Spring 2018: Recent Acquisitions

SPRING 2018

A CATALOGUE of RECENT ACQUISITIONS Sanders of Oxford

Antique Prints & Maps

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Spring 2018 A Catalogue of Recent Acquisitions From Friday 6th April 2018.

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.

01-11: Fine Prints & Mezzotints

06

12-32: Caricatures

18

33-45: Topography

34

46-74: General Interest

48

75-99: Portraits

66

Biographies: Artists, Printmakers, & Publishers

82

FINE PRINTS

1. [Tigress] after George Stubbs Gouache [c. 1830] Sheet & Image 434 x 570 mm A fine hand painted copy of John Dixon’s or Robert Laurie’s mezzotint of George Stubbs’ ‘A Tigress’. It is noted in ‘George Stubbs, The complete engraved works’ Lennox-Boyd, Dixon, Clayton, that the mezzotint from which this is copied was “the most highly praised print after Stubbs in its day...it was taken from the life-size painting at Blenheim Palace which may have been the subject exhibited at the Society of Artists in 1769 as ‘A Tyger’ (no175). The print was exhibited by Dixon at the Society of Arts in April 1773 as ‘A Tygress after G. Stubbs’ (no99)”. Dixon’s plate was destroyed in a fire towards the end of the 18th century and in 1800 Robert Laurie made a replacement engraving.

This painting appears to have been influenced by both Dixon’s and Laurie’s engravings, taking details such at the finely engraved stripes to the fore legs of the tigress from Dixon’s mezzotint but the highlighted background details from Laurie’s 1800 printing.

Condition: Light rubbing to edges of sheet, light surface abrasion to stomach area of Tigress.

[44062] £1,200

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2. [Night scene with children playing music] John Gottfried Haid after Adriaen van der Werff Mezzotint John Boydell, 1764 Image 390 x 275 mm, Plate 431 x 277 mm, Sheet 500 x 340 mm Proof impression before title.

A group of small children play music outside a house at night. They are illuminated by the candle held by the elderly woman watching them from her open door on the left. The figures are set inside a trompe-l’oeuil stone arched window. Original painting misattributed to Godfried Schalcken, now known to be after Adriaen van der Werff.

Chaloner Smith undescribed Condition: Good, rich impression.

[44695] £400

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3. T. Gezigt Pieter Schenk Mezzotint Amsterdam, [c. 1680] Image 235 x 182, Plate 248 x 181mm, Sheet 251 x 185 mm An uncommon allegorical print of “Sight” one of a set of five sense by Pieter Schenk. A lady sits on a bench, wearing luxurious attire and holding what appears to be a mirror or magnifying glass in each hand. A shard of light shines from the smaller into the centre of her forehead. Possibly an allegorical image.

Condition: Some creasing and surface dirt and light surface rubbing, trimmed to the plate.

[44847] £200

4. The Promenade at Carlisle House.

John Raphael Smith Mezzotint Design’d and Engrav’d by J. R. Smith, & publish’d by him Decr. 1st 1781. at No. 83 opposite the Pantheon, Oxford Street, London.

Image 305 x 390 mm, Plate 324 x 388 mm, Sheet 347 x 413 mm A view in an oval of the inside of Carlisle House. The figures depicted are: Harriet Montagne and Maria Townley to front, in head-dress and hat respectively, Charlotte Somerville seated at table, Mrs Moss to left and Maria Weldon to right, John Raphael Smith is gentleman standing to right, in doorway are Dr. Samuel Johnson and Lucy Haswell.

Chaloner Smith 194, Alexander & Godfrey 1980 113, Frankau 285, D’Oench 184, Lennox - Boyd iv/iv Condition: An excellent impression with good margins, some old rubbed out writing on verso, small repaired split on plate mark and light water stain to top of image.

[44805] £1,750

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5. Gimcrack William Pether after George Stubbs Mezzotint Publish’d by T. Bradford, Fleet Street, as the Act directs May 17, 1766.

Image 355 x 456 mm, Plate 406 x 456 mm, Sheet 432 x 530 mm An exceedingly rare print after Stubbs, one of only three known impressions, and the only one of which not in an institution. The other two are in the Yale Centre for British Art and the Bibliothèque Nationale. The original painting is now in the Fitzwilliam Museum and was formerly in the collection of William Wildman, a wholesale butcher in Smithfield market and collector of horse paintings.

As the inscription explains Gimcrack was offered ‘to the proprietor of this plate’ Thomas Bradford before it was discovered that Gimcrack had the potential to be a great racehorse. Christopher Lennox-Boyd states that it is likely that Bradford was the publisher and proprietor of the plate and that it was he who Wildman offered Gimcrack to and the print was made as a result of the interactions between Bradford and Wildman over Gimcrack.

Gimcrack (1760-c. 1777) was thoroughbred race horse, who despite his small size won 27 of his 36 races over seven seasons. He was retired to stud in 1771.

The rider depicted is John Pratt (d. 1785). He was such a successful jockey, trainer, and owner that he was wealthy enough to buy an estate in his native Wensleydale and he was first person of common birth to be elected a member of the Jockey Cub. In this print Pratt is dressed in the red and black colours of Wildman.

It is noted in ‘George Stubbs, The complete engraved works’ Lennox-Boyd, Dixon, Clayton, that “William Pether, the engraver of this accomplished print, which is known from only two impressions, was one of the most talented of the English mezzotinters, celebrated for his superb plates after Rembrandt and Joseph Wright of Derby.

‘Gimcrack’ was outside Pether’s usual repertoire but the skill with which he translated the musculature and shining coat of the horse into mezzotint provides striking evidence of his versatility.”

Lennox Boyd 2 ii/ii, Siltzer p. 269, Snelgrove No. 7, Stipple 224 Condition: Some surface rubbing, repaired tear centre top 30 mm into image, some light soiling to margins, scratch under horse, some light creasing, glue reside on verso. Framed in period style frame.

[44806] £10,000 11

6. Arco di Settimio Severo Giovanni Battista Piranesi Etching Presso l’Autore a Strada Felice nel palazzo Tomati vicino alla Trinita de monti. A paoli due e mezzo. Piranesi Architetto fec. [Rome c.1775] Image 350 x 580 mm, Plate 375 x 590 mm, Sheet 520 x 755 mm

7. Veduta del Ponte e Castello Sant’Angelo.

Giovanni Battista Piranesi Etching Presso l’Autore a Strada Felice nel palazzo Tomati vicino alla Trinita de monti. A paoli due e mezzo. Piranesi Architetto fec. [c. 1754.]

Image 357 x 580 mm, Plate 380 x 585 mm, Sheet 515 x 710 mm

A perspective view of the Arch of Septimus Severus in the Roman Forum with the Church of Saints Martina and Luca on the right, from the Vedute di Roma. In addition to the two central monuments, the ancient Mamertine Prison, the Church of Santa Maria in Aracoeli, and the approaches to the Capitoline and Palatine are numbered and described. In Piranesi’s time, flooding from the Tibur had buried much of the Forum in alluvial soil, and the arch is buried so deeply that the smaller apertures on each side of the main passage are almost impassable.

A view of the Mausoleum of Hadrian, now the Castel Sant’Angelo, from the Vedute di Roma. The view looks south along the Tiber, with the Ponte Sant’Angelo at centre and the mausoleum at right. In the distance, the dome of St Peter’s Basilica can be seen.

The Arch of Septimius Severus was dedicated in AD 203 in celebration of the emperor’s Parthian Wars. The arch effectively filled one of the last remaining sections of vacant land on the Sacred Way, ensuring that Septimius’ arch was the last triumphal monument a triumphing general would see on his way up to the Capitol. The arch was richly decorated with relief sculpture, including a number of scenes featuring the emperor’s sons, Caracalla and Geta. Caracalla ordered the removal of Geta’s image after engineering his assassination in AD 212.

Hind 54. iii/vi (3rd Rome edition, printed towards the end of the artist’s life), Wilton-Ely 165, F809, C768.

Condition: Pressed vertical centre fold. Otherwise a good clean impression with full margins.

[44824] £2,200 12

The bridge, originally a Roman structure called the Pons Aelius, gained importance in the post-Roman period after the collapse of the nearby Neronian bridge, forcing pilgrims to the Vatican to cross further up the Tiber.

Its famous angels were not added until 1669, when the sixteenth century statues of Peter, Paul, and the Apostles were removed as part of the remodeling of the bridge undertaken by Pope Clement IX. Hind 29 iii/vi,, Wilton-Ely 156, F793, C736.

Condition: Pressed vertical fold, some very light toning to margins. Otherwise excellent.

[44825] £2,750

8. Veduta del Ponte Salario Giovanni Battista Piranesi Etching Presso L’autore a Strada Felice nel Palazzo Tomati vicino alla Trininà de monti. A paoli due e mezzo. Gio. Batta.

Piranesi F. [Rome 1754] Image 382 x 610 mm, Plate 405 x 620 mm, Sheet 515 x 715 mm A view of the Salarian Bridge from the Vedute di Roma.

The bridge was probably constructed during the 1st century BC, though the distinctive fortified tower was not added until around the 8th century AD. The bridge takes its name from the Via Salaria, the main Roman road to the Adriatic Coast.

Piranesi’s view of the bridge is important, as barely 40 years later, the balustrade and dedicatory inscription were torn down by invading Napoleanic troops, and in 1829, the tower was demolished. The rest of the bridge was dynamited in 1867 and a new bridge constructed.

Hind 31 ii/v (2nd Rome edition), Wilton-Ely 180, F744, C739.

Condition: Clean and bright impression, pressed vertical fold.

[44826] £2,000

9. Veduta interna della Basilica di S. Pietro in Vaticano.

Giovanni Battista Piranesi Etching Piranesi fecit. Presso l’Autore a Strada Felice nel Palazzo Tomati vicino alla Trinita de monti. A paoli due e mezzo. [Rome, c.1775] Image 385 x 592 mm, Plate 410 x 595 mm, Sheet 510 x 710 mm An interior view of St Peter’s Basilica in the Vatican, from the Vedute di Roma. The view shows the truly colossal scale of the Church’s nave, looking towards the transept with its famous baldacchino, commissioned

by Pope Urban VIII and designed by Bernini, which covers the Tomb of St Peter and the high altar. In the foreground, worshippers and tourists gather in small packs, while a group of clergymen process in two lines towards the altar.

Hind 4 iii/vi, Wilton-Ely 137, F 788, C 689.

Condition: Excellent impression, pressed vertical [44827] £1,200

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10. Primavera Ernst Moritz Geyger after Sandro Botticelli Etching [Published in 1894 by Charles Sedelmeyer] Image 490 x 760, Sheet 630 x 875 mm Printed by A. Salmon & Ardail, Paris and signed in pencil by Geyger to lower right margin. Blindstamped ‘Printmakers Association’ to lower left margin. The printmaker has included a self-portrait in the lower margin.

A stunning etching after Sandro Botticelli’s ‘Primavera’, painted between 1477 and 1482 for Lorenzo de’ Medici (1449-1492). The etching was printed during the reign of the Pre-Raphaelite Brotherhood in the English art world. Their loyalty to aestheticism in art bound them tight with the art of Botticelli, whose work lent them in part their fidelity to nature and wistful classically draped female models. Perhaps its existence can be seen to mirror their part in re-popularising this Renaissance master.

The title of Botticelli’s multi-allegorical painting translates as ‘Allegory of Spring’ and has had a vast number of interpretations over the years. Most agreed upon is that of the Uffizi, in Florence (where the painting is currently housed). Here it is stated that Botticelli has set his painting in the realm of Venus. On the far right, Zephyrys (the mild West Wind) grasps at Flora (goddess of flowers) and impregnates her with his breath.

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Flora thus transforms into Spring, the luxuriantly draped figure scattering flowers over the earth. Venus stands in the centre, representing ‘humanitas’ (a theory promoting all the positive attributes of mankind). On the left the three Graces dance together beside Mercury, who dissipates the clouds.

The position of Venus is pivotal in the work, as she is used as a division between the material (to the right) and the spiritual (to the left). This idea of ‘humanitas’ as depicted in Botticelli’s work can be seen to foresee the Neoplatonic ideals later moving around the Medici court. Neoplatonism was a philosophical and aesthetic movement trying to blend the thought of Greek philosopher Plato with the noblest concepts of Christianity. It was a convenient way for the super-rich to stay true to their spiritual values by marrying culture, art and luxury with the divine. In Neoplatonic theory, to surround oneself with beauty allowed one to be closer to god.

The strong use of chiaroscuro in Botticelli’s painting lends itself well to etching. Geyger’s print is a striking translation of this pivotal Renaissance work. His mastery in technique has allowed him to retain all of the painting’s depth, texture and beauty.

