New Acquisitions. London International Antiquarian Book Fair

CATALOGUE OF RECENT ACQUISITIONS London Antiquarian Book Fair 2015

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

Contents.

Etchings & Engravings, 17th - 19th Century.

1 - 18

20th Century

19 – 46

Caricatures & Satires

47 - 69

Portraits

70 - 141

British Topography

142 - 148

Foreign Topography

149 -176

General Interest:

Sports

177 - 181 182 - 187 188 - 190 191 192 193 194 - 195 196 197 - 198 199 - 201 202 - 203

Maps

204 - 210

Theatre, Music & Dance Ephemera Classical and Mythological Freemasonry Jacobite Maritime Military Railways Religious Trades

Etchings & Engravings, 17th - 19th Century.

1.[The Portico with the Lantern] Antonio Canaletto Etching with early hand colouring A. Canal. f. V. [1744] Image 297 x 426 mm, Plate 302 x 429 mm, Sheet 362 x 499 mm unmounted Inscribed in bottom left corner of image: ‘F F 4’ A capriccio (a fantastical view) of a Venetian waterfront, one of a rare series of 34 etchings of Venetian Vedute by Canaletto. In the foreground, a broad-arched portico with an open lantern overlooks an idealised combination of buildings and monuments. At the centre is a large townhouse, with an altana (open terrace), a baroque facade with statue, and a small side door surmounted by a coat of arms featuring a chevron, perhaps those of Canaletto himself. To the left of the central villa is a canopied bishop’s tomb, with a statue of the bishop above. To the left are romantic fragments of Roman antiquity, including a triumphal arch on the waterfront, a columned temple, and a collection of architectural remnants upon which sit a group of men, likely a number of soldiers and their regimental drummer. In the distance are the masts and sails of a number of ships on the Venetian lagoon.

Third State, early impression of second printing.

Bromberg 10 (iii/iii), De Vesme 10, P&G 11.

Condition: Illegible watermark, perhaps an ‘R,’ near right column of portico. Small tears, stains, and creases to margins, not affecting image. Two small binders’ holes to left margin, not affecting image.

[37594] £1,750

2. Al Dolo Antonio Canaletto Etching with early hand colouring An. Canal. f. [1744] Image 293 x 427 mm, Plate 302 x 432 mm, Sheet 353 x 452 mm unmounted A view of the town of Dolo on the Riviera del Brenta, near Venice, one of a rare series of 34 etchings of Venetian Vedute by Canaletto. Numerous boats and gondolas transport goods up the Brenta river, while groups of people wander the banks. On the left, the bank is faced by a number of large palazzi, including a large Palladian villa, while on the right, the Church of San Rocco and its tower overlooks a tidal garden.

The town of Dola became an important inland transport hub following the decrease of Venetian maritime power in the Mediterranean. The tower of Dolo was the highest point outside of Venice, and second only to the tower of San Marco in the whole of the Veneto.

Inscribed in bottom right corner of plate: ‘F F 3’ Third State, early impression of second printing.

Bromberg 4 (iii/iii), De Vesme 4, P&G 4.

Condition: Watermark ‘R’ surmounted by crown (Bromberg No. 10), near Palladian villa at left of image.

Small tears, stains, and foxing to margins, not affecting image. Stain to left centre of image. Water stain and oxidising of colouring to right of plate.

[37583] £1,500

3. le porte del Dolo Antonio Canaletto Etching with early hand colouring A. Canal. f. [1744] Image 295 x 424 mm, Plate 302 x 429 mm, Sheet 349 x 457 mm unmounted A view of one of the canal channels and sluice-gates of the Brenta river, in the Italian town of Dolo, near Venice, one of a rare series of 34 etchings of Venetian Vedute by Canaletto. A gondola and a luxury passenger boat known as a burchiello sits in the channel, and a number of groups of people occupy the foreground of the view. To the left, a butcher works in his shop, carcasses hanging against the walls. In the centre, a well dressed couple stroll past a pair of dogs and a group of workers picking fruit from a tree. The town of Dola became an important inland transport hub following the decrease of Venetian maritime power in the Mediterranean. The town’s series of arcaded sluice-gates were established to regulate the flooding of the Venetian lake, and, along with Dolo’s water-mills, were the subject of a number of Canaletto’s paintings and etchings.

Inscribed in bottom right corner of plate: ‘F F 2’ Third State, early impression of second printing.

Bromberg 6 (iii/iii), De Vesme 6, P&G 3.

Condition: Watermark ‘R’ surmounted by crown (Bromberg No. 10), near top of sluice-gate. Small tears, stains, and creases to margins, not affecting image. Waterstain to hand-colour at centre.

[37587] £1,500

Hollstein 17, Rovinski 21.17, White+Boon 295 (as Bol), Hind 350 (Rejected as Rembrandt), Bartsch-Claussin II.50.18.

Condition: Trimmed within the plate at top of oval.

[37735] £400

4. [The Last Supper] attributed to Thomas Worlidge Etching c.1750 Image 135 x 290 mm, Sheet 300 x 170 mm unmounted A working proof of the scene of The Last Supper, attributed to Thomas Worlidge Condition: trimmed to left margin, foxing to sheet.

[37753] £160

5. [Portrait of a bearded old man] Ferdinand Bol Etching c.1640 but 18th century impression.

Image 54 x 54 mm, Sheet 49 x 56 mm Oval unmounted An eighteenth century impression of Ferdinand Bol’s small bust in profile to right of a bearded old man wearing a hat. This portrait was formerly attributed to Rembrandt.

6. [Engravers tools Plate 1] Abraham Bosse Copper engraving Abraham Bosse, Paris, 1645, but 1740 Image 120 x 78 mm each, Plate 128 x 84 mm, Sheet 283 x 214 mm unmounted A engraving of an artist’s tools. Originally from Bosse’s Traité des manières de graver en taille-douce..., 1645 and here reprinted in Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître with Planche 42 inscribed in upper right of plate 2.

[37786] £50

7. [Fingal Discovers Conban-Carglas] Alexander Runciman Etching c.1775 (Collected edition, 1826) Image & Sheet 150 x 245 mm unmounted A reversed reworking of Runciman’s painting Fingal Discovers Conban-Carglas, which used to hang in Penicuik House in Scotland. The print is commonly titled Perseus and Andromeda and illustrates Fingal arriving at the cave of Turthor and finding Conban-Cargla. A stormy scene behind with strong winds, clouds and the moon in the sky. The subject derives from the Poems of Ossian, translated from gaelic by James Macpherson in 1762.

Monogram "AR fecit" in bottom left corner.

Condition: Trimmed to image, creasing to bottom of sheet.

[37714] £120 8. The Nativity Thomas Piroli after William Young Ottley Etching and aquatint Published as the Act directs Febr. 1st 1796, Rome Image 200 x 145 mm, Plate 217 x 157 mm, Sheet 231 x 174 unmounted Plate 2 from a set of 12 entitled Twelve stories from the life of Christ designed by Ottley and engraved

by Piroli.

William Young Ottley (1771 - 1836) was an artist turned dealer and collector of Italian paintings, prints, and drawings. He was the Keeper of Prints and Drawings at the British Museum 1833-36. He studied at the Royal Academy schools in 1787 and then onto Italy where he stayed for ten years. He was also the author of several pioneering works on the history of art.

Condition: Short tear in the centre of the upper margin not affecting the plate mark or image.

[37797] £150

9. [Man laying on a beach oar in hand] Samuel William Reynolds after Thomas Phillips Drypoint on india laid paper n.d. c. 1810 Image 200 x 245 mm, Sheet 210 x 280 mm unmounted Unrecorded proof showing a man washed ashore holding on to an oar in his right hand and gull above in the sky.

Condition: Toning to backing sheet, crease to top left corner.

[37827] £150

10. [Set of Four Soft Ground Etchings] Benjamin Green Soft-ground etching Pubd. Novr. 24, 1806, by Laurie & Whittle, 53 Fleet Street, London Each image 96 x 69 mm, Each sheet 198 x 160 mm unmounted A set of four soft-ground etchings, each with a number in the plate 1 to 4 and with B Green f.

Sept. 9, 1780 inscribed in the plate on the first plate. The set comprises of: Plate 1: Three men, two seated and one standing on a rock, a man walking in the background and another figure on horseback in the background, all before a rural scene with an old viaduct in the background.

Plate 2: At Abingdon. Two men and a dog stand before an old building with a ladder propped against it.

Plate 3: At Islington A view of Queen Elizabeth Gate Islington with a man and a dog in the foreground and church steeple in the background left.

Plate 4. Two men on dock in front of an old building a boat is moored and figure in the background.

Condition: Binding holes in margins as issued.

Paper watermarked Curteis & Son 1806.

[37727] £180

11. Europe/Asia Mezzotint with hand colouring, Glass Print [n.d. c.1800] Image 246 x 347 mm framed To the left stands Europe, holding a globe in her left hand, and a sceptre in her right. Pages of the Holy Bible are visible behind the figure, and a ship in the background. Asia stands to the right, holding a book in her right hand. An elephant and servant stand behind her, with a temple depicted in the distance.

The leading eighteenth-century publishers hand painted many of their 'drolls', this rare example has been transferred onto glass (attached with a waterproof adhesive, then dissolving the paper so that only the ink remained on the glass), and then coloured in oils or watercolours in order to resemble a painting.

Russell undescribed, Chaloner Smith undescribed Ex. Col.: Hon. Christopher Lennox-Boyd [36765] £550

12. Sadak. [In Search of the Waters of Oblivion] E.J. Roberts after John Martin Steel engraving London, Oct. 1827, Published for the Proprietor

by R. Jennings, Poultry Image 121 x 95 mm, Plate215 x 145 mm, Sheet 280 x 213 mm mounted A proof illustration to The Keepsake of November 1st, 1828 (p.168).

The subject of Sadak is taken from a story in The Tales of Genii, a collection of interconnected Orientalist fantasies first published in England in 1764. The character of Sadak is sent by the Sultan Amurath to collect the infamous, memory-destroying waters, in order to secure the release of Sadak’s imprisoned wife, Kalasrade.

The Keepsake was an English literary annual which ran from 1828-1857.

Condition: Printed on chine collé, staining to edges of outer sheet, not affecting plate or image.

[37397] £65

13. The Flood John Martin Mezzotint 1830 Image 100 x 174 mm, Sheet 136 x 203 mm mounted An illustration of Genesis 7:21; a scene of rising flood waters and torrential rain enveloping despairing figures clinging to rocks, the ark can be seen on the horizon.

Inscribed below image: Designed and Engraved by John Martin.

Frontispiece to Richard Martin’s The Last Days of the Antediluvian World. A Forlorn Hope, and Ishmael's Address. This mezzotint was also used as a plate on p.354 of The Wars of Jehovah, in Heaven, Earth and Hell: in nine Books by Thomas Hawkins, London, 1844.

Campbell+Wees 83.

Condition: Surface scratches to margins, not affecting image.

[37666] £130

Image 86 x 128 mm, Sheet 206 x 265 mm unmounted A proof of the first version of the The Sailors Bride for the publication (13 April, 1861, vol. 4, p. 434) to illustrate a poem by Marian E. James.

Sandys was not pleased with this work and had Joseph Swain re-engrave the design. It was Swain’s version that was ultimately published.

Condition: Creasing to sheet not affecting the image.

[37795] £100

14. [Paul Sandby and his wife] Paul Sandby Etching c. 1770 but c.1817 Image 189 x 144 mm, Plate 205 x 160 mm, Sheet 225 x 176 mm unmounted A self portrait of Paul Sandby and his wife Anne Stogden (Stogdon) set within a wooded glade with their children and dogs playing behind.

Condition: Margins creased, not affecting image.

[37736] £75

15. The Sailors Bride W.H. Hooper after Frederick Sandys Wood engraving n.d. c. 1861

16. Resting.

William Strang Mezzotint [London: Kegan Paul, Trench, Trübner & Co., 1897] but David Strang impression.

Image & Plate 152 x 100 Originally printed for Hans W Singer & William Strang’s Etching, engraving, & the other methods of printing pictures. This impression was printed by his son David. Signed, titled and Inscribed in pencil by David Strang.

Condition: Slight discolouration to margins, and a small tear to bottom edge through inscription.

[37690] £75

altarpiece, the Adoration of the Lamb, in the collection of Charles Aders (1780-1846).

Aders was a Hamburg merchant resident in Euston Square, London, whose collection of Northern Renaissance art was known to Blake among others. In 'William Blake, his art and times' David Bindman points out the stylistic link with Blake's 'Job' engravings finished in the same year.

The following is the entry on this print from W. Vaughan, E.E. Barker, and C. Harrison, 'Samuel Palmer, Vision and Landscape' (London, BM, 2005), no. 23, pp. 101-2: This etching was produced by Linnell from a copy of one of the wings of Hubert and Jan Van Eyck’s celebrated altarpiece, the Adoration of the Lamb, in St Bavon, Ghent. It was made from a copy of the altarpiece in the collection of Charles Aders, the German merchant whose collection of Northern primitives was much admired by Blake and the Ancients. According to Story, Linnell was commissioned to make the copy in 1826 by Aders’s wife Eliza.

The etching is a meticulous work in which the influence of sixteenth-century engraving styles can be seen. It shows the extent to which Linnell, like Palmer, was engaged in the study of so-called ‘primitive’ art at this time. Linnell, however, may well have been drawn to Van Eyck because he represented the realist side of the fifteenthcentury ‘primitive’ movement. For Linnell, unlike Palmer, there was no necessary conflict between the primitive and naturalism. Like Ruskin later, he saw the primitive in terms of direct and unprejudiced vision.

Linnell may have been influenced in his style of reproduction by the high quality lithographs after Flemish and German ‘primitives’ then being produced in Munich, notably those by Johann Nepomuk Strixner that were available in London booksellers at the time (Vaughan 1979, pp. 22–4).

17. [The Just Judges] John Linnell after Jan van Eyck Etching 1826 Image 506 x 176 mm, Plate 580 x 225 mm, Sheet 600 x 291 mm mounted Inscribed within the image: Jno Linnell sculpt 1826 The British Museum catalogue remarks that only a few impressions are known of this plate. It is based on a copy of the lower left panel of Hubert and Jan Van Eyck’s celebrated

Condition: Printed on chine collé, light dirt build up to margins and top of image. Light creases to top left margin.

[37408] £500

18. [Christian Martyrs, Reign of Diocletian Rome AD 303] Herbert Bourne after Gustave Doré Steel engraving London: October 19th 1875. Published by Fairless & Beeforth, Dore Gallery, 35, New Bond Street, W. Copyright Registered.

Image 558 x 807 mm, Plate 672 x 915 mm, Sheet 810 x 1124 mm mounted Numerous martyrs, men and women, lie dead on the ground of an empty Roman amphitheatre, with wilds animals prowling and gnawing at the bodies. Set at night, the only light source comes from the angels hovering over the bodies. Behind the angels in the foreground is a trail of other angels swooping towards the amphitheatre.

From 1865 onwards, Doré began to regularly submit large-scale religious works to the Salon. He depicted Biblical stories such as Moses in the Bulrushes, Christ Leaving the Tomb, and The Flight into Egypt. These works, however, do not appear to have been the result of a theological conviction, but motivated by commercial considerations. To honour the launch of the Doré Gallery in 1868, the managers of the institution, Fairless and Beeforth, commissioned Doré to paint a ten feet high canvas displaying a multitude of Pagan deities reeling before a triumphant Christ. A clause in Doré’s contract stipulated that he would also make a watercolour version of the picture for an engraver to work from, and that he would receive fifteen percent of the entrance fees, engraving and catalogue sales.

Condition: Artists proof with signatures of Doré and Bourne in pencil. Small tears to the extremities of the sheet; image and plate unaffected.

[37831] £500

20th Century Plates from Eric Ravilious’ High Street: Country Life Ltd.

19. Amusement Arcade Eric Ravilious Lithograph Curwen Press, 1938 Image 140 x 149 mm mounted [37598] £200 20. Baker and Confectioner Eric Ravilious Lithograph Curwen Press, 1938 Image 212 x 140 mm mounted [37607] £200 21. Cheesemonger Eric Ravilious Lithograph Curwen Press, 1938 Image 217 x 135 mm mounted [37605] £280

23. Coach Builder Eric Ravilious Lithograph Curwen Press, 1938 Image 210 x 120mm mounted [37618] £220

22. Clerical Outfitter Eric Ravilious Lithograph Curwen Press, 1938 Image 133 x 130 mm mounted [37602] £170

24. Family Butcher Eric Ravilious Lithograph Curwen Press, 1938 Image 172 x 123 mm mounted [37617] £200

25. Fire Engineer Eric Ravilious Lithograph Curwen Press, 1938 Image 195 x 140 mm mounted [37616] £200 26. Fireworks Eric Ravilious Lithograph Curwen Press, 1938 Image 138 x 144 mm mounted [37603] £220 27. Hams Eric Ravilious Lithograph Curwen Press, 1938 Image 228 x 140 mm mounted [37608] £250

28. Hardware Eric Ravilious Lithograph Curwen Press, 1938 Image 210 x 114 mm mounted [37615] £200 29. Knife Grinder Eric Ravilious Lithograph Curwen Press, 1938 Image 166 x 124 mm mounted [37610] £250 30. Letter Maker Eric Ravilious Lithograph Curwen Press, 1938 Image 152 x 136 mm mounted [37614] £200

32. Naturalist : Furrier : Plumassier Eric Ravilious Lithograph Curwen Press, 1938 Image 154 x 133 mm mounted [37613] £190

31.Model Ships and Railways Eric Ravilious Lithograph Curwen Press, 1938 Image 190 x 149 mm mounted [37597] £220

33. Oyster Bar Eric Ravilious Lithograph Curwen Press, 1938 Image 200 x 110 mm mounted [37599] £290

34. Pharmaceutical Chemist Eric Ravilious Lithograph Curwen Press, 1938 Image 210 x 140 mm mounted [37606] £280 35. Public-House Eric Ravilious Lithograph Curwen Press, 1938 Image 182 x 145 mm mounted [37601] £230 36.Restaurant and Grill Room Eric Ravilious Lithograph Curwen Press, 1938 Image 175 x 123 mm mounted [37609] £250

37. Saddler and Harness Maker Eric Ravilious Lithograph Curwen Press, 1938 Image 210 x 120mm mounted [37604] £230 38. Second-Hand Furniture and Effects Eric Ravilious Lithograph Curwen Press, 1938 Image 200 x 143 mm mounted [37596] £220 39. Submarine Engineer Eric Ravilious Lithograph Curwen Press, 1938 Image 145 x 134mm mounted [37619] £190

40. Theatrical Properties Eric Ravilious Lithograph Curwen Press, 1938 Image 170 x 149 mm mounted [37612] £200 41. Undertaker Eric Ravilious Lithograph Curwen Press, 1938 Image 135 x 120 mm mounted [37600] £190 42. Wedding Cakes Eric Ravilious Lithograph Curwen Press, 1938 Image 172 x 130 mm mounted [37611] £220

Robin Tanner Etching [Robin Garton, 1977] Image & Plate 94 x 112 mm mounted Signed in pencil.

