Famous and Infamous, A Catalogue of Female Portraiture

Famous and Infamous A Catalogue of Female Portraiture

Sanders of Oxford

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

Famous and Infamous A Catalogue of Female Portraiture

The engraved portrait is one of the longest running traditions in printmaking, but despite a prevalent interest over the years in the depiction of women, we have never collated our extensive range of female portraiture. We are, therefore, excited to release our most recent catalogue, Famous and Infamous, providing a brief overview of this grand tradition from high society portraits to depictions of criminals and courtesans.

It seems fitting to release this collection when the female artist and sitter is very much in the public eye with contemporary exhibitions such as Champagne Life at the Saatchi gallery, Michael Palin’ s recent documentary The Quest for Artemisia and the forthcoming exhibition at the Bowes Museum; English Rose – Feminine Beauty from Van Dyck to Sargent.

Often believed to be an 18th century concept, the female celebrity has its roots further back in history, with infamous individuals such as Mary Carleton (39) the 17th century impersonator or the famous French military figure Joan of Arc (58). Portraits of actresses, countesses, and queens continued to be printed and published throughout the 18th and 19th centuries in order to feed public interest in the emergence of celebrity culture. We hope to revive the stories of these fascinating but often forgotten women through this catalogue.

CONTENTS

ARTISTS PRINTS ARTISTS MISTRESSES & COURTIERS CRIMINALS & CURIOSITIES HISTORIANS JACOBITE LITERARY MILITARY PERFORMING ARTS RELIGIOUS BRITISH ROYALTY BRITISH NOBILITY FOREIGN ROYALTY & NOBILITY FOREIGN POLITICAL

1 - 14 15- 24 25 – 33 34 – 43 44 45 46 – 56 57 – 58 59 – 69 70 71 – 83 84 – 127 128 – 151 152 - 155

ARTISTS PRINTS

1. [Mother and Child] Angelica Kauffman Etching and aquatint printed in sepia [John Boydell, 1780-1] Image and plate 141 x 108 mm, Sheet 144 x 112 mm

2. [Young Woman] Angelica Kauffman Etching and aquatint printed in sepia [John Boydell, 1780-1] Image 144 x 113 mm, Sheet 149 x 116 mm

Portrait of a mother and child, both in rustic attire, and leaning over a windowsill. The child holds an apple in their right hand. This is a reworked state, with the woman’s previous headscarf being altered to a cap, and a concave wall added in behind the figures. The date has also been erased.

Half-length portrait of a young woman with her back turned to the viewer, peering back over her right shoulder whilst drawing a band over her head.

She wears a gown, and a shawl which has a decorated hem. Her hair is worn up, with ringlets falling around the nape of her neck, and with her left hand, she pushes a lock of hair away from her face.

In preparation for leaving England, Kauffman sold off her plates, the majority of which were bought

by John Boydell. Between 1780 and 1781, Boydell reissued the plates, adding aquatint to several. John P. Thompson later acquired a number of plates from Boydell, and reissued them in 1804. The aquatint of the Thompson impressions is generally rather faded.

Andresen 34 Condition: Trimmed within plate mark and graingerised. unmounted [40124] £400

Andresen 32 Condition: Trimmed to plate mark and graingerised. unmounted [40125] £400

AFTER SIR JOSHUA REYNOLDS

3. Temperance George Sigmund Facius and Johann Gottlieb after Josiah Boydell after Sir Joshua Reynolds Stipple Published June 1st 1782 by John Boydell Engraver in Cheapside London.

Image 465 x 300 mm, Plate 504 x 326 mm, Sheet 516 x 338 mm A female allegorical representation of Temperance after Sir Joshua Reynolds from the New College Window, Oxford (Mannings 2113). Standing in full-length on a ledge in classical attire, she bows her head whilst pouring water from a vase into a cup she holds with her left hand.

Hamilton 154 ii/ii Condition: Trimmed close to plate mark, and some light time toning to margins, but otherwise a good, clean impression. unmounted [40065] ÂŁ375

4. Fortitude George Sigmund Facius and Johann Gottlieb Facius after Sir Joshua Reynolds Stipple Published June 1st 1782 by John Boydell Engraver in Cheapside London.

Image 465 x 300 mm, Sheet 498 x 312 mm Allegorical depiction of Britannia after Sir Joshua Reynolds from the New College Window, Oxford (Mannings 2114). The figure is shown in full-length, and wears a plumed helmet. Her left hand rests upon her hip, whilst her right hand extends to a ruined column by her side. Lying by her feet is a lion.

Hamilton 154 ii/ii Condition: Trimmed within the plate mark. unmounted [40043] ÂŁ325

5. Hope.

George Sigmund Facius and Johann Gottlieb Facius after Sir Joshua Reynolds Stipple Publish’d Novr. 1. 1781 by John Boydell, Engraver in Cheapside London Image 460 x 300 mm, Plate 500 x 333 mm, Sheet 607 x 436 mm A female allegorical depiction of Hope after Sir Joshua Reynolds, from the New College Window, Oxford (Mannings 2119). Standing in full-length on a ledge with her back turned to the viewer, she gazes to the upper left of the image, from where a ray of light emerges. In the lower left of the composition, part of an anchor is visible.

Hamilton 154, Lennox Boyd i/ii Condition: Excellent impression with full margins.

Light foxing bottom margin not affecting the image. unmounted [40044] £375

6. [Thaïs] Francesco Bartolozzi after Sir Joshua Reynolds Stipple printed in colours c. 1792 Image 427 x 258 mm 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.

De Vesme 1356 i/iv Condition: Good, clean impression. Framed in period frame. framed [36333] £450

7. [Miss Muse] Charles Corbutt (Richard Purcell) after Sir Joshua Reynolds Mezzotint Printed for Robt. Sayer at the Golden Vuck; near Serjeants Inn Fleet Street. [c.1755] Image 135 x 111 mm, Plate 152 x 112 mm, Sheet 168 x 131 mm Half-length portrait of Miss Muse, or Meux, after a painting by Reynolds (Mannings 1246). Facing to the the left almost in profile, she wears a flounced dress, a flat hat, and pearls around her neck. Miss Muse remains an unidentified sitter.

O’Donoghue 2, Chaloner Smith 58, Hamilton p.121, Lennox-Boyd i/i Condition: Light pressed crease running right down side of sheet, graingerised. unmounted [40123] £140

8. The Girl and Kitten Francesco Bartolozzi after Sir Joshua Reynolds Stipple Publish’d Feby. 20th. 1787, by W. Dickinson, New Bond Street Image 207 x 175 mm, Sheet 271 x 225 mm A portrait of young girl after Reynolds (Mannings 2087). In three-quarter length, she is seated facing front holding a kitten in her hands and smiling. She is wearing broad-brimmed straw hat with ribbon and dark shawl over white dress. There is a curtain in the background on left and a landscape beyond on right . All with title and artist names below accompanied y a vers by Dryen: “Indulge her Childhood, and the Nursling spare.”

Calabi & De Vesme 1928 1239.IV Hamilton p.148 Ex. Col: Marino Bovi. Collector’s mark on verso. L. 287 Condition: Trimmed within the plate. Publication line trimmed off. Diagonal crease lower left. unmounted [40018] £120

9. Reflections on Clarissa Harlow Gabriel Scorodumoff after Sir Joshua Reynolds Stipple Published March 10, 1775, by V.M. Picoi,. No. 16 in the Strand.

Image 305 x 256 mm, Plate 329 x 265 mm, Sheet 342 x 282 mm Portrait of Theophilia Palmer after Sir Joshua Reynolds (Mannings 1389). Depicted seated upon a chair whilst reading a book, Theophilia is shown with her head bowed in profile, and resting upon her left hand. The book that she reads is held with her right hand. With the title of the image referencing ‘Clarissa Marlow’, it is likely that Theophilia is reading a book by Samuel Richardson titled Clarissa, or, the History of a Young Lady, dated to 1748. Clarissa Marlowe takes on the role of the tragic heroine in Richardson’s novel, which is recognised as the longest novel in the English language.

Hamilton p. 149 Theophila Gwatkin (nee Palmer) (1757 - 1848) was Sir Joshua Reynolds niece of his favourite sister Mary Palmer. Theophila and her daughter modelled for Reynolds on occasion. unmounted [40019] £220

10. [Theophila Palmer] J.R. Smith after Sir Joshua Reynolds Mezzotint Publishd June 11th 1777 by Wm. Humphrey Gerrard Street & J.R. Smith No 10 Batemans Buildings Soho Square London Image 344 x 278 mm, Plate 383 x 281 mm, Sheet Portrait of Theophila Palmer after Sir Joshua Reynolds (Mannings 1390). The three-quarter length portrait shows Theophila nearly in complete profile to the left, whilst seated and leaning her left upon a ledge. She wears a dress with a large ribbon around the breast, with a dark shawl over her shoulders, and long, dark gloves. Her hair is mostly worn up, with a few tresses around the nape of her neck, and pearls adorn the top of her hair.

Chaloner Smith 128 ii/iii, Frankau-J.R. Smith 266 ii/iii, Hamilton 125 ii/iii, D’Oench 98 ii/iii, O’Donoghue 1, Russell 128 unmounted [40025] £350

11. [Catherine Chambers] James McArdell after Sir Joshua Reynolds Mezzotint Published according to Act of Parliamt. 1756, & sold at the Golden Head in Covent Garden Image 268 x 226 mm, Plate Portrait of Catherine Chambers after Sir Joshua Reynolds (Mannings 342). The half-length portrait of Catherine shows her standing, with her face partially shaded by the large, flat hat she wears upon her head. Around her neck, she wears a ribbon, and over her low-cut dress she wears a mantle.

Catherine Chambers (née Moore) (fl. 1752 - 1797) was the wife of the architect William Chambers.

They were married in 1752.

Chaloner Smith 40 ii/ii, Goodwin 54 ii/ii Hamilton 90 ii/ii, O’Donoghue 1 unmounted [40026] £350

12. [Miss Jacobs] Jonathan Spilsbury after Sir Joshua Reynolds Mezzotint Publish’d by J. Boydell Engraver in Cheapside, Jany.

1st, 1762 according to Act of Parlimt.

Image 455 x 352 mm, Plate 504 x 354 mm, Sheet 507 x 355 mm Three-quarter length portrait of a woman traditionally called ‘Miss Jacobs’, after a painting by Sir Joshua Reynolds (Mannings 995). Seated and directed to the right, she look downwards, and wears a pearl choker. Her hair is adorned with pearls, and in her lap, she holds a bunch of flowers.

The identity of ‘Miss Jacobs’ is yet to be identified, although it is thought she may have been a singer.

Chaloner Smith 1883 21 ii/ii, Hamilton 111, O’Donoghue 1 unmounted [40027] £600

13. In the Collection of Sir James Lowther Bart.

Captain William Baillie after Gerard Dou Etching and mezzotint c. 1750 Image 190 x 172 mm, Plate 252 x 180 mm, Sheet A young woman seated on a chair and holding a book, half-length to left; in a roundel with the inscription: In the Collection of Sir James Lowther Bar.t Lennox-Boyd ii/ii unmounted [40142] £120

14. Les Dames Artistes John James Chalon and Charles Joseph Hullmandel Lithograph with hand colouring London Pubd. by Rodwell and Martin, New Bond Stt. Aug 1, 1822.

Image 159 x 217 mm, Plate 190 x 232 mm, Sheet 294 x 393 mm Set within a studio, three women are depicted painting. The woman to the left is showing her work to a male admirer, whilst the woman in the right corner copies a figure from Jacques-Louis David’s The Intervention of the Sabine Women, 1799.

The image comes from a series of prints titled Twenty-four subjects exhibiting the Costume of Paris.

The series was published between 1820 and 1822 in four parts, each of which came with a lithographed or engraved wrapper. Although an order is given in Abbey Travel, the plates were not numbered, and therefore, the order is uncertain.

Abbey Travel 108 Condition: Discolouration and time toning to margins. Vertical tear, approximately 2cm, along upper edge of sheet, not affecting image. unmounted [40138] £120

ARTISTS

15. Sofonisba Angusciola Pittrice’ Captain William Baillie after Sofonisba Anguissola Mezzotint c. 1761-1786 Image 321 x 255 mm, Plate 356 x 255 mm A three-quarter length self-portrait of Sofonisba Angusciola Pittrice, engraved by Captain Willaim Baillie. Seated under an arch whilst painting a Madonna and Child, she holds a paintbrush in her right hand. She wears a dark robe with a lace collar, and an apron over her lap.

Sofonisba Anguissola (c.1535 - 1625) was an Italian painter, one of six sisters from a noble Cremonese family, all of whom painted. She studied in Cremona under Bernardino Campi and Bernardino Gatti. She painted several three-quarter view self-portraits.

Chaloner Smith 1, Meyer 22 Condition: Tipped to an album page and some light rubbing in the upper portion of the print. mounted [40062] £150

16. Mrs Brooks.

Charles Corbutt [Richard Purcell] after Thomas Worlidge Mezzotint Printed for Robt. Sayer No. 53 Fleet Street. [c.1765] Image 135 x 113 mm, Plate 152 x 113 mm, Sheet 177 x 135 mm A seated portrait of Mrs Brooke, or Brooks. She wears a hat, a ribbon around her neck, and a cape over her dress. In her hands she holds a book, and sitting upon the desk to her left are books and a quill pen.

Mrs Brooke or “Brooks,” was the wife of the engraver James Brooke. She left him to become an actress in Edinburgh and Norwich.

Chaloner Smith 9a (a&c), Lennox - Boyd i/i, O’Donoghue 2 Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Good, clean impression. unmounted [21263] £120

17. Miss Hoare.

Charles Spooner after William Hoare Mezzotint Printed for Robt. Sayer in Fleet Street. [c.1750] Image 136 x 113 mm, Plate 152 x 115 mm, Sheet 215 x 140 mm A portrait of Mary Hoare seated at a table whilst looking at a large album.

Mary Hoare (c.1725-1820) was the daughter of the artist William Hoare, and was a painter herself. She often imitated her father’s style, and exhibited with the Society of Artists in 1761 and 1766, and with the Fine Art Society (1761-64).

Chaloner Smith 24 i/i, O’Donoghue 2, Lennox Boyd i/i Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Crease to lower right corner, and small mark to upper edge of sheet, not affecting image. unmounted [21242] £120

18. Miss Lewis.

Charles Spooner aftert Jean Étienne Liotard Mezzotint Printed for Robt. Sayer, Printseller in Fleet Street. [c.1750] Image 133 x 112 mm, Plate 151 x 112 mm, Sheet 160 x 121 mm Likely to be a portrait of Mlle Lavergne, niece of the painter.

Chaloner Smith 27 i/i, Lennox - Boyd i/i, O’Donoghue 3 Ex. Col.: Oettingen - Wallerstein Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Mark to left of inscription space under artist’s name. Mark to top left corner, at and above plate mark. unmounted [21288] £140

19. Angelica Kauffman Johann Friedrich Bause after Andreas Léonard Moeglich Stipple [1794] Image 110 x 93 mm, Plate 180 x 120 mm, Sheet 218 x 140 mm Illustration to Johann Georg Meusel’s Neues Museum für Künstler und Kunstliebhaber.

Bust portrait of Angelica Kauffman, based upon a wax medallion. Facing to the left in profile, she wears a chiton and peplos, and her hair is styled as an Ancient Greek, with a fillet across her head.

O’Donoghue 8 unmounted [40126] £50

20. Miss S. Biffin [Sarah Biffen] R. W. Sievier after Sarah Biffen Stipple London. Published June 1821; by Miss Biffin; 33 Strand.

Image 185 x 160 mm, Plate 357 x 290 mm, Sheet 585 x 420 mm A three-quarter length portrait of Sarah Biffin, miniature painter born without arms seated to the right on a bench behind a table on which lies and easel, a glass with two paint brushes, and a palette, looking towards the viewer, paint brush attached to the right sleeve of her dres, shewears a plumed hat, lace collar and chain. Inscription below title reads: Born at East Quantox-head, near Bridgewater, Somersetshire./ Without hands or arms./ Dedicated with permission to her Royal Highness Princess Augusta.

O’Donoghue 1 Condition: Light dirt build up and discolouration to margins, not affecting plate or image. unmounted [26979] £100

21. Olivia Serres Mackenzie after George Francis Joseph Stipple Published by J. Ridgeway, Piccadilly, 1805.

Image 91 x 75 mm, Plate 169 x 117 mm, Sheet 220 x 136 mm Half-length portrait of Olivia Serres, set within a oval. She faces forwards, with her gaze set slightly off to the left, holding a crayon in her right hand, and a portfolio in her left. Over her head she wears a veil.

