Sanders of oxford. Antique Prints & Maps. Spring 2017 new stock release

SPRING 2017

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

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Spring 2017 A Catalogue of Recent Cartographic Acquisitions From 30th March, 2017.

Sanders of Oxford is pleased to present a selection of our most interesting recent acquisitions.

Over the past few months we have been busy cataloguing a collection of ďŹ ne and decorative prints spanning a diverse range of subjects, engravers, and prices.

All works are available to purchase and will be on display in the gallery.

Sanders of Oxford.

Antique Prints & Maps Salutation House 104 High Street Oxford OX1 4BW www.sandersofoxford.com - 01865 242590 - info@sandersofoxford.com Monday - Saturday 10am - 6pm. Sundays 11am - 5pm.

Contents

Pg.

01-17: 17th to 19th Century Etchings and Engravings

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18-25: Portraits

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26-35: Caricatures

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36-47: British Topography, including Oxford and Cambridge

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48-61: Foreign Topography

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62-75: General Interest, from Architecture to Ammonites

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Biographies: Artists, Printmakers, & Publishers

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Etchings & ENGRAVINGS

Giovanni Battista Piranesi The plates from The Vedute di Roma were Piranesi’s most popular and best known series, celebrating the churches, monuments, ruins, bridges, fountains, and public spaces of the city of Rome. The immense popularity of the series meant that they were in constant demand, and Piranesi continued to reissue and add to the series from the 1740s until his death in 1778. The Vedute were particularly popular with British grand tourists, and had a profound effect on the British Neoclassical movement. Demand was such that the series was reprinted numerous times after Piranesi’s death, including two Paris editions published by his sons, Francesco and Pietro.

Giovanni Battista (also Giambattista) Piranesi (1720 – 1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric “prisons” (the Carceri d’Invenzione). He was a major Italian printmaker, architect and antiquarian. The son of a Venetian master builder, he studied architecture and stage design, through which he became familiar with Illusionism. During the 1740’s, when Rome was emerging as the centre of Neoclassicism, Piranesi began his lifelong obsession with the city’s architecture. He was taught to etch by Giuseppe Vasi and this became the medium for which he was best known.

01. Veduta dell’Anfiteatro Flavio, detto il Colosseo Giovanni Battista Piranesi Etching Piranesi F. Presso l’Autore a Strada Felice vicino alla Trinita de Monti. A paoli due e mezzo. [Rome, 1757] Image 412 x 690 mm, Plate 440 x 696 mm, Sheet 480 x 716 mm A superb first impression of Piranesi’s most desirable and famous view of the Colosseum, properly the Flavian Amphitheatre, from the Vedute di Roma.

The structure is shown from the north west, to best capture a sense of the scale of its tripled tiered columns and upper gallery. Important architectural features are keyed with a lettered description below, as are a number of nearby monuments such as the Arch of Constantine and the Caelian Hill to the right, and the path of the Via di San Giovanni in Laterano to the left. The scene is heavily populated with diverse characters, including nobles, tourists, beggars, surveyors, architects, and soldiers.

The colosseum was one of the most popular sights in the city of Rome for grand tourists, and demand for views of the monument was high. The overgrown ruins were dramatically picturesque, and the colosseum’s history appealed as much to Christian pilgrims as it did to antiquarians. Constructed under the Flavian emperors Vespasian and Titus in the 1st century AD, the colosseum was the city’s largest gladiatorial amphitheatre. The monument fell into ruin following the decline of the games after the ban on pagan festivals imposed by Theodosius at the end of the 4th century AD. It was gradually stripped of its facing marble, which was reused on many of the Renaissanceera structures in the city of Rome.

Hind 57. i/iv, Wilton-Ely 191, Focillon 758, Calcografia 781 Condition: Excellent dark impression. Vertical folds as issued. Minor waterstain to right of inscription space.

Old adhesive marks to verso, not affecting image.

[41914] £4,000 7

02. Veduta della Piazza del Popolo Giovanni Battista Piranesi Etching Presso l’autore a Strada Felice vicino alla Trinitá de’ monti. A paoli due e mezzo. [Rome, 1760-1778] Image 385 x 546 mm, Plate 408 x 550 mm, Sheet 486 x 715 mm Inscription to either side of title reads: ‘1. Chiesa di S.M. de Miracoli. 2. Chiesa di S.M. di Monte Santo. 3.

Strada del Corso, che conduce al Palazzo di Venezia. 4.

Strada, che conduce a Piazza di Spagna. 5. Strada, che conduce al Porto di Ripetta. 6. Guglia Egiziaca inalzata da Sisto V.’ A view of the Piazza del Popolo, from Piranesi’s Veduta di Roma. The plaza’s signature obelisk, erected by Pope Sixtus V is featured prominently at centre, flanked by the twin baroque churches of St Mary of the Miracles and St Mary of the Holy Mount, which themselves sit on the corners of the Tridente, the three streets which converge on the plaza. The appropriately named ‘People’s Plaza’ is here shown filled with the citizens of Rome, including noblemen, churchmen, beggars, travellers, carters, waggoners, and washerwomen.

Piranesi’s view maintains the layout of the old piazza, before many of the surrounding medieval era buildings were cleared away in a refurbishment project undertaken by Giuseppe Valadier between 1811 and 1822.

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The Piazza del Popolo, now called the ‘People’s Square,’ actually derives its name from the poplar trees that once lined the Via Flaminia in Roman times.

One of the main entrance points through the city’s ancient Aurelian Walls, the Piazza del Popolo was historically one of the first sights which greeted visitors to the Eternal City. Although much of the current layout is Neoclassical, having been remodelled in the early nineteenth century, the most recognizable features of the piazza are much older. The central Flaminian obelisk was originally created by the Egyptian pharaoh Seti I, and first erected by his son, Ramesses II, at Heliopolis during the 13th century BC. In 10 BC, it was brought to Rome as part of the Augustan refurbishment of the Circus Maximus.

In 1589, the broken fragments of the obelisk were reassembled, and re-erected on the Piazza del Popolo at the behest of Pope Sixtus V. Likewise, the twin churches that define the trio of streets known as the Tridente, were begun by Carlo Rainaldi and finished

by Bernini in the late seventeenth century.

Hind 14. iii/vii, Wilton-Ely 141, Focillon 794, C706 Condition: Strong, clean impression with wide margins. Central vertical fold. Minor creasing to central fold. Vertical fold in right hand margin, not affecting image or plate. Early manuscript annotations providing English translation of title and key to bottom margin, as well as manuscript ‘No.19’ in same hand at top right corner of margin.

[42290] £2,000

03. Veduta di Piazza di Spagna Giovanni Battista Piranesi Etching Piranesi Architetto fec. Presso l’Autore a Strada Felice nel palazzo Tomati vicino alla Trinita’ de’ monti. A paoli due e mezzo. [Rome, 1760-1778] Image 384 x 599 mm, Plate 408 x 604 mm, Sheet 495 x 746 mm Inscription to left of title reads: ‘1. Fontana detta la Barcaccia, Architettura del Cav. Bernino. 2. Scalinata, che conduce sul Monte Pincio. 3. Chiesa col Monastero della SS. Trinita de’ Monti officiata dal Frati Minimi di S. Francesco di Paola della Nazione Franzese. 4. Strada del Babuino, che va alla Porta del Popolo. 5. Obelisco sulla Piazza del Popolo.’

A view of the Piazza di Spagna and the famous Spanish Steps in Rome, from Piranesi’s Vedute di Roma. The Fontana della Barcaccia is central, set towards the bottom of the image, with the Spanish steps to the right, leading into the distance and up to the Church of SS. Trinità de’ Monti. In the far distance, the obelisk of the Piazza del Popolo can be seen at the end of the Strada del Babuino, named after a statue of Silenus known colloquially as ‘the Baboon.’ Inscribed to the lower left corner of the plate is a numbered key relating to points of interest in the image.

The Piazza di Spagna, named for the Spanish papal embassy, is one of Rome’s most celebrated public spaces. The plaza has long been a touristic hub, having been the favourite meeting place of British grand tourists during the eighteenth century. The poet Keats lived and died in a house at the right corner of the Spanish Steps, and famous cognoscenti, including Thomas Jenkyns and Gavin Hamilton, frequented the Cafe Inglese on the square. The square’s fountain, the Fontana della Barcaccia, was sculpted by Bernini, allegedly to commemorate an ‘ugly boat’ which was carried into the Piazza di Spagna from the Tiber during a flood in 1598.

Hind 18.v/viii, Wilton-Ely 154, Focillon 795, C707 Condition: Strong dark impression with wide margins.

Central vertical fold. Folds to left and right margins not affecting image or plate. Early manuscript annotations providing English translation of title and key to bottom margin, as well as manuscript ‘No.25’ in same hand at top right corner of margin.

[42291] £2,100

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of the Emperor Julian. Ironically, the apostate Julian may actually have been responsible for the building’s construction. The Church stands on the side of the Via Nomentana, over part of the earlier Christian catacombs of St Agnes.

Hind 37.iii/vi, Wilton-Ely 158, Focillon 811, C705 Condition: Strong impression with wide margins.

Central vertical fold. Minor creasing to central fold at margins, not affecting plate or image. Early manuscript ‘12’ in black ink at top right corner of sheet, not affecting image or plate.

[42293] £1,200 04. Veduta interna del Sepolcro di S. Constanza, fabbricato da Constantino Magno, ed erroneamente detta il tempio di Bacco, inoggi Chiesa della medesima Santa Giovanni Battista Piranesi Etching Piranesi Architetto fec. Presso l’Autore a Strada Felice vicino alla Trinita de Monti. A paoli due e mezzo.

[Rome, 1760-1778] Image 398 x 550 mm, Plate 416 x 558 mm, 526 x 765 mm Inscription to left and right of title reads: ‘1. Colonne, basi, e capitelli di grandezza e ornamenti disuguali, tolti da diversi edifizi. 2. Musaici antichi. 3. Finestre antiche.

4. Candelieri antiche di marmo. 5. Pitture moderne. 6.

Urna di Porfido tutta d’un pezzo lunga pal. 11. alta p.

5.10 larga 6.9. Il coperchio alto 3.2.’

A view of the interior of the Church of Santa Constanza, in Piranesi’s day often known erroneously as the ‘Temple of Bacchus, from the Vedute di Roma.

The view brilliantly evokes the unusual circular layout of the 4th century church, and the foreground is populated by a number of men and women in Italian aristocratic dress. Unlike the comments on many of Piranesi’s other views, the numbered key to this plate is unusually concise, listing the features of the church as including an antique mosaic, an antique window, an antique marble candelabra, and a series of modern frescoes.

The Church of Santa Constanza is one of Rome’s oldest, having stood in much the same form since the 4th century AD. Traditionally viewed as having been constructed by the emperor Constantine as a mausoleum for his daughter Constantina, more recent scholarship suggests it was likely built instead for Helena, another daughter of Constantine and wife

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05. Veduta sul Monte Quirinale del Palazzo dell’Eccellentissima Casa Barberini, Architettura del Cavr. Bernino Giovanni Battista Piranesi Etching Piranesi fece. Presso l’Autore a Strada Felice nel palazzo Tomati vicino alla Trinita de’monti. A paoli due e mezzo. [Rome, 1760-1778] Image 378 x 610 mm, Plate 405 x 618 mm, Sheet 525 x 736 mm Inscription below title reads: ‘1. Ponte levatojo, che dal vestibolo superiore da l’ingresso al Secondo Appartamento del Palazzo. 2. Inscrizione dell’Arco di Claudio ritrovata fra le di lui rovine alla Piazza di Sciarra, e dinotante le Vittorie riportate da questo Imperadore sopra i Britanni.

