey during the entire period of his fame. Twopenny Whist, a depiction of four individuals playing cards, is widely believed to feature Miss Humphrey as an ageing lady with eyeglasses and a bonnet. One of Gillray’s later prints, Very Slippy-Weather, shows Miss Humphrey’s shop in St. James’s Street in the background. In the shop window a number of Gillray’s previously published prints, such as Tiddy-Doll the Great French Gingerbread Maker [...] a satire on Napoleon’s king-making proclivities, are shown in the shop window. His last work Interior of a Barber’s Shop in Assize Time, from a design by Bunbury, was published in 1811. While he was engaged on it he became mad, although he had occasional intervals of sanity. Gillray died on 1 June 1815, and was buried in St James’s churchyard, Piccadilly. Louis Haghe (1806-1885) was part of the firm of Day & Haghe, which was one of the most prominent lithographic companies of the nineteenth-century. They were also amongst the foremost pioneers in the evolution of chromolithography. The firm was established in 1823 by William Day, but did not trade under the moniker of Day & Haghe until the arrival of Louis Haghe in 1831. 78

In 1838, Day & Haghe were appointed as Lithographers to the Queen. However, and perhaps owing to the fact that there was never a formal partnership between the two, Haghe left the firm in the 1850’s to devote himself to watercolour painting. The firm continued as Day & Son under the guidance of William Day the younger (1823 - 1906) but, as a result of a scandal involving Lajos Kossuth, was forced into liquidation in 1867. Vincent Brookes bought the company in the same year, and would produce the caricatures for Gibson Bowles’ Vanity Fair magazine, as well as the illustrations for Cassell’s Poultry Book, amongst other commissions. Sydney Hall (1818 - 1860) worked as a map maker at a time when the demand for highly decorative maps had declined. However his renowned eye for detail was put to good use in the many maps he produced for several atlases of the period where clarity and accuracy took precedence over elaborate decoration. Richard Bankes Harraden (1778-1862) was an English printmaker, specialising in landscape and topographical views. Active in Cambridge, Harraden was the son of Richard Harraden (1756-1838), with whom he published plates as Harraden & Son. He worked with his father and two other artists to produce twenty-four engraved plates of Cambridge for Cantabrigia depicta... (Cambridge: Harraden & Son, 1809-10). Henry Heath (1822- 42 fl.) was a British draughtsman and etcher of political caricatures. In 1831, Heath switched from etching to lithography. William Heath (1795–1840) was a British artist best known for his published engravings including caricatures, political cartoons, and commentary on contemporary life. His early works often dealt with military scenes, but from about 1820 on he focused on satire. Some of his works were published under the pseudonym “Paul Pry”, a name derived from an overly inquisitive character in a comedy of 1825 by John Poole. Prints published under the Paul Pry name feature an emblem in the bottom corner of the plate depicting a small man holding a walking stick. Edmund Hort New (1871-1931), known as EH New, was an English artist and illustrator. He was born in Evesham, the son of an important lawyer, and attended the Birmingham Municipal School of Art. He began painting landscape and later devoted himself to illustration. Early in his career he worked with Ruskin and other associated Arts and Crafts artists. He later went on to work for William Morris’s Kelmscott Press.

The influence of these experiences is evident in his prints, with their decorative borders, armourials, and elegant typefaces. In 1905, Edmund Hort New moved to Oxford, and over a period of years, produced a series of drawings of the Oxford Colleges, based on David Loggan’s 1675 aerial perspectives. New took Loggan’s format and enriched his prints with many fine details of and about the colleges. James Hulett (fl. 1740-1771) was a British printmaker, who made topographical prints as well as nobility portraits. Johannes Janssonius (1588 - 1664) was a famed cartographer and print publisher. More commonly known as Jan Jansson, he was born in Arnhem where his father, Jan Janszoon the Elder, was a bookseller and publisher. In 1612 he married the daughter of the cartographer and publisher Jodocus Hondius, and then set up in business in Amsterdam as a book publisher. In 1616 he published his first maps of France and Italy and from then onwards, produced a very large number of maps which went some way to rival those of the Blaeu family, who held a virtual monopoly over the industry. From about 1630 to 1638 he was in partnership with his brother-in-law, Henricus Hondius, issuing further editions of the Mercator/Hondius atlases to which his name was added. On the death of Hondius he took over the business, expanding the atlas still further, until eventually he published an eleven volume Atlas Major on a scale similar to Johannes Blaeu’s magnum opus. After Jansson’s death, his heirs published a number of maps in the Atlas Contractus of 1666, and, later still, many of the plates of his British maps were acquired by Pieter Schenk and Gerard Valck, who published them again in 1683 as separate maps. Francis Jukes (1747 - 1812) was a British engraver and very early specialist in aquatint. Based in London at 1 Great Marylebone Street (May 1783), 3 Howland Street (October 1784), 10 Howland Street (1787 - 1808), and 57, Upper John Street, Fitzroy Square (1797-1812), he sometimes published in conjunction with Sarjent. John June was an English engraver active between 1744 and 1775. He produced a variety of prints including portraits, satire, topography and fashion, but is probably best known for his semi-caricatural scenes of London life. He worked regularly for the publisher Robert Sayer.

