CATALOGUE OF RECENT ACQUISITIONS February 2015
Sanders of Oxford Antique Prints & Maps 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com
Contents. 17th & 18th Century engravings & etchings Pre-Raphaelite Caricatures & Satires General Interest:
1 - 36 37 - 41 42 - 56
Theatre, Music & Dance Classical and Mythological Science & Medical Heraldry & Historical Religious Trade Cards Transport Sports Botanical
57 - 60 61 - 63 64 - 67 68 - 69 70 - 77 78 79 - 80 81 82 - 87 88 - 94 95 -102 103 -106
British Topography Foreign Topography Frontispieces Portraits: British Royalty British Nobility Jacobite Artists & Engravers Explorers, Military & Naval Historians & Academics Literary & Poetic Religious & Clerical Scientific, Industrial & Medical
Maps Biographies. Engravers, Artists, Publishers.
107 - 120 121 - 129 130 - 132 133 - 140 141 - 147 148 - 150 151 - 158 159 - 164 165 - 170 171 - 200
17th & 18th Century engravings & etchings
1. The Four Seasons Wenceslaus Hollar Etching 1641 Images 220 x 171 mm, Sheets 245 x 174 mm unmounted Between 1641 and 1644 Hollar made no less than three sets of the seasons shown as women in fashionable dress, with anonymous erotic verses below. Although of vastly higher quality, they belong to the same class of print production as the sets of allegorical female figures by Glover and others. This is the earliest of the sets with Three Quarter length figures. (Text from Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat. 66)
Spring Pennington 610 ii/iv, Summer Pennington 611 ii/ii, Autumn Pennington 612 ii/ii, Winter Pennington 613 ii/ii. Condition: Good clean impressions, trimmed with thread margins on all sides, light stain from previous mounts to edges of sheets. Small manuscript repair to left margin of Winter. [36580] ÂŁ2,300
Wenceslaus Hollar Etching [London, Printed by Thomas Roycroft, for the Author, 1668] Image 245 x 196 mm, Plate 285 x 203 mm, Sheet 420 x 252 mm unmounted Signed and dated 1665 within the plate State ii of Fab:1 from Ogilby’s Æsopic’s or A second collection of Fables... Pennington 391 ii/ii. Condition: Time toning to edges of sheet and light creases to margins, not affecting image or plate. [36377] £120
2. Adoration of the Lamb Wenceslaus Hollar Etching 1672 Image and sheet 109 x 62 mm unmounted Illustration to A Manual of Prayers and Letanies. Pennington 208, New Hollstein 2145 (Hollar). Condition: Trimmed to image and laid to album page. [36447] £45
4. The Tiger and the Fox Wenceslaus Hollar Etching [London, Printed by Thomas Roycroft, for the Author, 1668] Image 247 x 192 mm, Plate 280 x 200 mm, Sheet 420 x 268 mm unmounted WH monogram within the plate. State i of Fab:37 from Ogilby’s Æsopic’s or A second collection of Fables... Pennington 406 i/ii Condition: Time toning to edges of sheet and light creases to margins, not affecting image or plate. [36378] £120 3. Juno and the Peacock
5. [Young girl with turned-back sleeves] Wenceslaus Hollar Etching 1635-6 Image and plate 67 x 54 mm, Sheet 70 x 57 mm mounted Plate 14 from Reisbüchlein (Little travel book). Bust portrait of an unidentified young girl, directed slightly to the right, and looking towards the viewer. The girls wears a dress with a broad lace-trimmed collar, with sleeves turned up to the elbows. Pennington 1661 ii/ii, New Hollstein 161 ii/ii Condition: Trimmed close to image. Glue residue on verso slightly visible through front of sheet. [36491] £175
An artist standing grinding pigments and painting on easel behind and left. With the Planche 69 inscribed in the upper right of the plate. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. Blum1107 , Duplessis 944 , Lothe 1055 [36703] £50
6. Différentes manières de dessiner et peindre (Different ways to draw and paint) Abraham Bosse Copper engraving Abraham Bosse, Paris, 1667, but 1740 Image130 x 83 mm, Plate 140 x 83 mm, Sheet 283 x 214 mm unmounted
7. Différentes manières de dessiner et peindre (Different ways to draw and paint) Abraham Bosse
Copper engraving Abraham Bosse, Paris, 1667, but 1740 Image 90 x 139 mm, Plate 92 x 141 mm, Sheet 283 x 214 mm unmounted An artist seated, drawing a portrait using a grid. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. Blum 1108 , Duplessis 945, Lothe 1007 [36707] £50
8. Différentes manières de dessiner et peindre (Different ways to draw and paint) Abraham Bosse Copper engraving Abraham Bosse, Paris, 1667, but 1740 Image 133 x 84 mm, Plate 140 x 87 mm, Sheet 283 x 214 mm unmounted An artist seated, holding a palette painting a Virgin and child. With the Planche 70 inscribed in the upper right of the plate. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. Blum 1109 , Duplessis 946, Lothe 1006 [36704] £50
9. Différentes manières de dessiner et peindre (Different ways to draw and paint) Abraham Bosse Copper engraving Abraham Bosse, Paris, 1667, but 1740 Image 128 x 86 mm, Plate 130 x 87 mm, Sheet 283 x 214 mm framed An artist seated, drawing a statue of a naked woman. With Pl 74 inscribed in the upper right of the plate indicating that it is a plate from from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître Duplessis 983 [36708] £45
10. Title page for Abraham Bosse’s La Pratique du Trait a preuves de Mr. Desargues our la coupe des pierres en L’architecture Abraham Bosse Copper engraving Par A. Bosse Graveur en taille douce, A Paris 1649. but later? Image and Plate 117 x 67 mm, Sheet 283 x 214 mm unmounted Title page for Abraham Bosse’s La Pratique du Trait a preuves de Mr. Desargues our la coupe des pierres en L’architecture. A bare chested woman stands in an architectural setting holding a piece of paper inscribed with La Pratique du Trait a preuves de M. Desargues our la coupe des pierres en L’architecture, measuring instruments at her feet. With the number 64 inscribed in the upper right of the image. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. Blum 206, Duplessis 356, Lothe 438 [36675] £50
11. Title page for Abraham Bosse’s Leçons Donnèes dans L’Academie Royale de la Peinture et Sculture Abraham Bosse Copper engraving Par A. Bosse Graveur en taille douce, A Paris 1665, but 1740 Image and Plate 142 x 92 mm, Sheet 283 x 214 mm unmounted Title page for Abraham Bosse’s Leçons Donnèes dans L’Academie Royale de la Peinture et Sculture With the number 61 inscribed in the upper right of the image. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître Blum , Duplessis , Lothe Condition: Paper split and reinforced on left plate mark. [36701] £50
12. Title page for Abraham Bosse’s Sentimens sur la Distinction des Manieres de Peinture, Dessin et graueures Abraham Bosse Copper engraving Par A. Bosse Graveur en taille douce, A Paris 1649. But 1740 Image and Plate 117 x 67 mm, Sheet 283 x 214 mm unmounted Title page for Abraham Bosse’s Sentimens sur la Distinction des Manieres de Peinture, Dessin et graueures. A seated woman representing Sculpture l and a woman standuing with a palette in her hand representing Painting look at a depciction of Minerva held by a winged putto. With the number Planche 77 inscribed in the upper right of the image. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. Blum 599, Duplessis 713, Lothe 734 [36674] £50
13. Title page for Maniere Universelle De Ml. Desargues pour practicquer la Perspective par petit pied Comme le Geometral. Abraham Bosse Copper engraving par A. Bosse graveur en taille douce. A Paris, 1647, avec privilege. But 1740 Image 142 x 95 mm, Plate 150 x 96 mm, Sheet 283 x 214 mm unmounted Title page for Abraham Bosse’s Maniere Universelle De Ml. Desargues pour practicquer la Perspective par petit pied Comme le Geometral. Two bare chested seated women lean against each other. The woman on the right holds a tablet with the word Perspectif inscribed on it, The woman on the left holda measuring instrument in her right hand, a sheet of paper inscribed with the word Geomtral lies at her feet. With the number 62 inscribed in the upper right of the image. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. Blum 424, Duplessis 553, Lothe 574 [36673] £50
14. Le Peintre Converty Abraham Bosse Copper engraving and stipple Paris, Abraham Bosse, 1667, but c. 1740 Image 142 x 95 mm, Plate 150 x 96 mm, Sheet 283 x 214 mm unmounted The frontispiece to Abraham Bosse’s Le Peintre converty aux Précises et Universelles règles son Art, Aves un Raisonnement abregé au sujet des Tableaux, Bas-Reliefs et autres Ornemens que l’on peut faire sur les ndiverses superficies des Bastimens....... In this book Bosse illustrates his theories and methods he used in his art. Plate number in upper right corner [36430] £50
15. Title page. Abraham Bosse Copper engraving Paris, Abraham Bosse, 1667, but c. 1740 Image 140 x 98 mm, Plate 145 x 98 mm, Sheet 283 x 214 mm unmounted From a set of 35 plates illustrating Bosse’s Moyen universel de practiquer la perspective sure les tableaux ou surfaces irreguliè, ensemble quelques particularites concernant cet art, et celuy de graveure en taille douce. A woman with crown on her head and a belt with numbers stands, a lion at her feet, holding a pair of compasses on a level. Another woman with wings in her hair sits holding a ruler and a palette. A genius holding a snake stand behind the woman. The inscription Pour Practiquer la Persoective sur les Surfaces Irregulieres, &c. With the number 63 inscribed in the upper right of the image. A plate from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. Blum 608, Duplessis 716, Lothe 737 [36665] £50
16. Corporis Humani Ossa Posteriori Facie Proposita Abraham Bosse after Vesalius Copper engraving Paris, 1667, but 1740 Image 134 x 79 mm, Plate 135 x 81 mm framed A copy in reverse of one of the plate from Andreas Vesalius’s De humani corporis fabrica. With Planche 41 inscribed in the upper right of the image. [36579] £100
17. Prima Musculorum Tabula Abraham Bosse after Vesalius Copper engraving Paris, 1667, but 1740 Image 134 x 79 mm, Plate 135 x 81 mm framed A copy in reverse of one of the plate from Andreas Vesalius’s De humani corporis fabrica. With Planche 36 inscribed in the upper right of the image. [36576] £100
18. Secunda Musculorum Tabula Abraham Bosse after Vesalius Copper engraving Paris, 1667, but 1740 Image 134 x 79 mm, Plate 135 x 81 mm framed A copy in reverse of one of the plate from Andreas Vesalius’s De humani corporis fabrica. With Planche 38 inscribed in the upper right of the image. [36577] £100
19. Secunda Musculorum Tabula Abraham Bosse after Vesalius Coppper engraving Paris, 1667, but 1740 Image 134 x 79 mm, Plate 135 x 81 mm framed A copy in reverse of one of the plate from Andreas Vesalius’s De humani corporis fabrica. With Planche 37 inscribed in the upper right of the image. [36578] £100
20. The Deep-One's Rib Mezzotint Printed for & Sold by Bowles & Carver, No. 69 St. Paul’s Church Yard, London. c. 1795 Image 135 x 111 mm, Plate 152 x 113 mm, Sheet 208 x 137 mm unmounted Within an oval, a woman sits upon a couch, wearing a feathered hat. Originally published by Carington Bowles. Chaloner Smith undescribed, BM Satires undescribed, Lennox-Boyd ii/ii. Condition: Excellent impression. Some light staining to margins, not affecting image. [36450] £165
21. The Singing Bird Mezzotint with hand colouring Printed for & Sold by Carington Bowles, at his Map & Print Warehouse, No. 69 in St. Pauls Church Yard, London. Publish’d as the Act directs 17 April 1781. Image 326 x 248 mm, Sheet 349 x 218 mm unmounted A lady seated on a sofa, holding a letter between her hands, looks up towards a caged bird to the right. Carrington Bowles Catalogue 1784 118/453, Carrington Bolwes Catalogue 1790 108/468 Condition: Trimmed within plate mark and laid to sheet of paper. Remnants of glue and paper along left side of sheet, effecting image. [36432] £165
22. [Thaïs] Francesco Bartolozzi after Sir Joshua Reynolds Stipple printed in colours c. 1792 Image 427 x 258 mm framed St. Thaïs, who reportedly lived during the fourth century in Roman Egypt, was a repentant prostitute. Here, she is shown full-length, walking forwards, with her right arm raised and holding a burning torch in her left hand. She is set against a background of classical buildings. A portrait of Miss Emily Potts (also known as Emily Warren, Emily Bertie, and Emily Coventry) was a courtesan who regularly modelled for Sir Joshua Reynolds, Romney and Dance. She accompanied Robert Pott, a friend of the artist William Hickey, to Bengal c 1778 but died there shortly afterwards on a voyage between Madras and Calcutta. Pott commissioned an ostentatious mausoleum in South Park Street cemetery in Calcutta, said to have cost him £3000. He also paid £1000 for a column to be'erected amonst the herds of tigers at Culpee, because at that jungly place she breathed her last'. De Vesme 1356 i/iv Condition: Good, clean impression. Framed in period frame. [36333] £450
23. [Bull] Carl Wilhelm Kolbe Etching c. 1796 Image 92 x 171 mm, Plate 104 x 172 mm, Sheet 111 x 181 mm unmounted Inscribed with artist’s initials within the plate. Number ‘3’ inscribed top right corner. Carl Wilhelm Kolbe (1757-1835) was a German painter, printmaker, and writer. Condition: Some faint staining and discolouration. [36494] £65
24. [Dog Running to the Right] Carl Wilhelm Kolbe Etching c. 1796 Image 63 x 151 mm, Plate 69 x 154 mm, Sheet 89 x 174 mm unmounted Inscribed with artist’s initials within the plate. Number ‘10’ inscribed top right corner. Carl Wilhelm Kolbe (1757-1835) was a German painter, printmaker, and writer. Condition: Some discolouration to margins. [36493] £65
25. Plate 1: God Creating the Earth and the Sky Cesare Fantetti after Raphael Etching Giovanni Giacomo de’Rossi, Rome, c. 1675 Image 181 x 318 mm, Plate 227 x 338 mm, Sheet 349 x 454 mm unmounted Inscribed below image with Latin text from Genesis 1, and numbered in bottom right corner. From Imagines veteris ac Novi Testamenti (Raphael’s Bible), which featured fifty-two engravings by Fantetti and Pietro Aquila (c. 1630-1692) after frescoes and paintings in the Vatican by Raphael. Condition: Laid to another sheet of paper. Heavy staining and discolouration to sheet. Part of inscription area torn, revealing sheet below. Tears repairs along right edge of sheet. [36439] £100
26. Plate 2: God Separating the Light from the Darkness Cesare Fantetti after Raphael Etching Giovanni Giacomo de’Rossi, Rome, c. 1675
Image 169 x 310 mm, Plate 192 x 312 mm, Sheet 349 x 461 mm unmounted Inscribed below image with Latin text from Genesis 1, and numbered in bottom right corner. From Imagines veteris ac Novi Testamenti (Raphael’s Bible), which featured fifty-two engravings by Fantetti and Pietro Aquila (c. 1630-1692) after frescoes and paintings in the Vatican by Raphael. Condition: Laid to another sheet of paper. Heavy staining and discolouration to sheet. [36440] £100
27. Plate 3: God Creating the Sun and Moon Cesare Fantetti after Raphael Etching Giovanni Giacomo de’Rossi, Rome, c. 1675 Image 177 x 319 mm, Plate 227 x 338 mm, Sheet 349 x 461 mm unmounted Inscribed below image with Latin text from Genesis 1, and numbered in bottom right corner. From Imagines veteris ac Novi Testamenti (Raphael’s Bible), which featured fifty-two engravings by Fantetti and Pietro Aquila (c. 1630-1692) after frescoes and paintings in the Vatican by Raphael. Condition: Laid to another sheet of paper. Heavy staining and discolouration to sheet. [36441] £100
28. Plate 4: The Creation of Animals Cesare Fantetti after Raphael Etching Giovanni Giacomo de’Rossi, Rome, c. 1675 Image 177 x 308 mm, Plate 193 x 309 mm, Sheet 349 x 462 mm unmounted Inscribed below image with Latin text from Genesis 1, and numbered in bottom right corner. From Imagines veteris ac Novi Testamenti (Raphael’s Bible), which featured fifty-two engravings by Fantetti and Pietro Aquila (c. 1630-1692) after frescoes and paintings in the Vatican by Raphael. Condition: Laid to another sheet of paper. Heavy staining and discolouration to sheet. [36442] £120
29. [A nymph with two satyrs] Cornelis Schut Etching [n.d. c.1630] Image 75 x 96 mm, Sheet 78 x 100 mm unmounted Hollstein 126 Condition: Laid to album page. [36381] £120
classical building is seen to the right of the image, with a garden, enclosed by a balustrade with a sphinx, just in front. Condition: Trimmed within plate mark, small loss bottom right corner of sheet. [36460] £50
30. [Diana and Actaeon] Cornelis Schut Etching [n.d. c.1630] Image & Plate 88 x 74 mm, Sheet 92 x 77 mm unmounted Hollstein 112 Condition: Laid to album page. [36380] £120
31. [Classical Garden] Francis Vivares Etching [Robert Pollard, c. 1797] Image 123 x 188 mm, Sheet 137 x 200 mm unmounted Plate 3 from a set of at least 6. In the collection of the British Museum is a copy of the first plate from the series, upon which an inscription states that the series was published by Robert Pollard on March 30th, 1797. Slightly to the left of the image is a monumental plinth, decorated with a bust portrait and inscription, in front of which stands three figures. A circular
32. [Formal Garden] Francis Vivares Etching [Robert Pollard, c. 1797] Image 123 x 188 mm, Sheet 137 x 200 mm unmounted Plate 2 from a set of at least 6. In the collection of the British Museum is a copy of the first plate from the series, upon which an inscription states that the series was published by Robert Pollard on March 30th, 1797. To the left of the image, a two-storey classical building is depicted with a woman leaning upon the parapet. A park with a long rectangular lake, bordered by lines of trees, is shown to the right of the image, and trails into the background. On the water is a figure in a small boat, and to the left of the water is a couple walking a dog. Condition: Trimmed within plate mark. [36459] £50
[London, Printed by Thomas Roycroft, for the Author, 1668] Image 248 x 181 mm, Plate 255 x 187 mm, Sheet 330 x 238 mm unmounted Inscribed with artist and engravers names and dated 1668 within the plate State ii of Fab:14 from Ogilby’s Æsopic’s or A second collection of Fables... [36379] £95
33. 2 [Landscape with castle] Gabriel Perrelle Etching P.Mariette fils ex. c.1650 Image 82 x 185 mm, Plate 91 x 110 mm, Sheet 120 x 137 mm unmounted Plate 2 from an unidentified series. Two silhouetted figures look out across a lake with trees either side and an arched bridge and castle in the background. 77 inscribed in upper right of plate. [36641] £45
35. [Study of Cupid] Stefano della Bella Etching Jacques van Merle, c. 1646 Image 64 x 48 mm, Plate 83 x 62 mm, Sheet 126 x 105 mm unmounted Inscribed below image ‘SDB. fec.’ From Diverses figures et griffonnemens. A Series of 23 studies, unnumbered and of varying shapes and sizes. Half-length study of Cupid set within an oval. Leaning against a stone block, with his wings resting upon the top, Cupid faces right, holding a bow in his left hand. De Vesme/Massar 472. [36492] £150 34. The Lyon and the Kid Richard Gaywood after Francis Barlow Etching
Pre-Raphaelite
36. [The Goddess of Discord] Thomas Abiel Prior after Joseph Mallord William Turner Steel engraving D. Appleton, New York, c. 1880 Image 183 x 264 mm, Sheet 195 x 279 mm unmounted Proof before artists and engravers names. Set within the Garden of the Hesperides, several women are seen tending the golden apple trees. To the right, the Goddess of Discord, Eris, is shown picking an apple. The same apple was later awarded to Aphrodite by Paris, which set the events leading to the Trojan War in motion. Upon a cliff top in the background is the serpent-like dragon Ladon guarding the Garden of the Hesperides. Ladon is later killed by Hercules during the completion of his Eleventh Labour. Condition: Trimmed. [36347] £130
37. The Mirror of Venus after Edward Burne-Jones Photogravure London J.S. Vertue & Co. Limited Image 151 x 257 mm, Sheet 248 x 323 mm mounted From the Art Journal. The Art Journal originally opposed the emerging PreRaphaelite Brotherhood, with its articles attacking the the movement and its supporter, John Ruskin. When the editor, Samuel Carter Hall, retired in 1880, the Art Journal changed its stance. In the latter half of the nineteenth-century, the idea that art should be a separate entity to literature was gaining force. It was at this time when the rhetoric of art for art’s sake was most fiercely debated, and artists such as Rossetti replaced previously literary titles with simple designations. In the Mirror of Venus, not only is the quattrocento evoked, but so too are Burne-Jones’ philhellenistic tastes as the figures in the work wear classical garments, and appear in a linear frieze-like manner of Grecian manner. The title, however, is somewhat deceptive. Though Burne-Jones was an extensive reader of Classics, the scene conjured in this work is an imaginary one. As in The Golden Stairs (catalogue no. ), the artist’s interests look as if they lie in the investigation of mood as opposed to the display of a narrative. The wistful, oneiric girls, a huge influence to artists such as Marie Spartali, may just have been an exaltation of ideal beauty; as alluded to in the title. Condition: A few faint marks to margins. [36679] £80
38. The Annunciation after Edward Burne-Jones Photogravure London J.S. Vertue & Co. Limited Image 211 x 182 mm, Sheet 321 x 244 mm mounted From the Art Journal. Condition: Fading and rubbing to margins, with end of title also faded. [36680] £75
39. The Garden of the Hesperides. Caswall Smith after Edward Coley Burne-Jones Photogravure The Art Journal, London, H. Virtue & Co. Ltd. c.1895 Image 230 x 180 mm, Plate 285 x 203 mm, Sheet 329 x 250 mm mounted From The Art Journal. Inscription beneath title reads: From the original Picture in the possession of Colonel H. Jekyll. Edward Burne-Jones’ The Garden of Hesperides demonstrates the affection that the artist held for mythological subjects and classical forms. The print represents the three daughters of Hesperis who were tasked to guard the garden from which the golden apples of Hera grew. It was a theme that Burne-Jones revisited on a number of occasions. [36671] £120
40. Under the Roof of Blue Ionian Weather after Sir Lawrence Alma-Tadema Photogravure with hand colour Copyright 1901 by Messrs Arthur Tooth, & Sons Publishers, 5 & 6 Haymarket, London, 41 Boulevard des Capucines, Paris, 299 Fifth Avenue, New York, and Messrs Stiefbold & Co, Berlin. Printed in Munich. Image 346 x 832 mm framed in original frame Printed signature. Condition: Good, clean impression. Rudolph Ackermann’s label on back of original frame. [36334] £1,500
Circe is a mythological figure who features in Homer’s Odyssey. According to the epic poem, she resides over the island of Aeaea, and turns six members of Odysseus’ crew into pigs after offering them wine. In Waterhouse’s work, Circe proffers the potion to Odysseus, though he has been warned of her treachery by Eurylochus, and the Olympian, Hermes. She holds a goblet in her right hand, and a wand in her left, which she raises above her head. Odysseus’ reflection appears behind her. The circular mirror, like the femme fatale, was a themw often employed by the Pre-Raphaelites. It was used in Holman Hunt’s ‘Lady of Shalott,’ 1850, as well as Ford Madox Brown’s ‘Take Your Son, Sir,’ 1851, and is believed to have derived from Jan Van Eyck’s ‘Arnolfini Portrait,’ 1434. In addition to the image of Odysseus, the penteconter with which they reached the island appears in reflection, as do the pigs: one the bottom left, another skulks behind Circe’s thrown, whilst a third lies on the floor. [36672] £150
41. Circe James Dobie after John William Waterhouse Etching Published by The Magazine of Art. c.1892 Image 225 x 140 mm, Plate 255 x 155 mm, Sheet 302 x 225 mm mounted Inscribed below title (By permission of Charles E.Lees Esq) Pre-Raphaelitism was a fiercely innovative movement, and one of the many means by which they rebelled against orthodoxy was in their treatment of femininity. Though the Victorian era was a repressive society for women to exist in, they were well represented by the Pre-Raphaelite’s; be it in historical guises on the canvases, or as practitioners of the work itself. It may be slightly reductive, but these representations could often be seperated into two groups: the virtuous woman and the femme fatale. It is the latter which Waterhouse depicts in Circe. The strong, enchanting female is a theme which ocurrs throughout the Pre-Raphaelite ouevre. Rossetti painted Lady Lillith and Holman Hunt drew Lady Godiva. Burne-Jones represented Sidonia Von Borcke, whilst George Frederick Watts depicted The Fata Morgana.
