A Catalogue of New Acquisitions. Antique Prints & Maps

A CATALOGUE OF RECENT ACQUISITIONS. MARCH 2016

Sanders of Oxford

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

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Contents: Artists Prints & Portraits

1 - 22

Giovanni Battista Piranesi Caricatures & Satires British Topography including Oxford & Cambridge Foreign Topography General Interest from Freemasonry to Farm Animals Japanese Woodblock Prints Portraits Maps

23 - 26 27 - 37 38 - 52 53 - 70 71 - 85 86 - 87 88 - 126 127 - 140

(prints and drawings relating to the progress of art in England from the mid 1700’s to the early 1800’s, including ‘Hogarthania’.)

Artist’s prints & Portraits

A collection of prints and drawings relating to the progress of art in England from the mid 1700’s to the early 1800’s, focusing on the emergence of a ‘British School’, and including a small selction of ‘Hogarthania’.

1. [Charles II] Jonathan Richardson Pencil drawing [n.d. c. 1730-40] Image 109 x 82 mm, Sheet 112 x 95 mm A pencil drawing of Charles II by Jonathan Richardson.

Jonathan Richardson Senior (1667 - 1745) was an English painter, etcher, collector, and writer on art.

He was a student of the painter John Riley. Richardson Senior worked closely with his son Jonathan Richardson Jnr. in their artistic endeavours as well as their writing.

Condition: Tipped into an album page, timed toned, and a small tear of left (8 mm). unmounted [40313] £120

2. Jonathan Richardson Junior Jonathan Richardson Junior Etching c. 1735-1745 Image 132 x 90 mm vignette, Plate 155 x 103 mm, Sheet 163 x 111 mm A bust length portrait of Jonathan Richardson Junior, head facing right wearing a cap.

Jonathan Richardson Junior (1694 - 1771) was a collector and amateur engraver. He worked closely with his father Jonathan Richardson.

O’Donoghue 1 unmounted [40232] £120

3. [Arthur Pond] Arthur Pond Etching c. 1739 Image 183 x 140 mm, Sheet 185 x 141 mm A three-quarter length self-portrait of Arthur Pond.

He sits, arms crossed, holding a piece of paper in his right hand, his head and body turned slightly to right facing viewer.

Arthur Pond (1705?–1758) was an English painter and engraver. Well known for a series of plates titled Imitations of the Italian Masters, Pond also collaborated with George Knapton in the Heads of Illustrious Persons of Great Britain as well as on a collection of ninety-five reproductions from drawings by famous artists.

O’Donoghue 1 i/ii, Hake 1922 Ex. Col. Hon Christopher Lennox-Boyd Condition: Trimmed just outside plate mark and graingerised. unmounted [40211] £280

4. For the Benefit of Mr. Giardini Francesco Bartolozzi after Giovanni B Cipriani Stipple and copper engraver Printed by W. Hinton St. James’s Street [n.d. 1782] Image 129 x 102 mm, Sheet 139 x 112 mm A ticket for the benefit of Mr. Giardini. Mercury is seated stringing his lyre and cherub is at his right knee.

Felice Giardini (1716-1796) was an Italian born violinist and composer. He came to London in 1751 where he was a performer and society music teacher.

Francesco Bartolozzi (1727-1815) was an Italian engraver. The son of a goldsmith, Bartolozzi studied painting in Florence, trained as an engraver in Venice and began his career in Rome. In 1764 Bartolozzi moved to London and remained for thirty-five years.

He executed numerous engravings for the King. He also made many engravings of paintings by Italian masters and by his friend, the painter Giovanni Cipriani. In 1768 Bartolozzi was the only engraver to become a founder member of the Royal Academy of Arts.

Calabi & De Vesme 1930 iv/iv Condition: Trimmed inside the plate unmounted [40312] £180

5. [Angels and Cherubs] Giovanni Battista Cipriani Pen drawing with ink wash [c.1750-85] Image and sheet 113 x 178 mm Signed in pencil in lower left corner.

A delicate drawing by Cipriani, with an allegorical figure central to the image, holding a small branch in their right hand, and a wreath around their head. Set slightly to the right of the figure is a winged angel, with four cherubs surrounding. The scene is set amidst clouds, and to the left of the composition, a slightly less finished figure takes on a similar appearance to the central allegorical figure.

Although the drawing is laid to an album page, an architectural plan is featured on the verso of the drawing, and is visible through the album page. The plan is also signed. It could, therefore, be suggested that Cipriani’s drawing of angels and cherubs was intended as a preparatory sketch for a larger project, such as a painting for the ceiling of the architectural space planned on the verso. The remnants of pencil lines on the drawing seem to support this notion. Across the lower right corner of the image is a rounded line, creating a form that resembles a cornice.

Giovanni Battista Cipriani (1727-1785) was an Italian painter, and the first exponent of Neoclassicism in England. He played an important part in directing eighteenth-century English artistic taste. His first lessons were given to him by a Florentine of English descent, Ignatius Hugford, and then under Anton Domenico Gabbiani. He was in Rome from 1750–1753, where he became acquainted with Sir William Chambers, the architect, and Joseph Wilton, the sculptor, whom he accompanied to England in August 1755.

Condition: Laid to album page. Text written in ink on verso visible to right of composition. unmounted [40314] ÂŁ300

6. William Woollett Francesco Bartolozzi after Thomas Hearne Etching London Pub. Aril 30 1795 by Thane, Spur Street, Leicester Square Image 95 x 75 mm oval, Plate 128 x 103 mm, Sheet 133 x 110 mm A half length portrait of William Woollett in profile in an oval. Proof before letters.

William Woollett (15 August 1735 – 23 May 1785) was and English engraver born to a Dutch family in Maidstone, Kent. He was the most famous British engraver of his day. He was th Secretary of the Incorporated Society of Artists 1766 and in 177, he was appointed engraver in ordinary to George III. Francesco Bartolozzi (1727-1815) Thomas Hearne (1744-1817) was English landscape painter in watercolour and an engraver. He was a pupil of William Woollett,with whom he worked with from 1765-1771. From 1771-1774 he travelled to the Leeward Islands where her served as draughtsman to the Governor. Hearne’s worked infuenced Thomas Girtin and J.M.W. Turner.

Calabi & De Vesme 933 i/iii Condition: Title in pencil. print grangerised in an album page. unmounted [40234] £65 7. W. Hogarth Engraver Samuel Ireland after William Hogarth Etching 1720, but later impression c. 1790 Image 72 x 99 mm, Plate 88 x 115 mm, Sheet 92 x 119 A later printing of William Hogarth’s trade card, presenting him as an engraver of prints as well as metalwork. Framed with two figures in classical dress; on the left a woman, and on the right a man drawing. Above, putti hold a print and a vase.

Condition: Trimmed close to plate mark and graingerised. unmounted [40216] £50

8. Painters room.

Ryder after William Hogarth Etching Pubd. for S. Ireland June 1 1797.

Image 143 x 103 mm, Sheet 219 x 139 mm Interior view of an artist’s chaotic studio. The painter’s model is sat to the right of the image, with a man unexpectedly wrapping his arm around her from behind. Shocked, she appears to have knocked over the artist’s easel and painting, which the artist attempts to catch. Behind the artist, another man reaches his hand out as though to help. A falling table and small, excited dog are set in front, whilst three disinterested figures stand behind. Framed paintings and a sculpture adorn the walls, whilst a large, draped curtain fills the upper right section of the composition.

Condition: Light time toning to edges of sheet. unmounted [40219] £40

9. The Early Residence of Wm. Hogarth Etching Pubd. by A. [Baige] 38 Maiden Lane Covent Garden London April 6th,, 1812.

Image 170 x 96 mm, Sheet 249 x 185 mm Façade of the Elephant and Castle, on Fenchurch Street, said to have been the early residence of William Hogarth. Upon the centre of the building, a plaque featuring a elephant and ‘M. Hibbert’ is featured.

Below the image, there is ten lines of inscription.

Condition: Trimmed within plate mark along upper edge. Sheet folded horizontally in half, and graingerised. unmounted [40218] £50

10. The Battle of the Pictures William Hogarth Etching 1745 Image 175 x 197 mm, Sheet 200 x 211 mm unmounted A satirical scene of a battle between Old Master paintings and the modern paintings of Hogarth, designed as an entry ticket for an auction of Hogarth’s works in February 1745. The sale was not an overly successful one for Hogarth, despite the calibre of his works on offer, which included ‘A Harlot’s Progress,’ ‘A Rake’s Progress,’ ‘The Four Times of Day,’ and ‘Strolling Actresses Dressing in a Barn.’ The image on the ticket depicts an auction house, where row upon row of Old Master works are ranked as if for battle. The suggestion is that some of the most popular, including Europa and the Bull, Apollo Flaying Marsyas, and St Andrew on the Cross appeared so frequently in such sales that the majority must have been forgeries. The endless ranks of reproductions are suggested by the addition of ‘Dto’ (’Ditto’) to the corners of each. Despite this, even forgeries of Old Masters frequently outsold modern works, as can be seen by the battle, where a number of Hogarth’s own pictures are pierced or bashed by religious and classical images of similar composition.

In the corner of the scene, Hogarth’s characteristic palette and bunch of brushes is used almost as a stamp of approval on the ticket. The print weighs in on the contemporary ‘Quarrel of the Ancients and Moderns,’ inspired directly by Swift’s short literary satire ‘The Battle of the Books.’ The Inscription above reads: The Bearer hereof is Entitled (if he thinks proper,) to be a Bidder for Mr. Hogarth’s Pictures, which are to be Sold on the Last day of this Month.

Lubertus van Gerrevink watermarked paper.

William Hogarth (1697 - 1764) was born in London, the son of an unsuccessful schoolmaster and writer from Westmoreland. After apprenticeship to a goldsmith, he began to produce his own engraved designs in about 1710. He later took up oil painting, starting with small portrait groups called conversation pieces. He went on to create a series of paintings satirising contemporary customs, but based on earlier Italian prints, of which the first was The Harlot’s Progress (1731), and perhaps the most famous The Rake’s Progress. His engravings were so plagiarised that he lobbied for the Copyright Act of 1735, commonly referred to as ‘Hogarth’s Act,’ as a protection for writers and artists. During the 1730s Hogarth also developed into an original painter of life-sized portraits, and created the first of several history paintings in the grand manner.

Paulson 157, BM Satires 2622 Condition: Good impression, trimmed within plate mark and all edges but top. Vertical fold, with right side of sheet graingerised.

[40220] £300

11. Hogarth.

J. Mollison Stipple and etching Under the Superintendance of the Society for the Diffusion of Useful Knowledge [c.1833-37] Image 133 x 106 mm, Sheet 220 x 139 mm Portrait of William Hogarth from Charles Knight’s ‘The Gallery of Portraits: with Memoirs’, published in London between 1833 and 1837. The seven volume series contained 168 engraved portraits.

Inscription beneath title reads: ‘From the original Picture by Himself in the National Gallery.’

O’Donoghue 9 Condition: A few faint spots of time toning. unmounted [40214] £15

12. [Design for a Shop-Bill] James Mérigot after William Hogarth Etching and aquatint [Pub. for S. Ireland May 1, 1799] Image 129 x 167 mm, Sheet 130 x 169 mm From the second volume of Samuel Ireland’s ‘Graphic Illustrations of Hogarth, from pictures, drawings, and scarce prints’.

Set within a studio, likely that of William Hogarth, the foreground of the image is dominated by the viewing of a painting for sale. The painting, which is of an elderly man alongside a bull, with ‘W. Hogarth Painter’ signed below, is held by a youthful man standing to the right. Standing to the left of the painting is another man, likely Hogarth himself due to the hat he wears, pointing towards the painting whilst talking to a customer. In the background, a young man leans onto a work top, gazing towards the men in the foreground, whilst another man can be seen at his easel painting.

James Mérigot (1772 - 1816 fl.) was a French printmaker, originally specialising in ‘manière de lavis’, the precursor of aquatint, which Mérigot later specialised in.

Condition: Trimmed to image, and graingerised. unmounted [40317] £25

13. A House in Leicester Square the Residence of the celebrated Wm. Hogarth Esqr. now Jacquier’s Hotel.

Samuel Rawle Copper engraving [Published by J. Sewell Cornhill July 1. 1801] Image 109 x 168 mm, Sheet 121 x 171 mm Illustration to the ‘European Magazine’.

View across Leicester Square towards a row of townhouses. Towards the centre of the square is a large statue of George II mounted on a horse, set on a decorated pedestal. Trees and shrubbery frame either side of the image, and reaching high above the houses is a church spire.

Samuel Rawle (1775 - 1860) was a British trade engraver.

Condition: Trimmed within plate mark, close to image, and graingerised. unmounted [40221] £50

14. Wm. Hogarth’s Tomb In Chiswick Churchyard Middx.

John Thomas Smith Copper engraving Pubd. June 9 1793, by N. Smith, Rembrandt’s Head, Gt. May’s Buildings, St. Martins Lane.

Image 190 x 170 mm, Plate 225 x 178 mm, Sheet 251 x 213 mm From Smith’s ‘Antiquities of London’.

A rare engraving of William Hogarth’s Tomb in Chiswick. Surrounding the image are inscriptions from the four sides of the plinth.

Condition: Horizontal crease through sheet from being bound in an album, with some discolouration along fold. Faint discolouration to top of tomb, and to to inscription space below image. unmounted [40222] £80

15. Hogarth.

William Skelton after John Mortimer Copper engraving Publihsed March 1798.

Image 60 x 44 mm, Plate 83 x 61 mm, Sheet 190 x 116 mm unmounted From the third volume of John Ireland’s ‘Hogarth Illustrated’.

A small engraving of a shrine to William Hogarth, accompanied by a few lines of inscription.

Condition: Some light time toning to sheet, and laid to album page.

[40223] £40

16. Mary & Ann Hogarth Jane Ireland after William Hogarth Etching [c.1730, but later impression c. 1800] Image 90 x 103 mm, Plate 160 x 111 mm, Sheet 171 x 121 mm Advertisement for the shop of Mary and Ann Hogarth, William Hogarth’s sisters. The image presents the interior of a clothing shop, with two female shop assistants attending the parents and their young children. Surrounding the composition is an ornate frame, with the royal coat of arms featured at the top.

Beneath the image is 10 lines of inscription providing details on the sisters’ business.

Condition: Some surface dirt to plate mark, and graingerised. unmounted [40217] £60

17. [Fencing Master from Plate 2 of ‘A Rake’s Progress’] attributed to Samuel Ireland after William Hogarth Etching [c.1785] Image 79 x 68 mm, Sheet 86 x 75 mm unmounted A half-length, reversed copy of the fencing master featured in the second plate of William Hogarth’s ‘A Rake’s Progress’.

This rare, and unrecorded etching is attributed to Samuel Ireland, known for producing a number of works after Hogarth. The style of this print, particularly in terms of the treatment of the face, much resembles a number of Ireland’s etched portraits. Printed on the verso of the lower right corner of a trimmed mezzotint, it is possible that this etching is a working proof.