An excellent impression from K.M. Guichard's British Etchers 1850-1940 published by Robin Garton in 1977.

Garton 19.

[37633] £300

43. The Roman Wall in Jewry, Leicester after F.L. Griggs Soft-ground etching 1923 Image 137 x 181 mm, Plate 157 x 194 mm, Sheet 245 x 305 mm unmounted Hand written inscription beneath plate reads: With Christmas Greetings from N.B.M + FL.Griggs 1923. Signed and titled within the image.

A close-up view of the Jewry Wall in Leicester, an impressive example of Roman masonry, the ruined wall of a public building of Ratae Corieltauvorum is dated to approximately 125– 30 AD. [37720] £300 45. Full Moon Robin Tanner Etching [Robin Garton, 1977] Image 240 x 185 mm, Plate 245 x 190 mm, Sheet 330 x 267 mm unmounted Signed in pencil.

An excellent impression from K.M. Guichard's British Etchers 1850-1940 published by Robin Garton in 1977.

Garton 29 iii/iii.

[37532] £400

44. Wren and Primroses

46. The Old Road: Elegy for the English Elm I Robin Tanner Etching [Robin Garton, 1977] Image 298 x 234 mm, Plate 301 x 237 mm, Sheet 330 x 264 mm unmounted Signed in pencil.

An excellent impression from K.M. Guichard's British Etchers 1850-1940 published by Robin Garton in 1977.

Garton 36 state iii/iii [37534] £400

Etching with hand colouring 1769 Image 104 x 157 mm, Plate 118 x 167 mm, Sheet 128 x 201 mm unmounted From The Oxford Magazine.

A satirical print of a group of surgeons discussing the death of a patient.

From left to right, speech inscriptions read: ‘Gold is good Evidence and carries great Weight Another such bag would convince me that Cl-k never receiv’d any blow By my Soul his head was too thick to be broken or he would ne’er ha gang’d to Br-d This Convinces me that Cl-k did not dye of the Wound he receiv’d at Br-d Devil burn me but that same Surgeon was a blockhead; how should a Foot be ablel to Judge of the Head?’

Upon the table, to which the central figure points, a sheet of paper is inscribed with: ‘It does not appear to us that he died’ BM Satires 4271 [37658] £50

Caricatures & Satires

47. The Consultation of Surgeons

48. The Auction; or Modern Conoisseurs

Etching with hand colouring 1771 Image 150 x 93 mm, Plate 171 x 106 mm, Sheet 210 x 142 mm unmounted From The Oxford Magazine.

A satirical print of an auction room, with a group of fashionable people central to the mockery. The auctioneer knocks down a painting of a windmill, but the audience fail to recognise that the painting is held upside down.

BM Satirs 4770 Condition: Good, clean impression. Slight creasing to edges of sheet, not effecting image.

[37657] £50

49. I say, quel chemeng à la Pally Royal?

Aquatint with hand colouring London, Pubd. March 14, 1817, by the Proprietor.

Image 188 x 152 mm, Sheet 287 x 201 mm unmounted A satirical print of a clueless Englishman asking for directions to the Palais-Royal. A hairdresser, standing outside of his shop labelled ‘Toupet, Perruquier’, assists the man.

Beneath the image to the left is an inscription that indicates the ignorance of the Englishman.

The inscription reads, in broken French, ‘I say, quel chemeng à la Pally Royal?’, when the sentence should say, ‘Quel chemin à la Palais Royal?’. The hairdresser’s directions, given in French, are inscribed beneath the image to the right, reading, ‘Voyez, Monsieur, prenez la troisième rue à main droite, et vous tomberez au Palais Royal.’

Condition: Trimmed within plate mark. Toning to sheet, and small tear to left edge of sheet, not effecting image.

[37749] £160

50. The Man Milliner Etching with Etching with hand colouring Published 16th. Decr.1793, by Robt. Sayer & C°.

Fleet Street London.

Image 165 x 223 mm, Plate 190 x 240 mm, Sheet 245 x 303 mm mounted Inscription below image reads: Indeed Mr Fribble I am not to be done in this manner, your Yard is to short by an Inch.

A scene set in the interior of a milliner's shop.

The milliner and a lady stand facing each other across the counter. He is fashionably dressed and holds a yard-stick. She holds the end of a piece of ribbon and says, with raised forefinger (the words engraved beneath the design): 'Indeed Mr Fribble I am not to be done in this manner, your Yard is to short by an Inch.' A second lady, seated in a chair, holding up a fan, watches the encounter with amusement.

(Description from British Museum: 1861,0518.978)

BM Satires 8413 Condition: Small tears and staining to edges of sheet, not affecting plate or image.

[37410] £160

51. A Proclamation in Lilliput Richard Newton Etching with early hand colouring London Pubd. May 22, 1792, by Willm. Holland, No. 50 Oxford Street.

Image 303 x 438 mm, Sheet 332 x 448 mm unmounted A rare large caricature intended to ridicule the Royal Proclamation Against Seditious Writings and Publications of 1792. Issued by George III on 21st May, the day before the publication of this print, the Royal Proclamation was a response to growing radicalism in Britain, encouraged by the French Revolution. The Royal Proclamation made a specific reference to suppressing loose prints, books, and publications, as well as punishing the publishers of inappropriate material.

Central to the image is the Prime Minister of the time, William Pitt, dressed in a jester’s cap, holding and reading from an extravagantly long scroll. Likely written by Holland, the inscription upon the scroll reads: ‘Who ever after this out will and pleasure, dares to look, walk, stand, write, sit, speak, act, think, run eat, drink, sleep, evacuate, piss or committing any other misdemeanour or as to alarm the fears, doubts, conscience, & of peaceable Citizens shall forthwith be bash’d, broil’d, stew’d, roasted, fricasseed & according to the utmost limits and bounds of our supreme wisdom and whoever hearing this our will and Proclamation shall dare to Print, Publish, write or cause to be written any book...’

With the crowds looking on in shock at the proclamation, the figure to the right - likely George III attempts to quieten the people, with an inscription above his read reading: ‘Silence!_ Silence! What, what, what a noise ye make ye Painite rascals! Billy, read read on my boy.’

Alexander 5 Condition: Trimmed close to image, a few tear repairs. Discolouration to sheet [37651] £400

52. Vis à Vis ___Accidents in Quadrille Dancing.

George Cruikshank Etching and aquatint with original hand colouring Pubd April 15th 1817 by - H. Humphrey St James's Street Image 207 x 246 mm, Plate 215 x 260 mm, Sheet 232 x 278 mm unmounted A satirical scene set within a dance hall. Eight dancers stand aghast at a fifth man, wearing spurs, who is falling with violence, clutching the dress of a lady whom he is knocking backwards.

One spur is caught in a lady's dress which it has gashed from waist to flounce. A man holds a damaged leg, registering fury with his hat and cane falling to the floor. A dumpy woman turns her back to laugh. a Harpist and fiddler watch from a low platform. All the men are dandified.

A satirical of a family of three on horseback, seen from behind, the man in the centre, flanked by the two women, his wife and daughter.

Isaac 25, BM Satires undescribed Condition: Light foxing to sheet.

[37758] £100

(Description from M. Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', IX, 1949)

BM Satires 12927, Cohn 2084, Reid 671 Condition: Clean impression with excellent original hand colouring. Laid to ninetieth century album page.

[37756] £180 53. Me and my Wife and Daughter. after William Bunbury Etching Printed and Published by W. Davison Alnwick. c. 1812 Image 135 x 222, Sheet 183 x 262 mm unmounted

54. Tragedy. Waterloo 1814. Up., Guards and at them. Comedy. Oxford 1824 Plactene vobis Domini Doctores, Placetne vobis Maguistre.

IB Lithograph with original hand colour Pubd. October 14, 1834 by J.B. brookes, 9 New Bond Street.

Image 229 x 189 mm, Sheet 236 x 193 mm

unmounted A satire about the career of the Duke of Wellington With the inscription: All the worlds a Stage, and all the Men and Women merely, players: They have their Exits, and their entrances; & one Man in his time plays many parts, Condition: Trimmed just outside of image and tipped onto an album page.

[37713] £140

55. A Lady of Battersea, taken from Life George Belcher Etching with hand coloruing Drawn & Etch’d by George Belcher 1916.

Image 242 x 165 mm, Plate 274 x 173 mm, Sheet 341 x 228 mm Full-length illustration of a woman from Battersea, depicted as gaunt and ragged, and in the style of caricaturist Robert Dighton. Belcher draws upon the composition, technique, and lettering of Dighton’s 18th-century caricatures.

Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Staining from previous mount.

Scratch to surface in skirt.

[37696] £120

56. [Earl Barthurst] James Sayers Etching Published 17th June 1782 by C. Bretherton.

Image 142 x 93 mm, Sheet 168 x 107 mm unmounted Satirical illustration of Henry Bathurst, 2nd Earl Bathurst, depicted full-length, standing almost full-face, but looking slightly to the right. His hands are tucked under his waistcoat, and he wears a tie-wig and sword. His expression appears senile, if not slightly moronic.

James Sayers initials to bottom left corner.

BM Satires 6070 Condition: Trimmed within plate mark, large stain to bottom left corner, and a few other smaller stains to sheet. Laid to album page.

[37725] £80

57. Les Incommodités de Janvier 1786 John Barlow Etching with hand colouring Publish’d as the Act directs. Feby, 20th, 1786.

by Hannah Humphrey No51 New Bond St.t Image 156 x 140 mm, Sheet 209 x 166 mm framed A satire on the absurdity of women’s fashion towards the end of the eighteenth century. A lady stands in profile to the right, her hands in an enormous globular muff, on which rests the projecting gauze which covers her breast. Her petticoats project at the back in the fashionable manner, but scarcely balance the muff. Her wide-brimmed hat is even more exaggerated, and projects all round her like a tent. Her hair is puffed out at the sides with curls which rest on her false breast, and a looped and plaited queue which reaches nearly to her projecting petticoats.

(Description from British Museum: 1980,U.1634)

BM Satires 7107 Condition: Trimmed and laid to album page, small loss and tear to left hand side of sheet.

[37413] £220

58. Tight Lacing. or Hold Fast Behind Matthew Darly Etching Pub. by M Darly 39 Stran[d, March 1, 1777.]

Image 316 x 225 mm, Sheet 351 x 250 mm mounted A scarce eighteenth century satire on the use of a ‘stay’ or corset to obtain a tiny waistline. A lady with a preposterous hairstyle clings to a bed post while a servant pulls, with one foot on the lady’s bottom, at the lacing strings of her corset.

BM Satires undescribed.

Condition: Trimmed within the plate and laid to an album page. Tear to bottom right corner of sheet and small loss to left margin, not affecting image. Staining to sheet, ink stain to bottom right corner of image. ‘G’ of ‘Lacing’ defective.

[37517] £185

59. The Wishing Females Mezzotint [London Printer for R. Sayer & J. Bennett Map & Printsellers No. 53 Fleet Street as the Act directs, 6th July 1781] Image 324 x 251mm, Sheet 344 x 252 mm framed A satirical mezzotint featuring two well-dressed young ladies, one gazing with a telescope through an open window at soldiers in the park below.

BM Satires undescribed, Russell undescribed, Chaloner Smith undescribed, Lennox-Boyd i/i Condition: Trimmed within the plate mark, repaired tear to right edge. Framed in an original eighteenth century frame.

[37412] £500

60. La Toilette d’un Anglais.

Paul André Basset Copper engraving with original hand colour à Paris chez BASSET, rue St. Jacques No 64.

Déposé au Bureau des Estampes. [c.1820] Image 185 x 270 mm, Plate 228 x 330 mm, Sheet 275 x 395 mm unmounted A French satire of the perceived lack of high culture amongst the English. An English Everyman at centre is doted upon by a French couple, who attempt to groom him. He wears a long overcoat, an open-collared shirt that reveals his hairy chest and stomach, a pair of short trousers with an elaborate jewel hanging from the waist, stockings, and ill-fitting slippers. He is very fat, with a broad, squat face, and a pair of fleshy horns on his balding head. The well turned-out groom to his left brushes the sleeves of his coat, while the wardrobe maid to the right attempts to disguise his horns by wrapping them in cloth. On the table can be seen the tools of his abortive transformation: a straight-razor, shaving bowl, sponge, pitcher, and a bottle of ‘Eau de Beaute.’ Under the table, a cask of beer sardonically labelled ‘Miel d’Angleterre,’ pours freely onto the floor.

Condition: Clear impression with excellent original hand colour. Light foxing to sheet.

Small stain to inscription space below ‘Toilette.’

Dirt mark to lower left plate, not affecting image.

[37595] £180

61. The Entomologist.

G. E. Madley after George Spratt Published by C. Tilt. Fleet Street. Jany. 1830 Image 150 x 133 mm, Sheet 270 x 223 mm mounted George Spratt (b 1784), was a member of the Royal College of Surgeon and active in the Medico-Botanical Society of London. He was known for his illustrations of botanical books, including a two volume Flora Medica (18291830) and wall charts of poisonous plants. At least 16 composites in his series were issued in 1830 and 1831, and probably more. No complete set is known, and they are not catalogued together anywhere. An advertisement showed subjects ranged from greengrocer to an antiquarian and the price at 1s.

6d. each Condition: Some light staining to sheet [37277] ÂŁ200

62. The Botanist George Spratt Lithograph with original hand colour Pubd. by Chas. Tilt, Fleet St., 1830 Image 177 x 160 mm vignette, Sheet 240 x 190 mm mounted With the inscription Printed by G.E. Madeley, Wellington St. Strand.

Condition: Some light staining to sheet [37276] ÂŁ200

arms is a weeping cook holding a saucepan upside down, and on the right, another cook holds a gridiron.

Inscription below gives a description of the coat of arms in the centre of the sheet, which reads: ‘Arms Quarterly, first Azure, a Mitre and Fools Cap transverse ways, second, Sable, an Inn shut up, Third, Gules, Caput Universale, on an Asses head, proper, fourth, Argent, A Book entitled Excerpta e statutis, Supporters, Two Cooks weeping, Crest, A Hand holding a Roll of Paper, Motto, Impransi, Juvenes Disquirite'.

BM Satires 7016 Condition: Light stain above top left corner of crest, and some creasing.

[37748] £300

63. A New Coat of Arms, granted to the H++ds of the U*******y of C*******e, since their late Edict against Dinners.

James Bretherton after John Weller Poley Etching Published as the Act directs Feby. 21st 1786, by H. Humphrey No. 51 New Bond Street.

Image 312 x 212 mm, Sheet 327 x 233 mm unmounted A satirical design for the coat of arms of the University of Cambridge. Divided into quarters, the top left image shows a mitre entwined with a fool’s cap. Next to this, a large sign illustrating an animal, and inscribed with ‘W: Gurford’, hangs above the door of an inn. Over the door, another sign is present, inscribed with ‘To Lett’, with the words ‘Licensed' and 'Post Horses’ scored through. The bottom left image is that of an ass’ head, representing the Caput.

Different parts of the ass and its bridle are inscribed with 'Divinitas', 'Jus civile', 'Medicina', 'Non Regent' and 'Sen Regent', which represent the five members of the Caput under the ViceChancellor; three professors of Divinity, Law, and Physic, and two senior members of the houses composing the Senate: the Non-Regent House and the Regent House. The final image is that of an open book entitled Excerpta e Statutis. Standing on the left side of the coat of

64. May-Day in London.

Willliam Blake after Samuel Collings Copper engraving Published as the Act directs, by Harrison & Co. June 1, 1784 Image 159 x 210 mm, Sheet 190 x 228 mm mounted An illustration from "The Wit's Magazine" engraved by William Blake. This social satire of May-Day celebrations in London illustrates a busy urban street scene (Milk Street) featuring milkmaids with their 'garlands' - head-dresses of plates, greenery and brushes; chimney sweepers, a violinist with an artificial leg and other revellers and onlookers from the buildings behind.

BM Satires 6740, Essick 1991 XVI(5) Condition: Pressed vertical centre fold as issued.

Creases to bottom corners of sheet, not affecting image.

[37347] £200

65. Christmas Gambols. after Samuel Collings Copper engraving Published as the Act directs, by Harrison & Co. Jan.y 1, 1785 Image 148 x 201 mm, Sheet 175 x 230 mm mounted A satirical illustration to a humorous article of the same title by G.M. Woodward from "The Wit's Magazine". A party of revellers gathered in a cosy room by a fireplace, under the jolly gaze of the slightly grotesque hosts who sit grinning at centre, looking out to the viewer; the forfeit has just been announced that a young countryman ('Ralph Jones') should kiss the candlestick; a young woman stands holding a candle at left, impersonating the said object, while Ralph fervently kisses the actual candlestick at right, watched by a laughing young woman, a thin man wearing glasses and a young boy, who are standing around a table with glasses and punch-bowl; behind at left, the 'longnosed clergyman' is locked in an embrace with the 'snub-nosed old maid'.

A satirical dining room scene with ladies and gentlemen seated on benches either side of a long table. A waiter hands a tankard of beer to a woman with a child on her lap. The waiter, looking at the woman, lets the gravy from a dish which he holds in his left hand pour over another diner. A man turns round to look at the disaster; a large greyhound puts his head on the table and, the text in the article explains, devours the contents of his plate. The others, though amused, do not cease eating; one man gnaws a bone held in both hands. In the foreground a dog and cat quarrel over a bone. The room is neatly furnished: three framed pictures hang on the wall, and ornaments are ranged on the chimney-piece.