Caricatures & Satires
42. N.N. Theatralium Medicastrorum iocosisimus Pieter Schenk after Cornelis Dusart Mezzotint Pieter Schenk, Amsterdam, c. 1675 - 1719 Image 232 x 176 mm, Plate 246 x 178 mm, Sheet 248 x 181 mm framed A rare mezzotint depicting an acrobat, wearing a grotesque outfit, balancing on a ladder on stage. Hollstein 467. Condition: Trimmed close to plate mark, with some faint foxing along bottom edge of image. [36332] ÂŁ500
43. The Anatomist Thomas Rowlandson Etching with original hand colouring Pubd March 12 1811 by Thos Tegg No 111 Cheapside. Image 314 x 230 mm, Sheet 330 x 231 mm unmounted One of Rowlandson’s great medical caricatures. An aged surgeon leans over a bag of instruments on a table, selecting a knife; he wears an old-fashioned wig, hat, coat, &c. A pretty girl seizes him by the arm; she shouts at him, pointing behind her to his subject, a young man lying on a trestle-table, fully dressed and apparently in perfect health, who has just wakened, horrified. In an open cupboard stands a skeleton. On the wall is a notice: 'A Course of Anatomical Lectures accompanied with Dissections will be delivered tommorrow Even[ing] by Professer Sawbone. (Description from M. Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', IX, 1949)
BM Satires 11800 Condition: Trimmed to printed boarder and below title. [36390] ÂŁ400
44. Tegg’s Caricatures No 53 : College Pranks, or Crabbed Fellows Taught to Caper on the Slack Rope. Thomas Rowlandson Etching with original hand colouring Thos. Tegg No. 111 Cheapside [28 January 1811] Sheet 256 x 350 mm unmounted Two elderly fat academic fall over a rope held by two groups of undergraduates in an aisle of a Gothic church. A young woman is pulling the rope with the group on the right. Two students brandish whips, one is firinga water squirt and another lets of a squib. On the floor is a stone or brass with a mitre and crosier inscribed 'Here Lies the Body of Bishop Blear eyes’. With the text Price One Shilling Coloured and publication line absent. BM Satires 11781 Condition: Trimmed within the platemark top and sides. Repaired corner upper right, not affecting the image. [36301] £360
45. A Milk Sop. Thomas Rowlandson Etching with original hand colouring Thomas Tegg, London , c. 1811 Plate 350 x 248 mm, Sheet 352 x 253 mm unmounted A student leans out of a window in a University building to kiss a milk maid. The woman is carrying milk pails one of which has two infants in it and the other full of milk. A dog laps up the milk while the woman is distracted by the student. An grotesque elderly professor looks on from a doorway in the foreground. Numbered 125, Price One Shilling Coloured Publication line is absent BM Satires 11784 [36302] £400
BM Satires 2486 Condition: Horizontal and vertical creases. A few small holes. [36412] ÂŁ300
46. The Acquital. Copper engraving Printed for T. Cooper, at the Globe, in PaternosterRow, 1741. Publish’d according to Act of Parliment. Price Six-Pence. Image 182 x 287 mm Plate 205 x 300 mm, Sheet 315 x 373 mm mounted A satire on the ineffectual opposition at the time of the parliamentary motion to remove Robert Walpole from office suggesting that they are motivated by self-interest. Walpole stands in a landscape assailed by arrows labelled "Ambition", "Want of Place", "Disappointment", "Self Interest", "Sham Patriotism", "affected Zeal", "Resentment", "Malice", "Prejudice", "Revenge", "Disaffection", "Want of Pension", and "Pique"; none of the arrows hit their mark. On the left opposition politicians with their bows stand or run away. They are identified in the verses beneath: Carteret, Argyll, the Bishop of Lichfield fallen to the ground saying "The D[evi]l owed me a Spite", Sandys crying "all mismanaged", Doddington, Lyttelton, Pulteney saying, "Z[ound]s I've mist him"; in the foreground, the tory William Shippen kneels laying down his bow and saying "I'll e'en not meddle"; a group of tories rushing away to left cry, "Let us make hast out"; the devil flies above them in the form of a winged pig, crying "yah! yah! yah!". In the background three men labour in vain to push a millstone up a hill twoards where another waits to receive it. On the right a group of Walpole's supporters mock the opposition, noting particularly the collapse of the Bishop Smalbroke, "Split Devil is down". Fifteen explanatory stanzas below, each ending with the chorus, "Doodle, &c."
47. The Bull Over-Drove: or the Drivers in Danger Etching London Published as the Act directs Feby 21, 1780, by I. Harris, Sweetings Alley Cornhill. Image 199 x 327 mm, Plate 250 x 350 mm, Sheet 277 x 374 mm mounted Beneath the design is engraved: "The State Drovers to madness, had drove the poor Bull, Their Goads and their Tethers no longer can rule, He Snorts Kicks and Tramples among the curst rout, Who fall by his Jury or Stagger about. O! may all such Drovers thus meet with their Fate, Who Hamper, and Gall so, the Bull of the State, May his Terror, thus fill them with fear, and dismay, While the People all Chearfully Cry out, Huzza!" In addition to the American Revolution, domestic policies were also causing conflict bringing the country close to civil war. This satire shows that the English Bull must and can be revived. This print suggests that the bull kick out the unpopular politicians: North, Sandwich, and Germain, a suggestion applauded by the crowds behind. The allies French, Spain, and America view this suggestion with dismay as a reinvigorated Britain would lead to their defeat. A bull tramples body of a drover who holds a long spiked staff, whose words, "O! I'm as dead as Miss Ray", show that he is intended for Sandwich. The bull is kicking violently towards the other drovers, the foremost of whom, Lord North, leaning back, with a large rent in his waistcoat, says, "He has
Kick'd the Treasury of my Guts out". Behind him is another minister, Lord George Germain, wearing a ribbon (incorrectly), he says "This is worse than the Battle of Minden" . Behind spectators, a sailor and three other men, wave their hats, shouting "Huzza". In front of the bull are figures representing France, America (as a Red Indian), and Spain. France says "By Gar, my friend America I must leave you, dis Bull vilplay le Diable". America says, "I fear Monsieur I shall get little by your Friendship". Spain says, "I wish I was safe out of his way", he beats the Bulls of Spain.
[36413] £500
(Description and comment from M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', V, 1935)
BM Satires 5640 a companion to BM Satires 5636, Dolmetsch 56. Ref: Dolmetsch, Jane. Rebellion and Revolution: Satirical Prints on the Revolution at Willaimsburg. Colonial Willaimsburg, 1976 Condition: Album backing on verso and some areas of paper thinning. [36455] £350
49. A Celebrated Performer in the Philharmonic
48. Qualifying for a Campain. Etching London, printed for R. Sayer 7 J. Bennett Mao & Printsellers No. 53 Fleet Street, as the Act directs 4 June 1777. Image 217 x 349 mm, Plate 249 x 362 mm, Sheet 274 x 390 mm unmounted An uncommon caricature depicting British soldiers attempting to prove their worth in a military academy playing childish games, a comment on the performance of the soldiers already fighting in America. The British misfortunes in the war were blamed on the quality of their troops. A map of the Seat of War in North America hangs in the background. Cresswell, American Revolution, 710
Society after George Cruikshank Etching with hand colouring c. 1818 Image and sheet 280 x 196 mm unmounted Full-length portrait of a violinist whose face is covered by the violin which he plays. The positioning of the violin gives the impression of facial features, with the sound-holes forming the eyes and nose. Emerging from each side of the violin is hair. To the left of the figure, a music-stand is partially shown. The figure has been identified as Paolo Spagnoletti (1768-1834). Spagnoletti was a violinist, and was born in Cremona, Italy. In 1799, he played his own Gran Concerto' at Dury Lane. He also lead the orchestra at the King's Theatre Opera for nearly 30 years, and was one of the first Associates of the Philharmonic Society, which was founded in 1813. There were a number of copies produced of Cruikshank’s caricature, some of which hold such a likeness to the original that it is difficult to distinguish between the original and the copy. Copy of BM Satires 13085 Condition: Laid to album page, and heavily trimmed, with corners missing. Damage from glue visible through sheet in corners. Top half of sheet
heavily discoloured, and small tear to inscription space. [36521] £85
50. Il fait bon pescher en eau trouble Jacques Lagniet Etching Recueil des Plus Illustres Proverbes, Divises en Trois Livres [Paris, 1657] Image 193 x 162mm, Sheet 198 x 167mm unmounted Number 26 from ‘A Collection of the Most Famous Proverbs, Divided into Three Books.’ This plate appears in the second volume, ‘Proverbs of Mirth and Wit.’ A fisherman in French habiliment sits under a tree by the shore of a large lake or river. On the end of his fishing rod, baited with carrots, he has hooked a Dutchman, perhaps a victim of the shipwreck happening in the background. The scene is heavily captioned, and includes a four line poem, exploring the popular aphorism that ‘il fait bon pescher en eau trouble,’or ‘troubled waters make for good fishing.’ The subject matter and identification of the figures in this scene are likely a topical political statement. In 1657, the year this print was published, France allied with Protectorate England against Spain. The conclusion of the Anglo-Dutch War turned Cromwell’s attention to Spain, and the Spanish Netherlands became a major arena for naval actions. The carrots that the Frenchman uses as his bait had become synonymous during the 17th Century with the Dutch, due to the selective propagation of orange
carrots to match the Dutch flag and the House of Orange. [35401] £120
51. [An Edinburgh Auction] John Kay Etching 1785 Image 85 x 163 mm, Plate 88 x 164 mm, Sheet 94 x 167 mm mounted William Martin, a well known Edinburgh bookseller, grinning broadly, stands in his rostrum, holding up a print (a portrait of a bearded man); in his right hand is his hammer. Beneath him is a sea of raised heads. BM Satires 6844 Condition: Trimmed to plate to top and sides not affecting image, diagonal crease to top of sheet, tipped to album page. [36382] £100
52. Demonstraition or Cause & Effect. John Kay Etching 1817 Image 150 x 98 mm, Sheet 175 x 104 mm unmounted Full-length profile portrait of a stout man, facing left, dressed in dark suit with a frilled cravat, fob, and tall black hat. Holding a scroll in his left hand, the man gestures forwards with his right. Condition: Trimmed within plate mark. Damage from glue residue on back visible through front, encroaching into image and title area. Discolouration to sheet. [36452] ÂŁ35
53. The Green Stall Matthew Darly Coper engraving [Pub. by M Darly. 39 Strand July 11 1777] Image 310 x 224 mm unmounted An uncommon print. The head of a young woman in profile is the foundation of a monstrous inverted pyramid of hair
decorated with vegetables, carrots preponderating. On the top are heaped a large bundle of asparagus, a set of scales in one bowl of which are potatoes, a bunch of herbs (taking the place of the ostrich feathers of fashion), a cabbage, turnips, &c. Large carrots take the place of the large curls then worn flanking the coiffure; three bunches of carrots are the main decoration of the surface of the hair, on which are also a cabbage and clusters of leaves (or lettuces). Trails of pea-pods hang from the top of the head-dress after the manner of the lace lappets and ribbons then worn. Description and comment from M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', V, 1935
BM Satires 5449. A companion print to BM Satires 5442, 5448. Condition: Trimmed to the image and around title. Light staining to top left of image. [36383] ÂŁ220
54. A riding into Brentford. T. Stayner after John Collet Copper engraving Printed for R. Sayer, No. 53, Fleet Street, Jno. Smith, No. 35 Cheapside, as the Act directs June 10, 1768 Image 233 x 342 mm, Sheet 252 x 354 mm unmounted A satire of a man on horseback, with a pamphlet in his pocket which reads: Rules for Bad Horsemen. The horse looks at two men on of which hold a cabbage leaf. Next to the men stands a Donkey eating a cabbage. In the background two horsemen come out of a doorway of a building on which a notice is pasted reads: Various Feats of Horsemanship Performed this Evening By the famous Sampson. BM Satires 4259
Condition: Small paper loss and silver fish damage upper left, two worm holes left hand side and small repaired tear, grease stain lower left corner, worm hole in image lower right, writing in biro on verso. Trimmed within the plate. [36436] £150
55. The Easter hunt at Epping Forest James Bretherton after Henry William Bunbury Etching Published March 1, 1799, by J. Harris, No. 3, Sweetings Alley, Cornhill, London. Image 450 x 1335 mm, Sheet 504 x 1350 mm unmounted A scarce large scale satire of the much parodied Hunt at Epping Forest, also refereed to as ‘The Cocknies Hunt’. This impressive caricature features a man and woman in a carriage and riders galloping in various states of control of their horses and donkeys. Onlookers view from a platform in the background as the hunt passes a sign ‘The Bald Stag / Good Entertainment & c’ and a pub sign for ‘The Old Green Man’. The same image also appears on smaller scale, published as two separate prints: The Easter Hunt at Epping Forest Plate First & Plate Second by Henry William Bunbury. Not in BM Satires. Condition: Printed on three sheets and joined, middle sheet split in centre and joined, left sheet split horizontally and joined, pressed vertical folds. Image and sheet stained, repaired tears to edges of sheet. [36524] £700
56. One Sided Free Trade. Phase 2. Tom Merry [William Mecham] Lithograph with hand colouring St. Stephen’s Review Presentation Cartoon, Feby 20th 1886. Image 316 x 490 mm, Sheet 369 x 540 mm unmounted From The St Stephen's Review. An anti-trade cartoon depicting a half-skeleton halfwoman figure in the centre. To the right of the image, the Italians, Germans and Americans are shown flourishing and celebrating due to trade. To the left of the image, however, the negative impact upon other societies is shown, with men rioting in the streets. Condition: Repaired tear to top of sheet along centre fold. Some creasing to corners and edges, and some discolouration to margins. Centre fold as issued. [36483] £65
57. Rosette et le Docteur Claude Duflos Copper engraving Chez Duflos [Paris, n.d. ] c. 1730 Image 90 x 72 mm, Plate 111 x 79 mm unmounted The characters of Columbina and Pantelone in an oval with the inscription below: Apeine elle arrive d’Ialie, Que sure la Scêne on la voit triompher: C’est un petit protée éleve de Thalie, Tout Docteur que je suis j’ay beau philosopher, Elle triomphe encor de ma philosophie. Claude Duflos (1665-1727) [36530] £60
General Interest Theatre, Music & Dance
58. New Musical Fund. Julius Ibbetson after John Thornwaite Copper engraving c. 1792-1797 Image 230 x 135 mm, Sheet 250 x 179 mm A printed ticket for the New Musical Fund. Apollo stands on a cloud holding his lyre, with a pipe organ behind him. He pours coins from a purse into the apron of a woman with children either side of her standing before him; behind her a group of musicians stands holding their instruments. All in oval with musical ornaments at top and drapery with inscription Condition: Trimmed. Tops of the letters of text can be seen, presumably these would have been the details of the concert this ticket was printed for. Overall surface dirt. [36410] £40
59. Lucile Grahn in Monsr. Perrot's Ballet of Catarina, ou la Fille du Bandit. J. Brandard Lithograph with original hand colouring London, Published April 21st, 1846, by Messrs. Fores, 41, Piccadilly corner of Sakcville Street. Printed by M. & N. Hanhart. Image 401 x 276 mm, Sheet 518 x 361 mm unmounted Facsimile signature of Lucile Grahn. Lucile Alexia Grahn-Young (1819 - 1907) was the first internationally renowned Danish ballerina, and one of the most popular dancers of the Romantic ballet era. Here, Grahn is depicted in her lead role in Catarina, ou La Fille du Bandit. The ballet was inspired by an alleged incident between the Italian painter Salvatore Rosa and Brigands of the Abruzzi. It was choreographed by Jules Perrot, and the music was produced by Cesrae Pugni. In 1846, the ballet was first presented by the Ballet of Her Majesty’s Theatre. Catarina is generally regarded as the great triumphs of the choreographer Jules Perrot, the Ballerina Lucile Grahn, and the composer Cesare Pugni. Beaumont, The Romantic Ballet 4; Binney, The Glories of the Romantic Ballet 60 Condition: Foxing to margins, slightly encroaching into image space at top. [36699] £900
60. Flora Fabbri as Mazourka in the Ballet of the Devil to Pay John Brandard after James Warren Child Lithograph with original hand colouring London, Published February 10th, 1846, by Messrs. Fores, 41, Piccadilly, corner of Sackville Street Image 404 x 276 mm, Sheet 458 x 306 mm unmounted Facsimile signature of Flora Fabbri. In 1845, Flora Fabbri made her London debut in the ballet The Devil to Pay (Le Diable Ă quatre). Depicted as the peasant Mazourka, she dances outside the cottage she shares with her basketmaker husband, with the Polish countryside in the background. Fabbri was an immediate success, with the posy and wreath depicted on the floor acting as symbols of the tributes thrown by the audience at the end of a performance. Fabbri is shown dancing on pointe. This act was first recorded in the 1820s, but as an acrobatic trick, and it was not until the 1830s that it became an essential element of ballet. Whilst the modern pointe shoe is reinforced with a flat, block toe, this did not develop until much later in the 19th century. Before this, pointe shoes only gave a small amount of support, stiffening only from a little darning at the back of the toes. Beaumont, The Romantic Ballet 54 Condition: Slightly trimmed, and some light discolouration to margins. Crease to bottom of sheet, slightly encroaching into image. Glue and paper residue to top left corner, not effecting image. [36698] ÂŁ900
Classical and Mythological
62. [Apotheosis of Homer] William Thomas Annis Mezzotint and Etching c. 1805 Image 251 x 203 mm, Sheet 261 x 204 mm unmounted Illustration of the ancient marble relief Apotheosis of Homer, created by Archelaos of Priene. The relief was discovered in the mid-seventeenth century near ancient Bovillae, central Itlay. Housed in the Palazzo Colonna in Rome until 1805, the relief then came to London. In 1819, the British Museum acquired it. Condition: Trimmed within the plate. [36457] £180
61. Venus Henry Richter after Giovanni Battista Cipriani Stipple c. 1820s Image 242 x 115 mm, Sheet 310 x 189 mm unmounted Inscription reads: ‘Designed by G. B. Cipriani, & Engraved by Henry Richter.’ Condition: Trimmed within the plate mark [36434] £80
63. Solon [ Les Sept sages de la Grèce] Jean Couvay and Abraham Bosse after Claude Vignon Coper engraving [Pierre Mariette I, c.1640] Image 350 x 214 mm, Sheet 356 x 219 mm unmounted Inscription in two columns either side of title reads: ‘Je veux qu’on ayt cherché sur la terre & sur londe / De quoy rendre Croesus le plus heureux de monde / Qu’il ayt cucore plus qu’il n’auoit souhaitté. Que des plus puissants Roys il attire l’enuie; / Si sa mort n’est heureuse aussy bien que sa vie, / Je doute justement de sa felicite’.’