3. Uno de’ Portoni del Vestibolo, corrispondente alla Piazza Barberini. 4. Chiesa de’Cappucini. 5. Labro antico di granito, che serve alla fontana del Vestibolo inferiore. 6. Obelisco Egizziaco, ivi transferito dal Circo d’Elagabalo, o come altri vogliono d’Aureliano, che rimaneva fuori dell’odierna Porta Magge.’

A view of the Palazzo Barberini from Piranesi’s Vedute di Roma. The view takes full advantage of the impressive facade of the palace, constructed to a design

by Bernini.

In the foreground, Rome’s citizens walk and rest among the remains of Roman antiquity, including the fragments of the Pinciano obelisk which lie to the left of the scene. Although in the Egyptian style, and heavily ornamented with hieroglyphs, the Pincian obelisk was actually constructed in the reign of Hadrian, and erected as a funerary monument for Antinoos at Tivoli. It was moved to Rome by Elagabalus, and stood upon the spina of the Circus Varianus, before being rediscovered near the Porta Maggiore in the sixteenth century.

Hind 25.ii/v, Wilton-Ely 188, Focillon 740, C726 Condition: Strong impression with wide margins.

Central vertical fold. Printer’s creases to margins, not affecting plate or image.

[42292] £1,600

06. Veduta di un Sepolcro fuori di Porta del Popolo sull’antica Via Cassia, cinque miglia lontano da Roma; chiamato dal volgo: il Sepolcro di Nerone...

[Tomb of Nero] Giovanni Battista Piranesi Etching Piranesi Archit. dis. et. inc.

Image 600 x 390 mm, Plate 606 x 400 mm, Sheet 765 x 533 mm Plate XIV from the series Le Antichità Romane, a beautifully detailed image showing goats, herdsmen and other figures climbing around the dilapidated ancient tomb. A description of the tomb and its sculptures in Italian in the lower margin. The marble sarcophagus has been richly decorated with bas-reliefs, and can still be found today on the Via Cassia about five miles north of the centre of Rome. As is illustrated in the etching, the tomb is clearly identified as that of the consul, Publius Vibius Marianus. However, for many years the tomb was popularly believed to be that of the tyrannous Roman emperor, Nero, a legend that persisted until the nineteenth century, when the inscription was first pointed out to tourists visiting Rome. Even today, the district bears the name Tomba di Nerone.

The Antichità Romane (’Roman Antiquities’) was Piranesi’s largest, and in many ways most ambitious, series of etchings, comprising 250 plates published in 4 volumes. Unlike the Vedute di Roma, the Antichità Romane is chiefly interested in small details, though the views of principal monuments in this work are no less aesthetically pleasing than the Vedute. Piranesi’s agenda as an architect, namely the revival and emulation of classical Roman models, is immediately apparent in his meticulous recording of Rome’s architectural and archaeological heritage. As a result, the Antichità Romane became a critical resource for antiquarians and academics. Piranesi’s detailed explanations of Roman feats of engineering challenged the emergent argument for the superiority of Classical Greek models in art and architecture.

Wilton-Ely 434, F299, C126 Condition: Excellent rich impression. Horizontal centre fold as issued.

[41876] £1,400

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Plates from Besler’s 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 handcoloured. 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.

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07. I. Piper Indicum maximum longum. II. Piper Indicum minus recurvis siliquis.

Basilius Besler Copper engraving with hand colouring 1613 Image 465 x 385 mm, Plate 478 x 392 mm Plate 324 from Hortus Eystettensis.

Condition: Excellent condition with beautiful later hand colouring. Framed in a period style frame.

[42224] ÂŁ1,850

08. I. Pisum cordatum. II. Halicacabum vulgatius.

III.Halicacabum seu Solanum Indicum Camerarij.

Basilius Besler Copper engraving with hand colouring 1613 - 1713 Image 470 x 385 mm, Plate 480 x 392 mm Plate 304 from Hortus Eystettensis.

I. Heart-seed (Balloon vine). II. Winter cherry (Chinese lantern). III. Cape gooseberry.

Condition: Excellent condition with beautiful later hand colouring. Framed in a period style frame.

[42223] ÂŁ1,200

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09. The Rhine near Bonn Wenceslaus Hollar Etching [c. 1643] Image 191 x 167 mm, Plate 94 x 170 mm, Sheet 188 x 277 mm A print from Hollar’s series Amoenissimi aliquot locorum in diversis provinciis jacentium prospectu. The print shows the Rhine flowing near the city of Bonn (labelled bey Bonn.) The river is labelled Rhenus fl, and the castled hills in the distance Lewenburg, Drachenfels, and Godesberg. Two men with staves walk along the road at the right. A single masted barge sails by.

Pennington 721 ii/iii Ex. Col.: A. Freiherr von Lanna Condition: Light foxing to sheet. Printed on watermarked paper. Von Lanna collectors mark on verso, Lugt 2773.

[42201] £120

10. Omnia Vincit Amor John Smith Mezzotint [c.1700-1729] Image 170 x 219 mm Plate 227 x 174 mm Sheet 261 x 205 mm A nude Venus leans against a column, holding a flaming heart in her left hand. She watches as Cupid and Pan grapple with each other. Pan’s staff and pipes lie discarded on the ground, next to Cupid’s bow and sheath of arrows.

Chaloner Smith 1883 undescribed, Lennox-Boyd ii/ii Condition: Some creasing. Small hole in lower left margin. Tear in bottom margin, not affecting image.

[42202] £180

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11. The Apple Game Mathys Schoevaerdts Etching London. Printed for John Ryall at Hogarth’s Head in Fleet Street [c. 1752] Image280 x 394 mm, Plate 290 x 405 mm, Sheet 230 x 430 mm A genre scene showing a group of drunken merrymakers playing a game inside an inn. The game involves the participant attempting to take a bite out of an apple that hangs from a beam, without using his hands. The dishevelled crowd roar with laughter at his attempts. This impression appears to be a mideighteenth century publication of Schoevaerdts’ late seventeenth/early eighteenth century etching, an impression without the London publication line is held in Amsterdam’s Rijksmuseum.

12. [A Walk in the Snow] Monogrammist FW Etching n.d. c. 1800 Image 99 x 122 mm Plate 121 x 147 mm Sheet 142 x 175 mm A beautiful print depicting a couple walking under a parasol in heavy snow. The plate has been manipulated particularly effectively in its portrayal of the falling snowflakes, highlighting the skill of the printmaker.

Signed at lower right ‘F. W. f.’ By an unknown northern European artist.

Condition: Excellent condition.

[42169] £175

Hollstein 2 Condition: ‘Dutch Merry Making’ and ‘N226’ inscribed in lower margin in pen and brown ink. Time toning. Two edge tears, one repaired. Printer’s crease from upper right corner to centre.

[42208] £400

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13. The Exhibition of the Royal Academy 1787 Pierre Antoine Martini after Johann Heinrich Ramberg Copper engraving with hand colouring Published as the Act directs July 1, 1787 by A.C. De Poggi, no. 7, St. Georges Row, Hyde Park. 1787.

Image 325 x 500 mm The annual exhibition at the Royal Academy in London of 1787 with a panoramic view of the great room at Somerset House which has its walls covered with paintings. The noble society has gathered in this room, the Prince of Wales is positioned in the centre wearing a light blue jacket, and he is in conversation with Joshua Reynolds, who stands to the prince’s left and is pointing up at the works.

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Inscription in Greek above the title reads: oudeis amousos eisito [’May no stranger to the Muses enter’].

Condition: Excellent impression. Light toning and foxing to image and sheet, a few repaired worm holes.

Framed in period frame.

[42312] £975

In order to create a héliogravure, a high quality photograph would have been taken of Dürer’s original work. The negative would then be exposed onto a gelatin covered copper plate, and etched with acid. At this point, the photogravure would have been mechanically printed, but the technique of the héliogravure differs. Amand-Durand etched parts of the plate himself, and printed the works by hand.

Somewhat paradoxically, Amand-Durand’s works have become as esoteric as the artists that he sought to democratise.

Condition: Watermark in centre. Amand-Durand’s red stamp on verso. One small hole in top centre. Light foxing to sheet.

[41923] £150

14. Nemesis Charles Amand-Durand after Albrecht Dürer Héliogravure c. 1870 Image 186 x 244 mm, 199 x 256 mm Durer’s allegorical work Nemesis shows a winged nude standing in profile on a sphere, holding a goblet and bridle; underneath this figure is a landscape depicting Chiusa, near Innsbruck. Although Dürer identified his allegorical figure as Nemesis, later scholarship has suggested the sphere beneath the feet of the goddess and her amply proportioned body make her recognisable as Fortune. The wings associate her with victory, while the cup in one hand and bridle in the other are emblems or generosity and dominance respectively.

Like others before him, Charles Armand-Durand attempted to democratise the art industry by reproducing the works of famed artists which were hidden from the general public in the repositories of the French National Library, or in the ownership of private collectors. His main series of facsimiles after Old Master prints began in 1869. They were usually published in portfolios, with accompanying text by Georges Duplessis.

15. Lion after Rosa Bonheur Steel engraving and etching [c. 1890] Image 248 x 215 mm, Plate 260 x 225 mm, Sheet 385 x 348 mm A powerful etching of a lion. The creature stares fearlessly out at the viewer. Signed at the lower left (authenticity of this signature disputed).

Condition: Excellent condition. Some marking in margin.

[42207] £220

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16. [Four Ages of Man] L’Enfance, La Jeunesse, L’Adolescence, La Vieillesse Nicolas de Larmessin IV Copper engraving and stipple Published à Paris chez N. De Larmessin graveur du Roy, rue des Noyers à la quatrième porte coctere adroite entrant par la rue St. Jaques A.P.D.R. c.1735.

Images approx. 330 x 445 mm, Plates approx. 380 x 465 mm, Sheets approx. 420 x 550 mm The Four Ages of Man based on a series of four canvasses with the same titles by Nicolas Lancret.

L’Enfance/ Childhood: Inside a loggia a nurse is holding an infant in her arms while watching over several children of different ages. In the foreground two girls have helped a younger girl unto a toy cart, which is being dragged by another girl and a boy. On the right a girl is taking of a mask and in the background two children are attended to by another nurse.

Four lines of French text in two columns in the lower margin: ‘Foibles amusements nez avec l’innocence, [...]

A vous connoitre mieux, on vous sentiroit moins.’

La Jeunesse/ Youth: A group of young men and women are sitting in a glade amongst trees, many of them in a romantic embrace. In the foreground are two archers, and the one on the left is aiming at an unseen target on top of a pole.

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Four lines of French text in two columns in the lower margin: ‘Pourquoi tous ses combats si chers a la Jeunesse, […] La Lice est une Scene ou triomphe L’Amour.’

L’Adolescence/ Maturity: Inside a rotunda a group of young men and women are preparing to go out. In the centre a girl is looking into a mirror, which a kneeling boy is holding up on the right, while two girls admire her and another is adding flowers to the girl’s dress.

On the left a boy is talking to a girl who is pulling up her stocking.

Four lines of French text in two columns in the lower margin: Desque de ses rayons la raison nous eclaire [...] En des regards d’autruy depend notre bonheur.’

La Vieillesse/ Old Age: Three elderly people are sitting in the courtyard of a house, one woman is spinning wool while another is sleeping, while the man is petting a dog, next to them another man stands, holding a walking stick. On the right a third man is being rejected while courting a young girl.

Four lines of French text in two columns in the lower margin: Vieillards vous vous vanges du tems qui vous devore, [...] Vous dédomage assés des turbulents plaisirs.’