Samuel Ireland (21st May 1744 - July 1800) was a British engraver, author, and collector of art and rare books, who specialised in series of ‘Picturesque Views’ with a particular focus on British rivers and waterways. In addition to his work as a topographical artist, he also etched a number of plates after Hogarth, Mortimer, and John Hamilton. His professional reputation was left in shambles following his unfortunate championing of a widely publicised hoax. A great admirer of Shakespeare, Ireland enthusiastically announced the discovery of a cache of Shakespeare manuscripts, which, after professional scrutiny, were proved to be forgeries created by his own son, William Ireland.

Ex. Col. Hon. Christopher Lennox-Boyd Condition: Slight discolouration to some areas of sheet. Trimmed within plate mark and graingersied.

[40224] £75

18. [Beggar’s Opera, Act III.] William Blake after William Hogarth Copper engraving Publish’d July 1st, 1790, by J. & J. Boydell, Cheapside & at the Shakespeare Gallery, Pall Mall London.

Image 396 x 534 mm, Sheet 472 x 652 mm This is the largest and finest of Blake’s reproductive prints and is regarded as the high point in Blake’s career as a commercial engraver. The print was commissioned by John Boydell around 1788 after Hogarth’s painting of a performance of John Gay’s ‘The Beggar’s Opera’, first performed at Lincoln’s Inn Fields in 1728.

Insciption below title reads: ‘When my hero in court appears, &c. / From the Original Picture in the Collection of His Grace, the Duke of Leeds.’

Essick 1983 LXI, Essick 1991 XX.I Condition: Excellent dark impression. Trimmed within plate mark along top, with tearing to edge of sheet in upper left corner. Discolouration and creasing to margins, and hole repair to lower left corner of sheet, just outside of image. mounted [40241] £850

19. On Hounslow Heath Captain Thomas Hastings after Richard Wilson Etching Colnaghi, 1820 Image 112 x 164 mm, Plate 128 x 178 mm, Sheet 145 x 220 mm An etching on India laid paper looking over Hounslow Heath with a seated figure in the foreground, two cows stand near the River Crane, and a windmill in the distance. The inscription below the image reads, The Original in the Possession of Lady Ford of Gloucester Place. This print comes from a series of 40 etchings entitled, ‘Etchings, from the Works of Richard Wilson.

Captain Thomas Hastings (1778 - 1854) was an amateur painter, draughtsman, watercolour artist ,and etcher. He was born Thomas Barnett, but changed his surname to Hastings in 1812. He was an officer in the British Army from 1795-1811 and made Captain from 1799. Hastngs went on to work as a Customs Officer in Liverpool from 1819. Hastings exhibited his work at the Royal Academy of Arts, Society of Painters in Watercolours, British Institution, Liverpool Academy, and Hibernian Academy.

He became an Associate of the Liverpool Academy and was the founder of the Carisbrooke Archers Society in 1829.

Richard Wilson RA (1 August 1714 – 15 May 1782) was one of the pioneers of British landscape painting. He worked in Italy and Britain He painted in a classical style influenced by the works of Claude Lorraine and his time in Italy.

Condition: Some light foxing in upper and right margins and one small area in the upper, centre left of the image. unmounted [40239] £120 20. Near Rome.

Captain Thomas Hastings after Richard Wilson Etching Colnaghi, 1820 Image 110 x 165 mm, Plate 127 x 175 mm, Sheet 142 x 220 mm An etching on India laid paper of a view outside Rome with a man and a woman in the foreground, remains of masonry to the left and a cliff in the background Lettered with ‘The Original in the Possession of Lady Ford’ above the title. unmounted [40242] £100

21. [A Naiad Riding a Porpoise] Edward Edwards Etching 1790 Image 150 x250 mm, Plate 182 x 279 mm, Sheet 248 x 303 mm Plate 51 from Edward Edwards’ A Collection of Views and Studies after Nature.

A naiad rides upon a porpoise, using her cloak as a sail. Behind, a triton attempts to seize her, whilst another triton resists him. In the background, two other tritons can be seen fighting over a naiad.

A Collection of Views and Studies after Nature contained a total of 51 plates; plates 1 -36 were landscape studies, whilst plates 37 - 51 were mainly human figures and heads, some of which were in Greco-Roman style.

Edward Edwards (1738 - 1806) Condition: Surface dirt and discolouration to margins. Faint red mark to upper left corner of sky.

Tipped to album page. unmounted [39832] £300 22. [The Women at the Sepulchre] William Sharp after Annibale Carracci Copper engraving Publish’d by Willm. Sharp London Feby. 10 1822 Image 508 x 593 mm, Sheet 542 x 672 mm Proof.

Sharp found his inspiration for this dramatic engraving in Annibale Caracci’s ‘The Dead Christ Mourned’, painted around 1604, and now in the collection of the National Gallery.

Sharp left this engraving unfinished, with Frederick Bacon later finishing the work.

William Sharp (1749 - 1824) was an English engraver. Beginning his career as an apprentice to Barak Longmate, a heraldic engraver, Sharp then went on to work as a writing engraver in Bartholomew Lane. From 1771, he studied at the Royal Academy Schools, and went on to become one of the most distinguished line engravers in Britain.

Annibale Carracci (1560 - 1609) was an Italian Baroque painter.

Condition: Trimmed within plate mark along upper and lower edges, and a central vertical fold. Large water stain to lower centre of sheet, slightly affecting image. unmounted [40323] £300

Giovanni Battista Piranesi 23. Colonna Antonina Giovanni Battista Piranesi Etching Piranesi fecit. [Rome, 1758] Image 522 x 395 mm, Plate 538 x 400 mm, Sheet 660 x 476 mm Inscription to either side of title reads: ‘1. Palazzo Ghigi. 2. Piazza Colonna. 3. Strada del Corso.’

A rare first state impression of Piranesi’s view of the Antonine Column in Rome. The column is centred in the Piazza Colonna, with groups of tourists, market-sellers, and horse-drawn carriages occupying the space around the column’s base. The numbered inscription below the view indicates the Chigi Palace, now the official residence of the Italian Prime Minister, to the scene’s left, with the Via del Corso to the right.

The Column of Marcus Aurelius, colloquially known as the Antonine Column, was built to commemorate the Marcomannic Wars of the Roman Emperor Marcus Aurelius, and was closely modelled on the earlier dedicatory column of Trajan. The column was erected on the Campus Martius in close proximity to the Temples of Hadrian and Marcus Aurelius, though it is unclear whether it was erected during the emperor’s lifetime, or posthumously, as the original inscription is lost. Akin to the Column of Trajan, the statue of Marcus Aurelius that probably once stood atop the column was lost in the Medieval period, and was likewise replaced during the restoration carried out by Pope Sixtus V in the 1580s, its bronze statue of St Paul forming a pair with that of St Peter on Trajan’s Column. The column, along with those dedicated to Trajan and Antoninus Pius, was a source of inspiration for Piranesi, later becoming the subject of a separately published pamphlet.

Hind 52. i/vii, Wilton-Ely 151, Focillon 799, C716 Condition: Strong, clean impression. Central horizontal crease. Minor printer’s creases to centre of plate and right margins. Fleur-de-lis watermark. unmounted [40154] £2,200

24. Colonna Traiana Giovanni Battista Piranesi Etching Presso l’Autore a Strada Felice nel Palazzo Tomati vicino alla Trinita’ de’ monti. A paoli due e mezzo.

[Rome, 1760-1778] Image 534 x 400 mm, Plate 550 x 408 mm, Sheet 590 x 458 mm Inscription to either side of title reads: ‘1. Bucca fatta scavare da Sisto V. con recinto di muro, e Scala, che discende al piano della Colonna. 2. Chiesa del Nome di Maria. 3. Palazzo Bonelli.’

A view of Trajan’s Column in Rome. The column is central, with various surveyors and tourists examining the monument from its base, and the stairs leading up from the sunken excavation level towards the Baroque Church of the Holy Name of Mary. The numbered inscription below the view indicates the walls built by Pope Sixtus V to prevent reburial of the monument by the rising ground level, following his excavation and refurbishment of the column, as well as the neighbouring church, to the right, and the Palazzo Bonelli, behind.

The Column of Trajan was built to commemorate the Dacian Wars of the Roman Emperor Trajan, and was completed in AD 113. The column stands in an open courtyard in Trajan’s Forum, between the Basilica Ulpia and the Temple of the Deified Trajan, and was originally flanked by a pair of libraries, one Greek, one Latin. Its ornately carved spiral frieze features scenes from the Dacian Wars, and Dacian arms and military trophies are depicted on the base, with a dedicatory inscription from the Senate and People of Rome. When Trajan died in AD 117, his ashes were entombed within the base, along with those of his wife Plotina. The statue of Trajan that once stood atop the column was lost in the Medieval period, and was replaced by a statue of St Peter during the restoration carried out by Pope Sixtus V in AD 1587. The column, along with those dedicated to Antoninus Pius and Marcus Aurelius, was a source of inspiration for Piranesi, later becoming the subject of a separately published pamphlet with 21 detailed views and schematics of the structure.

Hind 51. iii/vii, Wilton-Ely 150, Focillon 798, C715 Condition: Strong, clean impression. Fleur-de-lis watermark. Minor time-toning to verso. unmounted [40153] £2,200

25. Veduta dell’ Esterno Della Gran Basilica di S. Pietro in Vaticano Giovanni Battista Piranesi Etching Piranesi Architetto fec. [Rome, 1748] Image 378 x 596 mm, Plate 398 x 600 mm, Sheet 548 x 775 mm Inscription after title reads: ‘Architettura di Michelagnolo Buonarota. Questa fu eretta in parte sopra i fondamenti del Circo Neroniano. 1. Luogo ove si lavorano i Mosaici di S. Pietro. 2. Sagristia: vicino a questa usciva dal terreno in piede l’Obelisco, che ora si vede nella Piazza di S. Pietro, e faceva centro sulla Spina del Circo Sudd.to. 3. La gran Cupola, nella cima della quale evvi la Palla di metallo, dentro cui ci capiscono circa venti persone. 4. Monte Vaticano. 5. Avanzi di Colonne di Granito e marmo Pario, le quali reggevano il Settizonio, demolito da Sisto V.’ A rare first state impression of Piranesi’s view of the Vatican Basilica from the East. The numbered inscription below the image indicates important aspects of the basilica, notably Michelangelo’s Dome, and the remains of a large granite and Parian-marble column from the Severan-era Septizodium.

The Papal Basilica of St Peter in the Vatican is one of the four Major Basilicae of the Roman Catholic Church, and the largest Christian church in the world. The current Renaissance-era church stands on the site of original Vatican Basilica, built by the Roman emperor Constantine to mark the alleged burial place of St Peter. Because of St Peter’s connection to the papacy, the church has become the most prominent of Catholic sites of worship and pilgrimage, despite the fact that the Archbasilica of St John Lateran holds formal primacy as the seat of the Pope as Bishop of Rome.

Hind 5. i/vii, Wilton-Ely 153, Focillon 789, C691 Condition: Strong, clean impression on full margins. Minor repaired tears to bottom margin, not affecting plate or image. Central vertical crease. unmounted [40235] £1,900

26. Veduta della Basilica di S. Giovanni Laterano. Architettura di Alessandro Gallilei Giovanni Battista Piranesi Etching Piranesi del. Scol. [Rome, 1749] Image 370 x 540 mm, Plate 390 x 545 mm, Sheet 550 x 760 mm Inscription to either side of title reads: ‘1. Capella fabricata da Clemente XII. Corsini. 2. Palazzo fabricato da Sisto V. ora Conser. di Zitelle. 3. Scala Santa. 4. Guglia Egiziaca giacente. 5. Mura della Citta’ A rare first state impression of Piranesi’s view of the Basilica of St John Lateran. The facade of the Lateran Basilica is shown in wide view. The open courtyard before the church is occupied by two horse drawn carriages, as well as groups of ambling tourists, and a group of beggars sit atop the city wall in the foreground.

The numbered inscription below the image indicates important aspects of the basilica, including the chapel of Pope Clement XII, the Palace of Pope Sixtus V, the Holy Stairs, and the obelisk of Thutmoses IV. The Papal Archbasilica of St John in the Lateran is the seat of the Pope as Bishop of Rome, and both oldest and foremost of the Papal Basilicae. The current church stands on the site of the cavalry camp of the Roman imperial bodyguard, which was demolished by Constantine following his victory over Maxentius in the Battle of the Milvian Bridge. The area in which the Basilica sits was once the property of the gens Laterani, hence its toponym. The church retains a number of interesting architectural features, including the Holy Stairs, allegedly the original marble steps of the Palace of Pontius Pilate, and the obelisk of Thutmoses IV, removed from Karnak and brought to Rome by Constantius II to stand in the Circus Maximus.

Hind 8. i/vi, Wilton-Ely 139, Focillon 790, C694 Condition: Strong, clean impression on full margins. Central vertical crease. unmounted [40155] £1,800

Caricatures & Satires 27. Keep within compass and you shall be sure, to escape many troubles that others endure Copper engraving with hand colouring London: William Darton Wholesale Map & Print Seller, 58 Holborn Hill [n.d. c. 1820] Image 260 x 413 mm, Plate 273 x 422 mm, Sheet 298 x 460 mm A rare print outlining what happens when men and women fall outside the moral compass. Composed of two ovals with the title ‘ Keep within compass and you shall be sure, to escape many troubles that others endure’ engraved around each, in the left a man and his dog stand alongside a sack of coins in a bag labelled ‘Rewards of Industry’, in the right oval a woman feeding her chickens.

Shefrin 2009 H2155 Condition: Good clean impression, one small hole to top left of sheet, not affecting image. Framed in a period frame. framed [40367] £650

28. A double-distilled Dandy.

George Cruikshank Etching with original hand colour London, 1818 [but later 19th Century impression] Image 348 x 230 mm, Sheet 375 x 237 mm A caricature of a man dressed in a long coat with a pinched waist, a top hat, and shoes with cock’s head spurs he says: ‘I say my fine fellow—pick up my handkerchief!—the rascally Tailor has made my riding belt [i.e. stays] so very tight I cannot stoop for it—I’ll give you some coin next time I see you little man.’ Original publication line erased.

BM Satires 13091, Reid 2746 Condition: Trimmed to boarder. unmounted [40212] £150

29. “The Rights of Women” or the Effects of Female Enfranchisement George Cruikshank Etching The Comic Almanack for 1853. Pubd. by D. Bogue 86 Fleet Street, London.

Image 145 x 393 mm, Sheet 187 x 444 mm Frontispiece to the 1853 volume of George Cruikshank’s ‘The Comic Almanack.’

Cruikshank’s chaotic satire focuses on the issue of women’s rights, and was one of the few images prior to 1866 to publicly ridicule the notion of women’s suffrage. The caricature presents the electors ignoring the serious, if somewhat unattractive, candidate in favour for the handsome runner Sir Charles Darling. Waved above the crowds are various banners inscribed with messages such as ‘Husband and Wife Voters’, ‘Sweet Heart Voters’, ‘Do Not Vote for Ugly Old Stingy’, and ‘Vote for Darling and _ Parliamentary Balls Once a Week’.

The Comic Almanack was published between 1835 and 1840 by Charles Tilt, by Tilt and Bogue between 1841 and 1843, and finally by David Bogue between 1844 and 1853. Published in 19 volumes, the series contained 5 folding frontispieces, 190 etched plates, and various engravings set within the text by Cruikshank.