Solon, standing full-length in the foreground, holding a skull with his left arm; vases and coins at his feet; in the background, at right, Croesus showing his riches to Solon. From a series of seven plates representing the Seven Wise Men of Greece. The plates were engraved by Couvay (figures) and Bosse (background). Traditionally, each of the seven sages represents an aspect of worldly wisdom which is summarised by an aphorism. "Keep everything with moderation." Solon of Athens (c. 638 – 558 BC) was a famous legislator and reformer from Athens, framing the laws that shaped the Athenian democracy. Lothe 101, Duplessis 1461, Blum 1466, IFF 66 (Couvay). Condition: Trimmed within the plate, creases to sheet, small tears and stains to inscription space. [36584] £80
From Johann Jakob Scheuchzer’s Geestelijke Natuurkunde (Sacred Physics). Illustration to Genesis 7.21-23, the point in which all life is destroyed. Three panoramas of mountain ranges with the peaks labelled From Alp, Gross Axenberg, Klein Axenberg, Kolm, Auf der Werch, Seelisberg illustrating geological strata. Title below image in Latin and German. Condition: Trimmed within plate mark. [36467] £45
Science & Medical
65. Tab. LI. Johannus Augustus Corvinus Copper engraving c. 1731 Image 298 x 188 mm, Sheet 304 x 191 mm unmounted From Johann Jakob Scheuchzer’s Geestelijke Natuurkunde (Sacred Physics). Condition: Trimmed to image [36469] £45 64. Cataclysmi Reliquia Johannus Augustus Corvinus Copper engraving c. 1731 Image 254 x 181 mm, Sheet 302 x 185 mm unmounted
66. Tab. LII. Johannus Augustus Corvinus Copper engraving c. 1731 Image 296 x 183 mm, Sheet 302 x 186 mm unmounted From Johann Jakob Scheuchzer’s Geestelijke Natuurkunde (Sacred Physics). Condition: Trimmed to image [36468] £45
67. In the Collection of Dr. Lettsom. William Granger and James Caulfield Steel engraving Pub. by Alexr. Hogg, & Co. March 1, 1807 Sheet 193 x 114mm unmounted An illustration from Volume 5, Page 2556 of William Granger and James Caulfield’s The New Wonderful Museum and Extraordinary Magazine: being a complete repository of All the Wonders, Curiosities, and Rarities of Nature and Art, from the Beginning of the World to the Present Year 1807. The plate provides an illustration of two of the choice curios in the collection of the British doctor and philanthropist, John Coakley Lettsom (1744-1815). On the left is the ‘Thigh Bone of the Mammoth, the Largest Ever Seen,’ measured and labelled as ‘41 Inches long.’ On the right, disproportionate in scale to the representation of the bone, is the ‘Portrait of a Lady near Oporto, at 19 Yrs. of Age, Only 26 Inches high.’ Condition: Stain at bottom of sheet, small tear from bottom edge. Roughly trimmed on left and bottom edge. [35404] £50
Heraldry & Historical
68. Heraldry John Chapman after Henry Corbould Stipple with original hand colouring c. 1820 Image 230 x 180 mm, Sheet 273 x 203 mm unmounted Condition: Trimmed, with majority of publication line missing, and heavy staining to bottom left corner. [36471] £60
69. Chronological Tree of Scottish History W. & J. O. Clerk after H. Innes Lithograph Published for the Proprietors by W. & J. O Clerk, Lithographers, 202 High Holborn. [n.d. c.1832] Image 477 x 408 mm Sheet 540 x 429 mm mounted Inscription below title reads: Is Dedicated to His Grace the Duke of Buccleugh (Buccleuch ) & Queensberry, By His Grace’s obedient humble Servant Henry Innes, Lecturer on English Literature. A rare large lithograph of a vast tree inscribed with the names of key individuals and historical events in the history of Scotland. A panorama of Edinburgh from the North West in the back left and the Field of Bannockburn with a stone labelled ‘Bruce’ (Robert I, Robert the Bruce) and Sterling Castle in the background to the right. Condition: Several tear repairs, creases. [36511] £400
Religious
70. Confidite, Ego Vici Mundum Gilles Rousselet after Jacques Stella Coper engraving c. 1647 Image 419 x 264 mm, Sheet 430 x 265 mm unmounted Christ stands upon a globe with a serpent reaching for an apple under his feat. The globe in turn crushing the figures of a horned Satan and a representation of vanity. Cherub heads adorn the top corners of the image. Condition: Trimmed and laid to album page, manuscript numbers in bottom left corner of sheet. [36586] £120
71. Juxta Exemplar in Ædibus Prænobilis Jacobi Comitis Derby apud Knonseley Hamlet Winstanley after Guido Reni Etching 1728 Image 290 x 329 mm, Sheet 315 x 340 mm unmounted From a series titled Knowsley Gallery. Adam and Eve, to the left of the image, are shown as they are chased from Paradise by a winged angel Michael. Brandishing a large sword in its left hand, the angel points towards the disgraced couple with its right. Both Adam and Eve, naked except for a garland of leaves, turn their heads back towards the angel as they flee. An indication of a landscape with trees is given in the background, and the foreground features a snake slithering beside Adam and Eve’s feet. Le Blanc 5, Lennox-Boyd i/i, Ex.Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to plate mark, spotting across sheet. [36458] £150
72. Marcus Curtius Henry Le Keux after John Martin Steel engarving Pub. by R.Ackermann. London, 1829. Image 66 x 101 mm, Sheet 106 x 159 mm unmounted An unusual gold printing on card of the image published in Forget-Me-Not, 1829. The Forget-Me-Not was an illustrated annual published by Rudolph Ackermann. This was the first literary annual in English and it was edited by Frederic Shoberl from its launch in 1822, until its denoument in 1847. The annual contained twelve engravings to commemorate each month. It also displayed a historical review of the previous year, the recent census, a family tree for the monarchy of Britain and a list of sovereign families and ambassadors for other kingdoms. Martin portrays an Apocalyptic view of Rome with crowds surrounding the chasm opened in the Forum into which the legendary Roman leaps on the back of a white horse. Condition: Surface abrasion in bottom margin, not affecting image. [36582] £65
73. The Seventh Plague of Egypt Henry Le Keux after John Martin Steel engarving Pub. by R.Ackermann. London, 1828. Image 65 x 99 mm, Sheet 110 x 165 mm unmounted An unusual gold printing on card of the image published in Forget-Me-Not, 1828. The Forget-Me-Not was an illustrated annual published by Rudolph Ackermann. This was the first literary annual in English and it was edited by Frederic Shoberl from its launch in 1822, until its denoument in 1847. The annual contained twelve engravings to commemorate each month. It also displayed a historical review of the previous year, the recent census, a family tree for the monarchy of Britain and a list of sovereign families and ambassadors for other kingdoms. Martin’s portrayal of The Seventh Plague of Egypt shows a violent storm over a port. Viewed from a terrace and staircase in the foreground, Moses stands, aiming his staff in the direction of the tumult. [36581] £65
74. Adam and Eve driven out of Paradise Coper engraving Published Feb 15, 1816 by J.E[vans and Son] Long Lane, Smithfield. mounted Inscribed below image with Genesis Chapter 3, Verses 22,23,24. Naive popular print of Adam and Eve being dispelled from Paradise by the Angel Michael and the flaming sword. A companion print, Adam and Eve in Paradise, can be found in the British Museum collection. (Museum number 1998,1004.1) Condition: Tears and stains to margins and edges of sheet, repaired puncture to right hand side of image. Backed with Japanese tissue. [36603] ÂŁ390
75. Iustus Sua Fide Vivet Pieter van der Borcht Etching c. 1580 Image and sheet 174 x 233 mm unmounted Illustration to Lucas 17.20 91 inscribed in lower right. Condition: Trimmed within plate mark and laid to album page. [36444] £75
76. Primi Ultimi, Ultimi Primi Pieter van der Borcht Etching c. 1580 Image and sheet 174 x 233 mm unmounted Illustration to Lucas 18.10 Condition: Trimmed within plate mark and laid to album page. [36445] £75
77. Diluvii fatalis Progressus Johan Georg Pintz Copper engraving c. 1731 Image 282 x 178 mm, Sheet 307 x 183 mm unmounted From Johann Jakob Scheuchzer’s Geestelijke Natuurkunde (Sacred Physics). Illustration of the progress of the flood described in Genesis 7.17-20. Title below image in Latin and German. Condition: Trimmed within plate mark. [36465] £45
Trade Cards
78. Matcham & Gilbert James Delegal Copper engraving c. 1780 Image 65 x 101 mm, Sheet 78 x 108 mm unmounted Trade card of the 18th-century clock makers based in Southampton, Matcham & Gilbert. Full text reads: Matcham & Gilbert, from Salisbury (Successors to Mr.Cragg) High-Street, Southampton. Manufacturers of every article in ye Clock, Watch, Jewellery & Cutlery business. Have always by then ye greatest Variety of articles in ye above line & also in ye Plate, Plated, Hardware & Toys. The full value given for Diamonds, Pearls, old Gold, Silver, foreign & English Coins. NB. Seals neatly Engraved and Mourning Rings Expeditiously made. Condition: Staining to sheet. [36454] £160
Transport
79. The Great Nassau Balloon Lithograph with hand colouring London. Published nu T. Pewtress, by Newington Causeway. c. 1837 Image 258 x 155 mm, Sheet 333 x 232 mm Framed Inscription reads: ‘The Great Nassau Balloon as it appeared from the Royal Vauxhall Gardens, accompanied by the Parachute,in which the late unfortunate Mr. Cocking made his fatal descent, July 24th, 1837.’ The Great Nassau Balloon was constructed in 1836 by Charles Green (1785 - 1830), the United Kingdom’s most famous balloonist of the 19th century. After many successful ascents, Green launched the balloon again on 24th July, 1837, with Edward Spencer (aeronaut) and Robert Cocking (parachute designer) as passengers. Once reaching five thousand feet, Cocking exited the balloon and descended in a parachute of his own construction. Cocking, however, was killed on reaching the ground. Condition: Heavy glue residue on back visible through sheet, and repair to bottom left corner. Discolouration to whole sheet. Framed in original maple frame. [36435] £320
Sports
80. Mr.Gurney's New Steam Carriage, as it appeared in the regent’s Park, on Thursday, Dec. 6, 1827. Wood engraving Tuesday, Dec. 25, 1827. Image 223 x 253 mm, Sheet 228 x 254 mm unmounted Side and back view illustration of ‘Mr.Gurney's New Steam Carriage’ with full explanation of the references below. From the Essex Herald. Sir Goldsworthy Gurney (1793–1875) was a surgeon, chemist, lecturer, consultant, architect, builder and prototypical British gentleman scientist and inventor, of the Victorian era. Amongst many accomplishments, he developed the oxy-hydrogen blowpipe, and later applied its principles to a novel form of illumination, the Bude light; he also developed a series of early steam-powered road vehicles; and laid claim—still discussed and disputed today—to the blastpipe, a key component in the success of steam locomotives, engines, and other coal-fired systems. Events surrounding the failure of his steam vehicle enterprise gave rise to controversy in his time, with considerable polarisation of opinion. His daughter Anna Jane Gurney (1816–1895) was devoted to him. During her lifetime, she engaged in an extraordinary campaign to ensure the blastpipe was seen as his invention. Condition: Trimmed and laid to album page. [36585] £50
81. Wilkes Spirit] T.W Lithograph c. 1865 Image 164 x 229 mm, Sheet 222 x 280 mm unmounted An unusual satire of a race horse being groomed and pampered by a number of stable hands in roman dress with an emperor figure in a plumed head-dress and pipe holding a newspaper ‘Wilkes Spirit’, presumably a reference to the ‘Spirit of the Times’ New York newspaper purchased by George Wilkes c.1861 or possibly referring to the celebrated US trotting stallion George Wilkes. [36633] £65
Botanical Plates from Giovanni Ferrari’s Hesperiedies sive de Malorum Aureorum Cultura et usu Libri Quatuor (Concerning the Cultivation and uses of the Golden Apple) one of the earliest books on citrus fruit. The plates from this book show life size accurate representations of whole fruit and sections. They were prepared by some of the best artists at the time including Johann Friedrich Greuterm Cornelis Bloemaert, Nicholas Poussin, and Nicholas Foucault. The production of Hesperiedies sive de Malorum... is reflective of the growing interest in the 17th century for orangeries and included detailed descriptions of training, planting, and housing citrus plants. In this book Ferrari endeavoured to create a precise taxonomic record of citrus fruit whilst simultaneously employing an overarching comparison of the mythical garden of Hesperidies with the development of the Italian garden. 83. Limon Imperialis Giovanni Baptista Ferrari Copper engraving with hand colour Rome, Herman Scheus, 1646 Image and plate 298 x 202 mm, Sheet 352 x 243 mm unmounted A plate from Giovanni Ferrari’s Hesperiedies sive de Malorum Aureorum Cultura et usu Libri Quatuor (Concerning the Cultivation and uses of the Golden Apple). [36639] £300
82. Lima Dulcis et Lima Acris Giovanni Baptista Ferrari Copper engraving with hand colour Rome, Herman Scheus, 1646 Image and plate 303 x 202 mm, Sheet 352 x 243 mm unmounted [36653] £300
84. Limon Ponzinus Rubens
Giovanni Baptista Ferrari Copper engraving with hand colour Rome, Herman Scheus, 1646 Image and plate 298 x 198 mm, Sheet 352 x 243 mm unmounted A plate from Giovanni Ferrari’s Hesperiedies sive de Malorum Aureorum Cultura et usu Libri Quatuor (Concerning the Cultivation and uses of the Golden Apple. [36627] £300
86. Lumia Divi Dominici Sive Salis Giovanni Baptista Ferrari Copper engraving with hand colour Rome, Herman Scheus, 1646 Image and plate 302 x 197 mm, Sheet 352 x 243 mm unmounted A plate from Giovanni Ferrari’s Hesperiedies sive de Malorum Aureorum Cultura et usu Libri Quatuor (Concerning the Cultivation and uses of the Golden Apple). [36656] £300 85. Limon Sbar Donius Giovanni Baptista Ferrari Copper engraving with hand colour Rome, Herman Scheus, 1646 Image and plate 302 x 197 mm, Sheet 352 x 243 mm unmounted A plate from Giovanni Ferrari’s Hesperiedies sive de Malorum Aureorum Cultura et usu Libri Quatuor (Concerning the Cultivation and uses of the Golden Apple). [36654] £300
87. Pomum Adami Rheginum
Giovanni Baptista Ferrari Copper engraving with hand colour Rome, Herman Scheus, 1646 Image and plate 298 x 202 mm, Sheet 352 x 243 mm unmounted A plate from Giovanni Ferrari’s Hesperiedies sive de Malorum Aureorum Cultura et usu Libri Quatuor (Concerning the Cultivation and uses of the Golden Apple). [36652] £300
Edition 2/50. Signed, titled, and edition number in pencil below image. Condition: Glue residue on top corners visible through sheet, but not affecting the image [36470] £250
British Topography
89. The Durham Market Cross As it appeared before taken down in the year 1780 A. Herbert after M. Thompson Lithograph [n.d. c. 1810] Image 159 x 225 mm, Sheet 188 x 226 mm unmounted Rare and early lithograph. Thomas Emerson, presented the city with a new market cross covered with lead and supported by twelve pillars of stone on which he carved the arms of his ancient masters 'for the ornament of the city and the commodity of the people frequenting the market of Durham.' (A History of the County of Durham: Volume 3. Originally published by Victoria County History, London, 1928.)