22. Mrs. Beale, & her Son Charles.

Thomas A E Chambars after Charles Beale formerly attributed to Mary Beale Copper engraving [c. 1800] Image 144 x 119 mm, Plate 172 x 131 mm A half-length portrait of Mary Beale set within an ornamental oval, resting upon a pedestal. In the lower left corner, slightly tilted, is a portrait of Mary’s son, Charles, also set within an oval. From Horace Walpole’s Anecdotes of Painting in England.

Olivia Serres (1772 - 1834), known as Olive, was a British painter and writer. She is also known as an English impostor, having claimed to be the daughter of Prince Henry, Duke of Cumberland - brother of King George III - and therefore, claiming the title of Princess Olive of Cumberland.

The drawing from which this print is taken is from a selection of numerous drawings that were previously attributed to Mary Beale by Robert Laurence Binyon, which are now recognised as the work of her son, Charles Beale.

Mary Beale (1632 - 1697) was one of the most important portrait painters in 17th-century England, and has been recognised as the first professional female English painter. Her husband, Charles Beale the Elder, ran, and assisted her in, her studio in London.

O’Donoghue 1.

Condition: Staining to edges of sheet. unmounted [40131] £45

O’Donoghue 1 Condition: Somel foxing to sheet. unmounted [40133] £45

23. Mrs. Frewer William Camden Edwards after Joseph Clover Copper engraving [n.d. c. 1800] Image 158 x 128 mm, Plate 275 x 223 mm, Sheet 348 x 265 mm A half length portrait of Mrs Frewer holding a canvas with her left hand wearing shawl.

Mrs Frewer (active early 19th century) was drawing teacher in Norwich.

O’Donoghue 1 Condition: Some overall surface dirt unmounted [40094] £45

24. [Anne Bill] Simon van de Passe Copper engraving [c.1621] Image 143 x 97 mm, Sheet 156 x 101 mm Bust portrait of Anne Bill, set within an oval plaque, and supported by an angel, all of which is set before an altar. Van de Passe produced the portrait for Anne’s husband, Bill, as a memorial portrait upon her death.

Anne Bill (1588 -1621) was the wife of John Bill, King’s Printer.

O’Donoghue 2, Hollstein 22, Franken 48, Hind II 10 Condition: Trimmed within plate mark and laid to album page. Small loss to lower left corner of sheet, not affecting printed area. unmounted [40079] £45

MISTRESSES & COURTIERS

25. Madame Katherine Sidley after Sir Peter Lely Mezzotint Richard Tompson c. 1678 Image 315 x 250 mm, Plate 340 x 250 mm, Sheet 345 x 254 mm A fine early mezzotint, nearly full length portrait of Catherine Sedley, leaning on her right hand wearing a draped dress and short curled hair. A rural landscape in the background Catherine Sedley, Countess of Dorchester, Countess of Portmore (1657 – 1717), was the daughter of Sir Charles Sedley, 5th Baronet and the mistress of King James II and VII both before and after he came to the throne. Catherine was noted not for beauty but for her celebrated wittiness and sharp tongue Ex. Col.: Hon. Christopher Lennox-Boyd Chaloner Smith 43 i/i (under Tompson), O’Donoghue 2, Lennox - Boyd i/ii mounted [21885] £300

26. Margaret Caroline Rudd Gerard Sibelius after Daniel Dodd Copper engraving Publish’d according to Act of Parliament Decr ye 2nd 1775, by William Humphrey, Gerrard Street Soho Image 340 x 245 mm, Plate 350 x 252 mm, Sheet 356 x 257 mm Margaret Caroline Rudd (née Youngson) (c. 1745 - c.1798) was a courtesan who was accused and later acquitted of forgery.

A notorious trouble maker in her home town outside Belfast she announced her engagement to the lieutenant, Valentine Rudd, after just ten days of him being stationed in her town. The newly married couple moved to London where Caroline proceeded to rack up debts in her husbands name. She then ran off with another man and continued to bill her husband to ruin. Due to Carolines actions Rudd was arrested and put in a debtors prision, upon his release he fled the country.

Caroline is most notorious for her involvement with the brothers Perreau, a subject upon which Sarah Bakewell has based the novel The Smart: The True Story of Margaret Caroline Rudd and the Unfortunate Perreau Brothers. Although they never married

she moved in with Daniel (the more reckless of the identical twins, Robert being respectable and happily married) and fell pregnant with his child.

It is during this time that Caroline is suspected to have forged a bond stating that Robert would cover all her expenses, which she allegedly persuaded him to deliver. This resulted in both the brothers and Caroline being arrested. Caroline launched a s uccessfull appeal declaring her innocence and both the brothers were hanged for forgery.

Condition: Trimmed to just outside plate, time toned, watermark to the top of image. mounted [25482] £150

27. Louize Dutchesse of Portsmouth &c. Étienne Baudet after Henri Gascar Copper engraving [c.1673] Image 329 x 431 mm, Sheet 381 x 432 mm One of Baudet’s principal works, this portrait of Louise Renée de Penancoët de Kérouaille, Duchess of Portsmouth, set within an oval, depicts Louise surrounded by curtains. Wearing an embellished robe, which falls to reveal her right breast, she holds a dove between her hands. To her left, Cupid reaches out to her.

Louise Renée de Penancoët de Kérouaille, Duchess of Portsmouth (1649 - 1734) was a mistress of Charles II, with whom she had a son, Charles Lennox, 1st Duke of Richmond. Through her son, Louise is ancestor to both wives of Prince Charles - Diana, Princess of Wales, and Camilla, Duchess of Cornwall.

Le Blanc 103, O’Donoghue 1 (Portsmouth) Condition: Trimmed within plate mark, and backed onto various other pieces of paper. Creasing to sheet, time toning, and some stains. unmounted [40074] £200

28. Mrs. Fitzherbert John Russell after Joseph Collyer Stipple and line engraving Published as the Act directs 1 Feby. 1793, Sold by W. Faden, CharingCross, Mrs. Darling...

Image 282 x 213 mm, Plate 353 x 262 mm A three-quarter length portrait of Maria Anne Fitzherbert, shown seated to the right. She rests her chin upon her left hand, with her left elbow leaning upon her knee. Her delicate dress is belted around the waist, and a headscarf is tied over her curled hair.

29. Eleanor Gwyne Richard Earlom after Samuel Cooper Mezzotint London Published by S. Woodburn, 1810.

Image 126 x 99 mm, Plate 158 x 107 mm, Sheet 220 x 138 mm Half-length portrait of Eleanor Gwyne set within an oval. She wears a loose gown which partially reveals her breasts, and pearls around her neck. Her hair is worn in tight ringlets, and a few locks fall over her left shoulder.

Maria Anne Fitzherbert (previously Weld, née Smythe; 1756 - 1837) was a long-term companion of George IV. Prior to George IV’s accession to the throne, he and Fitzherbert secretly contracted a marriage in 1785, but it was recognised as invalid under English civil law. Pope Pius VII, however, was persuaded to declare the marriage sacramentally valid.

Their relationship was rather sporadic, however, and finally ended in 1811.

Not in O’Donoghue Condition: Some light discolouration and foxing to margins, and a few light areas of rubbing to image. unmounted [40130] £80

O’Donoghue 8 Condition: Diagonal crease in left margin not affecting the image. unmounted [40134] £150

30. [Nell Gwynn] attributed to Gervase Spencer Etching [n.d. c. 1800] Image 63 x 47 mm, Plate 84 x 145 mm, Sheet A bust length portrait of a woman , hair parted in the middle with fabric draped on her head, in an open neck dress decorated with pearls. A note in pencil on the bottom states that the print is of Nell Gwyn

by Gervase Spencer. The paper dates the print to the early 19th century.

Eleanor ‘Nell’ Gwyn (1650 - 1687) was a famous actress and star of the new form of Restoration comedy, and the long-term mistress of King Charles II. Ex. Col.: Hon. Christopher Lennox-Boyd. unmounted [40150] £45

31. Reflections on Werter, Robert Thew after Richard Crosse Stipple London, Pulish’d Feb.ry 1, 1790, as the Act directs

by W. Dickinson, No. 158, New Bond St. & Messrs.

Molteno, Colnaghi & Co., Pall Mall, R. Thew.

Image 112 x 83 mm, Plate 205 x 158 mm, Sheet 211 x 168 mm Seated portrait of a Miss Turner after a miniature by Richard Crosse. Almost whole length, and turned to the right, her gaze is fixed on the viewer. In her right hand, she holds a book, and she wears a large feathered, with a riding dress and a frilled chemise.

Miss Turner of Uxbridge (fl. c.1790) is primarily known as sitting for two portraits by Richard Crosse.

O’Donoghue 1 Condition: Trimmed to the plate mark along the bottom, an ink stain in left margin, repaired tear upper right. unmounted [40084] £45

32. Ninon de Lenclos Thomas Worlidge Etching [1757-66] Image and plate 162 x 94 mm, Sheet 170 x 104 mm Half-length portrait of Anne ‘Ninon’ de l’Enclos, turned slightly to the right and facing forward, Ninon wears a low-necked gown decorated with jewelled brooches, a strap over her right shoulder, and a pearl necklace. Set within a an oval, the image is surrounding by ribbons, flower, and a decorative lettered cartouche.

Inscription below portrait reads: ‘Ninon de Lenclos from an Original Picture given by herself to the Countess of Sandwich and by the present Earl of Sandwich to Mr. Walpole 1757’ Worlidge’s monogram to upper right corner of plate.

O’Donoghue undescribed, D124. iii/iii Condition: Light glue residue to corners of verso. unmounted [40047] £70

33. Miss Lucy Waters.

Van de Berghe after Edward Harding Stipple Pubd. Octr. 1. 1793, by E & S Hardin, Pall Mall.

Image 136 x 109 mm, Sheet 254 x 191 mm A Venus-like portrait of Lucy Walter (misspelt on inscription), depicted almost whole length, and slightly reclined. She holds a wreath in her left hand, and drapery falls around her to reveal her right breast. A pearl clip is in her hair, and a pearl necklace around her neck. In her right hand, she holds an arrow, and just behind, Cupid peaks through the curtain he holds. From Memoirs of Count Grammont.

Lucy Walter, or Barlow, (c.1630 - 1658) was the mistress of Charles II, and the mother to his illegitimate son, James Scott, 1st Duke of Monmouth.

O’Donoghue 1 Condition: Small ink mark to upper left corner of image, but otherwise, a good, clean impression. unmounted [40067] £35

CRIMINALS & CURIOSITIES

34. Elizabeth Canning.

L. P. Boitard Copper engraving Published according to Act of Parliament May 27th 1754. Printed for & Sold by Thos. Bowles in St. Pauls Church Yard. & John Bowles & Son at the Bolack Horse in Cornhill.

Image 210 x 183 mm, Plate 251 x 201 mm, Sheet 259 x 204 mm Half-length portrait of Elizabeth Canning seated at a table. She wears a simple dress with a laced bodice, and a bonnet upon her head.

O’Donoghue 1, Roux (IFF) 23.

Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed just outside plate mark, time toning to margins. mounted [21333] £220

35. Elizabeth Canning.

Etching [c.1753] Image and sheet 112 x 92 mm Half-length portrait of Elizabeth Canning, set within a decorative roundel, and with a banner below inscribed with her name. The illustration was originally featured in the London Magazine, and was shown alongside a portrait of Mary Squires.

Elizabeth Canning (married name Treat; 1734– 1773), was an English maidservant who claimed she had been attacked by two men near Bedlam Hospital, kidnapped, and held against her will by Susannah Wells and Mary Squires. After apparently being kept in a hayloft for nearly a month, Canning is said to have escaped and returned to her mothers house.

Wells and Squires were tried and found guilty, but were later released. Canning was found guilty of perjury, and sentenced to one month’s imprisonment, and seven years of transportation. Canning became central to one of the most famous English criminal mysteries of the 18th century, and the mystery surrounding her disappearance is still unsolved.

O’Donoghue 6 unmounted [40056] £35

36. Mary Squires the Gypsy.

Etching [c.1753] Image and sheet 112 x 93 mm Half-length portrait of Mary Squires, set within a decorative roundel, and with a banner below inscribed with her name. The illustration was originally featured in the London Magazine, and was shown alongside a portrait of Elizabeth Canning, the woman that had accused Squires of her supposed abduction.

Mary Squires (1762) was originally given the death sentence for her part in the alleged kidnapping of Elizabeth Canning. Canning was later found guilty of perjury and Squires was granted a pardon.

O’Donoghue 6 (Canning) Condition: Trimmed from the accompanying image. unmounted [40071] £35

37. Miss Mary Blandy.

Copper engraving Published by H. R. Young, 56 Paternoster Row. [1819] Image 168 x 164 mm, Plate 252 x 158 mm From James Caulfield’s Portraits, Memoirs, and Characters of Remarkable Persons, from the Revolution in 1688 to the end of the reign of George II. Mary Blandy (1720 -1752) was the only child of Francis Blandy, a lawyer in Henley, Oxfordshire, whom she murdered. In 1746, Mary met Captain William Henry Cranstoun, and the two intended to marry in 1751. It was revealed, however, that Cranstoun was already married to a woman in Scotland, with whom he had a child. Mary went on to poison her father, adding arsenic into his food, which led to his death. Mary claimed that Cranstoun had sent her the arsenic under the pretence that it was a love potion, stating that if she gave it to her father, it would cause him to approve of their relationship. Mary was, however, found guilty, and hanged outside of Oxford Castle prison on April 6th, 1752.

Condition: Foxing to margins, with a few spots to image, and time toning to edges of sheet.

[40157] £35

38. Maria Manning. Frederick G. Manning.

Wood engraving Drawn and engraved by a distinguished artist, from the Old Bailey Dock, October 24, 1849.

Image 115 x 222 mm, Sheet 169 x 230 Portraits of Maria Manning and her husband Frederick Manning, the pair responsible for the case that became known as the ‘Bermondsey Horror’, whilst being tried. Together, they were responsible for the murder of Maria’s lover, Patrick O’Connor, and they became the first husband and wife to be executed in London together since 1700.

Maria Manning (1821 - 1849) was a Swiss born domestic servant working in London. Meeting both Frederick Manning and Patrick O’Connor around the same time, Maria was torn between the two men, but married Manning under the pretence that he was to be far more wealthy. Although marrying Manning in 1847, Maria continued her relationship with O’Connor. She swiftly realised that she married the wrong man, with O’Connor being more prosperous than Manning. On the 9th August 1849, Maria executed her plan of killing O’Connor. After shooting O’Connor in the head with a pistol, which failed to kill him, Maria’s husband beat him with a crow bar until he was dead. The pair buried O’Connor in the pre-dug grave beneath their kitchen’s flagstones, and

the following day, Maria attended O’Connor’s home where she looted his money and belongings. With concern arising regarding O’Connor’s disappearance, the couple fled London. O’Connor’s bodied was uncovered, and Maria was caught in Edinburgh, and Frederick in Jersey. The couple were found guilty, and hanged outside Horsemonger Lane Gaol, London, on November 13th, 1849. Charles Dickens attended their execution, and wrote a letter to The Times stating “I believe that a sight so inconceivably awful as the wickedness and levity of the immense crowd collected at that execution this morning could be imagined by no man, and could be presented in no heathen land under the sun.” He later used Manning’s life as inspiration for his character Mademoiselle Hortense, Lady Dedlock’s maid in Bleak House.

Condition: Time toning and discolouration to sheet, and some creasing to corners. unmounted [40156] £45

39. Mary Carlton Cal’d the German Prince.s Copper engraving c. 1673 Image and sheet 107 x 70 mm A rare half-length portrait of Mary Carleton, in an octagon, wearing earrings, necklace and low dress.

This portrait was the frontispiece to an account of her life.

Mary Carleton (11 January 1642 – 22 January 1673) was an Englishwoman who used false identities, such as a German princess, to marry and defraud a number of men. Mary Carleton wrote a pamphlet in defence of her actions and an account of her first trial, The Case of Madam Mary Carleton, possibly through a ghostwriter. She even acted in a play about her life. Eventually, in December 1672 Carleton was captured when a man who was searching for stolen loot recognised her. On 16 January 1673 she was tried in the Old Bailey. Because she had returned from penal transportation without permission, she received a sentence of death. She was executed by hanging on 22 January.