George Cruikshank (1792-1878), illustrator and cartoonist, was born in Bloomsbury, London, the son of Isaac Cruikshank, an illustrator and painter. His brother Robert Cruikshank (1789-1856) was also an artist and often collaborated with him. Taught to draw and etch by his father, Cruikshank published political caricatures in magazines before he was twenty years old. He became known for his caricatures ridiculing King George IV and for his social satires such as “Monstrosities” which focused on the extremes of fashion.

Condition: Vertical creases as issued, and some time toning to edges of sheet. unmounted [40206] £75

30. The Hopes of the Family - An Admission at the University James Bretherton after Henry William Bunbury Etching Printed and Publish’d as the Act directs 3d. Jany.

1774 by J. Bretherton No. 134 New Bond Street.

Image 253 x 369 mm, Sheet 299 x 399 mm A meeting of a prospective student and a college don in academic dress and mortar board, the young mans father looks on eagerly awaiting the verdict. A servant holding books and a student in robes stand either side.

James Bretherton (fl.1750 - 1799) was an etcher, dealer and publisher in London. His brother was Charles Bretherton and is particularly associated with Henry William Bunbury, many of whose works he engraved and published. His stock of plates was auctioned in 1799.

Henry William Bunbury (1750 – 1811) was an English caricaturist. He was educated at Westminster School and St Catharine’s College, Cambridge, and soon showed a talent for drawing, especially for humorous subjects. His more serious efforts were no great success, but his caricatures are as famous as those of his contemporaries Thomas Rowlandson and James Gillray.

BM Satires 4727 Condition: Laid to album page. Stain in bottom right corner of inscription space. mounted [39981] £280 31. Distillers Looking Into Their Own Business.

Thomas Rowlandson Etching with hand colouring Thos. Tegg [c.1811] Image 225 x 322 mm, Sheet 270 x 415 mm Three grotesque, elderly men, with hideously carbuncled faces, peer into a cask inscribed with ‘Double Rectified Spirits’. From their noses and mouths, the revolting men stream copiously into the vat. Set to to the left is a still, which features a pipe leading into the cask.

‘100’ inscribed to upper right corner of image, an publication line scratched through on plate.

BM Satires 11813, Grego, Rowlandson, ii. 214.

Condition: Heavy time toning and staining to sheet.

Large repair to left margin, and upper right corner of sheet missing. Several small tears and creases to edges of sheet.

[40213] £300

32. Bacon Faced Fellows of Brazen Nose, Broke Loose.

Thomas Rowlandson Etching with hand colouring Pubd. by Thos. Tegg No. 111 Cheapside. [1811] Image 223 x 333 mm, Plate 253 x 358 mm A group of elderly Brasenose Fellows emerge from a Gothic doorway set to the left, possibly an entrance to a chapel, and make their way towards a quadrangle indicated in the background. The cluster of men pass under an archway, with a mullioned window above. One of the men breaks away from the crowd, and enters the Principal’s Lodge by a Georgian doorway set to the right. Following closely behind him is a buxom woman, who carries baskets of fruit. Another young, attractive woman sells fruit to the Fellows, which excites their prurient interest. On the wall to the right are two placards, one reading ‘Vice Chanr.’ and the other, upside down, reading ‘Vice...’. Although the architecture is rendered with a certain level of realism, and the caricature is overtly directed at Brasenose College, the buildings depicted are not actually those of Brasenose.

Thomas Rowlandson (1757-1827) was one of the most accomplished and prolific of English professional draughtsmen. Admired for his satirical wit, he excelled as a caricaturist as well as an illustrator of books.

Best known for such works as ‘The Microcosm of London’ and ‘The Three Tours of Doctor Syntax’, which he illustrated for Rudolph Ackerman. One of the finest exponents of pen line in the history of British art.

BM Satires 11782 Condition: Good impression, with a few light spots of foxing to sheet. Date erased on publication line. framed [40268] £450

33. Lady Godina’s Rout; __ or __ Peeping-Tom spying out Pope- Joan, Vide Fashionable Modesty.

James Gillray Etching with original hand colouring Pubd. March 12th 1796, by H. Humphrey New Bond Street.

Image 238 x 353 mm, Plate 257 x 358 mm, Sheet 272 x 384 One of James Gillray’s society caricatures, poking fun at both fashion and the behaviours of the society set.

A fashionable crowd, with two card-tables, a round table in the foreground (left) at which four persons play Pope-Joan; the most conspicuous is a pretty young woman directed to the left, her loose semi-transparent draperies revealing her person and leaving her breasts almost uncovered. A leering man stands behind her chair, negligently holding candle-snuffers to a candle on the table, in order to peer down her décolletage. A stout lady in back view, sitting on a stool (identified as Lady Buckinghamshire, but (?) Duchess of Gordon), a little girl, and an elderly man (identified as Dr. Sneyd) complete the table. On the right is another cardtable at which three persons are playing. Standing figures freely sketched form a background, the whole design being dominated by the erect feathers of the ladies, usually springing from a turban, cf. BMSat 8755.

The scantily covered lady is identified by Wright and Evans as Lady Coventry, by Grego (more probably) as Lady Georgiana Gordon (hence the name’Godina’). See BMSat 8896, &c. William Sneyd, Rector of Elford, was the friend of Canning who introduced Gillray to him. Bagot, ‘Canning and his Friends’, i, ‘passim’.

(Description and comment from M.Dorothy George, ‘Catalogue of Political and Personal Satires in the British Museum’, VII, 1942).

BM Satires 8899 Condition: Small tear in left margin not affecting the plate or image and a small tear lower right and just into inscription space, central vertical crease. unmounted [40167] £550

34. Mr. Worldly Wiseman Directing Pilgrims to the Town of Infallibility!

Touchstone Lithograph with tint stone Pubd. by T. McLean 26 Haymarket, Jan 31. 1851.

Printed at 70 St. Martin’s Lane.

Image 240 x 327 mm, Sheet 298 x 403 mm Plate 8 from the series ‘Political Fly Leaves’.

Stood to the right of the composition is a man wearing college cap and bands, and carrying a large bundle on his back. The bundle is inscribed with ‘The Thirty-Nine Articles’ and ‘Royal Supremacy’, whilst the bottle attached to his belt is inscribed with ‘Tracts for the Times’. In his right hand, he holds a staff, and partially raises his left as he approaches the man standing to the left, Cardinal Wiseman. He, too, holds a staff in one hand, and with his other, directs the pilgrims along a winding road to Rome.

Nicholas Wiseman (1802 - 1865) was a Cardinal of the Roman Catholic Church. Following the re-establishment of the Catholic hierarchy in Britain, Wiseman became the first Archbishop of Westminster in 1850.

Condition: Small amount of discolouration to sheet. unmounted [40347] £80 35. The Mother and the Child.

Copper engraving London Magazine, vol. 42, February 1773 Image 143 x 100 mm vignette, Plate 176 x 111 mm A satire about the arrears of the Civil List. George III is portrayed as a child in the lap of thin, melancholy Britannia asking for ”more Supplies.” Above both their heads is a comparison of the state of the Privy Purse in 1753, full with GRII on it and 1773, empty with GR III inscribed around it.

This illustrates ‘Fragment of a Speech’: “Supplies ... were never greater, and occasion was never less.

Our mother Britain, has been drained of her nourishment till she is ready to expire: . . . yet her son, her best beloved, her eldest-born, still hangs upon her breasts, still suckles, and (barbarous!) still shrieks out for “More Supplies! More Supplies!” Unnatural boy!” (British Museum).

BM Satires 5105 unmounted [40320] £50

36. The Angelic Angler Mezzotint with original hand colouring London, Printed for R. Sayer & J. Bennett, Map & Printsellers, No. 53, Fleet Street, as the Act directs, Jan 1781 Image 323 x 250 mm, Plate 355 x 251 mm, Sheet 365 x 264 mm A fashionable young lady seated beside a river with fishing rod in her right hand and a fish caught on the line. A gentleman fishing and stately home in the background.

Inscribed either side of the title below the image with four lines of verse in two columns ‘At once Victorious, with your hands and eyes, You make the fishes & the Men your Prize, And while the pleasing Slavery we Court, I fear you captivate us both for Sport’ Sayer & Bennett (1774 - 1786) were a partnership of the print-publishers Robert Sayer and his assistant John Bennett, working in London at 53 Fleet Street.

Russell undescribed, Chaloner Smith undescribed, Lennox-Boyd i/iii Condition: Professionally backed with tissue, overall time toning to margins. unmounted [40362] £450 37. The Musical Charmer Mezzotint with original hand colouring London, Printed for R. Sayer & J. Bennett, Map & Printsellers, No. 53, Fleet Street, as the Act directs, December 1st. 1780 Image 323 x 250 mm, Plate 355 x 251 mm, Sheet 365 x 264 mm An archetypal eighteenth century mezzotint ‘droll’ of an interior with a fashionable young lady seated on a sofa playing a lute, with music scores by her side. An open window and balconette with a potted plant to the left and a mirror and cape and hood hang behind.

Inscribed either side of the title below the image with four lines of verse in two columns ‘I’ll twine fresh Garlands for my Lovers brows, And consecrate to him eternal Vows, ~ The Charming Youth shall my Apollo prove, And shall adorn my Song & tune my Voice to Love’, Russell undescribed, Chaloner Smith undescribed Condition: Professionally backed with tissue, overall time toning to margins. unmounted [40361] £400

British Topography Oxford & Cambridge 38. Prospect of the Hall of Christ - Church, formerly Cardinal College, Oxon, from the great Quadrangle.

Peter Fourdrinier Copper engraving c. 1720 Image 232 x 339 mm, Plate 267 x 347 mm, Sheet 342 x 403 mm Peter Fourdrinier (d.1750) was an eighteenth-century French engraver. He is best known for his architectural engravings, to which his mechanical style was well suited.

Condition: Vertical folds as issued. Tears along left edge of sheet, and heavy staining to bottom margin. mounted [39825] ÂŁ200 39. Prospectus Oxoniae Orientalis / Prospectus Oxoniae Meridionalis [East and South Prospects of Oxford] David Loggan Copper engraving [1675] Image 371 x 508 mm, Plate 403 x 513 mm, Sheet 432 x 550 mm Twin prospects, from the East and South, of the City of Oxford, from Oxonia Illustrata (First Edition).

Oxonia Illustrata was the first illustrated book on Oxford and one of the major works of the 17th century. The book was the product of several years of devoted and conscientious effort in which Loggan was assisted by his pupil Robert White. David Loggan was born in Danzig in 1635 and came to England around 1653. By 1665 he was living in Nuffield near Oxford and in 1669 was appointed engraver to the University. In 1675 he married and became a naturalised citizen. His Oxonia Illustrata was intended as a companion work to Historia Antiquitates Universitatis Oxoniensis by Anthony Woods, with whom Loggan had become acquainted some years earlier.

Condition: Strong, clear impression with full margins. Vertical centre fold as issued, with minor repairs to top and bottom of fold. mounted [39689] ÂŁ975

40. The South East Prospect of the University, and City of Oxford / The South West Prospect of the University, and City of Oxford Samuel and Nathaniel Buck Copper engraving Saml. & Nathl. Buck delin. et Sculp, Publish’d according to Act of Parliamt. May 26th. 1753. Garden Court No. 1. Middle Temple, London. [1774, Sayer Edition] Images 280 x 785 & 275 x 790 mm, Plates 315 x 820 & 300 x 795 mm A pair of the famous Buck panoramas of Oxford, viewed from the south east (between Iffley and the Henley Road), and the south west. Each view includes an alphabetical key to Oxford landmarks, and the South West Prospect also features a short history of the City and University in the inscription space, along with representations of the City and University crests. Being among the later views completed by the Buck brothers, these two views of Oxford are much less formal than those of other cities, with the foregrounds of both quite heavily populated with figures and activity.

Samuel Buck (1696-1779) and Nathaniel Buck (fl. 1727-1774) were British engravers and publishers, best known for their famous series of English and Welsh views. In 1727, the brothers commenced sketching and engraving a series on the architectural remains of England and Wales. This series included 83 large prospects of the 70 principal towns in England and Wales. It took the Buck brothers 28 years to complete their venture and during this time changes to their style occurred. The brothers began to use a less formal style in their later engravings by including figures in the foreground and using more subtle landscapes in the foreground. In 1774, Robert Sayer obtained the plates, added page numbers to them and published them as Buck’s Antiquities.

Condition: Centre folds as issued. Excellent impressions with full margins. framed [40227] £2,200

41. The High Street Oxford J. W. Edy after the Rev. J. Griffith Aquatint with original hand colouring London Published Aug. 1, 1800 by J W Edy, Romney Row, Westrn Image 555 x 755 A rarely seen grand print of the High Street. This fine separately published view of the High concentrates on the centre part of the street from Queens College to All Saints Church, including the colleges of All Souls, University and St. Mary’s Church.

Condition: Trimmed to image, light stains to sky in image. framed [39558] ÂŁ1,200

42. High Street Oxford S. Middiman and John Pye after J.M.W. Turner Copper engraving Published March 14, 1812 by James Wyatt Carver and Guilder, High Street Oxford as the Act Directs.

Image 405 x 605 mm, Sheet 490 x 635 mm Inscription: lettered below image with title, dedication to Parsons by the publisher and production line: ‘This plate engraved by S. Middiman and John Pye from the original picture by J.M.W.Turner Esqr. R.A. and Professor of Perspective to the Royal Academy.’

Depiction of heraldry, with additional production detail: ‘The figures Engraved by Charles Heath.’

J.M.W. Turner’s seminal view of Oxford High Street depicts the cobbled road looking towards Carfax Tower. To the south, a scholar in cap and gown descends some steps towards a group of people gathering up goods on the pavement. Behind the spilt fruit of the hamper, labourers scale a ladder and dismantle the roof of Deep Hall. All of this occurs under the shadow of University College, deeply cast onto the famous cobblestones. In contrast, the north side of the road is bathed in sunshine. More students in academic dress feature. High above their heads, linear shafts of light fall upon All Saints Church and the University Church of St Mary the Virgin. The straight beams are beautifully counterpoised by the whirling of cloud.

Rawlinson 79.

Condition: Fine impression, minor creases and repaired tear to top edge of image, light foxing to bottom corners of inscription space. ‘J.W.’ blindstamp in left corner of inscription space. Framed in an antique style gilt frame. framed [40228] £1,500 43. Design for The Cloisters Schools, Oxford Frederick William Hulme and Thomas Allom Lithograph Hillmandale & Walton, Novr. 1, 1847 Image 350 x 472 mm, Sheet 423 x 565 mm A rare lithograph on India laid paper of the elevation for The Cloisters Schools, Oxford with a manuscript note lower right detailing the printing date of the print. unmounted [40170] £350

44. The Oxford Almanack For the Year of our Lord God, MDCCLXII [Queens College] Benjamin Green Copper engraving Oxford, 1762 Image 345 x 447 mm, Sheet 392 x 463 mm The Oxford Almanack for 1762, depicting the new facade of Queen’s college, which had been recently completed, with the men responsible for the rebuilding project in the foreground. To the left, Sir Joseph Williamson and Dr Lancaster examine the architectural plans for the rebuilding project. Beside them, Dr Halton and Bishop Barlow likewise examine plans for the library. To the right of the scene, John Michel stands in the courtyard, indicating the position for the East Range of the quadrangle that was built with his bequest. Below the scene, the title for the calendar is bordered by a pair of lists, representing the succession of the Royal line from William the Conqueror to the left, and the Officers of the University for 1762 to the right. The calendar itself has been trimmed off.