(Description from British Museum: 1872,1109.331)

BM Satires 6745 Condition: Pressed vertical centre fold as issued.

[37348] ÂŁ140

(Description from British Museum: 1872,1109.333)

Condition: Pressed vertical centre fold as issued.

[37383] ÂŁ140 66. A Sunday Ordinary at Highgate after Samuel Collings Copper engraving Published as the Act directs, by Harrison & Co. Nov.r 1, 1784 Image 152 x 215 mm, Sheet 176 x 226 mm mounted An illustration to an article, with the same title in "The Wit's Magazine".

67. The Citizen at Vauxhall.

Gabriel Smith after Samuel Collings Copper engraving

Published as the Act directs, by Harrison & Co. July 1, 1784 Image 153 x 203 mm, Sheet 176 x 228 mm mounted Illustration from 'The Wit's Magazine' to 'Humourous Description of a Citizen and his family at Vauxhall' which is transcribed without acknowledgement from the essay of Colman and Thornton in 'The Connoisseur' (May 10, 1755). A scene outside the orchestra at Vauxhall.

A stout woman puts a handkerchief round her husband's neck to protect him from the night air. Her daughter holds her fan to her face and looks towards a beau in the middle distance who inspects her through his glass. A waiter walks off with glasses and a bottle. The background shows the orchestra, with two musicians, and the organ; on the right are trees, and the 'covered walk'; two men sit at a table with a bowl of punch.

the wind. In the background are trees, Westminster Abbey, and the spire of St. Margaret's.

(Description from British Museum: 1880,1113.2348)

BM Satires 6743 Condition: Pressed vertical centre fold as issued.

[37389] £140

(Description and comment from M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VI, 1938)

BM Satires 6741 Condition: Pressed vertical centre fold as issued.

[37387] £140

68. The Battle of the Umbrellas.

Walter Thomas after Samuel Collings Copper engraving Published as the Act directs, by Harrison & Co. Aep.r 1, 1784 Image 157 x 202 mm, Sheet 178 x 224 mm mounted A satirical illustration to an article with the same title published in 'The Wit's Magazine'. A scene in St. James's Park during a sudden squall of rain. A number of people with umbrellas; some hold them open, others attempt to open them, in face of difficulties caused by the crowd and

69. [Nos sumus septem] after Cornelis Dusart Etching c.1720 Image 240 x 182 mm, Sheet 256 x 185 mm unmounted An etched copy of a satirical print known as We are seven; a fool rides an ass and carries a child on his shoulders with a padlocked mouth and an inflated bladder; a collared owl sits on the ass; another fool with a lantern on his head carries a pig. This print is an example of a popular type known as "We are Seven" that appears in graphic art throughout Europe from at least the sixteenth century: a group of foolish figures numbers one fewer than the title so that the viewer makes up the total (see S.O'Connell, 'The Popular Print in England', London, 1999, pp. 122-23).

Hollstein 41-Copy Condition: Trimmed to plate, light creasing to top of sheet.

[37722] £120

Portraits Artists

70. Landseer Alfred Count d’Orsey Lithograph with hand colour on india laid paper c. 1843 Image 121 x 96 mm, Sheet 209 x 158 mm unmounted Half-length portrait of Edwin Landseer looking left with facsimile signature below.

Not in O’Donoghue.

Condition: Printed on india laid paper, waterstains to sheet and staning to margins.

[37728] £80

71. Petrus Dupuis Monsfortensis pictor Regius Academicus Antoine Masson after Nicolas Mignard Copper engraving 1663 Image 307 x 230 mm, Plate 311 x 233 mm, Sheet 324 x 246 mm unmounted A fine portrait of French painter Pierre Dupuis, half-length, turned to the left, wearing fur hat and unbuttoned doublet, with left hand clutching heavy gold chain with medallion.

Inscribed below image N. Mignard, Avenionensis Pinxit and Ant. Masson Sculpebat 1663. Four verses in plinth below: Je Peins Et Je Suis Peint Par Mes Meilleurs Amis...

Pierre Dupuis or Pierre Dupuys (1610- 1682) was a French painter. He lived in Italy, where he met Pierre Mignard in 1637. He was a specialist of still lifes and his style was influenced by Northern Europe painting and Protestant religion. In his paintings of bouquets, an influence of Jacques Linard and Louise Moillon.

Firmin-Didot 1469, Robert-Dumesnil II.117.25 [37763] £130

72. [Jan Pietersz Zomer] Arnoud van Halen after Adriaen van Bloemen Mezzotint [c. 1717] Image and sheet 206 x 172 mm unmounted Portrait of Jan Pietersz Zomer, seated on a studded chair and slightly leaning forward, resting his left arm upon a pedestal. In his right hand, he holds a rolled scroll. Just in front of him, also resting on the pedestal, is a closed book and a picture of the smiling philosopher Democritus. Zomer sits below an arch inscribed with ‘Ars Haec / Mea Vita.

Condition: Trimmed through image, and tears to bottom edge. Three small puncture holes to top of image. Trimmed through the pedestal, the print would have originally presented a much larger pedestal, which was inscribed with six lines of Dutch text, as well as the publication information.

[37737] £50

73. [Portrait of an artist] Baron Dominique Vivant Denon Etching c.1800 Image 57 x 57 mm, Plate 92 x 78 mm, Sheet 95 x 83 mm unmounted A delicate portrait of an artist wearing a hat and glasses holding a brush in his left hand.

Inscribed with monogram ‘D n f’ to left of image.

Dominique Vivant, Baron Denon (4 January 1747 – 27 April 1825) was a French painter, draughtsman, etcher, curator, writer, diplomat, author, and archaeologist. He was appointed as the first Director of the Louvre museum by Napoleon after the Egyptian campaign of 1798– 1801, and is commemorated in the Denon Wing of the modern museum.

Condition: Tipped to album page.

[37719] £60 74. S.W.Reynolds, John Pye, Charles Warren Edward Bell, John Henry Robinson after William Mulready Etching and stipple with pencil 1. Image 56 x 52 mm, Sheet 126 x 104 mm, 2.

35 x 100 mm, 3. Images 55 x 84 mm, Plate 102 x 140 mm, Sheet 120 x 160 mm mounted 1. Unfinished proof portrait of Samuel William Reynolds, inscribed in pencil below in William Bell Scotts hand: S.W.Raynolds. Engraver of Portraits (principally) in mezzotint

O'Donoghue 1 2. [John Pye autograph] A cutting of a letter Yours faithfully John Pye to Will.B.Scott Esq. 3. Touched proof portraits of John Pye at left and Charles Warren at right. Later published as an illustration to John Pye's 'Patronage of British Art' (London: 1845). Inscribed in pencil below in William Bell Scotts hand: John Pye Landscape Engraver. Charles Warner Figure Engraver. 1762 1823.

O'Donoghue undescribed All window mounted to an album page from William Bell Scott’s personal album with collectors stamps on verso and inscribed at bottom of sheet in William Bell Scotts hand: Early Presidents “Artist’s benevolent Fund”.

Ex. Col.: William Bell Scott, Ex.Col.:Hon. Christopher Lennox-Boyd.

[37761] £250

75. George Cuitt of Richmond Yorks.

Landscape Painter. Born 1743. Died Febry.

7th 1818.

George Cuitt the Younger Etching 1818 Image 71 x 82 mm, Plate 125 x 86 mm, Sheet 140 x 99 mm unmounted Proof printing of a portrait of George Cuitt the Elder after his death, with his head tilted down, eyes closed, mouth down-turned, and spectacles resting on the end of his nose.

Inscription reads: ‘Sweet is the sleep of him, who beareth good will to all.’

Condition: Printed on india laid paper, foxing to margins.

[37700] £80

76. Joseph Werner Johann Caspar Fusseli Etching Zurich, 1769.

Image 123 x 87 mm, Plate 125 x 89 mm, Sheet 141 x 107 mm unmounted A portrait of Swiss artist Joseph Werner, quarter length in oval on pedestal with drapery and laurel leaves around, artist pallet below, from Geschichte der besten Künstler in der Schweitz. Band 1.

Orell, Zürich 1769.

Ex. Col.: Hon. Christopher lennox-Boyd [37829] £45

77. Wm Hogarth Samuel Ireland after William Hogarth Etching [n.d.c.1786] Image 200 x 180 mm, Plate 245 x 204 mm, Sheet 256 x 215 mm unmounted An etched portrait of William Hogarth holding a palette after a self portrait of the artist. Ireland etched a reduced version of this portrait for a frontispiece to volume I of his 'Graphic Illustrations of Hogarth' (O’Donoghue 34).

Inscription below image reads: died Oct: r 26th. 1764. Aged 67 Etch'd by Sam.l Ireland from an Original Portrait in oil

by Hogarth in his possession O’Donoghue 33.

Ex.Col.: William Bell Scott. Collector’s mark and manuscript (Lugt 29474) on verso.

Condition: Light foxing to edges of sheet.

Window mounted to album page, [37344] £180

Agriculture & Trades

78. William Houlbrook Black Smith, of Malborough Copper engraving [James Caulfield and Isaac Herbert, 1794] Image 126 x 69 mm, Sheet 131 x 73 mm unmounted Full-length portrait of William Houlbrook, holding a hammer and tongs, and working at his

anvil. In the background, horseshoes fill the left side of the wall, and a fire is depicted to the right. A coat of arms is present at upper centre.

This print is a copy after a contemporary portrait and was published as a llustration to Caulfield's 'Remarkable Persons' O'Donoghue 2.

Condition: Trimmed close to image, and creasing to corners.

[37723] £30

British Royalty

80. [King George II] Elizabeth Pye after Thomas Worlidge Drypiont c. 1780 Image 110 x 94 mm, Plate 134 x 104 mm, Sheet 198 x 156 mm unmounted A reverse copy of Thomas Worlidge’s portrait of King George II ‘Drawn from the Life at the Theatre Royal in Drury Lane’, half length, in profile to the right, wearing the sash and the star of the Order of the Garter.

[37746] £45 79. [His Majesty George the Fourth Aged 7 Years] Etching [n.d. c.1800] Image 60 x 48 mm, Plate 103 x 70 mm, Sheet 176 x 163 mm unmounted An unrecorded proof portrait of George the IV as a young boy; half length in an oval with a knife in his right hand, his left hand on a belt at his waist and he wears a jacket with the Garter star on his coat.

King George IV (1762-1830), Regent 1811-19; Reigned 1820-30 Condition: Laid to an album page [37716] £120

81. [George II] Nixon Mezzotint and etching [c. 1756 -1812] Image 100 x 76 mm, Plate 112 x 91 mm, Sheet 115 x 95 mm unmounted Half-length portrait of George II, set within an oval, directed to the left, and looking to the right. He is wearing velvet coronation robes, an ermine cloak, a chain and a long white wig. In his right hand, he holds a sceptre. Behind, to the left, is a curtain.

Working proof before frame added.

James Nixon (1741/2 - 1812) was a miniaturist and occasional portrait painter. He exhibited at the Royal Academy from 1772-1807.

Chaloner Smith undescribed.

Condition: Trimmed close to plate mark, and laid to album page.

[37734] £100

Stipple and etching with original hand colouring London, Published by G. Riley No. 17 Warwick Square Newgate Street, Jany. 1. 1802.

Image 497 x 377 mm, Sheet 600 x 418 mm mounted Title and inscription continues: And in Remembrance of His Majesty's happy Recovery from his late alarming Indisposition. This Print is by Her Majesty’s gracious Permission, most respectfully Inscribed

by Her Majesty’s most devoted and obliged humble servant. George Riley.

Below the title inscription reads: ‘*The King, on Entering the Royal Box at Drury Lane Theatre, on the 14th. of May 1800, two Pistol Balls were discharged at his Majesty, from the Pit, by Thos. Hadfield, a Maniac. / Vide a Brief Sketch of His Majesty's Life.'

A portrait of George III in a roundel, wearing a uniform with sash, star and wig with a queue, supported by cherubs on a cloud, Britannia kneeling below, on her shield beside a lion, gesturing and looking upwards. The assassin, Thomas Hadfield, crouches under thunderbolts to right.

(Description from British Museum: 1870,1008.2579)

The Allegory was originally Painted by R. Corbould, the Portrait by Collins.

O’Donoghue 45, Calabi + De Vesme 817 Condition: Sheet toned, staining to margins, not affecting image. Repaired tear to top margin just into image, puncture to bottom right of print.

[37652] £450

82. In Commemoration of the Providential Escape of His Most Sacred Majesty King George the Third From the daring Attack of an Assassin when at Drury Lane Theatre...

Francesco Bartolizzi after Richard Corbould and Richard Collins.

83. Carolus D.G. Magnæ Britanniæ Fran: et Hiberniæ R

Lucas Vorsterman after Anthony van Dyck Etching [c. 1630] Image 103 x 86 mm, Plate 108 x 88 mm, Sheet 175 x 150 mm unmounted Bust portrait of Charles I, facing slightly to the left, wearing a ruff, breastplate, and the Order of the Garter on a ribbon around his neck. Lucas Vorsterman’s monogram is inscribed to the plate in the top right corner.

Title given in Latin below the image.

O’Donoghue 78, Hymans 148, Hollstein 142.I, Hind undescribed.

Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Tipped to album page. Light discolouration and creasing to margins.

[37699] £120

84. Catharina König Earls II in Engeland, Bemahlin Königs Johanis IV in Portugal Tochte Cornelius Nicholas Schurtz Copper engraving Norimbergae 1689 Image 171 x 125 mm, Sheet 182 x 133 mm unmounted One of fourteen portraits by Schurtz from Johann Christoph Beer’s Neu Geharnischte GroßBritannien.

The portrait was originally paired to a portrait of Charles II. Half-length portrait of Catherine of Braganza, set within an oval, directed to the right, and

looking forward. She wears a gown embellished with jewels, and a pearl necklace. Behind her to the right is her crown.

O’Donoghue 24, Hollstein 623.

Condition: Trimmed inside the plate, and tipped to album page.

[37773] £120

British Nobility

85. Duchess of Devonshire after Lady Diana Beauclerk Mezzotint [Published 9th November, 1790, by Robt. Sayer, No. 53 Fleet Street, London.]

Image 105 x 87 mm, Plate >113 x 89 mm, Sheet 115 x 92 mm unmounted A portrait of Georgiana Cavendish, Duchess of Devonshire (1757 - 1806) bust directed to left in an oval, head in profile looking out, wearing a loose gown with a lace frill around the neck-line, hair dressed high with a bow and curls and loose coils over the shoulders.

Chaloner Smith ENA III p. 1764, Lennox-Boyd i/i Condition: Publication line trimmed off.

[37755] £80

86. The pourtraicture of the Right Honorable the Lord Munjoy Blunt Martin Droeshout Copper engraving Thomas Jenner, c.1630-40 Image 100 x 73 mm, Sheet 114 x 73 mm unmounted An effeminate half-length portrait of a young Mountjoy Blount, 1st Earl of Newport (c. 1597 1666), wearing a plumbed hat, an earring, a broad lace collar, and a sash.

Mountjoy Blount,1st Earl of Newport (c. 1597– 1666), created Baron Mountjoy in the Irish peerage (1617), baron Mountjoy of Thurveston in the English peerage (1627) and Earl of Newport (1628) was appointed master of ordnance to Charles I of England and played an ambiguous part in the early years of the English Civil War. Hind II.353.10.

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

Condition: Trimmed to image and laid to album page.

[37764] £40 87. Anne, Countess of Chesterfield, Daughter of Thomas Lord Wotton Pieter van Gunst after Anthony van Dyck Copper engraving Ex Muséo Sereniss. Domini de Wharton. [c.

1715] Image 451 x 299 mm, Sheet 510 x 330 mm unmounted

Full-length portrait of Katherine, Countess of Chesterfield (Katherine Stanhope (1609-1667)) ; the title incorrectly names her as Anne. She leans against a rock, with an open landscape in the distance.

Lettered impression; there was one proof before inscription, and three lettered impressions.

O’Donoghue 1.

Ex. Col.: Earl de Gray, collector’s mark on verso of album.

Condition: Trimmed within plate mark, and tipped to album page.

[37687] £175 88. His Excellency John Duke of Bedford, Vice Roy of Ireland.

George Garrard Stipple and etching London, Painted & Published May 31st, 1806,

by G. Garrard, 28, George Street, Hanover Square.

Image 233 x 174 mm, Plate 277 x 177 mm, Sheet 292 x 233 mm unmounted

British Political

Portrait of John Russell, 6th Duke of Bedford, seated on a bench beside a tree, holding a book in his right hand. In the distance, a view of Woburn Abbey, Bedfordshire, a country house and the family seat of the Duke of Bedford.

Inscription reads: ‘View Woburn Abbey. From the original picture in the Possession of Lord Somerville.’

John Russell, 6th Duke of Bedford, (1766 1839) was a British Whig politician, and served as Lord Lieutenant of Ireland in the Ministry of All the Talents. He was also the father of Prime Minister John Russell, 1st Earl Russell.

Not in O’Donoghue.

Condition: Trimmed to plate mark at bottom.

Glue residue on verso visible through sheet, leaving stains on the corners. Creasing to sheet.

[37774] £80

89. Arthur Goodwin, Father of Jane his sole Daughter and Hieress, second Lady of Philip Lord Wharton.

Pieter van Gunst after Anthony van Dyck Copper engraving Ex Muséo Sereniss. Domini de Wharton. [c.

1715] Image 437 x 302 mm, Sheet 512 x 333 mm unmounted Full-length portrait of Arthur Goodwin, standing slightly to the right, wearing a cloak and boots with spurs, with a curtain in the background to the left.

Arthur Goodwin (c. 1593/94 - 1643) was an English lawyer and politician. Between 1621 and 1643, he sat in the House of Commons on numerous occasions. During the English Civil War, Goodwin supported the Parliamentary cause.

O’Donoghue 1.

Ex. Col.: Earl de Gray, collector’s mark on verso Condition: Trimmed within plate mark, and tipped to album page.

[37688] £175

90. Richard Watts Esqr. died 1580 from a Bust in Rochester Cathedral Francis Edward Adams Mezzotint Pub. as the Act Direct by J. Seago. c. 1790 Image 132 x 111, Plate unmounted An uncommon half-length portrait of Richards Watts (1529–1579) was a successful businessman and MP for Rochester, South East England, in the 1570s. He was also known for his local philanthropy.