John Laporte (1761 - 1839) was a topographical draughtsman and engraver who often published his own prints. Based at 21 Winchester Row, Edgware Road, London (in 1806), it is unclear whether Laporte was born in Ireland and was taught there by his master, John Melchior Barralet, a Huguenot from Dublin, or in London where Barralet taught from the 1770s. Frederick Christian Lewis (1779-1856) was an eminent British painter and engraver. Insturcted by J.C Stadler whilst at the Royal Academy, F.C. Lewis gained notoriety shortly after his graduation in 1802 for a series of aquatints after Thomas Girtin’s Picturesque Views in Paris and its Environs. One of the principal engravers for William Ottley’s famous volumes on Renaissance art, The Italian School of Design, Lewis also produced prints after the designs of Landseer and Flaxman. He worked with Turner on the Liber Studiorum, as well as on individually published mezzotints. David Loggan, artist and engraver, was born at Danzig in 1635. He may have learnt the art of engraving from Simon van den Passe in Denmark and from Hendrik Hondius in the Netherlands. Loggan followed Hondius’s sons to England in about 1653 and by 1665 he was residing at Nuﬃeld, near Oxford, and had made the acquaintance of Anthony Wood. On 30 March 1669 he was appointed Engraver to the University of Oxford, with an annual salary of twenty shillings. He married a daughter of Robert Jordan, Esq., of Kencote Hall in Oxfordshire, in 1671 and they had a son; John Loggan, who later graduated from Trinity College, the following year. The marriage probably produced another son, William Loggan, about whom little is known except that he was responsible for a satirical print of Father Peters and the Jesuits, published in 1681. David Loggan took up residence in Holywell in about 1671, prior to matriculating at the University. In 1675 he was naturalised as an Englishman. Carlo Maratti or Maratta (13th May 1625 - 15th December 1713) was an Italian Late Baroque painter, and follower of Raphael. Following the debate on ideal composition between Sacchi and Pietro da Cortona, Maratti became a close follower of Sacchi, and through the latter gained his ﬁrst major commission, Constantine ordering the destruction of Pagan Idols for the Baptistery of San Giovanni in Laterano. Papal support from Alexander VII and Clement X resulted in Nativity for the Quirinal Palace and the ceiling frescoes of the Palazzo Altieri respectively.

Following the death of Bernini in 1680, Maratti became the preeminent artist in Rome, producing, in addition to his religious works, portraits for individuals including Pope Clement IX, now in the Vatican Pinacoteca, Cardinal Antonio Barberini, his master Sacchi, as well as numerous Grand Tourists. In his later years, he focussed mainly on painting restoration and producing plans for sculptural groups. John Lewis Marks (c. 1796-1855) was a British publisher and printmaker, specialising in caricatures. He initially worked for other publishers, but later worked more often alone. His earlier works are signed as Lewis Marks, later ones as J. Lewis Marks. Works published by him though unsigned have usually also been designed and printed by him. Martial or Marcus Valerius Martialis ( c.40 - c.104) was a Roman poet who wrote twelve books of satirical epigrams. James Mason (1710 - c.1785) was a British engraver, publisher, and printseller, best known for his series of views of stately homes. Thomas McLean (1788-1875) was a British publisher and printseller, active from the early 1820s to his death. He traded initially from a print shop on Haymarket, before moving into lithography at a new premises on St Martin’s Lane in the 1840s. Matthäus Merian the Elder (22 September 1593 - 19 June 1650) was a Swiss engraver born in Basel. Beginning his career in Zürich where he learned the art of copperplate engraving, Merian went on to study and work in various cities throughout France. In 1615, Merian returned to Basel. His return to Basel, however, was short lived, moving to Frankfurt the following year to work for the publisher Johann Theodor de Bry. Merian later married de Bry’s daughter. He was also the father of Maria Sibylla Merian, one of the greatest natural history artists of the late 17th and early 18th centuries. Following de Bry’s death in 1623, Merian took over his father-in-law’s publishing house. Gaining his citizenship in Frankfurt in 1626, Merian was able to work as an independent publisher, where he spent the majority of his career. Fred Millar was a British etcher. He exhibited between 1915 and 1923, and had two works displayed at the Royal Academy. As well as publishing his own work, Millar produced etchings and mezzotints after a range of artists including Van Dyck, John Terrick Williams, William Clarke Wontner and Averil Burleigh. 80