Benjamin Green (c.1736-c.1800) was a British artist and royal engraver to King George III. Condition: Trimmed within plate and missing calendar. Time toning to sheet. Printers crease to top centre of sheet. Repaired tear to centre top edge of sheet, mounted [39817] £325 45. Theatri Sheldoniani [Sheldonian Theatre] David Loggan Copper engraving [1675] Image 333 x 438 & 330 x 442 mm, Plate 362 x 443 & 359 x 447 mm, Sheet 428 x 528 & 432 x 554 mm A pair of views, from the North & South, depicting the front and rear elevations of the Sheldonian Theatre, from Oxonia Illustrata (1675, First Edition).

Condition: Strong, clear impressions with full margins. Vertical centre folds as issued, with minor tear repairs to top and bottom of folds. Minor tear repairs and minor time toning to edges of sheets. Tear repair to centre bottom edge of South view, affecting inscription space. mounted [39690] £1,300

46. Nova & Accuratissima Celeberrimae Universitatis Civitatisque Oxoniensis Scenographia [General Plan of the City of Oxford] David Loggan Copper engraving [1675] 415 x 536 mm A general plan of the city of Oxford from Oxonia Illustrata (1675, First Edition). The plan is oriented with South at top, following the precedent set by Ralph Agas in his 1578 map of the city. A prospect of the city from the East is featured in a scrolled box in the top left corner of the plate.

Condition: Strong, clear impression with full margins. Vertical centre fold as issued, with minor tear repairs to top and bottom of fold. Minor time toning to edges of sheet. mounted [39685] £1,700 47. Collegium Corporis Christi & Beatæ Mariæ Apud Cantabi [Corpus Christi Cambridge] David Loggan Copper engraving 1690 Image 342 x 248 mm, Plate 349 x 435 mm, Sheet 430 x 530 mm From Cantabrigia Illustrata. Sive omnium celeberrimæ istius universitatis... Cambridge: Quam proprijs sumptibus typis mandavit & impressit Cantabrigiæ.

Loggan’s ‘great work’ is the earliest and best collection of Oxford views and his much rarer Cambridge engravings. The extraordinary amount of accurate detail in both implies considerable time spent on the study of the buildings and on the preparation of the plates.

Condition:Excellent clean impression with full margins. Pressed centre fold as issued, small tears to bottom and left edges of sheet, small tissue backed hole to right platemark, not affecting image. unmounted [40357] £650

48. Coll, sive Aula Divae Catharinae Virgini. [St. Catherine’s College Cambridge] David Loggan Copper engraving 1690 [1705 Overton Edition ] Image 340 x 438 mm, Plate 347 x 445 mm From Cantabrigia Illustrata. Sive omnium celeberrimæ istius universitatis... Cambridge: Quam proprijs sumptibus typis mandavit & impressit Cantabrigiæ.

Loggan’s ‘great work’ is the earliest and best collection of Oxford views and his much rarer Cambridge engravings. The extraordinary amount of accurate detail in both implies considerable time spent on the study of the buildings and on the preparation of the plates. Engraved number 23 in lower right of inscription space indicating this an Overton edition of this print.

Condition:Pressed centre fold as issued, small foxing marks to sheet. unmounted [39808] £650 English Counties, including London 49. A View of the House and Part of the Garden of Sr. Francis Dashwood Bart. at West Wycomb in the County of Bucks.

William Woollett after William Hannan Copper engraving Printed for Robt. Sayer in Fleet Street, [1757] Image 332 x 505 mm, Sheet 477 x 629 mm A view of the north front and east portico of West Wycombe Park, the pleasure palace of 18th-century libertine Sir Francis Dashwood, 2nd Baronet. The house is surrounded by a vast landscaped garden, with several figures situated amidst the gardens. In the immediate foreground, two gentlemen stand together looking towards the house, with one gesticulating with his cane. Set to the left, a gentleman accompanies two ladies, whilst closer to the portico, a group are enjoying a tea party. To the right of the house, and further into the distant landscape, a group of three people stand, with one point towards the house.

Fagan 27.IV Condition: Good, clean impression. Faint discolouration to margins, and three small puncture holes to left margin. Two tear repairs, to right edge of sheet. unmounted [40236] £450

50. Prospect of Marlborough from the South 29 Jun 1723.

William Stukeley Copper engraving with hand colour c. 1723 Image 140 x 262 mm, Plate 168 x 270 mm, Sheet 221 x 340 mm A view of Marlborough from William Stukey’s Itinerarium curiosum: or, An account of the antiquities, and remarkable curiosities in nature or art, observed in travels through Great Britain, Volume 1 1724. unmounted [40344] £80 51. Richmond, from Twickenham Park.

Charles Heath after Thomas Christopher Hofland Copper engraving Published Octr. 1st 1822 by T. C. Hofland, 23, Newman Street, Oxford Street & Messrs. Hurst, Robinson & Co. Cheapside, London.

Image 348 x 527 mm, Sheet 412 x 592 mm A separately published landscape view from Twickenham Park, with Richmond Bridge set in the distance. Running through the parkland is the River Thames, with several barges travelling along. The immediate foreground features a number of figures, including a woman sketching, who is watched by a kneeling man holding brushes and a box.

Charles Heath (1785-1848) was an English engraver, illustrator and publisher. The illegitimate son of James Heath, a successful engraver who enjoyed the patronage of King George III; Heath received his first training in the art from his father. Producing etchings from the age of six, Heath learnt from his father how to etch small plates suitable for book illustration. As a young man, Heath became a fellow of the Society of British Artists and throughout his life contributed to exhibitions. An entrepreneur who first mass-produced steel engravings in Britain for the purpose of illustration, Heath was a driving force behind the new genre of the literary journal.

Thomas Christopher Hofland (1777 - 1843) was an English artist, primarily painting topographical subjects.

Heath 1822.11 Condition: Good clean impression. Trimmed within plate mark, and some discolouration to margins not affecting the image. unmounted [40231] £550

52. Extinct Animals Day & Son after Philip Henry Delamotte Chromolithograph Day & Son, Lithrs to the Queen. P.H. Delamotte, Photographer [London, c. 1860] Image 208 x 302 mm, Sheet 228 x 302 A lithograph after the photograph by Delamotte of the Mesozoic Era display of ‘Extinct Animals’ at Crystal Palace park in Sydenham. This view shows the most famous of the so-called ‘Crystal Palace Dinosaurs,’ built by Benjamin Waterhouse Hawkins under the auspices of Richard Owen, the celebrated biologist, paleontologist, and progenitor of the term ‘dinosaur.’

Condition: Trimmed to image and title. Minor time toning and staining to inscription space. mounted [39835] £175

Foreign Topography The Americas 53. The Waterfall of Niagara Robert Hancock Copper engraving with original hand colouring Published 12th May, 1794 , by Laurie & Whittle, 53 Fleet Street, London. [Watermarked 1811.]

Image 234 x 386 mm, Plate 262 x 401 mm, Sheet 342 x 485 mm An early vue d’optique depiction of Niagara Falls.

In the lower left corner of the image, three noblemen, two religious figures, and a native American stand together, gazing on in excitement at the waterfall. Several native Americans can be seen in the lower right corner of the image. Walking along a winding dirt path, they carry large boulders on their backs.

Title and description given in both English and French below image.

Condition: Discolouration and tearing to margins, not affecting printed area. Light acid mark running outside of plate mark. unmounted [40233] £500

54. View of the road leading through the Taurau woods at Dominica, where on the night of the 15th. June 1848 Lt Col. Moore 54th REgt. on returning from the Layou River to Morne Bruce fell down a perpendicular precipce of 237 feet his horse killed on the sot and himself miraculously saved without having sustained any lasting injury.

Etching c. 1848 Image 118 x 178 mm, Plate 195 x 251 mm, Sheet 299 x 418 mm A scarce etching on India laid paper of Dominica with an accompanying description charting the accident which befell Lt. Col. Moore Condition: Foxing, some creasing and staining in the margins not affecting the image unmounted [40322] £80 55. [The Meeting of Cortes and Montezuma in 1519] Jacobus Schynvoet Copper engraving and etching London : printed for the author: and sold by J. Roberts, in Warwick-Lane ; and the booksellers in town and country, MDCCXXXVI. [1736] Image 267 x 342 mm, Sheet 284 x 346 mm A plate illustrating the meeting of Cortes and the Aztec leader Montezuma from Thomas Salmon’s Modern history : or, the present state of all nations. Describing their respective situations, persons, habits, Buildings, Manners, Laws and Customs, Religion and Policy, Arts and Sciences, Trades, Manufactures and Husbandry, Plants, animals and minerals. By Mr. Salmon. Vol.XXVIII. Being the First Volume of America. With one page of accompanying text.

Jacobus Schynvoet (fl. 1680 - 1720) wasa Dutch printmaker and engraver who worked in Amsterdam and London.

Condition: Trimmed to image on left, bottom and a third of the right; horizontal and vertical creases, all as issued.

[40168] £100

Europe 56. Palais des Tuileries et du Nouveau Louvre Godard Lithograph with tint stone Paris, Lédot frères, édit, 168, rue de Rivoli, Gd. Hôtel du Louvre. [c. 1855] Image 199 x 295 mm, Sheet 336 x 412 mm An aerial view of Paris centring on the Tuileries Palace and the Louvre, with much of the surrounding areas detailed. Various other buildings and monuments are visible, including Notre-Dame, Saint Chapelle, and the Panthéon. During the 1850s, Napoléon III connected the Tuileries Palace with the Louvre, thus finally achieving the Grand Dessein (“Great Design”) originally envisaged by King Henry IV of France in the 16th century. However, this consummation only lasted until 1871, when the Paris Commune, a radical socialist and revolutionary government that ruled Paris for a few months in 1871, burned the Tuileries Palce down. The library and other parts of the Louvre were also ignited.

Condition: Discolouration and foxing to margins.

Crease across lower left corner of sheet, not affecting image. unmounted [39834] £190 57. Ruins of Ancient Rome Copper engraving Printed for Robt. Sayer Map & Printseller at the Golden Buck in Fleet Street. [c.1760s] Image 162 x 265 mm, Plate 188 x 280 mm, Sheet 223 x 321 mm A ‘capriccio’, or fantastical view, of a selection of Roman ruins. From left to right, the ruins are the lower section of Trajan’s Column, the Mausoleum of Hadrian, more commonly known as the Castel Sant’Angelo, the Temple of Peace, the Arch of Constantine, and the Basilica of Antonius.

Plate 9 from a series that depicted the ruins of various classical civilisations, which also included plates of the ruins of Athens, the temples of Palmyra, Syria, and views of Baalbek, Lebanon. Taken from various sources, this particular plate is a reduced copy of an etching produced by William Austin after Giovanni Paolo Pannini in 1756, also published by Robert Sayer, that was one of a set of four plates depicting the ruins of ancient Rome. unmounted [40263] £75

58. Vue Perspective du Palais des Papes, sur le Mont Cavallo à Rome, et des Ecuries Copper engraving with original hand colouring A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257. [n.d. c. 1780] Image 246 x 388 mm, Plate 267 x 399 mm, Sheet 325 x 468 mm A vue d’optique of the Quirinal, a historic building in Rome, and a residence of the Pope. Various figures are depicted in the street outisde the palace, as well as two horse drawn carts.

Condition: Staining and creasing to right margin, and some discolouration to sheet, slightly affecting sky of image. unmounted [40349] £120

Collection of prints from ‘Collezione Delle Principali Vedute Di Venezia Disegnate Dai Migliori Artisti’, a series of twelve plates illustrating famous architectural and canal views in Venice.

59. La Piazza Di S. Marco Dalla Torre dell’ Orlogio.

Giuseppe Kier after G. B. Cecchini Lithograph with early hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 291 x 423 mm, Sheet 369 x 520 mm A view across Piazza San Marco from the Clock Tower, with the Basilica of San Marco and the Ducal Palace set to the left, and the Campanile to the right.

The Grand Canal can be seen in the distance.

Printed with publisher’s blindstamp below publication line.

Giuseppe Kier (1860 fl.) was an Italian lithographic printer.

Condition: Some foxing to sheet, slightly affecting image, and time toning to edges of sheet. unmounted [40256] £175

60. Canal Grande Palazzo Giustiniani oza Grande Albergo l’Europa Giuseppe Kier after Giovanni Borghesi Lithograph with early hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 287 x 413 mm, Sheet 369 x 515 mm A view of the Palazzo Giustiniani, which by this point had become the Grand Hotel Europa. To the right, the spires of the Basilica of San Marco are visible in the distance over the building tops, whilst the Campanile dominates the skyline. Numerous gondolas sit upon the water, whilst two larger boats are present in the immediate foreground to the right.

Condition: A few spots of light foxing to margins, and light time toning to edges of sheet. unmounted [40259] £180 61. Riva Degli Schiavoni Palazzo Bernardo, NaniMocenigo oza Albergo Reale Danieli Giuseppe Kier after Giovanni Borghesi Lithograph with hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 285 x 414 mm, Sheet 369 x 514 mm View across the Grand Canal of the Palazzo Bernardo, with the Riga Degli Schiavoni, a waterfront walkway, running in front of the buildings. Numerous gondolas and other boats sit upon the water.

Condition: A few spots of light foxing to margins, and light time toning to edges of sheet. unmounted [40261] £140 62. Veduta Presa All’ Ingresso Del Gran Canale Giuseppe Kier after Giovanni Borghesi Lithograph with early hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 303 x 415 mm, Sheet 369 x 515 mm A view from the Grand Canal, with the top of the Basilica of San Marco and the Campanile visible in the distance. Several gondolas on the water fill the foreground.

Condition: A few spots of light foxing to margins, and light time toning to edges of sheet. Large tear to left edge of sheet, not affecting image. unmounted [40258] £180

63. Campo Dei SS: Giovanni E Paolo.

Giuseppe Kier after N. Pertsch Lithograph with early hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 287 x 423 mm, Sheet 369 x 512 mm A view of the Basilica di San Giovanni e Paolo, one of the largest church in Venice, and the burial place of twenty-five doges.

Condition: A few spots of light foxing to margins, and light time toning to edges of sheet. unmounted [40262] £140 64. Il Ponte Di Rialto Giuseppe Kier after N. Pertsch Lithograph with early hand coloruing Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 289 x 426 mm, Sheet 369 x 513 mm A view of the Rialto Bridge, the eldest of the four bridges that span the Grand Canal, with several people walking along the crossing. Gondolas can be seen passing beneath the bridge, and in the foreground to the left, gondoliers can be seen docking their boats.

Condition: A few spots of light foxing to margins, and light time toning to edges of sheet. unmounted [40260] £200 65. Basilica Di S. Marco Giuseppe Kier after Pierre Chevalier Lithograph with early hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 288 x 421 mm, Sheet 368 x 518 mm A view of the Basilica of San Marco, with the Ducal Palace set to the right.

Condition: Some foxing and time toning to edges of sheet. Large tear to lower left corner of sheet, not affecting image. unmounted [40254] £150

66. Interno Della Basilica Di S. Marco Giuseppe Kier after Pierre Chevalier Lithograph with early hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 293 x 422 mm, Sheet 369 x 520 mm An image of the interior of the Basilica of San Marco, with a view towards the altar.