Condition: Minor scuffs to margins but otherwise a fine print in very good condition.

[44843] £1,400

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11. Omnia Mihi Subdita [The Rule of Death] Johann Jakob Ridinger after Johann Elias Ridinger Mezzotint and copper engraving Ioh. Jac. Ridinger sculps. Ioh. El. Ridinger delin. et exc.

Aug. Vind. [Augsburg, c.1760] Image 535 x 420 mm, Plate 555 x 420 mm, Sheet 564 x 426 mm A fine impression of an exceedingly rare mezzotint memento mori, after Ridinger’s drawing The Rule of Death. The allegorical scene features a skeletal personification of Death, seated upon a pile of weapons, armour, books, artists’ tools, coins, medallions, and the rich vestments of clergy and merchant alike, resting beside a large stone funeral slab, upon which is carved a lengthy verse in Latin, and the ominous warning in large copperplate letters ‘Omnia Mihi Subdita’ - ‘all things are subject to me.’

Death’s winding sheet has been pulled over his skull as a veil, upon which, like a crown, is set a large ornate timepiece with a pair of wings, one black and bat like, the other white and feathered like the dove, an overt reminder that time is constantly running out, and that just as the light of the world falls into darkness, so too will human life. The pile of objects upon which death sits is a like reminder that no matter one’s station in life, or one’s mortal achievements, death will eventually come to conquer.

Three fatal barbs are also included in the scene. Each arrow carries a ribbon from its fletching. Preteritum, the Past, rests against the tombstone, among the accoutrements of fallen men. Futurum, the Future, remains in Death’s quiver. But Presens, the Present, is already in Death’s hand, pointing to the poem he has penned, and upon which the viewer must muse.

The text, in eleven lines, reads: Sum qui non curo quis aut qua- Nil mihi dignitas Papa- Nec valet majestas RegaStultus et sapiens aequa- Dives et pauper est morta- Non juvat hic se excus- Nec ad Apostolicam sede appell- Dona promitere aut don- Seu clam se velle alien- Pacem non mecum est tract- Nec dico quando quis vel quI am he who cares not who or why- Papal authority is nothing to me- neither does Royal Majesty hold power over me- Fool and wise man, Rich and poor, die alike- Excuses do not move me, nor appeals to the Apostolic seat. To promise gifts or give them, whether secretly or otherwise, extracts no peace from me, whether one speaks or not.

The current example is traditionally described as the first of two states, differentiated from later examples by the positioning of the arrow’s point between the words ‘Omnia Mihi,’ rather than above the ‘M’ in ‘Mihi.’ However, recent reappraisal suggests that rather than reworking the original plate, Ridinger produced a second and almost identical plate solely in mezzotint for later printings.

Condition: Thread margins, trimmed close to plate mark on all sides without loss to image or plate. Light pressed central horizontal fold. Repaired tear to right of central fold. Minor scuffing to top right of plate, near Death’s head. Two filled wormholes to left and right of inscription. Framed in antique black and gold frame.

[44029] £4,750

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CARICATURES

12. Tegg’s Caricatures No 53 : College Pranks, or Crabbed Fellows Taught to Caper on the Slack Rope.

Thomas Rowlandson Etching with original hand colouring Thos. Tegg No. 111 Cheapside [28 January 1811] Sheet 256 x 350 mm

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

Thomas Rowlandson Etching with hand colouring Pubd. by Thos. Tegg No. 111 Cheapside. [1811] Image 223 x 333 mm, Plate 253 x 358 mm

Two elderly fat academics fall over a rope held by two groups of undergraduates in an aisle of a Gothic church.

A young woman is pulling the rope with the group on the right. Two students brandish whips, one is firing a water squirt and another lets of a squib. On the floor is a stone or brass with a mitre and crosier inscribed ‘Here Lies the Body of Bishop Blear eyes’.

With the text Price One Shilling Coloured and publication line absent.

A group of elderly Brasenose Fellows emerge from a Gothic doorway set to the left, possibly an entrance to a chapel, and make their way towards a quadrangle indicated in the background. The cluster of men pass under an archway, with a mullioned window above.

One of the men breaks away from the crowd, and enters the Principal’s Lodge by a Georgian doorway set to the right. Following closely behind him is a buxom woman, who carries baskets of fruit. Another young, attractive woman sells fruit to the Fellows, which excites their prurient interest. On the wall to the right are two placards, one reading ‘Vice Chanr.’ and the other, upside down, reading ‘Vice...’. Although the architecture is rendered with a certain level of realism, and the caricature is overtly directed at Brasenose College, the buildings depicted are not actually those of Brasenose.

BM Satires 11781 Condition: Trimmed within the platemark top and sides. Repaired corner upper right, not affecting the image.

[36301] £450

BM Satires 11782 Condition: Good impression, with a few light spots of foxing to sheet. Date erased on publication line.

[40268] £500

19

14. She Stoops to Conquer Thomas Rowlandson Etching with hand original colouring Pubd March 10th 1811 by Thos Tegg No 111 Cheapside Image 230 x 320, Plate 250 x 350, Sheet 256 x 342 mm

15. After Sweet Meat Comes Sour Sauce, Or Corporal Casey got into the wrong box Thomas Rowlandson Etching with original hand colouring [Thomas Tegg, c. 1818] Image 230 x 320, Plate 245 x 360, Sheet 260 x 415 mm

A satirical scene set in the vaulted ante-room of a prison.

The turnkey, keys in hand, accepts with wary enjoyment the blandishments of a pretty young woman, whose interest is clearly in the fate of a handsome youth seen through the bars above a padlocked barrier on the right.

A grotesquely obese and misshapen man approaches the turnkey from the right with a jug and frothing glass.

Behind the latter is a table with a shoulder of mutton and a small cask. A cat plays amicably with a dog. Heavy fetters hang from the walls, and there is a heavily barred door; a vaulted recess leads to a second dungeon. The place is lit by hanging lamps.

In a rustic bedroom, a buxom young woman kneels to kiss her lover who leans from a wooden chest whose lid she holds up. In the process she knocks over the large water vessel behind her. Beside the chest are a hat filled with fruit, a bottle of ‘Eau de Vie’, and a mouse in a trap. Unbeknownst to either of them, an irate elderly man, presumably her husband or father, glares at them through the open window. ‘Tegg’s Caricatures No. 24’ etched to top margin.

BM Satires 11799 Condition: Repairs to margins, one tear to centre top margin, some marking.

[44829] £260

20

BM Satires 11642 Condition: Foxing and staining, largely in margins.

Some tearing to margins. Paper watermarked ‘ITII 1818’.

[44831] £260

16. None but the Brave Deserve the Fair Thomas Rowlandson Etching with original hand colouring [Thomas Tegg, 1813] Image 311 x 230, Sheet 353 x 255 mm A satirical print depicting a mounted hussar helping a young woman over the wall of a moat and into his arms.

Numbered 231 to top right and publication line erased.

BM Satires 12149, Grego 255 Condition: Time toning with repairs to verso, cut to plate.

[44830] £275

17. Progress of Gallantry or Stolen Kisses Sweetest Thomas Rowlandson Etching with original hand colouring Thos Tegg no. 111 Cheapside [1814, but later] Image 325 x 230, Sheet 350 x 253 mm A satirical scene set on a fortified sea-front, with large cannon on gun-carriages pointing out to sea. An elderly sailor, huge stomach rolling over his trousers, peers through a telescope. The pretty young woman beside him uses this opportunity to turn and kiss the handsome young military officer to her left. Farther off, an elderly gaitered man, with his hat tied on, stands shivering in the wind. A sentry stands on the extreme left, with his back to the sea. A pretty girl sits at the edge of the sea-wall, looking down at a sailor; their fingers are interlaced.

A later state with the publication line erased and 289 in the upper right margin.

BM Satires 12402, Grego 275-276.

Condition: Creasing and wear around edges, some time toning and a scuff in the lower right inscription space.

[44832] £300

21

18. A Squall James Gillray Etching with hand colouring London, Published May 16th 1810 by H. Humphrey. 37 St James Street Image 266 x 362, Plate 269 x 372, Sheet 329 x 419 mm A satirical print depicting figures struggling to walk along a beach in high winds. A buxom woman in the centre endeavours to keep hold of her umbrella, blown inside out. In the background a gentleman chases his top hat.

BM Satires 11614 Condition: A good impression, with some creasing to margins and bottom right corner of image. Paper watermarked ‘Turkey Mills’.

[44828] £575

22

19. News from Calabria! Capture of Buenos Ayres!_i.e._ The Comforts of an Imperial Déjeuné at St Cloud’s James Gillray Etching and aquatint with hand colouring Pubd. Sept 13th 1806- by H. Humphrey 27, St James Street, London [1809 impression] Image 245 x 346, Plate 248 x 353, Sheet 328 x 471 mm A satire, featuring Napolean and Tallyrand, of the French setbacks in Calabria during the Napoleanic Wars.

BM Satires 10599 Condition: One tear to bottom margin, not affecting plate or image. Time toning beyond plate marks. Paper watermarked ‘Edwards & Co. 1809’.

[44833] £700

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20. The Siege of St Quintin Charles Williams Etching with original hand colouring Pubd Decemr 1st 1814 by W N Jones N° 5 Newgate Street Image 201 x 530, Sheet 204 x 544 mm A satire on the court-martial on Colonel George Quentin, of the 10th Hussars.

BM Satires 12315 Condition: Three vertical folds, as issued. Cut to plate.

[44838] £200

21. The Divine and the Donkey- or Petworth Frolicks Charles Williams Etching with contemporary hand colouring Pubd Februy 1st 1814 by W N Jones N° 5 Newgate Street.

Image 206 x 506, Sheet 209 x 509 mm An illustration to an account of a practical joke played at Petworth on one ‘Mr. D-’, a parson. He was overheard propositioning one of the servants for the night. Those who overheard this deal got the man drunk and placed him in bed with an ass-foal wrapped in a petticoat.

BM Satires 12182 Condition: Cut to plate. Two vertical folds, as issued. Some time toning and wear.

[44839] £160

22. Modern Idolatry-or- Editors and Idols Charles Williams Etching with original hand colouring London Pubd April 1st 1814 by W N Jones N° 1 Newgate Street Image 205 x 520, Sheet 215 x 544 mm A satirical depiction of the press at the time of Napoleon.

Condition: Vertical folds, as issued. Staining and marking, particularly around these areas. Cut to plate.

[44840] £200

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23. Hocus-Pocus- or Conjurors Raising the Wind Charles Williams Etching with original hand colouring Pubd Octr 1st 1814 by W. N. Jones no. 5 Newgate Street Image 206 x 524 Sheet 210 x 534 mm A satire on the insolvency of George Colman, who managed London’s Haymarket Theatre.

BM Satires 12328 Condition: Vertical folds, as issued, with marking around these areas. Cut to plate.

[44842] £220

24. The Property Tax- civic champions- or the Darlings in Danger Charles Williams Etching with original hand colouring Pubd Jany 2d 1815 by W N Jones N° 5 Newgate Street Image 206 x 518, Sheet 210 x 533 mm A satire on the 13th December meeting of the Common Hall to petition against a continuation of Income Tax. BM Satires 12452 Condition: Vertical folds, as issued, with marking around these areas. Cut to plate to top bottom and left side.

[44841] £200

25. A Congress for Peace William Henry Brooke Etching with original hand colouring 1st September 1813 Image 190 x 363, Plate 197 x 370, Sheet 208 x 373 mm A satirical print depicting the 1813 Congress of Prague.

Brooke has signed his name ‘Ekoorb’ (his surname backwards) to lower right.

The ‘Satirist’ (otherwise known as the ‘Censor of the Times’) was a controversial Victorian newspaper featuring all the gossip and scandal involving the well-known residents of London. Its publisher Barnard Gregory faced multiple libel charges during the paper’s life, and was later imprisoned due to its articles.

BM Satires 12079 Condition: Two vertical creases (as issued). Time toning and creasing and repairs to tears around edges. Paper watermarked ‘1811’.

[44834] £150 27

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26. The Imperial Tiger Hunt William Henry Brooke Etching with original hand colouring 1st December 1813 Image 195 x 365, Plate 203 x 378, Sheet 207 x 378 mm A satirical print depicting Napoleon being expelled across the Rhine, chased by five European sovereigns.

Rather than his name, Brooke has signed the print ‘Amateur’.

BM Satires 12109 Condition: Two vertical creases (as issued). Left crease with repair and severe darkening. Paper watermarked 1812.