John Claude Nattes (c. 1765-1822) was a topographical painter and draftsman. He lived and worked in London and Edinburgh. There is no know birth records for Nattes and it is thought he may have been French or Irish. He was the pupil of Irish artist H.P. Deane and he also made many trips to France diring his life. In addition to being a painter, Nattes was also a drawing master, print dealer, and founding member of the Old Watercolour Society, from which he was expelled in 1807 for submitting other artists’ work under his name. Nattes regularly exhibited a the Royal Academy from 1780. John Jewell Penstone (1817-1902) was British painter and printmaker who specialised in portraits and genre scenes that were closely related to the works of the PreRaphaelites. Arthur Pond (c.1705–1758) was an English painter and engraver. Well known for a series of plates titled Imitations of the Italian Masters, Pond also collaborated with George Knapton in the Heads of Illustrious Persons of Great Britain as well as on a collection of ninety-ﬁve reproductions from drawings by famous artists. Simon Francois Ravenet I (1706-1774) was a French engraver, printmaker, and publisher. He was trained by Jacques Philippe Lebas and went on to several important series of engraving in France. In 1743, William Hogarth brought Ravenet to London to work on the engravings for his Marriage à la Mode series. Ravenet stayed in London for rest of his career, working with Hogarth and other publishers such as John Boydell. Philip Reinagle (1749-1833) was a British artist. Trained by the painter Allan Ramsay he began his career as a portrait painter, then later specialised in animal and sporting pictures, botanical subjects and landscapes. He became a Royal Academician in 1812. Abraham Pether (1756-1812) was a British painter who, together with artists like Wright of Derby, de Loutherbourg and Turner made the atmospheric eﬀects of moonlight a fashionable pictorial convention during the late eighteenth and nineteenth century. The inspiration for this come from Dutch seventeenthcentury painters such as Aert van der Neer.

David Roberts RA (24 October 1796 – 25 November 1864) David Roberts’ monumental works on the Middle East: The Holy Land and Egypt & Nubia, is considered the greatest lithographically illustrated works issued in the 19th century. Roberts’ masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and coloured and mounted on card. The prints were masterfully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlabored, with a masterly vigor and boldness which none but a painter like him could have transferred to stone’. Abbey regarded the work as òne of the most important and elaborate ventures of nineteenth-century publishing, and.the apotheosis of the tinted lithograph’. David Roberts was born in Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stonework and panelling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000 for the copyright of the sketches, and for his labour in supervising Louis Haghe’s lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order.

Thomas Charles Leeson Rowbotham (1823-1875) was an Irish painter and printmaker. 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). Richard Brinsley Sheridan (1751-1816) was an Irish satirical playwright and poet, who owned the London Theatre Royal, Drury Lane. Edwin Dalton Smith (1800-1866) was a British botanical painter, who also worked as an engraver and portraitist. Thomas Smith of Derby (1720-1767) was a British painter and draughtsman and the father of J.R. Smith. Charles Spooner (died 1767) was an Irish mezzotint engraver, who worked in London towards the end of his life. Before 1756, Spooner travelled to London, where he primarily worked on producing copies of plates by other engravers for Robert Sayer and Carington Bowles.

‘Spy’ or Sir Leslie Matthew Ward (1851 – 1922) was a British portrait artist and caricaturist who over four decades painted 1,325 portraits which were regularly published by Vanity Fair, under the pseudonyms “Spy” and “Drawl”. Such was his influence in the genre that all Vanity Fair caricatures are sometimes referred to as “Spy Cartoons” regardless of who the artist actually was. The portraits were produced as watercolours and turned into chromolithographs for publication in the magazine. These were then usually reproduced on better paper and sold as prints. Emanuel Sweert (1552-1612) was prefect of the gardens of the Emperor Rudolf II in Prague. His Florilegium was first printed in Frankfurt by Kempner in 1612 -1614. It was originally a sales catalogue for plants and bulbs from Sweert’s gardens, to be sold at fairs in Frankfurt and Amsterdam, but now these very attractive engravings are regarded as fine examples of 17th century botanical illustration and are much collected. Weld Taylor (fl. 1836-1852) was a British painter, draftsman and lithographer. 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.

Frances Vivares (1709 -1780) French printmaker and engraver and one of the main links between the French and British print trade in the eighteenth century. Born in S. Jean de Bruel de Rouergue his parents moved to Geneva in 1711. Vivares moved to London at the age of 18. His earliest known print is dated 1738. He is considered one of the greatest engravers of his time and was the main teacher of the British style of line engraving in France. William Frederick Wells (1762-1836) was a British painter, draughtsman, etcher, and drawing master based in London. He was the student of John James Barralet (1747-1815). Nathaniel Whittock (1791-1860) was lithographer to the University of Oxford. He was born in Oxford but moved to London in 1828. His nephew, Henry Hyde, was also an engraver. Reverend Joseph Wilkinson (1763-1831) was the rector of East and West Wretham, Norfolk and Chaplain to the Marquis of Huntley and an amateur draughtsman.

Sanders of Oxford

Antique Prints & Maps 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com