O’Donoghue 2 Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to the image and laid tipped to a large sheet of paper. Repaired tear lower left. Writing in pencil and old ink on verso. Some overall light surface dirt. unmounted [40055] £100

40. Elizabeth Brownrigg.

Robert Cooper Stipple Published by J. Robins & Co. Albion Press,1882.

Image 135 x 100 mm, Sheet 186 x 130 mm Three-quarter length portrait of Elizabeth Brownrigg standing in a prison cell. She wears a cloak over her dress, and a flat hat. In her left hand, she holds an open book. From Fifty Wonderful Portraits.

Elizabeth Brownrigg (1720 - 1767) was an English murderer, known for killing her domestic servant, Mary Clifford. As a respected midwife, Brownrigg was appointed an overseer of women and children, and was given custody of several female children from the Foundling Museum as domestic servants.

Brownrigg, however, inflicted horrendous physical abuse upon the girls, with her actions towards Mary Clifford being particularly heinous. Through constant abuse, Clifford’s wounds were unable to heal, leading to infection, and eventual death. Brownrigg was found guilty of murder, and later executed.

O’Donoghue 1 Condition: Trimmed within plate mark unmounted [40144] £20

41. Annie Wilson Etching [The Gentleman’s Magazine, September 1817] Image 150 x 103 mm, Sheet 170 x 0114 mm From the Gentleman’s Magazine.

Full-length portrait of Annie Wilson, walking in profile to the left, with a ‘diving rod’ in her right hand. She wears a floor length dress, over which is an apron and a shawl, and upon her head, she wears a bonnet. Her hook nose and jutting chin are accentuated in profile.

Annie Wilson (1817 fl.) was the guide of Roslin Chapel, and the landlady of Roslin Inn, where she played host to an array of artists, poets, and writers, including Dr Samuel Johnson, James Boswell, Sir Walter Scott, William and Dorothy Wordsworth, Alexander Nasmyth, and Robert Burns.

O’Donoghue 1 Condition: Trimmed and tipped to album page.

Time toning and surface dirt to sheet. unmounted [40160] £25

42. Dorothy Pentreath of Mousehole in Cornwall, the last Person who could converse in the Cornish landguage. after Richard Scaddan Copper engraving Printed for J. Hinton, at the Kings Arm, in Paternoster Row. [1781] Image 152 x 91 mm, Plate 182 x 113 mm Stylised half-length portrait of Dorothy Pentreath, wearing a cap and a shawl, and holding her right hand up. The portrait is set within a roundel, and is surrounded by fishing nets, a prawn, a crab, an eel, several fish in a basket, shells, and a jug, from the Universal Magazine.

Dorothy Pentreath (1692 - 1777), also known as Dolly, is primarily known as one of the last speakers of Cornish, prior to its revival in 1904. Although some claim that Pentreath was the last speaker of the language, it would be more accurate to state that she was the last fluent, native speaker. There is, however, controversy around this claim.

O’Donoghue 2 Condition: Tears and loss to margins, not affecting image.

[40060] £20

43. Mary Biss, Aged 107 Years an Inmate of the Hospital at Bruton, founded by Hugh Sexey Esqr. after W. Gosse Lithograph with original hand colour n.c. c. 1844 Image 176 x 123 vignette, Sheet 290 x 230 An uncommon lithographic portrait of Mary Biss, seated and dressed in her almshouse uniform. The original water colour is in the the Castle Carey Musuem, in Somerset. Sexey’s Hospital in Bruton, Somerset, England was built around 1630 as almshouses. Hugh Sexey (1556–1619), was a local landowner. By the age of 43 he had been appointed as Royal auditor of the Exchequer to Queen Elizabeth I and later King James I.[3] After his death the trustees of his will established Sexey’s Hospital in Bruton as an institution to care for the elderly.

Not in O’Donoghue Condition: Diagonal crease, some surface dirt, overall time toning and light overall creasing. unmounted [40129] £45

HISTORIANS

JACOBITE

44. Mrs Cathe Macaulay after Robert Edge Pine Copper engraving c. 1780 Image 132 x 85 mm, Plate 175 x 107 mm Whole-length portrait of Catherine Graham, shown standing beside an inscribed pedestal. Several books sit on the pedestal, upon which Catherine rests her left arm, whilst gazing off to her left. In her right hand, she holds a quill, and in her left, a scroll.

45. Flora Macdonald George Greatbach after Allan Ramsay Steel engraving 1847 Image 165 x 132 mm, Plate 280 x 211 mm, Sheet 349 x 256 mm Portrait of Flora Macdonald; standing half-length slightly to right within oval frame, with flowers in her left hand, eyes to front, wearing tartan shawl and flowers in her hair and at her breast, with the inscription: From the original picture by A. Ramsay 1749 in the Bodleian Gallery, Oxford. below.

Catherine Graham (born Sawbridge, and previously known as Macaulay when married to George Macaulay; 1731 – 1791) was an author and the first female English historian. Between 1763 and 1783, Catherine wrote her most notable work. The eight volumes were originally titled The History of England from the Accession of James I to that of the Brunswick Line, but coming to complete the final three volumes, she realised that she would be unable to reach 1714. The title, therefore, was altered to The History of England from the Accession of James I to the Revolution.

O’Donoghue 4 Condition: Tear to left into plate but not affecting image, ink stain in inscription space.

[40105] £35

O’Donoghue 3 Condition: Some short tears and creasing in margins not affecting the plate or image. unmounted [40139] £65

LITERARY

46. Lady Elizabeth Brooke Copper engraving [1684] Image 151 x 91 mm, Sheet 152 x 94 mm Half-length portrait of Elizabeth Brooke, turned slightly to the right, and facing forward. She wears plain attire, and a dark hood over her head. Set within a simple oval, and lettered below with sitter’s name, year of death, and age.

Frontispiece to the sermon given at Elizabeth Brooke’s funeral in 1683 by Nathaniel Parkhurst, printed the following year under the title The Faithful and diligent Christian described and exemplified. The publication also included an account of Brooke’s life, and Brooke’s Observations, Experiences, and Rules for Practice.

Elizabeth Brooke (1601 - 1683) was an English writer on religion.

O’Donoghue 1 Condition: Trimmed within plate mark and graingerised. unmounted [40050] £30

47. Mrs. Hofland, Authoress of the Son of a Genius, Integrty, a tale &c.&c.

Stipple London, 1823 Image 130 x 95 mm vignette, Plate 228 x 140 mm, Sheet 244 x 155 mm A half length portrait of Barbara Hofland from ‘La Belle Assemblée’ Barbara Hofland (née Wreakes) (1770 - 1844) was an author of 66 moral stories for children, poetry, and schoolbooks. Most of her works depict the struggles of Christian families against adversity. Her most popular novel was Son of Genius about an impulsive artist. It had been reprinted at least 14 times in Engliand by 1841, as well as nine times in America, and translations into French and other languages.

O’Donoghue 2 unmounted [40088] £25

48. [Mary Tighe] Caroline Watson after George Romney Stipple Published as the act directs May 10. 1811, by Longman & Co: Paternoster Row Image 81 x 67 mm oval, Sheet 184 x 133 mm A half length portrait of Mary Tighe, looking to left, hair long and loose over shoulders and headband.

After miniature by Comerford from a painting by Romney; frontispiece to her ‘Psyche’.

Mary Tighe (1772 - 1810) was an Anglo-Irish poet.

In 1805 she published ‘Psyche’, a six-canto allegorical poem in Spenserian stanzas, which was admired by many and praised by Thomas Moore. She suffered a serious attack of tuberculosis in 1805 and survived another five years.

Condition: Manuscript description across bottom of sheet, some foxing unmounted [40114] £45

49. L.E.L. Letitia Landon Edward Finden after Daniel Maclise Steel engraving London, Published 1835, by Saunders & Otley Image 123 x 99 mm vignette, Sheet 164 x 102 mm A three-quarter length portrait of Letitia Landon, in a dress decorated with bows, bonnet on her head, she holds and an eye glass. This portrait was the frontispiece to Landon’s Poetical Works, 1835.

Letitia Elizabeth Landon (14 August 1802 – 15 October 1838), English poet and novelist, better known by her initials L. E. L. Letitia Elizabeth Landon was born London, England. After her schooling in Chelsea, she began contributing to a weekly literary magazine called Literary Gazette, eventually becoming one of its editors. She published several poetry collections including The Fate of Adelaide and The Improvisatrice. In addition to poetry, L. E. L., as she was known to her readers, wrote several novels, although she always considered poetry her first literary language. Her gently romantic style was very popular at the time.

O’Donoghue 1 unmounted [40090] £20

50. [Sophia Primrose] Edward Fisher Mezzotint London, Printed for R. Sayer & J. Bennett, No. 53 Fleet Street, as the Act directs 20 Decr. 1776.

Image 218 x 192 mm, Plate 253 x 192 mm, Sheet 304 x 237 mm Proof before title and inscription.

Portrait of the fictional character Sophia Primrose, shown half-length and resting her right arm upon a fence. Set in profile, Sophia gazes thoughtfully off to the left. She wears a simple dress, and a straw hat with ribbons.

Sophia Primrose is a primary character in Oliver Goldsmith’s The Vicar of Wakefield, written between 1761 and 1762, and published in 1766. This mezzotint is from a series of ten portraits that illustrated the characters in Goldsmith’s novel.

Chaloner Smith 64 i/ii, Lennox-Boyd i/ii Ex.Col.: Hon. Christopher Lennox-Boyd Condition: Laid to album page, and some rubbing to image. unmounted [40146] £250

51. [Eliza Cook] Henry Adlard after Wilhelm Trautschold Stipple [c.1821-69] Image 204 x 181 mm, Sheet 419 x 304 mm Half-length portrait of Eliza Cook, shown looking to the right, and wearing a jacket over a blouse with a frilled placket. Below the image is a facsimile of her signature.

Eliza Cook (1818 - 1889) was an English author and poet associated with Chartism, a working-class movement for political reform in Britain between 1838 and 1858. She was also a proponent of women’s political freedom, and encouraged the notion of self-improvement through education.

O’Donoghue 1 Condition: Time toning and foxing to sheet. unmounted [40161] £80

52. Anna Maria A Schurman.

Jonas Suyderhoef after Jan Lievens Copper engraving Hugo Allard the Elder, Amsterdam, c. 1649 Image 293 x 245 mm, Sheet 345 x 246 mm A half-length portrait of Anna Maria Schurman seated, turned to right, head slightly turned to look at the viewer, her right hand resting on an open book that lies on the table on her left. Lettered in lower margin with title, followed by four lines of Latin verses: “Divini pictoris opus, ... / ..., cum decimaque nouem. / Daniel Heinsius ex tempore”.

Anna Maria van Schurman (November 5, 1607–May 14 or 15, 1678) was a German-born Dutch scholar, author, painter, engraver, and poet. She was the first woman to attend university in Holland. Working in most art forms of the period, she was also the first recorded artist to use pastels in portraits.

Hollstein 115.III, Hollstein 49 (after Lievens), van Someren 1888 5017 Condition: Trimmed to the image and laid to an album page. unmounted [40117] £120

53. Anne Maire Schurman Pierre Dupin after Theodor Matham after Anna Maria van Schurman Copper engraving [Michel Odieuvre, c.1720-56] Image 121 x 94 mm, Plate 143 x 102 mm, Sheet 154 x 116 mm Three-quarter length portrait of Anna Maria van Schurman, turned to her right, but looking towards the viewer. She wears an embellished dress with a lace collar, a pearl necklace and bracelet, and her curly hair at shoulder length. Her left hand rests upon a table, with books, paper, and writing implements beside. Curtains frame the figure, and the window set to the right of the composition reveals a view of Utrecht.

Two lines of French inscription give details on Schurman’s birth and death.

Hollstein 134 (Matham), van Someren 5018, Le Blanc undescribed Condition: Overall time toning and foxing to sheet. unmounted [40148] £50

54. Lady Charlotte Campbell.

Richard James Lane after Sir Thomas Lawrence Lithograph Printed by W. Day London 1830 Published by J. Dickinson Image 175 x 130 mm vignette, Sheet 342 x 274 mm Portrait of Lady Charlotte Susan Maria Bury in profile. The print is lettered below image with title, note on the drawing : Plate 8 of Imitations of the Chalk Drawings &c of Sir Thos. Lawrence, by R.J. Lane A.R.A. Lady Charlotte Susan Maria Bury (née Campbell) (28 January 1775 – 1 April 1861) was an English novelist,who wrote numerous novel, is chiefly remembered in connection with a Diary illustrative of the Times of George IV (1838).

O’Donoghue 4 Condition: Three short tears and some creasing to margins not affecting the image or inscription space. unmounted [40081] £55

55. Mrs Laetitia Pilkington Richard Purcell after Nathenial Hone Mezzotint 1760 Image 196 x 165 mm, Plate 263 x 194 mm,A bust length portrait of Laetitia Pilkington in an oval, wearing a dark gown slipping from right shoulder with a ribbon attached to a jewel at her breast. Frontis to Story of John Carteret Pilkington, her son’s memoirs Laetitia Pilkington (born Laetitia van Lewen) (c.

1709 -1750) was a celebrated Anglo-Irish poet and important source of information on the early 18th century. Her Memoirs are the source of much of what is known of the personalities and habits of Jonathan Swift and others. She lived in London for some time where she wrote plays and kept a small shop for prints and pamphlets. She took to drinking and died in Dublin in 1750.

Chaloner Smith 61 i/i, O’ Donoghue 1, Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to plate to the lower margin, thread margins to the top and sides, crease to centre of image.

[16269] £200

MILITARY

56. Mrs. Robinson Ridley Stipple Publsihed as the Act direcst May 1st, 1793 by T. Bellamy Image 93 x 82 mm, Sheet 184 x 144 mm A half-length portrait of Perdita Robinson turned to left, a drape and railing behind, published in Bellamys Picturesque Magazine.

Mary Robinson (née Darby) (27 November 1757 – 26 December 1800) was an English actress, poet, dramatist, novelist, and celebrity figure. During her lifetime she was known as “the English Sappho”.

She earned her nickname “Perdita” for her role as Perdita (heroine of Shakespeare’s The Winter’s Tale) in 1779. She was the first public mistress of King George IV while he was still Prince of Wales.

Not in O’Donoghue unmounted [40164] £35

57. Lady Sale. As she appeared in the advanced guard of the British Army in the Late Disastrous Retreat from Cabul under heavy fire from the Chilzees During the passage of th Khoord Cabul Pass Jany. 9th 1842 Richard Evan Lithograph Published by Blackwood & Page No.154 Strand. [c.1842] Image 224 x 145 mm, Sheet 322 x 259 mm Portrait of Lady Florentia Sale upon her horse, set within mountains, and surrounded by soldiers. In the bottom left corner of the image, a dead soldier is visible. The image focuses on the 1842 British retreat from Kabul of the 1st Afghan War. After witnessing much bloodshed and caring for the wounded, Florentia, along with other women and children, was captured and imprisoned for nine months. She kept a daily diary of the events.

Lady Florentia Sale (British; 1790 - 1853) was the daughter of civil service member George Wynch. In 1809, she married British army officer Sir Robert Henry Sale, with whom she accompanied on numerous postings, and travelled the world with. unmounted [40059] £75

PERFORMING ARTS

58. Joan of Arc the Victorious Leader of the French Armyes William Marshall Copper engraving 1642 Image 129 x 108 mm, Sheet 132 x 113 mm Bust-length portrait of Joan of Arc, wearing a plumed helmet, armor, and a sash, from Thomas Fuller’s The Holy State and the Profane State.

Inscription reads: ‘She was condemned by the English for a Witch, & burnt at Rohan July the 6th 1461, being about 22 yeares of Age.’

59. Madme. Malibran de Beriot Charles J Basebe after Pierre Louis Grevedon Lithograph [ n.d. c. 1830] Image 295 x 240 mm, Sheet 342 x 282 mm Half-length portrait of Marie Felicia Malibran, turned to the left, but looking forward. Her dark dress is worn off the shoulder, with a white blouse beneath that features large, puffed sleeves. She she wears a simple tiara, and her curled hair is worn up.

The Holy State and the Profane State described the holy state as existing in the family and in public life, as well as outlined rules of conduct, model “characters” for the various professions, and detailed profane biographies.