88. Eton College Ferdinand Giele Etching c.1918 Image and plate 388 x 251 mm, Sheet 440 x 323 mm unmounted
Condition: Trimmed with some discolouration to sheet. [36487] £45
90. Collegium St. Johannis Evangelistae [St. John’s College, Cambridge] David Loggan Coper engraving Overton, 1705 Image 387 x 795 mm, Plate 392 x 800 mm, Sheet 435 x 830 mm unmounted A fantastic impression of one of the rarest engravings of St.John’s College from the Henry Overton printing of David Loggan’s Cantabrigia Illustrata. Loggan's Cambridge views have been much less reviewed by bibliographers than those of Oxford. The best piece still, although discursive, is the introduction and the captions to each plate by J.W. Clark in the Macmillan and Bowes reprint of 1905. In the year following the publication of 'Oxonia Illustrata' Loggan was in Cambridge printing Wren's design for the Library of Trinity. This employment may have prompted him to turn his attention to Cambridge. Clark thought it 'not difficult to prove that 'Cantabrigia Illustrata' was definitely begun in 1678 or 1679, if not earlier, and that it could not have been published before 1690'. The former proposition he demonstrates by internal evidence. He shows that it was published by 1690 using entries in the account books of at least two colleges. Wing records an edition of 1688 (Wing L2836), with four UK locations, and one US. We have only been able to check the copies in the Library of King's College, Cambridge, and that at Chatsworth, both of which proved to have undated title-pages identical with the majority of copies. This, allied to the fact that Clark makes no mention of a 1688 edition, leads us to suspect that this particular Wing entry may prove to be a 'ghost'. Naturally we are unable to state this categorically without a reliable report on the remaining three copies. One of these, originally part of the of Norwich City Library, was present in the 1732 catalogue, but not in the Kitton 1883 catalogue, nor in the list of strong room books lost in the recent fire. The library, however, did lose all the local history folios so it may have gone then. To quote a Millenium Library source, 'the fate of this volume may well remain a mystery'. Where Wing picked up a reference to it is also a puzzle. 'The beauty of Loggan's views of the colleges has long been accepted ... Their fidelity can be realised by anyone who will take the trouble to study even a single plate minutely. Would any artist have invented the details which abound in his engravings - the variety, the small differences in the arrangement of doors and windows - the laying out of the courts, the gardens with their flower-beds and summer-houses, the bowling-greens, the tennis-courts - and, in a word, the domestic matters which speak eloquently of the time when a college was the home of its inmates, who found within the precincts all things needful for their daily life, in study, exercise, and diversion?' Condition: Printed on two sheets and joined, vertical folds as issued, light staining to centre fold and top margin. Singular iton inclussion in paper to left of image. [36505] £1,800
91. Trafalgar Square Coper engraving c.1840 Image 125 x 429 mm, Sheet 141 x 443 mm mounted An elevation plan of Trafalgar Square flanked by the National Gallery and Charing Cross with illustrations of Morley’s Hotel and the Charles Macintosh & co shop. Condition: Centre fold as issued. Small tears to edges of sheet, diagonal creases to top right corner. [36611] £65
92. The City & Port of London from the Borough of Southwark showing the River & the Principal Buildings between the Temple & the Tower Bridge A.D. 1919 Emery Walker after Edmund Hort New Photogravure Edmund Hort New, at 17 Worcester Place, Oxford: A.D. 1919 Image 345 x1115 mm, Plate 385 x 1145 mm printed on two sheets framed [36074] £1,750
Condition: Trimmed within plate and laid to album page. Repaired tear to top edge, encroaching into mage. Slight discolouration to sheet. Press cuttings relating to the scene laid to verso of album page. [36456] £25
93. [Men Bathing in Fleet Ditch] Charles Grignion after Francis Hayman Copper engraving c. 1728 Image 142 x 87 mm, Sheet 162 x 98 mm unmounted From Alexander Pope's Dunciad. The Dunciad, published in three different versions between 1728 and 1742, was a literary satire by Alexander Pope. The poem follows the goddess Dulness and her agents as they bring decay and tastelessness to Britain.
94. 61. Richmond from the Moors. J. C. Armytage after J. M. W. Turner Steel engraving on india laid paper c. 1860 Image 121 x 178 mm, Plate 188 x 273 mm, Sheet 206 x 286 mm unmounted Proof before publication line. Based upon Turner’s watercolour Richmond, Yorkshire, painted c. 1826-8. Not in Rawlinson Condition: Some very faint foxing to right margin, but not effecting image. [36433] £100
Foreign Topography
95. Leodium (Liege) Braun and Hogenberg Copper engraving Cologne, 1572 Image and sheet 327 x 480 mm unmounted From the first volume of Civitates orbis terrarum. Latin text on verso. Between 1572 and 1617 Georg Braun (1541-1622) and Frans Hogenberg (1535-1590) published six volumes, containing about 530 maps of mostly European cities. Georg Braun was the editor of this series, and Frans Hogenberg was the most important engraver. They relied mainly on existing maps, but also on maps made by drawings made by the Antwerp artist Joris Hoefnagel (1542-1600), who had travelled through most of Western Europe. After Joris Hoefnagel's death his son Jakob continued the work for the Civitates. Condition: Trimmed to printed boarder, small puncture to bottom of sheet. Centre fold as issued. [36488] £275
96. [Remains of the baths of Diocletian, Rome] Étienne Dupérac
Etching [Lorenzo della Vaccheria. Rome, 1575] Image 212 x 378 mm, Sheet 220 x 387 mm unmounted Inscription below image reads: ‘altré sorte di bellissimi marmori et mischi come sino al di d’hoggi se ne uego segni in dette ruine Queste sono rimaste in buona parte intiere et piu di tutte l’altre che siano in Roma, et hoggi di ui si fabrica il monasterio delli monari della Certosa dedicato da Papa Pio IIII a sta. Maria dell’Angeli.’ Plate 29 from Dupérac’s I vestigi dell'antichita di Roma raccolti et ritratti in perspettiva, Rome. Condition: Light foxing to top of sheet, window mounted to album page. [36583] £100
97. The Breakfast J. Bouvier after W. Tayler Lithograph with hand colouring Published Feby. 1st 1842 for the Proprietor by T. McLean, 26, Haymarket London. Printed aLithograph with hand colouringt the Genl. Litho. Estabt. 70, St Martins Lane. Image 264 x 216 mm, Sheet 335 x 280 mm mounted Plate 3 from Anglo Indians. Condition: Slight damage to margins from previous mount, and a few small tears to edges. [36509] £90
Image 86 x 120 mm, Plate 119 x 137 mm, Sheet 220 x 297 mm unmounted Signed and titled in pencil. Condition: Some staining and foxing to margins. [36485] £70
98. Cape Town J. W. Cook after W. J. Knight Steel engraving London, Published by Whittaker & Co. Ave Maria Lane, 1836. Image 73 x 112 mm, Plate 114 x 182 mm, Sheet 192 x 267 mm mounted An uncommon and well engraved ninetieth century view of Cape Town from the bay, with sailing ships in the foreground and the cliffs of Table Top mountain to the left. Condition: Printed on India laid. Discolouration and foxing to sheet. Large crease to left, and tears to edges, not affecting iamge. [36486] £60
99. Arch of Titus - Rome Pauline Trevelyan Etching c. 1850
100. The seizure of Atahualpa at Cajamarca Pierre Duflos after Jean Michele Moreau Copper engraving c. 1780 Image 182 x 135 mm, Sheet 205 x 146 mm unmounted The seizure of the Inca ruler Atahualpa by Francisco Pizarro and the the Spanish at the Battle of Cajamarca. A plate from the Abbé Raynal's 'Histoire philosophique et politique des établissemens des Européens dans les deux Indes', a study of colonialism heavily influenced by the Enlightenment, banned in his native France in 1779. A plate from the Abbé Raynal's 'Histoire philosophique et politique des établissemens des Européens dans les deux Indes', a study of colonialism heavily influenced by the Enlightenment, banned in his native France in 1779. Tom. VIII Pag. 271 inscribed above image. [36504] £250
101. Pons Rivoalti ad Occidentum, cum Aedibus Publicis utrique Lateri adjectis Joannes Baptista Brustoloni after Canaletto Copper engraving c. 1763 Image 281 x 432 mm, Plate 318 x 462 mm, Sheet 347 x 492 mm framed in reproduction period frame. Inscription below title reads: ‘Apud Ludovicum Furlanetto supra Pontem vulgo dictum dei Barterri. C. P. E. S.’ View of the Rialto Bridge in Venice to the West. It is the oldest bridge across the Grand Canal, and was the dividing line for the districts of San Marco and San Polo. Condition: Some faint discolouration and staining in margins. Residue from tape in top and bottom margins, not affecting image. Faint centrefold crease. [36087] £850
Avec privilege du Roy. A Paris chez Pierre Mariette, rue S. Jacques a l’Esperance. 1646. Image 85 x 127 mm, Plate 92 x 128 mm, Sheet 162 x 218 mm unmounted Title-page to Alcune vedute di giardini e fontane di Roma e di Tivoli. The series, published between 1631 and 1691, depicted numerous views of the gardens and fountains in Rome and Tivoli. Condition: Staining to sheet and small tear to bottom right corner, old hinging tape on verso. [36484] £30 102. Costumes des Habitans de la Conception Thomas after Duché-de-Vaney Copper engraving Réduit par J. M. Moreau le jeanue. 1797. Image 252 x 398 mm, Sheet 285 x 432 mm unmounted From Jean Francois de la Pérouse’s Atlas du Voyage de la Pérouse. Jean Francois de la Pérouse (1741 – c. 1788) was French Navy officer and explorer. La Pérouse set sail from France in 1785 with the intention of continuing the discoveries of Captain Cook. Although he was shipwrecked in 1788, La Pérouse’s narrative, maps, and views survived, and were published in 1797 as Atlas du Voyage de la Pérouse. Condition: Trimmed within plate mark. [36461] £45
Frontispieces
103. Alcune Vedute di Giardini e Fontane di Roma e di Tivoli Israel Silvestre Etching
104. Credo Resurrectionem Carnis William Marshall Copper engraving London. Printed for Andrew Crooke, in Paules Church-yard. c. 1636 Image and sheet 110 x 61 mm unmounted Title-page to William Hodson’s Credo resurrectionem carnis. A Tractat on the Eleventh Article of the Apostles Creed. Latin text on verso.
Condition: Trimmed to image, with date and artists name missing. [36411] £30
105. Epistolae Ho Elianae Familiar Letters Domestic & Forren William Marshall Copper engraving London, Printed for Him: Moseley at the Princes Armes in Paules-Church-Yard. 1650. Image 176 x 131 mm, Sheet 190 x 138 mm unmounted Frontispiece to James Howell’s Epistolae Ho-Elianae: Familiar Letters Domestic and Foreign; Divided Into Four Books: Partly Historical, Political, Philosophical. Upon Emergent Occasions. Condition: Vertical and horizontal crease, trimmed, with margin missing bottom right. Staining to top edge. [36406] £55
106. The Forme of Consecration of a Church or Chappel, and of the place of Christian Buriall. Wenceslaus Hollar Etching London, c. 1659 Image and sheet 124 x 67 mm unmounted Title-page to Lancelot Andrewes' The Forme of Consecration of a Church or Chappel. At the top, a king (Charled I) is shown kneeling before an altar, on which he places a document. From him, a speech-bubble is lettered with ‘Deo et Ecclesiæ’. Inscription below image reads: ‘It is not to be forgotten though it be forgotten, that who ever gave any Lands or Endowments to the Service of God, gave it in a formall writing, as now adayes, betwixt Man and man , Sealed and Witnessed: & the tender of the Guift was Super Altare by the Donor on his knees. B. Andrewes Notes upon Liturgy.’ Pennington 2647 ii/ii, New Hollstein 1719 ii (Hollar) Condition: Trimmed within platemark. [36449] £75
Portraits British Royalty
107.[Charles I] William Marshall Copper engraving c. 1649 Image 152 x 168 mm, Sheet 160 x 178 mm Frontispiece to Eikon Basilike: The pourtraicture of His Sacred Majestie in his solitudes and sufferings. Perhaps Marshall’s most studied work, this piece of royalist pious propaganda depicts Charles I kneeling on his left knee, with his head in profile. With his right hand, Charles I clasps a crown of thorns, with his other hand placed on his chest. Aside his feet is a crown. Extending from his left eye to the crown of martyrdom, depicted top right, is a ray of light. Another ray extends from the back of his head to the clouds shown top left. The background presents a rock set amid a stormy sea. In the foreground, a landscape with a palm hung with weights can be seen. Below the emblematic design, an explanation in letterpress in two columns of verse would have originally been present. However, this particular print has been trimmed close to the image. O’Donoghue 206, Madan 4, BM Satires 746, Hind III. 148. 154. Condition: Trimmed and laid to a sheet, which has been laid to another piece of paper. [36404] £120
108. The Commonwealth of England William Marshall Copper engraving London Printed by W.S. fo John Smethwicke, & are to be Sold as his Shop in S. Dunstanes Church Yard under the Dyall. c. 1635 Image and sheet 116 x 68 mm Frontispiece to Thomas Smith’s The Commonwealth of England. At the top, a bust portrait of Charles I as king is set within a wreath held by putti. Below, the title is set within an archway, surrounded by two allegorical figures. At the bottom, a tilted map of England. O’Donoghue 153, H 235 Ex.Col.: Hon. Christopher Lennox-Boyd. Condition: Trimmed to image and laid to sheet of paper. [36408] £85
109. The High & Mighty Monarch Charles by the grace of God King of Great Brittaine France & Ireland Defender of the Faith after Sir Anthony Van Dyck Copper engraving c.1650 Image 170 x 130 mm, Plate 194 x 133 mm, Sheet 303 x 186 mm A portrait of King Charles I with the text The Authors Dedication To inscribed above the image. O’ Donoghue 127 Condition: Some creasing in margins not affecting the image. [36502] £65
110. Charles by the grace of God, Kinge of England, Scotland and France and Ireland, defendor of the faith etc. Wenceslaus Hollar after Robert van Voerst after Anthony van Dyck Etching 1641 Image 129 x 97 mm, Sheet 154 x 106 mm Bust portrait of King Charles I set within an oval. He is depicted with long hair, longer on his left side, a brushed-up moustache, and a long pointed beard. Over his decorated doublet, he wears a wide lacefringed collar, and the medal of the Garter hangs around his neck on a broad ribbon. This portrait would have originally been printed on the same plate as a portrait of Henrietta Maria, the wife of Charles I. The portrait of Charles I would have been to the left, and Henrietta Maria to the right. The plate was later cut and this print found separately in the The true effigies of...King Charles, 1641 Pennington 1433, New Hollstein 338.ii (Hollar), New Hollstein (Dutch & Flemish) 388-389 (Van Dyck), O'Donoghue 91. Ex. Col.: J. Burleigh James Condition: Trimmed from counterpart image and some foxing to sheet. [36518] £180
111. Henrietta Maria by the Grace of God Queene of England, Scotland, France and Ireland, etc Wenceslaus Hollar Etching 1641 Image 130 x 98 mm oval, Sheet 154 x 96 mm Bust portrait of Henrietta Maria set within an oval. She is depicted with ringlets, with her hair being longer on her right, and is dressed in a low-cut bodice with a large lace collar held in place with a pearl brooch. The bodice is laced with pearls, and around her waist is a rope of pearls. She also wears pearl earrings and necklace. This portrait would have originally been printed on the same plate as a portrait of Charles I. The portrait of Charles I would have been to the left, and Henrietta Maria to the right. The plate was later cut and this print found separately in the The true effigies of...King Charles, 1641 Pennington 1416 ii/ii, New Hollstein 338 ii (Hollar), O'Donoghue 48. Ex. Col.: J. Burleigh James, collector’s mark on verso Condition: Trimmed from counterpart image, with date and signature missing. Discolouration to sheet, and small tear repair to top left corner, a manuscript repair to the left part of the oval boarder a manuscript repair in the Q of Queen in the inscription [36520] £75
112. Carolus Secundus dei Gratia Magnae Britanniae Franciae et Hiberniae Rex. etc Theodoor van Merlen Copper engraving c. 1660 - 85 Image 148 x 114 mm, Sheet 158 x 116 mm Portrait of Charles II as king. Not in O’Donoghue. Ex.. Col. Hon: Christopher Lennox-Boyd Condition: Trimmed within plate mark, with publication information missing. [36392] £180
113. Carolus II. D.G. Mag: Brit: Fran: & Hiber: Rex, & ct. Robert White after J. B. Caspers Copper engraving c. 1680 Image 451 x 272 mm, Plate 486 x 283 mm, Sheet 575 x 378 mm Frontispiece to Moses Pitt’s English Atlas (1680) Whole length portrait of Charles II as king. O’Donoghue 25. Condition: Light foxing and staining to margins, not effecting image, and could easily be covered by a mount. Small puncture whole to top margin. Extra piece of paper attached to whole right side of sheet. [36396] £350
114. Carolus Secundus Dei grati Magna Britania Franciae et Hiberniae Rex. David Loggan Copper engraving G. Tomlyn, c. 1666-1685 Image 223 x 151 mm, Sheet 235 x 183 mm Half-length portrait of Charles II as king, set within an oval wreath that rests upon a pedestal. The front of the pedestal is inscribed, and features a coat of arms. Condition: Trimmed to plate mark, and some staining to sheet. [36687] £150
115. Charles ye Second, by ye grace of God, King of England, Scotland, France, & Ireland, Defender of the Faith &c. Copper engraving c. 1660-1680 Image 121 x 88 mm, Sheet 142 x 91 mm Half-lenth portrait of Charles II as king, set within an oval, wearing a crown, cravat, armour, and the Order of the Garter upon a ribbon. To the left of Charles II, within the oval, three crowns are depicted. O’Donohue 152. Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed within plate mark, and small stain to right of sheet. [36694] £120
116. Carolo Secundo D. G. Mag: Bri: Fra et Hib: Rex Copper engraving c. 1660 Image 122 x 73 mm, Sheet 131 x 76 mm Bust portrait of Charles II as king, set within a flaming heart, with three crowns just above. O’Donoghue 163. Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed on the plate mark [36695] £100
117. George the Third, King of Great Britain, &c. &c. &c. Charles Spooner after Jeremiah Meyer Mezzotint c. 1760-1767 Image 451 x 354 mm, Plate 502 x 355 mm, Sheet 519 x 375 mm Proof before artist's name. Profile bust portrait of George III. He is depicted with short hair, and an embroidered coat decorated with a frill, sash, and star. In his 1784 catalogue, Carington Bowles described the print as ‘a profile nearly as big as life’. Chaloner Smith 17 i/iii, Russell 17, O’Donoghue 80, Carington Bowles Catalogue, 1784 97/13, Carington Bowles Catalogue, 1790 89/13, Lennox-Boyd i/iv. Condition: ‘First state’ written in pencil in inscription space. Some minor surface rubbing, and staining to the margins. Small repaired tear to right margin. [36522] £400
118. Serenissimus Princeps Jacobus Dux Eboracensis &ct David Loggan Copper engraving Sold by Moses Pitt at ye Angel in St Pauls Churchyard. c. 1680 Image 431 x 264 mm, Plate 474 x 273 mm, Sheet 556 x 348 mm Frontispiece to Moses Pitt’s English Atlas. Full-length portrait of James II as Duke of York. O'Donoghue 27. Condition: Time toning to sheet, with some faint foxing, and a few small tears to edges, not affecting image. [36527] £250
119. [Queen Elizabeth I; Sir Francis Walsingham; William Cecil, 1st Baron Burghley]The Compleat Ambassador William Faithorne Copper engraving Sold by Ga: Bedell and Tho: Collins, at the Middle Temple Gate: 1655. Image and sheet 278 x 159 mm The Frontis for Sr. Duddley Digg’s The Compleat Ambassador:or two Treaties of the intended marriage of Queen Elizabeth of Glorious memory.... Central to the image is Elizabeth I seated upon a chair, and dressed in an ermine-trimmed cloak. Between her left knee and left hand, she holds an orb, and in her right hand, she holds a sceptre. Standing to the left, holding a staff and a decorated casket, is Lord Burghley, and to the right is Sir Francis Walsingham who holds a scroll in his left hand. Behind the figures is a canopy decorated with a coat of arms, with curtains either side. Below the image, the title is set within a cartouche, with pillars to the sides. William Cecil, 1st Baron Burghley (13 September 1520 – 4 August 1598) Sir Francis Walsingham (c. 1532 – 6 April 1590) Johnson 7, Fagan p. 4. Condition: Trimmed to image, with large tear repair running from bottom to centre of sheet. A couple of small tears to left edge. [36532] £60
120. Queen Victoria with the Princess Royal and the Prince of Wales Samuel Cousins after Sir Edwin Landseer Mezzotint 1844 Image 181 x 167 mm Oval, Plate 238 x 210 mm, Sheet 318 x 243 mm After an ornately boarded painting in the Royal Collection by Edwin Landseer. Originally painted for Queen Victoria and given to Prince Albert on her birthday 24 May 1842. O’Donoghue 166, proof before letters [36691] £65
Portrait of Lady Gertrude Fitzpatrick as a young lady. Lady Gertrude Fitzpatrick (1774 - 1841) was Daughter of John, 2nd Earl of Upper Ossory and Sister of Lady Ann Fitzpatrick. She died unmarried. Not in O’Donoghue. Condition: Some light discolouration to margins and edges. Two worm holes to sheet one to top left of image. Tipped to album page. [36462] £120
British Nobility 121. [Lady Gertrude Fitzpatrick] Charles Wilkin Etching with crayon-manner Published May 1803, by C. Wilkin, 7, Charlotte Street, Pimlico. Image 209 x 173 mm, Plate 249 x 193 mm, Sheet 293 x 237 mm Proof before title. For a series of ten plates entitled Ladies of Rank and Fashion. The series was a joint speculation of John Hoppner and Charles Wilkin
122. Illustrius & Excellent D. Dominus Thomas Howard Comes Arundeliae & Surriae Wenceslaus Hollar after Anthony Van Dyke
Etching W. Hollar fecit, 1646 [but later impression] Image 245 x 190 mm, Sheet 270 x 197 mm A half length portrait of Thomas Howard 1st Earl of Suffolk (1561 - 1626) in armour. Pennington 1353 state iii/iii, O’Donoghue 17, New Hollstein 732. III Condition: Trimmed within the plate and close to upper right boarder, and tipped to an album page . [36498] £80