[44836] £150

27. The Imperial Shaving Shop William Henry Brooke Etching with original hand colouring 1st February 1813 Image 186 x 360, Plate 197 x 369, Sheet 208 x 375 mm A satirical depiction of nineteenth century Imperial leaders in a barber shop.

Brooke has signed his name ‘Ekoorb’ (his surname backwards) to lower right.

BM Satires 12007 Condition: Two vertical creases (as issued). Time toning and wear around edges. Paper watermarked ‘1813’.

[44837] £150

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28. The Westminster Seceder on Fresh Duty Charles Williams Etching with hand colouring Pubd March 14 1801 by S W Fores 50 Picadilly Image 305 x 208, Plate 316 x 222, Sheet 340 x 250 mm A satire on the suitability of Horne Tooke to sit in the House of Commons.

BM Satires 9715 Condition: Time toning with marking and wear around edges.

[44844] £200

29. Auction Extraordinary John Doyle Lithograph Published by T. McLean, 26 Haymarket, 23rd Febr 1838. Ductoe’s Lithogr. 70 St. Martins Lane Image 376 x 272, Sheet 434 x 300 mm A scene inside an auction room. The auctioneer (George Robins) stands behind the rostrum, auctioning the items listed in the advert to the left. A dinner service is displayed by two porters in front of the auctioneer, and is examined by a man standing in to the left (Lord Brougham), and two men at the right (Duke of Wellington, Sir Robert Peel). Two men standing in the background (Thomas Spring Rice, Lord Russell) are watching the scene. The scene makes reference to Lord Melbourne who spent much time in Windsor Castle as a guest of the Queen, so much so that he was seen to almost live there. His own home was so desolate it was frequently remarked upon in the papers. Doyle’s ‘HB’ monogram to lower left corner. ‘HB Sketches No 522’ to top right.

[44856] £50

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30. Jeffries in the character of Atropos cutting the Thread of English Liberty [Anonymous] Etching [August, 1770] Image 95 x 171, Sheet 124 x 180 mm King John sits at a small table outside his tent, signing the Magna Carta, behind him stand by two bishops.

Four men are pulling a rope, the ‘thread of English Liberty’, which is attached to King John’s chest and passes through their hands to a spinning wheel operated

by William III. Scrolls attached to the rope are labeled ‘Habeas Corpus Act’, ‘Free Elections’, ‘Magna Charta’, and ‘Trial by Juries’. Beyond the spinning wheel the rope is taken up by Lord Marshall, playing the title role, ‘Jefferies in the character of Atropos’. He is holding the ‘Bill of Rights’ and is in the process of cutting the scrolls free. ‘Security of Private Property’, ‘Appeals’, and ‘Killing is Murder’ are on the ground at his feet.

The print include a caption printed below the title: “Expla. Magna Charta drawn from the heart of King John; confirmed & perfected by King William, in the Character of Lachesis [i.e., Clotho] at the Spinning Wheel; & Judge Jefferies cutting the Thread, in the Character of Atropos.”

It also include four lines of verse from ‘Pope’s Homer’: “The Furies that relentless breast have steel’d, / And Curst thee with a heart that cannot yield. / Yet think a Day will come when Fate’s decree / And angry Men, shall wreak this wrong on thee.”

31. Wet Souls [Anonymous] Etching Pub Dec 20 1790 by S W Fores No 3 Piccadilly Image 182 x 226, Plate190 x 250, Sheet 213 x 283 mm Three stout and elderly men sit in a garden at a small round table. A high wall with a spiked gate can be seen behind them. The seated figure on the far left has fallen asleep at the table, his mouth open and hands resting on his portly stomach. His hat and wig have toppled off his head and lie on the ground beside him. The standing figure on the right appears to be in the middle of a toast. He and the centre seated figure both have their glasses raised. A further figure can be seen from the back walking off to the left.

BM Satires 7796 Condition: Time toning, creasing and wear to margins.

[44845] £100

Condition: Some surface dirt, light diagonal crease only visible on verso, trimmed within the plate.

[44846] £55

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32. The Conspirators [Anonymous] Mezzotint with hand colouring [Printed for Carrington Bowles No. 69 in St. Pauls Church Yard, London, Published as the Act directs, 3 Aug. 1775] Image 134 x 109 mm, Sheet 145 x 109 mm A satire on grave robbing depicting a doctor, a clergyman, a sexton, and a grave digger under a tree with a raven cawing above with eight lines of verse below.

BM Satires 3760 (reduced), Lennox-Boyd i/i Condition: Trimmed within the plate to the image and publication line trimmed o, small repaired tear in upper left sky. Old album backing.

[44708] ÂŁ90 32

TOPOGRAPHY

33. Chatsworth House Jan Kip after Leonard Knyff Copper engraving 1707-1715 Image 342 x 477 mm, Plate 350 x 487 mm, Sheet 460 x 575 mm A birds-eye view of Chatsworth House and its surrounding grounds from Leonard Knyff’s Britannia Illustrata (1707), reprinted under the title Le Nouveau Theatre de la Grande Bretagne (1715). The work played upon the pride many landowners felt in their new gardens and clearly shows the swift adoption of formal styles following the Glorious Revolution of 1688. In order to produce this book, Knyff made numerous drawings of the gardens at the residences of those who had subscribed. These drawings were then engraved by Johannes Kip (1652/3-1722) to form large, intricately detailed, folio plates.

Chatsworth family crest to centre lower margin of engraving, together with inscription reading ‘Chatsworth House being ye seat of his Grace W[illia]m Duke and Earl of Devonshire, Marquis of Hartington, Baron of Hardwick, L[or]d Steward of her Maj[is]ties household, Chief Iustice in Eyre of all her Maj[is]ties Forrests Chaces Parks &c Trent North and K[nigh]t of the Most Noble Order of the Garter’ Condition: Vertical fold as issued, some foxing to margins not affecting image.

[44689] £320

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34. [Five Prospects of London and Westminster] Samuel and Nathaniel Buck Copper engraving with early hand colouring [London, c.1749] Each image approx. 285 x 810 mm, each plate approx.

320 x 820 mm A set of five plates, together making a very sizeable panorama of London and Westminster during the mid-eighteenth century, produced by Samuel and Nathaniel Buck, ornamented in early hand colour. The full prospect details the stretch of the Thames from ‘The New Bridge at Westminster’ at extreme left to the Tower or London at extreme right.

Below each image is a numbered key, together illustrating 140 points of interest. Of particular note are the representations of Westminster Abbey, the colossal dome of St Paul’s, and London Bridge, shown here still with the buildings on either side that were ordered cleared between 1758 and 1762 by an Act of Parliament.

Plate 1: This Drawing, taken (from Mr Scheve’s Sugar House, opposite to York House) & Engraved by S. & N. Buck, is Publish’d according to Act of Parliamt. Sept. 11th 1749, No. 1 Garden Court, Middle Temple, London.

Plate 2: This Drawing, taken (from Mr Watson’s Summer House, opposite to Somerset House) & Engraved by S. & N. Buck, is Publish’d according to Act of Parliamt. Sept. 11th 1749, No. 1 Garden Court, Middle Temple, London.

Plate 3: This Drawing, taken (from Mr Everard’s Summer House, opposite to St. Bride’s Church) & Engraved by S. & N. Buck, is Publish’d according to Act of Parliamt. Sept.

11th 1749, No. 1 Garden Court, Middle Temple, London.

Plate 4: This Drawing, taken (from the West part of the Leads of St. Mary Overy’s Church in Southwark) & Engraved by S. & N. Buck, is Publish’d according to Act of Parliamt. Sept. 11th 1749, No. 1 Garden Court, Middle Temple, London.

Plate 5: This Drawing, taken (from the West part of the Leads of St. Mary Overy’s Church in Southwark) & Engraved by S. & N. Buck, is Publish’d according to Act of Parliamt. Sept. 11th 1749, No. 1 Garden Court, Middle Temple, London.

Condition: Central vertical folds as issued. Additions to borders in heavy and fugitive black pigment, with some abrasion marks and staining to borders. Surface dirt and time toning to sheets, especially Plates 2 and 3.

Otherwise strong impressions, with period hand colour.

[44123] £8,000

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35. A View of the Garden &c. at Carlton House in Pall Mall, a Palace of Her Royal Highness the Princess Dowager of Wales.

William Woollett Copper engraving Printed for Henry Parker in Cornhil, Robert Sayerin Fleet Street, John Bowles in Cornhil, Carington Bowles in St. Pauls Church Yard, and John Boydell in Cheapside. [n.d. 1760] Image 330 x 510 mm, Plate 375 x 550 mm, Sheet 440 x 602 mm A fine eighteenth century view of the garden at Carlton House looking down the central path at a Palladian temple at the end with a small pond, sculpted hedges, ponds, and busts on plinths line the path, with gardeners working in the garden.

Originally built for the Henry Boyle, Baron Carlton, the mansion was located in Pall Mal with its gardens backing onto St. James’s Park. The Prince Regent used Carlton House as his town residence for several decades after he bought it from Lord Burlington in 1732. It was at this point that William Kent laid out the garden depicted here.

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The house was demolished in 1825-27 to make way for John Nash’s ceremonial route from St. James’s to Regent’s Park and replace with two large rendered houses known as Carlton Terrace.

Fagan 33 iii/iii, Crace 1878 XI.73 Condition: Some overall time toning and light surface dirt, staining on verso not affecting the recto.

[44857] £350

36. St John’s College, Cambridge [Anonymous] Watercolour c. 1831 Image 139 x 232 mm.

A fine watercolour of the New Court at St John’s College, Cambridge. The New Court was completed in 1831 to the designs of Thomas Rickman and Henry Hutchinson. Possibly executed on the completion of the new buildings.

[44677] £175

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37. Ochsenfuhrt in Engellandt Univers. [View of Oxford] Daniel Meisner Copper engraving 1623 - 1631 Image 72 x 140, Plate 105 x 150 mm, Sheet 165 x 182 mm A rare, early view of Oxford from Meisner’s Thesaurus philo-politicus, with a drunken Bacchus riding a donkey in the foreground. This prospect of Oxford is a miniature copy of that by Braun & Hogenberg printed in 1575, providing a view of the city from what is now South Parks.

The Towers of Magdalen and Merton College as well as the steeple of Christ Church Cathedral are depicted alongside a representation of Oxford’s Norman Castle.

The building to the right of Bacchus appears to be a bit of an anomaly however, but it is generally assumed that it represents Osney Abbey, albeit plotted incorrectly.

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This is an early impression prior to the addition of a letter before the pagination.

Text below image, in Latin and German, embodies the moral message illustrated in the foreground, and reads: ‘Ebrius Arcadico Vehitur bene Bacchus Asello: Pigritiae Ebrietas uvida mater erit. Bachus auf einem Esel sitzt, Doll und Toll, daß er keucht und Schnitzt: ßferd und Keutter sind gleicher acht, Trunckenheit faule Bengel macht.’

Condition: An excellent rich impression. Some marks and creasing to margins, not affecting image or plate.

[44659] £450

38. Edenburck in Schottl. [Edinburgh in Scotland] Daniel Meisner Copper engraving Nuremberg: Paulus Furst, 1638-78 Image 72 x 140, Plate 105 x 150 mm, Sheet 165 x 182 mm A miniature bird’s-eye plan of the city of Edinburgh, drawn from Braun & Hogenberg’s plan, from Daniel Meisner’s Sciographia Cosmica, with verses inscribed in Latin and German below.

Inscription above image reads: Vim Suscitat Ira [Wrath rouses violence]. Gentleman to right of foreground with swords pointing at his face illustrates this Virgilian motto.

This is an early impression prior to the addition of a letter before the pagination.

Text below image embodies the moral message illustrated in the foreground, and reads: ‘Ira furor brevis est, ingrescunt sanguine venoe, Littura serpentis triplicatur et arma ministrat, aus zorn der Alexander grosz, seins fruendes cliti blut vergosz: Ein zorniger thut nichts zu mahl, auss speyer dann S. S. ohn zahl.’

Condition: An excellent and rich impression. Some foxing and creasing to margins, not affecting plate or image.

[44660] £380

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39. Nonçiutz in Engellande [View of Nonsuch Palace] Daniel Meisner Copper engraving 1623-1631 Image 67 x 141 mm, Plate 95 x 147 mm, Sheet 134 x 174 mm A view of Nonsuch Palace from Meisner’s Sciographia Cosmica, showing animals bounding past a pelican in the foreground, watched by two gentleman standing at the far right.

Inscription above image reads: Fulmen Ex Pelvi [Lightning from the basin]. Inscribed beneath image with verses in Latin and German.