Chaloner Smith 3, Russell 3, O’Donoghue 1, Lennox Boyd ii/iii [37636] £45

91. Richardi Whitington Equi Aurat Vera Effigies Preclalrmi Domini Renold Elstrack Copper engraving Are to be Sould by P. Stent [c. 1600-25] Image 142 x 108 mm, Plate 182 x 112 mm, Sheet 198 x 128 mm unmounted Half-length portrait of Richard Whittington [Dick Whittington], set within an inscribed oval, wearing official robes and chain, and with his hand resting on a cat.

Below the image, eight lines of text provide information on Richard Whittington.

Richard Whittington (c. 1354–1423) was a medieval merchant and a politician. He is also the real-life inspiration for the English folk tale Dick Whittington and His Cat. He was four times Lord Mayor of London, a member of parliament and a sheriff of London. In his lifetime he financed a number of public projects, such as drainage systems in poor areas of medieval London, and a hospital ward for unmarried mothers. He bequeathed his fortune to form the Charity of Sir Richard Whittington which, nearly 600 years later, continues to assist people in need.

O'Donoghue 1, Globe 308.III, Hind II.192.61.III. Condition: Laid to album page.

[37724] £115

Foreign Political

92. S______L V______N, Esq; the backsliding PATRIOT Woodcut London: Printed for A. hamilton Junr. near St. John’s Gate. 1769.

Image 68 x 64 mm, Sheet 93 x 133 mm unmounted A portrait of Samuel Vaughan from Alexander Hamilton’s Town and Country Magazine. The magazine was an 18th-century London-based publication that featured tales of scandals and affairs between members of London's upper classes. This portrait was done in conjunction with story outlining the scandal between Samuel Vaughan and the Duke Graffton regarding the sale of political offices.

Samuel Vaughan (1720–1802) was an English merchant, plantation owner, and political radical.

Condition: Old manuscript writing in title to fill in name and in right margin with of Hackney Died 1802, bot affecting the image.

[37796] £15

93. Son ombre me guide.

Lithograph [c. 1821] Image 163 x 231 mm, Sheet 198 x 248 mm unmounted Title in French, which translates to ‘His shadow guides me’.

Set within a neo-classical room, Napoléon's shadow is projected onto the wall on the right hand side, as though he is standing behind the folding screen situated in the middle of the room. To the left of the image, Napoléon's son approaches the screen cautiously, holding a sword in his right hand.

With the lack of address, it is likely that the print was published illegally. Combining the date of Napoleon’s death - 1821 - with the style of lithograph, the date of the print is likely to be that of the early 1820s.

De Vinck 8609.

Condition: Overall, a good, clean impression, but a small stain is present just above the left side of the screen.

[37663] £100

94. Napoléon Premier Smperenr(sic) des Français Charles François Gabriel Levachez after Carle Vernet Etching and aquatint with original hand colouring à Paris chez Auber editeur, rue St. Lazarre, No 42. [n.d. c.1810] Image 780 x 615 mm, Sheet 840 x 635 mm framed A magnificent large-scale portrait of Napoleon on horseback in full military uniform with his generals behind and battle scene in the distance. After Carle Vernet’s famous painting Un portrait équestre de l'empereur Napoléon avec une bataille au-delà.

Full title reads: Napoléon Premier Empereur des Français, Roi d'Italie et protecteur de la confédération du Rhin.

Inscribed below title in lower left: Déposé à la Bibliothèque Impérial.

Condition: Very small scuffs to top of image, two well repaired tears to inscription space, toning to inscription text. Excellent original hand colouring. Framed in a fine original gilt period frame.

[37556] £2,500

95. [The Right Hon:ble Ja,s Caulfield Earl of Charlemont of the Kingdom of Ireland Head of the Volunteers] Joseph Haynes after William Hogarth Etching Publish’d March 19. 1782 Image 195 x 161 mm, Plate 242 x 180 mm, Sheet 306x 210 mm framed Proof impression before all letters, of Joseph Haynes etched portrait of the Irish statesman and patron of the arts, James Caulfield, 1st Earl of Charlemont, after a portrait by William Hogarth.

Manuscript inscription below plate reads: The Right Hon:ble Ja,s Caulfield Earl of Charlemont of the Kingdom of Ireland Head of the Volunteers / From an original Portrait by Hogarth in the Possession of Mr. Sam. Ireland _ etched by J.Haynes Pupil to the late Mr. Mortimer James Caulfield, 1st Earl of Charlemont (1728 1799) was an Irish statesman and patron of the arts. He spent much of his life travelling abroad and living in London. He returned to Dublin in 1773 and worked for Irish independence. He was opposed to Catholic emancipation.

O'Donoghue 2 Condition: Light foxing marks to centre and left of image. Framed in an 18th Century style Victorian frame.

[37345] £220

96. His Excellency Mirza Aboo al Hassan, Envoy Extraordinary from the King of Persia Ridley after Drummond Stipple Published by J. Asperne at the Bible, Crown & Constitution, Cornhill, 1 July 1810.

Image 104 x 75 mm, Plate 165 x 112 mm, Sheet 183 x 138 mm unmounted A portrait of Mirza Abolhassan from the European Magazine.

Mirza Abolhassan Khan Shirazi Ilchi Kabir (1776 - 1846) was an Iranian statesman who served as the Minister of Foreign Affairs between 1824 and 1834, and once again from 1838 until his death. He also served as the ambassador to Russia and Great Britain.

[37673] £30

Foreign Royalty

97. Illustrissi: & Excellen: Princeps, Rupertus, Comes Palatinus ad Rhoena.

Serenissi: & Poten: Caroli, Magnae Brittae & Regis, Suprem, & Generals: Equitu Dux after Wenceslaus Hollar Etching c. 1650, but later Image 100 x 75 mm, Sheet 116 x 92 mm unmounted Half-length portrait of Prince Rupert of the Rhine, set within an oval. Dressed in a robe and large, frilled collar, he faces to the left.

Prince Rupert of the Rhine (1619 - 1682) was a noted German soldier, admiral, scientist, sportsman, colonial governor and amateur artist during the 17th century. He was Count Palatine of the Rhine, Duke of Bavaria, Duke of Cumberland, and Earl of Holderness.

Not in O’Donoghue, Pennington 1499 Reverse copy.

Condition: Trimmed to plate mark, with some discolouration to sheet. Glue residue on verso.

[37655] £45 98. Pierre Le Grand, Empereur De Toutes Les Russies.

E. Tchemesoff after J. M. Nattier Copper engraving [c. 1759] Image 142 x 104 mm, Plate 176 x 111 mm, Sheet 185 x 122 mm

unmounted Bust portrait of Peter the Great, set within an inscribed oval, which also features the Russian coat of arms at the bottom. Peter, directed to the right and looking forward, is dressed in military attire.

Four lines of French text below image.

Peter the Great, or Pyotr Alexeyevich (9 June 1672 - 8 February 1725) was the Tsar of All Russia from 1682 to 1721, and from 1721 to his death in 1725, was the Emperor of All Russia.

Through a number of successful wars, Peter expanded the Tsardom, creating a much larger empire and major European power. He also led a cultural revolution, replacing some of the traditionalist and medieval social and political systems with ones that were modern, scientific, westernized, and based on The Enlightenment.

Peter's reforms made a lasting impact on Russia, and many institutions of Russian government traced their origins to his reign.

Condition: Trimmed close to plate mark, and discolouration to sheet. Light central horizontal fold.

[37741] £95

99. [No. 6 Coach of Her Imperial Majesty with her Soldiers Walking for a Parade] Ivan Sokolov Copper engraving [n.d. c. 1740] Image 202 x 515 mm, Plate 242 x 535 mm unmounted A print of Catherine the Great of Russia in a coach with soldiers walking either side. This print is from a larger series as is it labled No. 6.

[37695] £250

100. [H.I.H The Grand Duke Nicholas] James Godby Stipple and crayon manner [Edward Orme, c. 1810 -17] unmounted Touched proof before letters with white highlights.

Three-quarter length portrait of Nicholas I of Russia, when still Grand Duke, dressed in military attire.

Nicholas I (1796 - 1855) was the Emperor of Russia between 1825 and 1855, and was also the King of Poland and the Grand Duke of Finland.

He is best known as a political conservative whose reign was marked by geographical expansion, repression of dissent, economic stagnation, poor administrative policies, a corrupt bureaucracy, and frequent wars that culminated in Russia's disastrous defeat in the Crimean War of 1853-56.

Condition: Light waterstain to bottom of sheet.

Creasing to bottom left corner, not effecting image.

[37791] £220

101. Hyder-Ali, Commander in Chief of the Mahrattas.

John Chapman after F. Bonnerville Stipple Published as the Act directs, Septr. 10, 1794.

Image 111 x 88 mm, Plate 171 x 113 mm, Sheet 214 x 126 mm unmounted Half-length portrait of Hyder Ali Khan, wearing military dress and a turban, set within an oval.

Hyder Ali Khan (1721 – 7 December 1782) was the sultan and de facto ruler of the Kingdom of Mysore in southern India; the inscription below the image incorrectly describes him as the Commander in Chief of the Mahrattas. He offered strong anti-colonial resistance, fighting a

series of wars against the British East India Company during the Anglo-Mysore Wars.

Condition: Very faint water stains to upper left corner, encroaching into image space, and some staining to bottom left corner. Foxing to margins.

[37661] £80

102. [Leopold II, Holy Roman Emporor] Pietro Peiroleri Etching n.d. c. 1770 Image 94 x 141 mm, Plate 108 x 155 mm, Sheet 109 x 159 mm unmounted A portrait of Leoplold II in an oval made of leaves and topped with branches on a pedestal; two women sit either side, one standingholding an open book and one seated wearing a crown holding a sceptre in her right hand and weighing scales in her left.

Leopold II ( 5 May 1747 – 1 March 1792), was Holy Roman Emperor and King of Hungary and Bohemia from 1790 to 1792, Archduke of Austria and Grand Duke of Tuscany from 1765 to 1790. He was a son of Emperor Francis I and his wife, Empress Maria Theresa, and the brother of Marie Antoinette.

[37814] £50 103. Schaw Allum der gegenwärtige Beherrscher von Hindostan Copper engraving n.d. c. 1770 Image 142 x 81 mm, Sheet 158 x 83 mm unmounted A portrait of Shah Allum II seated, a flower in his hand, two attendants with fans behind him, German inscription below.

Ali Gauhar (25 June 1728 – 19 November 1806), historically known as Shah Alam II, the eighteenth Mughal Emperor, was the son of Alamgir II. He [37813] £45

104. Izabella Czartoryska Gaetano Testolini after Richard Cosway Stipple engraving

London Pub according to Act Januy. 1. 1791. at No100 Sloane Street, and at M.Molteno Colnaghi & Co, No 132. Pall Mall.

Image 303 x 208 mm, Plate 374 x 248 mm, Sheet 378 x 272 mm unmounted A portrait of Izabella Czrtoryska standing whole-length to right on a garden terrace, looking to front, her right hand on her hip and left resting on the balustrade behind her, a longhaired dog sitting at her feet at right.

Princess Izabela Dorota Czartoryska (née Fleming; 3 March 1746 – 15 July 1835) was a Polish aristocrat, writer, art collector, and founder of Poland's first museum, the Czartoryski Museum in Kraków.

Daniell 54 [37759] £180

Historians, Academics & Philosophers

105. Nicolaus Sandersonus A.M. Matheseis Professor Cantabrigiæ & R.S.S. George White after John Vanderbank Mezzotint

Ano. 1719. pro Martino Folkes Armo. Cui hanc Tabulam humillime D.D. G. White.

Image 324 x 248 mm, Plate 357 x 251 mm, Sheet 365 x 257 mm unmounted Half-length portrait of Nicholas Saunderson, directed slightly to the right, holding a sphere between his hands. His eyes are closed, and he wears a dark coat, bands, and a long wig.

Nicholas Saunderson (1682 – 1739) was a English scientist and mathematician, and may have possibly been the earliest discoverer of Bayes Theorem. He was also a professor at Christ’s College, Cambridge. When Saunderson was about a year old, he contracted small pox, which caused him to lose his sight.

O’Donoghue 1, Chaloner Smith 41.i, LennoxBoyd ii/v.

Condition: Trimmed close to plate mark, some surface rubbing. Crease to top right corner.

[37762] £275

106. Le Souper des philosophes Jean Huber Etching c.1760 Image 205 x 311 mm, Plate 230 x 340 mm, Sheet 285 x 441 mm unmounted A fictional scene set in Ferney Castle, where Voltaire settled after being banned from Versailles, depicting ‘the Supper of the Philosophers’ seated around the table are Voltaire, father Adam, the Abbe Maury, d'Alembert, Condorcet, Diderot and La Harpe.

A manuscript key of the sitters names is written at the bottom of the sheet.

Condition: Dirt build-up and toning to sheet, split to paper in right hand plate mark, small tear

to bottom margin. Old glue residue in corners on verso.

[37708] £250

107. D. Hugo Broughton Theologus Literarum et Linguar: Sacrarum Callentiss.

Ao. aetatis 37.

John Payne Copper engraving 1620 Image and sheet 178 x 116 mm unmounted A half-length portrait of Hugh Broughton, wearing a ruff and gown, and holding gloves and a book. Third state; also appears as the frontispiece to Broughton's Works (1660). Title inscribed around oval, Latin inscription beneath image.

Hugh Broughton (1549-1612) was an English scholar and theologian. Born in Shropshire, he was educated at Cambridge, and later became a fellow at St. John’s and Christ’s College. In 1588 he published his first work, A Concent of Scripture.

Discussing biblical chronology and textual criticism, the work was attacked by both Oxford and Cambridge University. Broughton was forced to defend it in a series of lectures. Other works included An Epistle to the learned Nobilitie of England, touching translating the Bible from the Original (1597), Explication (1599), and A Revelation of the Holy Apocalyps (1610). A selection of his works was published in a large folio

volume in 1662, with a sketch of his life by John Lightfoot.

O'Donoghue 1, Globe 23b.III, Hind III.9.5 (state undescribed).

Condition: Trimmed to image and tipped to album page.

[37767] £45

108. Joannes Sleidan Theodor de Bry Copper engraving Heidelberg, c. 1669.

Image 131 x 105 mm, Sheet 133 x 109 mm unmounted A half length portrait of Johannes Sleidanus seated wearing robes and a cap, he has a quill pen in his right hand from Jean-Jaques Boissard’s Bibliotheca chaicographia, hoc est virtue et eruditione ciarum Virorum Imagines, Heidelberg, 1669.

Johannes Sleidanus (1506- 31 October 1556) Luxembourgeois historian and chronicler of the Protestant Reformation.

Condition: Trimmed just outside of the boarder and tipped to an album page. Text on verso as issued.

[37742] £45

Literary

109. [Thomas Shelton] Thomas Cross Copper engraving [c. 1660] Image 50 x 31 mm, Sheet 63 x 33 mm unmounted Frontispiece ton Thomas Shelton’s The Whole Book of Psalms in Meeter.

Miniature half-length portrait of Thomas Shelton, set within an oval. He wears a gown with a lace trimmed collar, and holds a pen in his right hand.

Inscription below image: ‘This thou coulds’t doe this Shelton though hast don/ Thy nimbler pen hath many tongues out run/ Surs if this Art of Writing had beene Showne/ To Ages past Printing had no’re beene knowne/ Therfore, if any one of me demand/ What hand’s the best I say thy first taught hand.

Thomas Shelton (1600/01–c.1650) was an English stenographer and the inventor of a much-used British 17th- and 18th-century stenography.

Condition: Trimmed to image and tipped to album page.

[37754] £20

110. Abrm. Salame James Thomson after John Hayes Stipple Published by J. Murray Decr. 1818.

Image 155 x 102 mm, Sheet 181 x 110 mm unmounted Frontispiece to Abraham V. Salamé’s A narrative of the expedition to Algiers in the year 1816, under the command of the Right Hon. Admiral Lord Viscount Exmouth.

Three-quarter length portrait of Abraham Salamé, standing slightly to the right and facing forwards. Wearing a striped suit with a sash tied around the waist under an open coat, Salamé rests his hand on his right hip, baring a ring on his finger.

Abraham Salamé was an Egyptian author and poet.

[37680] £35

Military

111. James Macpherson Esqr.

William Bond after Sir Joshua Reynolds Stipple and etching Published May 1st, 1813, by Wm. Bond, No. 87, Newman St. Image 193 x 154 mm, Sheet 290 x 217 mm unmounted Half-length portrait of James Macpherson in three-quarter profile to the left, dressed in a striped waistcoat, and a fur trimmed coat. His right arm crosses his body, and in his hand is a roll of paper.

James Macpherson (27 October 1736 – 17 February 1796) was a Scottish writer, poet, literary collector and politician. He is known as the "translator" of the Ossian cycle of poems - a collection of poems adapted from Gaelic ballads.

O’Donoghue 2, Hamilton p.48.II. Condition: Window mounted to album page.

Discolouration to sheet, and creasing below image.

[37776] £75

112. The Effigies of the most magnanimous & thrise puisant George Duke of Albemarle Earle of Torrington. Baron Monck of Potheridge, Beauchamp. and Teys, after David Loggan Etching [n.d.c. 1670] unmounted An impressive portrait of George Monck, Duke of Albemarle; three quarter length, standing in armuor and holding a truncheon, wearing a medal; a plumed helmet behind him on the left, with a battle in the background to the right.

George Monck, 1st Duke of Albemarle, KG (1608 – 1670) was an English soldier, a politician and was the key figure in effecting the Restoration of the Monarchy to King Charles II in 1660.

O'Donoghue 11 Condition: Trimmed within the plate, laid to album page.

[37760] £120

113. Carel Rabenhaupt Christian van der Hagen Copper engraving [Jacob van Meurs and Johannes van Someren, Amsterdam, c.1675] Image 192 x 149 mm, Sheet 197 x 154 mm unmounted From Lambert van den Bosch’s Tooneel Des Oorlogs, Opgericht in de Vereenigde.

Portrait of Carl von Rabenhaupt, turned slightly to the right, and facing forwards. Wearing military dress, he holds a baton in his right hand, which rests against his hip. In the background, a battle is taking place.

Below the image, four lines of Dutch text giving details on von Rabenhaupt.