Maria Felicità Garcia (24 Mar 1808 - 23 Sep 1836) known as Malibran, was born in Paris, the daughter of the Spanish tenor Manuel del Pópolo Vicente Garcia. In 1816 she first appeared on the stage, beside her father in Agnese by Ferdinanco Paers. In 1825 she made her debut in London as Rosina in Rossini’s Il Barbiere di Seviglia, and moved to New York, where her father started an opera company.

Hind III.139.125.

Condition: Trimmed just inside plate, and laid to album page. unmounted [37667] £45

O’Donoghue 5 Condition: Some light creasing across the top, a few light foxing marks on the right, and indentations upper left. unmounted [40091] £180

60. Miss Wallis David Gibson Stipple Publish’d by A. Molteno No. 76 St. James’s Street, Jan: 28, 1795.

Image 91 x 73 mm, Plate 160 x 113 mm, Sheet 204 x 162 mm A half-length portrait in an oval of the actress Jane Tryphosa Wallis. Her head is turned and looking towards the viewer. She wears a gown with a frilled fichu drawn high to cover her neck entirely, with her hair dressed high with thick curls and a band and a medallion on a chain looped and pinned at her breast. Proof with scratched letters, before inscription.

Jane Tryphosa Wallis (1774 - 1848) was an actress.

She married James Elijah Campbell in 1797.

Condition: Some light surface dirt. Water stain in left margin not affecting the image or plate. unmounted [40058] £50

61. Fanny Ayton George Henry Phillips after Richard Westall Mezzotint [London, March 30th, 1828, Published by M. Colnaghi, 23, Cockspur Street] Image 240 x 191 mm, Sheet 332 x 253 mm Proof before letters.

Half length portrait of Fanny Ayton, turned slightly to the right, but gazing towards the viewer. She wears a necklace with a pearl pendant, pearl earrings, and a low cut dress that sits just off the shoulders.

Fanny Ayton (1806 – after 1833) was an English soprano, primarily known for her operatic performances during the late 1820s in London. Although born in Macclesfield, Chesire, Ayton was taught to sing in Florence, and her first public appearance was in Italy. After an extremely successful performance, she was employed by John Ebers, an operatic manager, at the King’s Theatre.

O’Donoghue 1 Condition: Some light surface dirt, crease in upper and lower right corners not affecting the image. unmounted [40112] £65

62. Christiane Henriette Koch Johann Friederich Bause after Anton Graff Copper engraving Leipzig, 1770 Image 292 x 207 mm, Plate 315 x 234 mm, Sheet 435 x 235 mm Portrait of Christiane Henriette Koch as Pelopia, a character in Christian Felix Weisse’s Atreus und Thyest, 1767, set within an oval decorated by flowers. A dramatic mask and crown is suspended from the oval, and hangs in front of a pedestal inscribed with the sitters name. Christiane, gazing off to her left, wears a low cut dress embellished with jewels along the bust, and a fur trimmed cloak. Her hair is worn up, and is adorned with pearls and feathers.

Christiane Henriette Koch (1731 - 1804) was a German actress.

Condition: Discolouration to upper margin, lower left corner, and partially to right edge. Some foxing to margins. unmounted [21956] £140

63. La Signora Zamperini in the Character of Cecchina, La Buona Figliuola, Act 2, Scene 3 John Finlayson after Nathaniel Hone Mezzotint Publish’d Feby. 1st 1769. Sold by Mr. Parker No. 82 Cornhill, & Mr. Finlayson in Berwick Street, Soho.

Image 345 x 278 mm, Plate 382 x 280 mm, Sheet 383 x 277 mm Half-length portrait of Anna Zamperini standing behind a balustrade, with her hands clasped in front of her. Zamperini is depicted in the role of Cecchina, a female protagonist in Niccolò Piccinni’s opera buffa ‘La buona figliuola’.

Companion print to Finlayson’s portrait ‘Mr Garrick in the character of Kitely’, which was published on the same day.

Anna Zamperini (c.1745 - 1771) was an Italian singer, and became extremely successful in London.

Ex.Col.: Hon.Christopher Lennox-Boyd.

Chaloner Smith 20 ii/ii, O’Donoghue 1, Recte iii/iii Condition: Excellent impression. Trimmed to plate mark, and some light creasing to arch. unmounted [21297] £400

64. Miss Kemble.

John Jones after Sir Joshua Reynolds Mezzotint London Published according to Act March 23, 1784,

by John Jones, No. 63 Great Portland Street Image 338 x 276 mm, Plate 378 x 277 mm, Sheet A half length portrait after Reynolds (Mannings 1027). Kemble is seated looking dowanwards slightly to left. Her hair is piled on her head and she wears a ribbon arround her neck, a white shoulder wrap and a black dress, a mountainous landscape behind. The engraved inscription space, which is lightly ground, shows two cupids holding a scroll surrounded by clouds.

Frances Anne “Fanny” Kemble (27 November 1809 – 15 January 1893) was a British actress from a theatre family. . She was a well-known and popular writer, whose published works included plays, poetry, eleven volumes of memoirs, travel writing and works about the theatre.

Chaloner Smith 42, Hamilton 112 (a) ii/iii, O’Donoghue 3 mounted [40024] £450

65. The Schindlerin John Raphael Smith after Sir Joshua Reynolds Mezzotint Publish’d 20th Jany. 1777 by J. Boydell Engraver in Cheapside London.

Image 333 x 274 mm, Plate 380 x 275 mm, Sheet 393 x 285 mm Portrait of Catherine Schindlerin after Sir Joshua Reynolds (Mannings 1578). Set within an oval, the half-length portrait portrays Catherine with her head tilted to the left, and her gaze set to the right. Her hands are placed in a muff, and she wears a lace cap which is tied beneath her chin.

Catherine Schindlerin ( fl.c. 1770s) was a German actress and singer, first appearing in London in 1775.

Chaloner Smith 147 intermediate state not recorded between i/iii and ii/iii inscription, title and publication line in scratched letters, Frankau 306 , D’Oench 88, Hamilton 130, O’Donghue 1 Condition: Crease in upper left hand corner unmounted [40028] £350

66. Mlle. Doze Jules Alfred Vincent Rigo after Alexandre Lacauchie Lithograph Paris, Publié par Marchant [n.d. c. 1840] Image 195 x 133 mm vignette, Sheet 292 x 222 mm Portrait of French actress Léocadie Doze, wholelength, standing with hands folded in front of her, hair dressed in curls, wearing low-necked gown.

Printed on India laid paper.

Léocadie Doze (20 October 1822 - 30 October 1859) was a French actress, playwright, and author. She made her debut at the Théâtre Français in 1839. She retired from the stage when married author Roger de Beauvoir, whom she later divorced in 1850. She went on write several plays and novels as well as a weekly column in “Le Constitutionnel” Condition: Foxing in margins not affecting the image. unmounted [40163] £45

67. Miss Fanny Kemble.

Richard James Lane after Sir Thomas Lawrence Lithograph Published by J. Dickinso n on Decr. 20, 1829 Image 310 x 300 vignette, Sheet 530 x 427 mm Three-quarter length portrait of Fanny Kemble after a drawing by Sir Thomas Lawrence (Garlick 1964, p.231). Seated and turned to the front, Fanny cocks her head slightly to the left. Her left elbow rests on the back on the chair, and she places her hands together in her lap.

Printed on India laid paper.

Frances Anne “Fanny” Kemble (27 November 1809 – 15 January 1893) was a British actress from a theatre family. . She was a well-known and popular writer, whose published works included plays, poetry, eleven volumes of memoirs, travel writing and works about the theatre.

O’Donoghue 5 Condition: Some light scattered foxing unmounted [40093] £150

68. Madame Mara Ridley Stipple Published as the Act directs 27, Dec. 1792, by T.Evans No. 40 Pater Noster Row. Image 100 x 87 mm oval, Plate 175 x 111 mm, Sheet 204 x 118 mm A half-length portrait of opera singer Gertrude Elizabeth Mara in an oval. She is turned to her right facing the viewer, feathers in her hear, pearls around her neck, and ruffle at her neckline.

Gertrud Elisabeth Mara (née Schmeling) (23 February 1749 – 20 January 1833) was a German operatic soprano.

Not in O’Donoghue Condition: Over all time toning and a crease in the publication line. A drawing on the verso.

[40140] £30

69. Mrs. Robinson William Dickinson after Sir Joshua Reynolds Stipple London, Publish’d July 1st; 1785, by W. Dickinson, Engraver & Printseller No. 158 Bond Street Image 275 x 220 mm, Plate 378 x 273 mm, Sheet 387 x 280 mm A half length portrait of Mary Robinbson after Reynolds (Mannings 1529). Robinson is seated and facing slightly to left, head in three-quarter profile and eyes to front, with her hands together, wearing feathered hat with large brim, with curtain behind and landscape beyond at left.

Mary Robinson (née Darby) (1756-8 - 1800) was an English actress, poet, dramatist, novelist, and celebrity figure. During her lifetime she was known as “the English Sappho.” She was the mistress of George IV when Prince of Wales. She later liaisons with Charles James Fox and Colonel Tarleton.

Hamilton 128 ii/ii, Le Blanc 32, O’Donoghue 9 Condition: Some minor damage in the inscription space unmounted [40023] £220

RELIGIOUS

BRITISH ROYALTY

70. Madame de Miramion Gérard Edelinck after François de Troy Copper engraving [ca. 1696 - 1702] Image 207 x 150 mm, Sheet 210 x 151 mm Half-length portrait of Marie de Miramion, dressed in plain attire with a scarf tied around her head, and wearing a crucifix and chain around her neck. Set within a simple oval, with the sitters name and details of her death inscribed below.

71. Her Royal Highness Princess Amelia after Jacopo Amigoni Copper engraving [n.d. c. 1735] Image 258 x 200 mm, Sheet 295 x 207 mm Princess Amelia Sophia Eleanora (10 July 1711 – 31 October 1786) was a member of the British Royal Family, the second daughter of George II.

Marie de Miramion, also known as Marie Bonneau, or Marie Bonneau de Rubella Beauharnais de Miramion (1629 - 1696) was a French woman known for her piety, and for founding a number of organisations.

Ex. Col.: Félix Jouber, collector’s mark on verso, Lugt 1502a Condition: Trimmed within plate mark, and stain to corners from glue on verso. unmounted [40052] £50

Ex. Col.: Robbins Londo, collector’s stamp on verso O’Donoghue 1 Condition: Trimmed within the plate, pencil description of sitter on verso. unmounted [40118] £80

72. Anne of Denmark Queen of K. James I. Jacobus Houbraken after Cornelius Johnson Copper engraving [c.1737-43] Image 354 x 222 mm, Plate 364 x 228 mm, Sheet 497 x 345 mm Portrait of Queen Anne of Denmark, set within an ornamental oval inscribed with her title, shown turned slightly to the left, but looking forward. She wears a feathered headdress, and pearl jewellery.

The oval is set upon a pedestal, in front of which is a, crown, and urn, and a seated putto holding a scythe between his legs.

Anne of Denmark (1574 - 1619) was the daughter of Frederick II of Denmark and Sophie of Mecklenburg-Güstrow. In 1589, at the age of 14, Anne married King James VI and I. They had three children who survived infancy, including the future Charles I. O’Donoghue 7, Ver Huell 28 unmounted [40103] £50

73. Mary Queen of Scots Jacobus Houbraken after Isaac Oliver Copper engraving Impensis J: & P: Knapton Londini 1738. [c.1743-52] Image 360 x 223 mm, Plate 373 x 228 mm, Sheet 493 x 333 mm Portrait of Mary, Queen of Scots, set within an decorative architectural oval, turned slightly to the right, but looking towards the viewer. She wears a gown with puffed sleeves, a lace ruff and cap, and a hat. A putto, set to the left of the oval, raises drapery to reveal the portrait, and set to he right of the oval is an urn. Below the portrait, a vignette illustrates Mary’s maids preparing her for her execution, with a priest and executioner looking on, and a large crowd beyond.

Although the publication line has the date 1738, this particular impression is in fact from a later series published by J & P Knapton between 1743 and 1752.

O’Donoghue 77, Ver Huell 17 Condition: Discolouration to sheet, likely from an acidic mount, although not affecting image. unmounted [40104] £50

74. Anna DG Anglia Scotiae Francia et Hibernia Regina Fidei Defensor Robert White after Sir Godfrey Kneller Copper engraving Sold by R White in Bloomsbury Market. [n.d. c.1702] Image and sheet 470 x 355 mm A large rare bust length portrait of Anne Queen of Great Britain in an oval with leaves and a laurel wreath above.

75. Catharina D:G: Mag: Brit: Fra: et Hib: Regina Filia Joannis III Reg: Portug: &c.

John Smith after Jacob Huysmans Mezzotint London, c. 1680-88 Image 296 x 242 mm, Sheet 340 x 255 mm Half-length portrait of Catherine of Braganza, set within an oval, and facing the left. Her long, curled hair falls over her shoulders, and her loose dress is adorned with jewels.

Only other recorded copy of this portrait appears to be in the Royal Collection.

Catherine of Braganza (1638-1705) was the Queen of England, Scotland and Ireland between 1662 and 1685 as the wife of King Charles II. She was the daughter of John, 8th Duke of Braganza, who became King John IV of Portugal following the removal of the House of Habsburg in 1640. Due to her Roman Catholic beliefs, Catherine was an unpopular choice as the wife of Charles II.

Anne (6 February 1665 – 1 August 1714) became Queen of England, Scotland and Ireland on 8 March 1702. On 1 May 1707, under the Acts of Union, two of her realms, the kingdoms of England and Scotland, united as a single sovereign state known as Great Britain.

Not in O’Donoghue Condition: Trimmed to the image. Horizontal centrefold crease. Old album page backing on verso.

Small repaired hole lower left. unmounted [40077] £400

Chaloner Smith 14, O’Donoghue 5 Condition: Tipped into an album page unmounted [40096] £200

76. Elisabetha D.G. Angliae Franciae Hibern et Verginiae Regina Auspicatiss Dominicus Custos Copper engraving [ca. 1600-4] Image 152 x 115 mm, Sheet 170 x 119 mm A rare contemporary half-length portrait of Elizabeth I. The portrait is set within an inscribed oval, with a coat of arms to the left, and the Garter to the right.

Two lines of Latin text below: ‘Tros absit: merito mirabitur Afer Elisam; / Anglus idem tibi praestet, ELISA tuus’ The portrait belongs to the series Atrium Heroicum.

Between 1600 and 1604, the portrait series was published in Augsburg in four volumes, and the engravers were Dominicus Custos and his step-son, Lucas Kilian.

77. Elizabeth Queen of K. Henry VII. Jacob Houbraken Copper engraving Impensis J & P Knapton Londini, 1747.

Image 360 x 221 mm, Plate 367 x 227 mm, Sheet 493 x 337 mm Portrait of Elizabeth of York, set within an oval inscribed with her title.

Elizabeth I (7 September 1533 – 24 March 1603) was Queen of England and Ireland from 17 November 1558 until her death.

O’Donoghue 6, Ver Huell 82 Condition: Discolouration to sheet, likely from an acidic mount., although not affecting image. unmounted [40102] £50

O’Donoghue 80 Condition: Tipped to album page, and trimmed within plate mark. Repaired loss to upper and lower left corners of sheet and right margin.

[40066] £120

This portrait of Elizabeth of York is from Thomas Birch’s The Heads of Illustrious Persons of Great Britain.

Elizabeth of York (1466 - 1503), as the wife of Henry VII, was queen consort of England from 1486 until her death in 1503. She was also the first Tudor queen.

78. Catherine of Arragon, Queen of K. Henry VIII Jacobus Houbraken after Hans Holbein the Younger Copper engraving Impensis J. & P. Knapton Londini 1746 Image 360 x 228 mm, Plate 371 x 237 mm Portrait of Louise of Savoy, incorrectly named as Catherine of Aragon. Beneath the portrait is a cartouche depicting Catherine of Aragon before the papal legate.

This portrait of Louise of Savoy is from Thomas Birch’s The Heads of Illustrious Persons of Great Britain Louise of Savoy (1476 - 1531) was a French nobelwoman, Duchess of Auvergne and Bourbon, and the Duchess of Nemours.

Catherine of Aragon (1485 - 1536) was the first wife of Henry VIII, and was therefore Queen of England between 1509 until 1536.