Text below reads:: ‘Ex pelvi fulmen revera dicitus esse, Cum torvam vocem toltit Onocrotalus, Ein kropf sanss mann sie machtig schreyt, so laufft hinmeg allsthiers sehr meit; Mer aber Solchsechrey versteht mit nichten auss dem meg abgeht.’

[44657] £250

40. Hull in Engellandt [Hull in England] Daniel Meisner Copper engraving Nuremberg: Paulus Furst, 1638-78 Image 72 x 140 mm, Plate 105 x 150 mm, Sheet 165 x 182 mm A miniature bird’s-eye plan of Kingston-upon-Hull, from Daniel Meisner’s Sciographia Cosmica, with verses inscribed in Latin and German below. Inscription above image reads Carcer nonnunquam firmum propugnaculum [Sometimes a prison is the best defence]. A caged owl surrounded by a flurry of smaller birds flying around it illustrates the Latin motto. Although the small birds are protected from the owl, the owl too is protected from the flock of birds. This is an early impression prior to the addition of a letter before the pagination.

Text below image embodies the moral message illustrated in the foreground, and reads: ‘Noctua dausa manet secura in carcere firmo; insidias volucrum vetat enim cavea. Mann die euss einge ferret ist schadet ihr niecht der feinde list, der febig ist ihr nicht unnietz, sondern gibt wieder ihrfeind schutz.’

[44661] £180 41. Vindesor in Engellandt [Windsor] Daniel Meisner Copper engraving [Nuremberg: Paulus Furst, 1638-78] Image 67 x 141 mm, Plate 95 x 147 mm, Sheet 134 x 172 mm A view of Windsor Castle, with two figures to the left foreground. From Daniel Meisner’s Sciographia Cosmica, with verses inscribed in Latin and German below.

Inscription above image reads: Propria laus sordet [Despise the praise of his own]. Inscribed beneath image are verses warning that self-praise is not thought of highly, and will earn neither glory nor virtue; ‘Propria laus sordet: Quare q pollet honore, ipsus ad astra poli ne sua facta vehat, Eigen lob, sagt man, stincketgern, und gilt nicht viel bey grossen herrn: Drumb hastu eine that gethan, dein cugend selst dich ruhmen kann.’

Condition: Some foxing to margins, creasing, wear to lower right corner.

[44662] £220

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42. Nell’ antica Citta di Pesto Ludovico Caracciolo Etching c. 1790 Sheet 275 x 475 mm, Plate 315 x 500 mm, Sheet 375 x 545 mm A view of the Ancient Greek city of Paestum, located on the coast of the Tyrrhenian Sea in Magna Graecia (now southern Italy). The ruined city is famous for its three Doric Order temples, dating from around 600 to 450 BC. After its foundation by Greek colonists under the name of Poseidonia (Ancient Greek: Ποσειδωνία) it was eventually conquered by the local Lucanians and later the Romans. The Lucanians renamed it Paistos and the Romans gave the city its current name Paestum, or Pesto.

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The city was abandoned in the Early Middle Ages, and left undisturbed and largely forgotten until the eighteenth century.

Condition: Creasing and dirt build-up to margins, with some small tears, not affecting image.

[44688] £300

43. Interior of a Negro House James Duffield Harding and Charles Joseph Hullmandel Lithograph Published by Hunt & Clarke, Tavistock Street, London [c. 1826] Image 85 x 142, Sheet 111 x 164 mm

44. America. The Original Inhabitants of North America.

[Anonymous] Wood engraving with original hand colouring [c. 1850] Image 102 x 117, Sheet 111 x 126 mm

A domestic interior showing a male figure crouching over a cooking pot, while a second figure lies in the hammock strung up in the centre of the room.

A depiction of Native American people. The heavily tattooed figure on the left stands proudly with his gun, the centre figure shoots, and the third female figure sits and watches, a baby in her arms. A mountainous landscape in the distance.

Condition: Some slight surface dirt.

[44849] £50

[44851] £35

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45. Femme du Port des Francais After Jean-François de La Pérouse Copper engraving [Published in Paris, L’imprimerie de la Republique, 1797] Image 395 x 250 mm, Sheet 450 x 287 mm View of a native from Little Bay in Alaska, sitting under a tree in primitive clothing, another girl in profile sitting behind her and two ships and three more people in the background. Originally produced for Jean Francois La Perouse’s ‘Atlas du Voyage de la Perouse’ published in 1797. Gaspard Duche de Vancy (1756-1788) made the initial drawing for the print, which was then reduced

by Jean Michel Moreau (1741-1814) and eventually engraved by Vincent Langlois.

Condition: Creases to the edges of the sheet, not affecting image.

[44503] £100

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47

GENERAL INTEREST

46. I. Moly latifolium II. Iris bulbosa variegata.

III. Iris bulbosa mixta [I. Wild Garlic II. Variegated Spanish Iris III. Variegated Spanish Iris] Basilius Besler Copper engraving with hand colouring 1613-1713 Image and plate 482 x 394 mm, Sheet 525 x 424 mm Plate 202 from Besler’s celebrated Hortus Eystettensis.

Condition: Beautiful later hand colouring.

[44218] ÂŁ1,750

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47. I. Iris bulbosa Anglicana flore coeruleo II. Iris bulbosa angustisto lys flore albo III. Iris bulbosa angustisto lys lutea mixta [I. Blue English Iris II. White Spanish Iris III. Yellow Spanish Iris] Basilius Besler Copper engraving with hand colouring 1613-1713 Image and plate 482 x 394 mm, Sheet 525 x 424 mm Plate 200 from Besler’s celebrated Hortus Eystettensis.

Condition: Beautiful later hand colouring.

[44219] £1,750

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48. I.Iris bulbosa flore diluto coeruleo. II. Victorialis Rotunda III. Gladiolus Narbonensium flore purpureo. IV. Gladiolus Narbonensis flore incarnato.

[I. Variegated English Iris II. Wild Gladiolus III. Purple Common Garden Gladiolus IV. Pink Common Garden Gladiolus] Basilius Besler Copper engraving with hand colouring 1613-1713 Image and plate 482 x 394 mm, Sheet 525 x 424 mm Plate 201 from Besler’s celebrated Hortus Eystettensis.

Condition: Beautiful later hand colouring. Printer’s crease across the top of the image.

[44220] £1,750

49. Perroquet, de Cuba Francois Nicholas Martinet Copper engraving with hand colouring [Paris, De L’Imprimerie Royale, 1770-1789] Image 227 x 192 mm, Plate 256 x 212 mm, Sheet 464 x 337 mm

50. Kakatoes, de Moluques Francois Nicholas Martinet Copper engraving with hand colouring [Paris, De L’Imprimerie Royale, 1770-1789] Image 222 x 183 mm, Plate 256 x 209 mm, Sheet 465 x 338 mm

A finely coloured plate of the almost extinct redcoloured Cuban Amazon parrot, from Histoire Naturelle des Oiseaux, part of Georges-Louis Leclerc, Comte de Buffon’s major work, Histoire Naturelle Generale et Particuliere Avec la Description du Cabinet du Roi. Histoire Naturelle was published in 36 volumes between 1749 and 1789, with further volumes issued after the death of the author. One of the most widely read authors of his time, Buffon is credited with being the first to discuss many evolutionary problems. Despite this he was not himself an evolutionist, considering and subsequently rejecting the possibility of humans and apes having a common ancestor.

A finely coloured plate of a white cockatoo, from Histoire Naturelle des Oiseaux, part of Georges-Louis Leclerc, Comte de Buffon’s major work, Histoire Naturelle Generale et Particuliere Avec la Description du Cabinet du Roi. Condition: Excellent impression with full margins.

Binding holes to right side and minor damages to sheet, not affecting image. Watermark.

[44628] £275

Condition: Excellent impression with full margins.

Binding holes to right side and minor damages to sheet, not affecting image. Watermark.

[44627] £275 51

51. L’Effraie [The Barn Owl] C. Baron after Jacques De Seve Copper engraving with hand colouring Paris, De L’Imprimerie Royale, 1770 Image 190 x 150 mm, Plate 215 x 178 mm, Sheet 246 x 190 mm

52. Le Chat-Huant [The Tawny Owl] Carl Gottlieb Guttenberg after Jacques de Seve Copper engraving with hand colouring Paris, De L’Imprimerie Royale, 1770 Image 190 x 150 mm, Plate 215 x 178 mm, Sheet 246 x 190 mm

A finely coloured plate of a Barn Owl from the first volume of Histoire Naturelle des Oiseaux, GeorgesLouis Leclerc, Comte de Buffon’s major work, Histoire Naturelle Generale et Particuliere Avec la Description du Cabinet du Roi.

A finely coloured plate of a Tawny Owl from the first volume of Histoire Naturelle des Oiseaux, GeorgesLouis Leclerc, Comte de Buffon’s major work, Histoire Naturelle Generale et Particuliere Avec la Description du Cabinet du Roi.

Condition: Beautiful early hand colouring.

[44094] £175

Condition: Beautiful early hand colouring.

[44095] £175

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53. Le Scops ou Petit Duc [The Scops Owl] Menil after Jacques de Seve Copper engraving with hand colouring Paris, De L’Imprimerie Royale, 1770 Image 190 x 150 mm, Plate 215 x 178 mm, Sheet 246 x 190 mm

54. Le Hibou ou Moyen Duc [The Long-Eared Owl] F. Hubert after Jacques de Seve Copper engraving with hand colouring Paris, De L’Imprimerie Royale, 1770 Image 190 x 150 mm, Plate 215 x 178 mm, Sheet 246 x 190 mm

A finely coloured plate of a Scops Owl from the first volume of Histoire Naturelle des Oiseaux, GeorgesLouis Leclerc, Comte de Buffon’s major work, Histoire Naturelle Generale et Particuliere Avec la Description du Cabinet du Roi.

A finely coloured plate of a Long-Eared Owl from the first volume of Histoire Naturelle des Oiseaux, GeorgesLouis Leclerc, Comte de Buffon’s major work, Histoire Naturelle Generale et Particuliere Avec la Description du Cabinet du Roi.

Condition: Beautiful early hand colouring.

[44096] £175

Condition: Beautiful early hand colouring.

[44097] £175

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55. Tab. XVII. Die Grosse weisse Eule/ Aluco albus, diurnus/ Le grand Hibou blanc Johann Michael Seligmann after George Edwards Copper engraving with hand colouring G. Edwards ad viv. del. I.M. Seligmann fecit et excud.

[Nuremberg c.1770] Image & Plate 253 x 194 mm, Sheet 385 x 242 mm

A depiction of a Snowy Owl (Bubo scandiacus), from Seligmann’s German edition of George Edwards’ Natural History of Birds, published under the French title Recueil de divers Oiseaux étrangers et peu communs, qui se trouvent dans les ouvrages de MM Edwards et Catesby.

[44676] £525

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56. Tab. XIX. Die Kleine Falkenüle/ Ulula, Accipitri assinis/ Le petit Faucon Chouette Johann Michael Seligmann after George Edwards Copper engraving with hand colouring G. Edwards ad viv. del. I.M. Seligmann fecit et excud.

[Nuremberg 1770-1773] Image & Plate 253 x 194 mm, Sheet 385 x 242 mm A depiction of a Hawk Owl (Surnia ulula), from Seligmann’s German edition of George Edwards’ Natural History of Birds, published under the French title Recueil de divers Oiseaux étrangers et peu communs, qui se trouvent dans les ouvrages de MM Edwards et Catesby.

[44674] £525

57. Tab. XV. Der Uhü/ Otus Americanus/ Le Duc Johann Michael Seligmann after George Edwards Copper engraving with hand colouring G. Edwards ad viv. del. I.M. Seligmann fecit et excud.

[Nuremberg c. 1770] Image & Plate 253 x 194 mm, Sheet 385 x 242 mm A depiction of a Eurasian Eagle Owl (Bubo Bubo), from Seligmann’s German edition of George Edwards’ Natural History of Birds, published under the French title Recueil de divers Oiseaux étrangers et peu communs, qui se trouvent dans les ouvrages de MM Edwards et Catesby.

[44675] £525

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58. At Anchor Hill after Willem van de Velde the Younger Aquatint Hill fecit. London, Published Nov. 2. 1810, by John Murphy, 19, Howland Str. Fitzroy Square Image 255 x 285 mm, Plate 275 x 310 mm A decorative scene of ships at anchor, one of a decorative set loosely based upon a series of engravings published

by John Boydell after paintings by the Dutch maritime artist Willem van de Velde the Younger. Various vessels are shown at rest in a wide sheltered bay. In the foreground, the crew of the smaller of the two ships strike the sails, while two sailors prepare to disembark on a small row boat. The scene is enclosed in a simple oval border.