Carl von Rabenhaupt (6 January 1602 - 12 August 1675) was a Bohemian Hussite nobleman who fought in Saxon, Dutch and Hessian service during the Thirty Years War, and came out of retirement to command a Dutch regiment in the Franco-Dutch War. Condition: Trimmed just inside plate mark.

[37726] £55

114. Admiral Shishkoff Minister of Public instruction T. Wright after George Dawe Stipple London Published Sept 1st 1827 for the Proprietor by Mess.rs Colnaghi Image 295 x 233 mm, Plate 45 x 355 mm unmounted Proof.

Lennox-Boyd i/ii.

[37731] £200

115. Lieutenant General Tchernicheff, Aide de - camp of His Majesty the Emperor.

T. Wright after George Dawe Stipple London Published May 1st 1823 for the Propietor by Mess.rs Colnaghi.

Image 180 x 165 mm unmounted Bust portrait of Lieutenant General Tchernicheff, directed forward and looking to the right, wearing military dress.

Lennox-Boyd i/i.

Blindstamp just below bottom right corner of plate mark.

Condition: Foxing to sheet.

[37730] £190

116. Joan of Arc the Victorious Leader of the French Armyes William Marshall Etching 1642 Image 129 x 108 mm, Sheet 132 x 113 mm unmounted Bust-length portrait of Joan of Arc, wearing a plumed helmet, armour, 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.’ 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.

Hind III.139.125.

Condition: Trimmed jusr inside plate, and laid to album page.

[37667] £45

Mistresses, Courtiers and Genre Figures

117. Carlotta Corday d'Armans Jean-François Bosio Stipple and etching [c.1800] Image 175 x 116 mm, Plate 218 x 157 mm, Sheet 293 x 205 mm unmounted Full-length portrait of Charlotte Corday set within an open landscape. She leans against a rock, and holds a knife in her left hand.

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’.

Jean-François Bosio (1764-1827) was a painter of history, religious, and genre subjects. He was also a printmaker and draughtsman.

Condition: Light foxing and discolouration, and some creasing.

[37771] £50

118. Marie Anne Charlotte Corday Stipple [c. 1800] Image 70 x 70 mm, Plate 145 x 93 mm, Sheet 191 x 107 mm unmounted Bust portrait of Charlotte Corday, set within an oval.

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

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.

[37781] £40

119. Mrs. Fitzherbert.

Mezzotint London; Printed for Robt. Sayer, 53, Fleet Street, 1 Septr. 1786.

Image 137 x 110 mm, Plate 148 x 111 mm, Sheet 220 x 148 mm unmounted Half-length profile portrait of Maria Fitzherbert set within an oval. Facing to the right, she wears a broad-brimmed hat with plumes and a ribbon, a military-stule coat, and a lacy fichu tied like a cravat.

Maria Fitzherbert (26 July 1756 – 27 March 1837) was a longterm companion of George IV. Prior to George IV’s accession to the throne, he and Fitzherbert secretly contracted a marriage, but it was recognised as invalid under English civil law. Pope Pius VII, however, was persuaded to declare the marriage sacramentally valid.

Lennox-Boyd i/i, Russell undescribed, Chaloner Smith undescribed.

Condition: Staining around plate mark, likely from previous acidic mount.

[37656] £120

120. [Elizabeth Alexander] Catherine Maria Fanshawe Aquatint and etching Published as the Act directs May 8, 1806 for Elizh. Alexander & Elizh. Atkins, No 44, Hanway Yard.

Image 277 x 206 mm, Plate 335 x 232 mm, Sheet 394 x 298 mm unmounted Portrait of centenarian Elizabeth Alexander (born 1702).

Fanshawe’s monogram is etched to the plate, bottom left corner.

Inscription below image: ‘To the President & Fellows of the Society of Antiquaries and to all other Lovers of the Antique, Elizabeth Alexander, Widow, aged 104, humbly dedicates this Portrait of Herself. Price, 5s. Pray remember the Poor.’

O’Donogue 1.

Condition: Light foxing to margins, and surface rubbing to image.

[37768] £130

Performing Arts

121. Joseph Rullier. Agé de Cent Six And et Cinq Mois, Né le 6 Avril 1673. Au Bourg St. Maurice en Savoye.

J. Le Roy after J. J. Hubert Etching Avec Approbation de Mgr. Le Lieutenant Général de Police. [n.d. c. 1779] Image 200 x 131 mm, Sheet 222 x 146 mm unmounted Profile portrait of Joseph Rullier, aged 106, facing to the right, and set within an oval. He wears a buttoned up coat, and hat. The oval in which the portrait it set is inscribed with his age, and date and place of birth, with a ribbon along the top of the oval. Below, a tablet inscribed in French gives a few details relating to Rullier’s life.

Joseph Rullier, born 6th April 1673 in BourgSaint-Maurice, was a French centenarian, and a lieutenant general in the police. His father was also a centenarian, who lived to the age of 103 and 10 months.

Condition: Trimmed to plate mark.

[37659] £80

122. [Johann Christian Fischer] George H. Every after Thomas Gainsborough Mezzotint [c. 1780] Image 189 x 123 mm, Sheet 267 x 176 mm unmounted Proof before letters.

Full-length portrait of Johann Christian Fischer, leaning against a piano whilst writing with a quill, likely composing. Upon the piano rests an oboe, and an open music book on a stand.

Behind Fischer, a violin rests upon a chair. In front of the piano sits a large stack of books, likely compositions.

The inscription ‘Merlin Londini Fecit’ on the front of the piano suggests that the instrument that Fischer leans against is a combination harpsichord and pianoforte, patented by John Joseph Merlin.

Johann Christian Fischer (c. 1733 - 1800) was a German composer and oboist, and was one of the most prolific oboe soloists throughout Europe during the 1770s. Fischer was also a skilled violinist.

Condition: Small tear to left margin.

[37769] £90

123. [Jean-Georges Noverre] John Keyse Sherwin Stipple Drawn and engraved by J K Sherwin. 1782. Par Mr. Imbert de Champ-Real.

Image 174 x 112 mm, Sheet 220 x 137 mm unmounted A rare bust portrait of dancer and choreographer Jean-Georges Noverre, in profile to the right, and set within a oval with a highly decorative border.

Four lines of French verse inscribed below oval.

Jean-Georges Noverre (29 April 1727 – 19 October 1810) was a French dancer, choreographer and ballet master, and is generally considered to be to be the creator of the ballet d’action. In 1760, Noverre wrote an important treatise on ballet, entitled, “Lettres sur la danse et sur les ballets”. His birthday is now observed as International Dance Day. Condition: Trimmed within plate mark. Text in ink on verso visible through sheet at bottom, and faint foxing to sheet.

[37750] £100

124. [Edmund Kean as Shylock] Henry Meyer after W. H. Watt Mezzotint [c. 1814] Image 168 x 139 mm, Sheet 172 x 143 mm unmounted Half-length portrait of Edmund Kean as Shylock from Shakespeare’s ‘The Merchant of Venice’. Standing with his arms crossed, slightly turned to the left, he holds a long knife in his left hand, and looks to the right with envy and suspicion. He wears a military coat, with a cross embroidered on the left sleeve.

Edmund Kean (4 November 1787 – 15 May 1833) was a celebrated Shakespearean actor who performed across the world. He was well known for his short stature, tumultuous personal life, and controversial divorce.

Shylock, a rich Jewish moneylender, is one of the main characters of Shakespeare’s ‘The Merchant of Venice’.

Condition: Trimmed within plate mark, with title and publication information missing.

Tipped to album page causing puckered corners.

[37745] £50

Naval

125. Lord Cochrane.

Stipple Published by G. Smeeton, 17, St. Martin’s Lane, 1818.

Image 97 x 76 mm, Plate 124 x 81 mm, Sheet 228 x 144 mm unmounted Half-length portrait of Thomas Cochrane, 10th Earl of Dundonald, set against a naval scene.

With his left hand he holds a telescope.

Thomas Cochrane (1775 - 1860) was a Scottish naval flag officer of the Royal Navy, and a radical politician.

O’Donoghue undescribed.

[37777] £35 126. The Rt. Honble. Lord Anson Baron of Soberton after Sir Joshua Reynolds Mezzotint Printed for John Bowles and Son at the Black Horse in Cornhill. [c. 1755] Image 320 x 250 mm, Plate 353 x 251 mm, Sheet 463 x 287 mm unmounted A three quarter length portrait of George Anson, 1st Baron Anson,, right hand on his hip, his left hand to the sside with hat under his left arm, a ship with canons firing in the background.

The inscription below reads: ‘First Lord Commissioner of the Admiralty Vice Admiral of Great Britain, Admiral of the Blue Squadron & one of his Majesty’s most Honble. Privy Council.’

George Anson, 1st Baron Anson, (23 April 1697 – 6 June 1762) was a Royal Navy officer. Anson served as a junior officer during the War of the Spanish Succession, and then saw active service against Spain at the Battle of Cape Passaro during the War of the Quadruple Alliance. He then undertook a circumnavigation of the globe during the War of Jenkins' Ear. Lennox-Boyd ii/ii, Chaloner Smith 1759, O’Donoghue not recorded, Hamilton not recorded.

Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Discolouration to sheet, with creasing and tears to edges. Small puncture hole above sitter’s head, causing a white spot to image. Two other small puncture holes to top of sheet in centre.

[37701] £350

Religious and Clerical

127. Der Große betrieger und Falsche Messias Jacob Naylor König der Quacker Anno 1657.

Copper engraving [c. 1657] Image 181 x 147 mm, Plate 192 x 151 mm, Sheet 313 x 194 mm Half-length portrait of James Naylor, although the print mistakenly names him as Jacob, wearing traditional Quaker attire. He holds a scroll inscribed with ‘Millenarium’, and to his right, a table inscribed with ‘Monarchia Nova’, on which there is a crown, orb, sceptre and sword. The top right of the image features a small inset image of Naylor sitting backwards on a donkey, with another man leading the donkey.

The German title translates to ‘The great deceiver and false messiah’ and ‘King of the Quakers.’

James Naylor, or Nayler (1616–1660) was an English Quaker leader, and was recognised as one of the more radical members of the group.

He was a member of the Valiant Sixty; a group of early Quaker preachers and missionaries.

Naylor preached against issues such as enclosure and the slave trade. In 1656, Naylor re-enacted Christ’s entry into Jerusalem by entering Bristol on a donkey, causing national outrage. He was imprisoned and charged with blasphemy, narrowly escaping execution. Naylor was

pilloried and whipped through the streets of London, branded with the letter B on his forehead, and had his tongue pierced with a hot iron. He was then transported back to Bristol where he received more whipping in the streets, before facing two years of imprisonment and hard labour.

Not in O’Donoghue.

Condition: Full margins. A few spots of foxing, and general time toning to sheet, but otherwise, in good condition.

[37743] £200

128. No life to Lechery. Hugh Peters ye first and ye last.

Copper engraving c.1750 Image 93 x 60 mm, Sheet 103 x 62 mm unmounted Facsimile copy of the frontispiece to Hugh Peters’ Life by Yonge.

Hugh Peters, holding an hour-glass in his left hand, stands in his pulpit giving his sermon.

Peters addresses the men and women below, preaching 'Blasphemy. Rebellion. Heresie’.

Upon the wall, the motto ‘I know you are good fellows Stay and take the other glass.' Hugh Peters (baptized 29 June 1598 – 16 October 1660) was an English Independent preacher and Parliamentarian. Although Peters denied complicity in the death of Charles I at the Restoration, his sermons had expressed support for the trial, resulting in his execution at Charing Cross in 1660.

O’Donoghue 9.

Condition: Trimmed to image.

[37668] £25

129. A Sketch from Memory 1841 [Cardinal Newman] Etching Pub.d by Jas. Wyatt & Son, High Street, Oxford, March 1841 Image 118 x 67 mm, Plate 178 x 120 mm, Sheet 198 x 135 mm unmounted Portrait of John Henry Newman, half-length, in profile to the left, dressed in a surplice over his frockcoat with bands at his neck and with spectacles on his nose O’Donoghue 8 [37623] £200

130. St. Mary Magdalene Etching n.d. c. 1820 Image 105 x 90 mm, Plate 148 x 100 mm, Sheet 240 x 197 mm unmounted A rare unrecorded portrait of Benjamin Symons.

Benjamin Parsons Symons (28 January 1785 – 12 April 1878) was an academic administrator at the University of Oxford in England. He was Warden of Wadham College (1831-1871) and Vice Chancellor of the University 1844-1848.

He was an evangelical preacher and an opponent of the Oxford Movement.

[37625] £55

131. Veri Effigies Hugh Peters Æt 57 Etching Printed by Pete Cole, c. 1655 Image 93 x 68 mm, Sheet 113 x 83 mm unmounted Half-length portrait of Hugh Peters, dressed in an embellished robe with a wide white collar.

Turned slightly to the right, Peters holds his right hand to his chest.

Hugh Peters (baptized 29 June 1598 – 16 October 1660) was an English Independent preacher and Parliamentarian. Although Peters denied complicity in the death of Charles I at the Restoration, his sermons had expressed support for the trial, resulting in his execution at Charing Cross in 1660.

Not in O’Donoghue.

Condition: Trimmed just outside plate mark, but within plate mark at bottom. Slight toning to sheet, and light foxing on verso.

[37654] £30

132. Martin Luthero, Hereje after Wenceslaus Hollar Etching c.1650 Image 108 x 81 mm, Sheet 122 x 93 mm unmounted An unusual portrait of Martin Luther with a horned devil on his shoulder blowing. Title in Spanish, translates to Martin Luther, Heretic. The portrait appears to be a reversed copy of a print

by Wenceslaus Hollar (Pennington 1462) with the addition of the devil figure.

Martin Luther (1483 - 1546) was a Priest (1507), doctor of theology (1512) and a theologian of the Reformation, his ideas, expressed in 'Disputation on the Power and Efficacy of Indulgences', commonly known as 'The 95 Theses', led to his excommunication from the catholic Church in 1521.

Condition: Trimmed just outside platemark, tipped to album page.

[37712] £60

Scientific, Industrial & Medical

133. Gull: Quondam Arch: Cant: William Marshall Copper engraving c. 1641 Image 85 x 74 mm, Plate 124 x 83 mm, Sheet 133 x 92 mm unmounted Satirical portrait of Archbishop Laud, pressing his hand to his chest in an appeal for sympathy.

Below the portrait, six lines of mocking verse: ‘Lend me but one poore teare, when thow do’st see, This wretched Pourtraict of just miserie, I was Great Innovator, Tyran, Foe To Church & State, all Times shall call me so, But since, I’m Thunder-striken to the Ground Learne how to stand, insult not o’re my wound.’

William Laud (1573 - 1645) was the Archbishop of Canterbury. Laud suppressed puritan practices and reintroduced what were recognised as ‘popish ceremonies’ to the church in England.

His attempts to impose Anglican forms of worship in Scotland provoked the "Bishops' Wars" in 1639. In 1640, he was imprisoned in the Tower of London, and was beheaded in 1645.

BM Satires 413, Hind III.120.62.

[37653] £30

134. [Alexander Brodie] Stipple [c. 1800] Image 128 x 107 mm, Sheet 225 x 167 mm unmounted Portrait of Alexander Brodie, seated at his desk with a quill in his right hand. Behind him, an arch, and slightly further behind, a firing kiln.

Proof before letters.

Alexander Brodie (fl. c. 1800) was an iron master of Broseley, Shropshire.

Not in O’Donoghue.

Condition: Light foxing and creasing to sheet, [37765] £45

135. Joseph Moxon.

Copper engraving [1699] Image 171 x 120 mm, Sheet 176 x 125 mm unmounted Frontispiece to Joseph Moxon’s A Tutor to Astronomy and Geography.

Bust portrait of Joseph Moxon, directed to the right, and looking at the viewer, set within an oval upon an inscribed pedestal. Inscribed within image on scroll next to portrait "Ductor ad Astronomiam & Geographiam Vel Usus Globi....per Josephum Moxon".

Pedestal lettered with title and "Born at Wakefield August 8 Anno 1627".

Joseph Moxon (8 August 1627 - February 1691) was an English printer of mathematical books and maps, a maker of globes and mathematical instruments, and mathematical lexicographer.

He produced the first English language dictionary devoted to mathematics. Moxon was also hydrographer to Charles III. In November 1678, he became the first tradesman to be elected as a Fellow of the Royal Society.

O’Donoghue 2.

Condition: Trimmed to plate mark. Large crease across bottom right corner, small stain to right side of oval, repaired tear to top of image.

[37733] £180

136. Prudentia Major Fato. Vera Effigies.

Johans. Middleton, Philomath.

Copper engraving [London, 1679] Image and sheet 131 x 80 mm unmounted Frontispiece to John Middleton’s Practical Astrology.

A scarce portrait of John Middleton, half-length and set within an octagon, directed to the right, and looking forwards. Above the portrait is an image of the sun and moon, each with a face.

Condition: Trimmed to printed border.

[37740] £100

137. [William Atkins]

Attributed to Frederick Hendrik Van Hove Copper engraving 1694 Image 96 x 70 mm, Sheet 122 x 70 mm unmounted Frontispiece to William Atkins’ Discourse on Gout.

Inscription below image: ‘ The Effigies of W. Atkins the Gout Dr. who for Gouts, Rumetisms, Palsey, and Convultions, and all Pairs in any parts, he exceedeth all men, both for Safest and Speediest Cure, as appears by his book.’

William Atkins was a 17th-century empiric.

O’Donoghue 1.

Condition: Trimmed to image, and tipped to album page.

[37766] £50

138. Noxiana Genuine Speech 12th Feby.

1819 Lithograph with original hand colour [n.d. c. 1829] Image 248 x 240 mm, Sheet 256 x 276 mm unmounted A crowd demonstrates around a tree where they hand an effigy of Dr. Robert Knox with fire below. The inscription above the image: “Gentlemen, I am an older man than any of you, permit me therefore to give you this advice; _ never allow yourselves to be too much elevated or depressed by trifles.” Below the image it reads: A real Scene, 12th Feby 1829. The Newington Auto de Fe; _ or quite pleased with their Subject, although, maxii generis. “Quickly , and gail they pull’d him on high, From the field of his fame, fresh and gory, They served him a

line;_ he look’d vastly shy:_ And expired in the blaze of glory!!!” Wolfe A print depicts events in the Newington part of Edinburgh on February 12, 1829 when residents made and burnt an effigy of Dr. Robert Knox.