Condition: Some foxing to margins, slightly encroaching into image in right corner, and time toning to edges of sheet. unmounted [40255] £120 67. Piazzetta Di Sn. Marco Giuseppe Kier after Ziegler Lithograph with early hand colouring Venezia presso Giuseppe Kier, Editore, Piazza S. Marco No,, 117. [c.1840] Image 291 x 423 mm, Sheet 369 x 520 mm A view across Piazza San Marco towards the Clock Tower, with the Ducal Palace set to the right, and with part of the Basilica of San Marco visible. The Campanile stands to the left.

Condition: A few spots of light foxing to margins, and light time toning to edges of sheet. Creasing to lower left corner of sheet. unmounted [40257] £180 68. Valencia Petrus Schenk Copper engraving P. Schenk exc. Amst. C. P. [n.d. c. 1707] Image 138 x 184 mm, Sheet 163 x 192 mm An engraving of King Philip V of Spain and his army at the gates of the city of Valencia. Text below image in Dutch and Latin reads: ‘den 7 May 1707. wert valencia, de hoost std van dat Koninkryk door de Hertog van Orlian weer onder de gehoorsaemheyt van Koning Philippus V.gebragt’ / ‘7 maji 1707.

Valencia metropolis a Duce Aureliae sub potestatem Regis Philippi V redacta’. unmounted [40364] £45

Turkey & The Middle East 69. Les Murailles de Babylone George Balthasar Probst Copper engraving with early hand colouring Cum Priv. Sac. Cœs. Majestatis [c.1760] Image 279 x 409 mm, Plate 316 x 423 mm, Sheet 342 x 450 mm A vue d’optique of the ancient city of Babylon, with the title in reverse above image. Below image, text in Latin, French, Italian, and German, translating to ‘the walls of Babylon, the first wonder of the world’.

Georg Balthasar Probst (1732 - 1801) was a German artist, engraver and publisher in Augsburg, a major European publishing centre in the 17th and 18th centuries. He produced architectural views of places around the world intended as vues d’optiques, which were published in various places during the last half of the 18th century, including Paris, Augsburg and London. He was also known for his portraits.

Condition: Vertical creasing through centre of sheet.

Some time toning and creasing t o margins, and two small puncture holes to left margin. unmounted [40207] £375 70. La Ville Degée Dans l’Arabie Copper engraving with early hand colouring Se vend à Augsbourg au Negoce comun de l’Academie Imperiale d’Empire des Arts liberaux avev Privilege de Sa Majesté Imperiale et avec Defense ni d’en faire ni de vendre les Copies. [c.1780] Image 256 x 398 mm, Plate 300 x 417 mm, Sheet 313 x 451 mm A vue d’optique of Aegeae, now known as Yumurtalık, a small city on the coast of the Adana Province of Turkey. The image features 3rd century Saints Cosmas and Damian, twins who are said to have been physicians and early Christian martyrs.

Amidst the figures in the foreground, the brothers can be seen tending to the sick. Below the image, inscriptions in German and French detail the lives of the two saints.

Condition: Staining to sheet, heavier in margins.

Tear repairs to lower edge of sheet, and upper right corner of sheet missing, not affecting image. unmounted [40208] £150

General Interest

from Freemasonry to Farm Animals 71. [Free Masons Hall] Francesco Bartolozzi and James Fittler after Giovanni Battista Cipriani and Paul Sandby Etching Published as the Act directs By the Society of Free Masons at their Hall in Great Queen Street Lincolns Inn Fields 1786.

Image 223 x 197 mm, Sheet 433 x 292 mm Frontispiece to the 1786 edition of James Anderson’s ‘Constitutions of Masonry’. Set within a Freemasons’ Hall, an allegorical figure of Truth stands upon clouds situated towards the upper section of the composition. With her arms extended, Truth holds a mirror in her right hand, from which rays of light are reflected down into the hall. Seated beside Truth upon the clouds are the virtues of Wisdom, Hope, Charity, and three children. Descending from the clouds is the Genius of Masonry, presented as a winged figure decorated with Masonic Emblems, and holding a torch in his right hand. A table is set within the immediate foreground, upon which sits a celestial sphere, a terrestrial sphere, a compass, and other Masonic instruments. To the right, a candle, and to the left, an armillary sphere sits on the floor.

Calabi & De Vesme 2546 v/v Condition: Time toning and staining to margins.

Small tear to upper edge of sheet, and another tear to right edge of sheet, but outside of plate mark. unmounted [40229] £180 72. [The Grecian Masonic Temple.]

Waterlow & Sons Limited. Printers London Wall London. [c.1910] 168 x 140 mm A small booklet discussing the plans for erecting the Grecian Masonic Temple at the Great Eastern Hotel in London. Until the Grecian Masonic Temple was established in 1912, Masonic meetings and ceremonies had taken place in the Abercorn Rooms of the Great Eastern Hotel. Upon the completion of the Grecian Masonic Temple, the Abercorn Rooms became known as the Egyptian Masonic Temple.

The cover of the booklet features a reproduction of a print by Bartolozzi and Fittler after Cipriani and Sandby (40229, above).

[40230] £20

73. I. Basilicum Indicum macu, latum. II. Basilicum Medium.

Basilius Besler Copper engraving with hand colouring 1613 Image 468 x 384 mm Plate 234 from Hortus Eystettensis.

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

Where as previous botanical art had placed an emphasis only on medical or culinary herbs, often crudely executed, Besler’s Hortus Eystettensis depicted 1084 species including garden flowers, herbs and vegetables and exotic plants such as castor-oil and arum lilies. These were modern in concept and produced near life size in great detail.

The work generally reflected the four seasons, showing first the flowering and then the fruiting stages.

“Winter” was sparsely represented with a mere 7 plates. “Spring” was a season of abundance with 134 plates illustrating 454 plants and “Summer” in full swing showed 505 plants on 184 plates. “Autumn” closed off the work with 42 plates and 98 species.

First published in 1613, two versions were produced, cheap black and white for use as a reference book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. The work was published twice more in Nuremberg in 1640 and 1713. The plates were eventually destroyed by the Royal Mint of Munich in 1817.

Condition: Excellent condition with beautiful later hand colouring. Framed in a period style frame. framed [40243] £875

74. Neapolitan Breed. Boar and Sow , the property of th Right Hon. Earl Spencer, imported from Naples by Hon. Captain Spencer.

Fairland and Mr. Nicholson after Willaim Shiels Lithograph with original hand colour Published June 1840 by Longman, Orme, Brown Gren, & Longmans, Paternoster Row, London.

Image 220 x 315 mm, Sheet 315 x 425 mm An uncommon print, from Professor David Low’s ‘The Breeds of the Domesticated Animals of the British Islands,’ London, 1842. The book contained fifty-six lithographs after paintings by William Shiels. Low, professor of agriculture at Edinburgh university and the founder of an agricultural museum, commissioned Shiels to paint 100 scientifically accurate illustrations of domestic livestock for his collection. A selection of these paintings, many of which depict breeds now extinct, were selected by Low to illustrate his ideas on breeding and preservation of indigenous species.

Condition: Overall toning of paper and a few spots in the margins and inscription space. mounted [40351] £400 75. Old English Breed. Old English Sow, from the Midland Counties.

Fairland and Mr. Nicholson after Willaim Shiels Lithograph with original hand colour Published June 1840, by Longman, Orme, Brown Gren, & Longmans, Paternoster Row, London.

Image 220 x 300 mm, Sheet 315 x 425 mm Condition: Overall toning of paper and a few spots in the margins and inscription space, some light creasing to upper margin. mounted [40352] £400 76. Berkshire Breed. Pig, bred by Mr. Loud, Mackstockmill, Warwickshire.

Fairland and Mr. Nicholson afterWillaim Shiels Lithograph with original hand colour Published June 1840 by Longman, Orme, Brown Gren, & Longmans, Paternoster Row, London.

Image 195 x 305 mm, Sheet 315 x 425 mm Condition: Overall toning of paper and a small loss to the lower right edge of the sheet not affecting the image or inscription. mounted [40350] £400

77. Aloynus, Cognomento Bavo, Natus Hasbaniae Comes Regnum Franciae Consaguineus, â S. Amando ad Amoreum Christis Inflammatus, Spreto Mundo & Alienatis in Dei Honore, Saeculi Bonis in Omni Humilitate Christo Serivivit us que ad Annum Domini DCXXXI. Harlemensium Patronus. Colitur 1. Octob.

Cornelius Vischer after Pieter Soutman Copper engraving Pieter Soutman, Haarlem, 1650 Image 397 x 298 mm, Sheet 435 x 297 mm A whole length depiction of St. Bavo wearing armour and leather gloves, a hunting falcon perched on his left hand and a sword in his right. with inscriptions in Latin and Dutch below.

St. Bavo of Ghent (589–659) was born to rich Flemish land owners and named Allowin. He eventually became a penitent hermit, giving up all his possessions and even at one point living in a hollow tree.

He is the patron saint of falconers.

Cornelis Visscher (1628/9 - 1658) was a Dutch engraver and printmaker who lived and worked in Haarlem and often collaborated with Pieter Soutman.

Pieter Soutman (1580 - 1657) was a Dutch painter, printmaker, and publisher. He was born and lived in Haarlem. In 1618 he went to Antwerp and worked under Reubens, returning to Haarlem in 1628.

Hollstein 18 Condition: Trimmed with in the plate crease in upper right corner and repaired tear into image top, centre.

Otherwise, strong impression framed [40210] £275 78. Barefoot, the Winner of the Great St. Leger, at Doncaster, 1823, by Tram; bydam (Rosamond)

by Buzzard, grandam (Roseberry) by Phaenomenon: the Property of Richard Watt and Gilbert Crompton, Esqres.

Thomas Sutherland after John Frederick Herring Aquatint with original hand colour London, Pubd. by S & J. Fuller, at their Sporting Gallery, 24, Rathbone Place.

Image 303 x 410 mm An aquatint of the horse Barefoot, the winner of Great St. Leger, in 1823, with jockey astride and and groom in the background. Siltzer 145 Condition: Excellent, rich impression with fresh original hand colouring. Framed in a period bird’s eye maple frame.

[39974] £960

79. Reveller, the Winner of the Great St. Leger, at Doncaster, 1818, by Comus, dam; by (Rosette) by Beningbrough; propert of H. Peirse, Esq. Thomas Sutherland after John Frederick Herring Aquatint with original hand colour London, Pubd. by S & J. Fuller, at their Sporting Gallery, 24, Rathbone Place.

Image 303 x 410 mm An aquatint of the racehorse Reveller, the winner of Great St. Leger, in 1818, with jockey astride and and groom in the foreground.

Thomas Sutherland (c.1785 - 1827) British aquatinter who worked in London John Frederick Herring (1795 - 1865) British painter and draughtsman who specialised in sporting and animal subjects.

Siltzer 145 Condition: Excellent condition, rich impression with fresh original hand colouring. Framed in a period bird’s eye maple frame.

[39975] £960 80. A View of Roseau in the Island of Dominique, with the Attack made by Lord Rollo, and Sr James Douglas in 1760. after Archibald Campbell Copper engraving Printed for Carington Bowles, Map & Printseller, No. 69 in St. Pauls Church Yard, London. [c.1766] Image 150 x 255 mm, Plate 176 x 278 mm, Sheet 197 x 297 mm A coastal view of Roseau, Dominica, under attack by Lord Rollo and Sir Douglass amidst the Seven Years’ War. In the foreground, eight three-mast ships sit on the coast, whilst a collection of smaller boats sit closer to the shore on the left. On the beach, a group of soldiers can be seen marching, whilst another group of students are visible in the hills to the far right.

Andrew Rollo, 5th Lord Rollo (1703 - 1765) was a Scottish army commander in both Canada and Dominica. He led the attack on the French settlement of Roseau, Dominicia, on June 6th, 1761.

Sir James Douglass, 1st Baronet (1703 - 1787) was a Scottish naval officer, and Commodore of Newfoundland. He was the commander of the squadron that captured Dominica from the French during the Seven Years’ war.

Condition: Some light discolouration to margins, and a small tear to edge of sheet in lower left corner.

[40226] £100

81. A Description of His Majestie’s Army of Horse and Foot, and of his Excellencies Sr. Thomas Fairefax: as they were drawn into several Bodies at the Battail of Nasbie June the 14th 1645.

John Sturt after Robert Streater Copper engraving [c.1680-1700] Image 286 x 478 mm, Plate 295 x 487 mm, Sheet 316 x 502 mm A plan of the Battle of Naseby, fought between the main Royalist army of King Charles I and the Parliamentarian New Model Army, led by Sir Thomas Fairfax and Oliver Cromwell. The battle ultimately destroyed the Royalist force, and played a prominent role in Parliament’s overall victory of the First English Civil War. Sturt’s plan, which is essentially a reduced version of Streater’s 1647 illustration, places the town of Naseby at the bottom of the image, with a windmill set to the right. A cannon surrounded by troops is set in front, and slightly to the right, of the windmill, whilst to the left of the town is a camp with wagons.

The main battlefield is separated into the various divisions of troops, infantry, and cavalry, each with standards, flags, and inscriptions identifying the division, and their general. Beyond the battlefield are woods and fields upon the horizon.

Condition: Torn along left edge of sheet, ever so slightly encroaching into printed area towards bottom. Slightly torn along right edge of sheet as well.

Small amount of discolouration to margins. unmounted [40265] £200 82. A Representation of the Armies of King Charles I. and Sir Thomas Fairfax, exhibiting the exact Order in which the Several Bodies of Infantry & Cavalry were drawn up, Preparatory to the Battle of Naseby. fought on the 14th of June 1645. after Robert Streater Copper engraving [1792] Image 258 x 381 mm, Sheet 278 x 398 mm From John Mastin’s ‘The History and Antiquities of The plan, which is heavily based on Streater’s 1647 illustration.

Condition: Trimmed within plate mark, creasing to sheet, and a small tear to lower margin, not affecting image. Small amount of discolouration to margins.

[40266] £150

83. [Lord’s Prayer] Copper engraving and lithograph n.d. 1830 Image 323 x 240 mm, Sheet 372 x 270 mm An illustrative Lord’s Prayer on mock vellum partially printed in gold.

Condition: Repaired tear in right. unmounted [40321] £80

84. Amen Dico Vobis Quia Unus Vestrum Me Traditurus Est. Francesco Rainaldi after Teodoro Matteini after Leonardo da Vinci Copper engraving In Firenzi presso Niccolò Pagni dall’ Albergo dell’ Aqui.la Nera [c.1790-1805 Image 377 x 716 mm, Plate 453 x 767 mm, Sheet 617 x 916 mm A large-scale reproductive engraving after Leonardo Da Vinci’s ‘Last Supper’.

Francesco Rainaldi (1770 - 1805) was an Italian reproductive engraver working in Florence.

Le Blanc 3 Condition: Good, clean impression. Some surface damage from glue residue along top margin not affecting the image. unmounted [40238] £300

85. Le Chateau Royal de Versailles du Coté de la Grande Avenue de Paris Copper engraving with original hand colouring A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257. [n.d. c.