123. Johannes Dux de Marlborough &c. Elias Christoph Heiss after Sir Godfrey Kneller Mezzotint c.1720 Image 320 x 218 mm, Plate 322 x 218 mm, Sheet 395 x 265 mm Inscription below image reads: Teuto tuus vindex; tuus est Hic Gallia Victo,/ Battave Subsidium; Dux, decus Angle tuum./ Nobilitas, virtus, Robur, doctrina, venustas/ Convenere; simul composuere virum./ Herois vultum nigris ars monstrat in umbris,/ Clarius ut belli fulmen in orbe micet. John Churchill, 1st Duke of Marlborough (1650-1722) was a soldier and statesman. Rising to become a confidential agent of James, Duke of York once James became King in 1685, Churchill played a major role in crushing the Duke of Monmouth's rebellion. Just three
years later he abandoned his Catholic king in favour of the Protestant William of Orange. His influence at court reached its height with the accession of Queen Anne. Promoted to Commander-in Chief of the allied forces, he achieved huge victories against the French in the War of the Spanish Succession. However, the increasing unpopularity of the war and Marlborough's arrogance contributed to his dismissal by Anne in 1711. He eventually regained favour with the accession of George I in 1714. O’ Donoghue 26, Lennox-Boyd i/i Ex. Col.: Hon. Christopher Lennox-Boyd. Condition: Light water stain to top right margin, creases to left margin, not affecting image. [36690] £200
124. James Duke of Monmouth & buccluch Eark if Doncaster Dalkeith Scot of Tindale Whitchester & Ashdale..... Abraham Blooteling after Sir Peter Lely Copper engraving c.1673-1685 Image 313 x 250 mm, Plate 341 x 255 mm, Sheet 449 x 312 mm James Scott, Duke of Monmouth (1649 - 1685) Illegitimate son of Charles II and Lucy Walter;
installed at court in 1662 as a favourite of the king who created him Duke of Monmouth. 1663, married Anne Scott, Countess of Buccleuch, and took her surname (he had previously been known as James Fitzroy, or Crofts). Commanded troops in the AngloDutch War of 1672-74 and against Scottish rebels in 1679. Banished later that year and again in 1684 after claiming succession to the throne. Returned after his father's death and raised an army against James II which was defeated at Sedgemoor. Beheaded 15 July 1685 on Tower Hill. O’Donoghue 8, Hollstein 31.II [36533] £250
125. Mary Isabella Duchess of Rutland Charles William White after William Peters Stipple Published September the 14th. 1781 by C.W. White Kemps Row Chelsea Image 112 x 85 mm oval, Plate 172 x 127 mm, Sheet 244 x 187 mm Mary Isabella Manners (née Somerset), Duchess of Rutland (1756-1831), Political hostess society hostess; married Charles Manners, Marquess of Granby (later 4th Duke of Rutland) in 1775. O’Donoghue 5 [36529] £95
126. The portraicture of Robert Car Earle of Somerset, Vicount Rochester, Kinght of the most noble order if the Garter &c. And of the Ladie Francis his wife. Renold or Reginold Elstrack (Elstracke) Copper engraving c. 1615-1616 Image 177 x > 143 mm, Sheet 193 x 143 mm Full length portraits of Robert and Frances Carr (nee Howard), Earl and Countess of Somerset respectively. Robert Carr, Earl of Somerset (1585/6 - 1645) politician and favourite of James I until they had a falling out and he was replaced by George Villiers, 1st Duke of Buckinghamshire. Carr was later tried along with his wife Frances in relation to the poisoning of Sir Thomas Overbury. Bothe Robert and Francis were found guilty and sent to the Tower. Though pardoned they remain in the Tower until 1622. Hind II.190.58 Condition: Trimmed within the image, vertical and horizontal creasing, some staining throughout. [36682] £40
127. [Lady Gertrude Stuart] Charles Wilkin Etching with crayon-manner Published as the Act directs June 2 1800 by C. Wilkin No. 19, Eaton Stt. Pimlico. Image 206 x 172 mm, Plate 246 x 191 mm, Sheet 264 x 227 mm Proof before title. For a series of ten plates entitled Ladies of Rank and Fashion. The series was a joint speculation of John Hoppner and Charles Wilkin Portrait of Lady Gertrude Emilia Stuart, previously Villiers, as a young lady. Lady Gertrude Emilia Stuart (1778 - 1809) was the wife of Lord Henry Stuart, and the daughter of George Mason-Villiers, 2nd Earl Grandison. O’Donoghue 1. Condition: Trimmed to bottom of plate and laid to album page, and some light discolouration to margins and edges. [36463] £120
128. His Excellency Thomas Earl of Strafford Viscount Wentworth of Wentworth George Vertue after Sir Godfrey Kneller Copper engraving 1714 Image 380 x 265 mm, Plate 388 x 277 mm, Sheet 407 x 299 mm Half length portrait of Thomas Wentworth in an oval wearing a wig, lace neckerchief, robes and a chain of St. George all upon a pedestal with a coat of arms. Thomas Wentworth, 1st Earl of Strafford (1672 - 15 November 1739) diplomat and First Lord of the Admiralty Alexander 161, O’Donoghue 2 [36503] £180
Jacobite
129. From a Painting by Guido in the Collection of the Earl of Bute William Baillie after Guido Reni Mezzotint and etching Publish’d as the Act directs Oct the 1st 1771 Image 213 x 148 mm, Plate 229 x 157 mm, Sheet 260 x 186 mm unmounted A young woman, wearing a striped turban and plain gown, tilts her head towards her right shoulder and raises her finger to her lips. Meyer 45, Chaloner Smith undescribed, Lennox-Boyd i/i. Condition:Over all toning to paper and surface dirt and a small tear to bottom right margin. [36512] £100
130. Prince Charles Edward Stuart. The Young Pretender, in 1745. John Chapman after Sir Robert Strange Stipple Published as the Act directs Feby. 1, 1798 Image 121 x 95 oval, Plate 160 x 114 mm, Sheet 213 x 130 mm unmounted Prince Charles Edward Louis John Casimir Sylvester Severino Maria Stuart (31 December 1720 – 31 January 1788) commonly known as Bonnie Prince Charlie or The Young Pretender was the second Jacobite pretender to the thrones of England, Scotland, and Ireland. This claim was as the eldest son of James Francis Edward Stuart, himself the son of King James VII and II. Condition: Staining to outer edges of paper not affecting the image. [36437] £80
131. Le Prince Charles Edouardo Stuart. Ne’ a Rome le 31, Decembre 1720 F. Basan after L. Tocque Copper engraving A Paris chez Odieuvre, Md. d’Estampes rüe des Mathurins chez Mr, Joubert Image 141 x 98 mm, Plate 151 x 105 mm, Sheet 233 x 143 mm unmounted A half length portrait of Charles Edward Stuart in armour, in an oval on a pedestal. With the inscription: Le Prince Charles Edouardo Stuart. Ne’ a Rome le 31, Decembre 1720 in excellent condition. Sharp 231 ii/iii, O’Donoghue 17, Le Blanc, F. Basan 331 Prince Charles Edward Louis John Casimir Sylvester Severino Maria Stuart (31 December 1720 – 31 January 1788) commonly known as Bonnie Prince Charlie or The Young Pretender was the second Jacobite pretender to the thrones of England, Scotland, and Ireland. This claim was as the eldest son of James Francis Edward Stuart, himself the son of King James VII and II. [36660] £100
132. Carolus Edwardus Augustissimus Wallice Princeps Magnae Britaniae & Hiberniae Regens &c.] after Philip Mercier Mezzotint c. 1700s - 1750s Image 270 x 224, Plate 320 x 226 mm, Sheet 328 x 243 mm unmounted Possible proof. There are signs that the inscription has been erased from the surface of the print. Prince Charles Edward Louis John Casimir Sylvester Severino Maria Stuart (31 December 1720 – 31 January 1788) commonly known as Bonnie Prince Charlie or The Young Pretender was the second Jacobite pretender to the thrones of England, Scotland, and Ireland. This claim was as the eldest son of James Francis Edward Stuart, himself the son of King James VII and II. Chaloner Smith ENA II 103, O’Donoghue 13, Lennox-Boyd i/ii. Ex. Col. Hon Christopher Lennox-Boyd Condition: Some overall toning of paper and trimmed within the plate on the bottom. [36557] £400
Artists & Engravers
133. Henry Sass, Esqr. Ebenezer Stalker Copper engraving on india laid paper London, Published, Mar 7th, 1822, by E. Stalker, Southampton Crescent, Euston Square. Image 194 x 155 mm, Plate 265 x 227 mm, Sheet 374 x 290 mm unmounted A three quarter length portrait of Henry Sass. In his left hand on piece of paper and next to skull with a sculpture of a bust behind [Milton?]. Sass is looking towards the viewer holing a palette knife in his right hand. Henry Sass (24 April 1788-1844) English artist and teacher, who founded Sass’s Academy in London to train those wishing to enter the Royal Academy. Sass studied at the RA and exhibited there 1808-1838. He specialised in portraiture. O’Donoghue 1 [36501] £50
134. John Martin (taken from the Life.) Thomson after Derby Stipple London Published for the European Magazine, by Lupton Relfe, 13, Cornhill, Octr. 1st, 1822. Image 123 x 115 mm vignette, Plate 220 x 138 mm, Sheet 224 x 141 mm unmounted A half length portrait of John Martin with facsimile signature below. River School. O’Donoghue 1 Condition: Trimmed within the plate at right hand margin, crease and light staining to bottom right corner, not affecting image. [36451] £30
135. Ingenious Cocker! Copper engraving c. 1678 Image 96 x 76 mm, Sheet 118 x 76 mm unmounted Frontispiece to Cockers Arithmetick (1678). Inscription reads: ‘(Now to Rest thou’rt Gone) Noe Art can Show thee fully but thine own Thy rare Arithmetick alone can show Th’ vast Sums of Thanks wee for thy Labours owe.’ Edward Cocker (1631 - 1675) was an English engraver, arithmetician and writing-master. O’Donoghue 5. Condition: Trimmed within plate mark, and some staining to sheet. Old writing in verso: John Kining His Book [36395] £50
136. Livio Mehus Gregori Carlo after Giovanni Domenico Campiglia after Livio Mehus Copper engraving c. 1766 Image 209 x 172 mm, Plate 257 x 178 mm, Sheet 260 x 180 mm unmounted Proof state with blank inscription space.
From Antonio Francesco Gori’s Museum Florentium. Gori sought to make a engraved record of all of the artists and patrons in the major galleries in Florence. Museum Florentium, the project that gave Gori a European reputation, was a comprehensive visual record of the antiquities held in various collections in Florence, including that of the Medici. Being published between 1731 and 1766, the major project eventually consisted of twelve folio volumes. Gori employed several artists, including Giovanni Domenico Campiglia, Giovanni Domenico Ferretti, and Antonio Pazzi, to produce drawings of famous works, of which Gori oversaw the engraving and publication. The publication included a vast collection of portraits of painters, architects, sculptors and patrons of the arts. Condition: Trimmed to plate mark. Good impression, with some faint staining to bottom of sheet. [36515] £60
137. Pietro Berrettini da Cortona Francesco Bartolozzi after Carlo Maratti Etching c. 1767 Image 424 x 302 mm, Plate 449 x 315 mm, Sheet 550 x 368 mm unmounted Seated upon a pedestal is Time, depicted as an allegorical figure with wings. He places his feet upon
the allegorical figure Envy, appearing to be forcing her down. Held in Time’s hands is a bust portrait of Pietro da Cortona set within an oval frame. In the background to the far left, a pyramid and bridge are visible. Inscription on pedestal reads: "CHE L'UOM TRAE DAL SEPOLCRO / E A MORTE IL FURA". Pietro da Cortona (1597 - 1669) was an Italian painter, draughtsman, and architect who worked in Cortona, Florence and Rome. Calabi + De Vesme 762 Condition: Printed in sepia ink. Staining to margins, heavy in top right and bottom right corners, and small tears to edges, not affecting image. [36528] £120
c. 1650 Image 142 x 112 mm, Sheet 165 x 113 mm unmounted From Cornelis de Bie's Het gulden cabinet vande edel vry schilder const. Cornelis Danckerts de Ry (1561 - 1634) was a Dutch Golden Age architect and sculptor. Condition: Trimmed and laid to sheet. [36403] £50
139. Sophonisba Angussola virgo ipsius manu ex speculo depictam Cremonæ [Self Portrait] after Sofonisba Anguissola Coper engraving c.1800 Image 81 x 81 mm. Circular unmounted An engraved copy of Sophonisba Angussola’s 1656 self portrait. Condition: Trimed to edges of image in a hexagon. [36688] £30 138. Corneille Danckerts de Ry Pieter de Jode after Pieter Danckerts de Ry Copper engraving
140. [Hans Holbein the elder, Erasmus, Jan Mandijn] Jan l'Admiral Etching c. 1764 Image & Plate 158 x 102 mm, Sheet 193 x 133 mm unmounted Inscribed within the image Jan L’admiral F Composite portrait of Dutch Renaissance thinkers and artists Hans Holbein the elder, Erasmus and Jan Mandijn. This curious early impression features a seated monkey in the foreground mixing paint on a mortar and the head of a cat peering out from behind the portrait of Jan Mandijn. The plate was later heavily reworked adding key numbers and the letter A in the bottom left corner, removing the monkey and cat (the ghost of which can bee seen in the published impression) and published in Karel van Mander's ‘Het leven der doorluchtige Nederlandsche en eenige Hoogduitsche schilders... met verscheiden bijgevoegde aanmerkingen, ophelderingen, en verder levens- en kunstbijzonderheden’, Steven van Esveldt: Amsterdam, 1764. Published state: Hollstein Dutch 8, Van Someren 3443 Col. Eric Ward’s handwriting on verso. [36678] £200
Explorers, Military & Naval
141. His Excellencie Oliuer Cromwell, Generall of all the Forces of England Scotland, & Ireland, Chancelour of the University of Oxford, Lord Protector of England Scotland and Ireland Richard Gaywood after Robert Walker Etching Peter Stent, c. 1653 Image 133 x 101 mm, Sheet 150 x 101 mm unmounted Oliver Cromwell (1599-1658) was a country gentleman who became a soldier, statesman and finally Lord Protector of Great Britain. As MP for Huntingdon and then Cambridge, he was an outspoken critic of Charles I. His military skills and God-fearing tenacity were decisive factors in the Parliamentarian victory in the civil wars, and he was prominent among those who first treated with, and then executed the King in 1649. He achieved military success in Ireland in 1649 - but carried out brutal massacres. He led the New Model Army to victory against the Scots and Charles II in 1651. Emerged as a head of state when the ‘Rump’ Parliament was dissolved in 1653, and created Lord Protector. He refused the crown in 1657, dying in 1658. Not in O’Donoghue. Condition: Trimmed within plate mark, and tears to edges. Date partially erased and faded. [36394] £70
142. The Hoble. and learned Knight Sir. Walter Raleigh Robert Vaughan Copper engraving c. 1650 Image 80 x 52 mm, Sheet 97 x 60 mm unmounted Sir Walter Raleigh (c. 1554 – 29 October 1618) was an English aristocrat, writer, poet, soldier, courtier, spy, and explorer. Hind III.61.48b Condition: Trimmed within plate mark and laid to sheet of paper. [36414] £100
143. The true and lively Portraiture of the Hoble. and learned Knight Sr. Walter Raleigh Robert Vaughan Copper engraving c. 1650 Image 98 x 65 mm, Sheet 130 x 73 mm unmounted O'Donoghue 22, Hind III.61.48a. Condition: Trimmed within plate mark and laid to sheet of paper. [36415] £150
144. The Most Illustrious and Noble Prince George Duke of Albemarle Robert Sheppard after David Loggan Copper engraving 1735 Image 373 x 228 mm, Plate 378 x 234 mm, Sheet 385 x 240 mm unmounted From Mechell's edition of Paul de Rapin-Thoyras The History of England. Three-quarter length portrait of George Monck, dressed in armour and facing to the right, with one hand on his hip, and the other clasping a baton. Behind, a curtain opens to the left to reveal a battle taking place in the background. Below, an inscribed tablet and coat of arms are present. George Monck, 1st Duke of Albemarle, (1608 – 1670) was an English soldier and politician. Monck was the leading figure in effecting the Restoration of the Monarchy to King Charles II in 1660. O'Donoghue 12 Condition: Trimmed just outside of plate mark, creases to bottom right corner, and a few small tears to edges, small loss to top left corner of sheet. [36689] £75
145. Franciscus Draeck Nobilissimus Eques Angliae Ano. Aet Sve 43 Thomas de Leu after Jean Rabel the Elder Copper engraving Thomas de Leu, Paris, c. 1583 Image 135 x 106 mm, Sheet 172 x 107 mm unmounted According to Grivel, it is likely that this is the second state, with the parentheses towards to the beginning of the inscription removed. Inscription below image in Latin, with a French translation below. O’Donoghue 2, Grivel 67. Condition: Trimmed within plate mark. [36397] £200
146. Captain, William Dampier. Charles Sherwin after Thomas Murray Copper engraving Published March the 1st 1781. Image 278 x 233 mm, Sheet 313 x 253 mm unmounted Half-length portrait of William Dampier, depicted holding a volume of his Voyages. Inscription reads: ‘From an Original Picture in the British Museum.’ William Dampier (1651 - 1715) was the first Englishman to explore parts of what is today Australia, and the first person to circumnavigate the world three times. He is also recognised as Australia's first natural historian, as well as one of the most important British explorers of the period between Sir Walter Raleigh and James Cook. O’Donoghue 1. Condition: Trimmed within plate mark, and slight discolouration to sheet. [36398] £250
147. Major Francis Pierson Robert Marcuard Stipple Publisd. as the Act directs the 19th of Febri. 1781. No. 73, New Bond Street. Image 70 x 53 mm vignette, Plate 152 x 127 mm, Sheet 184 x 184 mm unmounted Inscription reads: ‘of the 95th Regiment, who unfortunately lost his life, the 6th of Janry. 1781 in an engagement with the French, on the Island of Jersey’ Major Francis Pierson (January 1757 – 6 January 1781) was a British Army officer who served during the American War of Independence. Condition: Some discolouration to sheet, not effecting image. Handwriting in ink bottom right corner. [36416] £95
148. The Pourtraicture of the Learned Mr. William Camden: Allas Clarentius. Anonymous Copper engraving London, c. 1636 Image and sheet 137 x 87 mm unmounted Frontispiece to William Camden’s Remaines (1636). William Camden (1551-1623) was an important antiquary and historian, employed at Westminster School and becoming its headmaster in 1593. During his vacations he made tours around England, collecting antiquarian material for his books, including Britannia, first published in 1586. Among his other publications was a history of the reign of Elizabeth I up to 1589. Camden founded a chair of history at Oxford University. O’Donoghue 7. Condition: Trimmed within plate mark, with publication information missing. [36391] £70
Historians & Academics
149. William Camden Clarenceux Robert White Copper engraving c. 1695 Image 293 x 189 mm, Plate 300 x 201 mm, Sheet 317 x 213 mm unmounted
Frontispiece to Gibson’s edition of William Camden’s Britannia (1695). William Camden (1551-1623) was an important antiquary and historian, employed at Westminster School and becoming its headmaster in 1593. During his vacations he made tours around England, collecting antiquarian material for his books, including Britannia, first published in 1586. Among his other publications was a history of the reign of Elizabeth I up to 1589. Camden founded a chair of history at Oxford University. O’Donoghue 12. Condition: ‘Sophia Meizi’ hand written below tablet, and ‘1829’ hand written below date on tablet. [36393] £100
essayist and scientist, Bacon was one of the great intellectual figures of Jacobean England. He was appointed Lord Chancellor in 1618, but was impeached for bribery three years later and confessed to 'corruption' and 'neglect'. He spent the rest of his life in retirement, to devote himself to scientific research, which has led him to be regarded as the father of experimental science in this country. He published Essays (1597), the Advancement of Learning (1605), the Novum Organum (1620) and many other works. Pennington 2243 iv/v, New Hollstein (Hollar) 2140 Condition: Trimmed within the plate, old writting in ink in lower margin not affecting the image. Tipped to an album page. [36499] £60
Literary & Poetic
150. Tumulus Praenob: Francisci Baronis Vervlam, Vicecomitisq, S, Alban In Cancello Ecclesia S, Mich: apud S. Albanum Wenceslaus Hollar Etching W. Hollar fecit 1670 Image 276 x 145, Plate 281 x 147 mm unmounted A print of the tomb of Francis Bacon, with effegy of Bacon seated, wear in a hat, ruff, and long robes, within a stone arch. Francis Bacon, Viscount St Alban (1561-1626), Philosopher; Lord Chancellor A lawyer, philosopher,
151. The Lively Protraiture of John Davies of Hereford Copper engraving c. 1681 Image and sheet 95 x 74 mm unmounted Cut portrait from the title page to Davies’ Writing Schoolmaster. However, this particular copy has been heavily trimmed, only showing the portrait and oval. Before the print was trimmed, it would have depicted several figures and books to the sides, and a large cartouche with an inscription below the oval. John Davies of Hereford (c. 1565 – July 1618) was a writing-master and an Anglo-Welsh poet. O’Donoghue 1. Condition: Heavily trimmed and laid to sheet of paper. [36400] £25
152. [Daniel De Foe] after Michael van der Gucht after Jeremiah Taverner Copper engraving [n.d. c. 1705] Image 153 x 93 mm, Sheet 159 x 100 mm unmounted Unrecorded portrait of Daniel Defoe similar to one by Van der Gucht after Tavener reduced with ‘D. Foe’ written in manuscript on the plate and the inscription: ‘----------- Laudatur & Alget. Juv - Sat. I.’ Daniel Defoe (c. 1661 - 1731) was a political writer and novelist. Author of Robinson Crusoe. Condition: Trimmed within the plate, one repaired tear left handside 1.5 cm into image, but well repaired, and an area of strengthening to verso. [36417] £180
153. W. Shenstone Esqr. Copper engraving c. 1764 Image 125 x 77 mm, Plate 129 x 85 mm, Sheet 134 x 85 mm unmounted Frontis to Dodsley’s edition of his Works, 1764. Bust of Willaim Shenstone on a pillar with a lyre, trumpet and garlands below with W. Shenstone Esqr. on a ribbon wrapped around the lyre and base of pillar. William Shenstone (18 November 1714 – 11 February 1763) was an English poet and one of the earliest practitioners of landscape gardening through the development of his estate, The Leasowes. O’Donoghue 8 Condition: Light creases to sheet. [36448] £45
Portrait of Portia from William Shakespeare’s ‘Merchant of Venice’. Lennox-Boyd 119 (appendix II). Condition: A few faint spots of foxing and staining. [36464] £220
154. Portia George Townley Stubbs after William Frederick Wells Stipple with hand colouring London, Published May 12th 1800, by G. T. Stubbs No. 97, High Street, Marylebone Image 265 x 229 mm, Plate 326 x 236 mm, Sheet 454 x 336 mm unmounted