Robert Knox, FRSE FRCSE MWS (4 September 1791 – 20 December 1862) was a Scottish anatomist, zoologist, ethnologist and doctor. He was the most popular lecturer in anatomy in Britain, where he introduced the theory of transcendental anatomy, but is now best known for his involvement in the Burke and Hare murders. Knox was not prosecuted and Edinburgh residents were enraged.

Before the Anatomy Act of 1832 widened the supply, the main legal supply of corpses for anatomical purposes in the UK were those condemned to death and dissection by the courts. This led to a chronic shortage of legitimate subjects for dissection, and this shortage became more serious as the need to train medical students grew, and the number of executions fell. In his school Knox ran up against the problem from the start, since—after 1815—the Royal Colleges had increased the anatomical work in the medical curriculum. As a consequence, body-snatching became so prevalent that it was not unusual for relatives and friends of someone who had just died to watch over the body until burial, and then to keep watch over the grave after burial, to stop it being violated.

In November 1827 William Hare began a new career when an indebted lodger died on him by chance. He was paid £7.10s (seven pounds & ten shillings) for delivering the body to Knox's dissecting rooms at Surgeons' Square. Later Burke and his accomplice Hare set about murdering tramps and drunks on a regular basis.

After 16 more transactions, in what became known as the West Port Murders, on 2 November 1828 Burke and Hare were caught, and the whole city was captivated in horror, fed by ballads, broadsides and newspapers, at the terrible deeds of Burke & Hare.[23] Hare turned King's evidence, and Burke was hanged, dissected and displayed.

Knox was not prosecuted, which outraged many in Edinburgh. Residents made and burnt an effigy of Knox and later that evening Dr. Knox’ house was attacked. As a result, Knox moved to London.

Condition: Surface dirt to edges, repaired tear centre into image 70 mm,xome creasing [37815] £120

Sport

139. Robertus Morison M.D. Robert White after William Sonmans Copper engraving 1680 Image 313 x 214 mm, Plate 352 x 229 mm, Sheet 407 x 255 mm unmounted A half-length portrait of Robert Morison for the frontispiece to his 'Plantarum historiae universalis Oxoniensis' . His head is turned to the right, holding scroll, wearing gown and bands set in large oval frame of flowers on pedestal with arms and with the inscription: Natus Aberdoniae Anno 1620 / Obiit Londini anno 1683 and four lines of Latin verse in lower margin, beginning Quae Morisone viro potuit contingere major..

Dr Robert Morison (1620 - 1683) was a botanist developed the first systematic classification of plants. In 1669, Morison became the first professor of botany at Oxford, a post that he held until 1683.

O’Donoghue 1 [37757] £175

140. Big Ben Copper engraving c.1789 Image 93 x 72 mm, Plate 158 x 105 mm, Sheet 195 x 135 mm unmounted Portrait of a gentleman in profile to the right, believed to be Benjamin ("Big Ben") Brain (1753 – April 8, 1794) a bare-knuckle prize-fighter.

(Also know as Brian, Bryan, Bryant) .Manuscript inscription below image gives reference to the Bromley catalogue of engraved portraits, p.450 which lists a portrait Benjamin Brain, Pugilist, a small oval, 1789.

O’Donoghue undescribed Condition: Foxing to margins, manuscript inscription below image.

[37751] £50

Transport

well as publication line. Discolouration to sheet, with faint acid line to edges. Tear repair to top left corner, and creasing to right edge of sheet.

[37660] £130

British Topography

141. Robert Cocking Louisa Corbaux and Charles Joseph Hullmandel after J. B. Beech Lithograph [c. 1840] Image 140 x 129 mm, Sheet 228 x 169 mm unmounted Bust portrait of Robert Cocking, facing slightly to the left, with the top of a vignette image of his parachute below.

Lettered with facsimile signature of Robert Cocking, followed by ‘Aged 61. who lost his Life in Kent, by a descent in his Parachute from the Nassau Balloon, 24th July, 1837.’

Robert Cocking (1776 – July 24, 1837) was the developer of an early, unsuccessful parachute design. On the 24th July, 1837, Charles Green once again launched his Great Nassau Balloon, this time with passengers, one of whom was Robert Cocking. After reaching five thousand feet, Cocking exited the balloon and descended in a parachute of his own construction.

Cocking, however, was killed on reaching the ground, and became the first person to be killed in a parachuting accident O’Donoghue 1.

Condition: Trimmed through vignette image of parachute, with bottom half of image missing, as

142. Southampton Anne Rudge Etching 1800 Image 139 x 193 mm, Sheet 147 x 195 mm unmounted View of Southampton from a hill, with a river in the middle ground meandering around the town.

Two spires are visible to the right. In the foreground, a man and a dog walk along a path behind a man on a horse.

Plate 2 from an unidentified series.

Initials and date to top left of plate.

Anne Rudge (1763 - 1836) was an amateur printmaker, with her main focus being the landscape of the Southampton area.

Condition: Trimmed close to image, and some light discolouration to right of sheet. Laid to album page.

[37747] £65

144. Prospectus Abbatii Westminster et Ecclesiae Sanctae Margaritae Londinensis Martin Engelbrecht Copper engraving with original hand colouring C. Priv. S.C. Maj. M. Engelbr. excud. A.V. [c.1750-1760] Image 190 x 309 mm, Plate 208 x 318 mm, Sheet 240 x 380 mm unmounted A vue d’optique of Westminster Abbey, London. The foreground is populated by groups of people and horse-drawn carriages, as well as a sedan chair with a pair of valets. To the right of the cathedral, St Margaret’s Church is depicted.

Below, an inscription reads: ‘Prospectus Abbatii Westminster et Ecclesiae Sanctae Margaritae Londinensis / L’Abbaye de Westminster et de l’Eglise Ste. Marguerite à Londres.’

Condition: Tear to centre left margin, not affecting image. Small tears, creases, and stains to margins not affecting the image.

[37571] £140

143. Figura Scrinii S. Thomae Cantuariensis ex M. S. in Bibliotheca Cottoniona desumpta Robert Vaughan Copper engraving [c.1656] Image 250 x 125 mm, Plate 268 x 154 mm, Sheet 317 x 203 mm unmounted Illustration of the tomb of Thomas Beckett, from William Dugdale’s Monasticon Anglicanum, or the History of the Ancient Monasteries, Hospitals, Cathedral and Collegiate Churches.

[37689] £45

145. View from Bourn Bridge, Suffolk, looking down the River Orwell: afternoon.

Henry Davy Etching Drawn Etched and Published by Henry Davy Globe Street Ipswich June 18, 1840.

Image 133 x 248 mm, Plate 178 x 258 mm, Sheet 189 x 276 mm unmounted Inscriptions beneath image labelling points of interest; from left to right: ‘The Orwell Steamer, coming in. The River Queen Steamer. Freston Tower. Ostrich Gardens.’

[37789] £100

146. A view on the River Orwell, Suffolk, Evening, from the Red Gates; Passengers Land here at Low-Water.

Henry Davy Etching Drawn Etched & Published by Henry Davy Globe Street Ipswich July 2, 1840.

Image 125 x 251 mm, Plate 176 x 262 mm, Sheet 189 x 278 mm unmounted Inscriptions beneath image labelling points of interest; from left to right: ‘Left Bank Sir P. Broke’s Woods & beyond Alnesbourn Priory.

Vessels Anchored off Downham Reach, Right Bank Woolverston Park, Archdeacon Berners.

Freston Tower & Road.’

Inscription below title: ‘The Orwell Steamer, left the Ipswich Wharf about a 1/4 past Seven June 24, 1840, called at Harwich & Walton on the Naze; arrived at Sheerness 20 minutes past 12, with 380 Passengers, distance about 60 kiles by permission, the company went on board the Lord Howe, 120 Gun-Ship. Left Sheerness at 20 minutes past 2 & arrived as the Wharf Ipswich, at 8 o’clk the same Evening.’

[37790] £100

147. The Ruines of Fountains Abbey

William Lodge Etching [Sold at the Eagle & Childe in the Strand by P.Tempest, n.d. c. 1680-90] Image 94 x 143 mm, Sheet 95 x 146 mm unmounted A view of Fountains Abbey cut from a larger print entitled: The prospects of the two most remarkable towns in the north of England for the clothing trade, viz. Leeds ... and Wakefield.

Ex. Col.: Hon. Christopher Lennox-Boyd [37793] £45

148. The Ruines of Kirkstall Abbey William Lodge [Sold at the Eagle & Childe in the Strand by P.Tempest, n.d. c. 1680-90] Image 94 x 143 mm, Sheet 96 x 147 mm A view of Kirkstall Abbey cut from a larger print entitled: The prospects of the two most remarkable towns in the north of England for the clothing trade, viz. Leeds ... and Wakefield.

Ex. Col.: Hon. Christopher Lennox-Boyd [37794] £45

Foreign Topography Africa

Illustration to Margaret Wade Campbell Deland’s Florida Days, published by Longmans, Green & Co. A distant view of St. Augustine in Northeast Florida, the oldest continuously occupied European-established settlement in the continental United States.

Ex.Col.: Frank Emanuel. (Collectors stamp below plate) [37721] £45

Asia China

149. Set of Four Lithographs Pertaing to Missionaries in Sierra Leone Lithograph with original hand colour Probably published by the Church Missionary Society c.1850.

Each Sheet 191 x 305 mm unmounted Set of four lithographs pertaining to Missionaries in Sierra Leone including a scene wof omen teaching young students, a missionary preaching to a congregation of Sierra Leonians, an Afircan man preaching, and missionaries leaving.

[37717] £480

America

150. St. Augustine from the Island Louis K. Harlow Etching 1889 Image 77 x 128 mm, Plate 85 x 135 mm, Sheet 145 x 212 mm unmounted

151. Harbour of Hong Kong S. Bradshaw after Thomas Allom Steel engraving [n.d.c. 1843] Image 125 x 190 mm, Sheet 162 x 219 mm mounted A view of Hong Kong harbour after a painting

by Thomas Allom with Chinese junks, sailing ships and the city in the distance.

Condition: Small loss to top right corner of sheet, not affecting image.

[37634] £90

A nineteenth century view of Hong Kong with Chinese Junks and a steamship moored in the harbour.

Condition: Glued to an album page [37715] £100

152. The Waterfall, at Hong Cong.

T. Fielding after William Havell Aquatint with original hand colouring Published by Longman, Hurst, Rees, Orme & Brown, London, Octr. 1, 1817.

Image 105 x 161 mm, Sheet 215 x 264 mm unmounted An early view of the waterfall at what is now Aberdeen, Hong Kong from Narrative of a Journey in the Interior of China, and of to and from that country in the years 1816 and 1817; Containing an Account of the Most Interesting Transactions of Lord Amherst’s Embassy to the Court of Pekin..... by Clarke Abel, F.L.S. Condition: Light stain to title space.

[37718] £165

153. West Point - Hong Kong.

T. Nelson & Sons [T. Nelson and Sons, London, Edinburgh and New York, c. 1870] Image 71 x 122 mm, Sheet 94 x 148 mm unmounted

154. [View in China] W.G.S. after Captain S. Pasfield Oliver Woodcut c.1861 Image 160 x 183 mm, Sheet 224 x 226 mm unmounted View in China after Captain Samuel Pasfield Oliver, possibly a proof for one of the London illustrated papers in the 1860’s.

Captain Samuel Pasfield Oliver (1838–1907) was an English artillery officer, geographer and antiquary. On the establishment of a British embassy at Beijing in 1861 he accompanied General Sir John Michel on a visit to the capital, and subsequently made a tour through Japan.

Condition: Tipped to an album page.

[37697] £75

India

Proof for Rudolph Ackermann’s Forget-Me-Not, depicting a collection of ladies with water jugs conversing inform of a palm tree, fishermen and a boat to the left and the top of a temple can be seen behind the trees to the right. ‘Ghaut’ is a Caribbean term referring to a small cleft in a hill through which a rivulet runs down to the sea.

Condition: Creases to top left corner of sheet, small stain to bottom right corner.

[37665] £25

Mauritius

155. Tomb at Agra.

Wood engraving [London, Printed by the Philanthropic Society, 1828] Image 143 x 196 mm, Sheet 208 x 262 mm unmounted View of the Taj Mahal, in the Indian city of Agra, from The East Indies. Description of the Superb Model in Ivory of the Táj Mahál, the Tomb of Moomtaz i Zamanée, at Agra, now exhibiting at No. 5, Haymarket, Opposite the Opera House.

Condition: Vertical centre fold as issued, with faint discolouration to top.

[37664] £50

156. The Ghaut.

Edward Finden after W. Daniell Steel engraving Pubd. by R. Ackermann & Co. London. [c.

1830] Image 67 x 102 mm, Sheet 118 x 170 mm unmounted

157. Port Louis (Maritius) M & N Hanhart after Frank Maryatt Lithograph and tint stone London: Longman & Co 1848 Image 160 x 124 mm Sheet 186 x 275 mm unmounted A plate frrom Borneo and the Indian Archipelago drawings of costume and scenery p.106. This book was an account of the voyage of H.M.S. Samarang commanded by Sir Edward Belcher (1799-1877). The H.M.S. Samarang travelled to the Far East sent by the British government to survey the islands of the Eastern archipelago.

[37336] £160

Singapore & Southeast Asia

158. Singapore.

T. Nelson & Sons Chromolithograph [T. Nelson and Sons, London, Edinburgh and New York, c. 1870] Image 73 x 122 mm, Sheet 94 x 148 mm unmounted A nineteenth century view of Singapore with trading ships and boats moored in the harbour.

Nelson & Sons began as a small bookselling business in Edinburgh in 1789. Founded by Thomas Neilson (1780-1861) the company name changed to Thomas Nelson in 1818. In 1835, Neilson’s son William joined the business, and was followed by his younger son Thomas.

The business became successful by reprinting popular authors cheaply. This success lead to the establishment of premises in London and New York. In 1858 the name of the firm changed to Thomas Nelson and Sons. From 1856, colourprinting became a feature of their production and by 1860 the firm was the leading publisher of affordable colour-printed titles.

[37705] £90

159. Pagodas

Captain Henry Foley Etching c.1830 Image 80 x 127 mm, Plate 140 x 92 mm, Sheet 93 x 141 mm unmounted A rare etching by Captain Henry Foley of Burmese pagodas.

Possibly Captain Henry Foley (b. 12 May 1804) son of Major General Richard Foley.

Condition: Trimmed to the plate and tipped to an album page.

[37710] £50

160. Bruni (Borneo proper) M & N Hanhart after Frank Maryatt Lithograph and tint stone London: Longman & Co 1847 Image 144 x 224 mm Sheet 188 x 275 mm unmounted A plate from Borneo and the Indian Archipelago drawings of costume and scenery p.106. This book was an account of the voyage of H.M.S. Samarang commanded by Sir Edward Belcher (1799-1877). The H.M.S. Samarang travelled to the Far East sent by the British government to survey the islands of the Eastern archipelago.

Borneo proper was the most important part of the island as it was the only town on the North West coast.

[37337] £80

Europe Austria

161. Vue De Hochenmarck Johann M. Siccrist after J.E.F. d’Erl Copper engraving with original hand colouring Se vend à Augsbourg au Negoce comun de l’Academie Imperiale d’Empire des Arts libereaux avec Privilege de Sa Majeste Imperiale et avec Defense de n’en faire Copie. par les tres humbles et tres obeisans Directours du Negoce comun de l’Academie Imperiale d’Empire. [c.1780] Image 277 x 390 mm, Plate 328 x 420 mm, Sheet 357 x 470 mm unmounted A vue d’optique of the marketplace and old City Hall of Vienna, the title printed in reverse. The Square is populated by groups of people, carriages, carts, horses, dogs, and a small market stall. Below, an inscription reads: ‘Vue de Hochenmarck, de l’Hotel de Ville, et de la Colonne de la Desponsation de Sainte Marie et Joseph, à Vienne.

Dedie au tres illustre Magistrat de la dite Ville.’

Condition: Tear to centre top inscription space.

Small punctures to left and right margins. Small creases and stains to margins.

[37567] £220 162. Vue De Hof à Vienne Johann M. Siccrist after J.E.F. d’Erl Copper engraving with original hand colouring Se vend à Augsbourg au Negoce comun de l’Academie Imperiale d’Empire des Arts libereaux avec Privilege de Sa Majeste Imperiale et avec Defense de n’en faire Copie. par les tres humbles et tres obeisans Directours du Negoce comun de l’Academie Imperiale d’Empire.

[c.1780] Image 277 x 395 mm, Plate 332 x 422 mm, Sheet 358 x 450 mm unmounted A vue d’optique of the courtyard of the Church and Jesuit Nunciature of the Immaculate Conception of St Mary, Vienna, the title printed in reverse. The Square is populated by groups of people and horse-drawn carriages, and features a pair of fountains flanking an ornate column.

Below, an inscription reads: ‘Vue de Hof, de la Colonne de la Conception Immaculé de Sainte Marie de l’Eglise des Ex Jesuitte et de la Nonciature, ou Palais du Nonce. Dedié à Son Eminence, Joseph Garampi, Arche Evêque de Bereti, Nonce Apostolique à Vienne etc. etc.’

Condition: Small tears, creases, and stains to margins.

[37569] £220

France

163. L’Hôtel De Chateau De Versailles Georg Balthasar Probst

Copper engraving with original hand colouring Cum Priv. Sac. Caes. Majestatis. Georg Balthasar Probst, excud. A.V. [c.1760] Image 272 x 394 mm, Plate 305 x 406 mm, Sheet 355 x 502 mm unmounted A vue d’optique of the Palace of Versailles, the title printed in reverse. The approach to the palace is heavily populated, with groups of people queuing to enter the palace through the main gate, arriving in carriages and on horseback, moving cartloads of produce, shaping timber and stone for construction projects, or simply strolling through the cobbled square. Versailles came to prominent under the reign of King Louis XIV, effectively centring French political power in the town until the beginning of the Revolution. Following the revolution, the palace became a symbol of the Ancien Regime, and suffered from looting before being declared a museum for the benefit of the French nation. Below, an inscription in 4 languages reads: ‘Prospectus Arcis Versalie magni ingressus / Vue du Chateau de Versailles du côte de la grande avenue / Veduta del Castello di Versaglie, della parte di granda entrata / Gesicht des Schloßes zu Versailles, von Seiten des großen Eingangs.’