1784] Image 252 x 400 mm, Plate 290 x 420 mm, Sheet 328 x 470 mm A vue d’optique of the Palace of Versailles featuring the de Rozier hot air balloon flight., with four lines of text below image in French describing the scene: ‘Expérience de l’Aérostat nommé La Montgolfiere faite par Mr,Pilatre du Rozier à Versailles le 23 Juin 1784, en présence de la famille R[oya]le et de Mr. le Cte d’Haga...’

In June 1783, Jean-François Pilâtre de Rozier (30 March 1754 – 15 June 1785) witnessed the first public demonstration of a balloon by the Montgolfier brothers. On 19 September, he assisted with the untethered flight of a sheep, a cockerel and a duck from the front courtyard of the Palace of Versailles. The French King Louis XVI decided that the first manned flight would contain two condemned criminals, but de Rozier enlisted the help of the Duchess de Polignac to support his view that the honour of becoming first balloonists should belong to someone of higher status, and the Marquis d’Arlandes agreed to accompany him. The King was persuaded to permit d’Arlandes and de Rozier to become the first pilots.

Rozier took part in the flight illustrated here, on 23 June 1784, in a modified version of the Montgolfiers’ first balloon christened La Marie-Antoinette after the Queen, which took off in front of the King of France and King Gustav III of Sweden. Together with Joseph Proust, the balloon flew north at an altitude of approximately 3,000 metres, above the clouds. They travelled 52 km in 45 minutes before cold and turbulence forced them to descend past Luzarches, between Coye et Orry-la-Ville, near the Chantilly forest. They set records for speed, altitude and distance travelled.

Condition: Light staining and discolouration to inscription space and slightly affecting sky of image, small old rust mark to centre of image.

[40358] £400

Japanese Woodblock Prints 86. Two Carp Ohara Koson [Shoson; Hoson] (1877-1945) Woodblock (nishiki-e) Daikokuya [c.1910-1920] c. 1910-20 o-tanzaku 34.7 x 19.1 cm Publisher: Daikokuya Seal: Koson Reference: Newland, Amy Reigle. Crows, Cranes & Camellias: The natural world of Ohara Koson 18771945: K39.1 Two carp, one grey, one red. In Japan the carp, or koi, is the personification of perseverance and the will to win, and swimming carp are a symbol of marriage, a concept borrowed from the Chinese, as the word koi is a homophone for love.

Ohara Koson (1877-1945) was born in Kanazawa in Ishikawa Prefecture in the North of Japan with the given name Ohara Matao. He had studied painting as a student of Suzuki Koson, whose name he adopted as his artist go. During his career he changed his name to Shoson and Hoson. So when you read Ohara Shoson or Ohara Hoson or the other way round as Shoson Ohara or Hoson Ohara, don’t be confused. It is the same artist.

Condition: Excellent. Small mark across tail of red carp. mounted [39819] £750 87. Two red crabs, reeds behind Ohara Koson [Shoson; Hoson] (1877-1945) Woodblock c. 1910-20 o-tanzaku 34.7 x 19.1 cm Publisher: Daikokuya Seal: Koson Refrence: Newland, Amy Reigle. Crows, Cranes & Camellias: The natural world of Ohara Koson 18771945 K39.9 Condition: Excellent mounted [39713] £650

Portraits British Royalty & Nobility 88. Guilielmus III. Rex. Angliae, &.

Jacob Gole Mezzotint [1675 - 1724] Image 119 x 109 mm, Plate 184 x 138 mm, Sheet 206 x 156 mm Portrait of William III, King of England, set within an oval. He wears armour, an embellished cravat, and the Order of the Garter. Dutch inscriptions above and below portrait.

Jacob Gole (c.1660 - 1724) was a mezzotinter, engraver, publisher, and playing card maker.

O’Donoghue 99 Ex. Col. Hon. Christopher Lennox-Boyd Condition: Some creasing to sheet, and a small amount of foxing to margins. Small tear to lower left corner of sheet outside plate mark. unmounted [40336] £120 89. [Regia Maiestas] attributed to Renold Elstrack Etching [c.1608] Image and sheet 252 x 179 mm A rare, undescribed state.

A full-length portrait of Queen Elizabeth I, seated upon a throne beneath a canopy, and surrounded by elaborate decoration. Her crown hovers just above her head, whilst she holds a sceptre in her right hand, and an orb in her left. Over her embellished dress, she ears an ermine cloak. The royal coat of arms is above her throne, inscribed with ‘Honi Soit Qui Mal Y Pense’ and ‘Dieu Et Mon Droit’.

This image is almost identical to an illustration featured within Robert Glover’s ‘Nobilitas Politica vel Civilis, London, 1608 (O’Donoghue 105). Whilst this particular version has a plain floor either side of the steps, the version featured in Glover’s publication presents a tiled floor.

Condition: Trimmed around image and laid to album page. Although the print has been trimmed directly to the image, it is likely that only an inscription above the canopy, and two rope like strands from the corners of the canopy are missing. unmounted [40267] £120

90. Johannes, Dux Marlburii, S.R.I. Christian Fritzsch Copper engraving [n.d. c. 1730] Image 157 x 110 mm, Sheet 183 x 115 mm A three quarter length portrait of John Chruchill, 1st Duke of Marlborough in armour with the collar of the Garter with the inscription: Princeps, &c. Greatness and Goodness here, at once, are seen, Sweetly inthron;d, in his Majestick Mien, How Mild yet, Aweful, Piercing, yet Serene.

John Churchill, 1st Duke of Marlborough (16501722) Christian Friedrich Fritzsch (1695 - 1769) was a German engraver born in Saxon and active in Hamburg from 1718.

O’Donoghue 45 Condition: Trimmed within the plate and laid to an album page. unmounted [40315] £45 91. Robertus Dudlius Comes Leycestriae, Baro Dnbig Gubern. Belg. Unit Willem van de Passe Copper engraving [Crispijn de Passe the Elder, Arnhem, 1620] Image 145 x 112 mm, Sheet 160 x 116 mm Bust length portrait of Robert Dudley, set within an inscribed oval. Turned to the right, but looking forward, Dudley wears a cap adorned with a feather, and a high ruff. Two lines of Latin text inscribed below image. From Henry Holland’s ‘Heroologia Anglica’. The publication contained 240 plates, the majority of which were portraits of famous Englishmen, with a few related views alongside.

Of the 67 plates that Willem van de Passe engraved for the series, only this plate bears his monogram.

Robert Dudley (1532/3 - 1588) was an English nobleman, and lifelong friend of Elizabeth I. For many years he was considered her suitor, and was suspected by many to have been involved in the death of his wife in order to marry the Queen. In 1564, Elizabeth gave Dudley the title Earl of Leicester.

Willem van de Passe (c.1597-1636) O’Donoghue 19, Hind 21 Ex. Col: Hon. Christopher Lennox-Boyd Condition: Trimmed within plate mark and tipped to album page. Small spot of foxing to lower section oval. Excellent impression. unmounted [40345] £75

92. Vera Effigies of Philip Herbert Comes de Pembroke Etching c. 1630 Image 117 x 76 mm, Sheet 130 x 103 mm A crude full length etched portrait of Philip Herbert, 4th Earl of Pembroke, wearing a broad lace-edged collar, left hand on his hip with a cloak with the star of the Order of the Garter over it, and his right hand holding a staff. P. 56 inscribed in upper right corner.

Philip Herbert, 4th Earl of Pembroke and 1st Earl of Montgomery KG (10 October 1584 – 23 January 1650) was an English courtier and politician active during the reigns of James I and Charles I. Philip and his older brother William were the ‘incomparable pair of brethren’ to whom the First Folio of Shakespeare’s collected works was dedicated in 1623. He was also a patron of van Dyck.

Condition: Grangersised into an album page unmounted [40366] £40 93. Dominus Johannes Haringtonus Baro de Exton. Aetat 22.

Renold Elstrack Copper engraving Hen: Balaam excudeb. [c.1610-4] Image 143 x 141 mm, Plate 197 x 146 mm, Sheet 210 x 156 mm Half-length portrait of John Harington, 2nd Baron Harington of Exton, set within an oval inscribed with his name and age, and supported by a lion and a cockerel. Turned to the left, but looking forward, Harington is depicted wearing a ruff, and a fur cloak hanging from his shoulders. Beneath image are three boxes of inscription.

John Harington, 2nd Baron Harington of Exton (1592 - 1614) was an English peer and politician, taking the titles Lord Lieutenant of Rutland and Baron Harington of Exton. He was educated with the Prince of Wales, and the two remained close friends.

O’Donoghue 1, Hind 27 i/ii Ex. Col. Hon. Christopher Lennox-Boyd Condition: Light rubbing to lower right corner, slightly affecting inscription. Some creasing across upper left corner of sheet, and a small tear outside of plate mark. A couple of spots of foxing to right margin. unmounted [40338] £65

94. Honoratiss D. Joannes Harington Baro De Exon Willem van de Passe and Magdalena van de Passe Copper engraving Crispijn de Passe the Elder, Arnhem, 1620 Image 145 x 110 mm, Sheet 161 x 114 mm A portrait of John Harington, Baron Harington of Exton from Heroologia Anglica John Harington, 1st Baron Harington of Exton (1541-1613) was an English courtier and guardian of Princess Elizabeth, daughter of James Willem van de Passe (c.1597-1636) Magdalena de Passe, also known as Magdalena van de Passe (1600 - 1638) O’Donoghue 1, Hollstein 193ad (Crispijn de Passe), Hind 1952-64 II.156.36 Condition: Ink mark on forehead from the printing process. unmounted [40327] £50

95. Johannes Haringtonus Baro de Exto Willem van de Passe and Magdalena van de Passe Copper engraving Crispijn de Passe the Elder, Arnhem, 1620 Image 134 x 115 mm, Sheet 158 x 117 mm Portrait of John Harington, second Baron Harington of Exton, bust in an oval, to the left, wearing ruff, lettered with four lines of Latin below. A plate from Heroologia Anglica.

John Harington, 2nd Baron Harington of Exton (1592 - 1614) English courtier and friend of Henry, Prince of Wales Willem van de Passe (c.1597-1636) Magdalena de Passe, also known as Magdalena van de Passe (1600 - 1638) O’Donoghue 2, Hollstein 194ad (Crispijn de Passe), Hind 37 [40328] £50

96. Praenobil: Do. Henric Wriothesley / Comes Southampton : Bar Titchfeildiae. Etc. Simon van de Passe Copper engraving Are to be sould in Popes head Ally by Ioh: Sudbury & Georg Humble, 1617 Image 178 x 110 mm, Sheet 180 x 112 mm A half portrait of Henry Wriothesley, third Earl of Southampton, in an oval, wearing ruff, ribbon and George, and with baton tucked under an arm.

Henry Wriothesley, 3rd Earl of Southampton (6 October 1573 – 10 November 1624) was a patron of Shakespeare and Knight of the Garter. Shakespeare’s two narrative poems, Venus and Adonis and The Rape of Lucrece, were dedicated to Southampton, and he is generally identified as the Fair Youth of Shakespeare’s Sonnets.

Simon van de Passe (c.1595-1647) Hollstein 117, O’Donoghue 1908-25 4, Franken 1881 884, Hind 54 Ex. Col. Hon. Christopher Lennox-Boyd unmounted [40334] £85

Foreign Royalty & Nobility

97. The Final Interview of Louis the Sixteenth with his Family Peltro William Tomkins after Mather Brown Stipple London & Birmingham Publhd as the Act Directs Dec 1 1793 by Jee & Eginton & Tomkins Image 443 x 577 mm, Sheet 532 x 723 mm Proof before letters.

Depiction of the French Royal family within the Temple Prison, with Louis XVI seated in the centre.

His left foot raised upon a stool, Louis XVI embraces his family, with the dauphin wrapped around his neck, and two women weeping by his side. To the right, Marie Antoinette tears at her hair, whilst stood to the left are a collection of armed guards.

Condition: Trimmed within plate mark along top and bottom, with time toning and some foxing to margins. unmounted [40280] £200

98. Mauritius De Nassau Etching c. 1600 Image and sheet 126 x 116 mm A relatively crude portrait of Maurice of Nassau, Prince of Orange, seated on a horse. Viewed from behind, Maurice twists to look over his left shoulder.

The portrait is set against a scene of fortifications, and several soldiers in training.

It is likely that the engraver was looking to a number of portraits of Maurice that were produced towards the beginning of the 17th century, those of which also presented him upon a horse, set against a military influenced background. Egbert van Panderen, Ebherard Kieser, and Crispijn de Passe the Elder are just a few examples of printmakers that presented Maurice in such a manner.

Maurice of Nassau, Prince of Orange (1567 - 1625) succeeded his father, William I ‘the Silent’, in 1585, taking the role of Stadtholder of all provinces within the Dutch Republic, except for Friesland.

Condition: Trimmed within plate mark, and graingerised. Some discolouration to edges of the sheet, caused by glue. unmounted [40316] £45 Antiquarians 99. Sir Edward Dering of Surenden Dering, in the Count of Kent, Knight, and Baronett etc.

Wenceslaus Hollar Etching [c.1636-77] Image 69 x 52 mm, Sheet 84 x 63 mm Bust portrait of Edward Dering, turned to the left, but looking towards to the viewer. He wears armour and a large, lace collar with a loop and tassels, and his curled hair falls to his shoulders.

Sir Edward Dering, 1st Baronet (1598 - 1644) was an English politician and antiquary. Dering studied at Magdalene College, Cambridge, and after leaving, he devoted himself to the study and collection of manuscripts. In 1629, Dering acted as Member of Parliament for Hythe, and was also chosen to represent Kent in the Long Parliament.

Wenceslaus Hollar (1607-1677) O’Donoghue 3, Pennington 1293 Condition: Trimmed within plate mark and tipped to album page. Some time toning to edges of sheet.

[40337] £60

Architects 100. Sr. Christopher Wren. after Sir Godfrey Kneller Copper engraving [1747-70] Image 153 x 91 mm, Sheet 154 x 94 mm Illustration to the ‘Universal Magazine’.

Bust portrait of Sir Christopher Wren, set within an oval above a pedestal. Turned to the right, Wren’s gaze fixes on the viewer. He wears a long wig, a jacket, and a cravat.

Sir Christopher Wren (1632-1723), Architect and scientist. After the Great Fire of 1666, he rebuilt St Paul’s Cathedral and many of the City churches; his other work includes the Sheldonian Theatre in Oxford (1664-9), Trinity College Library in Cambridge (1674-84), Chelsea Hospital and Greenwich Hospital (from 1696). He was Professor of Astronomy at Oxford and later President of the Royal Society.

O’Donoghue 6 Condition: Trimmed within plate mark, with publication information missing, and laid to album page. unmounted [40333] £35 British Political 101. Sr. Henry Slingsby, & Dr. Hewet. Beheded at Tower Hill. June the 8th. 1658: Col: Ashton & Iohn Betteley hanged Drawne & quartred Ashton at Mark Lane end ye other in Cheep-side Etching [c.1660, but later impression] Image 46 x 97 mm, Sheet 62 x 100 mm Image depicting the execution of four Royalists on grounds of treason. To the left, Sir Henry Slingsby and John Hewitt are beheaded upon a scaffold. The executioner, standing upon the scaffold with a surrounding crowd, holds a head in his left hand, and an axe in his right. Set to the right, Colonel Edward Ashton and John Betteley hang from gallows.

Condition: Trimmed close to image and inscription.