Condition: Excellent, strong impressions. Dirt build up at the edges of sheets, not affecting images.

[42314] £2,000

17. [The Four Seasons] Spring, Summer, Autumn, Winter [Anonymous] Mezzotint with original hand colouring London, Publish[e]d July 19, 1796 by G. Thompson no. 50, Old Bailey & J. Evans no. 41 & 42, Long Lane, West Smithfield.

Image 323 x 250 mm Scenes of the Four Seasons, accompanied by lines from James Thompson’s poem ‘Seasons’.

Spring: A family on a river bank, the man holding a fishing rod and displaying a little fish caught on the line, while the woman opens a wicker basket full of other fish, the little girl stands holding a basket of flowers and the little boy kneels in the foreground, feeding pet birds in his hat, a team ploughing in the background to right.

Summer: A couple resting under a tree, the man leaning against the trunk with his right arm and holding a glove in his left hand, the woman sitting on a bench on the right, holding a bunch of flowers and a closed fan, with a dog and basket of flowers at her feet, while a little girl stands picking roses on the left and men and women work in a hayfield in the background.

Autumn: A family in front of a cottage, the woman sitting on the left, holding fruit in her apron with one hand and her other arm wrapped around the shoulder of a little boy, looking at her husband, who holds up a rabbit in one hand and carries a gun in the other, two dogs beside him, while a little girl sits with sheaves of corn in her lap on the left; a fruit tree and vine hanging over the cottage; a sickle lying on the ground in the centre of the foreground, farmers reaping harvest with sickles in the background.

Winter: A couple skating, the man in military uniform, taking the hand from a young woman to help her on the ice, the woman carries a muff in her other hand.

A man and a child are standing to the left and another man has fallen on the ice to right, with several skaters in the background behind him while and to the left several figures have gathered around a fire by a tent.

Condition: Wormholes in corners and margins.

Framed in original period frames.

[42310] £1,800

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PORTRAITS

18. [Miss Fordyce] Charles Corbutt (Richard Purcell) after Sir Joshua Reynolds Mezzotint [London c. 1762] Image 310 x 246 mm, Plate 247 x 353 mm, Sheet 367 x 256 mm.

19. Miss Horneck Robert Dunkarton after Sir Joshua Reynolds Mezzotint Publish’d Feby. 20th 1778 by Wr. Shropshire, no. 158, New Bond Street.

Image 457 x 355 mm, Plate 510 x 360 mm, Sheet 516 x 363 mm

A beautifully serene portrait of Miss Fordyce playing a stringed instrument, after Joshua Reynolds. Joshua Reynolds’s account book shows that Walter Radcliffe paid for this portrait. Miss Fordyce may have been his mistress during the early 1760s. In its half length pose and the inclusion of the stringed instrument the lady is playing (similar to a lute), the portrait is reminiscent of Italian portraits of the sixteenth and seventeenth centuries. The portrait emphasises the sitter’s feminine beauty and availability in her turned head and exposed décolletage. The print is untitled, though later states contain the title and publication details in the lower margin.

Portrait of Miss Mary Horneck, the later Mrs. Mary Gwyn, she is sitting in a kneeling position while leaning her left arm on a stone bench beside her. She is wearing a turban and a long dress with a sash around her waist. Mary Horneck, later Mrs. Gwyn (17521840), was a socialite and bedchamber-woman to Queen Charlotte. She met Oliver Goldsmith through their mutual friend Sir Joshua Reynolds and would become his literary muse, nicknamed by Goldsmith as ‘The Jessamy Bride’. After Goldsmith’s death Mary Horneck married Colonel Francis Edward Gwyn.

Sir Joshua Reynolds made portraits of both Mary Horneck and her sister, as well as their mother. He must have considered this portrait one of his finest however, since he kept it in his studio up to his death and then left it to the sitter.

Chaloner Smith 29 i/iii, Russell 29 i/v, Hamilton p100 i/iii, O’Donoghue 2, Lennox-Boyd i/vii Ex. Col.: Hon. Christopher Lennox-Boyd Condition: Excellent proof impression before letters and un-cleaned inscription space.

[41939] £475

Chaloner Smith 2 ii/ii, Russell 25 iii/iii, Hamilton p.109. ii Condition: Excellent impression, with thread margins.

[42316] 21 £450

20. King Charles ye Firste Head Drawn in Optiks [Anonymous] Copper engraving Published January 1, 1821 by R. H. Laurie, 35 Fleet Street, London.

Image 500 x 82 mm, Plate 543 x 134 mm, Sheet 640 x 168 mm An extremely scarce, nineteenth century impression of a late seventeenth century, anamorphic portrait of King Charles I. An inscription with instruction on how to view the image, above the portrait: ‘King Charles ye Firste Head Drawn in Optiks / Place the Letter A to your Eye and glance it A long.’; and the letter ‘A’ in the centre underneath the image.

Anamorphic images have a distorted projection or perspective which requires the viewer to look at the image from a certain angle or even use a device, like for example a mirror, to correct the image.

Leonardo da Vinci sparked the interest in using this technique in art with experiments like his sketch of an eye, also known as ‘Leonardo’s eye’ c. 1485. The most well-known example of anamorphosis in art is to be found in Hans Holbein the Younger’s painting ‘The Ambassadors’. In this work from 1533 a diagonal, oblong shape is painted on the foreground. Only when viewed from the right does this strange shape transform into a detailed skull.

Anamorphosis was also a popular tool in baroque painting. Andrea Pozzo created a masterpiece using this technique in the Church of St. Ignazio in Rome.

It was not possible to build a dome for the church, so Pozzo created a perspective on the ceiling to make it look like the inside of a dome, but only if you are standing in the right spot. After the 17th century the anamorphic technique became less commonly used in fine art. It was used every now and then in caricatures and other funny prints. This kind of print is extremely rare to find today.

Condition: Toning and foxing to image and sheet.

[42313] £975

22

21. Desaix Coqueret after Hilaire le Dru Mezzotint Se vend a Paris chez Portelle Successeur de Dulac Ma[rchand] d’Estampes. Rue Honoré n. 54 vis a vis l’Oratoire. c. 1799.

Image 520 x 350 mm, Sheet 580 x 395 mm

22. Kilmaine Coqueret after Hilaire le Dru Mezzotint Se vend a Paris chez Portelle Successeur de Dulac Ma[rchand] d’Estampes. Rue Honoré n. 54 vis a vis l’Oratoire. c. 1799.

Image 520 x 350 mm, Sheet 580 x 395 mm

Full-length portrait of general Louis Charles Desaix in military outfit, stepping out of a rescue boat; naval fleet caught in a storm and a boat struck by lightning in the background; a second rescue boat with part of the crew rowing towards him.

Full-length portrait of Charles-Édouard-Saül Jennings de Kilmaine in military outfit; in the background a landscape with a building and a running horse.

Louis Charles Antoine Desaix de Veygoux, also known as Chevalier de Veygoux (1768-1800) was born into a noble family. He joined the Republican armies in 1791 and got promoted to general within three years. He led forces in Germany and won his first independent battle at Biberach. He joined Napoleon in North Italy after 1797, organised the victories at Malta and Ramanieh and occupied Upper Egypt against Mamluk Marud Bey. His return to France was delayed when he was captured at sea by the British navy. He arrived at Piedmont in 1800, was then sent to Genoa but on his way there got called to the battlefield of Marengo.

Shortly after he had initiated the counterattack to the Austrians that would turn the battle into a victory for the French, he was shot through the heart and died.

Ex. Col.: Bibliothèque Nationale de France, Paris Condition: Excellent strong impression. Light dirt build up at the margins.

[42306] £375 [or £1300 for set of 4]

Charles-Édouard-Saül Jennings de Kilmaine (17511799) was born into a noble family in Ireland. When he was eleven years old his family permanently moved to France. Kilmaine joined the army in 1774. He first fought for King Louis XVI in Senegal and then took part in the American War of Independence. Later he supported the French Revolution and took part in the battles at Valmy and Jemappes. He spent some time in prison during the Terror of 1793-1794 but got released when the Thermidorian Reaction overthrew Robespierre’s government. Soon after Kilmaine took part in Napoleon’s campaign in Italy. By 1797 he was given the command of the cavalry of the Army of England but he had to resign a year later due to a recurring illness that would cost him his live in 1799.

Ex. Col.: Bibliothèque Nationale de France, Paris Condition: Excellent strong impression. Light dirt build up at the margins.

[42307] £375 [or £1300 for set of 4]

23

23. Scherer Coqueret after Hilaire le Dru Mezzotint Se vend a Paris chez Portelle Successeur de Dulac Ma[rchand] d’Estampes. Rue Honoré n. 54 vis a vis l’Oratoire. c. 1799.

Image 520 x 350 mm, Sheet 580 x 395 mm Full-length portrait of general Barthélemy Louis Joseph Schérer in military outfit; standing under a stone archway.

Barthélemy Louis Joseph Schérer (1747-1804) joined the Austrian army in 1760 and fought in the Seven Years war. After he resigned from the Austrian army in 1775, he first joined the French service but not long after he went into the Dutch army to then later join the French army again in 1792. He had different roles within the army, most noteworthy was his victory at Laono as commander of the Army of Italy. He resigned this post in 1796 and was replaced by Napoleon.

Sherer retook active command of the Army of Italy in 1799 but resigned a final time after his defeat at Magnano.

Ex. Col.: Bibliothèque Nationale de France, Paris Condition: Excellent strong impression. Light dirt build up at the margins.

[42308] £375 [or £1300 for set of 4]

24

24. Berthier Coqueret and Lachausse after M le Boze Se vend a Paris chez Portelle Successeur de Dulac Ma[rchand] d’Estampes. Rue Honoré n. 54 vis a vis l’Oratoire. c. 1799.

Image 520 x 350 mm, Sheet 580 x 395 mm Full-length portrait of Louis-Alexandre Berthier in military costume; his left hand is pointing to a war camp with tents on the background.

Louis-Alexandre Berthier (1753-1815) joined the army in 1766 at only thirteen years old. Around 1795 he became general and chief of staff of the Armies of Italy and the Alps. He met Napoleon and the two became close friends. Berthier would serve under Napoleon as chief of staff in the Italian and Egyptian campaigns. After the campaign in Russia however, Berthier supported the Bourbons upon their return of power as well as the new government. He refused to join Napoleon when the latter returned from his exile in 1815. Berthier suspiciously died the same year by falling from a window. He might have fallen due to ill health, but many speculate he committed suicide.

The idea that Berthier could have been assassinated on Napoleon’s orders seems unlikely, as Napoleon was very upset when he was informed of his friend’s death.

Ex. Col.: Bibliothèque Nationale de France, Paris Condition: Excellent strong impression. Light dirt build up at the margins.

[42309] £375 [or £1300 for set of 4]

25

25. Portrait of Mr. C. R. Darwin, author of “The origin of Species” [Anonymous] Woodcut Published in The Illustrated London News. 11 March 1871.

Image 302 x 241 mm, Sheet 398 x 281

26

Bust portrait of Charles Robert Darwin FRS (1809 – 1882), turned to the right. Darwin was an English naturalist. He established that all species of life have descended over time from common ancestry, and proposed the scientific theory that this branching pattern of evolution resulted from a process that he called natural selection. He published “On the Origin of Species” in 1859.

[42303] £75

CARICATURES

26. A Long Story after Henry William Bunbury Stipple Publish’d April 25th 1782 by J R Smith No. 83 opposite the Pantheon, Oxford Street.