155. Charles Dickens, Esq.
Daniel J. Pound after John Jabez Edwin Mayall Stipple and Steel engraving The London Joint Stock Newspaper Company Limited Office, 199, Strand, London. c. 1858 Image 215 x 167 mm, Plate 417 x 306 mm, Sheet 516 x 375 mm unmounted From The Drawing Room Portrait Gallery of Eminent Personages featured in the Supplement to the Illustrated News of the World. Not in O’Donoghue. Condition: Lift surface dirt to sheet, staining to bottom right margin, not affecting image. [36525] £70
156. [William Austin] George Glover Etching Printed for Rich.Meighen: & Io.Legat. 1637 Image 83 x 53 mm, Sheet 90 x 55 mm unmounted Inset portrait from the engraved title-page to William Austin’s 'Devotionis Augustinianae Flamma, or Certayne Devout, Godly, & Learned Mediations' surrounded by skeletons, spades and coats of arms. William Austin (1587 - 1634) was a Barrister and writer. Hind III.239.43.I, Part (1637). Condition: Trimmed with thread margins, time toned. [36685] £30
157. [William Shakespeare] G. F. Storm Mezzotint London, Published for the Proprietor by G. F. Storm, 9 Lavina Grove, Pentonville, Decr. 15th 1847. Image 384 x 300 mm, Plate 473 x 367 mm, Sheet 517 x 413 mm unmounted Fully lettered proof, with Shakespeare’s facsimile signature in bottom right of inscription space. Inscription reads: ‘Engraved by G. F. Storm, from an Original Picture in the Possession of C. U. Kingston Esq. of Ashbourne, Derby.’ Three-quarter length portrait of William Shakespeare, based on the The Ashbourne portrait, standing to the right, and looking towards the viewer. In his left hand, he holds a patterned glove, and with his right, a book. His right arm rests slightly upon a skull placed on a table. White letters to top left of image give Shakespeare’s age, 47, in the year 1611. Lennox-Boyd ii/ii. Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Good, clean impression. Some faint discolouration to margins. [36692] £180
Religious & Clerical
158. George Stepney Esqr. &c. John Faber after Sir Godfrey Kneller. Mezzotint 1733 Image 319 x 250 mm, Plate 353 x 251 mm, Sheet 467 x 302 mm unmounted George Stepney (1663 – 15 September 1707) was an English poet and diplomat.Stepney was the son of George Stepney, groom of the chamber to Charles II, and was born at Westminster. He was admitted on the foundation of Westminster School in 1676, and in 1682 became a scholar of Trinity College, Cambridge, becoming a fellow of his college in 1687. O'Donoghue 1, Chaloner Smith 208 (35). Condition: Good rich impression. Toning from previous mount, not effecting image. Some minor surface rubbing. [36526] £90
159. Alphonse-Louis du Plessis de Richelieu, Cardinal Primat des Gaules, archevêque de Lyon, Grand aumonier de France... Jean Frosne Copper engraving A paris chez F.Jollain. c. 1685 Image 140 x 135 mm, Plate 203 x 135 mm, Sheet 280 x 200 mm unmounted Portrait of Cardinal Alphonse-Louis du Plessis de Richelieu with engraved coat of arms and biography below. Alphonse-Louis du Plessis de Richelieu (1582– 1653) was a French Carthusian, bishop and Cardinal. He was brother to Armand Cardinal Richelieu, the celebrated minister of Louis XIII. He was archbishop of Aix in 1626, archbishop of Lyon in 1628 and was created cardinal in 1629. Originally published by L. Boissevin without the decorative boarder, from a series of portraits of notable French personages. This impression has the publication line erased and F.Jollain added. [36697] £55
160. Frontispiece to Edward Chisenhale's "Catholic History" Etching and engraving London, 1653, but 18th century impression Image 95 x 75 mm, Sheet 167 x 103 mm unmounted This satirical frontispiece depicts the author Edward Chisenh kneeling before a church and offering his book to a group of clergymen standing in the doorway, two lions standeither side of the church; on the right, another churchle flying a banner "Vanitas" in front of which the pope and two others shy away from the author and a devil addresses them as "Famalia mea"; lower right, a study; lower left, a coat of arms; seven etched lines of verse below. 1653 Lettered within the image with labels, speech and the motto 'Fixus adversa spe'; below the image with seven lines of verse “Here to the church, one of her youngest Sonnes, ... Then though Rome Curse, I shall never trouble him.” BM Satires 875 Condition: Some light over all surface dirt. [36466] £30
161. A Mirror or Looking Glass A Mirror or Looking Glass Both for Saints & Sinners Wherein is Recorded as Gods Great Goodness to the one, so his Seveare Judgments Against the other whereunto is added a Geographicall Description of all the knowne world as allso of the Chiefest City’s Both Ancient and modern &c Richard Gaywood after Francis Barlow Copper engraving R. Gaywood fecit Lond: 1656 Image 237 x 148 mm, Sheet 278 x 182 mm unmounted Title-page to Samuel Clarke’s' A Mirror or LookingGlass both for Saints & Sinner. At the top, a representation of Babylon is contrasted against the True Church, and below are depictions of Nineveh and Jerusalem. To the sides are portraits of Luther, Wycliffe, Melanchthon and Calvin. Samuel Clarke (1599–1683) was an English clergyman and significant Puritan biographer. Condition: Weak impression. Staining and discolouration to sheet, and tears along left edge. [36409] £50
162. Ed: Finch his Perambulations Woodcut London, 1641 Image and sheet 78 x 112 mm unmounted From The petition and articles or severall charge exhibited in Parliament against Edward Finch vicar of Christs Church in London, and brother to Sir Iohn Finch, late Lord Keeper. The woodcut illustrated Finch’s journey to Hammersmith with a party of allegedly loose characters, which was intended to support the argument that Finch was an unsavoury character, as well as being an unsuitable figure for the clergy. Edward Finch (fl. 1630 – 1641) was an English Royalist divine. Ex. Col.: Earl de Gray, collector’s mark on verso Condition: Trimmed to image and laid to album page. [36446] £40
163. Cardinal Manning Lock and Whitfield Woodburytype London : Sampson Low, Marston, Searle and Rivington, 1876. Image 115 x 92 mm Oval, Sheet 270x 212 mm unmounted From Men of mark : a gallery of contemporary portraits of man distinguished in the senate, the church, in science, literature and art, the army, navy, law, medicine, etc. Photographed from life by Lock and Whitfield ; with brief biographical notices by Thompson Cooper. Photographic portrait of Cardinal Manning with printed ornamental surround, and below. Comes with accompanying page of text from original publication. A Woodburytype or Woodbury Process is a photomechanical printing process developed by Walter B. Woodbury in 1864 and first used in a publication in 1866. [36696] £45
164. Verua Effiges. Reverendi in Christo Patris Dni. Joh. Overall Episcopi Norwicensis. Wenceslaus Hollar Etching and engraving 1657, but 1668-1672 Image 92 x 67 mm, Sheet 125 x 69 mm unmounted
Portrait of John Overall, bust in an oval, which was an illustration to Anthony Sparrow’s Rationale upon the Book of Common Prayer. With W. Hollar fec. 1657 inscribed lower right. John Overall (1560-1619) Bishop of Norwich Pennington 1478 ii/iii, New Hollstein (Hollar) 1633. II, O’Donoghue 2 Condition: Trimmed within the plate, some light staining in corners. [36500] £30
process developed by Walter B. Woodbury in 1864 and first used in a publication in 1866. Condition: Sheet trimmed and laid to album page. [36693] £45
Scientific, Industrial & Medical
165. Charles Robert Darwin Lock and Whitfield Woodburytype London : Sampson Low, Marston, Searle and Rivington, 1877. Image 115 x 92 mm Oval, Sheet 212 x 137 mm unmounted From Men of mark : a gallery of contemporary portraits of man distinguished in the senate, the church, in science, literature and art, the army, navy, law, medicine, etc. Photographed from life by Lock and Whitfield ; with brief biographical notices by Thompson Cooper. Photographic portrait of Charles Darwin with printed ornamental surround, name below and the photographer’s names along with the identification as “Woodbury Process”, a photomechanical printing
166. Sir W. Herschell Edward Scriven after J. Russell Stipple Published by Charles Knight, Ludgate Street, London. unmounted From Charles Knight’s Gallery of Portraits. Inscription reads: ‘From a Picture by the late J. Russell, Esqre. R. A. in the possession of Sir John Herschell. Under the Superintendance of the Society for the Diffusion of Useful Knowledge.’ Sir Frederick William Herschel (15 November 1738 – 25 August 1822) was a German-born British astronomer and composer. O’Donoghue 4. Condition: Discolouration to sheet, and three puncture holes along right edge. [36402] £60
167. Johannes Keplerus Astronomus. S. Caes. Maiest: Et Ordd: Austriae Mathematicus. Copper engraving [n.d. c. 1620] Image 127 x 98 mm, Sheet 145 x 103 mm unmounted Inscription below image reads: ‘Ecce Mathematicum Keplerum Caesaris olim Eximium facies cuiu in aere micat.’ ‘mm4’ inscribed in bottom right corner of sheet. Johannes Kepler (December 27, 1571 – November 15, 1630) was a German mathematician, astronomer, and astrologer. A key figure in the 17th century scientific revolution, he is best known for his laws of planetary motion, based on his works Astronomia nova, Harmonices Mundi, and Epitome of Copernican Astronomy. These works also provided one of the foundations for Isaac Newton's theory of universal gravitation. Condition: Trimmed within the plate mark and two repaired tears one upper left and one lower left, paper loss lower right corner [36453] £100
168. Ioannis Parkinsoni Pharmacopoei Londinensis Effigies LXII Aetatis Annum Agentis A Nato Christo MDCXXIX Wood cut c. 1629 Image 166 x 105 mm, Sheet 168 x 107 mm unmounted Illustration to John Parkinson’s Paradisus Terrestris (1629). Latin text on verso. John Parkinson (1567–1650) was a British herbalist and botanist. He was apothecary to James I, and was was later Royal Botanist to Charles I. Parkinson was also a founding member of the Worshipful Society of Apothecaries. O’Donoghue 3. Condition: Trimmed to image, and thinning of paper in oval right of sitter’s head. Tape residue on verso. [36407] £120
169. Vera Effigies Gulielmi Ramesey Medienæ Doctori et Medici Regii ordinarii Carolo IIdo. Copper engraving 1668 Image 111 x 95 mm, Sheet 150 x 99 mm unmounted A half length portrait of William Ramesey, his frontispiece to his Treatise on Wormes. Inscribed with Greek text and Biblical reference. Dr. William Ramesey (1627-1672) born in London at Westminster was an astrologer and physician and physician-in-ordinary to Charles II. He was the son of the clock maker David Ramsay. He spelled his name Ramesey, which means joy and delight, because he thought his ancestors came from Egypt. O’Donoghue 4 Condition: Trimmed within the plate and tipped to album page. Small tear in left in inscription space. [36438] £50
170. Wm. Twemlow of Witton Cottage T. Birkett after S.W. Reynolds jun. Mezzotint London 1843 Image 157 x 128 mm, Plat 252 x 179 mm, Sheet 274 x 193 mm unmounted A portrait of William Twemlow (Decr. 9, 1770 June 7, 1843) Norwich Surgeon, seated at a table with skull on it, a skelton hanging in the background. O’Donoghue 1, Whitman 531 Ex. Col. Hon Christopher Lennox-Boyd Condition: One inch tear into printed boarder not affecting image. [36531] £45
Maps Great Britain
171. Angliae, Scotiae, Et Hiberniae Sive Britannicae Insularum Descriptio Ortelius, Abraham Copper engraved with early hand colour c.1603 343 x 496 mm framed A finely engraved, detailed and important map of the British Isles, shown with north to the right, and exhibiting numerous decorative flourishes. Derived from Mercator's wall map of Europe, the depiction of Scotland and north-west England is of remarkable accuracy, whilst that of Wales, south-western England and Ireland less so. A great example of a famous map from "Theatrum Orbis Terrarum". [35775] £1,500
172. Anglia et Hibernia Nova
Ruscelli, Girolamo Copper engraved with hand colour Venice, 1598 175 x 245 mm unmounted Scarce third and final edition of this map with two sea monsters and a ship in the surrounding waters. This map first appears in Ruscelli’s edition of Ptolemy’s La geografia Claudio Tomolmeo..... With Italian text on verso. Shirley, Early Printed Maps Of The British Isles, 111 (222) Condition: Centrefold as issued some minor creasing in margins not affecting printed map. [36677] £450
173. The Invasions of England and Ireland with al their Civil Wars since the Conquest Speed, John Copper engraved with hand colour London, Thomas Bassett & Richard Chiswell, 1676. 380 x 510 unmounted An excellent example of this fascinating map with early hand colouring and accompanying text. This decorative map illustrates the invasions and internal strife in the British Isles from 1066-1588, culminating with the Spanish Armada, which fills the English Channel but gradually diminishes to mastless wrecks to the north of Ireland. Condition: Centre fold as issued [36376] £2,850
Condition: Centre fold as issued, neat repair to bottom of centre fold. Otherwise excellent. [36516] £2,250
174. The Kingdom of Great Britaine and Ireland Speed, John Copper engraved with hand colour London, Thomas Bassett & Richard Chiswell, 1676. 380 x 510 mm unmounted Condition:Centre fold as issued, professionally repaired tear to right hand side of map and bottom of centre fold. [36375] £2,850
175. Cornwall Speed, John Copper engraved with hand colour 1627 380 x 507 mm unmounted One of the most decorative and sought after maps of Cornwall with inset view of Launceston and famous antiquities of the county. Elaborate cartouche, arms of the Earls and Dukes of Cornwall, decorative scale and compass rose with sea monsters and ships in the Irishe Sea and British See.
176. Darbieshire described Speed, John Copper engraved with handcolour 1611 384 x 512 mm unmounted An excellent impression of this decorative map from the first edition of Speed’s atlas. Inset town plan of Derby and Buxton Wells and the arms of the Earls of Derby set within elaborate strap work. Condition: Rich dark impression, centre fold as issued, professional repair to bottom of centre fold. [36506] £1,200
177. Hantshire described and devided.. Speed, John Copper engraved with hand colour
1627 372 x 502 mm unmounted An excellent example of Speed’s decorative map of Hampshire with inset plan of Winchester, elaborate cartouche and strap work and the arms of the Earls of the county. Below the city plan is a description and illustration of the war between Empress Maud and King Stephen, with the Empress fleeing in a horse-drawn coffin. Speed Condition: Centre fold as issued. [36517] £1,600 179. Somerser_Shire Described:ãd into Hundreds devided, with the plott of the famous and most wholsom waters and citie of the Bathe. Speed, John Copper engraved with hand colour 1627 375 x 503 mm unmounted A fine example of this decorative map of Somerset. Inset plan of Bath, decorative compass rose and scale and the arms of the Dukes and Earls of the County. Condition: Centre fold as issued. Neat repair to bottom of centre fold. [36523] £1,000 178. Oxonium Comitatus, Vulgo Oxfordshire Blaeu, Johannes Copper engraved with original hand colour c.1645-48 380 x 500 mm unmounted An excellent example of this decorative map of Oxfordshire. French text and coloured copper engraving of the Rollright Stones on verso. Condition: Centre fold as issued and light timetoning in margins not affecting image. [36094] £800
180. Worcestershire Described Speed, John Copper engraved with hand colour 1611 385 x 512 mm unmounted
An excellent example of this decorative map from the first edition of Speed’s county atlas. Inset plan of Worcester, elaborate cartouche and compass rose and the arms of the ’families that have borne the Tittle of Worcester’. The bottom right features a description and illustration of the Battle of Evesham, 1265. Condition: Centre fold as issued. [36519] £850
181. Caernarvon both Shyre and Shire-towne with the ancient Citie Bangor described. Speed, John Copper engraved with handcolour 1676 384 x 513 mm unmounted An excellent impression of this decorative map from the 1676 edition of Speed’s atlas. Inset town plans of Bangor and Caernarvon, elaborate cartouche, strap work and scale with a naval battle and Neptune upon a sea monster in the Irish Sea.