Upper right corner of sheet torn along edge of image on the horizontal. unmounted [40225] £20

102. Olivier Cromwell after Robert Walker Etching A Paris chez L. Boissevin a la rue St. Jacques proche la fontaine St. Seuerin. Avec privi c. 1660 Image 155 x 124 mm, Sheet 201 x 133 mm Half-length portrait of Oliver Cromwell, depicted in armour, and a high collar. The portrait is set within a simple oval, with a coat of arms set to the bottom.

Ten lines of French inscription below the portrait give details on Cromwell. From Pierre Daret’s ‘Tableaux historiques ou sont gravez les Illustres François et Etrangiers de l’un et l’autre sexe’.

Ex. Col.: Earl de Grey Condition: Trimmed within plate mark and tipped to album page. Water stain across lower right corner of sheet, and some discolouration to corners from glue on verso. unmounted [40326] £65

103. Oliver Cromwell Lord Protector of the Common-Wealth of England. Scotland and Ireland. &c.

George Vertue after Samuel Cooper Etching 1724 Image 143 x 90 mm, Sheet 169 x 98 mm Bust portrait of Oliver Cromwell, set within an decorated oval, and looking towards the left. He wears armour, a wide collar, and his hair at shoulder length.

The oval sits upon a pedestal, and hanging from the bottom of the oval is a coat of arms.

O’Donoghue 3 Ex. Col.: Earl de Grey Condition: Trimmed within plate mark. Large ink spot to inscription space, covering the word ‘and’ in the title. Tear to lower left corner of sheet, affecting inscription. unmounted [40325] £45

104. Joseph Sturge, Pleading the Cause of the Negro, in the West Indies in 1837.

Maxim Gauci after Alexander Rippingille Lithograph Printed by F. Gauci, 9 North Crest., Bedfd. Sq. [n.d. c. 1837] Image 378 x 300 mm, Sheet 345 x 470 mm A rare three quarter length portrait of Joseph Sturge his right arm outstretched around a young Caribbean girl, pillar with books and a scroll with the word “Emancipation” inscribed on it to his left; the sea and palm trees in the background.

Joseph Sturge (1793 – 14 May 1859) was an English Quaker, abolitionist and activist. He founded the British and Foreign Anti-Slavery Society (now AntiSlavery International). He worked throughout his life in Radical political actions supporting pacifism, working-class rights, and the universal emancipation of slaves. In the late 1830s, he published two books about the apprenticeship system in Jamaica, which helped persuade the British Parliament to adopt an earlier full emancipation date. In Jamaica, Sturge also helped found Free Villages with the Baptists, to provide living quarters for freed slaves; one was named “Sturge Town” in his memory.

O’Donoghue 1 unmounted [39401] £450 Historians, Academics & Philosophers 105. Pythagoras William Elder Copper engraving [c.1700] Image 123 x 86 mm, Plate 144 x 89 mm, Sheet 162 x 92 mm Half-length portrait of Pythagoras, gazing off to the right, and wearing Classical robes.

Pythagoras of Samos (c.570 - c.495 BC) was an Ionian Greek philosopher and mathematician, and is perhaps best known for his Pythagorean theorem in mathematics.

William Elder (fl. 1680 - 1700) was an engraver of portraits and calligraphy, and worked primarily in London.

Condition:Trimmed close to plate mark along sides and bottom, and tipped to album page. Some time toning to edges of sheet. unmounted [40346] £50

Legal & Businessmen 106. Mr. Tattersall.

John Jones after Thomas Beach Mezzotint London, Publish’d as the Act directs, Decr. 8th 1787,

by T. Beach, No. 54 Wigmore Street, Cavendish Square.

Image 448 x 348 mm, Sheet 577 x 407 mm Three-quarter length portrait of Richard Tattersall, shown standing, and facing forward. He rests his left hand upon a ‘Stud Book’, and with his right hand, holds a cane.

Richard Tattersall (1724 - 1795) was the founder of Tattersalls, the leading auctioneer of race horses in the United Kingdom and Ireland. Richard was an honest businessman, and was well regarded, causing his auctioneer business to flourish, going on to even procure horses for the dauphin and the king of France.

Chaloner Smith 71, O’Donoghue 1, Lennox-Boyd i/i Ex. Col: Hon. Christopher Lennox-Boyd Condition: Good strong impression. Some rubbing and and scratching to image. Areas of discolouration to margins, with creasing along lower margin, slightly encroaching into printed area. unmounted [40237] £650 107. Sir John Fielding [after Nathaniel Hone] Etching [1740-85] Image 151 x 97 mm, Sheet 177 x 106 mm Half-length portrait of John Fielding, set within an oval inscribed with his name. Fielding is depicted with his eyes closed, and a dark band running above his eyes, indicating that he is blind.

Sir John Fielding (1721 - 1780) was a notable English magistrate and social reformer of the 18th century. At the age of 19, Fielding was blinded in a navy accident. John and Henry formed the Bow Street Runners, the first professional police force, through which they attempted to eliminate corruption, and improve the administration of justice in London. As well as issuing a regular ‘police gazette’ which featured descriptions of known criminals, Fielding formed the basis for the first police criminal records department.

O’Donoghue 4 Condition: Trimmed within plate mark [40329] £60

108. Vera Effigies Georgii Croke Equitis Aurati et Utriusque Banci Iusticiar: Robert White after Robert Vaughan Copper engraving c. 1669 Image 202 x 130 mm, Plate 209 x 137 mm, Sheet 256 x 170 mm A bust length portrait of George Croke in and oval, wearing a skull cap, ruff, and robes edged in fur; he holds a scroll and belwo is a crest and a row of books. This print is a frontispiece to ‘the Reports of Sir George Croke’ (1669) Sir George Croke (c. 1560 - 1642) was British judge.

Robert White (1645-1703) O’Donoghue 4 Condition: Some overall surface dirt, light stains in margins and a crease in lower left margin not affecting the image. unmounted [40341] £75 Literary & Poetic 109. Lord Byron. Par Le Comte D’Orsay.

Frederick Christian Lewis after Count Alfred Guillaume Gabriel d’Orsay Mixed method mezzotint London, Published May 10th 1845, for the Proprietor, by Henry Graves & Co. Pall Mall __ also by John Mitchell, Old Bond St, Goupil & Vibert, Paris.

Deposé Image 395 x 315 mm, Plate 535 x 405 mm, Sheet 613 x 468 Proof before title with facsimile signature of Byron and printseller’s blindstamp.

An uncommon half-length portrait of Byron in a boat leaning on his right hand, his elbow on oar. Byron is dress in an dark jacket with pale shirt and wait coat and wearing a dark cravat.

George Gordon Byron, 6th Baron Byron (22nd January 1788 - 19th April 1824) was a celebrated British poet and leading figure of the British Romantic movement.

Count Alfred Guillaume Gabriel d’Orsay (1801 1852) was a French amateur artist and dandy.

Frederick Christian Lewis (1779 -1856) Condition: Some minor foxing, water stain in upper left corner of sheet, not affecting image unmounted [39400] £300

110. The Civile Wares betweene the Howses of Lancaster and Yorke corrected and continued by Samuel Daniel one of the Groomes of hir Maiesties most honorable Privie Chamber Thomas Cockson Copper engraving Printed at London by Simon Watersonne, 1609.

Image 177 x 123 mm, Sheet 178 x 128 mm Title-page to Samuel Daniel’s ‘The Civile Wares betweene the Howses of Lancaster and Yorke corrected and continued’. The plate was originally engraved

by William Rogers as a title-page for William Camden’s ‘Britannia’, 1600, but Cockson reworked the plate, replacing Roger’s signature with his own, for Daniel’s publication.

Samuel Daniel (1562 - 1619) was an English poet and historian.

O’Donoghue 1.

Condition: Trimmed within plate mark and tipped to album page. Bottom right corner of sheet missing, tears to edges of sheet, affecting image, and worm hole to upper right corner of sheet. Toning to sheet. unmounted [40342] £45 Military, Naval & Exploreres

111. The most Noble Ferdinand Lord Fairfax Generall of the Northern Countyes Anonymous Copper engraving c. 1647 Image 90 x 67, Sheet 120 x 78 mm A half length portrait of Ferdinando Fairfax looking right in a doublet.

Ferdinando Fairfax, 2nd Baron Fairfax (1584 - 1648) Parliamentary general Condition: Some loss in the left eye of the sitter. unmounted [40331] £40

112. Sr John Hawkins Knight Robert Boissard Etching [c.1597-1601] Image 135 x 126 mm, Sheet 188 x 128 mm An extremely rare separately published half-length portrait of John Hawkins, turned slightly to the right, and looking towards the viewer. He wears a hat, a ruff, and an armoured collar with his striped corslet, and around his neck, a ribbon. There is likely a badge attached to the end of the ribbon, but is covered by his right hand, in which he holds a baton. In the upper right corner of the image, a coat of arms is present, beneath which reads the inscription ‘Advavncement By Dillige’. The background presents a view of ships.

Beneath the image, several line of verse are inscribed: ‘His shadow to the world brave Hawkins showes, / Who was a Bulwark to his friends, to foes, / Resistles Thunder; who for countries Sake / So many a hard attempt durst undertake / That Indians in their barbarous tongues do praise him, / And onto Heaven his very foes doe raise him, / He in his life whole Seas could boldly tame, / Let not then Lethes Reuer drowne his name.’

Sir John Hawkins (1532 - 1595) was an English naval commander, merchant, navigator, shipbuilder, privateer, and slave trader. He is generally considered to be the first English trader to have profited from the Triangle Trade. In 2006, Hawkins once again gained notice when his descendant, Andrew Hawkins, publicly apologised for his role in the slave trade.

Robert Boissard (c.1570 - 1601) Condition: Tipped to album page. Trimmed within plate mark and laid to another sheet of paper as support.

Several tears to image, with a few sections missing, which have been filled in by hand. unmounted [40324] £250

113. The true and lively Portraiture of the Ho.ble and learned Knight Sr. Walter Raleigh Robert Vaughan Copper engraving c. 1650 Image 98 x 65 mm, Sheet 130 x 73 mm mounted Sir Walter Raleigh (c. 1554 – 29 October 1618) was an English aristocrat, writer, poet, soldier, courtier, spy, and explorer.

Robert Vaughan (c. 1600 - c. 1663) O’Donoghue 22, Hind III.61.48a.

Condition: Trimmed within plate mark and tipped into an album page [40046] £150

Religious & Clerical 114. Geo.. Fox Woodcut n.d. c. 1720 Image 32 x 26 mm, Sheet 87 x 75 mm A bust length portrait of George Fox in an oval.

George Fox (1624 - 1691) founder of the Religious Society of Friends or Quakers Not in O’Donoghue unmounted [40339] £15 115. Vera Effigies Danielis Featly S.S. Theologiae Doctoris Charltoniae Natidenti April 17° 1645 Ætatis Suæ 65.

William Marshall Copper engraving 1645 Image 150 x 120 mm, Sheet 175 x 125 mm Frontispiece to the fourth edition of his ‘Dippers dipt’, 1645.

Daniel Featley (15 March 1582 – 17 April 1645), was an English theologian and controversialist.

O’Donoghue 1, Hind 37 Ex. Col. The Allan Library, stamp on verso Condition: Trimmed within the plate and tipped to an album page.

[40356] £40

Performing Arts

116. Beethoven François-Joseph-Aimé de Lemud Steel engraving printed in colour Imprimé & Publié Coupil & Cie. Editeurs, le 1er, Février 1863_Paris, London, La Haye.

Image 401 x 532 mm, Plate 492 x 593 mm, Sheet 598 x 687 mm A stunning image of Beethoven leaning on his harpsichord whilst asleep, with his dreams of an orchestra and classical figures depicted in the upper half of the composition. Beethoven’s dream figures are printed in blue, accentuating their dynamism, and their other worldly presence.

François-Joseph-Aimé de Lemud (1816 - 1887) was a French painter, printmaker, and sculptor. During the 1830s, he worked as a book illustrator and lithographer, but later took up engraving.

Condition: A few spots of discolouration to margins, but otherwise, and excellent impression. framed [40240] £700

Scientific, Industrial & Medical 117. Sir John Herschel G. Gabrielli Steel engraving Eton: Williams & Son , 1875.

Image 128 x 102 mm, Plate 242 x 167 mm, Sheet A bust length portrait of Sir John Herschel in an oval.

Sir John Frederick William Herschel, 1st Baronet KH FRS (7 March 1792 – 11 May 1871) scientist, chemist, and astronomer, he was the son of William Hershcel. In addition to his work as an astronomer, he also made contributions to photography. An accomplished chemist, Herschel discovered the action of hyposulfite of soda on otherwise insoluble silver salts in 1819, which led to the use of “hypo” as a fixing agent in photography. In 1839, independently of William Henry Fox Talbot, Herschel also invented a photographic process using sensitized paper. It was Herschel who coined the use of the terms photography, positive, and negative to refer to photographic images.

Condition: Some foxing in the margins, not affecting the image. unmounted [40332] £90 118. Sir Isaac Newton George B. Black after William Gandy Lithograph [c.1848] Image 311 x 269 mm, Sheet 403 x 336 mm Printed on India laid paper.

Half-length portrait of Sir Isaac Newton, turned to the right but looking towards the viewer. He wears a mantle and a cravat, and his hair at shoulder length.

O’Donoghue 1 Condition: Trimmed along bottom edge, with publication information missing, and small part of sheet missing. Some time toning to margins. unmounted [40348] £50

119. [Charles Hutton] James Thompson after William Wyon Stipple and engraving Published by Henry Fisher, Caxton, London April 1 1823”.

Image 113 x 70 mm vignette, Sheet 144 x 110 mm A bust length portrait of Charles Hutton in profile from a medal, with scientific instruments below.

Lettered with facsimile signature and “LLD FRS &c &c”, below instruments “Fulmina Belli Ponduso Terrae Aestimata.”

Charles Hutton (14 August 1737 – 27 January 1823) was an English mathematician. He was professor of mathematics at the Royal Military Academy, Woolwich from 1773 to 1807. He is remembered for his calculation of the density of the earth from Nevil Maskelyne’s observations on Schiehallion.

O’Donoghue 5 unmounted [40330] £20

120. John Hunter.

John Shury after Sir Joshua Reynolds Stipple London. Published by J. Shury 16. Charterhouse Street, June 1829.

Image 196 x 169 mm, Sheet 277 x 228 mm Printed on India laid paper.

Portrait of John Hunter, nearly in full-length, sat beside a table. He rests his left elbow upon the table, and raises his left hand to his chin, whilst gazing off into the distance. Upon the desk sits an open anatomy book, alongside a plant within a glass container.

The fee of the John Hunter (1728 - 1793) was one of the most distinguished surgeons and scientists of his day, and within the field of medicine, was an advocate for careful observation and scientific methodology. For several years, Hunter was also an Army surgeon. In 1767, he became a Fellow of the Royal Society. The Hunterian Society of London takes its name from Hunter, and the Hunterian Museum at the Royal College of Surgeons still continues to preserve both his name, and his collection of anatomical specimens.