Image 296 x 388 mm, Sheet 367 x 431 mm

27. The Stratagem [Anonymous] Etching [c.1775] Image 200 x 245 mm Plate 250 x 300 mm Sheet 220 x 257 mm

A group of men are sitting around a round table, drinking wine and manifesting exhaustion or boredom while an officer seated to the left is telling them about a military operation or campaign. The officer has drawn a plan on the tablecloth before him. A man holding slippers and a boot-jack is standing to the right.

Two men flanking a woman in a bonnet are seated at a table with two unidentified men standing on either side. Drawings tacked to wall behind them appear to show, in one, the seated men hanged on a gallows (depicted as a skeleton), and in another the Devil throwing the woman into the Hellmouth.

BM Satires 6144 , D’Oench 1999 191 Condition: Excellent strong impression. Four lines of faded text written in ink in the upper margin.

[42315] £500

The image has been surmised to refer to the Perreau brothers (hanged for forgery in 1776) and their accomplice Mrs. Rudd. Lettering below title reads; ‘This sketch represents the groupe who promoted and executed the plan by which an innocent person was try’d for her life and barely robb’d of her fortune’. Plate 18 from an unidentified work.

Condition: Some creasing and discolouration. Ink in top margin.

[42167] £120

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28. [Strangers viewing Oxford] George Cruikshanks after George Woodward Etching with hand colouring London published by Allen & West, 15, Paternoster Row, Dec[embe]r 31 1796 Image 162 x 162 mm Sheet 250 x 200 mm A man leads a group of unimpressed looking visitors around the Oxford Colleges. Plate 47 to ‘Eccentric Excursions, or. Literary & Pictorial sketches of Countenance, Character and Country, in ..... England & South Wales’.

BM Satires 8973 Condition: Creasing and time toning in margins, not affecting image.

[42204] £100

29. Glow Worms; Muck Worms Thomas Rowlandson Etching with original hand colouring Pub July 14 1812 by T. Rowlandson N1 James St Adelphi Image 348 x 247 mm, Plate 371 x 272 mm, Sheet 400 x 286 mm Two images comparing the tables of a party of voluptuary and a group of miserly men. At the top, a number of inebriated laughing figures raise their glasses in a toast. The figures are dressed in finery, their heavy-set frames evidence of a more debauched life filled with and excess of fine food, drink and entertainment. In the second image a group of elderly misers hunch over a table, grumbling over calculations.

Their glasses are small and empty.

Grego ‘Rowlandson’ 231 Condition: Good impression. One small hole in right margin, not affecting image. Paper watermarked ‘1809’ [41947] £220

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30. The Dinner W.P.Cary after Thomas Rowlandson Etching and aquatint with original handcolouring Dublin Publish’d by Wm. Allen no.32 Dame Street [c.

1798] Image 437 x 547 mm, Plate 460 x 570 mm, Sheet 465 x 575 mm A number of inebriated men raise a toast in a grandly decorated dining room, led by a young man standing on his chair. In an attempt at standing, a figure at the far right falls over backwards.

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An excess of empty bottles litter the floor on the left, highlighting that this toast comes at the end of a long and drunken meal. A cheery looking guest has been depicted standing beside the fallen gentleman uncorking another bottle, insinuating that this debauched affair is far from over.

Condition: Good impression, time toning to sheet.

[41945] £1,200

31. The Death of the Fox Thomas Rowlandson Etching and aquatint with original handcolouring [Pubd. as the Act directs. Jany. 4. 1787 by J Harris.

Dean Street Soho] c. 1798 Image 438 x 555 mm, Plate 578 x 460 mm, Sheet 580 x 465 mm

Two further huntsmen gallop in from the left, behind more dogs at the back of the hunt. One man stands in the furore of dogs, cracking his whip.

Condition: Good impression, time toning to sheet.

[41946] ÂŁ800

A print showing the country gentry on a hunt. A fox has been depicted being ripped apart by a pack of baying hounds as huntsmen on horseback bray and cheer.

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32. Rum Characters in a Shrubbery Thomas Rowlandson Etching and aquatint with hand colouring Published by Reeve & Jones No.7 Vere str[ee]t.

Nov[embe]r 1 1808 Image 283 x 224 mm Sheet 370 x 300 mm Two hideous prostitutes stand at the counter of a bar, holding out their glasses to an elderly barman who pours out what is labelled on the barrel at the left as ‘Booth’s Best Gin’ (Booth & Co. was a famous firm of distillers). Other reprobate characters gather around drinking. A dog looks out from the centre. The place is brightly lit, with heavy shadows. A bunch of grapes hangs from the roof, catching the light.

BM Satires 11115 Condition: Time toning, ink offsetting and creasing.

Old staining on verso from previous album backing.

[42203] £250

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33. A View on the Banks of the Thames Thomas Rowlandson Etching with hand colouing Pubd. June [18th, 1807 by] Thos. Tegg No. 111 Cheapside.

Image 270x 205 mm, Plate 280 x 215 mm, Sheet 350 x 250 mm Two women stumble across nude bathers on the banks of the Thames. The elder woman jumps, aghast at the sight of their nakedness, exclaiming “Oh shame on the Nasty fellows do Sophia tell me when we are past them.”, whilst her younger companion, Sophia, peers hard over her shoulder for a better look. The bathers sit by the waterside and a little boat floats on the water.

A windmill can be seen in the background.

BM Satires 10911 Condition: Sheet time toned. Four pin holes in margins, not affecting image. Paper watermarked 1819.

[42164] £220

34. Cham-Paign and Real Pain Attributed to John Lewis Marks Etching with original handcolour London published by J. L. Marks, 17 Artillery Street, Bishopsgate.

Image 151 x 193 mm, Plate 198 x 272 mm, Sheet 178 x 231 mm On the left, a rotund man sits at a table with a glass of port. He smiles contentedly, seemingly oblivious of the horrific scene occurring at the other end of the table where a poor young man is having his tooth extracted.

The youth clasps his fists in agony.

[41948] £100

35. The Ludicrous Operator, or Blacksmith turn’s Tooth Drawer John Dixon after John Harris Mezzotint Designed by J. Harris & improved by drawings after the life by J. Dixon / Published according to act of Parliament A. D. 1768. / Dixon fecit / Printed for John Bowles, at No. 13 in Cornhill, London.

Image 348 x 247 Plate 351 x 250 Sheet 370 x 270 A grotesque image showing an elderly woman having a tooth extracted at the farriers. She grasps the head of the blacksmith and squeezes her other fist in agony as he uses pliers to yank the bucktooth out.

Another man grimaces at the scene. Tools hang on the workshop wall in the background. Four stanzas of verse in the margin below image as follows; ‘Why squeeze your hat, and seize my cap, / As if you dreaded some mishap? / Keep not your spirits on the rack, / I’m a licentiate: not a quack.’

BM Satires 8051, Russell (undescribed), Chaloner Smith (undescribed) Condition: Time toning to sheet. Original 18th century frame and glass.

[41950] £550

33

British TOPOGRAPHY

36. Publica Aedificia Academiae William Williams Copper engraving with hand colouring [Oxford, c. 1732-1733] Image 1230 x 470 mm A view of the University Public buildings from the Broad Street, from William Williams’ Oxonia Depicta sive Collegiorum et Aularum in Inclyta Academia Oxoniensi Ichnographica & Scenographica Delineatio LXV Tabulis Aeneis expressa A Guilielmo Williams Cui accedit Uniuscujusque Collegij Aulaeque Notitia.

A spectacular and increasingly rare print rarely found in such good condition, this example further highlighted with subtle hand colour.

Condition: Vertical folds as issued. Minor time-toning, staining, and creasing to folds. Otherwise excellent strong impression. Framed in an antique black and gold Hogarth frame.

[42330] £1,850

This is the most impressive print from Oxonia Depicta, a large folding-plate depicting a composite view of the Clarendon Building, the Schools Building and the Sheldonian Theatre, accompanied by figures in University dress and flanked by the front elevations of several other university buildings.

35

A view of Oxford from Magdalen Tower with the Examination School in the foreground and the curve of High Street on the left of the image, and spires of buildings in the distance. The Worshipful Company of Stationers and Newpaper Makers in London issued almanacks every year from 1747 with a single image on the top and calendar below. As with Oxford Almancks, a majority of surviving almanacks have had the calendar trimmed off.

37. Theatre Printing Office Merigot after John Claude Nattes Aquatint Published as the Acts directs, August: 1st. 1805, by James Gundee, Albion Press London.

Image 267 x 382 mm, Plate 325 x 427 mm, Sheet 337 x 470 mm

Condition: Trimmed within the plate, light overall time toning of paper, and light soiling in margins not affecting the image [41982] £300

A scarce aquatint from John Claude Nattes’ ‘A Graphic and Descriptive Tour of the University of Oxford, &c.’

(London: James Cundee, 1805). Looking from New College lane towards the Sheldonian Theatre prior to the construction of the Bridge of Sighs. The series was a commercial failure after the publication of only the first two parts of the intended twenty-five, making these prints some of the scarcest early nineteenth century views of the City and University.

Condition: Trimmed to the plate mark at base.

Slightly worn impression. Time toning to sheet edges, not affecting image.

[41601] £300

39. The New Hall of Hertford College A. Ernest Smith Etching 1891 Image 238 x 310 mm, Sheet 330 x 420 mm A view of the New Hall of Hertford College by A. Ernest Smith from the Oxford Almanack for the Year 1891. Hertford College was refounded in 1874 and the gatehouse and hall were built by T.G. Jackson in 1887. The corner to the left is part of the building built in 1820-22 for Magdalen Hall, with the Eighteenth Century chapel (now the library) beside it.

38. Stationers’ Almamanack 1889. Oxford.

J. Godfrey after A. Corner Steel engraving Published by Roberts & Leete, London.

Image 207 x 392 mm, Sheet 249 x 465 mm

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Condition: Trimmed close to the plate mark on the lower margin.

[41595] £200

40. The Bodleian Library William Nicholson Lithograph 1905 Image 270 x 326 mm, Sheet 400 x 530 mm Blindstamped View of the Bodleian Library quadrangle.

Campbell 137 Condtion: Dirt build up to margins. Creasing at right, not affecting image.

[42159] £175

41. University College William Nicholson Lithograph 1905 Image 345 x 260 mm, Sheet 398 x 530 mm Signed and blindstamped View of the gateway from the main quad of University College.

Campbell 137 [42158] £200

42. Wadham College William Nicholson Lithograph 1905 Image 345 x 257 mm, Sheet 390 x 518 mm Signed, numbered and blindstamped Lithograph of the exterior of Saint John’s College, from the quadrangle.

Campbell 137 [42161] £175

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43. St Peter’s College J. C. Stadler after A. Pugin Aquatint with hand colouring London pubd June 1 1814 at 101 Strand, for Ackermann’s History of Cambridge Image 200 x 263 mm Plate 255 x 295 mm Sheet 284 x 350 mm

44. Court of Peter House J. C. Stadler after F. Mackenzie Aquatint with hand colouring London pubd June 1 1814 at 101 Strand, for Ackermann’s History of Cambridge Image 200 x 265 mm Plate 250 x 300 mm Sheet 284 x 350 mm

An attractive street view showing the exterior of St Peter’s College from Rudolph Ackermann’s A History of the University of Cambridge, its Colleges, Halls and Public Buildings. A man droves sheep and a cow down the road.

Condition: Light crease to left of sheet and image. Two pin holes at top, not affecting image.

[42165] £220

An atmospheric image of Peter House quadrangle, from Rudolph Ackermann’s A History of the University of Cambridge, its Colleges, Halls and Public Buildings.

Condition: Time toning around edges.

[42166] £220

45. The South East prospect of the city of Bath [Anonymous] Copper engraved Engraved for the London Magazine, sold by R. Baldwin Jun[io]r at the Rose in Pater-Noster-Row. 1749.