Condition: Old paper restoration to top margin, not affecting image. Minor time toning and spotting to sheet.

Framed in original period frame.

[44010] £300

59. A Calm Hill after Willem van de Velde the Younger Aquatint Hill fecit. London, Published Nov. 2. 1810, by John Murphy, 19, Howland Str. Fitzroy Square Image 250 x 280 mm, Plate 280 x 310 mm A decorative scene of ships in a calm, one of a decorative set loosely based upon a series of engravings published

by John Boydell after paintings by the Dutch maritime artist Willem van de Velde the Younger. Various vessels are shown still on a calm sea, their sails loose, and the sky clear. The sailors on the large three-master can be seen on deck, waving to the smaller vessels nearby. The scene is enclosed in a simple oval border.

Condition: Minor time toning and spotting to sheet. Framed in original period frame.

[44011] £300

60. A Brisk Gale Hill after Willem van de Velde the Younger Aquatint Hill fecit. London, Published Nov. 2. 1810, by John Murphy, 19, Howland Str. Fitzroy Square Image 255 x 285 mm, Plate 275 x 305 mm A decorative scene of ships in a brisk gale, one of a decorative set loosely based upon a series of engravings published

by John Boydell after paintings by the Dutch maritime artist Willem van de Velde the Younger. Various vessels are shown still in a stiff wind, their sails full and the sky darkening. In the foreground, a group of sailors in a rowboat are buffeted by the growing swell. The scene is enclosed in a simple oval border.

Condition: Minor time toning and spotting to sheet. Framed in original period frame.

[44012] £300

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61. 54. Nobilis matrona in Anglia Pietro Bertelli Etching [Padua, 1589] Image 102 x 81 mm, Plate 114 x 82 mm

62. 53. Iuuenis Anglus Pietro Bertelli Etching [Padua, 1589] Image 104 x 78 mm, Plate 114 x 82 mm

A scarce 16th century English costume portrait, similar to those that feature in the borders of 17th century carte-a-figures maps, Plate 54 from Pietro Bertelli’s ‘Diversarum nationum habitus’ (Habits of different nations) published in Padua in 1589. The work consisted mostly of plates, illustrating people from all over Europe in their contemporary dress. The publication also included plates of American and African dress, as well as specific portraits, alongside Venetian scenery and European monuments.

This particular example shows a noble English matron, wearing late sixteenth century dress with bustle, bodice, large lace ruff, and fur lined gown. Her hair is tied up in a hat, and she carries a pair of gloves and a large feathered fan.

A scarce 16th century English costume portrait, similar to those that feature in the borders of 17th century carte-a-figures maps, Plate 53 from Pietro Bertelli’s ‘Diversarum nationum habitus’ (Habits of different nations) published in Padua in 1589.

This particular example shows a young English nobleman, dressed in fashionable clothing of the late sixteenth century, namely a doublet and jerkin, with a linen shirt underneath, ruffed at the collar and wrists, on top of a trunk hose, slops, stockings and flat shoes with a rounded tip. He wears a hat on his head, holds a helmet or shield in his right hand, and carries a sword over his shoulder.

Condition: Minor time toning and surface dirt, especially to right hand side of plate. Framed in an antique black and gold frame.

[44065] £200

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Condition: Minor time toning and surface dirt. Framed in an antique black and gold frame.

[44066] £200

63. Foemina Londinensis ornata Pietro Bertelli Etching [Padua, 1589] Image 111 x 83 mm, Sheet 164 x 118 mm

64. Ornatus Italicus nunc recens institutus Pietro Bertelli Etching [Padua, 1589] Image 111 x 83 mm, Sheet 164 x 118 mm

A 16th century English costume portrait, similar to those that feature in the borders of 17th century carte-afigures maps, from Pietro Bertelli’s ‘Diversarum nationum habitus’ (Habits of different nations) published in Padua in 1589.

Foeminae Iondinensis ornata (Adorned London woman)

A 16th century Italian costume portrait, similar to those that feature in the borders of 17th century carte-a-figures maps, from Pietro Bertelli’s ‘Diversarum nationum habitus’ (Habits of different nations) published in Padua in 1589.

Ornatus Italicus nunc recens institutus (A Italian in recently instituted ornament)

Condition: Light foxing and water stains.

[44652] £150

Condition: Light foxing, marks to margins.

[44653] £150

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65. Habitus monachi feras cicurantis in Urbibus Pietro Bertelli Etching [Padua, 1589] Image 111 x 83 mm, Sheet 164 x 118 mm

66. Sponsa Turca Constantinopolitana Pietro Bertelli Etching [Padua, 1589] Image 111 x 83 mm, Sheet 164 x 118 mm

A 16th century Ottoman costume portrait, similar to those that feature in the borders of 17th century carte-afigures maps, from Pietro Bertelli’s ‘Diversarum nationum habitus’ (Habits of different nations) published in Padua in 1589.

Habitus monachi feras cicurantis in Urbibus (The costume of a monk travelling with a wild beast around cities)

A 16th century Ottoman costume and custom, similar to those that feature in the borders of 17th century carte-a-figures maps, from Pietro Bertelli’s ‘Diversarum nationum habitus’ (Habits of different nations) published in Padua in 1589. Sponsa Turca Constantinopolitana (A betrothed Turkish woman in Constantinople)

Condition: Light foxing, marks to margins.

[44654] £120

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Condition: Light foxing.

[44655] £150

67. [Allegorical Scene with a Young Man Presenting a Book Inscribed ‘LUSIAD’ to an Enthroned Woman] John Hamilton Mortimer Etching Published as the Act directs April 21, 1778 Image 220 x 151 mm, Plate 234 x 168 mm, Sheet 264 x 203 mm A kneeling young man presents the Portuguese epic poem The Lusiad to an enthroned lady with shield and spear. Both in Classical attire. A winged figure holding a trumpet watches over them, recumbent in front of a number of portrait profiles of important men. A hilltop temple can be seen in the distance. Published as a frontis illustration to an English edition of “The Lusiad; or the Discovery of India. An Epic Poem.”

Condition: Marking to margins, some foxing to lower margin and image.

[44687] £95

68. The Dead Shall Live The Living Die Francis Haward after Robert Smirk Stipple with etching May 29 1784 Image 182 x 140, Sheet 193 x 172 mm A subscriber’s ticket to the Handel Centenary Commemoration held in Westminster Abbey in 178.

Britannia is seated on a lion, gesturing towards an obelisk behind her, inscribed ‘Handel’. A cherub by her side places a garland on a pedestal. A ribbon to the top of the oval is inscribed ‘The dead shall live the living die’, and on the scroll below ‘May 29 / Messiah / 1784’.

Condition: Light surface dirt and creasing. Trimmed within the platemark.

[44853] £75

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69. Right Protect.

Thomas Rowlandson Etching and aquatint with original hand colouring Publish’d Septr. 1, 1798 by H. Angelo, Curzon Street May Fair.

Image 285 x 244 mm, Plate 330 x 274 mm, Sheet 417 x 325 mm

70. Left Protect.

Thomas Rowlandson Etching and aquatint with original hand colouring Publish’d Septr. 1, 1798 by H. Angelo, Curzon Street May Fair.

Image 286 x 245 mm, Plate 330 x 275 mm, Sheet 417 x 325 mm

A print depicting a man in uniform on horseback with a sword in his outstretched right arm, further men on horseback in the background. These prints are from Thomas Rowlandson’s Hungarian & Highland Broadsword. Produced under the direction of Henry Angelo (II) and his son (III), the volume contained 24 plates depicting the use of broadswords and sabres on foot and while mounted on horseback.

A print depicting a man in uniform on horseback with a sword in his outstretched right arm across his body, a man to his left carries a standard, further men on horseback in the background.

Condition: Some soiling to margin edges and just into the platemark, old glue residue on verso, not affecting the image.

[44698] £150

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Condition: Some soiling to margins, just into the platemark but not affecting the image.

[44699] £150

71. Prepare to Guard.

Thomas Rowlandson Etching and aquatint with original hand colouring Publish’d Septr. 1, 1798 by H. Angelo, Curzon Street May Fair.

Image 286 x 245 mm, Plate 330 x 275 mm, Sheet 417 x 325 mm

72. Guard.

Thomas Rowlandson Etching and aquatint with original hand colouring Publish’d Septr. 1, 1798 by H. Angelo, Curzon Street May Fair.

Image 286 x 245 mm, Plate 330 x 275 mm, Sheet 417 x 325 mm

A print depicting a man in uniform on horseback with a sword held upright in his right hand, further men on horseback in the background.

A print depicting a man in uniform on horseback with a sword held forward in his right hand, further men on horseback in the background.

Condition: Some soiling and staining to margins just into the platemark, diagonal crease lower right across the platemark not affecting the image.

[44701] £150

Condition: Some soiling to margins just into the platemark, old glue residue to verso edges, diagonal crease upper left across the platemark not affecting the image.

[44702] £150

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73. Bristol and Exeter railway with Train of Carriages approaching Bristol with Clifton in the distance.

L. Hague after W.W.Young Lithograph with hand colour London: Hamilton, Adams & Co_Bristol: Lavars & Ackland. [c.1835] Image 185 x 274 mm, Sheet 210 x 288 mm A rare early railway lithograph featuring a row of carriages, and two out-bound horse carriage carriages, in tow, with the Clifton suspension bridge anticipated by the artist in the background.

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A proof impression of one of three plates from Illustrations of the Great Western & Bristol & Exeter Railways, prepared from actual survey by W. W. Young, engineer. This edition of the print printed by Lavars and Ackland.

Abbey, Life. 412 Condition: Repaired tear to bottom margin, not aecting image or title.

[44813] ÂŁ250

74. To the Gentlemen of the Oxford and Cambridge University Boat Club. This view of Mortlake with the Boat Race April 4th. 1868.

Thomas Schotter Boys after George Chambers Lithograph with hand colouring London, Published July 1st 1868 by J. Hogarth & Sons, printsellers to HRH The Prince of Wales, 96 Mount St Grosr Sore removed from 5 Haymarket Image 338 x 660 mm, Sheet 453 x 725 mm A very scarce, large-scale, view of Mortlake during the Oxford and Cambridge boat race of 1868. The river banks and barges are densely crowded with spectators, and the race is followed by a group of steamer ships.

Oxford were victorious, winning by six lengths in a time of 20 minutes and 56 seconds. The Oxford cox Charles Tottenham became the first person in the history of the event to win five Boat Races, and Cambridge saw their first non-British rower compete.

Condition: Overall time toning and dirt build-up, and old acid burn from previous mount, to margins, covered by new mount. Minor wormholes to outer margins, not affecting image. Old repaired tear to bottom centre of sheet into image.

[44495] £1,700

65

PORTRAITS

75. Charles Roy de la Grande Bretagne, de France, Hibernie, & c.

Lucas Vorsterman I Copper engraving Lucas Vorsterman I, 1631 Image 247 x 200 mm, Plate 275 x 205 mm, Sheet 318 x 241 mm

A half-length portrait of Charles I, slightly to right, wearing a lace collar and a George. With an inscription in French below.

Holstein 114. iii, O’Donoghue 25, Hind 198.6 Condition: A very good impression with full margins of the third state of this print, light overall foxing.

[44148] ÂŁ250

67

76. Charles par la grace de Dieu Roy d’Angleterre Balthasar Moncornet after Peter de Jode II after Anthony van Dyck Copper engraving Balthasar Moncornet c. 1645-1668 Image 133 x 103 mm oval, Plate 149 x 110 mm, Sheet 262 x 178 mm A half-length portrait of Charles I in an oval frame, wearing armour and a chain with George, a battle in the background. Moncornet produced a series of at least 27 portraits of royalty and nobility based on Van Dyck’s Iconography.

New Hollstein (Dutch & Flemish) 227 (Van Dyck, copy undescribed) New Hollstein (Dutch & Flemish) 330 i (Van Dyck), O’Donoghue 25 [44149] £100

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77. Henriette Marié par la grace de Dieu Royne d’Angleterre Balthasar Moncornet after Peter de Jode II after Anthony van Dyck Copper engraving Balthasar Moncornet c. 1645-1668 Image 133 x 103 mm oval, Plate 155 x 114 mm, Sheet 262 x 167 mm A half-length portrait of Henrietta Maria in an oval frame, wearing a dress with elaborate lace collar and bows, and a pearl necklace, her hand protruding over the edge of the oval frame, a hunting scene in the background right. Moncornet produced a series of at least 27 portraits of royalty and nobility based on Van Dyck’s Iconography. .