O’Donoghue 6, Ver Huell 84 Condition: Faint discolouration to sheet, not affecting image. unmounted [40107] £80

79. Ann Bullen Queen of Henry VIII Jacobus Houbraken after Hans Holbein the Younger Copper engraving Impensis J. & P. Knapton Londini 1738 [1743-52] Image 361 x 223 mm, Plate 368 x 228 mm, Sheet 487 x 343 mm Portrait of Anne Boleyn, beneath the portrait, a memento mori image is featured upon a pedestal.

Anne’s decapitated head lays on the floor alongside an axe, with a putto by its side, lifting drapery to cover the head. The putto holds a flaming torch in his right hand.

This portrait of Anne of Boleyn is from Thomas Birch’s The Heads of Illustrious Persons of Great Britain.

Anne Boleyn (c.1501 - 1536) was the second wife of King Henry VIII, and between 1533 and 1536, was the Queen of England.

O’Donoghue 5, Ver Huell 11 Condition: Some discolouration and time toning to margins. unmounted [40113] £90

80. Jane Seymour Queen of Henry VIII Jacobus Houbraken Copper engraving Impensis J. & P. Knapton Londini 1746 Image 357x 218 mm, Plate 372 x 227 mm, Sheet 491 x 333 mm Portrait of Jane Seymour. The portrait is set within an inscribed oval, and upon a pedestal which features a frieze that depicts the birth of her son, Edward VI. This portrait of Jane Seymour is from Thomas Birch’s The Heads of Illustrious Persons of Great Britain.

Jane Seymour (c.1508 - 1537) was the third wife of King Henry VIII, and was Queen of England between 1536 and 1537.

O’Donoghue 9, Ver Huell 85 Condition: Faint discolouration to sheet, likely from an acidic mount., although not affecting image. unmounted [40106] £80

81. Anne of Cleves Queen of Henry VIII Jacobus Houbraken after Hans Holbein the Younger Copper engraving Impenssis J. & P. Knapton Londini 1740 [1743-52] Image 361 x 225 mm, Plate 375 x 235 mm, Sheet 492 x 316 mm Portrait of Anne of Cleves, looking directly at the viewer, and set within an inscribed decorative oval.

She wears an embellished headdress and dress, with jewels around her neck. Below the portrait, a putto is shown alongside a crown.

This portrait of Anne of Cleves is from Thomas Birch’s The Heads of Illustrious Persons of Great Britain.

Anne of Cleves (1515 - 1557) was the fourth wife of King Henry VIII. Their marriage only lasted a few months, from the January until the July of 1540, and was annulled on the grounds on non-consummation.

O’Donoghue 3, Ver Huell 12 Condition: Some discolouration and time toning to margins. unmounted [40110] £80

82. Catherine Howard Queen of K. Henry VIII Jacobus Houbraken after Hans Holbein the Younger Copper engraving [c.1739] Image 354 x 217 mm, Plate 363 x 227 mm, Sheet 493 x 335 mm Portrait of Catherine Howard, set within an ornamental oval. Upon the floor, partially covered by a falling curtain, is Catherine’s decapitated head, shown next to an axe. A putto sits beside the head, with a partially extinguished torch.

This portrait of Catherine Howard is an early impression from a series of portraits that illustrated British royalty and nobility.

Catherine Howard (c.1523 - 1542) was the fifth wife of Henry VIII, and reigned as Queen of England between 1540 and 1541. After a short marriage to the king, Catherine was beheaded on the grounds of treason, and for committing adultery.

O’Donoghue 2, Ver Huell 3 Condition: Light discolouration to margisn. unmounted [40108] £90

83. Regina Elizabetha Iuris ac Libertatum Populi Sui Semper Conservatrix; et Afflictorum qua Patet Europa Vindex Nata Grenvici 1533. Spt 7.

Sorori Successit in Regno 1558. Nov. 17. Obijt 1602-3 Mar. 24. Anno Aetatis John Simon after Nicholas Hilliard Mezzotint Printed & Sold by Tho Glass next the Exchange Stairs in Cornhill London. [c.1710] A half-length portrait of Queen Elizabeth I in an oval, directed towards right, facing towards and looking to front, hair and dress adorned with jewels, earring, necklace, ruff, veil at back of head.

Chaloner Smith 54 ii/iv, O’Donoghue 9 Condition: Foxing mostly confined to margins, some areas of loss in margins not affecting the plate, light overall creasing and some light rubbing to plate. unmounted [40128] £200

BRITISH NOBILITY

84. The Honourable Miss Bingham Francesco Bartolozzi after Sir Joshua Reynolds Stipple London, Published Decr. 12th 1786, by E.M. Diemar No. 114 Strand.

Image 211 x 176 mm, Plate 278 x 216 mm, Sheet 290 x 222 mm Half-length portrait of Lady Anne Bingham, after a painting by Joshua Reynolds (Mannings 173).

Seated, turned slightly to the left, and looking towards the viewer, Anne wears a large straw hat, and her hair over her shoulders.

85. The Lady Brownlowe John Smith after William Wissing Mezzotint E. Cooper exc. [c.1710] Image 392 x 250 mm, Plate 417 x 252 mm, Sheet 462 x 296 mm Full-length portrait of Alice Brownlow, standing with her right foot and right arm resting upon an ornate pedestal. The pedestal is topped with flowers, and at the base, a small dog. Set to the right of composition, upon another pedestal, is an orange tree in a vase, with a parrot perched on one of the branches.

Lady Anne Bingham (1767 - 1840) was the daughter of Charles Bingham, 1st Earl of Lucan and Margaret Bingham, Countess of Lucan, a British painter, copyist, and poet. Anne remained unmarried

Lady Alice Brownlow (1659 - 1721) was the daughter of Richard Sherard and Margaret Dewe, and in 1679, married English Member of Parliament, Sir John Brownlow, 3rd Baronet.

O’Donoghue 1, Calabi & De Vesme 1044 iii/iii, Hamilton p.83 i Condition: Trimmed close to plate mark. unmounted [13279] £150

Chanelor Smith 26 ii/iii, O’Donoghue 1, Russell 26, Lennox-Boyd iii/iv Ex. Col.: Hon Christopher Lennox-Boyd Condition: Tipped to album page. Time toning to margins, and edges of sheet slightly torn and creased. unmounted [16733] £350

86. Frances Anne Greville and her brother, as Psyche and Cupid James McArdell after Sir Joshua Reynolds Mezzotint Publish’d according to Act of Parliment July 25th, 1762. Sold at the Golden head in Covent Garden.

Image 468 x 351 mm, Plate 504 x 353 mm, Sheet 592 x 440 mm Portrait of Frances Greville and her brother, William, after Sir Joshua Reynolds (Mannings 443).

Frances is presented in the form of the mythological figure Psyche, whilst her brother takes on the role of Cupid. Depicted standing in full-length beneath a tree, Frances is shown turned to her right, holding a vase between her hands. Her brother, standing upon a stone to her right, grasps on to her flowing dress.

Set in the bottom right of the composition is a small waterfall.

Frances Anne Crewe, Lady Crewe, (née Greville; 1748 - 1818) was a leader of fashion, and considered to be one of the most beautiful women of her time.

Chaloner Smith 93 ii/ii, Russell 93 ii/iii, Goodwin -McArdell 90 ii/iii, Hamilton p103 ii/ii Ex. Col.: Hon. Christopher Lennox-Boyd mounted [16678] £650

87. The Duchess of Devonshire, from an original Drawing Stipple Pub Nov 16 1805 by Richard Phillips, Bridge St London Image 84 x 83 mm, Sheet 150 x 90 mm A half length Portrait of Georgiana, Duchess of Devonshire in profile to right, looking downwards, wearing hair band and v-necked dress.

A portrait of Georgiana Cavendish, Duchess of Devonshire (1757 - 1806) was the first wife of William Cavendish, 5th Duke of Devonshire, and mother of the 6th Duke of Devonshire. She attained a large amount of fame in her lifetime. She became notorious for her marital arrangements, her catastrophic love affairs, and her love of gambling; she was famous for her beauty and her political campaigning; and she was a leader of fashionable style. unmounted [40076] £30

88. Maria Countess of Coventry. after Jean Liotard Mezzotint [c.1750] Image 137 x 113 mm, Sheet 147 x 113 mm A three-quarter length portrait of Maria, Countess of Coventry. Seated, she leans on her left arm whilst gazing off to her left, and wears a floral dress.

Maria, Countess of Coventry (1733 - 1760), was one of the two Gunning sisters; both famous beauties who made splendid marriages. They were the daughters of John Gunning of Ireland. Maria became first wife of George William Coventry, 6th Earl of Coventry. Her sister became Elizabeth Campbell, Duchess of Hamilton and Argyll.

Chaloner Smith unrecorded, Lennox - Boyd i/i, O’Donoghue 11 Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to image at top and sides, and just below title to bottom. Laid to album page. unmounted [21278] £120

89. [Maria Coventry, Countess of Coventry] Benjamin Wilson after Francis Cotes Etching [n.d. c. 1741-88] Image 73 x 52 mm, Plate 87 x 62 mm, Sheet 350 x 250 mm A half-length portrait of Maria Coventry, Countess of Coventry, turned to the right looking at the viewer.

Maria Coventry, Countess of Coventry (1733 – 1760) was a famous London beauty and society hostess during the reign of King George II. Born Maria Gunning, she became the first wife of George William Coventry, 6th Earl of Coventry. Her sister, also famed for her beauty, became Elizabeth Campbell, Duchess of Hamilton and Argyll. Maria died aged just 27 from blood poisoning as a result of wearing lead based make up.

O’Donoghue 6 Condition: Some overall foxing. mounted [40132] £50

90. Maria, Countess of Coventry Michael Ford after Francis Cotes Mezzotint Printed for John Bowles c.1750 Image 259 x 222 mm, Plate 325 x 222 mm, Sheet 338 x 228 mm A half length portrait of Maria Coventry in an oval wearing dress with ribbon bows on bodice and sleeves.

Chaloner Smith 5, O’Donoghue 3, CS i/ii, LennoxBoyd ii/ii Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to just outside of plate, impression slightly worn. mounted [16286] £200

91. Lady De Crespigny Mackenzie after Hugh Douglas Hamilton Stipple Published by Vernor, Hood & Sharpe, Feby. 1, 1810.

Image 98 x 78 mm, Sheet 170 x 110 mm Illustration to Lady’s Monthly Museum.

Portrait of Mary, Lady Champion de Crespigny, set within an oval, and turned to the left. Her dark hair is worn up, and a few tresses fall around the nape of her neck.

Mary, Lady Champion de Crespigny (née Clarke; 1750 - 1812) was the wife of Claude Champion de Crespigny, 1st Baronet. Mary used her social standing to act as a patron to many writers, particularly women. Although little survives of her diary, she is known to have been a habitual diarist. She also wrote poetry, and a few of her novels were published. unmounted [40109] £15

92. Ellizabeth. Comitissa Devoniaæ Pierre Lombart after Anthony van Dyck Copper engraving P Lombart Sculpsit et ex. Londini avec Privileige du Roy. [c.1660-63] Image 316 x 235 mm, Plate 350 x 243 mm, Sheet 350 x 247 mm Three-quarter length portrait of Elizabeth Cecil.

She wears a silk dress which is laced up at the front, and a pearl necklace. In her right hand, she holds a bunch of flowers. The portrait is set within an ornate frame.

The portrait is based on van Dyck’s painting, which is now kept at Petworth House.

93. The Hon.ble Mrs. Barrington Richard Houston after Joshua Reynolds Mezzotint Sold by R. Houston near Drummaond’s, Charing Cross. c. 1758 Image 274 x 225 mm, Plate 326 x 225 mm, Sheet 346 x 269 mm A half-length portrait of Elizabeth Barrington in a circle. She leans on her left arm, wears a turban with pearls, an open necked dress also decorated with pearls, and an ermine edged jacket.

Elizabeth Cecil, Countess of Devonshire (1619 1689) was the second daughter of William Cecil, 2nd Earl of Salisbury, and the wife of William Cavendish, 3rd Earl of Devonshire.

Chaloner Smith 6, Russell 6 iii, Hamilton p.80. ii Condition: Time toning and light foxing to margins. unmounted [3543] £180

O’Donoghue 1, New Hollstein (Dutch & Flemish) 256.II (Van Dyck) Condition: Trimmed close to plate mark, and small tear across lower left corner of sheet. unmounted [40051] £120

Elizabeth Barrington (née Vassal) (died 1764), Wife of John Barrington

94. Mary Duchess of Ancaster, 1756 Richard Houston after Sir Joshua Reynolds Mezzotint with hand colouring Sold by R. Houston, near Drummonds’ Charing Cross. [1758] Image 278 x 226 mm, Plate 330 x 228 mm Half-length portrait of Mary Bertie, Duchess of Ancaster and Kesteven, after a painting by Reynolds (Mannings 163). Set within an oval, she faces to the right, and leans her head upon her left hand, with her left elbow propped on a book that sits upon a table.

Mary Bertie, Duchess of Ancaster and Kesteven (1735 - 1793) was the daughter of Thomas Panton, Master of the King’s Running Horses at Newmarket.

In 1750, she became the second wife of General Peregrine Bertie, 3rd Duke of Ancaster and Kesteven.

From 1761 until her death, Mary was the Mistress of the Robes to Queen Charlotte.

Chaloner Smith 1 ii, Hamilton p.79 iii, not in O’Donoghue Condition: Some rubbing to image, and two spots of staining to inscription space. Tear to left margin, not affecting image or plate. unmounted [40122] £180

95. Lady Carpenter.

Robert Laurie after Robert Dighton Mezzotint London, Printed for R. Sayer & J. Bennett No. 53 Fleet Street as the Act directs, 29, Oct 1782.

Image 107 x 89 mm, Plate 118 x 90 mm, Sheet 213 x 165 mm A bust length portrait of Lady Almeria Carpenter, looking left, her hair upswept and decorated with a ribbon and wearing a crossed spotted fichu.

Lady Almeria Carpenter (1752 - 1809) was the daughter of Georg, Lord Carpenter, later Earl of Tyrconnel. She was the mistress of Prince William Henry, Duke of Gloucester and Edinburgh; and bore him a daughter - Louisa Maria La Coast - in 1782.

O’Donoghue 4, Lennox - Boyd i/ii Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Tear to right margin of sheet, not affecting image. unmounted [21285] £180

96. [Miss Penelope Boothby] Thomas Park after Sir Joshua Reynolds Mezzotint Pubd. Janry. 1 1789, by T.Park No.4 St Margaret Street, Westminster.

Image 299 x 248 mm, Plate 404 x 301 mm, Sheet 410 x 309 mm Portrait of a young Miss Penelope Boothby after Sir Joshua Reynolds (Mannings 205). The seated portrait shows Penelope seated, with a wood behind, and wearing a bonnet with her arms folded.

97. The Right Honble Lady Charlotte Bertie William Dickinson after Reverend Matthew William Peters Mezzotint London, Publish’d March 1st. 1778, by W. Dickinson No. 20, Henrietta Street, Covent Garden, & T: Watson No. 142, New Bond Street.

Image 334 x 279 mm, Plate 380 x 297 mm, Sheet 385 x 305 mm A half length portrait of Lady Charlotte Bertie in oval frame looking up and playing a lyre.

Penelope Boothby (1785 - 1791) was the daughter, and only child, of Sir Brooke Boothby, 6th baronet.

She died at the age of five, which sent Boothby into decline.

Lady Charlotte Elizabeth Guest, (née Bertie) (1812 – 1895), later Lady Charlotte Schreiber, was an English businesswoman and translator. An important figure in the study of Welsh literature and the Welsh language, she is best known for her pioneering English translation of the major medieval work, the Mabinogion.

Chaloner Smith 1 ii/ii, Russell 1 ii/ii, Hamilton p. 84 unmounted [40069] £400

Chaloner Smith 8 ii/ii, O’Donoghue 2, Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to plate to bottom edge. Crease across upper left corner of sheet. Rubbing to image mounted [21935] £600

98. Miss Eliz. Gunning. Duchess of Hamilton.

Duchess of Argyle. after Francis Cotes Copper engraving n.d. c. 1790 Image 130 x 110 mm, Plate 151 x 111 mm, Sheet 350 x 263 mm A rare half-length portrait of Elizabeth Gunning turned to left. A reverse copy of t he Richard Houston mezzotint.