Image 101 x 193 mm, Plate 122 x 206 mm, Sheet 135 x 211 mm A reduced copy of Samuel and Nathanial Buck’s ‘The South East Prospect of the City of Bath’ from 1734.

This copy was engraved for the London Magazine, published in August 1749. The print depicts a view of the city of Bath, the river Avon, and a group of hunters and a picnicking couple in the foreground.

[42301] £100

38

46. South East View of Windsor Castle William Daniell Aquatint with original hand colouring Published by W. Daniell. 14 Russell Place, Fitzroy Sqre, London. c.1827 Image 298 x 503 mm, Sheet 455 x 645 mm

47. View from the Round Tower. Windsor Castle William Daniell Aquatint with original hand colouring Published by W. Daniell. 14 Russell Place, Fitzroy Sqre, London. c.1827 Image 298 x 503 mm, Sheet 455 x 645 mm

A South East view of Windsor Castle from the surrounding grounds. Originally produced as a set of twelve prints of Windsor Castle and the surrounding landscape and laid to board to give the appearance of a watercolour.

A view of Windsor Castle and the surrounding landscape, seen from the round tower. The scene depicts St George’s Chapel seen from the rear and a view over the neighbouring Thames. Originally produced as a set of twelve prints of Windsor Castle and the surrounding landscape and laid to board to give the appearance of a watercolour.

Condition: Trimmed to image, and laid to folio sheet in order to give the appearance of a watercolour, as issued.

[42234] £400

Condition: Trimmed to image, and laid to folio sheet in order to give the appearance of a watercolour, as issued.

[42233] £400

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Foreign TOPOGRAPHY

48. [The Great Sphinx of Giza] Cornelis de Bruyn Copper engraving and etching [Delft: Henrik van Krooneveld 1698] Image 271 x 377 mm, Plate 301 x 390 mm, Sheet 330 x 412 mm A wonderful print showing grouped figures standing in front of the Sphinx and pyramids of Giza from Cornelis de Bruyn’s travel book Reizen van Cornelis de Bruyn, door de vermaardste deelen van Klein Asia, de eylanden Scio, Rhodus, Cyprus, Metelino, Stanchio, &c., mitsgaders de voornaamste steden van Aegypten, Syrien en Palestina (1698).

De Bruijn visited the pyramids on the 27th of May 1681, joining an excursion organised by the consul of Venice. He spent many hours exploring, documenting and measuring the impressive constructions, even climbing to the top of the Great Pyramid and inscribing his name. Among his drawings were the first pictures of the interior of the Great Pyramid. In order to make these he had to creep “like a serpent” through the tiny artificial entrance, and in his book he warns “any person that is fat and bulky” not to do what he

had done.

De Bruyn’s drawings of the interiors disproved the claim that the pyramids were granaries, an old theory that was still popular in Europe. However although this print comes from a documentary drawing, there are parts that would seem more fantastical. The pyramids are sharply sloped and pointed, perhaps amended by de Bruyn’s engraver from the original drawings in accordance with popular western belief.

More interestingly is the sphinx’s missing body. This was not an artistic amendment, rather the rest of the sphinx at this point lay undiscovered, still covered from the head down with sand.

Condition: Vertical central fold, as issued. Some discolouration in the margins. Small indentations to bottom right and left of image.

[41920] £150

41

49. Die Egüptische Flammseillen Johann Christoph Wagner Copper engraving [Augsburg: Jacob Koppmayer, c. 1684] Image 248 x 326 mm, Plate 261 x 332 mm, Sheet 311 x 364 mm A view of the pyramids of Giza and the Nile from Johann Cristoph Wagner’s Delineatio provinciarum Pannoniae et imperii Turcici in oriente, first published in 1684. Wagner’s book gave a wide-ranging account of the topographical, historical and cultural differences in the Holy Roman and Ottoman Empires. Although a factual work, this particular image is somewhat fictional. The shape of the pyramids have certainly been altered.

In fact their narrowness is a direct influence from the Pyramid of Cestius in Rome, built in 12BC. It was a far easier site for the European traveller and inspired many visiting artists who established its proportions as typical of pyramids elsewhere. Perhaps Wagner felt bound to this European artistic trope. The two sphinx-like statues are also imaginary. Both Dutch and Eastern figures can be seen in the landscape. A key in the lower margin names notable parts of the scene.

Condition: Vertical centre fold, as issued. Staining to centre fold. Two vertical printer’s creases. Foxing in margins.

[41921] £150

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50. Die Statt Alkeir in Ægyptn [The City Alkeir in Egypt] Johann Christoph Wagner Copper engraving [Augsburg: Jacob Koppmayer, c. 1684] Image 270 x 347 mm, Plate 280 x 355 mm, Sheet 311 x 370 mm A view of the Egyptian capital city, Cairo, from the river Nile. From Johann Cristoph Wagner’s Delineatio provinciarum Pannoniae et imperii Turcici in oriente, first published in 1684. The title of the print has been depicted in the centre of the sky, inside an unrolling scroll. An exquisitely detailed print with a key at the bottom right naming different parts of the landscape.

Sailing and battle ships adorn the river as well as a sea monster/crocodile.

Condition: Vertical central fold, as issued. Some light foxing in centre and margins.

[41919] £250

51. Aankomst van Jean de Ezquebel Pieter van der Aa after Theodorus de Bry Copper engraving [Leyden, 1706-1727] Image 132 x 181 mm, Plate 137 x 186 mm, Sheet 366 x 228 mm

52. Jean Ponze de Leon na Florida Pieter van der Aa after Theodorus de Bry Copper engraving [Leyden, 1706-1727] Image 130 x 180 mm, Plate 137 x 184 mm, Sheet 366 x 230 mm

A scene from the expedition of Juan de Esquivel, from Pieter van der Aa’s De aanmerkenswaardigste en alomberoemde zee- en landreizen der Portugeezen, Spanjaarden, Engelsen, en allerhande natie ën. The scene depicts a massacre of the native West Indians by the Spanish. The Spaniards, having broken through the palisade surrounding the Indian village, set fire to the buildings and houses and slaughter the naked and unarmed inhabitants with muskets and halberds.

Although appearing in the middle of an account of de Esquivel’s movements in 1510, the scene is probably one of the infamous Higuey Massacre of 1503. de Esquivel, as part of his conquest of Jamaica, participated in the massacre of the native Taino people.

By 1519, less than 2000 Taino remained on the island.

A scene from the expedition of Juan Ponce de León, from Pieter van der Aa’s De aanmerkenswaardigste en alomberoemde zee- en landreizen der Portugeezen, Spanjaarden, Engelsen, en allerhande natie ën. The scene depicts a massacre of Spanish soldiers and Jesuit priests by native West Indian warriors. The West Indians, armed with clubs and bows and arrows, rush from a small village in a forest towards the coast, driving before them a small group of fleeing Spaniards, who try to make it back to the safety of their ships. A number of Spanish soldiers lie dying on the shoreline, while two captive Jesuits are bludgeoned to death in the foreground.

The De aanmerkenswaardigste... was a colossal Dutch account of the various voyages of discovery in the West and East Indies undertaken by all of the European nations, excepting the Dutch. Van der Aa, ever the consummate salesman, astutely attributed the work to Gottfried, whose Chronicle he had published a few years earlier. The majority of the text for the multivolume work was taken from pre-existing Dutch translations of the accounts of famous voyages, most notably de la Casas’ description of the voyages of Columbus.

Condition: Clean, dark impression. Text below and to verso. Time toning to sheet. Small insect hole to top margin not affecting image.

[42043] £75

The scene probably depicts the unsuccessful attempt at colonisation led by Ponce de León to southwest Florida in 1521. The expedition met with fierce opposition from the native Calusa people, who succeeded in repelling the Spanish colonists and mortally wounding Ponce de León himself, who was shot with an arrow likely poisoned with manchineel sap. The colonists abandoned their mission and retreated to Havana, where Ponce de Leon succumbed to his injuries.

Condition: Clean, dark impression. Text below and to verso. Time toning to sheet.

[42044] £75

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Plates from Braun and Hogenberg’s Civitates Orbis Terrarum Between 1572 and 1617 Georg Braun (1541-1622) and Frans Hogenberg (1535-1590) published six volumes of their Civitates Orbis Terrarum, containing over 500 prospects, views, and maps of mostly European cities, envisioned as a companion to Ortelius’ atlas Theatrum Orbis Terrarum.

Braun was the editor of the series, with Hogenberg as principle engraver. They relied mainly on existing cartography, but also on drawings made by the Antwerp artist Joris Hoefnagel (15421600), who had travelled through most of Western Europe.

After Joris Hoefnagel’s death his son Jakob continued the work for the Civitates.

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53. Caprarola Arx et Horti Farnesiani Georg Braun and Frans Hogenberg Copper engraving with hand colouring [Cologne, c.1617] Image 382 x 502 mm, Plate 386 x 506 mm, Sheet 416 x 556 mm A view of the Villa Farnese above the Italian town of Caprarola, in the Viterbo province of Latium (Lazio), from the fifth volume of Georg Braun and Frans Hogenberg’s Civitates Orbis Terrarum. The villa and gardens are depicted from the East, with the Villa’s grand southeastern facade at the bottom left corner.

The unusual bird’s-eye perspective of the scene allows the viewer to see three of the five faces of the pentagonal villa, as well as the unusual circular inner courtyard. Behind and to the right of the villa are the extensive Farnese Gardens, a series of parterres enclosed by boundary walls that rise up the slopes of the Cimini Hills.

Outside the formal walled gardens are a number of agricultural fields, extensive woodland, and a small cottage. At the front of the scene, a pair of nobles, perhaps representing Ortelius and Hoefnagel, view the villa and grounds.

The Villa Farnese, also known as the Villa Caprarola, was commissioned by Alessandro Farnese, later Pope Paul III, in 1504. Originally intended as a fortress, the building was redeveloped into a country estate by the architect Giacomo Barozzi da Vignola under direction from Alessandro’s grandson in the 1550s. By the 1580s, the building was praised as the most beautiful palace in Italy, thus guaranteeing its inclusion in the Civitates Orbis Terrarum.

Condition: Strong clean impression with full margins.

Red fore-edge colouring to edges of sheet, as issued.

Central vertical fold as issued. German gothic letterpress on verso.

[42098] £375

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54. Pisaurum vulgo Pezaro Georg Braun and Frans Hogenberg Copper engraving with hand colouring Depingebat Geor. Hoefnagle [Cologne, c.1617] Image 273 x 393 mm, Plate 280 x 400 mm, Sheet 416 x 552 mm A view of the Italian city of Pesaro, capital of the Urbino province of the Marche, from Georg Braun and Frans Hogenberg’s Civitates Orbis Terrarum. The city is shown from the west, nestled between the Foglia river and San Bartolo hill. The city’s della Rovere walls are shown to full effect, though the only feature of the city to have received a label is the spire of the church of San Domenico. To the left of the scene the Adriatic, also labelled as the Venetian Gulf, is bathed in sunlight, while boats approach the mouth of the river.

A strapwork cartouche encloses the title in the bottom left corner, near a pair of women in noble dress.

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The city of Pesaro was founded by the Romans, under the name Pisaurum, in 184 BC, though it is likely that an early Etruscan Picentine town originally occupied the site. Its position on the Via Flaminia gave it strategic importance, both in terms of trade and politics. In the 5th century it fell under the control of the Ostragoths, then in the 6th century to the Byzantines. After possession by the Lombards and Franks, it became part of the Papal States.

Condition: Strong clean impression with full margins.

Red fore-edge colouring to edges of sheet, as issued.

Central vertical fold as issued. German gothic letterpress on verso.