Condition: Large tear to centre bottom margin.

Small tears, creases, and stains to margins.

[37554] £200

Germany

164. On the Neckar Captain Henry Foley Etching c.1830 Image 58 x 100 mm, Sheet 93 x 138 mm unmounted A rare etching by Captain Henry Foley on the Neckar river with a castle in the background.

Condition: Staining in corners and some minor marks to surface. Loss to upper and lower left corners [37711] £30

165. Le Derriere Du Chateau Royal De Sans Soucy Georg Balthasar Probst Copper engraving with original hand colouring Cum Gratia et Privilegio Sac. Caes. Majestatis.

Georg Balthasar Probst, excud. A.V. [c.1760] Image 271 x 410 mm, Plate 315 x 425 mm, Sheet 342 x 510 mm unmounted A vue d’optique of the Sanssouci Palace, Potsdam, the title printed in reverse. The open spaces in the foreground are populated by groups of well-dressed courtiers and servants, and carts and carriages carrying goods and passengers arrive at the back entry of the Palace.

The Sanssouci Palace was the summer palace of the Prussian King, Frederick the Great. The palace is often seen as the German counterpart to the French royal palace at Versailles. Below, an inscription in 4 languages reads: ‘Villae Regiae Sanssoucianae posticae partis prospectus / Veue du Château Royal de Sans Soucy, par derriere / Veduta del Castello Reale di Sans Soucy, di dietro / Prospect der hintern Seite des Könige Luft-Schloßes Sans Soucy.’

Condition: Small tears, creases, and stains to margins.

[37558] £180

166. Prospectus Platea Paulinorum Göttingae.

Georg Balthasar Probst Copper engraving with original hand colouring Cum Gratia et Privilegio Sac. Caes. Majestatis.

Georg Balthasar Probst, excud. A.V. [c.1760] Image 278 x 409 mm, Plate 320 x 425 mm, Sheet 358 x 465 mm unmounted A vue d’optique of Paulinerstraße, Göttingen, the title printed in reverse. To the left, groups of people wander on the square in front of the Church. Horse drawn carts and carriages carry passengers and goods down the street. To the right, the towers of St. Johns church can be seen in the distance above the rooftops. Below, an inscription in 4 languages reads: ‘Prospectus Platea Paulinorum Göttingae / Aspect de la rüe des Minimes a Göttinghe / Prospetto della strada dei Minimi a Göttinga / Prospect der Pauliner Straße zu Göttingen.’

Condition: Small tears and stains to margins.

[37559] £200

Italy

167. A Perspective View of the City of Venice. Vue Perspective de la Ville de Venicse Copper engraving with original hand colouring London, Printed for Rober.t sayer, Map & Printseller, at No53 in Fleet Street. c.1774.

Image 250 x 414 mm, Sheet 281 x 430 mm mounted A vue d’optique of the islands of Venice with large ships in the foreground and a stunning panorama of the spires and steeples of the city beyond.

Condition: Small worn holes to sky, light dirt build up to margins.

[37635] £500

168. Veduta del Palazzo Senatorio, e della magnifica Fontana detta del Pretore nella Citta di Palermo / Vue du Palais Senatorial, et de la magnifique Fontaine appellée du Préteur à Palerme.

Copper engraving with original hand colouring [c.1760] Image 283 x 407 mm, Plate 312 x 420 mm, Sheet 375 x 510 mm unmounted A vue d’optique of the Town Hall of Palermo, Sicily. In the foreground is a large and ornate fountain, the surrounding square populated with groups of people, a dog and its owner, and a two-horse carriage. The fountain, which still occupies the centre of the Piazza Pretoria in Palermo’s historic centre, was purchased by the Senate of Palermo in 1573. Originally intended for the Florentine Palace of San Clemente, the fountain’s many baroque nudes led local citizens to nickname the Piazza the ‘Square of Shame.’

Condition: Numerous small tears to edges of sheet, not affecting image. Scuffing and dirt

marks to top right corner of image. Creasing to sheet.

[37552] £220

169. [Veduta del Ponte Salario] after Giovanni Battista Piranesi Etching [c.1790] Image 164 x 238 mm, Sheet 182 x 250 mm unmounted A reduced copy in reverse of Piranesi’s Veduta del Ponte Salario.

Printed on the back of a section of a John Cary map, so possibly a proof. Must be post 1783 as the map notes the Strand, and Cary did not set up his business in the Strand until 1783.

Condition: Heavy discolouration to sheet.

[37778] £85

170. Area S.S. Apostolorum Marco Sebastiano Giampiccoli after Antonio Canaletto Copper engraving with original hand colour Antonius Canaletto delin. Venetiis apud Giampiccoli et inc. [c.1750]

Image 197 x 319 mm, Plate 233 x 322 mm, Sheet 323 x 416 mm unmounted A view of the Church of the Holy Apostles of Christ, known colloquially as San Apostoli, in the Cannaregio sestiere of Venice. In the foreground, gondoliers bring goods up the canal, a market stall on the bridge sells pots and pans, and numerous groups of people wander the square or sit on the stairs by the canal. The Chiesa dei Santi Apostoli di Christo is one of the earliest churches in the city of Venice, having been founded by St Magnus in the 7th century.

The church has gained numerous additions since that time, including the celebrated Capella Cornaro, which contains the tomb of Catherine, Queen of Cyprus. Beneath the engraving, a lined inscription space featuring a coat of arms translates the title of the work into French and Italian: ‘La Place des S.S. Apotres / La Piazza de S.S. Appostoli.’ Below, a dedication in Latin reads: ‘Hieronymo Grimani Patricio Veneto Viro P.Ac Senatori Amplissimo, Quod Litteras et Bonas Artes Consilio Suo Fovendas Susceperit. Marcus Sebast.

Giampiccoli Opellam Hanc Patrono. B.M.D.D.D.’ Condition: Numerous small creases and slight foxing to sheet and image. Central vertical crease.

[37578] £180

Netherlands

171. L’Hôtel De Ville D’Amsterdam Georg Balthasar Probst Copper engraving with original hand colouring Cum Priv. Sac. Caes. Majestatis. Georg Balthasar Probst, excud. A.V. [c.1760] Image 267 x 404 mm, Plate 315 x 425 mm, Sheet 350 x 484 mm unmounted

A vue d’optique of the City Hall or Royal Palace of Amsterdam, the title printed in reverse.

Numerous groups of people fill the Square in front of the building, walking, visiting markets, leading horse-carts and carriages, or unloading goods from the docks in the distance. The Koninklijk Paleis Amsterdam was built during the 17th century, under the Dutch Golden Age. In 1806, the building became the residence for King Louis I, and eventually the Royal palace for the House of Orange. Below, an inscription in 4 languages reads: ‘t Stad Huys van Amsteldam / l’Hôtel de Ville d’Amsterdam / la Casa Consigliaria d’Amsterdamo / Das Rath-Hauß zu Amsterdam’ Condition: Light creasing and dirt marks to margins and plate. Large vertical ink-stain in inscription space. Dirt marks and oxidisation to paint surface on right hand side of image.

[37553] £200

an inscription in 4 languages reads: ‘Prospectus magni Spatii St. Franciscae Hispalensis / Vue de la grande Place de St. François, à Seville / Veduta della Piazza grande di Sto. Francesco, a Siviglia / Prospect des grossen Platzes St. Francisci, zu Sevilien.’

Condition: Large puncture in left centre margin, not affecting image. Small tears, creases, and stains to margins.

[37555] £220

Spain

172. Vue De La Grande Place De S. François, A Seville Georg Balthasar Probst Copper engraving with original hand colouring Cum Gratia et Privilegio Sac. Caes. Majestatis.

Georg Balthasar Probst, excud. A.V. [c.1760] Image 274 x 415 mm, Plate 310 x 432 mm, Sheet 355 x 502 mm unmounted A vue d’optique of the Piazza of San Francisco, Seville, the title printed in reverse. The Square is heavily populated, with groups of people gathering around the large central fountain. A pair of horse drawn carriages can be seen to the right. In the foreground, a number of people transport produce, in wheelbarrows and in large baskets carried on their backs and heads. Below,

173. Costume Espagnol (Maja à l’Eglise) A. Deveria after Becguer Lithograph with original colour Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Image 343 x 235 mm, Sheet 385 x 266 mm unmounted A lithograph with fine original hand colour of women dressed for church, from Costumes historiques de bille ou de théatre et travestissements.

Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Joaquin Becquer (1805-41), Spanish paint from Seville Condition: Some staining in left margin [37693] £120

174. Costume Espagnol (Paysan et Contrabandier) A. Deveria after Becguer Lithograph with original hand colour Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Image 343 x 235 mm, Sheet 385 x 266 mm unmounted A lithograph with fine original hand colour of a peasant and a smuggler, from Costumes historiques de bille ou de théatre et travestissements. Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Joaquin Becquer (1805-41), Spanish paint from Seville Condition: Strip of album page in left margin not affecting the image and time toning to verso.

[37694] £120

175. Costume Espagnol (Sérénade) A. Deveria after Becguer Lithograph Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Image 343 x 235 mm, Sheet 385 x 266 mm unmounted A lithograph with fine original hand colour of Spanish Serenades, a singer and a guitarist, from Costumes historiques de bille ou de théatre et travestissements. Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Joaquin Becquer (1805-41), Spanish paint from Seville Condition: Some staining in left margin and some minor surface loss to boarder on left [37692] £120

General Interest Theatre, Music, Literary & Dance

177. Julia Morgan Lithograph with tint stone and hand colour Lith. och. tr. hos. Abrah. Lundquist & Cie. Image 154 x 215 mm, Sheet 223 x 310 mm unmounted [37698] £55 176. Costume Espagnol (Traureador) A. Deveria after Becguer Lithograph with original hand colour Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Image 343 x 235 mm, Sheet 385 x 266 mm unmounted A lithograph with fine original hand colour of a bullfighter with a guitarist in the back from Costumes historiques de bille ou de théatre et travestissements. Published , Paris: Goupil et Vibert. London: Charles Tilt, 1831-1839.

Joaquin Becquer (1805-41), Spanish paint from Seville [37691] £180 178. Theater-Representation l Boston.

Lithograph with tint stone Lith. o. ir. h. Abrah. Lundquist & Cie. [n.d.c.1865] Image 157 x 216 mm, Sheet 224 x 310 mm unmounted A musical performance with a female singer wearing a crinoline esque dress, holding sheet music standing in front of a group of seated musicians playing lutes, harps and violins along with two black male singers on either end. Three

ballerinas converse with gentlemen in top hats in the background.

Condition: Light staining to margins, not affecting image.

[37704] £55

179. [Canto 1] Francesco Bartolozzi after Edward Francis Burney Steel engraving Published 1st November 1798, by F.I Du Roveray, London.

Image 104 x 79 mm, Plate 192 x 128 mm, Sheet 238 x 156 mm unmounted Illustration to Canto 1 of Alexander Pope’s poem The Rape of the Lock.

The image depicts the moment in which Belinda receives a love letter. By her feet is her lapdog, Shock, playfully jumping up her dress. A woman and child peer over Belinda’s shoulders, smiling down at the letter. To the right, hidden in the shadows, is a small winged figure, Ariel, Belinda’s ‘guardian Sylph’. In the beginning of canto 1, Belinda dreams of a handsome youth; a dream sent by Ariel.

Condition: Light foxing and water stain to margins, and tipped to album page.

[37775] £70

180. The Prince of Persia in his Nuptial Car, in procession to wed the Imaun's Daughter.

With Mr.Hughes's magnificent stud of Elephants, Camels &c. at Dury Lane Theatre.

Lithograph with hand colouring London. Pub by A.Park. 47 Leonard St. Finsbury Image 177 x 294 mm, Sheet 200 x 310 mm unmounted The Prince of Persia sits in an elaborate carriage decorated with lions and pulled by elephants.

Soldiers and outriders to the sides and camels behind. Onlookers view from a turreted palace or castle in the background.

A Park (fl. 1835 - 1863) was a publisher of cheap prints. Archibald and Arthur Park were evidently brothers trading at the same address, their prints are normally lettered "A. Park".

Condition: Pressed vertical and horizontal fold.

[37706] £60

181. GĂżmnastische Kunste Lithograph with hand colouring bei Arnz & Co. in DĂźsseldorf [c.1820] Image 267 x 377 mm, Sheet 330 x 400 mm unmounted An unusual early lithograph of a group of acrobats demonstrating the gymnastic arts. The acrobats, dressed in brightly coloured circus attire, demonstrate feats of balance and strength, including tight-rope walking, highwire work, headstands and handstands, pole-balancing, an inverse human pyramid, and some form of tumbling involving a man jumping through a hoop over a group of seven horses. In the background, spectators gather around a wooden barrier.

Arnz & Co. (c.1815 - c.1841) were a Dusseldorf based printing company, initially specialising in stationary. One of the first German companies to begin producing lithographs commercially, Arnz & Co. eventually produced a wide range of prints and maps, including scientific, mechanical, and botanical lithographs.

Condition: Pressed vertical and horizontal folds. Light creasing and surface staining. Small loss to bottom centre edge of page, not affecting image.

[37551] ÂŁ280

42 Theobalds Road, London W.C. with written guarantee below:

Ephemera

182. Industria Etching c. 1770 Image 150 x 82 mm, Sheet 157 x 140 mm unmounted An unusual engraved trade card or certificate for a business group or society relating to the Stewartry of Kirkcudbright. A bee of industry and Industria engraved above the family crest and coats of arms of Macghie of Balmaghie featuring three leopards' heads. Inscribed within a decorative ribbon below: 1 Macghie of Balmaghie 2 Stewart of Ravenson 3 Viscount of Kenmure 4 Dunbar of Baldoon 5 Lord Harris 6 Grierson of Lagg 7 Crichton of Kilpatrick 8 McCulloch of Mirton [33960] ÂŁ50 183. W.R.Howell & Co. Fine Art Publishers Etching c.1911 Image 116 x 185 mm, Sheet 275 x 220 mm unmounted An elaborate etched letterhead for W.R.Howell & Co. Fine Art Publishers. Bedford Row Chambers,

Walter Sporbe Esq. We hereby guarantee that the etchings purchased by you from us are the work of the signatories - those of, the artist whose names they bear + are limited to four hundred copies of which this copy no360._ Faithfully yours. W R Horwell & Co. Dated 23/05/1911.

Condition: Vertical and horizontal centre folds, creasing and small tears to edges of sheet.

[37738] ÂŁ55

184. [Valentine] Francesco Bartolozzi Copper engraving c.1810 Image 205 x 150 mm, Plate 236 x 186 mm, Sheet 290 x 215 mm unmounted A separately published valentine poem: Tho distant climes may us divide / To think on you shall be my pride / Tho Winds and Waves may prove unkind / In me no change you’ll ever find. / A Magic Spell will bind me fast / And make me love you to the last / Let Cupid then your Heart incline / To take me for your Valentine. Illustrated by Bartolozzi with a young sailor and his valentine with his ship about to set sail in the back ground and cupid holding a bow and arrow above.

Inscribed below image: F. Bartolozzi R.A. Inv. Delt et Sculpt.

De Vesme undescribed.

Condition: Staining to margins, not affecting image.

[37744] £130

185. Labor et Ingenium [Royal Academy Diploma] Francesco Bartolozzi after Giovanni Battista Cipriani Copper engraving 1768 but 1857 Image 622 x 445 mm, Plate 660 x 500 mm, Sheet 700 x 527 mm unmounted Frederick Richard Pickersgill’s Royal Academy Diploma signed by Queen Victoria. Issued 13th December 1857.

The diploma was commissioned early on in the course of the Academy's foundation. The Scrapbooks preserved in the Royal Academy Library show that various artists submitted designs (RAA/SEC/1/19-22). Giovanni Battista Cipriani's design was chosen, and it was engraved by Francesco Bartolozzi. Within a fictive medallion, which is supported by Hercules and Genius (representing Strength and Inspiration), Cipriani's design shows a painter, sculptor and an architect at work between figures representing Minerva (with the lion) and The Royal Academy. The figure of Hercules resembles that in Bartolozzi's 1768 engraving after a painting by Annibale Carracci in the Royal Collection, his Virgin, Sleeping Child and St John the Baptist (known as Il Silenzio).

Bartolozzi produced three plates: one for the headpiece, and then two with differently worded

inscriptions, one for the Academicians and, subsequently, another for the appointment of Associates. Like other surviving examples, Pickersgill’s is assembled from two plates - one for the headpiece, and another for the inscription (engraved by another hand) - glued together horizontally across the centre.

Frederick Richard Pickersgill RA (1820, London –1900) was an English painter and book illustrator. Born into a family of artists, he was admitted to the Royal Academy Schools in 1840 and became a full member upon receiving this diploma in 1857. He made book illustrations for the works of John Milton and Edgar Allan Poe. Pickersgill's The Burial of Harold was accepted as a decoration for the Houses of Parliament in 1847. His later works were influence of the PreRaphaelites, including finely executed scenes from nature. In 1856 Pickersgill was photographed at The Photography Institute by Robert Howlett, as part of a series of portraits of artists. The picture was among a group exhibited at the Art Treasures Exhibition in Manchester in 1857 Calabi + De Vesme 1981 Condition: Laid to board, small hole to top left of sheet, small surface abrasions to right.

[37770] £500

186. [John Waller Dealer in Autographs] Lithograph n.d. c. 1870-80 Image 100 x 155 mm, Sheet 135 x 214 mm unmounted A proof letterhead or trade card for John Waller (fl. c. 1824- 1889), dealer in autographs, 2 Artesian Road, Paddington, London and previously 58 Fleet Street Condition: Tipped to an album page.

[37830] £45

187. Holiday Drawings in France and Italy William Lionel Wyllie Etching 1892 Image 90 x 68 mm, Plate 100 x 74 mm, Sheet 167 x 140 mm unmounted An invitation card to William Lionel Wyllie exhibition of works at the Fine Art Society, with etched vignette of a boat and silhouetted figures, inscribed: Holiday Drawings in France and Italy by W.L.Wyllie.

A.R.A / The Fine Art Society request the honour of your company on Saturday the 23rd (amended 30th) January 148 New Bond Street.