Not in O’Donoghue. unmounted [40335] £100

121. William Withering, M.D. F.R.S. Fellow of the Linnaean Society Ridley after Carl Frederick von Breda Copper engraving London, Published by Dr. Thornton, Novr. 15. 1801’ Image 310 x 190 mm, Sheet 342 x 268 mm A half length portrait of William Withering, head turned left, seated in a chair all in an oval, surmounted by foxgloves, above a vignette showing him testing the mineral waters at the Queen’s Bath in Portugal, an illustration to Robert Thornton’s ‘A new illustration of the sexual system of Linnaeus’ , London: 1801.

William Withering FRS (17 March 1741 – 6 October 1799) was an English botanist, geologist, chemist, physician and the discoverer of digitalis.

O’Donoghue 1 Condition: Some thinning to paper visible only from the verso, trimmed within the plate. unmounted [40249] £65

122. Portrait of Romney Robinson Robert Cromac Stipple and engraving Published April 14th, 1809, by Thomas Payne, Pall Mall.

Image 187 x 153 mm, Sheet 280 x 205 mm A full length portrait of Thomas Romney Robinson when a boy, standing, holding a lyre, and scattering flowers on the tomb of Romney the painter. This print is a plate to Hayley’s Life of Romney.

The Rev. John Thomas Romney Robinson (23 April 1792 – 28 February 1882), usually referred to as Thomas Romney Robinson, was a 19th-century astronomer and physicist. He was the longtime director of the Armagh Astronomical Observatory, one of the chief astronomical observatories in the UK of its time.

O’Donoghue 1 ii/ii unmounted [40340] £45

123. Abdiah Cole Dr. of Physick Thomas Cross Copper engraving 1655 Image 122 x 84 mm, Sheet 122 x 85 mm A half length portrait in an oval of Dr. Abdiah Cole dressed in a plain collar and a fur trimmed gown.

This print is part of a larger plate that forms the frontis to his translation of Riverius’s ‘The practice of physick’ Abdiah Cole (1610-1670) physician Hind 18.

Ex. Col. Hon. Christopher Lennox-Boyd Conditon: Trimmed to image and tipped to an album page. unmounted [40355] £35

124. Vera Effigies Authoris et professoris Domini Thomae Shelton Artis Zeiglographia Civitatis Londiniensis 1650.

Thomas Cross Copper engraving 1650 Image 95 x 73 mm, Sheet 125 x 78 mm A half length portrait of Thomas Shelton looking to right, crest above and to right and curtain behind.

Thomas Shelton (1601 - c. 1650) English stenographer and the inventor of a much-used British 17thand 18th-century stenography.

Thomas Cross (active 1644-1682), Engraver Condition: Trimmed within the plate and tipped to an album page. unmounted [40354] £20

125. [William Oughtred] William Faithorne after Wenceslaus Hollar Copper engraving c. 1657 Image 108 x 75 mm, Plate 134 x 77 mm, Sheet 133 x 78 mm A half length portrait of William Oughtred, frontispiece to Oughtred’s ‘Trigonometria’ (1657).

William Oughtred (March 5, 1574- JUne 30, 1660) was an English mathematician and Anglican minister. Amongst his mathematical achievements were the first person to use logarithmic scales or slide rules to do multiplication and division and he is credited as the inventor of the slide rule in 1622.

Oughtred also introduced the “×” symbol for multiplication as well as the abbreviations “sin” and “cos” for the sine and cosine functions.

O’Donoghue 2, New Hollstein (German) 868 a ii/ii, Pennington 1477 (after), Fagan 52 second state Ex. Col.: The Allen Library, stamp on verso of album page.

Condition: Trimmed to plate mark and tipped to an album page. Some light overall surface dirt. unmounted [40353] £65

126. Illustrissimus et clarissimus Robertus Boyle, Anglus.

Peter Schenk after Johannes Kerseboom Mezzotint Amsterdam, 1675-1715 unmounted Portrait of Robert Boyle, head and shoulders, with long curly wig, facing left; in an oval resting in a platform; Robert Boyle (25 January 1627 – 31 December 1691) was a natural philosopher, chemist, physicist, inventor, and gentleman scientist, also noted for his writings in theology. He is best known for the formulation of Boyle’s law.

Hollstein 110, O’Donoghue 8 Condition: Escellent impression. Trimmed within the plate and laid to an album page.

[40045] £220

Maps Africa 127. De Stadt Cairus.

Olfert Dapper Copper engraved Amsterdam, 1668/76 234 x 345 mm A fine bird’s-eye view of the ancient city of Cairo, from Dapper’s ‘Description of Africa’, and heavily based upon the 1549 view of Cairo by Venetian printmaker Matteo Pagono. This striking view of Cairo places the dense city in the centre, surrounded by open landscape. Set to the right of the city, past the River Nile, are depictions of the Pyramids and the Sphinx. In the immediate foreground, several travellers can be seen upon a hilltop that overlooks the city. With them are various animals, including cattle and camels.

Dutch edition.

Condition: Vertical centre fold as issued. Small amount of discolouration to margins, but otherwise, a very good impression. unmounted [40264] £300 Asia & Middle East 128. A Correct Map of the Ottoman Empire Including all the countries Possess’d by, or Tributary to the Turks, in Europe, Asia & Africa, with part of the Adjacent Territories, according to the latest Observations Bowen, Thomas Copper engraved with hand colour c. 1784 310 x 418 mm A detailed eighteenth century map of the expansive Ottoman Empire from Spain in the west to the edge of India in the east. The Mediterranean, Black, Caspian and Red sea are all labelled alongside major rivers, mountain ranges and road networks.

Condition: Good clean impression, printers crease to bottom right of sheet. Pressed vertical folds as issued.

[40376] £375

129. Terra Sancta, sive Promissionis, olim Palestina recens delineata, et in lucem edita per Nicholaum Visscher Anno 1659 Visscher, Nicholaus Copper engraved with early hand colour 1659 460 x 562 mm An early decorative map of the Holy Land, with West at top, showing the coast from Sidon to Egypt.

The lands of the twelve tribes of Israel are labelled, and outlined and shaded in hand colour. Mountain ranges, deserts, and waterways are all extensively mapped and labelled, and the Dead Sea and Sea of Galilee are identified with their various alternative names. At the bottom centre is a boxed birds-eye view of the Camp of the Israelites during the Exodus, flanked by depictions of Moses and Aaron with a burning altar and the Arc of the Covenant. Numerous ships are depicted on the Mediterranean, including the fleet sent by the King of Tyre to Solomon in 1st Kings, and another ship being attacked by a leviathan. The title is enclosed in a large decorative cartouche, supported by cherubs and garlands.

Condition: Pressed central vertical fold as issued.

Minor staining and repaired tears to central fold. Old tear and repairs to verso, caused by early verdigris pigment. Minor time-toning to edges of sheet. unmounted [39906] £500 130. India di la del Fiume Ganges overo di Malacca Siam Cambodia Chiampa Kochinkina Laos Pegu Ava &c.

Tirion, Isaak Copper engraved with hand colour Girolamo Albrizzi, Venice 1740 280 x 355 mm A fine map of Indochina and the Malay Peninsula, modern-day Thailand. The map encompasses the Bay of Bengal, the Straits of Singapore and Borneo across to China in the north east. Major rivers and mountain ranges are illustrated and towns and cities are highlighted in red. Albrizzi was the first publisher to issue Tirion’s maps, Tirion himself published his own atlas four years later in 1744.

Condition: Pressed centre fold as issued. unmounted [40377] £500

131. Le Theatre du Monde, ou Nouvelle. Atlas Mise en lumiere Par Guillaume & Jean Blaeu.

Quatrieme Partie.

Blaeu, William and Jan Copper engraved with early hand colour Amsterdam, 1648.

Folio 540 x 330 mm Volume four of six from the French edition of the Theatre du Monde. The volumes of this work were published separately between 1635 and 1655, with the fourth volume being introduced with French text in 1645.

This particular volume features a hand coloured pictorial frontispiece, highlighted with gold, and 58 general and county maps, each superbly coloured by a contemporary hand. Throughout the text, 4 hand coloured illustrations are present. The series of lavishly illustrated maps includes a separate map of each county, and is one of the greatest achievements of English seventeenth century cartography. In excellent overall condition, this atlas features a fine period binding with gilt title and decoration.

Blaeu published his first world atlas in 1639, which was gradually extended until the appearance of the celebrated Atlas Major of twelve volumes in 1662. The maps were mainly derived from those in Speed’s Theatre, and the order followed that of Camden’s Britannia, first published in 1607. The cartographic detail, including the errors, were copied from Speed or Jansson, and their similarity to the latter’s maps has caused problems for collectors, although there are certain minor difference between the maps of the two atlases.

Whilst the Blaeu decoration is somewhat more formal than his rivals’, each atlas is of great cartographic importance. The presentation of the Jansson and Blaeu atlases, however, in large vellum bound folios invariably exceed that of Speed’s work.

The Blaeu family were one of the most famous publishers of maps, globes and atlases during the seventeenth-century. Cartographers, globe makers and booksellers, the Blaeu business flourished in Amsterdam for over 40 years, until a fire destroyed their premises in 1672. They lost all of their plates, prints and stock, which effectively ruined the firm.

Willem Blaeu founded the business in 1596. It initially functioned as a globe and instrument makers, but soon expanded into maps, topography and sea charts. The Atlas Novus was Willems great work; a major work which intended to include the most up-to-date maps of the entire world. He issued the first two volumes in 1635, but died in 1638 before the atlas was completed. The running of the business was passed on to his sons Johannes and Cornelius, in addition to the role of the official cartographer of the East India Company. After the death of Cornelis in 1644, Johannes continued the business alone and established his own reputation as a great mapmaker. Johannes completed his father’s grand project in 1655 with the sixth and final volume of the Atlas Novus. He also produced the Tooneel der Steden van der Vereenighde Nederlanden in 1649-1653, as well as a similar set of Italian town plans which were published in 1663.

Skelton 43. Not in Chubb (but compare 59). Kinglsey 12(ii) Condition: Excellent overall condition. A small number of the maps feature light creasing and water stains to the margins, however, this does not effect the engraved area.

Folio [39831] £22,000

132. Isole Hebride et Orcade after Porcacchi, Tomaso Copper engraved with hand colour Padua, Lasor à Varea, 1713 103 x 141 mm An early map of the Hebrides and Northern Scotland, originally engraved by Girolamo Porro for Porcacchi’s ‘Isole del Mondo’, 1572, this impression is from Lasor à Varea’s ‘Universus terrarum orbis scriptorum calamo delineatus...’ of 1713. Compass rose to top left, title cartouche and sea monster to bottom right. Printed on full sheet with text below. unmounted [40368] £200

133. London 1843 Davies, B. R. Steel engraved with original hand colour London, published Nov. 1, 1843 under the superintendence of the Society for the Diffusion of Useful Knowledge, by Chapman & Hall, 186 Strand 657 x 398 mm Inscription below title reads ‘Drawn & engraved from authentic documents & personal observation by B.R. Davies, 16 George Street, Euston Square’ B.R. Davies charted London from the 1840’s to 1869, and this is one of the earliest examples of his detailed London maps. Every building, road, bridge and site of interest is meticulously plotted. The map was published separately and also appeared in the two volume atlas of the Society for the Diffusion of Useful Knowledge.

Condition: Pressed centre fold as issued, small repaired tears to bottom margin. unmounted [40375] £500

134. [Elsfied Ordnance Survey] Zincograph with hand colour Zincographed under the Superintendence of Lt. Colonel C. P. Carey R.E. at the Ordnance Survey Office, Southampton, Colonel A. C. Cooke C. B. R. E. Director General. 1879.

Each sheet 700 x 1070 mm Sheets 4, 7, 8, and 12 from the Ordnance Survey of Elsfield and surrounding parishes.

Housed in a dark brown leather book-style case, featuring a lip that opens along the top edge. Gilt decoration and title. unmounted [39830] £400

135. Tombleson’s Panoramic Map of the Thames and Medway.

Steel engraved with hand colour London Published by J. Reynolds, 174 Strand, c.

1834 1245 x 285 mm An early edition of this iconic map from ‘Tombleson’s Thames’ and in this case from the 1834 German edition framed [40343] £1,250

Europe 136. Daniae Regni Typus / Cimbricae Chersonesi nunc Iutiae descriptio, auctore Marco Iordano Ortelius, Abraham Copper engraved with early hand colour Cornelius Antoniades Descripsit. Cum Priuilegio. / Cum priuilegio decenn. 1595 [1609 edition] 340 x 490 mm Two maps on the same plate, depicting the Kingdom of Denmark on the left and a detail of the province of Jutland on the right, from Ortelius’ famous Theatrum Orbis Terrarum. Adjoining parts of Norway, Sweden, and Germany are also depicted. The maps are coloured in early hand colour, with principal cities and towns picked out in red. Both feature decorative strap cartouches, which enclose their titles, publication details, and scales in miles. The map of Jutland also features a sailing ship and sea monster in the Baltic and North Seas respectively. Latin text on verso.

Condition: Central vertical fold as issued. Time toning and foxing to sheet. Minor creasing to margins, not affecting plate. unmounted [39977] £600

137. Corfu Bertius, Petrus Copper engraved with hand colour 1606 86 x 123 mm A fine miniature map of the island of Corfu published by Cornelium Nicolai in ‘Tabularum Geographicarum Contractarum Libri Quinque’ with Latin text on verso. The main towns are illustrated and highlighted in red, title in strap-work to upper left corner and sailing ship in the ocean below. unmounted [40373] £120

The Americas 138. New & Accurate Map of North America including Nootka Sound with the new discovered Island on the North East coast of Asia Bowen, Thomas Copper engraved with hand colour Published as the Act directs, by C.Cooke No.17 Paternoster Row. [n.d. c. 1790] 263 x 427 mm A detailed eighteenth century map of North America from the northern tip of South America to the edge of the Arctic, including the new discoveries in the Pacific Northwest and Alaska. Alaska is still unconventionally charted, however Captain Cook’s discoveries are shown. California is labelled as New Albion and Northern Canada is inscribed as ‘Parts Unknown’. The eastern states are well mapped to the Mississippi River and Indian tribes are listed.

Condition: Good clean impression, vertical folds as issued. unmounted [40371] £380 139. L’Amerique Septentrionale quit fait partie des Indes Occidentales.

Chiquet, Jacques Copper engraved with hand colour Chez Jaques Chiquet, a Paris 1719 165 x 224 mm A lovely detailed map of North America showing the area from the northern part of South America to Canada, From ‘Le Nouveau et Curieux Atlas Geographique et Historique...’ by Jacques Chiquet.

California is shown as an island and the British Colonies are shown as confined to the East of the Appalachian Mountains and both the French and Spanish possessions are also illustrated. Decortaive title cartouche to top right, ships and a sea monster feature in the Atlantic Ocean. unmounted [40369] £300

140. The West Indies Exhibiting the English French Spanish Dutch & Danish Settlements With the adjacent Parts of North & South America from the best Authorities.

Middleton, Christopher Copper engraved with hand colour c. 1768 190 x 282 mm An uncommon map of the Caribbean from ‘Middleton’s Complete System of Geography’ illustrating the colonial holdings of Britain, France, Spain, the Netherlands and Denmark after the Treaty of Paris in 1763, with a lettered key to the left. The map derives from the Thomas Jeffreys 1760 map of the same title.

A decorative title cartouche to the right features galleons and shells and a mileage chart to the left. Curiously the southern tip of Florida has been incorrectly is charted as an archipelago. unmounted [40372] £120

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