Elizabeth Gunning, Duchess of Hamilton, Duchess of Argyll & 1st Baroness Hamilton of Hameldon (c.

December 1733 – 20 December 1790) was a celebrated Irish belle and society hostess.

O’Donoghue undescribed Condition: Some overall foxing with only a few marks affecting the area within the platemark. unmounted [40063] £80

99. Lady Charlotte Fitz-William. after Sir Joshua Reynolds Mezzotint London Printed for Robt. Sayer No. 53 in Fleet Street. [c.1770] Image 136 x 114 mm, Plate 150 x 114 mm, Sheet 209 x 136 mm A half length portrait of Lady Charlotte Fitz-William.

Lady Charlotte Dundas (1746 - 1833) was the wife of Thomas Dundas, 1st Baron Dundas; and daughter of the 3rd Earl Fitzwilliam.

Lennox-Boyd i/i Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Tipped to album page, and some discolouration to margins. unmounted [26765] £120

100. Madame Graham after Sir Peter Lely Mezzotint R. Tompson excudit [c.1675-90] Image 308 x 255 mm, Sheet 338 x 257 mm Three-quarter length portrait of a seated woman.

She wears a low cut dress, and her hair in tight curls.

In her right hand, she holds a pearl necklace. In the background, set to the right, is a curtain and pillar.

O’ Donoghue 1, Chaloner Smith 18 i/ii, Russell 18, Lennox-Boyd i/ii Ex. Col: Hon. Christopher Lennox-Boyd Condition: Trimmed within plate mark. Foxing to image on sitter’s face, chest, and dress. Crease across lower left corner of image.. unmounted [15942] £150

101. The Right Honble. the Lady Grey. after Sir Peter Lely Mezzotint Sold by Alex: Browne at ye blew Ballcony in little Queen street [c. 1684] Image 306 x 230 mm, Plate, 333 x 230 mm, Sheet 343 x 230 mm Three-quarter length seated portrait of Mary Grey.

Lady Mary Grey (née Berkeley, mid 17th century 1719) was the daughter of George, 1st Earl of Berkeley. Her first marriage was to Ford Grey, 1st Earl of Tankerville, with whom she had two daughters; Lady Mary Grey, and Lady Annabella Grey. After Ford Grey’s death, Mary went on to marry Richard Rooth of Epsom.

Chaloner Smith 12, O’Donoghue 1, Beckett, Lely 526, Lennox-Boyd i/ii Ex. Col.: Hon. Christopher Lennox-Boyd Ex. Col.: Christie - Miller Collection, Clarendon Park Condition: Line drawn in ink along bottom edge of plate mark, and crease to margin in upper right corner.

[21878] £400

102. Lady Erskine Charles Corbutt (Richard Purcell) after Allan Ramsay Mezzotint [Robert Sayer, c.1761-66] Image 133 x 108 mm, Sheet 143 x 108 mm Half-length portrait of Lady Janet Erskine, turned to the right, but eyes gazing towards the viewer, with a slight smile. She wears a ruff and a lace shawl, upon which a posy is attached. Her hair is worn up, and adorned with flowers.

Lady Janet Erskine (d.1797) was the wife of Henry Erskine, 5th Baronet, a Scottish solider and politician.

Chaloner Smith 25, Lennox-Boyd i/i, not in O’Donoghue.

Condition: Trimmed within plate mark and graingerised. unmounted [40127] £80

103. The Dutchess of Graftton Jan Verkolje I after William Wissing Mezzotint Excudit Jan Verkolje I, 1683.

Image 350 x 258 mm, Plate 365 x 263 mm, Sheet 450 x 323 mm Three-quarter length seated portrait of Isabella, Duchess of Grafton.

Isabella Bennet FitzRoy, 2nd Countess of Arlington and Duchess of Grafton (c. 1668 – 1723) was the daughter of Henry Bennet, 1st Earl of Arlington, a Royalist commander, and Isabella de Nassau. At the age of four, Isabella was married to the illegitimate son of King Charles II, nine-year-old Henry FitzRoy, Earl of Euston, later to become Duke of Grafton. In 1690, Henry died during a storming of Cork, and in 1698, Isabella married Sir Thomas Hanmer.

O’Donoghue 38 ii/ii, Chaloner Smith 1, Hollstein 28, Painted Ladies 94, Lennox-Boyd ii/ii Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed just outside of plate mark, and graingerised. mounted [21906] £450

104. [Miss Davidson] John Dixon after Sir Joshua Reynolds Mezzotint c.1765 Image 325 x 252 mm, Sheet 354 x 255 mm A half-length portrait of Susanna Jane Davidson after Reynolds (Mannings 483); seated holding a lamb on her lap and a wreath of flowers, her hair is upswept with pearls in it. Artists names written in ink in inscription space. With Mrs E. Hamilton’s collection stamp on verso.

Susannah Jane Davidson (1747 - 1767) was the daughter of William Davidson of Muirhouse, a merchant in Rotterdam. According to Chaloner Smith, she died suddenly at the age of 20, and her grief-struck parents are said to have destroyed the plate and as many impressions as they could find. It was certainly a private plate, as there never was any publication line.

Chaloner Smith S 13 ii/ii; Hamilton p 95 ii/ii, Lennox-Boyd i/ii, O’Donoghue 2 Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to plate and laid to album page. unmounted [16268] £600

105. Jane Duchess of Gordon William Dickinson after Sir Joshua Reynolds Mezzotint Published Feb 28th, 1775, by W.Dickinson.

Image 278 x 325 mm, Plate 278 x 379 mm, Sheet 278 x 379 mm Jane Gordon, Duchess of Gordon (1746-1812) was the 2nd daughter of Sir William Maxwell, 3rd baronet of Monreith, Wigtownshire, and Magdalen Blair of Blair. A political hostess and agricultural reformer, Jane married Alexander, 4th Duke of Gordon in 1767. She was a supporter of Pitt and a close friend of Henry Dundas, Lord Melville, such that some bellieved they were lovers. Dundas is said to have managed her affairs for her in London while she did the same for him in Scotland.

Chaloner Smith 28 ii/ii, Russell 28 ii/iii, Hamilton p102, O’Donoghue 2, Le Blanc 19, Lennox - Boyd ii/iii Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Light rubbing [40115] £350

106. The Right Honble Lady Elizabeth Lee, Daughter of Simon Earl Harcourt Edward Fisher after Sir Joshua Reynolds Mezzotint Engrav’d & Sold by E. Fisher, at the Golden Head in Leicester Fields [n.d. c. 1765-85] Image 493 x 354 mm, Plate 503 x 354 mm, Sheet 528 x 375 mm Portrait of Elizabeth, Lady Lee, after Sir Joshua Reynolds (Mannings 1095). The whole-length portrait depicts Elizabeth seated within a garden, with her gaze towards the viewer. She wears a voluminous dress, and her ermine cloak is thrown over a stone slab to her left.

Elizabeth, Lady Lee (1739 - 1811) was a British painter. She was the daughter of Simon Harcourt, 1st Viscount Harcourt, and married Sir William Lee. Chaloner Smith 37 ii/iii, Hamilton 114 ii/iii, Welcome Trust 33/1 Condition: Good impression, diagonal creases upper and lower left corners. Some creasing upper right due to paper thinning. unmounted [40033] £450

107. [Anne Hyde, Duchess of York] Jan van Somer Mezzotint [c.1670] Image and plate 390 x 254 mm, Sheet 392 x 256 mm Full-length seated portrait of Anne Hyde. Her left hand rests upon her left, whilst with her right hand, she strokes a small dog that sits upon the table beside her. A curtain is set behind, and in the upper right corner of the image, an open window.

Lady Anne Hyde, Duchess of York (1637 – 1671) was the daughter of Edward Hyde, 1st Earl of Clarendon, and Frances Aylesbury. She was the first wife of James, Duke of York and Albany, later to become King of England and Ireland as James II, and King of Scotland as James VII. Hollstein 181, Chaloner Smith p. 1416 (probably Jan van Somer) Le Blanc 78, Lennox - Boyd i/i Ex. Col.: Hon. Christopher Lennox-Boyd Ex. Col.: John Chaloner Smith Condition: Trimmed just outside of plate mark, tipped to album page. Horizontal wrinkling and across both upper corners. mounted [21902] £350

108. Elizabeth Countess of Derby William Dickinson after Sir Joshua Reynolds Mezzotint London, Publish’d May 1. 1780, by Dickinson & Watson, No. 158 New Bond Street Image 597 x 374 mm, Plate 641 x 382 mm A full length portrait of Elizabeth, Countess of Derby, after Sir Joshua Reynolds (Mannings 813).

Shown turned to the left, Elizabeth rests her right elbow upon a plinth, and holds a garland of flowers with her right hand. Upon the plinth also rest a female statue and a macaw. A wooded landscape is set behind, with a standing stature featured in the distance.

Elizabeth Smith-Stanley, Countess of Derby (1753 – 1797) was an English peeress, and the daughter of the 6th Duke of Hamilton. She married the 12th Earl of Derby in 1774, and was considered a leader of fashion alongside the Duchess of Devonshire.

Chaloner Smith 16 ii/iii , Hamilton 96 ii/iii, O’Donoghue 2, Le Blanc 11 Condition: Excellent impression. Diagonal creases upper left and right corners. Crease in lower left inscription space not affecting the image. unmounted [40021] £600

109. Madame Jane Skeffington John Smith after William Wissing Mezzotint c. 1687 Image 317 x 252 mm, Plate 338 x 248 mm Full-length portrait of Jane Skeffington as a young girl, seated with a lamb by her side. She wears a loose dress, which is fastened around her left arm with a jewelled clasp. Her curled hair is worn up, with a few tresses falling along the nape of her neck, and is adorned with pearls. The background is filled with a column, a curtain, rose bushes, and trees. Set to the right in the distance is the top of a building.

Before inscription.

Jane Hamilton (née Skeffington) was the daughter of Clotworthy Skeffington, 3rd Viscount Massereene and Rachel Hungerford. She married Sir Hans Hamilton, 2nd Baronet Hamilton of Mount Hamilton, with whom she had a daughter, Anne Hamilton.

Chaloner Smith 231 i/iii, O’Donoghue 1 Condition: Trimmed just inside the plate and overall time toning. unmounted [40095] £300

110. [Lady Elizabeth Taylor] William Dickinson after Sir Joshua Reynolds Mezzotint [n.d. c. 1775] Image 407 x 326 mm, Plate 455 x 327 mm Three-quarter length, standing, directed to the left and looking to the front, wearing head-dress with ostrich feathers, trees and landscape in background after Reynolds (Mannings 1734a). With the inscription: From the Original Picture in the Possession of Graham Esqr. of Gartmore below.

Elizabeth Godden (née Houghton), Lady Taylor (ca.

1761? - 1821) was the daughter and heiress of Philip Houghton. In 1778, she married Sir John Taylor, 1st Baronet.

Chaloner Smith 80, Russell 80, Hamilton 136, O’Donoghue 1 Condition: Time toning and light overall creasing.

Full margins and good impression. unmounted [40022] £380

111. The Rt. Hon. Frances Countess of Wicklow William Say after George Henry Harlow Mezzotint Published by Whittaker & Co. in La Belle Asseblée (new series) No. 63 for March 1830. The Proods by M. Colnagi 23, Cocskpur Street Image 124 x 100, Plate 231 x 180 mm, Sheet 291 x 220 mm Half-length portrait of Cecil Frances Howard, shown seated, with her body turned to the left, and her head to the right. She wears a simple white dress, with a dark band beneath her bust.

Printed on India laid paper.

Cecil Frances Howard, Countess of Wicklow (1795 - 1860) was the daughter of John James Hamilton, 9th Earl and 1st Marquess of Abercorn. In 1816, she married William Forward Howard, the 4th Earl of Wicklow.

O’Donoghue 2 Ex. Col: Hon. Christopher Lennox-Boyd Condition: Foxing in margins, loss to upper left corner of margin neither affecting the image. unmounted [40121] £50

112. Mary Isabella, Dutchess of Rutland John Keyse Sherwin after Sir Joshua Reynolds Copper engraving London Published June 4th. 1791 by Robt. Wilkinson No. 58 Cornhill Image 430 x 337 mm, Sheet 502 x 398 mm Three-quarter length portrait of Mary Isabella Manners, Duchess of Rutland, after Sir Joshua Reynolds (Mannings 1214. Shown seated and gazing off to the right, Mary Isabella holds an open book in her right hand, and rests her head upon her left hand, with her left elbow perched on a ledge. Her hair is mostly worn up, with a few tresses falling down the nape of her neck and onto her dress. The window to the right reveals a seascape.

113. The Countess of Lovelace (Daughter of the late Lord Byron) William Henry Mote after Alfred Edward Chalon Stipple [c.1839] Image 300 x 225 mm, Plate 335 x 256 mm, Sheet 378 x 280 mm A stipple of Ada Lovelace, after the portrait by Chalon.

Mary Isabella Manners (née Somerset), Duchess of Rutland (1756 - 1831) was a politician and society hostess. In 1775, she married Charles Manners, Marquess of Granby, later to become 4th Duke of Rutland.

Augusta Ada Byron, better known as Ada Lovelace (10th December 1815 - 27th November 1852) was a British writer and mathematician. The wife of William King, 1st Earl Lovelace, Ada was the only child of the poet Lord Byron and his wife Anne Isabella Byron. Taking after her mother, Ada was a gifted mathematician and she is primarily celebrated for her work on Charles Babbage’s Analytical Engine.

Having written the first algorithm to be carried out by machine, she is often hailed as the world’s first computer programmer.

O’Donoghue 11, Hamilton 129 Condition: Excellent impression. Trimmed with in the plate removing the publication line at bottom. mounted [40034] £300

O’ Donoghue 1 Condition: Small holes to corners of sheet not affecting image. mounted [16602] £160

114. Mrs Musters John Raphael Smith after Joshua Reynolds Mezzotint London Published as the Act directs April 27th; 1779 by J.R. Smith, N10, Batemans Buildings, Soho Square Image and Plate 620 x 378 mm, Sheet 635 x 400 mm A full length portrait of Mrs Sophia Musters, tending plants, a dog at her feet after a Reynolds painting (Manngings 1324).

Sophia Catherine Musters (1758 - 1819) daughter of James Modyfor Heywood married John Musters of Colwick Hall on 30 July 1776.

Chaloner Smith 120 ii/ii, R120 ii/ii, Hamilton p122 ii/ii, D’Oench 135 mounted [9363] £950

115. Her Grace The Dutchess of Somerset after Sir Peter Lely Mezzotint Sold by Alex Browne at ye blew ballcony in little Queen street [c. 1680-4] Image 313 x 239 mm, Plate and Sheet 341 x 251 mm Portrait of Elizabeth Seymour as a child, shown in full-length seated beside a pond.

Elizabeth Seymour (née Percy), Duchess of Somerset (1667-1722) was the only child, and therefore sole heiress, of Joceline Percy, 11th Earl of Northumberland. She was one of the closest friends of Queen Anne, and acted as her lady of the bedchamber. Elizabeth married three times, firstly to Henry Cavendish, Earl of Ogle, secondly to Thomas Thynne of Longleat, and finally to Charles Seymour, 6th Duke of Somerset.

Chaloner Smith 37 i/i, O’Donoghue 1, Beckett, Lely 491, Lennox-Boyd i/i.

Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed to plate mark. mounted [21876] £350

116. Madam Philadelphia Saunders after Sir Peter Lely Mezzotint Sould by Alex: Browne at ye blew Balcony in little Queen Street. [c.1680-4] Image 316 x 250 mm, Sheet 344 x 252 mm Full-length portrait of Philadelphia Saunders, seated within a landscape. She wears a low cut dress, with the majority of the lower section of the composition being filled with her flowing gown. With her left hand, she feeds a sheep, and with her right, holds a crook.

Philadelphia Saunders (fl. 1680s) was an unidentified sitter for a portrait by Lely.

Chaloner Smith 33, Russell 33, O’Donoghue 1, Beckett, Lely 470, Lennox-Boyd ii/ii Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Trimmed within plate mark, but slightly outside of plate mark along lower edge. mounted [21908] £400

117. Contemplation Caroline Watson after Sir Joshua Reynolds Stipple and mezzotint Publish’d Jan. 1st. 1790, by John & Josiah Boydell.

Cheapside & at the Shakespeare Gallery, Pall Mall London.