Ex.Col.: Frank Emanuel. (Collectors stamp below plate) [37739] £100

Classical and Mythological

188. [The Three Graces] Mezzotint printed in sanguine ink [c. 1780] Image and plate 132 x 117 mm, Sheet 153 x 142 mm unmounted Unlettered proof.

Three nude allegorical female figures standing side by side, with the central figure facing away from the viewer, looking to the right. A cloth, which drapes over the arms of the central figure, is held by the figure to the left in the same hand which she holds an apple. The third figure looks to the right, and appears to be holding something with her right hand.

The coarse style of execution suggests the print was produced by an amateur. Likely unfinished.

Condition: Glue residue on verso, and thinning of paper in corners. Slight discolouration to margins.

[37732] ÂŁ90

189. [Fresco, then in the collection of Richard Mead] Bernard Baron Copper engraving c. 1730 Image 159 x 158 mm, Plate 184 x 172 mm, Sheet 204 x 184 mm unmounted A reverse printing of an illustration to Rollin's "Ancient History". An engraving of a Fresco, then in the collection of Richard Mead, showing Maecenas standing at centre, August to the left holding a crown, Horace to the right holding his arm around Maecenas, three other figures behind them. The image and text were possibly engraved directly onto the plate not taking into account the reversal of the print process. The published print was an illustration to page 136 of part I of volume XI of Charles Rollin's "Ancient History" (1730-1738). The Latin lettering states that the depiction is after a wall painting that was found in the palace of August on the Palatine in Rome.

Inscribed with the text printed the wrong way round above the image: Rollin's Ancient History VOL: XI. Part. I. Page 136. Below image in Latin: Fragmentum picturae veteris ... / ... gemmisque similitudo ostendit. and Ex museo viri illustris R.Mead.M.D. Condition: Window mounted to album page, dirt build up to margins.

[37792] ÂŁ50

190. [Fortune] Francesco Bartolozzi after Anibale Caracci Mezzotint and etching 1765 Image 444 x 313 mm, Sheet 517 x 364 mm unmounted A classical scene, with an allegorical figure of Fortune in the foreground. The winged woman rests against a globe, gazing left into the distance. Behind Fortune on a raised platform, there is a group of three laughing men; one standing and two seated. The standing man pulls at his hair, whilst the seated man to his right clasps his hands.

Calabi & De Vesme 618.ii, Lennox-Boyd ii/ii.

Condition: Torn to plate mark, with top, half of bottom, and some of right margins missing.

Crease across top left corner, and tear to right margin.

[37752] ÂŁ175

Freemasonry

191. A Geometrical View of the Grand Procession of the Scald Miserable Masons, Designed as they were Drawn up over against Somerset House, in the Strand. on the twenty Seventh of April.

Ano. 1742.

Antoine Benoist Etching 1742 1742 Image 204 x 1185 mm, Sheet 227 x 1197 mm unmounted A long panorama of a crowd of spectators gathered on the Strand watching a procession of mock FreeMasons, walking, in carriages and on horse and donkey, parading with trumpets and large signs emblazoned with freemason emblems and imagery. These caricature processions were inaugurated by anti freemason groups as a satire on the Freemason "Processions of the Craft". Below the image is a numbered key:1. The grand Sword Bearer, or Tylor, carrying y e Swoard of / State, a Present of Ishmaer Abiff to old Hyram King of y e Saracens / to his Grace of Wattin, Grand Master of y e Holy Lodge of S.t John of Jerusalem in Clerkenwell. / 2. Tylers or Guarders. 3. Grand Chorus of Instruments. / 4. The Stewards in three Gutt Carts drawn by Asses. / 5. Two famous Pillers Jachin and Boaz. / 6. Three Great Lights, the Sun Hiroglyphical to Rule the / Day, the Moon Emblematical to Rule the Night. / A Master Mason Political to Rule his - Lodge. 7. The Entered Prentice's Token. / 8. The letter G famous in Masonry. for differing the / fellow-Crafts Lodge from that of Prentices. / 9. The funeral of a Grand Master according to y e Rites of y e / Order with the 15 loving Brethren. 10. A Master Masons Lodge.

[2] 11. Grand Band of Musick. / 12. Two Trophies one being that of a Black Shoe Boy and / Link boy, the other that of a Chimney Sweeper. / 13. The Equipage of the Grand Master all y e Attendants, wearing Mystical Jewels.

Inscription below key reads: Invevented & Engrav'd by A. Benoist at his Lodgings / Sold by the Printsellers of London & Westminster.

Antoine Benoist (1721 - 1770) was an etcher and engraver, born in Soissons, he worked his entire later career in London, where he died. BMSat 2546 shows he was in London by 1742, when he advertises his services as a drawing master. W.H.Pyne in 1765 ('Wine and walnuts', p.294) lists him as one of three drawing masters to the higher classes (the others being Goupy and Liotard). Plates signed 'Benoist' and published in London seem always to be by him.

BM Satires 2546.iii/iv, IFF 14 Condition: Printed on two sheets and professionally inset into album page. Numerous vertical folds with some surface damage, especially to centre fold. Repaired tear to bottom left of right hand sheet.

[37702] ÂŁ650

Jacobite

192. Benn's Club _ six London Aldermen drinking the health of Prince Charles Edward Stuart, 1746.

John Faber after Thomas Hudson Mezzotint [n.d.c.1752] Image and Plate 380 x 530 mm, Sheet 425 x 560 mm mounted Inscribed within the image: T. Hudson Pinxit / I. Faber Fecit.

A fine group portrait of the six members of the so called ‘Benn’s Club’ sitting around a table. William Benn, Lord Mayor of London, sitting in front to the right, his right hand on the neck of a bottle, behind him in front of the fireplace, John Blashford, a letter addressed to him on the floor at his feet is inscribed: To John Blashford Esqr at Bowcombe in the Isle of Wight. Free Wat Wms Winn. across the table from Benn, Robert Alsop, next to him with a glass in his left hand, Edward Ironside, beside him, holding up a glass, Sir Henry Marshall, at the far left, Sir Thomas Rawlinson, behind him, a waiter cleans a glass.

Sharp 710, Chanlor Smith 31, O’Donoghue 1 Condition: Image slightly rubbed, light old horizontal crease to top of sheet, small hole to bottom right of image above letter, surface loss to bottom margin not affecting image or printed title.

[37346] £1,200

Maritime

193. This Print of the R.M.S.P. "Clyde", in Grenada Harbour. Is presented to Captain William Symons by his Officers, as a mark of their sincere esteem and regard. after William Jeffreson Lithograph with original hand colouring Published by W.Jeffreson, Artists Repository, Stationer &c Southampton. M & N Hanhart. Lith. Printers. c.1841.

Image 260 x 406 mm, Sheet 372 x 517 mm mounted A rare lithograph of the Royal Mail steam ship Clyde anchored in Grenada Harbour with steam and smoke bellowing from its chimneys and small boats unloading and ferrying to a jetty.

Queen Victoria granted the initial Royal Charter of Incorporation of "The Royal Mail Steam Packet Company" on 26 September 1839. In 1840 the Admiralty and the Royal Mail Steam Packet Company made a contract in which the latter agreed to provide a fleet of not fewer than 14 steam vessels for the purpose of carrying all Her Majesty's mails, to sail twice every month to Barbados in the West Indies from Southampton or Falmouth. 14 new steam vessels were built for the purpose, including this ship the Clyde.

In reference to their destination, these vessels were known as the West Indies Mail Steamers.

Condition: Excellent original hand colouring, margins and sheet toned and stained from previous mount.

[37646] £800 trampling an enemy soldier, severing another's hand which flies through the air with spats of blood and slashing the face of a third soldier on horseback.

Condition: Staining to margins from previous Military mount, not affecting image.

[37703] £80

194. A 15th Hussar.

Copper engraving with hand coloruing Pub. as the Act directs, 20th May, 1826 by D.Ash, 27 Fetter Lane, London 1826 Image 177 x 163 mm, Sheet 240 x 210 mm unmounted A satirical engraving by an unknown engraver of a 15th Hussar in full uniform on horseback,

194. The Loyall Sacrifice Etching [c. 1660 - 1699] Image 108 x 60 mm, Plate 122 x 81 mm, Sheet 181 x 140 mm unmounted Illustration of the execution of Sir George Lisle and Sir Charles Lucas following the siege of Colchester in the summer of 1648. Lucas lies dead on the floor, and Lisle stands next to him, facing four executioners. Each of the executioners holds a rifle, from which a banderole is featured, lettered with ‘shoot

Rebells’. Below the rifles, another inscription is featured; ‘your Shott your shame. Our fall our fame’. In the background of the scene is Colchester, with the title set just above the town within a cartouche.

It is possible this image was originally a frontispiece or book illustration.

Condition: A few small spots of staining and discolouration to sheet, effecting image.

Creasing to sheet.

[37650] £45

Railway 196. Le Chemin De Fer Woodblock with contemporary hand colour Propriété de l'Editeur (Déposé) (b. g.) ; De la Fabrique de PELLERIN, Imprimeur-Libraire, à EPINAL [n.d. c. 1835-40] Image 290 x 565 mm, Sheet 460 x 610 mm mounted A wonderful early French Railway print with a description praising railways in France below in French.

[37686] £200

Religion

197. Ein Todtentanz aus dem Jahr 1848 (A Dance of Death for the Year 1848) Alfred Rethel Wood engraving [Georg Wigand, Leipzig, 1849]

unmounted A complete series of six numbered wood engravings, accompanied by lettered verses by Robert Reineck.

1. Death approaching three women who represent Liberty, Equality and Fraternity 2. Death on horseback approaching a town 3. Death holding scales addressing a crowd 4. Death hurling a sword marked 'People's justice' into the crowd 5. Death standing on a barricade 6. Death on horseback standing over dead bodies Condition: Originally printed over three sheets, the images and accompanying text have been separated.(not photographed) Time toning, affecting some sheets more than others.

[37729] ÂŁ600

198. The Maries at the Sepulchre J. Ogborne after Benjamin West Stipple with hand colouring London, Pub Sept 1, 1797 by T. Simpson St. Pauls Church Yard and Darling& Thompson.

Image 170 x 208 mm, Sheet 199 x 223 mm unmounted An angel appears on top of the rocks to right, gesturing towards the tomb with his left hand and pointing to the heavens with his right, the women are huddled together in the lower left corner, with expressions of apprehension, clutching jars of the spices prepared for Christ's body.

Condition: Trimmed within plate mark and discolouration to sheet.

[37788] ÂŁ70

Trades

£35

199. Maniére de connaoître les refractions causées par les vapeur.

Copper engraving Paris, c. 1740 Image 111 x 175 mm, Plate 122 x 180 mm, Sheet 283 x 214 mm unmounted A plate about surveying from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. With Fig.10 . pag. 63 and the number 88 inscribed in the plate.

[37644] £35

201. Maniére de faire Couper des terres selon une ligne Niveau.

Copper engraving Paris, c. 1740 Image 111 x 175 mm, Plate 122 x 180 mm, Sheet 283 x 214 mm unmounted A plate about surveying from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. With Fig. . pag.

57 and the number 89 inscribed in the plate.

[37643] £35

Sports

200. Maniére de faire Couper des terres selon une ligne donnée de Niveau.

Copper engraving Paris, c. 1740 Image 116 x 175 mm, Plate 122 x 183 mm, Sheet 283 x 214 mm unmounted A plate about surveying from Charles Antoine Jombert’s drawing book Nouvelle Méthode Pour Apprendre A Dessiner Sans Maître. With Fig. 8. pag. 56 and the number 83 inscribed in the plate.

[37642]

202. Grand Cricket Match played in Lord’s Ground Mary-le-bone, on June 20 & following day between the Earl’s of Winchelsea & Darnley for 1000 Guineas.

Cook Copper engraving Published July 1st, 1793. J. Wheble, Warwick Square, London.

Image 90 x 131 mm, Plate 114 x 152 mm, Sheet 133 x 211 mm mounted Rare eighteenth-century cricket print from the June 1793 issue of the 'Sporting Magazine'.

[37632] £230 203. [A Merlin small ...]

Richard Lane and Charles Joseph Hullmandel after Gilbert Stuart Newton Lithograph London. Pubd. 1827, by J. Dickinson, New Bond Stt. Image 124 x 103 mm, Sheet 418 x 271 mm unmounted

Maps

Celestial and Solar Maps

Proof .

Half-length portrait of a woman set within a garden. Directed to the right, with her head turning towards the viewer, the young woman places her right hand on the back of the masked merlin that perches upon her other hand.

Inscription reads: ‘“A Merlin small she held upon her Handle, With Hoode and Jesses gallantlie bedighte, But little did he neede or Hoode or Bande, Could he but gaze on her, full safe were he from flighte” Old Ballad.’

Condition: Foxing to margins.

[37662] £90

204. Aquila, Sagitta, Vulpecula & Anser Delphinus.

John Flamsteed Copper engraved with hand colour 1753 517 x 634 mm mounted A scarce celestial chart from Flamsteed’s Atlas Coelestis showing the constellation Aquila, Sagitta, Vulpecula & Anser Delphinus and neighbouring stars.

Aquila the eagle, Sagitta the arrow, Vulpecula the fox and goose and Anser Delphinus the dolphin.

The Atlas Coelestis was published in 1729 by his widow 9 years after his death. Comprising of 27 double maps showing one of the finest examples of ‘Europe’s Golden Age of celestial cartography’. This impression is from the 1753 edition of Flamsteed's Atlas with page number printed on the top right hand corner. P.23 The hand colour would have been a later addition to the print each star has been heightened in gold.

Condition: Slight staining to the outer margins and small loss to bottom corners of margin, not affecting plate or image.

[37333] £995

205. Cetus John Flamsteed Copper engraved with hand colour 1753 509 x 647 mm mounted A scarce celestial chart from Flamsteed’s Atlas Coelestis showing the constellation Cetus and neighbouring stars. Cetus known as the large fish, whale or sea monster it is the forth largest constellation and can only be seen in it’s complete form a few months of the year.

The Atlas Coelestis was published in 1725 by his widow 9 years after his death. Comprising of 27 double maps showing one of the finest examples of ‘Europe’s Golden Age of celestial cartography’. This impression is from the 1753 edition of Flamsteed's Atlas with page number printed on the top right hand corner. P.11 The hand colour would have been a later addition to the print each star has been heightened in gold.

Condition: Slight staining to the outer margins, not affecting plate or image.

[37332] £995

World Maps

206. Bacon’s New Chart of The World.

Mercator's Projection Bacon, George Washington Colour Lithograph G.W.Bacon & Co., Ltd., Royal London Buildings, Deansgate, Mannchester. [n.d. c.1907] 910 x 1165 mm unmounted Large wall map of the world with decorative title, inset maps of the polar regions and major cities, the Suez canal and proposed Panama canal. The map also illustrates and lists world time zones, population, steam ship lines, principal towns and geographical discoveries and events. The transcontinental railways, telegraph lines and steamship routes are traced and a table provides distances and passage times between British ports and “foreign and colonial ports.” The top boarder is made up of the flags of the world and the map delineates the British Empire in pink.

Condition: Laid to linen on original rollers and poles. Light foxing to map and staining to edges of sheet. Lacquered.

[35970] £500

207. A New and Accurat Map of the World.

America. Asia. Africa. Europa. van den Keere, Pieter Copper engraved with hand colour [Roger Rea, London, c. 1665] Each map approx. 86 x 123 mm framed Set of five miniature maps; one double hemisphere and four continents.

Originally produced for Speed’s A Prospect of the Most Famous Parts of the World, printed by Miles Fletcher for William Humble, in 1646. The maps in the publication are generally referred to as ‘miniature Speed maps’, and were the last miniature maps created by van den Keere before his death.

Several further editions were produced after van den Keere’s death, with Roger Rea reprinting the maps in 1662, 1665, 1666, and 1668. In 1676, Thomas Basset and Richard Chiswell also reprinted the maps. Towards the end of the 17th century, Charles Brome acquired the plates and used them for editions of Bohun’s Geographical Dictionary. It is likely that Brome used the plates for other publications as well.

Although the World Map and the America map are both inscribed with ‘1646’, the maps are from a later edition. When reprinting the maps, the date was not changed on the plates.

English text on verso describing the areas shown on the maps.

Shirley 368.

[36726] £2,000

London

208. London Beeverell, James.

Copper engraved 1707 Image 120 x 152 mm framed A miniature map of London, from James Beverell’s Les Delices de la Grande Bretagne et de L'Irlande.

Inscription reads: ‘1. S. James. 2. Westminster Abby. 3. Southwark. 4. White Hall. 5. La Tour. 6.

Le Monument. 7. l’Hotel de Ville. 8. La Bourse. 9.

Bethlehem. 10. Newgate. 11. Bridewell. 12. Le Commun Jardin. 13. La Douane. 14. l’Eglise de S. Paul. 15. Celle de S Marie le Bow. 16. Temple Barr.

17. l’Hotel de Sommerset. 18. Celui de Montaigu. 19.

Le College des Medecins. 20. Celui de la Societe Royale.

21. Moorefield. 22. Smithfield. 23. Charter House. 24.

La Savoye.’

[37511] £300

209. A New and Correct Map of the Countries Twenty Miles Round London Bowen, Thomas Copper engraved with hand colour J. Cooke, London, c. 1770 322 x 360 mm mounted From Henry Chamberlain’s A New and Compleat History and Survey of the Cities of London and Westminster, the Borough of Southward, and Parts Adjacent.

Condition: Vertical folds as issued, and general time toning to sheet.

[37379] £250

North and South America

210. America noviter delineata Hondius, Henricus Copper engraved with hand colour Amsterdam 1633-9 375 x 497 mm mounted A beautiful map of the Americas, originally issued bu Jodocus Hondius II in 1618 with decorative boarders which was based on two earlier maps by Bleau. In this map North America is still taking shape.

The East coast is still lacking detail and California is still illustrated as a peninsula with the rest of the West coast stretching to the northweat. A large in land lake is depicted in South America and a scenes of explorers meeting the indigenous populations and Two inset maps of the polar regions based on a Blaeu map from 1608. In the map of the Antarctic you can see part of what is now Australia. Shortly after Jodocus Hondius' death in 1629 the plate passed into the hands of his brother, Henricus. He removed the de borders to fit the map into a smaller atlas.

French text on verso Reference: Burden Mapping America 192, State iii/v Condition: Iron inclusion in paper in area of Atlantic Ocean.

[37709] ÂŁ2,500

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