[42099] £375

55.Tricaricum Basilicatae Civitas Georg Braun and Frans Hogenberg Copper engraving with hand colouring [Cologne, c. 1617] Image 318 x 501 mm, Plate 322 x 508 mm, Sheet 416 x 562 mm A view of the Italian town of Tricarico, in the Matera province of Basilicata, from volume six of Georg Braun and Frans Hogenberg’s Civitates Orbis Terrarum. The town is depicted from the west, showing the three citadels for which the city is named to full effect. The medieval buildings and street plan, combining elements of Arabic, Byzantine, and Norman architecture, are labelled numerically, with a corresponding key at the bottom of the map enclosed in a strapwork cartouche. The most notable of the town’s buildings is the Torre Principale, a Norman tower attached to the Monastery of Santa Chiara.

The plan is further ornamented with three baroque armourials.

Despite undoubtedly having ancient Lucanian and Greek origins, the first documentary evidence of the town of Tricaricum is Lombardic, dating to the 9th century. By the 11th century, the city had passed through the hands of Arab, Byzantine, and Norman rulers. Today it retains some of the finest and most complete examples of medieval architecture in Basilicata.

Condition: Strong clean impression with full margins.

Red fore-edge colouring to edges of sheet, as issued.

Central vertical fold as issued. German gothic letterpress on verso.

[42096] £375

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56. Vetustiss, ad Mare Thyrrhenum Terracinae Oppidum Georg Braun and Frans Hogenberg after Georgius Hoefnagel Copper engraving with hand colouring Deping. Geor. Hoefnag. [Cologne, c.1617] Image 326 x 418 mm, Plate 332 x 422 mm, Sheet 416 x 554 mm A view of the Italian city of Terracina in Latium (Lazio), from Georg Braun and Frans Hogenberg’s Civitates Orbis Terrarum. The city is depicted from the northwest, showing the sloping position of the city on a spur of Mount Sant’Angelo. An elaborate strapwork cartouch in the bottom left corner of the sheet provides an alphanumeric key of 7 key sites in the region, including the Monastery of St Angelo, and the ruins of the ancient Roman theatre and citadel of Tarracina, the successor to the earlier Etruscan settlement of Anxur. In the foreground, a group of agrarian figures are engaged in the yearly harvest, one figure shaking the tree with a stick to dislodge the fruit, either olives or almonds, that his fellows collect in baskets and sheets.

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The city of Terracina sits upon the terminal ridge of the Volscian mountains, at the point where the range once met the Tyrrhenian Sea. For this reason, it commanded an important strategic position in antiquity, a role that was only increased by the extension of the Via Appia in the 4th century BC. Although originally perched on a rocky outcrop surrounded by ocean, since pre-Roman times the site has become increasingly silted up, and in the present day, the coastline has retreated some distance west of the city. In the Roman Imperial period, Terracina was a popular location for villas, and was the birthplace of the Emperor Galba. Following the Lombardic conquest of northern Italy, the city became an important border for the Byzantines, and later acted in a similar role on the border between the Papal States and the Kingdom of Naples.

Condition: Strong clean impression with full margins.

Red fore-edge colouring to edges of sheet, as issued.

Central vertical fold as issued. German gothic letterpress on verso.

[42097] £375

57. Calaris / Malta / Rhodus / Famaugusta Georg Braun and Frans Hogenberg Copper engraving with hand colouring [Cologne, c.1588] Image 325 x 470 mm, Plate 330 x 475 mm, Sheet 400 x 515 mm Four views of Mediterranean island ports, from Braun and Hogenberg’s Civitates Orbis Terrarum. The views depict the island cities of Cagliari on Sardinia, Birgu and Valetta on Malta, the eponymous city of Rhodes, and Famagusta on Cyprus.

Each city is shown with reference to its various military, civic, and maritime structures. Cagliari has a collection of walled quarters, as well as a palisade, projecting out from the waterfront to create a manmade harbour.

Rhodes Old Town has a series of three concentric walls enclosing the city and harbour, while a lighthouse and windmills have been installed on the waterfront.

Finally Famagusta’s moat and crusader-era walls make the city an island fortress, defended by a key-shaped walled mole.

The verso features a German description of the four ports, in gothic typeface.

Condition: Central vertical fold, as issued. Minor time toning and creaseing to margins, not affecting image.

[41750] £700

Malta shows the walls of Valetta, newly built at the time the view was taken, as well as the star-shaped Fort St Elmo, and the larger bastion of Fort St Angelo.

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58. Cité Victorieuse & Fort ou Château de St Ange, à Malte Jean Duplessis-Berteaux and Desquavilliers Engraving Gravée a l’eau forte par Duplessis Berteaux; termineé au burin par Desquavilliers [Paris, c.1781] Image 159 x 230 mm, Plate 200 x 300 mm, Sheet 214 x 333 mm Locals and foreigners mingle at the market on the island of Malta. View of the port and the other side of the city in the distance. An illustration to Voyage pittoresque ou Description des royaumes de Naples et de Sicile, published in Paris between 1781 and 1786.

Image no. 506. Image engraved by Duplessis-Berteaux and finished by Desquavilliers.

Condition: Crease in lower right corner. Foxing to margins. Minor tears at edges.

[42196] £150

50

59. Fort Manoel & Ile du Lazareth, à Malte Lienard after Louis Jean Desprez Copper engraving Desinée par Despréz. Gravé par Lienard. [Paris, c.1781] Image 160 x 236 mm, Plate 195 x 256 mm, Sheet 214 x 334 mm A view of Fort Manoela and Isle of Lazareth, as part of the Port of Malta, to the north west of Valletta, with figures walking in the foreground, and ships in the water beyond. The fort first saw use during the French invasion of Malta in June 1798, in the French Revolutionary Wars. An illustration to Voyage pittoresque ou Description des royaumes de Naples et de Sicile, published in Paris between 1781 and 1786.

Image no.505.

Condition: Light foxing, mainly in margins.

[42194] £150

60. Entreé & Interieur du Port de Malte Louis-Martin Berthault and Desquavilliers Engraving Gravée a l’eau forte par Berthault; termineé par Desquavilliers [Paris, c.1780s] Image 160 x 230 mm, Plate 192 x 256 mm, Sheet 231 x 334 mm

61. Ile & Port de Malte Louis-Martin Berthault and Du Parc Engraving Gravée par Berthault; terminée par Du Parc [Paris, c.1780s] Image 156 x 232 mm, Plate 195 x 256 mm, Sheet 220 x 331 mm

A view of the port of Malta. An illustration to Voyage pittoresque ou Description des royaumes de Naples et de Sicile, published in Paris between 1781 and 1786.

Image no. 504. Engraved by Berthault and finished by Desquavilliers.

A view of the port of the island of Malta. The skill of the engravers is highlighted in the depiction of the sky, a subtly detailed piece of work. An illustration to Voyage pittoresque ou Description des royaumes de Naples et de Sicile, published in Paris between 1781 and 1786.

Image no. 503. Image engraved by Berthault and finished by Du Parc.

Condition: Crease in lower right corner. Foxing to margins. Minor tears and creases.

[42197] £150

Condition: Foxing and creasing. Repaired tear in lower left margin, not affecting image.

[42195] £150

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General INTEREST

62. Les Cinq Ordres de Colonnes des Greces et des Romains Denis Diderot and Jean le Rond d’Alembert Engraving Copper engraving [1761] Image 315 x 202 mm, Plate 348 x 209 mm, Sheet 393 x 246 mm Plate I from Denis Diderot and Jean le Rond d’Alembert’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers illustrating columns of the classical architectural orders.

Condition: Good condition. Minor time toning.

[42210] £75

63. Architecture: Chapiteaux des cinq Ordres, avec le Chapiteau Ionique Moderne Denis Diderot and Jean le Rond d’Alembert Copper engraving [1761] Image 316 x 200 mm, Plate 348 x 209 mm, Sheet 393 x 246 mm Plate VII from Denis Diderot and Jean le Rond d’Alembert’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers illustrating capitals of the classical architectural orders.

[42209] £75

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Maritime flags from the Encyclopédie, a French general encyclopaedia in 28 volumes published in Paris between 1751 and 1772. The general editor of the series was Denis Diderot, the celebrated Enlightenment philosopher, author, and art critic. The broad and ambitious aim of the Encyclopédie was to gather together the collected knowledge of the world into a single work.

As a result, some of greatest French minds of the age were contributors, including d’Alembert, Rousseau, and Voltaire. The Encyclopédie played an important role in the development of French intellectual fervour in the lead up to the Revolution. The 17 volumes of articles were accompanied by 11 volumes of illustrative plates, the majority of which were executed by Robert Bénard after drawings by Louis-Jacques Goussier.

64. Marine Robert Bénard Engraving with original hand colouring Benard direxit 129 [c. 1787] Image 236 x 337 mm, Plate 242 x 350 mm, Sheet 316 x 472 mm

65. Marine Robert Bénard Engraving with original hand colouring Benard direxit 130 [c. 1787] Image 236 x 337 mm, Plate 243 x 354 mm, Sheet 313 x 463 mm

A handsome set of hand coloured maritime flags

by Robert Bénard. Plate 109 from Denis Diderot’s Encyclopédie, Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres. Flags include the Royal Standards of George I of England and King William III, the Merchant Standards of the United Kingdom, British Admiralty and British East India, and the flag of the Isle of Man.

A handsome set of hand coloured maritime flags

by Robert Bénard. Plate 110 from Denis Diderot’s Encyclopédie, Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres. Flags include those of the East Indies, Brabant, the Czar of Russia, the Standard of Emperor Charles III

Condition: Vertical central fold, as issued. Some discolouration and tearing in margin, not affecting image.

[41927] £175

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Condition: Central vertical fold, as issued. Some discolouration in margin, not affecting image.

[41928] £175

66. Marine Robert Bénard Engraving with original hand colouring Benard direxit 133 [c. 1787] Image 238 x 335 mm, Plate 243 x 353 mm, Sheet 314 x 470 mm

67. Marine Robert Bénard Engraving with original hand colouring Benard direxit 131 [c. 1787] Image 232 x 331 mm, Plate 244 x 352 mm, Sheet 312 x 463 mm

A handsome set of hand coloured maritime flags

by Robert Bénard. Plate 113 from Denis Diderot’s Encyclopédie, Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres. Flags include those of Tartary, Batavia, Tripoli and the pirate republic of Salé (Morocco).

A handsome set of hand coloured French Navy Maritime flags by Robert Bénard. Plate 111 from Denis Diderot’s Encyclopédie, Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres. Flags include those of Sardinia, Brandenberg, the House of Savoy, Poland and Messina.

Condition: Vertical central fold, as issued. Some discolouration in margin, not affecting image.

[41929] £175

Condition: Vertical central fold, as issued. Some discolouration in margin, not affecting image.

[41930] £175

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68. Geometrie Speculative [Anonymous] Woodcut [c.1580] Sheet 180 x 132 mm A sheet from a late sixteenth century mathematical treatise, featuring a number of woodcut illustrations of geometric diagrams and astronomical instruments.

The largest illustration depicts the use of a Baculus Jacobi, or ‘Jacob’s Staff,’ also known as a ballastella.

The Baculus Jacobi was a simple cruciform tool used to calculate angles.

In the illustration, a scholar uses the tool to calculate the distance from his person to a castle tower in the distance. The page also features a rough comparative diagram of the circumference, area, and diameter of a circle.

On the verso, two further illustrations show the relationship of angles in a triangle and square, as well as the component parts of a quadrant instrument.

Each of the illustrations is accompanied by parallel explanatory text in Latin.

Condition: Excellent dark impression.