New Hollstein (Dutch & Flemish) 228 Van Dyck, copy undescribed) New Hollstein (Dutch & Flemish) 331 i (Van Dyck), O’Donoghue 25 Condition: Some light foxing [44221] £100

78. [The Arrival of Charles II at Delft] David Philippe after Adriaen van de Venne Etching [The Hague, 1660] Image 285 x 385 mm The arrival of King Charles II at Delft, from Adriaen Vlacqu’s ‘Verhael van de Reys van Carel II, Coning van Groot-Britannië, in Hollandt van 25 mei tot 2 Junij 1660’ (Account of the visit of Charles II, King of the Great Britain, to Holland from the 25th of May to the 2nd of June).

Charles II (1630-1685) had been king of Scotland from 1649 until his deposition in 1651, but was proclaimed king during the restoration of the monarchy in 1660, this time of England as well as Scotland and Ireland.

He was in Breda when he got the summons to return to Britain, and travelled to Delft and The Hague before departing to London.

Condition: Pressed centre fold as issued. Trimmed within plate mark. Small tear to bottom centrefold.

Minor repair to upper right corner. Framed in an antique frame.

[44156] £400

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79. [King Charles I] William Faithorne Copper engraving London, c. 1655.

Image and sheet 215 x 133 mm The title page to Sir Hamon L’Estrange’s The History of King Charles. A female figure representing the Anglican Church sits at the top, melancholic, bemoaning in Greek that ‘many healers have killed me.’ She holds a church building with her left hand on her left leg, and her head is shrouded. Below, a half-length portrait of King Charles I turned to right in an oval, and surrounded by cornucopias and decorative scrolls, is entitled in Greek ‘The beautiful shroud of a tyrant.’

Johnson 8, Fagan 75.

Condition: Trimmed to the image, repaired tears through sheet, backed on to old paper, and tipped to an album sheet. Scuffed surface to left of sheet.

[44647] £80

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80. Her Most Excellent Majesty Charlotte Queen of Great Britain & C. James Watson after Thomas Frye Mezzotint London printed for Hen. Parker, opposite Birchin Lane in Cornhill Image 133 x 113, Sheet 151 x 112 mm A half-length portrait print of Queen Charlotte after Thomas Frye. She wears a robe trimmed in ermine with ropes of pearls around her shoulders and strings around her neck along with a cruciform choker. Her hair has been dressed up in a lace veil and tiara.

Chaloner Smith 29a (a & c), Goodwin - James Watson 134, O’Donoghue 21 Condition: Trimmed to the image and laid to another sheet of paper.

[44848] £180

81. The Prince of Great Britian &c.

John Smith after Sir Godfrey Kneller Mezzotint Sold by G. Beckett at ye golden head in the Old Baily.

1688 Image 333 x 254 mm, Plate 354 x 256 mm, Sheet 393 x 270 mm A portrait of James Stuart as a baby wearing a bonnet and loose gown trimmed with lace, laying in ermine robes upon a pillow, looking up at a crown with a “P” below in a wreath.

King James III and VIII (10 June 1688 - 1 January 1766: reigned 1701 - 1766)

Chaloner Smith 246 ii/iv, Sharp 71, O’Donoghue 12 ii/iii : SG 26 Condition: some light creasing and light surface rubbing, tipped to an album page, but otherwise a very good impression with full margins.

[44043] £350

71

82. Henricus Arundelliae Comes Pierre Lombart after Anthony van Dyck Copper engraving londini avec Privileige du Roy et ex. Parisis. [n.d. c.1662] Image 314 x 249 mm, Plate 354 x 260 mm, Sheet 362 x 270 mm A three-quarter length portrait of Henry Howard, Earl of Arundale, turned slightly right, wear a suit of armour, his right hand holding his helmet which resting on a plinth with the words “Droit et Avant” on it and his left hand point towards the helmet.

The portrait is based on a painting by van Dyck’s, and was included in Pierre Lombart’s most famous work, often called The Countesses. The series contained twelve portraits after Anthony van Dyck, each of which depicted the sitter in three-quarter length.

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The ten women and two men illustrated in the series were; Anne Carr, Countess of Bedford; Lucy, Countess of Carlisle; Margaret, Countess of Carlisle; Anna Sophia, Countess of Carnarvo; Elizabeth, Countess of Castlehaven; Elizabeth, Countess of Devonshire; Rachel, Countess of Middlesex; Penelope, Lady Herbert; Dorothy Sidney; Countess of Sunderland; Elizabeth, Countess of Morton; Henry Howard, Earl of Arundel; and Philip Herbert, Earl of Pembroke.

O’Donoghue 1, New Hollstein (Dutch and Flemish) 250. I (Van Dyck), Firmin-Didot 1380.

Condition: Excellent impression, trimmed within plate, slight soiling to inscription.

[44589] £100

83. Anna de Morton Comitissa Pierre Lombart after Anthony van Dyck Copper engraving londini avec Privileige du Roy et ex. Parisis. [c.1662] Image 313 x 250 mm, Sheet 354 x 261 mm

84. Lucia. Comitissa De Carlile.

Pierre Lombart after Anthony van Dyck Copper engraving Londini avec Privileige du Roy et ex. Parisis. [c.1662] Image 315 x 250 mm, Sheet 343 x 257 mm

Three-quarter length portrait of Anna Douglas, Countess of Morton, stood before a sill. She wears a silk dress, embellished with jewels, and a fur stole over her left shoulder. Her hair is curled, and adorned with flowers. In her left hand, she holds flowers, which rest upon the sill, and a landscape view is present in the background to the left. The portrait is set within an ornate frame.

Three-quarter length portrait of Lucy, Countess of Carlisle, wearing a low cut silk dress, a fur stole on her left shoulder, attached with a jewel broach, a flower at her breasts, pearl earrings and necklace, her hair in curls with flowers, her right hand in the flow of water from a fountain decorated with a boy pouring water from a vase.

O’Donoghue 1, New Hollstein (Dutch and Flemish) 259 (Van Dyck) Condition: Excellent impression, trimmed within plate.

[44586] £120

O’Donoghue 3, New Hollstein (Dutch and Flemish) 252. II (Van Dyck), Firmin-Didot 1382.

Condition: Excellent impression, trimmed within plate, slight soiling to inscription.

[44585] £150

73

85. Treshault et Trespuissant Prince Villiers Duc Marquis et Comte de Buckingham: Balthasar Moncornet Copper engraving Balthasar Moncornet c. 1645-1668 Image 135 x 105 mm, Plate 150 x 110 mm, Sheet 262 x 175 mm

86. Her Grace the Dutchess of Marlborough.

John Smith after Sir Godfrey Kneller Mezzotint Sold by J. Smith at ye Lyon & Crown in Russel Street Covent Garden. 1705 Image 300 x 249 mm, Plate 344 x 250 mm, Sheet 346 x 252 mm

A bust-length portrait of George Villiers turned to right but looking at the viewer, wearing a falling ruff and a chain of the garter.

A half-length portrait of Sarah Churchill, Dutchess of Marlborough in an oval, turned to right, in a loose gown with an ermine collared robe on her right hand shoulder, left hand to breast. With the inscription G. Kneller S.R. Imp & Angl. Eques Aur. pinx. 1705.

O’Donoghue 25 Condition: Some light foxing, old binding hold on edge of left margin.

[44293] £80

74

Chaloner Smith 165, O’Donoghue 2 Condition: Good impression. Light overall staining, short repaired tear in right into image, diagonal repaired tear through the word Marlborough in inscription space, small loss in the middle of inscription space near the word fec. Crease in hair, some other light surface marks, old glue marks on verso.

[44109] £150

87. The Rt. Hono.ble James Earl of Salisbury &c John Smith after Sir Godfrey Kneller Mezzotint [John Smith, c. 1696] Image 320 x 242 mm, Plate 346 x 243, Sheet 351 x 255 mm

88. Lord Euston John Smith after Sir Godfrey Kneller Mezzotint [John Smith, c. 1689.]

Image 312 x 252 mm, Plate 342 x 253 mm, 343 x 254 mm

A full length portrait of James Cecil, 5th Earl of Salisbury as a boy wearing a roman costume, robe, and sandals, a helmet with feather plumes rests on a plinth with a coat of arms on it to the right, a fountain in courtyard in the background.

Full length portrait of Charles FitzRoy, 2nd Duke of Grafton, as a child leaning against a rock wearing a feathered hat, Roman style military outfit complete with sandals and paludamentum, his left hand stretched out towards a branch with a parrot on it, with a landscape with a mansion in the background.

Chaloner Smith 222 ii/iii, O’ Donoghue 1 Condition: Some light overall wrinkling to the paper, some light surface rubbing, short diagonal crease lower left margin, diagonal crease lower right through bottom of image and into inscription space.

[44147] £150

Chaloner Smith 86 i/ii, O’Donoghue 1 i/ii Condition: Very good early impression of this print, some old erased pencil markings in margin, thread margins.

[44822] £150

75

89. Thomas Cromwell, Earl of Essex.

Jacobus Houbraken after Hans Holbein the Younger Copper engraving Impensis J. & P. Knapton Londini 1739. [1743-1752] Image 357 x 224 mm, Plate 375 x 240 mm, Sheet 490 x 350 mm A bust length portrait of Thomas Cromwell to right wearing a dark fur trimmed coat and cap set in an ornamental oval frame with a vignette below showing a romanticised depiction of Henry VIII being shown a woman’s portrait, a key, a sceptre, crowns, spears and sword hilt either side.

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

The portraits featured in the series, which were engraved

by Jacob Houbraken and George Vertue, were originally issued from 1737 onwards in portfolios of four portraits.

O’Donoghue 8 Condition: Excellent with good full margins.

[44712] £95 76

90. William Duke of Hamilton...

Robert White Copper engraving [London, 1677] Image 238 x 149 mm, Sheet 241 x 151 mm A half-length portrait of William Hamilton, the second Duke of Hamilton wearing armour and a chain and George in an oval frame on a pedestal with a coat of arms below. This print is an illustration from Gilbert Burnet’s The Memoirs of the lives and actions of James and William, Dukes of Hamilton.... (London, 1677).

O’Donoghue 1 Conditon: Excellent impression, trimmed just outside of the image.

[44648] £75

91. Samuel Johnson.

Henry Brocas after Sir Joshua Reynolds Stipple Dublin: Printed by William Folds for John Jones, No. III Grafton-Street, Opposite the College. September 1792 Image 112 x 87 mm, Sheet 188 x 118 mm A three-quarter length portrait of Samuel Johnson, dressed in a dark suit, seated at a writing table his right arm outstretched with a quill pen in his hand, his left hand resting on a sheet of paper on the table, an ink pot and a book to his left, after a painting by Sir Joshua Reynolds. This engraving was done for the Irish publication The Sentimental and Masonic Magazine.

92. Mr. John Lilburn attributed to Richard Gaywood after Wenceslaus Hollar Etching [n.d. c. 1650] Image 70 x 52 mm, Plate 88 x 60 mm, Sheet 137 x 94 mm A bust length portrait of John Lilburn slightly turned to left, with short hair and a moustache, wearing a wide collar edged with lace over a dark doublet; in an oval.

[44584] £40

Not in O’Donoghue Condition: Trimmed within the plate mark. Some light time toning.

[44575] £50

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93. Joannes Owenus Cambro Britannus Oxoniensis.

[Anonymous] Copper engraving c. 1669 Image 84 x 47 mm, Sheet 85 x 48 mm A bust length portrait of John Owen wearing a laurel wreath, in an oval held up by two putti. This print was the frontis to his Epigrams, 1669.

O’Donoghue 1 Condition: Good impression, trimmed just outside the image border.

[44651] £25

94. William Harvey M.D. Jacobus Houbraken after Willem van Bemmel Copper engraving Impensis J. & P. Knapton Londini 1739. [1743-1752] Image 359 x 224 mm, Plate 369 x 233 mm, Sheet 496 x 339 mm A bust length portrait of William Harvey turned to right but looking at the viewer in an oval frame with curtain, with a diagram of the circulatory system, a rod of Ascelpius, poppy heads, and books below.

This portrait of William Harvey is from Thomas Birch’s The Heads of Illustrious Persons of Great Britain. The portraits featured in the series, which were engraved by Jacob Houbraken and George Vertue, were originally issued from 1737 onwards in portfolios of four portraits.

O’Donoghue 8 Condition: Excellent with good full margins.