Image 262 x 210 mm, Sheet 333 x 245 mm Portrait of Mrs Elizabeth Stanhope after Sir Joshua Reynolds (Mannings 1701). The three-quarter length portrait sees Elizabeth seated and turned to the left, with her head resting upon her left hand, and her left elbow perched upon a table. Her hair is mostly worn up, but a lock falls over her right shoulder. Behind her, a curtain is drawn to to the right, revealing a landscape to the left.

Elizabeth Stanhope (fl. 1782) was the daughter of Charles FitzRoy, 2nd Duke of Grafton, and married William Stanhope, 2nd Earl of Harrington, in 1746, with whom she had seven children.

Hamilton p 135 iv/iv Condition: Trimmed within the plate, some light creasing, a water stain left margin not affecting the image. mounted [40057] £80

118. Mary Isabella Duchess of Rutland Charles William White after William Peters Stipple printed in sepia 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 A bust length portrait of Mary Isabella Manners looking to right, her hair upswept with pearls, her right hand on her chest.

Mary Isabella Manners (née Somerset), Duchess of Rutland (1756-1831), Political hostess society hostess and married Charles Manners, Marquess of Granby (later 4th Duke of Rutland) in 1775.

O’Donoghue 5 Condition: Discolouration to margins. unmounted [36529] £95

119. [Jane, Countess of Harrington, Lord Viscount Petersham & the Honble Lincoln Stanhope] Francesco Bartolozzi after Sir Joshua Reynolds Stipple Publish’d Mar. 15. 1789, by F. Bartolozzi & Co Image 292 x 230 mm, Sheet 359 x 267 mm A group portrait of Jane, Countess of Harrington and her two sons, Lincoln and Charles, after Sir Joshua Reynolds (Mannings 1696). Jane is shown in threequarter length and seated to the right, looking up at Charles, who stands whole-length on a stone ledge, looking to the front and wearing a large feathered hat. Jane’s other son stands behind her to the left, with his right hand placed upon her shoulder.

Jane Stanhope, Countess of Harrington (née Fleming) (1755 – 1824) was a talented painter, and helped to launch the career of John Glover. She was also well aquatinted with Reynolds.

Calabi & De Vesme 1216 iv/v, Hamilton 106 ii/iii Condition: Trimmed within the plate. Diagonal crease in upper right not affecting the image. Some slight surface abrasion upper margin not affecting image. unmounted [40020] £200

120. Georgiana Countess Spencer Francesco Bartolozzi after Thomas Gainsborough Stipple Publish’d as the Act directs 1st, Jany. 1783, by Charkes Townley, in Arlington Street, Picadilly Image 123 x 100 mm oval, Plate 210 x 164 mm, Sheet 235 x 191 mm Half-length portrait of Margaret Georgiana Spencer after Thomas Gainsborough (Waterhouse 629). Set within an oval, her body faces the front, and her head is turned partially to the right. She crosses her hands over her chest, and she wears her hair up in a large do. Trees fill the background of the image.

Margaret Georgiana Spencer, Countess Spencer (1737 - 1814) was the daughter of Rt Hon Stephen Poyntz, and in 1755, she married John Spencer, 1st Earl Spencer. The two were noted philanthropists, and they became earl and countess in 1765, a reward granted by the Duke of Newcastle for John’s political loyalty to the Whig party.

O’Donoghue 1, Calabi & De Vesme 1109 ii/iii, Horne 62 unmounted [40085] £120

121. Madam Soams Isaac Beckett after Sir Godfrey Kneller Mezzotint Cum Privilegio Regis. [c.1695, but an 18th Century printing.]

Image 308 x 250 mm, Plate 342 x 250 mm, Sheet 350 x 256 mm A three-quarter length portrait of Joan Somes, seated with a dog in her lap. She wears a loose dress, and to the left, a cherub holds a dolphin fountain. This is of the many plates Smith bought from his teacher, Isaac Beckett, and republished after his death.

Joan Somes (1680s; fl) was the daughter of George Shute of Stockwell in Surrey, and married Sir Peter Somes.

Condition: Trimmed close to plate mark, and some discolouration to inscription space. unmounted [25476] £100

122. The Honble. Lady Stanhope James Basire I after Benjamin Wilson Copper engraving Publish’d According to Act of Parliament, the first of May 1772.

Image 458 x 340 mm, Sheet 516 x 354 mm Portrait of Anne Delaval, Lady Stanhope as Calista, the female protagonist of Nicholas Rowe’s The Fair Penitent. The image depicts the beginning of Act V. Calista contemplates suicide after her love affair with Lothario has been discovered by her husband, resulting in her husband killing Lothario.

Anne Delaval, Lady Stanhope (1759 fl. - 1811) was the daughter of Francis Blake Delaval, and became the third wife of the Hon. Sir William Stanhope in 1759. William died in 1772, and Anne went on to marry Captain Morris, a famous song writer.

O’Donoghue 4 Condition: Trimmed to plate mark. Tear repair to lower right of sheet, slightly encroaching into image.

Creasing and discolouration to margins. unmounted [40061] £200

123. Elizabeth Countess of Northumberland Thomas Watson after Sir Peter Lely Mezzotint Published January 1st. 1779, for W. Shropshire No. 158, & T. Watson, No. 142, New Bond Street, London.

Image 418 x 333 mm, Plate 460 x 333 mm, Sheet 470 x 342 mm A three-quarter length portrait if Elizabeth, Dutchess of Montagu when Countess of Northumberland.

Elizabeth (née Wriothesley), Duchess of Montagu when Countess of Northumberland. (1646 – 19 September 1690) Elizabeth was an important patron of the artist Sir Peter Lely who painted her several times. Her portraits were among the Windsor Beauties at Hampton Court and among the series of beautiful women portraits.

Chaloner Smith 5, O’Donoghue 5 Condition: Strong, clean impression. Thread margins on all sides. Laid to album page. unmounted [16722] £150

124. Honoratissimæ Dominæ Paston Effigies William Faithorne Copper engraving 1659 Image 267 x 193 mm, Sheet 277 x 202 mm Half-length portrait of Lady Margaret Paston (d.1669), turned to the left and looking at the viewer.

Her hair is shoulder length in ringlets, and she wears pearl earrings and a pearl necklace. Paston’s low cut dress is embellished with five large pearls. Set within a simple oval, with a coat of arms below.

This portrait belongs to a pair, with the other portrait being of her husband, Sir William Paston (1610 - 1633).

O’Donoghue 1, Fagan 1888 p.53 Condition: Excellent impression. Trimmed within plate mark and graingerised. unmounted [40049] £120

125. Frances Stuart Countess of Portland after Sir Anthony van Dyck Mezzotint Sold by Alexander Browne at the blew Balcony in little Queen Street [c.1681-4] Image 345 x 275 mm, Plate 364 x 276 mm, Sheet 366 x 277 mm Three-quarter length portrait of Frances Weston, standing amidst foliage, wearing a low cut satin dress, embellished with pearls across the bodice, a pearl necklace, and her hair in ringlets. She gazes off to the left whilst holding flowers in her right hand, and gathering other flowers with her left.

Frances Weston (née Stuart), Countess of Portland (1617-1694) was the daughter of Esmé Stuart, 1st Duke of Lennox, 1st Earl of Lennox. She was also the wife of Richard Weston, 1st Earl of Portland.

Chaloner Smith 29 i/i, O’Donoghue, Russell 29, New Hollstein (Dutch & Flemish) 493 (Van Dyck), Lennox-Boyd i/i mounted [16769] £250

126. Rachel Countess of Southampton James McArdell after Sir Anthony van Dyck Mezzotint [c.1758] Image 465 x 352 mm, Sheet 498 x 352 mm Full-length portrait of Rachel Wriothesley, shown seated amidst clouds, and with her left hand resting upon a globe. Her loose, satin dress flutters in the wind, with her wrap billowing behind her. Around her neck, she wears pearls, and by her feet sits a skull.

127. The lively portraicture of the most noble and right honourable Lady the Lady Katherin Marchionesse of Buckingham &c.

Magdalena de Passe Etching [ca. 1618-23] Image 95 x 73 mm, Plate 118 x 76 mm, Sheet 123 x 83 mm Half-length portrait of a young Katherine Villiers, Duchess of Buckingham, when Katherine Manners, Marchioness.

Rachel Wriothesley (née de Massue), Countess of Southampton (1603-1640) was a French Huguenot, and the daughter of Daniel de Massue, Seigneur de Rouvigny and Madeleine de Pinot des Fontaines.

She was also the first wife of Thomas Wriothesley, 4th Earl of Southampton.

Katherine Villiers (c.1603 - 1649) was the daughter and heir of Francis Manners, 6th Earl of Rutland.

Second to royalty, she was known as the richest woman in Britain. In 1620, after several difficulties, she married George Villiers, 1st Duke of Buckingham, who was rumoured to have been the lover of King James I. Villiers was murdered by John Felton in 1628, and Katherine went on to marry Randal MacDonnell, 1st Marquess of Antrim, in 1635.

O’Donoghue 1, Chaloner Smith 168 ii/iv, Goodwin - McArdell 68 iv/iv, Lennox-Boyd iv/iv Condition: Trimmed within plate mark, and creasing to upper right corner of sheet. 2cm vertical tear to lower edge of sheet, running through inscription. unmounted [16746] £180

O’Donoghue 2, Hind II 302.I Condition: Old repair to inscription space, upper right corner of sheet thinned and slightly torn [40053] £40

FOREIGN ROYALTY & NOBILITY

128. Maria Teresa Michelangelo Mercoli after Franco Biondi Copper engraving and stipple [c.1790] Image 133 x 90 mm, Plate 165 x 122 mm, Sheet 229 x 167 mm Inscription reads: ‘Di Lorena Arciduchessa d’Austria Sposadi di Vittorio Em. Di Sav. D. d’Aosta’

129. Madam Pompadour Stipple and etching [c.1764] Image 85 x 68 mm, Sheet 113 x 79 mm Bust portrait of Madame de Pompadour, in profile to the right, and set within a simple oval. Her curled hair is worn up, and she wears pearl earrings and a pearl choker.

Maria Theresa Walburga Amalia Christina (1717 - 1780) was the only female ruler of the Habsburg Monarchy, and the last ruler of the House of Habsburg. She was he sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, the Austrian Netherlands, and Parma. Through her marriage to Francis I, Holy Roman Empire, Maria Theresa was also the Duchess of Lorraine, Grand Duchess of Tuscany, and Holy Roman Empress.

Jeanne Antoinette Poisson, Marquise de Pompadour, also known as Madame de Pompadour (1721 - 1764) was a member of the French court, and, from 1745 until her death, was the chief mistress of King Louis XV. She arranged the king’s schedule, and was a valuable aide. In her own right, she was a major patron of the arts, ranging from architecture to the decorative arts, and of the philosophes of the Enlightenment, including Voltaite.

Ex.Col.: House of Savoy Condition: Some foxing to sheet, not affecting image. Unidentified collectors marks on verso. unmounted [40089] £65

Condition: Trimmed and tipped to album page, with some discolouration to sheet. unmounted [40159] £35

130. Christine de France Duchesse de Savoye Balthasar Moncornet Copper engraving [c.1630-88] Image 158 x 115 mm, Plate 163 x 118 mm, Sheet 241 x 178 mm Half-length portrait of Christine of France, Duchess of Savoy, facing slightly to the right. She wears a widow’s veil, and a black gown with a plain collar.

The portrait is set within a simple oval. In the upper right left corner of the image is her crest, and in the upper right, a wreath.

Christine of France, Duchess of Savoy (1606 - 1663) was the daughter of Henri IV of France and Marie de’ Medici, and the sister of Louis XIII. In 1619, she married Vittorio Amadeo I, Duke of Savoy. Following his death in 1637, she acted as regent until 1648.

Ex.Col.: House of Savoy Condition: Residue from framing tape along top edge of sheet, not affecting image. Some light creasing to sheet. unmounted [40068] £30

131. Marie Thérèse Charlotte de France, Duchesse d’Angoulême Grand Prieur de France née le 19 dec. 1778 Francesco Bartolozzi after Henri Pierre Danloux Stipple and etching London Published May 1 1805 by Mr Weber Bath Hotel Leicester Square Image 180 x 110 mm, Sheet 234 x 160 A half-length portrait of Marie Thérèse Charlotte, Duchess of Angoulême, after Danloux in an oval below a coat of arms, crowned and flanked by lilies, and surrounded by rays. This print was an illustration from the English edition of Joseph Weber’s ‘Mémoires concernant Marie-Antoinette...’. Proof before letters.

Marie Therese Charlotte of France (December 19, 1778 - 19 October 1851) nicknamed “Madame Royale,” she was the first child of Louis XVI and Marie Antoinette and the only one to survive the French Revolution.

De Vinck 9965 unmounted [40143] £40

132. Elisabeth. Phipe. Marie. Hél. de bourbon François Bonneville Stipple A Paris Chez l’Auteur rue St. Jacques No. 195. [c.1796] Image 107 x 88 mm, Plate 194 x 128 mm, Sheet 290 x 217 mm Portrait of Élisabeth Philippine Marie Hélène of France in profile to the right.

Inscription reads: ‘Née à Versaille le 3 Mai. 1764.

Décapitée le 21 floral. an 2me.’ Élisabeth Philippine Marie Hélène of France (1764 1794) was the daughter of Louis, Dauphin of France, and Maria Josepha of Saxony, and was the youngest sibling of King Louis XVI. At the consent of her brother, Élisabeth refused to marry, as it likely would have been to a foreign prince, so that she could remain in France. During the French Revolution, she remained by her brothers side, and was executed at Place de la Révolution.

Condition: Time toning and foxing to margins. unmounted [40097] £30

133. M.- Josephe de Saxe Dauphine de France Giles Edme Petit after Maurice Quentin de la Tour Copper engraving and etching a Paris, chez la Vr de F. Chereau rue St. Jacques aux 2 Piliers d’Or. [c.1748-60] Image 260 x 182 mm, Plate 271 x 190 mm, Sheet 287 x 200 mm Half-length portrait of Maria Josepha of Saxony.

The portrait is within an oval set upon an inscribed pedestal, which also features the Dauphin of France and the House of Vasa coats of arms.

Maria Josepha of Saxony (1831 - 1767) was a Duchess of Saxony, and at the age of fifteen, became the Dauphine of France following her marriage to Louis de France, son and heir of Louis XV. Maria was the mother of three French kings, including Louis XVI who was beheaded during the French Revolution.

Madame Élisabeth, Maria’s youngest daughter, was also beheaded during the Revolution.

Condition: Discolouration to margins, and very occasional light foxing to sheet. Stain to lower margin. unmounted [40092] £50

134. Marie Josephe, de Saxe, Dauphine de France Neé à Dresde, le 4. Novembre 1731 Jean Georges Wille after Daniel Klein II Copper engraving A Paris, chez Will, Wuay des Augustins, entre les rues Pavée et Gille coeur; attenant l’Hôtel d’Auvergne. [1747-67] Image 227 x 164 mm, Plate 243 x 181 mm, Sheet 254 x 191 mm Half-length portrait of Maria Josepha of Saxony.

The portrait is set within a simple oval, and placed upon a pedestal inscribed with the sitters name and date of birth.

135. Marie de Rohan Jean Joseph Baléchou after Ferdinand Elle Copper engraving A Paris chez Odieuvre, Md. d’Estampes rüe Danjou entrant par la rüe Dauphine la derniere P. Cachere [c.1755] Image 144 x 102 mm, Plate 156 x 110 mm, Sheet 230 x 160 mm Inscription reads: ‘Mariée en 1res Noces au Connetable de Luynes et en 2des Noces à Claude de Lorraine Duc de Chevreuse, Nee en xbre. 1600, Morte le 13, Aoust 1679.’ From Dreux du Radier’s L’Europe illustre.

Maria Josepha of Saxony (Maria Josepha Carolina Eleonore Franziska Xaveria; 1731 - 1767) was a Duchess of Saxony, and became the Dauphine of France in 1747 following her marriage to Louis de France, the heir and only surviving son of Louis XV. They went onto have eight children, including the future Louis XVI, Louis XVII, and Charles X.

Marie de Rohan (1600 - 1679) was the daughter of Hercule de Rohan and Madeleine de Lenoncourt.

The French aristocrat married Charles d’Abert, Duke of Luynes, in 1617, and it was through him that her political intrigue grew, and she gained confidence with the king and queen. Marie swiftly fell out of favour, and was famed for being involved in a number of 17th century conspiracies.