[42183] £50

69. [Ammonite Fossils] Michael Van der Gucht after P. La Vergne.

Copper engraving P. La Vergne del. M. van der Gucht scul. [c. 1700] Image 288 x 178 mm Plate 293 x 180 mm Sheet 296 x 193 mm A detailed sheet of engraved Ammonites Fossils drawn by P. La Vergne and engraved by Michael Vandergucht (Van der Gucht). Each specimen has been numbered.

Dedication to Sir Justinian Isham inscribed in ornate cartouche at bottom right with coat or arms attached above. Likely to be Sir Justinian Isham, 2nd Baronet (1610 – 1675) an English scholar educated at Christ’s College Cambridge, later becoming a royalist politician. He was an early member of the Royal Society and also a Member of Parliament.

Condition: Pressed centre fold, creasing at top right.

[41938] £100

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71. Punch Johannes Eckstein, C. F. Stadler Aquatint with hand colouring [1794] Image 350 x 435 mm Sheet 390 x 460 mm A scarce eighteenth century image of a Punch and Judy show. A crowd gathers to watch the entertainment, including a father and child on a pony in the centre.

70. [Shells, Anemones and Fossils] Michael Van der Gucht after P. La Vergne.

Copper engraving P. La Vergne del. M.Vdr. Gucht scul. [c. 1700] Image 294 x 178 mm Plate 295 x 180 mm Sheet 301 x 188 mm A detailed sheet of engraved shells and sea anemones drawn by P. La Vergne and engraved by Michael Vandergucht (Van der Gucht). Each object has been numbered.

Note the many entertaining details, such as the children at the left stealing pears, and the dog eating from a dustbin at the far right. An advertisement for the Irish Lottery held by a gentleman to the left and playbills pasted to the walls to the right.

Condition: Time toning, staining and creasing in margins. Small hole to mane of horse. Paper watermarked 1794.

[42191] ÂŁ375

Dedication to Ralph Lane (c. 1532-1603) in an ornate cartouche at the bottom right with a coat of arms.

Lane was an English explorer of the Elizabethan era.

He was part of the unsuccessful attempt in 1585 to colonise Roanoke Island, North Carolina. He also served the Crown in Ireland and was knighted by the Queen in 1593.

Condition: Pressed horizontal centre fold. Some creasing. Repairs to left of centre fold and corners of sheet.

[41937] ÂŁ75

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72. Pheasant Shooting Mezzotint London, published 13 March, 1797, by Haines & Son, No. 19, Rolls Building, Fetter Lane.

Image 247 x 348 mm Plate 251 x 349 mm Sheet 262 x 358 mm Two men hunt pheasant in an English landscape.

A bird tumbles from the sky, shot by the hunter on the left, who is half hidden amongst the trees. In the foreground the second hunter reloads his gun as his dog watches him expectantly.

A dead bird lies on the ground beside them. This hunting scene follows the tradition of the British sporting artist James Seymour, by presenting a small format sporting picture in a bold decisive style.

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The artist and engraver are not recorded on the plate, which was typical of works published at the period by Haines & Son. Condition: Discolouration in margins, not aecting image. Two repaired tears to bottom of sheet and image rubbed at right hand side.

[41933] ÂŁ200

73. Partridge Shooting Haines & Son Mezzotint London, published 13 March, 1797, by Haines & Son, No. 19, Rolls Building, Fetter Lane.

Image 250 x 352 mm Plate 251 x 354 mm Sheet 267 x 362 mm

74. Snipe Shooting Haines & Son Mezzotint London, published 13 March, 1797, by Haines & Son, No. 19, Rolls Building, Fetter Lane.

Image 250 x 349 mm Plate 251 x 351 mm Sheet 264 x 361 mm

A late eighteenth century image of two men and their dogs on a shoot. In the foreground a male figure has just shot his gun, the movement of the bullet has been depicted as a bright white line. In the distance another hunter stands still, as if lost in thought, while his dog looks at him expectantly.

A father and son hunt snipe in a wintry landscape. The young boy stands looking somewhat cold and dejected behind his father.

Condition: Slight discolouration in margins, not affecting image.

[41931] £200

Although snipe exist, and snipe shooting is a real pursuit, the term ‘snipe hunt’ is most commonly used to describe an impossible task, a specific type of ‘wildgoose chase’, where a person embarks on an impossible search. Perhaps the artist knew this double meaning, and meant to hint at the failure of the pair’s hunt.

Condition: Slight discolouration and tearing in margins, not affecting image.

[41932] £200

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75. A Billiard Match - Left, Kissing, The Canon, Snookered. [Set of four] Lance Thackeray Chromolithograph Copyright 1902 By Landeker & Brown, London, England.

Each: Image 305 x 421 mm Left: A couple is playing billiard, the woman is leaning over a billiard table with a cue in hand, while the man is watching her to the right and holding a cup of tea.

A boy is taking away a platter with a teapot to the left and a dog is lying underneath the billiard table.

Kissing: A couple kissing, the woman is leaning onto the billiard table, and the man is holding a cue. To the left a boy is keeping the billiard score on a board.

The Canon: A couple is playing billiard and an angrylooking canon has entered the room on the left.

The couple that was seen in a loving embrace in the previous picture is now back to innocently playing billiard.

Snookered: The woman is leaving the room on the left while an angry-looking canon is watching her leave to her. The man is leaning on the billiard table and the boy stands to the right laughing.

Condition: Excellent impressions, framed in matching period frames.

[42311] ÂŁ1,400

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Artists, Printmakers & Publishers BIOGRAPHIES Robert Bénard (1734- after 1778) was a French engraver, best known for executing and overseeing the printing of over 1800 illustrative plates for Diderot’s seminal Encyclopédie, Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres. Following designs by Goussier, Benard engravings cover a vast array of topics, from scientific, mathematical, and biological, to heraldic, military, and maritime.

Louis-Martin Berthault (30 September 1770 – 16 August 1823) was a French architect, decorator, engraver and landscape artist.

Rosa Bonheur (16 March 1822 – 25 May 1899) was a French artist and sculptor, known predominantly for her realistic depictions of both farm and exotic animals. Her most well-known paintings are Ploughing in the Nivernais, first exhibited at the Paris Salon of 1848, and now at Musée d’Orsay in Paris, and The Horse Fair which was exhibited at the Salon of 1853 (finished in 1855) and is now in the Metropolitan Museum of Art, in New York City. Bonheur is widely considered to be the most famous female painter of the nineteenth century.

Marie-Claudine-Ursule Boze (1771-1850) was the daughter of Joseph Boze (1745-1826). She started copying the work of her father at twelve years old. He worked as a portraitist at the court of the French king Louis XVI but later also made portraits of revolutionaries. Marie-Claudine-Ursule Boze specialised in drawn portraits. She was active in Paris from 1789 until 1800.

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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.

Henry William Bunbury (1750 – 1811). Bunbury was an English caricaturist. He was the second son of Sir William Bunbury, 5th Baronet, of Mildenhall, Suffolk. He was educated at Westminster School and St Catharine’s College, Cambridge, and soon showed a talent for drawing, especially for humorous subjects. His more serious efforts were no great success, but his caricatures are as famous as those of his contemporaries Thomas Rowlandson and James Gillray.. His designs were usually etched by Darly and Bretherton, and (from 1780s) Dickinson.

Pierre Charles Coqueret (1761 - 1832) was a printmaker who was active in Paris. He exhibited at the Salon from 1798 to 1810 and mostly produced genre scenes and portraits. He had studied engraving under Jean-François Janinet or François Janinet (17521814).

Charles Corbutt was a pseudonym used by the Irish engraver Richard Purcell when plagiarising the work of others, usually for the publisher Robert Sayer.

George Cruikshank (27 September 1792–1 February 1878) was a British caricaturist and book illustrator, praised as the “modern Hogarth” during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience.

William Daniell (1769 - 1837) was a British painter, aquatinter and watercolourist. He was the nephew and pupil of Thomas Daniell, and brother of Samuel Daniell, whom he accompanied to India 1785-94.

It was in Calcutta that William produced his first topographical folio of work entitled ‘Oriental Scenery,’ which was published in various parts from 17951808. Daniell entered the Royal Academy schools in 1799, was elected an Associate in 1807, and in 1822, he became a full academician. He and his brother are best remembered for one of the most influential topographical works of the nineteenth-century; ‘A Voyage Round Great Britain,’ which was issued in volumes between the years of 1814 and 1825.

Cornelis de Bruyn (1652-1726/7) was a Dutch artist and traveller, born in the Hague. He made two large tours and published illustrated books with his observations of people, buildings, plants and animals. During his first tour, he visited Rome, Egypt, Jeruselum and Cyprus, where he stayed among the Dutch merchants in Smyrna and Constantinople.

From 1684 he worked in Venice with the painter Johann Carl Loth, returning in 1693 to The Hague, where he sold his souvenirs.

In 1698 he published his book with drawings, which was a success and was translated in several languages.

Among his drawings were the first pictures of the interior of the Great Pyramid and Jerusalem that became known in Europe. During his second tour in 1701 he visited the Samoyeds in northern Russia. In Moscow he became acquainted with emperor Peter the Great; de Bruijn painted his nieces, and the paintings were sent to possible candidates for marriage. In late April 1703, De Brujin left Moscow along with the party of an Armenian merchants from Isfahan. De Bruijin and the Armenians sailed down the Moscow River, the Oka and the Volga, eventually reaching Astrakhan. Leaving the borders of the Russian state, de Brujin arrived to Persia, where he made drawings of towns like Isfahan and Persepolis (1704–1705).

He continued to Java and returned to Persia, Russia, and ultimately the Netherlands. His drawings of Persepolis, a city destroyed by Alexander the Great, caused a sensation. They were the best prints available to western scholars. De Bruyn‘s second book, Reizen over Moskovie was not such a success, as he was accused of plagarism. De Bruyn died in Utrecht. It is not known when and where he was buried.

Theodorus de Bry (1528 – 27 March 1598) was an engraver, goldsmith, editor and publisher, famous for his depictions of early European expeditions to the Americas.

Robert Dunkarton (c. 1744 - c.1815) initially produced portraits in oils and crayons after an apprenticeship with mezzotint engraver William Pether. He exhibited these works at the Royal Academy and the Society of Artists from 1774 until 1779, after which he concentrated on printmaking. Dunkarton worked in a number of areas, including portraits, old master paintings, landscapes, and botanical subjects.

Between 1770 and 1811, he produced some forty-five mezzotint portraits, many on a large scale. One of his last commissions was from J.M.W. Turner, for whom he provided the mezzotint ground for five of the plates for his Liber Studiorum, published in 1811-12.

Johannes Eckstein (1735 - 1817) was a German sculptor, painter, draughtsman and art dealer. He trained as a sculptor in London in the mid 1700’s and later returned to Germany to work for the courts in Potsdam. He is recorded as being in London in 1770/71 which would suggest this plate was engraved during this period. Eckstein emigrated to America in 1793, opening a shop in Philadelphia. He died in Havana, Cuba, June 1817.

Louis Jean Desprez (1743 - 1804) was a French architect, topographical draughtsman and stage designer. Between 1776 and 1784 he was situated in Rome, later moving to Sweden to take up the position of Court Painter until his death in 1804.

John Dixon (c. 1740-1811) was a British printmaker, specialising in mezzotint engravings. He was born in Dublin, and trained as a painter and engraver in the Dublin Society School. In 1765 he moved to London to work as a mezzotinter, though married a wealthy widow ten years later and ceased working, only engraving for his own amusement.

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Jean Duplessis-Berteaux was a French draftsman and engraver (1747-1819). His engravings illustrated numerous books published in the late eighteenth century.