[44713] £150

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95. [The Shade of Napoleon Visiting his Tomb] [Anonymous] Lithograph London Published as the Act directs by H.H 61 Treadneedle Street. 1831 Image 164 x 219 mm, Sheet 188 x 244 mm The trunks of two willow trees, together with their branches and other foliage, form the outline profile of Napoleon Bonaparte (1769 – 1821), beside a simple moonlit grave on the Atlantic island of Saint Helena, the tomb is decorated with a cross and the capital ‘N’ in reverse, topped with a crown.

To the right of the grave, a mourning woman is holding a wreath and has the French Imperial eagle sitting at her feet. This is one of several puzzle-type prints on the same theme that were published in the aftermath of Napoleon’s death.

Printed by Dean & Munday (fl.1815 - 1833) who were based in London and printed children’s books, lithographic and woodcut satires, and portrait engravings.

Condition: Light creases. Light time toning to margins, not affecting image.

[43801] £100

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96. Maria de Medicis Balthasar Moncornet after Peter de Jode II after Paulus Pontius after Anthony van Dyck Copper engraving Balthasar Moncornet c. 1645-1668 Image 131 x 103 mm oval, Plate 152 x 107 mm, Sheet 260 x 170 mm A half-length portrait of Maria de Médici in an oval frame, turned to left, looking at the viewer, wearing a cap and a dress with a large round collar, laced bodice, and puffed sleeves, and holding a flower in her left hand at her waist, a hunting scene and a curtain in the background. Inscribed with the title “Maria Medicis/ Trium Regum Mater” below.

New Hollstein (Dutch & Flemish) 238 (Van Dyck, copy undescribed) New Hollstein (Dutch & Flemish) 25 (Van Dyck) [44150] £50

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97. Armand Cardinal De Richelieu Duc et Pair de France Grand M. Chef et Sur: Inendant de la Navigation Guuerneur et Lietent ganl pour le Roy au pais de Bretaigne.

Balthasar Moncornet Copper engraving Image 135 x 105 mm oval, Plate 152 x 110 mm, Sheet 262 x 177 mm A bust length portrait of Cardinal Richelieu in an oval frame, turned slightly left, looking at the viewer, wearing a biretta, mozzetta, and insignia of the Holy Ghost, a curtain and naval scene in the background.

[44151] £45

98. Fethaly Cham Emperor of the Persians after Louis Charles Ruotte the Elde Aquatint [c. 1807] Image 180 x 140, Sheet 239 x 156 mm A three quarter length portrait of Fat’h Ali, Shar of Qajar Persia (1772-1834). The impressively bearded emperor is seated on a throne and wears jeweled clothing, crown and sword. Europeans mispronounced his name in this period, calling him Fethaly Cham (the title of this print) or Fethaly Chah. A lion and sun image (a popular symbol since the twelfth century) has been engraved to the centre of the title. This imagery had been popular since the twelfth century. it was even used in legislation, with ‘The Imperial Order of the Lion and the Sun’ instituted by Fat’h Ali Shah in 1808 to honour foreign officials (later extended to Persians) who had rendered distinguished services to Persia. This portrait is likely an English copy of an earlier French version called ‘Fethaly Chah Empereur des Persans’ by Louis Charles Ruotte the Elder, after the painting by Albert Jacob François Gregorius.

[44852] £80

99. The Author in his Syrian Costume [Anonymous] Aquatint with original hand colouring [London c. 1829] Image 161 x 100, Sheet 182 x 113 mm An illustration from Richard Robert Madden’s ‘Travels in Turkey, Egypt, Nubia, and Palestine in 1824-27’ (1829). The image shows Madden in Syrian costume, feeling the pulse of a slender wrist held through the open door to the left. The image alludes to his profession as a doctor, and the period in which he went undercover in Syria, exploring the Turkish Empire.

Condition: Some light overall surface dirt.

[44855] £35

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Artists, Printmakers, & Publishers

BIOGRAPHIES

Pietro Bertelli (fl. 1594-1616) was a printmaker, editor and publisher who was mostly active in Venice.

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.

Whereas 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. This plate was featured in “Summer”.

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

Thomas Shotter Boys (1803–1874) was an English watercolour painter and lithographer. He exhibited at the Royal Academy for the first time in 1824, and in Paris in 1827. In 1830 he went to Brussels, but returned to England on the outbreak of the revolution there. Paying another visit to Paris, he remained there until 1837, and then returned to England in order to lithograph the works of David Roberts and Clarkson Stanfield.

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Henry Brocas (1762-1837) was an Irish painter, draughtsman, and engraver. He was born and worked in Dublin. Self-taught, Brocas worked in watercolours and oils as well as being a prolific engraver. His engravings appeared in several Dublin publications and he also issued some separately published prints. He also taught at Dublin Society’s School of Landscape and Ornament.

William Henry Brooke (1772-1860) was a British printmaker, painter and draughtsman, active in London.

He made plates for the ‘Satirist’.

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.

Ludovico Caracciolo (1761– 1842) was an Italian landscape painter and engraver, specialising in panoramas of Rome and studies of classical architecture.

He became a protégé of Elizabeth Foster, the second wife of William Cavendish, 5th Duke of Devonshire, who moved to Rome after she was widowed in 1811.

He published a full set of print reproductions after Claude Lorrain’s Liber Veritatis in Rome in 1815 and his spectacular 360 degree panorama of the Italian capital, painted in 1824, is now held by the Victoria and Albert Museum.

John Doyle (1797-186) was a British printmaker. He was born in Dublin, and trained with the landscapist Gabrielli, and at the Royal Dublin Society’s drawing school. He moved to London in 1822 and exhibited portraits at the Royal Academy until 1835. However, finding little success he began to work as a political satirical printmaker from 1827. He used the monogram ‘HB’ to sign a numbered series of 917 lithographs published 1829-51. His drawings, whilst satirical, lack the savagery of Gillray and Cruikshank, and were falling out of fashion by the time of his death.

Condition: Staining to margins. Small tears to top margin not affecting image.

Anthony van Dyck (1599-1641) was a Flemish painter. A pupil of Rubens, Van Dyck worked in Italy from 1621-26, and then from 1632 onwards he predominantly painted in England, where he was knighted by Charles I. George Edwards was, like Catesby, one of the pioneers of natural history documentation, and is known as the “Father of British Ornithology.” His marvellous A Natural History of Birds (London: 1743-51) was produced almost single-handedly. Edwards not only wrote the text for the book but also made the drawings, etched the plates, and hand coloured the prints to be bound in each volume. Johann Michael Seligmann began issuing his ambitious series just a few years after Edwards and Catesby each published their landmark works. The text was translated into German by Georg Leonhard Huth, and Seligmann produced all new plates based on the images of the two Englishmen. In bringing these masterworks to the continental audience, Seligmann has earned himself a rightful place in natural history circles, and his charming prints, reflecting well on their sources, stand on their own as another respected source for 18th-century natural history documentation.

Edwards was born at Stratford, Essex. In his early years he travelled extensively through mainland Europe, studying natural history, and gained some reputation for his coloured drawings of animals, especially birds.

In 1733, on the recommendation of Sir Hans Sloane, he was appointed librarian to the Royal College of Physicians in London.

Thomas Frye (c. 1710 – 3 April 1762) executed portraits in oil, pastel and mezzotint. The mezzotints for which Frye is chiefly remembered is this series of seventeen life-size heads, which he published in two series between 1760-1762. Although probably drawn from real life the engravings were issued without titles and, with the exception of Frye’s self-portrait, are not presented as portraits but a series of ‘fanciful heads’ arranged in diverse poses. The second series (17611762), ‘Ladies, very elegantly attired in the fashion, and in the most agreeable attitudes’ demonstrate Frye’s interest in fine costume and elegant jewellery.

Jean-François de Galaup, Comte de La Pérouse (1741-1788) was a French naval officer, who followed in Captain Cook’s footsteps by setting sail in 1785 and exploring the Pacific Ocean. Even though he died during a shipwreck in 1788, his reports on the expeditions as well as maps and views he drew up along the way were saved and published by Jean Michel Moreau (1741-1814), Philippe Triere (1756-c.1815), and L. Aubert in 1797 in ‘Atlas du Voyage de la Perouse’.

Richard Gaywood was a British printmaker and publisher active between 1644 and 1680. Trained by Wenceslaus Hollar, Gaywood was one of the most prolific etchers of his day. During the 1650s he took over from Hollar as the principal supplier of portrait etchings to the London trade. A friend of Francis Barlow, Gaywood produced a large number of etchings of birds and animals after him. They also worked together on a large etching after Titian’s Venus and the Organist, which was dedicated to John Evelyn. Although Gaywood published plates himself, much of what he produced was made for the publisher Peter Stent.

Ernst Moritz Geyger (1861-1941) was a German painter, etcher and sculptor. He is best known as an animal painter, but in 1888 visited Florence, and reproduced a number of its great Renaissance paintings using a variety of printmaking techniques. For many years he worked between his birth city of Berlin and adopted one of Florence, where he died in 1941.

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James Gillray (c.1756-1815), was a British caricaturist and printmaker famous for his etched political and social satires. Born in Chelsea, Gillray studied letterengraving, and was later admitted to the Royal Academy where he was influenced by the work of Hogarth. His caricature L’Assemblée Nationale (1804) gained huge notoriety when the Prince of Wales paid a large sum of money to have it suppressed and its plate destroyed.

Gillray lived with his publisher and print-seller Miss (often called Mrs) Humphrey during the entire period of his fame. Twopenny Whist, a depiction of four individuals playing cards, is widely believed to feature Miss Humphrey as an ageing lady with eyeglasses and a bonnet. One of Gillray’s later prints, Very SlippyWeather, shows Miss Humphrey’s shop in St. James’s Street in the background. In the shop window a number of Gillray’s previously published prints, such as TiddyDoll the Great French Gingerbread Maker [...] a satire on Napoleon’s king-making proclivities, are shown in the shop window. His last work Interior of a Barber’s Shop in Assize Time, from a design by Bunbury, was published in 1811. While he was engaged on it he became mad, although he had occasional intervals of sanity. Gillray died on 1 June 1815, and was buried in St James’s churchyard, Piccadilly.

Albert Jacob François Gregorius (1774-1853) was a Flemish painter and draughtsman. He was a pupil of David.

Johann Gottfried Haid (1714 - 1776) was German engraver and mezzotinter. He worked in London for John Boydell and Henry Parker in the first half of the 1760s. In 1766 he returned to Vienna to found a school of mezzotint in the Academy there. His position was succeeded by Johann Jacob.

James Duffield Harding (1798 - 1863) was a British draughtsman, watercolourist, topographer, lithographer, etcher and landscape painter. Born in Deptford, he exhibited at the Royal Academy from 1810 onwards.

William Harvey (April 1, 1578 - June 3, 1657) was an English physician and best known for his discovery and details description of circulation of blood around the body and to the brain by the heart.

Francis Haward (1759-1797) was a British printmaker.

He was a student at the Royal Academy in 1776, beginning as a mezzotinter but later switching to stipple.

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Hans Holbein the Younger (1497 - 1543) was a painter, draughtsman and designer of woodcuts. He also worked with glass-paintings, metalwork, and jewellery.

Holbein was born in Augsburg. He worked in Basel as a journeyman at the end of 1515, and was first employed there with Ambrosius by humanist scholars and their printers. In 1519, he was admitted to the painters’ guild.

With an introduction from Erasmus to Sir Thomas More he left for England at the end of August 1526 and stayed for two years working in the court circle before returning to Basel. He returned to England in 1532 and, under the patronage of Henry VIII, he produced a succession of magnificent portraits. The most famous of which was the mural painting glorifying the Tudor dynasty in the Whitehall Palace. It was regrettably destroyed in the fire of 1698.

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.

Jacob, or Jacobus, Houbraken (1698-1780) was a Dutch portrait engraver, and dealer and collector of Rembrandt’s etchings. Born in Dordrecht, he was the son of the artist Arnold Houbraken. In 1707 he moved to Amsterdam, where he assisted his father on a book of the lives of the Dutch Golden Age artists, entitled De Groote Schouburgh der Nederlantsche konstschilders en schilderessen (1718-1721). Between 1743 and 1752, Houbraken worked with George Vertue on Thomas Birch’s Heads of Illustrious Persons of Great Britain. He also engraved the portraits for Jan van Gool’s Nieuwe schouburg der Nederlantsche kunstschilders (1750-51).

Between 1752 and 1759, he worked on Jan Wagenaar’s Vaderlandsche historie, which was published by Isaac Tirion.

Charles Joseph Hullmandel (1789-1850) was a British painter, draughtsman, printmaker and publisher. He was born to French parents in London, and trained as an artist. He opened a printing press in 1818, becoming a major lithographic printer and publisher in the city. He was responsible for numerous technical developments, including lithotint and colour printing.