Condition: Good clean impression, centre fold as issued, two small filled worm holes either side of the centre fold. [36510] £650
182. The Countye of Monmouth wih the sittusation of the Shire-towe Described Speed, John Copper engraved with hand colour 1611 385 x 511 mm unmounted A wonderful example of the first edition Speed map of Monmouth with inset plan of Monmouth, portrait of King Henry V, elaborate cartouche and strap work. Condition: Centre fold as issued. [36514] £650
Europe
183. Romani Imperii Imago Ortelius, Abraham Copper engraved with hand colour c.1579 344 x 495 mm unmounted From Theatrum Orbis Terrarum. Centring on the Mediterranean, this fantastic map of the Roman Empire covers the majority of Europe, Northern Africa, and the Near and Middle East. This richly decorated map features several cartouches, two of which contain portraits of the founders of Rome; Romulus and Remus. The cartouches set within the lower section provide an account of Roman history, with a large genealogical tree of the rulers of Rome to the right. A publication date of 1579 is suggested by the Latin text on verso, and the page number ‘92’. Condition: Some faint staining to margins, but otherwise in excellent condition. Vertical centre fold as issued. Old framing tape to corners, top and bottom on verso. [35978] £900
184. Candia Bertius, Petrus Copper engraved with hand colour c. 1618 84 x 121 mm unmounted A miniature map of Crete from Bertius’ Tabularum Geographicarum Libri Septem with French text on the verso. [36683] £120
185. Graecia Bertius, Petrus Copper engraved with hand colouring c. 1618 84 x 117 mm unmounted A miniature map of Greece from Bertius’ Tabularum Geographicarum Libri Septem with Italian text on the verso. [36684] £100
186. Italia Nuovamente piu perfetta che mai per inanzi posta in luce, scolpita et con le suoi figure uiuamente rappresetnate Hondius, Henricus Copper engraved with hand colour Amsterdam, 1631 unmounted One of the most richly decorated early maps of Italy. The title of the map, placed within a cartouche, is supported by two caryatid-like women. Below the title are Romulus and Remus, the legendary founders of Rome, being nursed by their wolf mother. The bottom right of the map once again features Romulus and Remus, with their portraits in profile, similar to that of Roman coins. The sea is greatly embellished with various monsters and ships, with the embrace of a merman and mermaid depicted in the Tyhrranean Sea. English text on verso. Condition: Centre fold as issued. [35748] £1,500
187. Regnorum Sicilia et Sardinia nee non Melitae seu Maltae Insula cum adjectus Italiae et Africae Litorbus Homann, John Baptiste Copper engraved with hand colour Nuremberg, c. 1720 487 x 580 mm mounted Early state, without the dedication in the cartouche, of this lovely map of the islands of the coast of Italy: Sardinia, Sicily, and Malta. With inset views of Mount Etna and a plan of Valetta, saling ships and decorative cartouches. [36107] £800
188. Brugae, Flandricarum Urbium Ornamenta Braun and Hogenberg Copper engraved Cologne, 1572 313 x 455 mm unmounted From the first volume of Civitates orbis terrarum. Latin text on verso. Between 1572 and 1617 Georg Braun (1541-1622) and Frans Hogenberg (1535-1590) published six volumes, containing about 530 maps of mostly European cities. Georg Braun was the editor of this series, and Frans Hogenberg was the most important engraver. They relied mainly on existing maps, but also on maps made by drawings made by the Antwerp artist Joris Hoefnagel (1542-1600), who had travelled through most of Western Europe. After Joris Hoefnagel's death his son Jakob continued the work for the Civitates. Condition: Trimmed to printed boarder. Centre fold as issued. [36489] £380
189. Civitatis Burdegalensis In Aquitanea Genvina De Scrip Jansson, Jan Copper engraved Jan Jansson, Amsterdam, c.1657 161 x 225 mm unmounted From Theatrum exhibens celebriores Galliae et Helvetiae urbes...Illustriorum Regni Galliae civitatum tabulae ut et Helvetiae confoederatae civitates celebriores. View of Bourdeaux in Aquitaine, France. Cut from a larger sheet which also has views of Rouen, Normandy and Nimes. [36476] £70
190. Gandavum Braun and Hogenberg Copper engraved Cologne, 1575 338 x 481 mm unmounted A map of Ghent from the second volume of Civitates orbis terrarum. Latin text on verso.
Condition: Trimmed to printed boarder, small puncture to bottom of sheet. Centre fold as issued. [36490] £275
An uncommon map of Scandinavia at the end of the 17th century from Thesaurus Geogrphicus. This maps shows Sweden comprising of all the territory which is now Finland. [36108] £185
Asia
191. Iceland Coronelli, Vincenzo Copper engraved with hand colour Venice, 1692 230 x 305 mm unmounted Condition: Narrow top margin and several worm hole repars in the right hand side. [36117] £300
192. Scandinavia, or Scandia, Comprehending The Three Kingdoms of Denmark, Norway and Sweden Moll, Herman Copper engraved with hand colour Swale & Child, London, 1695 135 x 180 mm unmounted
193. Imperii Magni Mogolis sive Indici Padschach juxta recentissimas Navigationes accurrata delineatio Albrecht Carl Seutter Copper engraved with hand colour c.1740 498 x 573 mm unmounted A detailed and decorative map of Northern India outlining the Mughal Empire during the 17th century extending from Persia in the west, Tibet and Napal to the north and the Gulf of Thailand to the south. This map shows some accuracy outlining trade routes, major cities and river routes, however there is some speculation to the physical geography, charting errors such as the narrowing of the southern tip of the sub continent . The title Cartouche at the bottom left hand side depicts Poseidon, Hermes, an angel and the goddess Fame admiring the wealth of Asia represented by precious metals and jewels. In the upper left hand quadrant, a scene of cherubs sifting through treasure chests. At the bottom a large trade Caravel rests in the Indian Ocean. Condition: Small tear to the bottom of centre fold. [36000] £760
Decorative map showing the Alexander the Great’s conquests in the Middle East through Persia to the Indus River. The view in the inset is of Oracle of the Jupiter Amman, supposedly located in present day Libya, where Alexander asked what the result would be of his expedition. Embellished with decorative cartouches, ships and sea monster. Latin text on verso. [36097] £1,000
Americas
194. Asia Wagner, Matthias Copper engraved 1686 266 x 340 mm unmounted Very scarce decorative seventieth century map of Asia [36681] £1,400 196. Della Gran Citta, e isola Temistitan. Porcacchi, Tomasso Copper engraved with hand colour Venice, 1572 Map 102 x 138 mm, Sheet 293 x 188 mm unmounted Rare map of Tenochtitlan in Lake Texcoco what is now Mexico City from Poracchi’s L’Isole Piu Famouse del Mondo. The text below describes the history and geography of the great Aztec city. [36676] £300
195. Alexandri Magni Macedonis Expeditio. Ortelius, Abraham Copper engraved with hand colour 1608 357 x 458 mm unmounted
Africa
197. Tabula Nova Partis Aphri Lorenz Fries after Martin Waldseemuller Hand coloured woodblock Vienne, 1541 unmounted An attractive example of this important map produced by Lorens Fries after Martin Waldseemuller’s 1513 map. Waldseemuller’s map was based on Portugues sources and shows the southern half of the continent from the equator. Fries’ map originally published in Strasbourg by Johannes Gruninger in 1522, is a reduced version of Waldseemuller’s map is embellished with dragons, an elephant, enthroned kings, a serpent, and a portrait of Portuguese King Emanuel riding a sea serpent in the Indian Ocean in acknowledgement of the maps Portuguese sources. This map was printed in three different editions 1522, 1525, 1531 and 1541. Ref: Norwich, Maps of Africa, 150 [36086] £1,600
Mountains & Rivers
198. Comparative View of the Principal Rivers and Mountains of the World Lithograph c.1860 380 x 495 mm mounted Detailed comparative chart of the world’s mountains and rivers each labelled in an extensive key. Condition: Horizontal and vertical folds, small tears to edges of sheet, light stain to top of sheet, not affecting printed area. [36625] £150 199. Bird’s Eye View of the River Thames from Oxford to London Bacon, G.W Chromolithograph London, G.W Bacon & Co. Ltd. 127 Strand, 1887 Three sheets each measuring 1042 x 147 mm framed An uncommon pocket map in three sections The first section shows great detail along the road between Oxford to Reading, the second continues from Sonning to Laleham and the last begins in Chertsey, ending in London. Each is drawn in a birds-eye prospective and showing individual homes, mills, commercial buildings, bridges, and other details well rendered. [36561] £600
200. Tombleson’s Panoramic Map of the Thames and Medway. Copper engraving with hand colour London Published by J. Reynolds, 174 Strand, c. 1850 1245 x 285 mm framed One of the finest maps of the entire River Thames with aerial views of the towns and cities along its route. From 'Tombleson's Thames.' Condition: Horizontal folds as issued, light staining and creases to folds and some loss at bottom. [36562] £1,000
Biographies
the surveyor Girard Desargues, founder of projective geometry.
Engravers:
Johannes Blaeu (1596 – 1673). The Blaeu family were one of the most famous publishers of maps, globes and atlases during the sixteenth-century. Cartographers, globe makers and booksellers, the Blaeu business flourished in Amsterdam for over 40 years, until a fire destroyed their premises in 1672. They lost all of their plates, prints and stock, which effectively ruined the firm. Willem Blaeu founded the business in 1596. It initially functioned as a globe and instrument makers, but soon expanded into maps, topography and sea charts. The Atlas Novus was Willems great work; a major work which intended to include the most up-to-date maps of the entire world. He issued the first two volumes in 1635, but died in 1638 before the atlas was completed. The running of the business was passed on to his sons Johannes and Cornelius, in addition to the role of the official cartographer of the East India Company. After the death of Cornelis in 1644, Johannes continued the business alone and established his own reputation as a great mapmaker. Johannes completed his father’s grand project in 1655 with the sixth and final volume of the Atlas Novus. He also produced the Tooneel der Steden van der Vereenighde Nederlanden in 1649-1653, as well as a similar set of Italian town plans which were published in 1663.
John Carr Armytage (1802 - 1897) British engraved who worked primarily for Virtue & Co. Captain William Baillie (1723 - 1810) was originally an officer in the British Army, until he retired in 1761. Between 1773 and 1795, he held the post of Commissioner of Stamps. Generally regarded as an amateur artist, Baillie is known for his works in the style of, or directly copied from, the etchings of Rembrandt. Baillie sold all of his plates to Boydell, who reprinted them in a collected edition in 1792 and again in 1803, but continued to etch. Primarily, Baillie was a picture dealer, and he was also a main agent for the Earl of Bute. Francis Barlow (English, 1626 - 1704) An accomplished painter, etcher, and book illustrator, and was the leading bird and animal artist in 17th century England. Francesco Bartolozzi (1727-1815) was an Italian engraver. The son of a goldsmith, Bartolozzi studied painting in Florence, trained as an engraver in Venice and began his career in Rome. In 1763 Richard Dalton, art dealer and librarian to George III, met him and invited him to London, promising him a post as engraver to the king. Bartolozzi moved to London the following year, and remained for thirty-five years. He executed numerous engravings for the King. He also made many engravings of paintings by Italian masters and by his friend, the painter Giovanni Cipriani. In 1768 Bartolozzi was the only engraver to become a founder member of the Royal Academy of Arts. He moved to Lisbon in 1802 as director of the National Academy. Stefano della Bella (1610 - 1664) was an Italian draughtsman and etcher. He was patronised by the Medici family, and spent time working in Rome between 1633 and 1639. After travelling to France in 1639, della Della worked for French publishers up until the anti-Italian disturbances of the Fronde in 1650, when he returned to Florence. Della Bella is recognised for his eclectic choice of subject matter. When he died, he left over a thousand prints, several thousand drawings, but only one known painting. Abraham Bosse (1604-1676) French printmaker and painter born in Tours and a member of the Royal Academy of Painting and Sculpture and a student of
Giovanni Baptista Brustoloni (1712-1796) 18th century Venetian engraver. John Chapman (active 1792-1823) was a British engraver, and is often regarded as one of the most gifted stipple engravers of the late eighteenth century. Little is known of the life of John Chapman, but he is thought to have been mostly self-taught. During his career, Chapman engraved exceptional allegorical subjects after the designs of J. Smith and Corbould. Vincenzo Coronelli (August 16, 1650 - December 9, 1718) was cosmographer to the Republic of Venice, globe maker and Franciscan Friar. James Dobie (1849 - 1911) was a British engraver who was born in Edinburgh, but worked on the periphery of London for a large part of his career. He was on the most part an etcher of landscape and genre scenes, and exhibited these works at the Royal Academy from 1885, until his death in 1911. He would often, but not exclusively, sign his engravings with ‘J.D.’
Étienne Dupérac or du Pérac (c.1525–1604) was a French architect, painter, engraver, and garden designer. He is most well known for his topographical studies of Rome and its ruins in the late 16th century. Dupérac was born in Bordeaux or Paris and arrived in Rome in 1550, where he became a skilled designer and engraver. He published a bird's-eye view of Ancient Rome with buildings reconstructed (Urbis Romae Sciographia, 1574) and one of modern Rome (Descriptio, 1577) alongside a book of forty engravings of Roman monuments and antiquities (Rome, 1575). Renold Elstrack (570 - 1625?) was the most prolific and competent of the few native-born engravers working in London during the reign of James. A few documents relating to his life are known. Elstrack's first plates were made in 1598, when he was 28, which suggests that he only turned to this profession after a different apprenticeship (perhaps as a glasier like his father). The 1598 works are five maps in a translation of Linschoten's Voyages, and in this Elstrack collaborated with William Rogers (active 1589-1602/3). Elstrack's style depends on Rogers, the finest of the native Elizabethan engravers, who sometimes signed his plates 'Anglus et Civis Londinensis', and it is very likely that he had been his pupil. He seems to have taken from Rogers something of his talent as a designer. William Faithorne (c. 1620-1691) was an engraver and draughtsman. He apprenticed first to printseller Robert Peake and then to engraver John Payne, Faithorne was captured during the civil wars, imprisoned, and exiled as a royalist. By 1652, Faithorne had returned to London. His close links with the international print trade enabled him to establish his own print shop. In addition to selling prints, he continued to work as a printer and engraver, and published The Art of Graving and Etching in 1662. On the Restoration of the monarchy in 1660, Faithorne was appointed engraver in copper to the king. One of his sons, also named William Faithorne, was a mezzotint engraver. Cesare Fantetti (1660 - 1675) was an Italian designer, engraver and etcher. Although born in Florence, he predominantly worked in Rome, and worked for the publisher Giovanni Giacomo de’Rossi for a significant part of his career. Despite engraving several of his own designs, Fantetti primarily engraved those of other masters, including Annibale Carracci, Andrea Sacchi and Francesco
Rosa. Of the fifty-two plates featured in Raphael’s Bible, Fantetti produced thirty-seven. Giovanni Baptista Ferrari (1584 - September 1655) was a Jesuit, professor, and botanist. He was the Horticultural Advisor to the Papal family and was appointed to manage the newly formed garden at the Barberini Palace in Rome. Lorenz Fries (c.1490-c.1531) was born in the Alsace region and studied variously at the universities in Pavia, Vienna, Piacenza and Montpellier. After completing his studies, Fries set himself up at a physcian in Alsace, briefly in Switzerland and finally settling in Strausbourg in 1519 by which point he had published several medical texts. It was in Strousbourg that Fries meets Johann Grunniger, an associate of the St. Die Group of scholars who included Martin Waldseemuller. From 1520 to 1525 Fries worked with Gruniger as his cartographic editior using the vast material of Waldseemuller. Jean Frosne (c.1620 - 1676 after) Richard Gaywood was a British printmaker and publisher active between 1644 and 1680. Trained by Wenceslaus Hollar, Gaywood was one of the most prolific etchers of his day. During the 1650s he took over from Hollar as the principal supplier of portrait etchings to the London trade. A friend of Francis Barlow, Gaywood produced a large number of etchings of birds and animals after him. They also worked together on a large etching after Titian's Venus and the Organist, which was dedicated to John Evelyn. Although Gaywood published plates himself, much of what he produced was made for the publisher Peter Stent. Ferdinand Giele was born at Louvain in 1867, son of the Director of the Botanical Gardens Louvain. Giele was trained as a graphic artist and printer in Louvain. By the start of the First World War, he was teaching at the Louvain Academy, was engraver to the University and to the Prince d’Arenberg. On the night when the newly billeted German troops thought that they were being attacked by French soldiers and opened fire at each other and then on civilians, Giele’s house, like the great university library, was burnt to the ground, prompting his move to the United Kingdom. From 1916 to 1919 Ferdinand Giele lived in England where he attended the famous etching classes given by Sir Frank Short at the Royal College of Art. Here he developed a fine linear
style, and as Mons. Dumont wrote in the Biographie Nationale “il produit des oeuvres extremement remarkable en Angleterre”. Almost all of his etchings were of Oxford as he was probably drawn by the nature of the University, which like Louvain was collegiate. During his time in England Giele visited other cities, producing etchings of Windsor and Eton [No15] and exhibited two, of Bury-StEdmunds and Windsor at the Royal Academy. It was these three that were the only non-Oxford etchings he sent to the exhibition organised by La Graveur Originale Belge at the Fine Art Society in 1927. Giele also had an affinity for church interiors and these are among his best productions. His etchings of Westminster Abbey [No21] and the interior of Eton College Chapel [No16] feature in this exhibition. In all he produced some hundred works. Ferdinand Giele returned to Louvain at the end of the War where he produced a set of etchings of the havoc caused by the troubles on that night in 1914; he was a founder member of La Graveur Original Belge, and a member of the Belgian Societe des aquafortistes as well as being president of the Circle Royal Artistique de Leuven. He died in 1929. Text courtesy of the Hon. Christopher Lennox Boyd George Glover (fl.1634 - 1652) Carlo Gregori (1702 - 1759) was an engraver and etcher from an Italian family of engravers. After studying with Johann Jakob Frey in Rome, Gregori pursued his career in Florence. He primarily produced prints after Old Master paintings, including those of Titian, Rubens and Correggio. Gregori is also known for reproducing artists' portraits. Giovanni Domenico Campiglia (1692–1768) was an Italian painter and engraver from Florence, active under the patronage of the House of Medici. Charles Grignion (1717 - 1810), son of the clockmaker Daniel Grignion, was an engraver of French origin but worked and died in England. According to Saur he was born 1717, (older authorities give birthdate as 1721). Grignion was very active in the middle decades of the century. Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-52 in Antwerp. He was prolific and engraved a wide range of
subjects, producing nearly 2,800 prints, numerous watercolours and many drawings, his views of London form an important record of the city before the Great Fire of 1666. Elias Christoph Heiss (1660-1731) was a painter, copperplate and mezzotint engraver best know for his prints after Sir Godfrey Kneller. Edmund Hort New, known as E.H. New, was born in Evesham in 1871. He was the son of an important lawyer. He attended the Birmingham Municipal School of Art. He began painting landscape and later he devoted himself to illustration. Early in his career he worked with Ruskin and other associated Arts and Crafts artists. He latter went on to work for William Morris's Kelmscott Press. The influence of these experiences is evident in his prints - the decorative boarders, armourials, etc. Julius Caesar Ibbetson (1759 - 1817 was a British painter and draughtsman, printmaker, and author born in Leeds. John Kay (1742 - 1826), miniature-painter and caricaturist. He began to produce highly original portrait sketches and caricatures of Edinburgh characters, despite having received no formal training. He attracted the patronage of William Nisbet of Dirleton, and opened a shop in Parliament Close where he sold his etchings. From 1784 to 1822 he etched nearly nine hundred plates portraying many of the most notable Scotsmen of the day. On at least one occasion he was unsuccessfully prosecuted. In 1792 he decided to publish some of his work in book form and prepared a brief biographical sketch which supplies most of the few details that are known of his life. The project, however, remained unrealised, and it was not until after his death that a collection of 340 of his etchings was published in 1837-38. He exhibited at the exhibitions of the Edinburgh Associated Artists and the Institution for the Encouragement of the Fine Arts in Scotland. His etchings constitute an unparalleled chronicle of Edinburgh life at the turn of the eighteenth and nineteenth centuries. Henry Le Keux (1787-1868) was a British printmaker and engraver. He was born in Bocking, Essex, but was based in London for most of his working life. He was the brother of John Le Keux who was the engraver of the Memorials of Oxford. Henry also worked on topographical books such as
John Britton’s Architectural Antiquities of Great Britain. Jacques Lagniet (1620 - 10th April 1672) was a French artist and engraver, best known for his satirical cartoons. His most famous series include the ‘Proverbs’ and ‘The Adventures of the famous don Quixote of la Mancha.’ Condition: Trimmed to plate mark. Light foxing and discolouration. Adhesive marks on verso. Thomas de Leu (c. 1555 - c. 1612) was a French engraver and printseller who started his career in Northern France. In 1576, he moved to Paris where he began working in the studio of Jean Rabel. David Loggan (1635–1692) was born in Danzig in 1635 and came to England around 1653. By 1665 he was living in Nuffield near Oxford and in 1669 was appointed engraver to the University. In 1675 he married and became a naturalised citizen. His Oxonia Illustrata was intended as a companion work to Historia Antiquitates Universitatis Oxoniensis by Anthony Woods, with whom Loggan had become acquainted some years earlier. William Marshall (1617 - 1649) was a British engraver. William Mecham (1853 – 1902) was a British cartoonist and performer, taking the stage and pen name Tom Merry. He was a professional caricaturist who gave 'Lightning Cartoon' presentations on the music hall stage, and was the first celebrity of any kind to appear in a British film. As a political satirist, he created the centre illustration of The St Stephen's Review, a weekly magazine of political comment published from 1883 to 1892, when it became Big Ben, and closed the following year. He also published in the London edition of the American satirical Puck Magazine, from January 1889 to June 1890.
with whom he travelled through Italy and France. Although it is Mercator who first used the word "Atlas" as a name for a collection of maps, it is Ortelius who is remembered as the creator of the first modern atlas. Theatrum Orbis Terrarum was the first systematically collated set of maps by different map makers in a uniform format. Three Latin editions as well as a Dutch, French and German edition of Theatrum Orbis Terrarum were published by 1572 and a further 25 editions printed before Ortelius' death in 1598. Several more were subsequently printed until around 1612. Ortelius is said to have been the first person to pose the question of the continents once being a single land mass before seperating into their current positions. Gabriel Perelle (1604 - 1677) was a painter and printmaker. Father of Adam and Nicolas, whose work is difficult to distinguish from his. Daniel J. Pound (fl. 1842-1877) was primarily a portrait engraver, with the majority of his work being based upon the photographs of John Jabez Edwin Mayall. Many of the portraits that Pound engraved were featured in The Drawing Room Portrait Gallery of Eminent Personages. Thomas Abiel Prior (5th November 1809 - 8th November 1886) was a British line engraver and mezzotint artist, known principally for his engravings after J.M.W. Turner. Henry James Richter (1772–1857) was an English artist and philosopher.