Le Blanc 108.II. Condition: Trimmed across corners, not affecting image. Light time toning and foxing to margins. unmounted [40048] £35

Ex.Col.: House of Savoy Condition: Residue from framing tape to top edge. unmounted [40083] £30

136. Anne Me. Louise d’Orleans Duchesse de Montpensier Pierre Filloeul after Hyacinthe Rigaud Copper engraving A Paris chez Odieuvre ruë d’Anjou la derniere P. Cochere à gauche entrant par la ruë Dauphine [c.1755] Image 133 x 93 mm, Plate 146 x 106 mm, Sheet 241 x 162 mm Half-length portrait of Anne Marie Louise d’Orleans, facing slightly to the right, and set within an oval upon an inscribed pedestal. She wears a cloak over her loose gown. Her hair is worn up, with a single braid falling over her left shoulder. From Dreux du Radier’s L’Europe illustre.

Anne Marie Louise d’Orleans, Duchess of Montpensier (1627 - 1693), known as La Grande Mademoiselle, was the daughter of Gaston d’Orleans and Marie de Bourbon, Duchess of Montpensier.

Condition: Water stain to right edge of sheet, and sometime toning to sheet. Small spot of foxing to bottom left of oval. unmounted [40087] £25

137. Henrieta Adelaidis, VTRIVSQ Etching [c.1650] Image 122 x 93 mm, Plate 150 x 94 mm Half-length portrait of Henriette Adelaide of Savoy, set within an oval. Inscription reads: ‘Bavariæ ac Palatinatus Superioris Ducissa / Comcs Palatina Rheni. Electrix Landgravia / in Leichtenberg nata Regia Princeps Sabaudiœ / et Pede montii.’

Princess Henriette Adelaide of Savoy (1636 - 1676) was the daughter of Victor Amadeus I, Duke of Savoy, and Christine of France, and her twin sister was Catherine Beatrice. In 1650, Henriette married Ferdinand Maria, heir to the Electorate of Bavaria.

The following year, Ferdinand become Elector upon the death of his father. Henriette had significant political influence, and aided her husband in improving Bavarian welfare.

Ex.Col.: The House of Savoy Condition: Residue from framing tape along upper edge of sheet. Unidentified collectors marks on verso. unmounted [40073] £35

138. Adelaidis Henrietta Joseph Anton Zimmermann after Paul Mignard Copper engraving [c.1773] Image 255 x 185 mm, Sheet 261 x 185 mm Three-quarter length portrait of Henriette Adelaide, standing and turned slightly to the left. She wears a fur cloak and a richly embellished dress, and set to the left of the image are two crowns from Joseph Anton Zimmermann’s Series Imaginum Augustae Domus Boicae.

Inscription below image reads: ‘Adelaidis Henrietta Vict. Amad. Sabaudiae / et Pedemontii Ducis Filia nat. 6 Nov. 16 / 36. Ferd. Mariae Coniux 11 Decemb.

1 1652 Mort. 8 Mart. 1676.’

Princess Henriette Adelaide of Savoy (1636 - 1676) was the daughter of Victor Amadeus I, Duke Ex.Col.: The House of Savoy Condition: Trimmed to image. Unidentified collectors mark on verso. unmounted [40082] £35

139. Maria Antonia Prin. Reg. Pol. Elect. Sax. Nata Prin. Imp. Dux. Bav. Lorenzo Zucchi after Stefano Torelli Etching [n.d. c.1760] Image 200 x 150 mm, Plate 245 x 175 mm, Sheet 440 x 275 mm Portrait bust of Maria Antonia of Saxony in profile to left, in a round frame on a curved pedestal, decorated with laurel branches Maria Antonia of Saxony (18 July 1724 – 23 April 1780) Composer, singer, musician, amateur printmaker and pastellist, and art patron. She was the wife of Frederick Christian of Saxony whom she married in 1747, daughter of Emperor Charles VII, Electress of Saxony. She was best know for her operas. unmounted [40120] £75

140. Catherine d’Austriche Infante d’Espagne Duchesse de Savoye Balthasar Moncornet Etching Moncornet excudit [c.1650] Image 138 x 107 mm, Plate 150 x 114 mm, Sheet 239 x 180 mm Portrait of Catherine Michelle of Spain set within an oval. She wears a rather elaborate brocade bodice, with a jewelled collar and close ruff. Around her neck, she wears a pearl necklace, and in her hair, various jewels. A coat arms is featured in the upper left corner of the plate, and a wreath in the upper right.

Catherine Michelle of Spain (Spanish: Catalina Micaela de Austria; 1567 - 1597) was the daughter of Philip II of Spain and Elisabeth of Valois. Her marriage to Charles Emmanuel I, Duke of Savoy, made her Duchess consort of Savoy.

Ex.Col.: House of Savoy Condition: Discolouration to sheet. Tape residue along top on verso, visible through recto. unmounted [40136] £50

141. Serenissima Victoria a Robere Ferdinandi 2di Magni Ducis Etruriæ uxor Pieter de Jode II Copper engraving Antwerp, 1645 Image 150 x 120 mm, Sheet 168 x 120 mm A half-length portrait of Vittoria della Rovere, standing in an arched window, holding a fan with her left hand bearing the Medici arms.

Vittoria della Rovere (7 February 1622 – 5 March 1694) was Grand Duchess of Tuscany as the wife of Grand Duke Ferdinando II. Condition: Trimmed to the image and tipped to an album page. Surface loss upper left corner. unmounted [40116] £45

142. D. Maria II. Rainha de Portugal.

João Macphail Lithograph [c.1850] Image 150 x 126 mm, Sheet246 x 159 mm Half-length portrait of Maria II, shown wearing a crown, necklace, jewelled brooch, an embellished dress, and a sash across her right shoulder.

Maria II (1819 - 1853), part of the House of Braganza, was Queen regnant of the Kingdom of Portugal and the Algarves between 1826 and 1828, and then again between 1834 and 1853. She is often known as ‘the Educator’ or ‘the Good Mother’.

Condition: Light foxing to sheet. unmounted [40098] £25

143. Maria Federova Kayserin von Russland I.P. Thelotte Etching [n.d. c. 1780] Image 168 x 135 mm, Sheet 186 x 147 mm A full length portrait of Maria Fedorovna riding side-saddle.

Maria Feodorovna (Russian: Мари?´я Фёдоровна; née Sophie Dorothea of Württemberg) 25 October 1759 – 5 November 1828) was the second wife of Tsar Paul I of Russia and mother of Tsar Alexander I and Tsar Nicholas I of Russia.

Rovinskii 86 unmounted [40141] £55

144. Anna Ioannides Russorum Imperatrix Augustissima Jacob Houbraken after Jan Wandelaar Copper engraving [n.d. c. 1730] Image 364 x 230 mm, Plate 368 x 236 Portrait of Anna, Empress of Russia; bust slightly turned to left but looking at the viewer, in a low-cut dress and and an ermine-trimmed cloak, long curly hair down over shoulders, wearing a crown; in an oval frame on a pedestal decorated with the coat of arms of the Russian Empire; draped curtain across the background Anna Ioannovna (7 February [O.S. 28 January] 1693 – 28 October [O.S. 17 October] 1740), also spelled Anna Ivanovna, was the daughter of Ivan V of Russia and the niece of Peter the Great. She was regent of the duchy of Courland from 1711 until 1730 and then ruled as empress of Russia from 1730 to 1740.

Ver Huell 1875 11 Condition: Wormhole lower left and one in the oval inscription. unmounted [40119] £90

145. Marguerite de Valois after Dumotier Copper engraving [c. 1770] Image 135 x 96 mm, Plate 150 x 109 mm, Sheet 251 x 184 mm Half-length portrait of Marguerite de Navarre. This portrait would have originally been featured in Dreux du Radier’s L’Europe illustre. Following the death of the publisher, Michel Odievre, a number of plates were re-issued without Odievre’s address, as is illustrated by this particular portrait.

Inscription on pedestal reads: ‘Reine de Navarre né au Château d’Angloulême le 10. Avril 1492. Morte au Chateau d’Odos le 2 Decemb. 1549’ Marguerite de Navarre (1492 - 1549) was the daughter of Charles, Count of Angoulême, and Louise of Savoy. She was the princess of France, Queen of Navarre, and Duchess of Alençon and Berry.

Condition: Time toning and water stains to margins. unmounted [40086] £20

146. Rosa Hispani-Anglica Crispijn van de Passe the Elder Coppper engraving 1623 Image 191 x 147 mm, Sheet 218 x 152 mm Title-page to Michael du Val’s Rosa Hispani-Anglica, 1623.

The image depicts the proposed marriage of Charles I and Maria Anna of Spain, known as the Spanish Match. Christ stands in the middle, with his hands places upon the couples’.

The image is lettered with various inscriptions, and four lines of verse below reference the proposed marriage, all of which is in Latin.

Maria Anna of Spain (1606 - 1646) was the youngest daughter of King Philip III of Spain and Margaret of Austria.

Hollstein 101 ad, Franken 524, Hind II 17 Condition: Trimmed within plate mark, and tipped to album page. Image has been disected horizontally at top and glued back together with loss to top right, old folds to bnottom of sheet. unmounted [40054] £55

147. D. Elisabethæ Bordoniæ Principi Serenissimæ D. Philippi IV. Hispaniarum Indiarumq.

Regis Coniuqi Incomparabili Dedicabat Paulus Pontius after Peter Paul Rubens Copper engraving Gillis Hendrix exc. Cum Privilegio, 1632 Image 448 x 332 mm, Plate 450 x 340 mm Portrait of Elisabeth of France depicted in regal attire. She wears a large ruff, and various jewels around her neck.

The original painting by Rubens, which was painted alongside a portrait of Elisabeth’s husband King Philip IV, is now in the Hermitage Museum in Saint Petersburg, Russia.

Elisabeth of France (1602 - 1644) was the daughter of Henry IV of France and Marie de’ Medici. As the first wife of King Philip IV of Spain, Elisabeth was Queen Consort of Spain between 1621 and 1644, and of Portugal between 1621 and 1640.

Hollstein Dutch 73-1(2), Van Someren 182 Condition: Central horizontal fold, and bottom right corner of sheet missing up to plate mark. unmounted [40099] £250

148. Christina Alessandra Regina di Svetia &c.

Copper engraving [c.1656] Image 180 x 131 mm, Plate 183 x 133 mm, Sheet 188 x 139 mm From Galeazzo Gualdo Priorato’s Historia Della Sacra Real Maesta Di Christina Alessandra, Regina di Suetia, &c., a portrait of Christina Alexandra, Queen regnant of Sweden.

Christina Alexandra (1626 - 1689) was the daughter of Gustav II Adolph and Maria Eleonora of Brandenbrug. At the age of six, Christina succeeded her father on the throne following his death at the Battle of Lützen, and when she turned eighteen, began ruling.

She was Queen regnant of Sweden from 1632 until her abdication in 1654. Christina was one of the most educated women of the 17th century, showing an interest in paintings, books, manuscripts, sculptures, religion, philosophy, and science. She rejected the traditional role of the woman, and refused to marry, causing great scandal.

Condition: Trimmed close to plate mark. Residue from framing tape along upper edge of sheet unmounted [40080] £40

149. Marie Eleonore D. G. Royne Des Suedois.

Balthasar Moncornet Etching B. Moncornet excú. [c.1620-68] Image and sheet 133 x 84 mm Portrait of Maria Eleonora of Brandenburg, Queen of Sweden. Half-length and set within an oval. The oval is surrounded by elaborate decoration, and below, three lines of Latin inscription is set within a cartouche.

Maria Eleonora of Brandenburg (1599 - 1655) was a German princess and queen consort of Sweden.

She was the daughter of John Sigismund, Elector of Brandenburg, and Anna, Duchess of Prussia. In 1620, Maria Eleonora married Gustavus Adolphus, King of Sweden. Their daughter, Christina, born 1626, became Queen of Sweden in 1632.

Ex.Col.: House of Savoy Condition: Trimmed within plate mark. Framing tape residue along top on verso, visible through recto. unmounted [40135] £20

150. Christine Reine de Suede Petit after Sébastien Bourdon Copper engraving A Paris chez Odieure Md. d’Estempes Quay de l’Ecole à la belle Image [c.1689] Image 134 x 95 mm, Plate 141 x 101 mm, Sheet 240 x 159 mm Portrait of Christina Alexandra, Queen regnant of Sweden, set within an oval upon a pedestal inscribed with sitter’s name, date of birth, and death.

Ex.Col.: House of Savoy Condition: Time toning to edges of sheet. unmounted [40075] £35

151. Ludovice Ulrica Friderici Whilhelmi Boruss, Regis Filia René Gaillard after Francois-Adrien Latinville Copper engraving A Paris chez Petit, rue de petit Pont a Limage Notre Dame. [nd. c. 1747] Image 399 x 285 mm, Sheet 415 x 294 mm A three-quarter length seated portrait of Louisa Ulrika of Prussia. She wears a crown upon her head, and her hair and dress are adorned with pearls. Above her head is a star, and in her left hand, she holds a sceptre. The portrait is framed by an architectural frame with the inscription: Nata D. 13 Julii M.DCC. XX. Nupta Adolpho Friderico succ. Princ.Haered die Augusti M.DCC.XLIV Louisa Ulrika of Prussia, (24 July 1720 – 16 July 1782) was Queen of Sweden between 1751 and 1771 by her marriage to King Adolf Frederick, and queen mother during the reign of King Gustav III. Condition: Trimmed with in the plate, overall surface toning, vertical and horizontal creases barely visibly from the front, and ipped to an album page. unmounted [40078] £180

FOREIGN POLITICAL

152. Mademoiselle Cordé, the Exterminater of Marat.

Etching [c.1793] Image 146 x 94 mm, Plate 177 x 108 mm, Sheet 203 x 124 mm Full length portrait of Charlotte Corday, wearing a long dress, plumed hat and holding a dagger in her right hand.

153. Marie Anne Charlotte Corday Stipple [c. 1800] Image 70 x 70 mm, Plate 145 x 93 mm, Sheet 191 x 107 mm Bust portrait of Charlotte Corday, set within a circle.

Charlotte Corday (1768-1793) was an important figure of the French Revolution. In 1793, she assassinated the Jacobin leader Jean-Paul Marat, stabbing him to death in his bathtub. Corday was executed by guillotine in the same year. In 1847, Alphonse de Lamartine gave Corday the nickname ‘l’ange de l’assassinat’, translating to ‘the Angel of Assassination’.

Condition: Discolouration to sheet. unmounted [37781] £40

Condition: Stain across upper right corner of sheet, not affecting image. unmounted [40158] £60

Below image, five lines of engraved text in French, and three hand written lines.

154. Mie. Ane. Cte. Corday Jean Joseph François Tassaert after Jean Jacques Hauer Stipple C’est le Portrait annoncé dans le Journal de Perlet, du 27 Juillet 1793, No. 509.

Image 307 x 228 mm, Sheet 386 x 288 mm Portrait of Charlotte Corday, depicted standing, and with her head slightly turned to the right whilst glancing towards the viewer. She wears a tall hat and fitted dress, and holds a knife in her right hand.

Below the portrait is a small roundel presenting the assassination of Jean-Paul Marat.

De Vinck 5379 Condition: Time toning to margins, and a few spots of discolouration to image. Trimmed within plate mark along bottom edge, and tearing along left edge of sheet, not affecting image. unmounted [40147] £85

155. Matoaka Als Rebecca Filia Potetntiss. Princ: Powhatani Imo: Virginiæ after Simon van de Passe Copper engraving Pubd. Augt. 10 1793 by W. Richardson Castle St. Leicester Square. [19th century impression] Image 146 x 113 mm, Sheet 218 x 137 mm Half-length portrait of Pocahontas. The portrait is set within an inscribed oval. Four lines of inscription below image: ‘ Matoaks als Rebecka daughter to the mighty Prince / Powhatan Emperour of Attanough b komouck als virginia / converted and baptized in the Christian faith, and / wife to the wortt. Mr Joh Rolff.’ Facsimile copy of Simon van de Passe’s 1616 portrait.

Pocahontas (c.1595 - 1617), also known as Rebecca Rolfe, was the daughter of Prince Powhatan, ‘Emperor of Virginia’.

O’Donoghue 2 Condition: Small tear to upper left corner along plate mark, and some time toning to sheet, not affecting image. unmounted [40070] £50

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