Pieter de Jode the Younger (1601-1674) son and disciple of the Pieter de Jode the Elder. In 1628, he was admitted into the Guild of St. Luke, Antwerp. In 1631 and 1632, he and his father practiced engraving in Paris. When Pieter de Jode the Younger returned to Antwerp he worked almost exclusively for Van Dyck and accompanied him on several occasions to live and work in England.

Johannes ‘Jan’ Kip (1653 - 1722) was a Dutch draughtsman, engraver, and print dealer who was active in England, after producing works for the court of William of Orange in Amsterdam. Following the Glorious Revolution of 1688, Kip accompanied the Court to England and settled in Westminster, where he conducted a thriving print selling business from his house in St. John’s Street. He also worked for various London publishers producing engravings, largely for book illustrations. His most important works were the execution of the illustrations for Britannia Illustrata, 1708; The Ancient and Present State of Gloucestershire, 1712, and Le Nouveau Theatre de la Grande Bretagne, 1715.

Sir Godfrey Kneller, 1st Baronet (1646 – 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to British monarchs from Charles II to George I. His major works include The Chinese Convert (1687); a series of four portraits of Isaac Newton painted at various junctures of the latter’s life; a series of ten reigning European monarchs, including King Louis XIV of France; over 40 “Kit-cat portraits” of members of the Kit-Cat Club; and ten “beauties” of the court of William III, to match a similar series of ten beauties of the court of Charles II painted by his predecessor as court painter, Sir Peter Lely.

Leonard Knyff (1650 - 1721) was a Dutch draughtsman and painter who collaborated with Johannes Kip to produce views of country houses and gardens for Britannia Illustrata and Le Nouveau Théâtre.

Born in Haarlem; Knyff trained in Holland as a still life painter before moving to London in 1681 where he remained until his death. He is best remembered for his topographical draughtsmanship, particularly his birdseye paintings and drawings of formal gardens, but was also a painter of animals, and for a brief stint, a picture dealer.

Georges Louis Leclerc, Comte de Buffon (1707-1788) was a French naturalist, mathematician, cosmologist, and encyclopédiste. He is mostly known for his work on natural history ‘Histoire naturelle, générale et particulière’ which he started in 1749 and was finished by his colleagues in 1804, after Buffon’s death.

Pierre Lombart (1612/13 - 1681) was a French born engraver, working in both France and England.

Although being a well recognised engraver in England, relatively little is known about his life. The first trace of Lombart in England is around 1649, and he went on to engrave numerous plates for Ogilby’s various publications. Lombart’s time in London can roughly be traced through his plates, which were usually inscribed with ‘a Londres’, and are dated until 1660. By 1663, he had returned to Paris, where he remained for the remainder of his life.

Richard Robert Madden (1798–1886) was an Irish doctor, writer, abolitionist and historian of the United Irishmen. He took an active role in trying to impose anti-slavery rules in Jamaica on behalf of the British government. The slave trade had been illegal in the empire since 1807, but slaves still existed and their trade we very much in progress. Madden was employed in the British civil service from 1833, first as a justice of the peace in Jamaica, where he was one of six Special Magistrates sent to oversee the eventual liberation of Jamaica’s slave population, according to the terms of the Slavery Abolition Act 1833. From 1835 he was Superintendent of the freed Africans in Havana. In 1839 he became the investigating officer into the slave trade on the west coast of Africa, in 1847 the secretary for the Swan River Colony.

Francois Nicholas Martinet (1725-1804) was a French naturalist, scientist and engraver, who produced plates for natural history books, mainly concerning the study of birds.

Maria de Médici (April 26, 1575- July 3, 1642) was the Queen of France and the second wife of King Henry IV of France. After the assasination of Henry in 1610, a day after her coronation, Maria acted as Regent for her son King Louis XIII.

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Daniel Meisner, (1585-1625) was a German engraver chiefly known for an emblem book, containing over 800 pictorial-poetic compositions, which was enormously popular throughout Europe in the 17th century. The plan views were based on the work of De Bry, Braun & Hogenberg, Merian and others with the addition of emblematic figures or scenes in the foreground, juxtaposed with moralising and edifying verses beneath the image and a Latin motto at top. It was originally issued with 52 plates as the Thesaurus philo-politicus in 1623-24. After Meisner’s death in 1625, Eberhard Kieser, with assistance from Johann L. Gottfried, completed the work and published it until 1631. The plates then appeared in the eight parts of Sciographia Cosmica published by Paulus Furst between 163878. The plates for these editions were renumbered alpha-numerically in the upper right corners - A-H (identifying the 8 parts) and 1-100 (plate number).

They were finally issued in 1700 and 1704 in Rudolf J. Helmer’s Politica-politica.

Balthasar Moncornet (c.1600 - 1668) was a French tapissier, engraver, and publisher, working primarily in France. He was a specialist in ornamental prints.

Jean-Michel Moreau (26th March 1741 - 30th November 1814) was a French draughtsman, artist, and engraver, particular known for his work as a reproductive engraver of Old Master and French baroque painters. He provided plates for Diderot’s Encyclopedie, as well as for the works of Boucher, Gravelot, and Cochin. Despite the turbulent political times in which he lived, Moreau flourished under both Royal and Revolutionary patronage. Despite his sympathies with the Revolutionary cause, he continued his work under the Bourbon restoration, gaining a royal appointment under Louis XVIII. John Hamilton Mortimer (1740 - 1779) was a British Neoclassical painter known for his romantic paintings and pieces set in Italy and its countryside, various other works depicting conversations between people, and works portraying war scenes, very similar to those of Salvator Rosa. Among other things, Mortimer took the place of President of the Society of Artists in 1774, only several years before his death, at age 39.

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William Pether (c.1738 - 1821) was an English mezzotint engraver and portrait painter. Born in Carlisle, Pether became a pupil of the painter and mezzotint engraver Thomas Frye, with whom he entered into partnership in 1761. A fellow of the Incorporated Society of Artists, he contributed to its exhibitions paintings, miniatures, and engravings from 1764 to 1777. He was also an occasional exhibitor with the Free Society and the Royal Academy. His many pupils included the painters and mezzotint engravers Henry Edridge, and Edward Dayes. His last plate published in London is dated 1793, and he exhibited at the Royal Academy for the last time in 1794.

David Philippe (fl. 1660-1682) was a Dutch print engraver who was active in The Hague.

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.

The Vedute di Roma was 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.

Paulus Pontius (1603 - 1658) was a Flemish engraver and painter, and was a pupil of Lucas Vorsterman the Elder. In 1624, Pontius succeeded Vorsterman in Ruben’s studio, and became a leading engraver connected with Rubens’ workshop. Following Rubens’ death, Pontius became associated with a number of other leading Antwerp painters, including Anthony van Dyck and Jacob Jordaens.

Johann Elias Ridinger (1698-1767) was a German painter, engraver, printmaker, and publisher, particularly remembered for his hunting and riding scenes.

Johann Jakob Ridinger (1736-1784) was an Augsburgbased printmaker and engraver, son of the artist Johann Elias Ridinger. His most celebrated work was a large allegorical vanitas mezzotint of the Rule of Death, after a drawing by his father, widely regarded as representing the zenith of German mezzotint printmaking.

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 self-promoter, 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.

Louis Charles Ruotte the Elder (1754-c. 1806) was a French stipple engraver. He was a pupil of Le Mire in Paris in 1781 and Bartolozzi in London in 1784.

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.

Pieter Schenck (1660-1718 or 1719) was a Dutch engraver, mapmaker and publisher. Born in Elberfeld, Germany in 1660, Schenck moved to Amsterdam in 1683 where he became a pupil of Gerard Valck. He became a skilled exponent of mezzotint engraving, which he practised until 1695, at which point he focused on making and selling maps.

Jacques de Sève (Active 1742 –1788) was a French artist and illustrator.

De Sève was commissioned by Georges-Louis Leclerc, Comte de Buffon to provide the illustrations for Histoire naturelle, générale et particulière (17491778, in 36 volumes) and then Buffon’s Recueil de Vingtquatre Plantes et Fleurs (1772). He also illustrated work by Duhamel du Monceau, Claude Perrault and parts of Encyclopédie Méthodique.

Robert Smirke, RA (1752-1845) was a British painter and prolific book-illustrator. His most important book series was ‘Don Quixote’, 74 plates, Cadell & Davies 1817.

John Smith (1652 - 1743) early British mezzotinter.

He was born at Daventry, Northamptonshire, about 1652. He was apprenticed to a painter named Tillet in London, and studied mezzotint engraving under Isaac Beckett and Jan van der Vaardt. He became the favourite engraver of Sir Godfrey Kneller, whose paintings he extensively reproduced, and in whose house he is said to have lived for some time. He produced some 500 plates, 300 of which are portraits. On giving up business he retired to Northamptonshire, where he died on 17 January 1742 at the age of ninety. He was buried in the churchyard of St Peter’s, Northampton, where there was a tablet to his memory and that of his wife Sarah, who died in 1717.

George Stubbs (1724-1806) was a painter and anatomist. A superb animal painter and a penetrating portraitist, Stubbs is best known for his Anatomy of a Horse, 1766, a series of magnificent engravings based on the dissections he carried out in a remote village in Lincolnshire. A friend of Josiah Wedgwood, Stubbs experimented with painting on alternative surfaces, including copper, porcelain and a Wedgwood plaque.

Thomas Tegg (1776-1845) was a British bookseller, printseller, and publisher, trading most notably from a printworks and shop in Cheapside. His best remembered series are Tegg’s Carricatures, the Caricature Magazine, the London Encyclopaedia, and the immensely popular Whole Life of Nelson.

William Woollett (15 August 1735 – 23 May 1785) was an English engraver born to a Dutch family in Maidstone, Kent. He was the most famous British engraver of his day, and was the secretary of the Incorporated Society of Artists between 1766 and 1773.

In 1775, he was appointed engraver in ordinary to George III. Willem van de Velde (18th December 1633 - 16th April 1707), called the Younger to differentiate him from his father of the same name, was a Dutch maritime painter. He travelled to London with his father, also a maritime painter, by 1673, working for King Charles II, and many other noble patrons, including the Duke of York. His brother Adriaen and Uncle Jan were also well known painters, the former of landscapes and the latter of still lifes.

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Adriaen van de Venne (1589-1662) was a Dutch artist and poet, who was born in Delft, active in Leiden, Antwerp, Middleburg and The Hague.

Lucas Vorsterman (Zaltbommel, 1595–Antwerp, 1675) was a Baroque engraver. He worked with the artists Peter Paul Rubens and Anthony van Dyck, as well as for patrons such as Thomas Howard, 2nd Earl of Arundel and Charles I of England. Around 1617 or 1618 Vorsterman joined Rubens’s workshop and became Rubens’s primary engraver for several years. Rubens was a demanding employer of engravers, with a very specific idea of the style he wanted: “As he dismissed engraver after engraver, he drove the best one, Lucas Vorsterman, into a nervous breakdown”. In 1624, Vosterman moved to England. He was back in Antwerp around 1630, where he worked closely with Van Dyck, including some of the engraved artists’ portraits in the Iconography project.

James Watson (c.1740-1790) was born in Ireland. As a young man he moved to London, where he studied mezzotint engraving. He became one of the leading mezzotint engravers of the day. His work included fifty-six plates after the paintings of Joshua Reynolds.

The majority of Watson’s work was produced for Sayer, Boydell and other print sellers but he published some plates himself. Watson exhibited at the Society of Artists from 1762 to 1775, during which time he was regarded as a master in his field.

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Charles Williams (active 1796-1830) was a British printmaker. In particular, he was a prolific etcher of satires to his own or others’ designs. Almost all of his plates are unsigned. In later years he worked for different publishers simultaneously, including Fores, E Walker, members of the Knight family, and Tegg (from 1807).

Adriaen van der Werff (1659-1722) was a Dutch printmaker, draughtsman, painter and architect. Pupil of Cornelis Picolet and Eglon van der Neer and brother of the painter Pieter van der Werff John Boydell (1719 - 1804) was a leading London print publisher, printer and printmaker. His international trade did much to establish British painting on a European basis.

Robert White (1645-1703) was a draughtsman and engraver. Born in London and was apprenticed to David Loggan, whose position as the leading line engraver for the print trade he later inherited. His output was huge, and in fact has never been fully documented. White’s principal activity was as a portrait engraver. He usually engraved these from his own drawings, made from life in black lead on vellum. The majority of his portraits were made on commission from publishers who used them as frontispieces for books. As well as frontispieces, he engraved book-plates, almanacs and architectural views. His son, George White, was also an engraver.

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