Marie Alexandre Duparc (18th-19th century) is remembered for his engravings of portraits and landscapes, as well as The Washerwomen at the Lake, after van der Neer, The Entertainer, after Adr. van Ostade, Cavalry Skirmish, after Ph. Wouwerman, and The Village Dance. He was active in Paris in the late 18th and early 19th century.

Charles Amand-Durand (1831 - 1905) was a French printmaker and publisher. He is best remembered as the pioneer of the héliogravure. Together with Georges Duplessis, he produced portfolios replicating the work of artists such as Dürer, Rembrandt, Claude and Lucas van Leyden. As with other publishers of the time, he printed his works on antiquated paper, so as to give the impression of the original. His works can however be identified by the red stamp which bears his initials on the verso.

Albrecht Dürer (1471 - 1528) was a celebrated German polymath. Though primarily a painter, printmaker and graphic artist, he was also a writer, mathematician and theoretician. Born in Nuremberg, Dürer was apprenticed to the painter Michel Wolgemut whose workshop produced woodcut illustrations for major books and publications. He travelled widely between the years of 1492 and 1494, and is known to have visited Martin Schongauer, the leading German painter and engraver at the time, at his studio in Colmar.

In 1495, Dürer set up his own workshop in his native Nuremberg, and, by the beginning of the sixteenth-century, had already published three of his most famous series’ of woodcuts: The Apocalypse, The Large Passion, and The Life of the Virgin. Nuremberg was something of a hub for Humanism at this time, and Dürer was privy to the teachings of Philipp Melanchthon, Willibald Pirkheimer and Desiderius Erasmus. The latter went so far as to call Dürer ‘the Apelles of black lines’, a reference to the most famous ancient Greek artist. Though Dürer’s approach to Protestantism was not as staunch as that of his fraternity, his artwork was just as revolutionary. For their technical virtuosity, intellectual scope, and psychological depth, Dürer’s works were unmatched by earlier printed work, and, arguably, have yet to be equalled.

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Haines & Son (c. fl. 1795-1809) were printpublishers largely specialising in cheap moralising mezzotints. They catered to the decorative print market, and often republished earlier plates, which they acquired from other publishers, such as Carington Bowles and Robert Sayer.

John Harris (c. 1740-1812) was British publisher and printmaker. He was particularly interested in publishing prints of historical, literary, marine and sporting subjects, and prints after the caricaturist Henry Bunbury. He habitually purchased plates from original publishers.

Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-52 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was prolific and engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours and many drawings.

Nicolas Lancret (1690-1743) was a French painter active in Paris. He studied at the Royal Academy of France (Académie Royale de Peinture et de Sculpture) and was a pupil of Pierre Dulin and Claude Gillot.

Lancret’s style closely related to the style of Antoine Watteau (1684-1721), who had also been a pupil of Claude Gillot. Lancret painted genre scenes with fêtes galantes and other activities of the court and nobility.

Landeker & Brown were British print publishers based at 28 and 30 Worship Street, London in the early twentieth century. The 1922 British Industries Fair listed them as furniture and jigsaw puzzle makers, as well as print publishers.

Nicolas de Larmessin IV (1684-1755) was a French printmaker coming from a family of engravers, print sellers and publisher. He was active in Paris and worked for nobility and the court. He specialised in reproducing paintings into print format.

P. La Vergne (fl. c. 1700) was an artist of whom little is known. His designs were often engraved by Michael Vandergucht.

Hilaire Ledru or le Dru (1769 - 1840) was active as a painter, draftsman and printmaker. His portraits and genre scenes were shown at the Salon in Paris and exhibitions in Lille and Douai. Not much is known about Ledru’s education as an artist. He studied in Douai and might have been a pupil of Joseph Ducreux (1735-1802) in Paris. Le Dru is mostly known for his full-length portrait drawings of French republican and Napoleonic generals, many of which were later published at prints.

John Lewis Marks (c. 1796-1855) was a British publisher and printmaker, specialising in caricatures.

He initially worked for other publishers, but later worked more often alone. His earlier works are signed as Lewis Marks, later ones as J. Lewis Marks. Works published by him though unsigned have usually also been designed and printed by him.

Pietro Antonio Martini (1738-1797) was an Italian born printmaker and draftsman, who was active in Paris (1769-1792) and Parma (1792-1797) and for a brief year in the United Kingdom in 1787. He was specialised in cityscapes and using etching to reproduce works. He worked for Jacques-Philippe Le Bas for several years. He published several prints with panoramic views of big exhibitions and salons.

J. Merigot was a printmaker active in France and England between 1772 - 1816. He specialised in ‘maniere de lavis’ and later aquatint. According to the title page of ‘Promenade ou Itinéraire des jardins d’Ermenonville’ (1788), he was the son of a bookseller in the boulevard Saint-Martin. In 1790 he published prints at Quai des Augustins, rue Pavée 38. He later emigrated to London.

Sir William Newzam Prior Nicholson (1872 - 1949) was a British artist. A painter of landscapes, still life, and portraits most notably, he is also remembered for his distinctive illustrative work and for his creative partnership with his brother-in-law, James Pryde.

Nicholson studied at Hubert von Herkomer’s art school and it was here that he met James Pryde and his sister Mabel, whom Nicholson later married. The pair collaborated under the pseudonym “Beggarstaff” producing fine graphical works and posters. Their work was influential in its design and had an important impact on the poster art movement of the late 19th and early 20th centuries.

Nicholson moved to Woodstock, Oxfordshire in 1898.

After this time he became increasingly interested in historic architecture and, in 1902, began to make watercolour drawings of colleges and other buildings in nearby Oxford. The series was completed in 1903 and published the following year as a facsimile of 24 finely printed facsimiles, by the Stafford Gallery.

“Unlike the artists who had worked on the many successors to Ackermann’s ‘History of Oxford’, Nicholson was as interested in the effects of light and shade on the fabric of the city’s architecture as he was in the buildings themselves.” (C. Cambell - William Nicholson, The Graphic Work).

Johann Heinrich Ramberg (1763-1840) was a German painter, printmaker and draftsman. He was mostly active in Hannover but was a pupil of Benjamin West (1738-1820) in London, were he exhibited several times at the Royal Academy. He travelled to Italy from 1790-1793 to complete his studies as an artist. After his studies he returned to Hannover were he became court painter to George III in 1792. He took on several students, including John Fisher.

Sir Joshua Reynolds (1723-1792) led the eighteenthcentury art world as first President of the Royal Academy and Britain’s leading portrait painter. In his attempt to raise the status of portraiture, he created the Grand Manner which borrowed from classical antiquity and the Old Masters to fill his portraits with moral and heroic symbolism.

An incredible socialite, social climber and selfpromoter, Reynolds used his contacts to advance himself. Appointed President of the newly established Royal Academy in 1768, his annual lectures - or ‘Discourses on Art’ - had a lasting impact on the contemporary theory of art and practice.

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.

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Mathys Schevaerdts (c. 1665-after 1702) was a Flemish painter whose bright, panoramic landscapes followed in the tradition of Jan Breughel the Elder.

(1569-1625). He later developed towards an Italianate style. Details about the life of Schoevaerdts are scarce.

The earliest records about the artist date from 1682, the year in which he began his apprenticeship with the landscape painter Adriaen Frans Boudewijns.

This makes it likely that he was born somewhere between 1665 and 1667 assuming the age at which apprenticeships typically started was 15 to 17 years.

His birthplace was likely Brussels. Schoevaerdts was admitted as a master of the Brussels Guild of Saint Luke in 1690. He served as a Dean of the Guild from 1692 to 1696. His work was highly appreciated during his lifetime and was widely collected throughout the 18th century. He spent time in the Dutch Republic.

His latest dated work is dated to 1702. It is believed that he died soon thereafter. A document from 1712 states that by then he was dead.

John Smith (1652-1743) was British mezzotinter, famous for his early use of this printing method. He republished many older plates in his career.

The German born Joseph Constantine Stadler (1780-1822) was a painter and aquatint engraver.

He began working in London in the 1780s with ambitious topographical works. He worked on various publications with artists such as Joseph Farington, who made the drawings for ‘An History of the River Thames’ by William Combe (1794-6), Robert Bowyer with Philippe Jacques de Loutherbourg’s ‘Picturesque Scenery of Great Britain’ (1801) and on many publications for Rudolph Ackermann, including ‘Views of London’ (1812-22) and ‘Public Schools’ (1816). In 1787 he exhibited four landscapes at the Royal Academy in London, and in 1822 he engraved the 18 plates for Thomas Rowlandson’s ‘Sketches from Nature’ (1822).

Lot “Lance” Thackeray (1869-1916) was an English artist best known for his comic sporting illustrations.

Born in Darlington, County Durham, the fifth child of ten, his first job was as a railway clerk. By 1897 he was working as an artist in London, with a studio at Ebury Street. The following year Thackeray became a founder member of the London Sketch Club, alongside other leading graphic artists of the day including Cecil Aldin, Tom Browne and John Hassall.

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During the early 1900’s Thackeray made several winter trips to Egypt. The sketches he produced were published in ‘The Light Side of Egypt’ (1908), and ‘The People of Egypt’ (1910). Between 1900 and 1915 Thackeray produced over eight hundred postcard designs for Raphael Tuck & Sons of London. In 1915, Thackeray signed up as a volunteer for the Artists Rifles. He died the following year in Brighton after a long illness.

Pieter van der Aa (1659 – 1733) was a Dutch publisher, best known for preparing maps and atlases. Despite producing his own work, van der Aa is also known for his production of pirated editions of illustrated publications and foreign bestsellers.

Beginning his career as a Latin trade publisher in Lieden in 1683, van der Aa’s ambition was to one day become the most famous printer in the city. In 1715, van der Aa was appointed the head printer for Leiden and its university.

Michael Van der Gucht (1660-1725) was an engraver and painter, primarily working as a book illustrator.

He was born in Antwerp, and here became a pupil of Filibert Bouttata. From 1637 he was a member of the Guild of Saint Luke in the same city. He moved to London in the late 1680s and spent the rest of his life in England, engraving portraits, book illustrations and architectural prints here. He died at his house in his house, the Golden Head in Queen Street, Bloomsbury, and was buried in the churchyard of St Giles-in-theFields.

Johann Christoph Wagner (fl. 1685) was a Nuremberg journalist and author who helped shape western understanding of the Islamic world.

Wagner was born in Nuremberg in 1640 and became a calendar writer in the city. Here, he became increasingly interested in the correlation between the astrological movements and world events.

In around 1680 he moved to Augsburg, writing his Delineatio provinciarum Pannoniae et imperii Turcici in oriente in 1683, the year of the defeat of the Ottomans. He later moved his topographical and political interests to the Orient, bringing out a number of works on individual eastern countries.

William Williams was an architectural draughtsman and this is reflected in the title page and in the formality of many of the engravings in his Oxonia Depicta. The contents of the work are similar to those in Loggan’s Oxonia Illustrata published over 50 years earlier, commencing with a double-prospect of the city of Oxford each containing a numbered key, a plan of the city after Agas’ plan of 1588. There is a double prospect of the interior of the Bodleian Library after Loggan and a number of architectural plans of the colleges.

More importantly the work includes 10 fine large engravings of the colleges of Magdalen, Corpus, Wadham, St. Johns, Queens, New, Oriel, Trinity, Pembroke, and Brasenose, showing how they were at the beginning of the 18th Century. They are in fact, in many instances the only visual records of the buildings at this time in their history.

George Murgatroyd Woodward (1760–1809) was an English amateur caricaturist and humour writer.

He was a friend and drinking companion of Thomas Rowlandson.

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Sanders of Oxford

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