Theodoor van Merlen (1609 - 1672) was a Flemish publisher and printmaker, and came from a family of engravers and publishers who were active in Antwerp and Paris. Although there were three men named Theodoor van Merlen active at the same time, there is no attempt made by the BM to distinguish between, following Hollstein which combines them.
Gilles Rousselet (1610 - 1686 ) was a French reproductive engraver. He apprenticed under Pierre Firens and may have studied under Alexander Boudan. Until 1637 Rousselet almost exclusively produced engravings after Grégoire Huret and Claude Vignon. Only in the following decade did his repertoire start to vary, inspired by the works of the Italian school and studying the work of Francesco Villamena. In subsequent years his works focused on studies of the saints and allegories of the seasons and continents after the designs of Claude Vignon and Charles Le Brun. He later became Le Brun’s favoured engraver. In the late 1640’s be began to recorded the works of Jacques Stella (1596-1657), including works dedicated to the Holy Bible and The Spiritual Exercises of Ignatius of Loyola.
Abraham Ortelius (1527 -1598) was a Flemish cartographer, cosmographer, geographer and publisher and a contemporary of Gerard Mercator,
Pieter Schenk (1600 - 1718/19) was a Dutch engraved and mezzotint who became a major publisher. Mainly producing mezzotints, Schenk’s
work was similar to that of Jacob Gole, and was mostly copies of portraits and topography. Cornelis Schut (1597 - 1655) was a Flemish Baroque painter, draughtsman and engraver working in Antwerp and Rome. He is first mentioned as a pupil of Peter Paul Rubens by the historian Jacob Campo Weyerman. Although the scientific relevance of his sources is questioned, it is still accepted that Schut was a pupil of Rubens. He is registered in 1618 as a member of the Antwerp Guild of St Luke. While in Rome, he was a founding member of the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome, where he took the nickname Broodzak (bread bag). From 13 January 1627 he collaborated with the painter Tyman Arentsz. Cracht on frescoes in the villa "Casino Pescatore" located in Frascati, owned by Giorgio Pescatori, a wealthy Italian banker and patron of Flemish descent. This commission was instrumental in launching his career in Italy. Edward Scriven (1775 - 1841) was an English portraitist, working primarily in stipple and chalk Charles Sherwin (1764 - 1794) was a British publisher and printmaker. John Speed (1552-1629) is the most famous of all English cartographers primarily as a result of The Theatre of the Empire of Great Britaine, the first atlas of the British Isles. The maps from this atlas are the best known and most sought-after of all county maps. The maps were derived mainly from the earlier prototypes of Christopher Saxton and Robert Norden but with notable improvements including parish "Hundreds" and county boundaries, town plans and embellishments such as the coats of arms of local Earls, Dukes, and the Royal Household. The maps are famed for their borders consisting of local inhabitants in national costume and panoramic vignette views of major cities and towns. An added feature is that regular atlas copies have English text printed on the reverse, giving a charming description of life in the early seventeenth century of the region. The overall effect produced very decorative, attractive and informative maps. For the publication of this prestigious atlas Speed turned to the most successful London print-sellers of the day, John Sudbury and George Humble. William Camden introduced the leading Flemish engraver, Jodocus Hondius Sr. to John Speed in 1607 because first choice engraver William Rogers had died a few years earlier. Work commenced with the printed
proofs being sent back and forth between London and Amsterdam for correction and was finally sent to London in 1611 for publication. The work was an immediate success and the maps themselves being printed for the next 150 years. Speed was born in 1552 at Farndon, Cheshire. Like his father before him he was a tailor by trade, but around 1582 he moved to London. During his spare time Speed pursued his interests of history and cartography and in 1595 his first map of Canaan was published in the "Biblical Times". This raised his profile and he soon came to the attention of poet and dramatist Sir Fulke Greville a prominent figure in the court of Queen Elizabeth. Greville as Treasurer of the Royal Navy gave Speed an appointment in the Customs Service giving him a steady income and time to pursue cartography. Through his work he became a member of such learned societies as the Society of Antiquaries and associated with the likes of William Camden Robert Cotton and William Lambarde. He died in 1629 at the age of seventyseven. 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. Ebenezer Staker (1781-1847) British engraver based in Southampton Crescent, Euston Square. T. Stayner (active c, 1768) British printmaker Pauline Trevelyan (1816-1886) was a British painter and draughtsman. She was also an art critic and patron of the Pre-Raphaelites. Robert Vaughan (c. 1600 - c. 1663) was a British engraver of Welsh origins, and was active in London from 1622. Vaughan was a Royalist in the Civil War, and in 1651, he was indicted for engraving a portrait of Charles II. He was later acquitted due to a technicality as it could not be proven that the print had ever been distributed. Franรงois Vivares (1709-1782) was a French landscape-engraver and publisher. He moved to London in 1727 and his earliest dated print is 1738. Vivares had a very high reputation in France, where he was regarded as one of the greatest landscape engravers, and key teacher of the British school of line-engraving.
Charles William White (fl. 1775 - 1807) British printmaker and engraver in stipple. Said to be a pupil of George White, but this is impossible, and his birth is much more likely to be in c.1750. Dates on his plates range from 1775 to 1807.
Artists: Sir Lawrence Alma-Tadema (1836 - 1912) was a painter, etcher and stage designer who specialised in the depiction of Greek and Roman subjects. AlmaTadema was born in Dronrijp, Friesland, but received his artistic training in Belgium. He enrolled in the Antwerp Academy in 1852, wherein the Professor of Archaelogy, Louis de Taye, was said to have influenced him greatly. In 1860, he became the assitant and pupil of Jan August Hendrik Leys, before establishing himself independently in Antwerp. It is here that he met the art dealer Ernset Gambart, who commissioned twenty-four works from the artist to take back to Britain. When AlmaTadema emmigrated to England at the outbreak of the Franco-Prussian in 1870, he arrived to celebrity and renown, such was the influence of Gambart, and the respect paid to the artists that he advocated. By 1871, he had met most of the Pre-Raphaelites. Their impact was palpable, and can be seen in the brightening of his palette, and the lift in his brushwork. His output was prolific, and he numbered all of his works with Roman numerals. He became a member of the Royal Academy in 1879; was Knighted in 1899, and received the Order of the Merit in 1903. Sofonisba Anguissola (c.1535 - 1625) was an Italian painter and draughts woman, one of six sisters from a noble Cremonese family, all of whom painted. She studied in Cremona under Bernardino Campi and Bernardino Gatti. Giovanni Battista Cipriani (1727 – 14 December 1785) was an Italian painter and engraver. Cirpriani moved to England in 1755, and became a founding member of the Royal Academy. A large amount of his work involved designing prints, many of which were engraved by his friend Francesco Bartolozzi Sir Edward Coley Burne-Jones, 1st Bt (18331898) was a painter and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones met William Morris as an undergraduate of Exeter college, Oxford, whilst studying for a degree in theology. The pair went on to work very closely together on numerous decorative arts projects including stained glass
windows, tapestries and illustrations. Originally intending to become a church minister, Burne-Jones never finished his degree, choosing instead to pursue an artistic career under the influence of Dante Gabriel Rossetti. Rossetti heavily inspired his early work, but by the 1860's his idiosyncratic style was beginning to develop. His mature work, however different in total effect, is rich in conscious echoes of Botticelli, Mantegna and other Italian masters of the Quattrocento. Thusly, Burne Jones' later paintings of classical and medieval subjects are some of the most iconic of the Pre-Raphaelite movement. He was at the height of his popularity during the 1880’s, though his reputation began to decline with the onset of the Impressionists. He was created a baronet in 1894, when he formally hyphenated his name. John Collet or Collett (c.1725-1780) was an English satirical artist. Born in London, he was a pupil of George Lambert, and studied at the St. Martin's Lane Academy. He exhibited with the Free Society of Artists between 1761 and 1783. His paintings often depicted Hogarthian scenes of debauchery, low life and social weakness. His work was popularised by Carington Bowles, Smith & Sayer, Boydell, and other well-known publishers. Pieter Danckerts de Ry (1605 - 1661) was a Dutch Golden Age painter, and son of Cornelis Danckerts de Ry. Cornelis Dusart (1660 - 1704) was a Dutch painter, etcher and mezzotinter in Haarlem, and the pupil and heir of Adriaen van Ostade. He inherited the contents of his master's studio and often worked over the latter's drawings, doubtless to make them more marketable. Francis Hayman (1708 - 1776) was a painter of history, portrait and genre. He was born in Devon in 1708 (poss. earlier) and died in London 1776. In 1718 he apprenticed to Robert Brown, producing scene paintings for Drury LaneHe went on to decorating supper boxes and pavillions at Vauxhall Gardens for Jonathan Tyers c. 1741 to c. 1761and to collaborate with Gravelot on designs for engravings for Hanmer's Shakespeare. Hayman taught at St. Martin's Lane Academy 1745 and was involved in SA foundation in the 1760s becoming President in 1766-68 and foundation member of the RA 1768. He exhibited at the SA 1760-68, and RA 1769-72. Sir Godfrey Kneller, 1st Baronet (1646 – 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court
painter to British monarchs from Charles II to George I. His major works include The Chinese Convert (1687); a series of four portraits of Isaac Newton painted at various junctures of the latter's life; a series of ten reigning European monarchs, including King Louis XIV of France; over 40 "Kitcat portraits" of members of the Kit-Cat Club; and ten "beauties" of the court of William III, to match a similar series of ten beauties of the court of Charles II painted by his predecessor as court painter, Sir Peter Lely. Edwin Landseer (1802 - 1873) was a painter of sentimental animals, lithographer, etcher and occasional sculptor, illustrator, and playing-card maker. He was born in London and was the son of the line engraver John Landseer. He entered the RA School in 1816 and exhibited at the RA throughout his life. Samuel Cousins (1801-1887) was apprenticed from 1814 to the engraver Samuel Reynolds, during which time he engraved many of the 360 mezzotints illustrating the works of Sir Joshua Reynolds. He established himself as an independent engraver, publishing his first plates in 1826. As well as publishing on his own behalf, he was also employed by many leading print publishers. Working on steel plates, Cousins used a combination of stipple engraving and etching processes. His most commercially successful work was his prints after popular paintings. Elected an associate engraver of the Royal Academy in 1835, Cousins exhibited his engravings there from 1837. In 1855, he was one of only two engravers to be elected Royal Academician. Carlo Maratti (1625 - 1713) was an Italian printmaker, painter and draughtsman. He is generally recognised as the leading Roman painter of his day, and the last exponent of the great classical tradition of Roman painting that had originated with Raphael. John Martin (1789-1854) was an English painter, illustrator and mezzotint engraver. He achieved huge popular acclaim with his historical landscape paintings which featured melodramatic scenes of apocalyptic events taken from the Bible and other mythological sources. Influenced by the work of J.M.W. Turner (1775-1851) as well as Theodore Gericault (1791–1824), Eugene Delacroix (1798– 1863) and Paul Delaroche (1797–1856), his paintings are characterised by dramatic lighting and vast architectural settings. Most of his pictures were reproduced in the form of engravings, and book
engravings, from which he derived his fortune. Despite his popularity, Martin’s work was spurned by the critics, notably John Ruskin, and he was not elected to the Royal Academy. His fame declined rapidly after his death, although three of his best known works of religious art toured Britain and America in the 1870s: The Great Day of his Wrath (1853, Tate, London), The Last Judgment (1853, Tate) and The Plains of Heaven (1851-3, Tate). A great contributor to English landscape painting, Martin was a key influence on Thomas Cole (180148), one of the founding members of the Hudson River School. John Jabez Edwin Mayall (1813 - 1901) was an English photographer, and is known for taking the first carte-de-visite photographs of Queen Victoria in 1860. Livio Mehus (1630 – 1691) was an Flemish painter and engraver of the Baroque period, and primarily worked in Florence. Jeremiah Meyer (735–1789) was an 18th-century English miniature painter. He was Painter in Miniatures and Enamels to King George III, and was one of the founding members of the Royal Academy. Thomas Murray (1663 - 1735) was a British painter and draughtsman.
Jean Rabel the Elder (c. 1520 - 1603) was a French painter, engraver and publisher in Paris, who specialised in portraits. Guido Reni (1575 – 1642) was an Italian painter of high-Baroque style, working primarily in Bologna and Rome. John Thornthwaite (c.1740; 1771 - ; 1795; ; fl.) British portrait painter and printmaker; worked on Bell's Shakespeare and the Bookseller's British Theatre Joseph Mallord William Turner (1775 - 1851) was a painter and draughtsman who became one of the most celebrated artists Britain would ever produce. He was born near Covent Garden, London, and entered the Royal Academy Schools in December of 1789. The Academy, conscious of his prodigious talent, encouraged and supported Turner. He was elected as an Associate of the RA in 1799, and became a full Academician in 1802. His early
oil painting flitted between Netherlandish works in the manner of Cuyp, Ruisdael and Van de Velde; classical landscapes like those of Claude and richard Wilson; and, upon returning from his Parisian visit in 1802, grand historical compositions like those of Poussin and Titian. The development of his idiosyncratic style, commonly held to have been around 1803, led to critical condemnation. His preoccupation with light and colour produced abstract, near vorticistic works, which predated Impressionism, but were hugely controversial in the conformist context of late Georgian and early Victorian England. Whilst some critics accused Turner of extravagance and exaggeration, John Ruskin virulently thwarted these claims in Modern Painters, and championed the artist’s fidelity to nature. Ruskin became the main advocate of a new generation of Turner admirers, usually professional, middle class or newly wealthy, who embraced his work for its modernity. An enormously prolific artist, Turner bequeathed over three hundred oils and close to twenty thousand drawings and prints to the nation. His style produced many imitators, but no rivals.
Newlyn school. In the twilight of his career, Waterhouse taught at the St. John's Wood Art School, and served on the Royal Academy Council.
Robert Walker (died 1658) was a prolific portrait painter chiefly patronised by Parliamentarians, among them Cromwell, Ireton and Fairfax. He often used poses derived from Van Dyck's portraits, but he had a distinct, soft style of his own.
Antonio Francesco Gori (1691 – 1757) was a Florentine antiquarian who produced numerous publications on ancient Roman sculpture and antiquities, those of which acted as grounding to 18th-century scholarship, and the artistic movement of neoclassicism.
John William Waterhouse (1849 - 1917) was an historical genre painter whose revivalist manner earned him the sobriquet of ‘the modern PreRaphaelite.’ Waterhouse was born of English parents in Rome. He studied under his father, who was a painter and copyist, before enrolling in the Royal Academy schools in 1870. He exhibited at the Society of British Artists from 1872, and at the Royal Academy itself, from 1874. Waterhouse was the most celebrated of the artists who, from the 1880’s, sought to reinvigorate the literary themes popularised by the Pre-Raphaelite Brotherhood. In 1895, Waterhouse was elected to the status of full Academician. Though very much a Pre-Raphaelite in his choice of Greco-Roman and Arthurian subject matter, Waterhouse did deviate from the Brotherhood’s technical approach to painting. Whilst his rendering of certain details was fastidious, his fondness for backgrounds conceived as blocks of colour and tone went against Pre-Raphaelite doctrine. These ultimately derived from the methods of European prototypes such as Jules BastienLepage, which were transmitted to Waterhouse through his acquaintance with members of the
Publishers: Pieter van der Borcht (1535 - 1608) was a Flemish draughtsman and etcher. He was born in Mechelen, but spent the majority of his career in Antwerp where he worked for the publisher Christopher Plantin. He was Plantin’s prime illustrator and his commissions were numerous. Van der Borcht’s earlier works include the Emblemata of Sambucus, as well as woodcuts for a herbarium by Rembert Dodoens, titled the Frumentorum, leguminum, palustrium et aquatilium herbarum historia. His later etchings were mostly of Biblical subjects. These included the Evangeliorum Domincalium Summaria, published in 1580, and the Biblia Sacra, in 1583. John Evans (fl.1790s - 1820s.) was a publisher of ballads and popular prints. From 1816 he began publishing with his son, Thomas.
François Jollain (1641 - 1704) was a publisher who specialised in engraving and publishing portraits, fashions and costumes. He took over his father's business c.1686. Pierre Mariette I (c.1603 - 1657) was a print dealer and publisher who founded the family dynasty. He purchased the stock of Jean Messager in 1637 and of Melchior Tavernier in 1644. Giovanni Giacomo de' Rossi (1627-1691) was a print publisher based in Rome. He was the son of Giuseppe, and brother and successor in 1653 of Giovanni Domenico. His career blossomed from 1657 when he married a rich widow, and he subsequently built a casino on the Janiculum to the design of Baratta. He is best-known for publishing many high quality sets of Roman views. The main series included engravings of fountains, gardens, palaces and contemporary buildings, including his own casino. He was succeeded by his son Domenico.
Johann Jakob Scheuchzer (August 2, 1672 – June 23, 1733) was a Swiss scholar born in Zßrich. Scheuchzer published a variety of works, of which his writings relating to his scientific observations and his travels are often regarded as the most important. During his travels, he collected various materials for his scientific works. Georg Matthias Seutte (1647-1756) was one of the most important German map publishers in 18th century. Initially trained under Johann Hamann as an engraving apprentice. He started publishing maps and globes in 1710 and atlases in 1728 and soon earned a reputation for producing quality publications. He also became the official Imperial geographer for Charles VI
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